IntroductionWelcome| 00:00 |
(music playing)
| | 00:04 |
Hello I'm Tim Grey.
| | 00:05 |
One of the things I tend to focus on in
my photography is avoiding distractions
| | 00:09 |
within the frame.
In large part, that involves looking a
| | 00:12 |
little more closely at the subject
through the viewfinder and finding ways
| | 00:15 |
to ensure that everything in the frame
adds to the overall photographic
| | 00:18 |
composition without creating
distractions.
| | 00:22 |
Of course, sometimes those distractions
can't be avoided and sometimes you don't
| | 00:27 |
notice them because you're so excited
about the subject in front of the lens.
| | 00:30 |
Whatever the reason you're going to find
situations where you want to remove
| | 00:34 |
distractions or blemishes from your
photos and in this course I'll help you
| | 00:37 |
master image cleanup.
I'll start by reviewing some of the
| | 00:41 |
overall concepts related to image cleanup
and then we'll explore all of the tools
| | 00:45 |
you'll typically use for cleaning up your
images in Photoshop.
| | 00:48 |
We'll then take an in-depth look at some
of the cleanup techniques I recommend to
| | 00:52 |
help you work more efficiently and
produce results of the highest quality.
| | 00:56 |
I'll then guide you through some more
advanced methods that will help you clean
| | 01:00 |
up images even with challenging
blemishes.
| | 01:02 |
Along the way, you'll see many examples
of the challenges you'll likely face with
| | 01:07 |
your own photographic images, but more
importantly, you'll see real-world solutions.
| | 01:11 |
So let's take a look at some of my
favorite tools and techniques for
| | 01:14 |
cleaning up blemishes in your digital
photos.
| | 01:17 |
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|
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1. Cleanup ConceptsThe ethics of cleanup| 00:02 |
I view the concept of image cleanup as,
by and large, attempting to remove
| | 00:06 |
distractions, blemishes, and other
problems from an image.
| | 00:10 |
In other words, we're trying to take away
the things that might distract the viewer
| | 00:14 |
from the overall quality of the image,
the key subject, or other things that are
| | 00:18 |
important to you, in terms of a
photographic image.
| | 00:21 |
For example, in this case, I might want
to get rid of some of the bright spots in
| | 00:25 |
the background.
Or even this pelican's head that's just
| | 00:28 |
peeking around from one of the rocks.
So that you're not distracted by those
| | 00:32 |
elements and instead focus your attention
on the key subject, the brown pelican
| | 00:37 |
here that's balancing on a rock.
But of course, the notion of image clean
| | 00:41 |
up does raise some questions about how
far is too far, or how much can you get
| | 00:46 |
away with.
And this is a topic that leads to quite a
| | 00:49 |
bit of debate among many photographers
and indeed others who are not necessarily
| | 00:53 |
directly involved in photography.
From my perspective, there are basically
| | 00:57 |
two ways to look at this issue.
Either you look at photography as an art
| | 01:01 |
form, first and foremost, and therefore,
you can sort of get away with anything.
| | 01:06 |
It is art after all, and therefore, you
can exercise a bit of artistic license.
| | 01:10 |
But then there is the perspective of the
more journalistic approach to photography
| | 01:14 |
including, of course, journalists
themselves who were there to document
| | 01:18 |
something, not to create art.
Those tend to be sort of the extremes of
| | 01:22 |
the issue, but there are many shades of
gray in between.
| | 01:26 |
And of course, there's no one right
answer.
| | 01:28 |
But it is something that's worth thinking
about.
| | 01:31 |
For example, many nature photographers
feel that you should not perform image
| | 01:35 |
clean up that changes the contents of the
frame.
| | 01:38 |
But of course, nature photography is a
broad pursuit, and there are many
| | 01:42 |
perspectives among nature photographers,
some feeling that it's okay to clean up
| | 01:46 |
blemishes and distractions, and others
feeling you should, basically, just take
| | 01:50 |
the image as it comes out of the camera.
I don't have any answers for you, I just
| | 01:55 |
encourage you to give some thought to how
much clean up is okay for you.
| | 01:59 |
Do you feel it's okay, for example, to
remove the bird's head down below by the
| | 02:04 |
rock here, or do you feel that that's
going a little bit too far?
| | 02:07 |
Do you think that some of the
distractions in the background are okay
| | 02:11 |
to be removed?
Or should those remain as well?
| | 02:13 |
And what about spots caused by dust on
your camera's sensor, is it okay to
| | 02:18 |
remove those elements from the frame?
I leave it to you to decide how far
| | 02:21 |
you're willing to go in the pursuit of a
tidy image, one that doesn't have any
| | 02:26 |
blemishes or distractions.
It's a personal decision but one that's
| | 02:30 |
worth giving some thought to.
But regardless of how much image cleanup
| | 02:33 |
work you're interesting in doing on a
given image, there are plenty of tools
| | 02:37 |
and techniques available in Photoshop to
make those tasks relatively easy.
| | 02:41 |
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| Reviewing the image| 00:02 |
Based on my experience, it seems that
most photographers, when they're working
| | 00:06 |
on an image in Photoshop, view the image
in its entirety.
| | 00:09 |
In other words, they fit the image to the
available space.
| | 00:12 |
That makes it easier obviously to
evaluate the overall image as you're
| | 00:17 |
applying various adjustments.
And that's all well and good for most of
| | 00:20 |
the work that you might perform in
Photoshop.
| | 00:23 |
But when you're cleaning up an image it
can be very helpful to zoom in a bit closer.
| | 00:26 |
And in fact, before I start cleaning up
blemishes and distractions in an image, I
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prefer to zoom in and examine the entire
image.
| | 00:35 |
Now you can certainly just zoom in on the
photo and then pan around using the Hand tool.
| | 00:40 |
I see there's a little bit of a blemish
here to the side of the jet, but that's
| | 00:44 |
not a very good approach because you're
likely to miss some of the other blemishes.
| | 00:48 |
You might not cover the entire image, in
other words, and so once I've zoomed I
| | 00:53 |
actually prefer to take up a rather
methodical approach to evaluating the image.
| | 00:57 |
For starters, I'll want to zoom into a
relatively high degree, usually at least
| | 01:03 |
100%, but oftentimes, anywhere from 200
to 400%, to make sure that I can really
| | 01:09 |
see the details within the image, so that
I'll be able to identify specific blemishes.
| | 01:15 |
Then, I start off at the top left corner
of the image.
| | 01:18 |
You can access the Hand tool just by
pressing the Spacebar key for example.
| | 01:22 |
And then click and drag to move the image
around.
| | 01:26 |
So now, I can see the top left corner
and, of course, a portion of the image as well.
| | 01:31 |
I'll go ahead and bring up the navigator
panels, so that you can get a better
| | 01:35 |
sense of what portion of the image we're
seeing, and where we are exactly within
| | 01:39 |
the photo.
I'll go ahead and let that panel float,
| | 01:42 |
so that it's not covering up any of the
image.
| | 01:44 |
I'll close out the histogram panel here
that came along with the navigator.
| | 01:47 |
And you can see on that navigator panel
that the red box identifying the area of
| | 01:52 |
the image we're currently viewing Is
relatively small compared to the image,
| | 01:56 |
and it's at the top left corner.
We can certainly use the navigator panel
| | 02:01 |
to navigate around the image.
That's part of the reason that it exists.
| | 02:05 |
But I prefer to take an approach that
helps make sure I'll see all of the image.
| | 02:09 |
That process involves using the Page Up
and Page Down keys on the keyboard to
| | 02:14 |
maneuver around the image in an organized
fashion.
| | 02:17 |
To start with, I'm going to move over to
the right and I'm going to go,
| | 02:21 |
essentially, segment by segment, covering
the entire width of the image.
| | 02:25 |
And so, to move my view to the right,
I'll hold the Control key on Windows, or
| | 02:29 |
the Command key on Macintosh, and then
press Page Down to scroll to the right.
| | 02:35 |
You'll notice on the navigator panel that
the red square is moved over to the right
| | 02:39 |
one notch, indicating that I'm now
viewing the next section over.
| | 02:42 |
And I can continue in this way, holding
the Control key on Windows, or the
| | 02:46 |
Command key on Macintosh, while pressing
Page Down.
| | 02:49 |
And at each segment of the image I can
then evaluate whether or not there are
| | 02:53 |
any blemishes.
For example, here I can see a couple of
| | 02:56 |
dust spot up in the sky, so I'll
certainly want to pay attention for those
| | 03:00 |
when I'm actually cleaning up the image.
And then, one more time, I'll press
| | 03:03 |
Control+Page Down on Windows or
Command+Page Down on Macintosh, and you
| | 03:07 |
can see we've reached the end of the
image.
| | 03:10 |
So at this point, I'm ready to go down
one row, so I'll press page Page Down
| | 03:14 |
without holding the Control or Command
key.
| | 03:16 |
And then, I will hold Control or Command,
and this time press Page Up in order to
| | 03:21 |
pan across to the left.
And I'll continue in this fashion, moving
| | 03:25 |
down a row when I reach the edge of the
image and then panning cross the image,
| | 03:29 |
checking for blemishes along the way.
In this way, I'll be sure that I'm seeing
| | 03:34 |
every segment of the image and,
therefore, identifying all possible
| | 03:40 |
blemishes throughout the photo.
The key is to take a somewhat methodical
| | 03:44 |
approach, so that you'll be sure to
evaluate the entire image.
| | 03:48 |
And I recommend doing that both before
you start cleaning up your image, while
| | 03:52 |
you're cleaning up the image, and after
you think you're finished.
| | 03:55 |
Just to make sure that all of that
cleanup work has actually been done well.
| | 04:00 |
By taking that extra little bit of care
to evaluate the entire image, you'll help
| | 04:04 |
insure that you have the best results
possible in terms of image cleanup.
| | 04:08 |
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| Adjusting for review| 00:02 |
It's probably only natural that we often
have a tendency to compartmentalize
| | 00:06 |
specific tasks.
For example, when we're working on an
| | 00:09 |
image, we might think about applying
adjustments.
| | 00:12 |
For example, those affecting tonality and
color and that might be one process.
| | 00:16 |
And in the process of cleaning up
blemishes in the images, sort of thought
| | 00:20 |
of as a completely different process.
And yet, very often, the two can interact
| | 00:25 |
quite a bit.
One of the problems that you might run
| | 00:27 |
into from time to time is trying to clean
up the image, then applying some
| | 00:31 |
adjustments and having those adjustments
reveal new blemishes that you hadn't seen before.
| | 00:37 |
And, therefore, that you didn't clean up.
In many cases, it can be helpful to
| | 00:41 |
adjust the image in an exaggerated way,
before you get started with image cleanup work.
| | 00:47 |
Let's take a look at an example.
There are two basic adjustments that I
| | 00:50 |
tend to apply to an image when I'm trying
to evaluate the overall quality and the
| | 00:55 |
presence of blemishes.
Those include curves and saturation.
| | 00:59 |
Let's take a look at curves first.
I'll just go to the Image menu >
| | 01:03 |
Adjustments > Curves.
I'm applying the adjustment directly so
| | 01:08 |
that I can simply click the Cancel button
to eliminate that Curves adjustment,
| | 01:12 |
rather than creating an adjustment layer
and then needing to remove it.
| | 01:16 |
So I'll choose Curves from the
Adjustments menu and that will bring up
| | 01:19 |
the Curves dialog.
I'll move that out of the way just a
| | 01:22 |
little bit here, so that we can see more
of the image.
| | 01:24 |
And then, I'll apply an exaggerated
brightening of the image.
| | 01:28 |
I'll usually try to make sure that I
don't fully clip white.
| | 01:31 |
In other words, I don't want to run that
curve up into the ceiling as it were, up
| | 01:35 |
at the top of the histogram display.
So I'll keep that curve down just a
| | 01:39 |
little bit, but brightening relatively
significantly.
| | 01:42 |
And then I can evaluate the overall
image, pan around, zoom in a little bit,
| | 01:47 |
and just check for blemishes.
And there are a few things that this can
| | 01:50 |
help with.
For example, in this case, now that I've
| | 01:53 |
brightened up the image, it's easier to
see that there's a bald eagle behind the
| | 01:57 |
bird that's in flight here, perched on a
branch on a tree in the background.
| | 02:01 |
And that's a little bit distracting.
So I might want to remove that bird from
| | 02:05 |
view or maybe darken up that portion of
the image, so it's not so obvious, so
| | 02:09 |
that we don't have that distraction of a
bird in the background behind the flight
| | 02:12 |
feathers of the flying bald eagle here.
You'll probably also notice, especially
| | 02:17 |
if you zoom in a little bit on the image,
that there's at least a little bit of
| | 02:20 |
noise, that I might be concerned with.
And noise reduction is something that I
| | 02:24 |
consider to be part of the overall image
cleanup process.
| | 02:27 |
So that's certainly something that I
would want to be aware of.
| | 02:29 |
I'll zoom back out, and we can take a
look at another approach, and that is to
| | 02:34 |
increase contrast very significantly.
For this particular image, that's not
| | 02:39 |
going to create much of a benefit in
terms of finding other blemishes.
| | 02:43 |
But where this can be a tremendous
advantage is for finding dust spots in
| | 02:47 |
the sky, for example.
Anything where enhanced contrast can help
| | 02:51 |
us see those blemishes a little bit
better.
| | 02:54 |
In this case, it does help a little bit
in terms of making that eagle in the
| | 02:57 |
background stand out.
Not so much the eagle itself, but the
| | 03:00 |
white head of the eagle is showing up a
little bit more strongly.
| | 03:04 |
But the point is, that very often, an
exaggerated contrast enhancement can help
| | 03:08 |
us identify spots or other blemishes
within the photo.
| | 03:12 |
I'll go ahead and click the Cancel button
to cancel that curves adjustment and then
| | 03:16 |
we can take a look at the saturation bush
that can also be very helpful.
| | 03:20 |
I'll go to Image > Adjustments >
Hue/Saturation, that will bring up the
| | 03:26 |
Hue/Saturation dialog, of course.
And in that dialog, I'm going to take the
| | 03:30 |
saturation slider and increase it all the
way to its maximum value of plus 100.
| | 03:36 |
That obviously results in colors that are
significantly exaggerated.
| | 03:40 |
They're a bit wild here, but as a result,
we can get a sense of some of the
| | 03:44 |
potential problems.
This might help make it easier, for
| | 03:47 |
example, to see noise within the image.
We might spot chromatic aberrations, in
| | 03:51 |
other words, colored halos along
high-contrast edges, just a little more easily.
| | 03:56 |
And we might spot other elements within
the frame that we could've otherwise missed.
| | 04:00 |
Once again it can be helpful to zoom in
on the image in order to get a better
| | 04:04 |
sense of exactly what's going on.
In other words, where we're seeing color
| | 04:09 |
elements that we should not see, and
therefore, some of the things that we
| | 04:13 |
might want to keep an eye on, as we're
cleaning up the image or even as we're
| | 04:16 |
applying adjustments later in the process
of optimizing the overall photo.
| | 04:21 |
But as you can see, applying exaggerated
adjustments, just on a temporary basis,
| | 04:25 |
can make it much easier to evaluate your
image and find the blemishes and
| | 04:30 |
distractions that you might want to
remove.
| | 04:32 |
And once you're finished with those
adjustments, since we're applying them
| | 04:35 |
directly, we can simply click Cancel and
then continue working on improving the
| | 04:39 |
appearance of our photo.
| | 04:40 |
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| Nondestructive cleanup| 00:02 |
I very much prefer to utilize a
non-destructive workflow, whenever I'm
| | 00:06 |
working on my photos in Photoshop.
And what that means is that I don't want
| | 00:11 |
to change the underlying pixel values
directly.
| | 00:14 |
In other words, I'm not going to touch my
background image layer.
| | 00:18 |
Any work that I'm going to perform will
be performed on a separate layer.
| | 00:22 |
Sometimes that means I need to make a
copy of my background image layer.
| | 00:26 |
But in most cases, it means I can simply
make an empty layer.
| | 00:29 |
A new layer that sits above that
background image layer and is ready to
| | 00:33 |
receive pixels.
Let's take a look at a quick example,
| | 00:37 |
just to illustrate the concept of that
layer-based workflow.
| | 00:40 |
Don't worry too much about the specific
tasks I'm performing.
| | 00:43 |
But more on the mechanics of utilizing
layers for image cleanup purposes.
| | 00:48 |
I'll start off by creating a new layer,
and to do so I'll simply click on the
| | 00:52 |
blank sheet of paper icon.
The create new layer button at the bottom
| | 00:56 |
of the layers panel.
When I do so a new layer will be created.
| | 01:00 |
And you'll notice that the thumbnail for
that layer on the Layers Panel is a checkerboard.
| | 01:04 |
And that's Photoshop's way of indicating
that this layer is transparent, in other
| | 01:09 |
words there are no pixels on this layer.
Of course, as we're cleaning up our image
| | 01:13 |
we might be copying pixels from one area
of the image to another in order to cover
| | 01:17 |
up a blemish.
Therefore, we'll be adding some pixels to
| | 01:21 |
this new layer but not that many, at
least not that many in most cases but
| | 01:26 |
because the thumbnail on the Layers panel
is relatively small, the small number of
| | 01:31 |
pixels that we're going to be adding to
the image won't appear very large and in
| | 01:35 |
many cases, you won't be able to see
those pixels at all.
| | 01:38 |
In that thumbnail.
That might lead you down the road to
| | 01:41 |
think that this particular layer was not
used for anything, that it was just added
| | 01:45 |
by mistake, and so I strongly encourage
you to rename your layers in order to
| | 01:50 |
indicate what that layer is there for.
So, in this case for example, if I'm
| | 01:53 |
going to be using this layer for image
cleanup, I might just call it Image cleanup.
| | 01:57 |
Or if I'm performing a specific image
cleanup task I could use a name that
| | 02:01 |
reflects that task.
In any event I'll go ahead and double
| | 02:04 |
click on the name of that layer so that I
can rename the layer.
| | 02:09 |
In this case I will just call it image
cleanup, and then I can press Enter or
| | 02:12 |
Return on the keyboard to apply that name
change.
| | 02:14 |
And now when I open this image again in
the future there will be no ambiguity at all.
| | 02:19 |
I know that even though it looks like
this as an empty layer well at the moment
| | 02:23 |
it's still is but it won't be for long.
But even though it looks like an empty
| | 02:27 |
layer, it actually used for image cleanup
so I'll know that I want to keep it and
| | 02:31 |
then when we perform some image cleanup
work, that work will be done on this
| | 02:35 |
image cleanup layer.
So I'll make sure that the cleanup layer
| | 02:39 |
is actually active, in other words
selected, on the layer's panel and then I
| | 02:43 |
can continue using cleanup various image
cleanup tools in order to cleanup the image.
| | 02:48 |
So in this case I'm essentially erasing
these white specks these, white spots
| | 02:52 |
that are found on the chain, and really
just copying rusty pixels and covering up
| | 02:57 |
the white pixels with those rusty pixels.
But what I'm doing is actually copying
| | 03:02 |
pixels from the underlying background
image layer and painting them onto my
| | 03:07 |
image cleanup layer.
As a result, I'm just covering up the
| | 03:11 |
blemishes, and you can actually see in
this thumbnail that there are pixels there.
| | 03:16 |
If I turn off the visibility of that
layer, you'll see that my cleanup work is
| | 03:20 |
undone, so to speak.
I've turned off the visibility of the
| | 03:23 |
cleanup work, and I can turn that layer
back on to see the results of my cleanup.
| | 03:28 |
As a result, if I decide that some of the
work I've performed in cleaning up the
| | 03:31 |
image was an error.
In other words, I cleaned up a blemish I
| | 03:35 |
didn't really want to remove from the
image, I could simply erase those pixels
| | 03:39 |
from my Image Clean Up Layer using the
Eraser tool.
| | 03:42 |
Or, if I decide the clean up work really
should not have been done at all, I could
| | 03:46 |
even throw away my Image Clean Up Layer.
But more importantly, this separates my
| | 03:51 |
work from my image.
In other words, I'm doing all my image
| | 03:54 |
clean up work separate from the
background image layer so that if I
| | 03:58 |
didn't do a very good job or I made some
sort of mistake, I can always go back and
| | 04:02 |
fix that error.
And that does not depend upon history.
| | 04:06 |
I don't have to undo a particular task in
history in order to fix my mistake.
| | 04:10 |
I can go directly to where I performed
that image cleanup work and resolve the issue.
| | 04:15 |
So by taking a layer based, non
destructive approach to your image
| | 04:20 |
cleanup work, you'll ensure maximum
flexibility.
| | 04:23 |
And that also can translate into improved
image quality, as you're able to go back
| | 04:28 |
and fine-tune the work you already
performed.
| | 04:30 |
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| Brush hardness considerations| 00:02 |
Many of the tools you'll use for image
cleanup in Photoshop are brush tools.
| | 00:06 |
Meaning, you'll essentially be painting
with pixels on your image, and that means
| | 00:11 |
that as a brush you'll have brush
hardness to contend with.
| | 00:15 |
That's a setting for the brush tools that
allows you to determine, whether the edge
| | 00:19 |
of the brush is crisp or fuzzy.
Now, you might assume that you need a
| | 00:23 |
very fuzzy brush to ensure that you're
cleanup work blends in to surrounding
| | 00:28 |
areas of the photo.
And that's true to some extent but not
| | 00:31 |
quite as true as you might expect.
Let's take a look at how brush hardness
| | 00:35 |
can effect some of your image cleanup
work.
| | 00:37 |
I'm going to start off by creating a New
Layer, so that my image cleanup work is
| | 00:41 |
performed separate of the background
image layer.
| | 00:44 |
I'll rename that layer by double clicking
the name.
| | 00:46 |
And type in a new name and pressing Enter
or Return on the keyboard, so that I know
| | 00:50 |
exactly why that layer has been added to
the image.
| | 00:53 |
In this case, I'm going to work with the
Clone Stamp tool, and then up on the
| | 00:57 |
Options Bar, I'll click the Brush popup
here and we can see that the brush
| | 01:01 |
hardness is currently set to 100%.
And that probably sounds like a very bad
| | 01:06 |
thing, and in fact it is a bad thing.
Let's take a look at why a hard brush, a
| | 01:11 |
100% hardness setting is problematic when
you're working with the clone stamp tool.
| | 01:15 |
I'll go ahead and set a source of pixels
by holding the Alt key on Windows, or the
| | 01:20 |
Option key on Macintosh, and clicking on
an area of the image that I want to use
| | 01:25 |
as the source for pixels for my image
cleanup.
| | 01:28 |
In this case, I'm just choosing an area
arbitrarily because we're just
| | 01:31 |
illustrating the concept here.
I'll then move my mouse out into a
| | 01:34 |
different area of the image and I will
click once to paint with those source pixels.
| | 01:40 |
In other words, I've copied pixels form
one portion of the image down to another,
| | 01:44 |
and even without zooming in you can
probably see pretty clearly that there is
| | 01:48 |
a crisp edge.
That image cleanup work does not blend in
| | 01:52 |
to surrounding areas of the image.
And so, we would naturally think about
| | 01:56 |
reducing the hardness down to its minimum
value of 0%.
| | 02:00 |
I'll go ahead and choose a different
source within the image by Alt or Option clicking.
| | 02:04 |
And then I'll paint that adjustment into
a different area of the photo, and here
| | 02:09 |
you can see things blend in very nicely,
but perhaps too nicely.
| | 02:14 |
Let's take a look.
I'm going turn off visibility of our
| | 02:17 |
background image layer, so that we can
see the image cleanup work all by itself.
| | 02:23 |
I'll go ahead and zoom in a little bit,
so we can see more clearly.
| | 02:25 |
And obviously, the correction over on the
left has a very crisp edge.
| | 02:30 |
And so it does not blend in the
surrounding areas.
| | 02:32 |
But the clean up on the right has an
incredibly soft edge.
| | 02:36 |
We've got a transition that extends
across a very large area within the image.
| | 02:40 |
Of course, in this case I was using a
very large.
| | 02:43 |
Brush at least large in the context of
image cleanup work, but this will help to
| | 02:48 |
illustrate the concepts involved here.
I'll go ahead and turn on the background
| | 02:52 |
image layer once again.
And for the clean up on the left with a
| | 02:55 |
hard edge brush once again we can see
very clear indications of the problem.
| | 03:00 |
And so, it's only natural to assume that
the soft edge brush used on the right is
| | 03:04 |
indeed a very good thing.
But I'm going to turn off the visibility
| | 03:07 |
for that clean up and turn it back on a
few times.
| | 03:10 |
And if we zoom in a few times, we can get
a better sense of exactly what's going on
| | 03:14 |
over on the right hand side.
I'll toggle the visibility of that layer
| | 03:17 |
once again and now you can probably see
the issue.
| | 03:29 |
We have a fair amount of ghosting.
We have two layers essentially, one on
| | 03:33 |
top of the other, with the top one
essentially having a lower opacity.
| | 03:37 |
Because with a feathered edge, with a
soft edge brush, what we're really doing
| | 03:42 |
is transitioning the opacity of what
we're painting from 100% opaque in the
| | 03:46 |
center to zero percent opaque, or
completely transparent in the areas that
| | 03:51 |
are not affected by that brush.
And we have a smooth transition in between.
| | 03:55 |
And that means, that we have some
transition where there's going to be a
| | 03:59 |
bit of ghosting.
You can see, for example, there is a dark
| | 04:01 |
object here that starts off as mostly
transparent.
| | 04:05 |
And then fades off to completely
transparent.
| | 04:08 |
And many of the cracks in the paint here
are stacked up, doubled up on top of each other.
| | 04:13 |
And what that leads to, is a bit of a
ghosting appearance, and in many cases,
| | 04:17 |
that ghosting appearance can be rather
problematic.
| | 04:20 |
The solution is to not use a hard edge
brush obviously, but also in most cases
| | 04:26 |
to probably not use a completely soft
edge brush when you're working with the
| | 04:30 |
clone stamp tool.
In other words, you'll probably opt for a
| | 04:33 |
value somewhere around 50% but that will
vary depending upon the nature of the subject.
| | 04:39 |
In other words, the degree of detail in
the area that you're painting as well as
| | 04:42 |
the overall size of the brush, and so
you'll want to evaluate your results as
| | 04:47 |
your working to make sure you're using
best setting possible.
| | 04:51 |
But the key thing is to be aware that
brush hardness does have a significant
| | 04:55 |
impact on the clone stamp tool.
When it comes to the tools that actually
| | 04:58 |
perform healing or blending and that
includes the Spot Healing Brush tool as
| | 05:03 |
well as the Healing Brush tool for
example.
| | 05:05 |
There, it's actually beneficial to use a
100% hardness, because that will allow a
| | 05:11 |
Photoshop to work a little bit more
efficiently with image cleanup.
| | 05:14 |
But when you will see evidence of the
brush hardness, such as is the case with
| | 05:19 |
the Clone Stamp tool, you'll want to pay
careful attention to the actual hardness
| | 05:22 |
setting you use.
I would venture to say that you would
| | 05:25 |
never use a 100% hardness.
But you may not want to use a zero
| | 05:30 |
percent hardness at least in most cases,
if there's any texture at all, you'll
| | 05:34 |
want to evaluate very carefully and find
the hardness setting that's going to work
| | 05:38 |
best for that particular situation.
| | 05:40 |
| | Collapse this transcript |
| The case against Smart Objects| 00:02 |
When you're applying filters, or even
processing a raw capture, one of the
| | 00:05 |
options available to you is to create a
Smart Object.
| | 00:09 |
And Smart Objects provide some very nice
flexibility in terms of your overall work flow.
| | 00:14 |
However, Smart Objects also create some
problems when it comes to a layer based
| | 00:19 |
work flow for image cleanup.
As a result, I prefer not to utilize
| | 00:23 |
Smart Objects.
I'll start off by opening a raw capture.
| | 00:26 |
So I'll choose File > Open from the menu
and then select a raw capture that I want
| | 00:30 |
to work with and I'll click the Open
button.
| | 00:33 |
And then I could apply some adjustments
here, but in this case I'm not going to
| | 00:36 |
do that just yet, but I am going to make
sure that this raw capture will be opened
| | 00:41 |
as a Smart Object, so I can demonstrate
to you why I prefer to avoid this option.
| | 00:45 |
I'll click on the summary of the work
flow options down at the bottom of Adobe
| | 00:49 |
Camera Raw, and then I'll make sure to
turn on the Open in Photoshop as Smart
| | 00:53 |
Objects checkbox.
That will cause this raw capture to be
| | 00:57 |
opened as a Smart Object rather than just
simple pixels.
| | 01:00 |
I'll go ahead and click OK since that
option is established and then I'll click
| | 01:04 |
Open Object in order to open this image
as a Smart Object.
| | 01:08 |
You may notice on the layers panel that
at the bottom right corner there's an
| | 01:11 |
indication that this is a Smart Object.
And what that means in the context of a
| | 01:15 |
raw capture is that I can double click on
that Smart Object at anytime in order to
| | 01:21 |
bring up Adobe Camera Raw, where I can
fine tune the overall settings.
| | 01:25 |
I'll go ahead and click OK to apply those
changes, and now I'm going to perform
| | 01:30 |
some image clean up work to illustrate
why I prefer to avoid Smart Objects.
| | 01:35 |
I'll start by adding a new image layer,
and then I'll rename that layer.
| | 01:38 |
I'll just call it Image Cleanup.
And then I'm going to use the Spot
| | 01:42 |
Healing Brush tool in order to clean up
some spots.
| | 01:45 |
So I'll go ahead and click in various
areas of the image where I see some spots
| | 01:50 |
that I would like to get rid of.
Note that I'm using the Content Aware
| | 01:53 |
option and the Sample All Layers option
so that I can place my clean up pixels
| | 01:58 |
onto a separate layer.
I'll go ahead and turn off that Painted
| | 02:01 |
Rain Spout layer and you can see that all
of the areas where I cleaned have pixels
| | 02:05 |
on my image clean up layer.
Now I might decide that I'd like to make
| | 02:09 |
some changes to the raw conversion.
And so I'll double click once again on my
| | 02:13 |
Smart Object, that will bring up Adobe
Camera Raw and let's just make a wild
| | 02:18 |
adjustment so that it will be very, very
obvious what has changed in the image.
| | 02:22 |
I'll go ahead and click OK.
And now we can see very clearly exactly
| | 02:26 |
what that problem is.
Because I've retained the flexibility of
| | 02:30 |
going back and altering the appearance of
my underlying image, I'm running the risk
| | 02:34 |
of having image clean up pixels that
don't match that image.
| | 02:38 |
And so as a result, I avoid the use of
Smart Objects with any image where I
| | 02:43 |
might be performing some image clean up
work.
| | 02:45 |
| | Collapse this transcript |
| Checking your work| 00:02 |
When it comes to image cleanup work one
of the most important skills that you can
| | 00:06 |
have, or the most important task you can
perform is to check your work.
| | 00:11 |
You need to evaluate the overall image to
begin with so that you can identify the
| | 00:14 |
areas that need to be cleaned up.
But then you need to check your work to
| | 00:17 |
make sure that work was done well.
After all, there's no sense spending a
| | 00:22 |
lot of time and effort cleaning up an
image if your results aren't going to be
| | 00:25 |
top notch.
In this case I don't even need to zoom in
| | 00:28 |
to see a couple of problems that I
missed.
| | 00:30 |
Specifically, I see some reflections or
other items in the windows here that are
| | 00:35 |
a little bit distracting.
I definitely would want to get rid of
| | 00:38 |
that spot there and perhaps a few other
spots in the window as well.
| | 00:42 |
But those are items that I simply
overlooked.
| | 00:45 |
I also want to take a look at the actual
cleanup work I performed to see if it was
| | 00:49 |
done well.
In this case for example, I cleaned up
| | 00:52 |
some grass down in the bottom left corner
of the image.
| | 00:54 |
I'll turn off the Image Cleanup Layer
that I have on the Layers panel, and you
| | 00:59 |
can see there was quite a bit of grass
over there.
| | 01:01 |
When I turn on the visibility for that
layer again, you might notice right off
| | 01:04 |
the bat that I didn't quite get
everything.
| | 01:07 |
There's a little bit of a speck of grass
there.
| | 01:09 |
I'm going to zoom in so we can take a
closer look.
| | 01:12 |
And sure enough there are some problems.
There's some grass left over right here.
| | 01:16 |
There are what appear to be a couple of
pebbles that are a little bit distracting.
| | 01:21 |
I might want to remove those as well.
And I can see over in the bottom left
| | 01:24 |
corner I missed a spot, I didn't get all
the way down into that corner.
| | 01:29 |
Zoomed in here I'll go ahead and turn off
the visibility for the layer again and
| | 01:32 |
then turn it back on and you can see some
other problems as well.
| | 01:37 |
The seam in the concrete no longer
extends all the way to the edge.
| | 01:40 |
So I might want to duplicate some of
those pixels in order to extend that line.
| | 01:44 |
And so evaluating the image in this way
can obviously be incredibly helpful.
| | 01:50 |
It will help you find items that you
missed, as well as items that you might
| | 01:54 |
not have done the best job of, in terms
of image cleanup.
| | 01:57 |
So, just as you'll evaluate the image
from the beginning, going through the
| | 02:01 |
entire image and looking for the
blemishes that you want to get rid of.
| | 02:04 |
You also should review the image after
you've performed that clean up work to
| | 02:09 |
make sure that you've cleaned up
everything you want to clean up and that
| | 02:12 |
you did that job well.
The result will be a much better image
| | 02:16 |
with fewer distractions that others are
likely to spot.
| | 02:19 |
And that can make all the difference for
an image.
| | 02:22 |
| | Collapse this transcript |
|
|
2. Essential Cleanup ToolsCrop tool cleanup| 00:02 |
When you think about cleaning up
distractions or blemishes in a photo, you
| | 00:06 |
probably think about the tools in
Photoshop that are specifically aimed at
| | 00:10 |
image clean up.
Those include, for example, the Clone
| | 00:13 |
Stamp tool and the Spot Healing Brush
tool.
| | 00:15 |
But there's another tool that tends to be
overlooked a little bit and yet can be
| | 00:19 |
very, very important when it comes to
cleaning up your images.
| | 00:22 |
And that is the Crop tool.
The Crop tool is important for two basic
| | 00:26 |
reasons in my mind.
First of all, if a blemish appears near
| | 00:30 |
the edge of the image, it's oftentimes
just simpler to crop that blemish out
| | 00:35 |
rather than try to clean it up.
I'm not suggesting that you should
| | 00:39 |
compromise on the crop for a photo just
to clean up a blemish.
| | 00:42 |
But in many cases that blemish is in an
area that's not all that important and so
| | 00:46 |
it's okay to crop just a little bit to
simplify the task of cleaning up the image.
| | 00:51 |
The second reason, is that using the Crop
tool actually helps to reinforce the
| | 00:55 |
notion that you need to check the entire
image for blemishes, and that includes
| | 01:00 |
the very edges of the image.
Those edges often go unnoticed, and it
| | 01:06 |
seems more often then not, if I find a
photo that has a distraction or blemish
| | 01:10 |
in it, that distraction or blemish is
probably going to appear toward the edges
| | 01:15 |
or corners of the photo.
We just don't tend to focus as much
| | 01:18 |
attention there.
In this photo for example there are a
| | 01:21 |
couple of things that I would consider
blemishes that you might not catch initially.
| | 01:25 |
One of those is what appears to be a dust
spot down toward the bottom left corner
| | 01:30 |
of the photo.
And the other is actually this tree along
| | 01:33 |
the left edge.
Even though the tree is a perfectly
| | 01:36 |
natural element and it fits in with the
rest of the image, to me, it's a little
| | 01:40 |
bit distracting, because it's bisected at
the edge and it's considerably taller
| | 01:45 |
than the trees nearby.
And so we have this little fuzzy area
| | 01:49 |
going up along the left edge, and to me,
that's just a little bit of a visual distraction.
| | 01:54 |
And both of those can be resolved very
easily and I think without creating any
| | 01:58 |
problems for the image by utilizing the
Crop tool.
| | 02:01 |
So I'll choose the Crop tool from the
toolbox.
| | 02:04 |
You could also press the letter C on the
keyboard to activate the Crop tool.
| | 02:08 |
And then in this case, since I want to
adjust the left side as well as the
| | 02:11 |
bottom in order to get rid of that
blemish down toward the bottom left
| | 02:14 |
corner, I'll go ahead and click and drag
on that bottom left corner of the crop box.
| | 02:20 |
And then I'll move the crop box inward
just a little bit, just enough to
| | 02:24 |
eliminate those blemishes.
If you're adjusting that crop box
| | 02:28 |
extremely close to the edge of the photo,
then you might want to disable the snap feature.
| | 02:33 |
You can do that on the fly simply by
holding the Control key on either Windows
| | 02:38 |
or Macintosh in order to prevent the crop
box in this case from snapping to the
| | 02:42 |
edge of the photo, but I think right
about there will take care of things.
| | 02:46 |
It gives me what I think of as a less
distracting left edge of the image, and
| | 02:50 |
it also completely eliminates that dust
spot down toward the bottom left.
| | 02:54 |
And as far as I'm concerned, for this
specific image, cropping in this way
| | 02:58 |
doesn't cause any problems, and so to me
it's just the smarter approach to
| | 03:02 |
resolving a couple of blemishes.
Note, by the way, that we can also rotate
| | 03:06 |
the crop box if we need to straighten the
image.
| | 03:08 |
But of course, in this case the photo
does not even have an obvious horizon line.
| | 03:13 |
So it's probably not terribly critical.
But if I need to rotate for any reason I
| | 03:17 |
can move my mouse pointer outside of the
crop box and then click and drag in order
| | 03:22 |
to rotate the image.
So in this case for example I might want
| | 03:25 |
to make sure that the trees are perfectly
vertical, but I think we're in good shape
| | 03:30 |
here with no rotation needed.
So I'll go ahead and click the check mark
| | 03:34 |
button on the options bar in order to
commit that crop.
| | 03:37 |
I could also double click inside of the
crop box or press Enter or Return on the keyboard.
| | 03:42 |
It's worth noting by the way that when
I'm cropping my images in this way for
| | 03:46 |
image cleanup, I always make sure that
the Delete Cropped Pixels checkbox is
| | 03:51 |
turned off, so that I'm not actually
destroying any of those pixels around the
| | 03:55 |
perimeter of the image, but rather I'm
just hiding them from view.
| | 03:58 |
If I later decide that maybe I needed to
have some of those pixels back, because I
| | 04:04 |
had the Delete Cropped Pixels checkbox
turned off I can always get back to those pixels.
| | 04:09 |
All I need to do is choose Image > Reveal
All from the menu, and that will reveal
| | 04:14 |
all of the pixels that had been hidden
outside the document's canvas.
| | 04:18 |
So you can see for example we have that
blemish over on the left side as well as
| | 04:22 |
down toward the bottom right once again.
In this case though I'm perfectly happy
| | 04:27 |
with the way the image had been cropped.
So I'll simply choose Edit > Step
| | 04:31 |
Backward, in order to go back to the
cropped version of the image.
| | 04:34 |
But do keep in mind, I have the
flexibility to go back and reveal all of
| | 04:38 |
those pixels at any time.
The bottom line is that the Crop tool can
| | 04:42 |
be very helpful for image clean up work
around the edges of your images.
| | 04:46 |
And it also helps to make sure you
actually are focusing some attention on
| | 04:50 |
those edges.
| | 04:50 |
| | Collapse this transcript |
| The Clone Stamp tool| 00:02 |
In most cases, image clean up involves
taking pixels from one area of an image,
| | 00:06 |
and using those pixels to cover up pixels
in another area of an image.
| | 00:11 |
In other words, we're essentially copying
and pasting pixels.
| | 00:14 |
Copying them from one area, pasting them
in another.
| | 00:17 |
And in the process, covering up a
blemish.
| | 00:19 |
One of the most basic tools for this
purpose is the Clone Stamp tool.
| | 00:23 |
Which literally just allows you to copy
pixels from one area of the image to another.
| | 00:28 |
Of course how you work with the Clone
Stamp tool can have a significant impact
| | 00:32 |
on the results you get.
So let's take a look at the various
| | 00:34 |
options available for the Clone Stamp
tool.
| | 00:37 |
The first thing I like to do whenever I'm
performing image cleanup work is to
| | 00:41 |
create a new empty layer so that I can
put my cleanup pixels onto that layer
| | 00:46 |
without affecting the underlying
background image.
| | 00:49 |
In other words, I'm not actually changing
the pixels or replacing them altogether,
| | 00:53 |
but rather, just covering them up.
And so I can always go back to my image
| | 00:57 |
cleanup layer and make changes or
corrections as needed.
| | 01:01 |
So I'll go to the bottom of the layers
panel, and then click on the Create New
| | 01:05 |
Layer button, the blank sheet of paper
icon.
| | 01:07 |
And then I will double-click on the name
of that new layer and give it a more
| | 01:11 |
meaningful name, so I'll know exactly why
that layer has been added to this image.
| | 01:16 |
In this case I'll just call that layer,
image cleanup.
| | 01:19 |
I can then press enter or return on the
keyboard to apply that name change.
| | 01:22 |
And now I'm ready to start working with
the Clone Stamp tool.
| | 01:26 |
So, on the toolbox I'll click on the
Clone Stamp tool or I can press the
| | 01:30 |
letter S, for stamp, to activate the
Clone Stamp tool.
| | 01:33 |
And then you'll notice that we have a
series of options on the Options bar.
| | 01:37 |
The first thing we can do is change the
basic attributes of the brush that we're
| | 01:42 |
using with the Clone Stamp tool.
The Clone Stamp tool is a brush tool,
| | 01:46 |
we're painting pixels into particular
areas of the photo.
| | 01:49 |
And so we can adjust the overall size and
hardness of that brush, at least at a
| | 01:53 |
very basic level, so we can determine how
we're affecting the particular areas
| | 01:57 |
we're painting in.
Generally speaking, I start off with a
| | 02:00 |
hardness of about 50%.
That provides a good balance between an
| | 02:05 |
edge that is too hard, and therefore
provides a very clear indication of where
| | 02:08 |
you're painting.
Versus too soft, which can lead to some
| | 02:11 |
ghosting and odd overlapping between the
clean up and the original image.
| | 02:16 |
So I start off at a 50% hardness and then
evaluate while I'm working and adjust as needed.
| | 02:21 |
The size I don't adjust here on the pop
up because it's much easier to adjust the
| | 02:25 |
size of the brush on the fly using the
left and right square bracket keys.
| | 02:30 |
I can press the left square bracket key
to reduce the brush size, or the right
| | 02:33 |
square bracket key to increase the brush
size.
| | 02:36 |
And so I'll adjust the brush size on the
fly as I'm working in the image.
| | 02:41 |
We can also adjust the brush attributes
in more detail by clicking on the Brush
| | 02:45 |
button to bring up the Brush panel, in
this case though we'll just work with a
| | 02:48 |
basic round brush.
We can also adjust a variety of settings
| | 02:52 |
related to the clone source, in other
words the source of pixels that we're
| | 02:56 |
using when cleaning up our image with the
Clone Stamp tool.
| | 02:59 |
But for now I'll leave these options for
the most part at their default values.
| | 03:04 |
I do tend to turn off the Show Overlay
checkbox however, so that I don't get
| | 03:08 |
distracted by a constantly changing brush
when I'm working with Clone Stamp tool.
| | 03:12 |
But otherwise I'll leave these options as
they are and I'll simply close that clone
| | 03:17 |
source panel.
The Blend mode for the Clone Stamp tool
| | 03:20 |
should be set to Normal, at least under
normal circumstances.
| | 03:23 |
In most cases, you'll want to work with a
normal blend mode so that you're
| | 03:27 |
literally just copying pixels from one
area to another.
| | 03:31 |
You'll also usually want to work at a
100% opacity.
| | 03:35 |
In other words, we want to completely
eliminate a blemish.
| | 03:38 |
Just by way of example, I'll go ahead and
remove a blemish here at 100%.
| | 03:43 |
And then, I'll set that opacity down to
50% and we can perform a similar task and
| | 03:49 |
see the difference.
At 50% opacity, of course, I'm only
| | 03:53 |
half-removing the object that I paint
over.
| | 03:55 |
So here, for example, you see the foam on
the shoreline here was completely
| | 03:59 |
removed, versus only toned down a little
bit.
| | 04:03 |
In most cases you'll want to have the
opacity set to 100% because, generally,
| | 04:07 |
if there's a blemish, you want to get rid
of it altogether.
| | 04:10 |
So I'll go ahead and take that opacity
back to 100%.
| | 04:13 |
And I'll also step backward a couple of
times in order to remove those cleanup
| | 04:17 |
steps, because those obviously were just
arbitrary.
| | 04:21 |
I'm not using a tablet at the moment so I
don't need to worry about the tablet
| | 04:24 |
settings, and especially with the Clone
Stamp tool I never use the airbrush
| | 04:28 |
feature, so I don't need to worry about
flow either.
| | 04:30 |
Let's take a look, though, at the aligned
option.
| | 04:33 |
This one can actually be a little bit
important depending on how you work with
| | 04:36 |
the Clone Stamp tool, but I think I might
be able to convince you that it's
| | 04:39 |
actually not critical if you follow my
advice in terms of how you actually work
| | 04:44 |
with the Clone Stamp tool.
Let's create an arbitrary example here.
| | 04:48 |
I'm going to set the bird here as the
source of my cloning.
| | 04:51 |
So I'll hold the Alt key on Windows or
the Option key on Macintosh and click on
| | 04:56 |
the bird and then I'll move out over to
another area of the image and I will
| | 05:01 |
click and that will cause the bird to be
duplicated.
| | 05:05 |
If I now move my mouse up a little bit in
the image and click, what will appear in
| | 05:10 |
this area?
You might initially assume the bird but
| | 05:13 |
actually we're going to get water.
And that's because, by setting a source,
| | 05:17 |
and then painting in the image, we've
defined a relationship between the source
| | 05:21 |
and destination areas when we're working
with the Clone Stamp tool.
| | 05:24 |
But that's only because we've left the
aligned checkbox turned on.
| | 05:28 |
With the aligned checkbox turned on,
we're defining that relationship, and the
| | 05:32 |
relationship remains fixed.
In other words, the source of pixels will
| | 05:36 |
vary depending on where I'm painting.
I'll go ahead and turn off the aligned
| | 05:41 |
checkbox and then I'll undo those last
couple of steps so that we get back to
| | 05:45 |
our original image.
And once again I'll set the bird as the
| | 05:49 |
source of pixels for the Clone Stamp
tool.
| | 05:51 |
I'll move over to the left and I'll
paint.
| | 05:53 |
And sure enough, we get a bird.
But now if I move up in the image and
| | 05:58 |
then click again, I'll get another bird.
And that's because I no longer have the
| | 06:03 |
source and destination aligned.
Rather, I have a single source of pixels.
| | 06:08 |
So every time I release the mouse, and
start painting again that source goes
| | 06:12 |
back to the exact same spot.
The reason I don't consider the aligned
| | 06:16 |
checkbox to be terribly important, is
that I encourage you to always select a
| | 06:20 |
specific source of pixels every time you
paint with the Clone Stamp tool.
| | 06:24 |
That means any time you have a blemish
you're going to cleanup with the Clone
| | 06:28 |
Stamp tool you'll hold the Alt key on
Windows or the Option key on Macintosh
| | 06:32 |
and click on a specific source of pixels
to repair that blemish.
| | 06:36 |
As a result, the aligned checkbox never
really comes into play.
| | 06:40 |
Next, we'll take a look at the sample
option, but first I'm going to undo those
| | 06:44 |
last couple of steps.
And then I'll click on the popup
| | 06:48 |
associated with sample here.
The default is actually current layer.
| | 06:52 |
In other words, we're only able to copy
pixels with the Clone Stamp tool on the
| | 06:56 |
currently active layer on the layers
panel.
| | 06:59 |
At the moment, that would mean I'm
copying empty pixels over empty pixels.
| | 07:03 |
In other words, I'm not doing anything at
all.
| | 07:05 |
Since I'm working with a layer based
nondestructive approach to image clean
| | 07:09 |
up, I need to choose either the current
and below option so that the image clean
| | 07:14 |
up layer and the layer below are
considered for the work that I'm performing.
| | 07:18 |
Or I can simply choose all layers.
And the all layers option is especially
| | 07:23 |
helpful for situations where you might be
performing image cleanup work on a
| | 07:26 |
composite image that consists of lots of
different layers.
| | 07:30 |
So I'll choose the all layers option, but
then I'm also going to turn on this
| | 07:34 |
option to the right of the sample popup.
And that option means do not take into
| | 07:39 |
account the effect of adjustment layers.
If I didn't have this option turned on,
| | 07:43 |
then the pixels that I copied with the
Clone Stamp tool would be effected by the
| | 07:47 |
adjustment layer twice.
Once when I copy those pixels and again
| | 07:52 |
once those pixels are painted onto the
image cleanup layer because the
| | 07:55 |
adjustment will then apply to them once
again.
| | 07:58 |
What that really means is that by having
the all layers options turned on but also
| | 08:02 |
turning on the option to ignore the
effect of adjustment layers, I don't have
| | 08:05 |
to worry about whether or not I have any
adjustment layers.
| | 08:08 |
I can simply make sure that I'm working
on the correct layer, my image clean up
| | 08:13 |
layer, and then continue working with the
Clone Stamp tool.
| | 08:16 |
With the Clone Stamp tool configured, I'm
ready to get to work.
| | 08:20 |
And that's perhaps where the trickiest
part comes into play.
| | 08:22 |
When you're working with the Clone Stamp
tool, you're responsible for selecting
| | 08:26 |
the source of pixels and also for
painting that source into the destination
| | 08:29 |
area, and so you need to be careful when
you're working.
| | 08:32 |
The basic process is relatively straight
forward.
| | 08:35 |
You can move the mouse out over the
image, adjust the brush size as needed
| | 08:38 |
with the left and right square bracket
keys.
| | 08:40 |
Generally speaking you don't want the
brush to be any larger than the object
| | 08:44 |
you're trying to remove and in some cases
you'll want it to be smaller than that object.
| | 08:48 |
You can then hold the Alt key on Windows
or the Option key on Macintosh to select
| | 08:52 |
an appropriate source of pixels and then
click to define that source area.
| | 08:57 |
Then you can move your mouse out over the
blemish and simply click and drag to
| | 09:01 |
paint the correction into that portion of
the photo.
| | 09:05 |
Of course the real key to getting good
results with the Clone Stamp tool is
| | 09:09 |
careful attention to detail.
You need to carefully select a source and
| | 09:13 |
then paint that carefully into the
destination area and evaluate your results.
| | 09:17 |
But with just a little bit of practice
you'll be getting great clean up results
| | 09:21 |
utilizing the Clone Stamp tool.
| | 09:23 |
| | Collapse this transcript |
| The Healing Brush tool| 00:02 |
Generally speaking, the concept of image
cleanup in Photoshop involves copying
| | 00:06 |
pixels from one area of the image to
another in order to cover up a blemish of
| | 00:11 |
some sort.
And that makes perfect sense because, of
| | 00:13 |
course, the pixels that are in the image
are probably a good fit for replacing
| | 00:17 |
other areas of the photo.
The problem is that sometimes even pixels
| | 00:22 |
that seem like they would be a good match
aren't a perfect match and in those cases
| | 00:26 |
we can take advantage of some of the more
automated tools in Photoshop for image cleanup.
| | 00:31 |
Specifically automated in the sense of
automatically adjusting pixels To match
| | 00:36 |
their surroundings.
In this image for example, I have a
| | 00:39 |
blemish, it's actually a bird in the
center of the frame here.
| | 00:42 |
And I'd like to remove it.
I feel that it's just a little bit distracting.
| | 00:46 |
But zooming out, if we take a look at the
environment around that bird, the sky,
| | 00:50 |
you';ll see that there's a tremendous
amount of variability.
| | 00:53 |
We have very dark sky down over here
toward the horizon, and of course very
| | 00:58 |
bright sky near the sun.
And so, if I were to simply copy pixels
| | 01:02 |
from one area of the image to another, I
could run into some problems in terms of matching.
| | 01:07 |
While the overall sky is pretty even,
it's a relatively smooth texture, all
| | 01:12 |
things considered.
There are gradations of tone and color
| | 01:15 |
and so, in theory, I would need to be
very, very careful about where I selected
| | 01:19 |
pixels in order to use those pixels for
image clean up.
| | 01:23 |
Fortunately with the Healing Brush tool,
you essentially have a Clone Stamped Tool
| | 01:28 |
with the benefit of automatic blending.
In other words, when you copy and paste
| | 01:32 |
pixels from one area of the image to
another, those pixels will automatically
| | 01:36 |
blend in to match the surroundings.
Lets take a look at how we can utilize
| | 01:41 |
the Healing Brush Tool for image cleanup.
I'll start off by creating a new layer to
| | 01:45 |
serve as the cleanup layer, so that my
cleanup work is done on a separate layer
| | 01:49 |
from my background image layer.
And so I'll click on the Create New Image
| | 01:53 |
Layer button.
Be a blank sheet of paper icon at the
| | 01:55 |
bottom of the Layers panel and then I'll
double click on the name for that layer
| | 01:59 |
and type a new and more meaningful name.
I'll just call this Image Cleanup and
| | 02:03 |
then press enter or return on the
keyboard to apply that name change.
| | 02:07 |
Next, I'll choose the Healing Brush tool
from the toolbox.
| | 02:10 |
The Healing Brush tool is actually hiding
beneath the Spot Healing Brush tool and
| | 02:14 |
so, I'll first click and hold the mouse
for a moment to bring up the fly out menu
| | 02:19 |
associated with the Spot Healing Brush
tool and then choose Healing Brush tool
| | 02:23 |
from that fly out menu.
If you're familiar with the clone stamp
| | 02:27 |
tool, the healing brush tool is
essentially the exact same thing.
| | 02:30 |
The only difference is that Photoshop
will process the pixels that you copy
| | 02:35 |
from one area to another to make sure
that they blend in well in the
| | 02:38 |
destination area.
Let's take a look at the settings on the
| | 02:42 |
options bar though we will use just a
normal brush with the hardness set to
| | 02:46 |
100% while in theory we want a soft edged
brush so there are corrections will blend
| | 02:51 |
smoothly into the surrounding areas of
the image in reality since the human
| | 02:56 |
brush tool is automatically blending for
us.
| | 02:58 |
We can use a Hard Edge brush, and that
actually makes the task of the Healing
| | 03:03 |
Brush tool, a little bit easier anyway.
So I always leave that hardness at 100%,
| | 03:07 |
for the healing brush tool.
The blend mode, I leave it normal.
| | 03:10 |
It's worth noting, however, that we do
have a replace blend mode option.
| | 03:15 |
That's not a normal blend mode, it's one
that's, essentially reserved for the
| | 03:19 |
Healing Brush tool.
And what it does is cause the healing
| | 03:22 |
brush tool to behave like the clone stamp
tool rather than the healing brush tool.
| | 03:26 |
Obviously you could just switch between
the two tools, but you could also switch
| | 03:30 |
the blend mode if, for any reason, you
needed to have more of that clone stamp
| | 03:34 |
behavior without the automatic blending
for certain of your Brush strokes while
| | 03:38 |
you're cleaning up.
But we're going to leave that set to normal.
| | 03:41 |
The source will be set to sampled because
we're going to chose a particular source
| | 03:46 |
of pixels for our clean up.
The aligned option is not critical in
| | 03:50 |
this case because we're always going to
sample a specific source of pixels.
| | 03:54 |
Before we paint our clean up.
We do want to make sure though that the
| | 03:59 |
sample option is not set to current layer
but rather is set to either current and
| | 04:04 |
below, meaning, the currently active
layer on the Layers panel or our Image
| | 04:08 |
Cleanup layer as well as the layer below,
or all layers.
| | 04:12 |
I'll usually use the all layer option so
I don't have to worry about how many
| | 04:15 |
image layers I have and where they are
located.
| | 04:18 |
I just want to clean up based on what I
see.
| | 04:20 |
But I also make sure to turn on the
option to the right of the sample pop up
| | 04:24 |
to disable the effect.
That's will help make sure that all of
| | 04:29 |
the pixels that I copy throughout the
image to perform my cleanup work will not
| | 04:34 |
be affected, which will help make sure
that those pixels actually match their surroundings.
| | 04:42 |
With those settings established, I'm
ready to get to work cleaning up
| | 04:45 |
blemishes within my image.
I'll go ahead and zoom in so that we can
| | 04:49 |
see a little bit more clearly, and then
I'll hold the Alt key on Windows or the
| | 04:53 |
Option key on Macintosh.
And then move my mouse to a position that
| | 04:57 |
represents a good source of pixels for my
clean up and click, so by Alt or Option
| | 05:03 |
clicking on an area.
We specified that, that is the source,
| | 05:06 |
and remember we don't need to worry about
overall tonality or color, because those
| | 05:11 |
attributes are going to be adjusted
automatically.
| | 05:14 |
Instead, I just need to think about
texture.
| | 05:16 |
In other words, in this case, selecting a
smooth texture in order to cover up the
| | 05:21 |
bird texture.
I can then use the left and right square
| | 05:23 |
bracket keys to adjust the size of the
brush.
| | 05:26 |
The left square bracket key will reduce
the brush and the right square bracket
| | 05:30 |
key will increase the brush size.
Generally speaking, I want a brush size
| | 05:34 |
that is no larger than the object that
I'm trying to clean up.
| | 05:36 |
And in some cases a little bit smaller,
so that I can build up my correction I'll
| | 05:41 |
then click and paint.
Now, initially as I hold the Mouse button
| | 05:44 |
down, you'll notice that the tool is
behaving essentially as clone stamp tool.
| | 05:49 |
In other words, I'm copying relatively
bright Pixels into a slightly darker
| | 05:54 |
area, and you can see that the pixels
don't exactly match.
| | 05:58 |
This is exactly the sort of difficulty I
could run into if I was using the clone
| | 06:02 |
stamp tool.
But this is actually the Healing Brush
| | 06:05 |
tool, and so while it appears to be
behaving like the clone stamp tool when
| | 06:09 |
I'm initially painting.
As soon as I release the mouse button,
| | 06:12 |
Photoshop will automatically blend that
area into the surroundings.
| | 06:16 |
And so, now you can see I have an
absolutely perfect match for the
| | 06:20 |
surrounding pixels, and that bird has
effectively been removed as a distraction
| | 06:25 |
in the image.
I can continue in this way, selecting a
| | 06:28 |
particular source and then copying those
source pixels into another area of the image.
| | 06:33 |
So for example, I'll Alt or Option click
over here, and then I will paint an area
| | 06:38 |
that has a bit of a dust spot.
Once again, you see initially that those
| | 06:41 |
pixels are not matching at all, but as
soon as I release the mouse, they blend
| | 06:45 |
in perfectly.
So you can see the Healing Brush Tool
| | 06:48 |
sort of combines the best of both worlds.
We have the control of being able to
| | 06:52 |
select a specific source of pixels for
our image cleanup work.
| | 06:56 |
But then, we get the benefit of automatic
blending, so that those corrections are seamless.
| | 07:00 |
| | Collapse this transcript |
| The Spot Healing Brush tool| 00:02 |
While the appearance of blemishes in your
photos can certainly be a little bit
| | 00:05 |
frustrating, the process of cleaning up
those blemishes doesn't need to be
| | 00:09 |
frustrating and that's thanks in large
part to the spot healing brush tool.
| | 00:13 |
My favorite tool for image clean up
because its so incredibly easy to use.
| | 00:18 |
And it generally produces very good
results.
| | 00:20 |
Let's take a look at the basic use of the
Spot Healing Brush tool for cleaning up
| | 00:24 |
blemishes in your photos.
We'll start off by adding a new, empty
| | 00:28 |
image layer so that we can perform our
cleanup in a non-destructive way.
| | 00:33 |
I'll go ahead and click on the Create New
Layer button, the blank sheet of paper
| | 00:37 |
icon at the bottom of the layers panel,
and then, just to keep organized, I'll
| | 00:41 |
double click on the name of that layer
and type a new and more meaningful name
| | 00:45 |
for the layer.
I'll just call it Image Cleanup, and then
| | 00:48 |
press Enter or Return on the keyboard to
apply that change.
| | 00:51 |
Next I'll choose the spot healing brush
from the toolbox and then I'll take a
| | 00:56 |
look at the settings on the options bar.
I want to make sure that the blend mode
| | 01:00 |
is set to normal and most importantly I'm
going to turn on the content aware option
| | 01:06 |
under type.
The content aware option will produce the
| | 01:10 |
most intelligent and effective clean up
in most cases and I rarely turn this
| | 01:15 |
option off.
The create texture option will, as the
| | 01:18 |
name implies, simple create texture and
that's intended for areas that have been
| | 01:22 |
blown out.
For example, we can also use the
| | 01:25 |
proximity match option, which makes the
spot healing brush tool behave very
| | 01:29 |
similarly to the healing brush tool.
But, for my money, the content aware
| | 01:34 |
option is the best option available.
And it really does produce great results
| | 01:38 |
in most cases.
We also want to turn on the sample all
| | 01:42 |
layers check box because we're working on
a separate layer.
| | 01:45 |
In other words, I want my cleanup pixels
to be painted onto my image cleanup layer
| | 01:49 |
not touching the background image layer,
but I do want the contents of that
| | 01:54 |
background layer of course to be taken
into account in terms of determining
| | 01:58 |
which pixels will be painted onto the
cleanup layer.
| | 02:01 |
With those options established, I'm ready
to clean.
| | 02:04 |
So I'll make sure that my image cleanup
layer is selected on the layers panel,
| | 02:08 |
and then I'll move my mouse out over the
image and I can use the left and right
| | 02:12 |
square bracket keys to adjust the size of
the brush.
| | 02:15 |
The left square bracket key will reduce
the size of the brush and the right
| | 02:18 |
square bracket key will increase the size
of the brush.
| | 02:21 |
Generally, I want a brush size that's no
larger than the objects I'm trying to
| | 02:25 |
clean up.
In this case, I'd like to get rid of some
| | 02:27 |
of these birds, these gulls that are
flying around over the water.
| | 02:30 |
Not because they weren't actually there,
obviously they were.
| | 02:33 |
So they're sort of perfectly natural in
the context of this image, but I find
| | 02:37 |
them a little bit distracting and, so I'd
like to remove them from the frame.
| | 02:40 |
So I'll simply click and paint over each
of those birds and they will disappear.
| | 02:46 |
I'll zoom in so we can get a better sense
of exactly what we're doing here.
| | 02:49 |
And when I paint, I'll reduce my brush
size for this particular bird, you'll
| | 02:54 |
notice that I get a dark overlay, and
that indicates exactly where I've painted
| | 02:59 |
so I know that I've covered up the entire
blemish.
| | 03:02 |
All I'm doing at this point is
identifying for Photoshop which specific
| | 03:06 |
area of the image I.
I want it to clean up.
| | 03:09 |
Once I release the mouse that area will
be processed with new pixels placed onto
| | 03:14 |
my image clean up layer in order to cover
up the blemish, in this case the bird,
| | 03:18 |
and I can continue working in this way,
covering up any of the blemishes and
| | 03:22 |
having them cleaned up effectively
automatically.
| | 03:24 |
All I need to do is identify where those
blemishes area, and Photoshop takes care
| | 03:29 |
of the rest.
So I can continue evaluating my overall
| | 03:32 |
image looking for any blemishes along the
way and cleaning them up with a very
| | 03:36 |
simple brushstroke using the spot healing
brush tool.
| | 03:39 |
| | Collapse this transcript |
| The Patch tool| 00:02 |
Naturally, whenever possible, you should
avoid distractions and blemishes in your
| | 00:06 |
images in the first place.
So, for example, by making sure that the
| | 00:10 |
image sensor on your camera remains clean
and by composing the scene, so that
| | 00:14 |
distractions are, to the extent possible,
eliminated, you'll make sure that you end
| | 00:19 |
up with better images and therefore, less
work to do after the fact.
| | 00:23 |
But sometimes, those blemishes are
unavoidable.
| | 00:25 |
For example, in this case, I couldn't get
the angle I wanted on this bell tower
| | 00:30 |
without including the roof line of a
building nearby.
| | 00:34 |
And so, if I want to work with this
image, I'm going to have to cleanup that
| | 00:38 |
roof line.
In theory, I can try to crop but.
| | 00:41 |
of course, that would cause a lot of the
buildings in the background here to be
| | 00:44 |
eliminated as well.
And so instead I'll cleanup this area of
| | 00:48 |
the photo.
And doing so is actually relatively easy.
| | 00:51 |
In fact, you might be surprised at just
how easy it is.
| | 00:55 |
Thanks to the Patch tool in conjunction
with the content of where feature.
| | 00:59 |
I'll start off by creating a new empty
image layer.
| | 01:02 |
So, I'll click on the, Create New Layer
button at the bottom of the Layers panel,
| | 01:06 |
and then I'll rename this layer by simply
double-clicking on the existing name on
| | 01:10 |
the layer and typing something more
meaningful.
| | 01:12 |
In this case, I'll just type, Image
Cleanup and then press Enter or return on
| | 01:16 |
the keyboard to apply that name change.
And then, I'm going to use the Patch
| | 01:21 |
tool, and that tool is found hiding, as
it were, underneath the Spot Healing
| | 01:25 |
Brush tool.
And so, to access the Patch tool, I'll
| | 01:27 |
click and hold my mouse on the button for
the Spot Healing Brush tool on the toolbox.
| | 01:32 |
That will bring up a fly-out menu and
from that menu I can find the Patch tool...
| | 01:37 |
I'll, then, define the area that I would
like to patch.
| | 01:40 |
So, I'll go ahead and draw a selection
around this roofline that's causing the
| | 01:45 |
problem, and I'll continue, in this case,
all the way outside the image and all the
| | 01:49 |
way back around to where I started.
Essentially, that is the Lasso Selection tool.
| | 01:54 |
So I'm just tracing the shape that I want
to clean up.
| | 01:58 |
Then, I can take a look at the Options
bar in order to adjust the settings for
| | 02:01 |
the Patch tool.
Because the Patch tool essentially
| | 02:05 |
behaves, at least initially, as a
selection tool just like the lasso tool,
| | 02:08 |
we have options to create a new
selection.
| | 02:11 |
To add to an existing selection, to
subtract from an existing selection, or
| | 02:16 |
to intersect with an existing selection.
And so, if I made a mistake for example
| | 02:20 |
in creating my selection I could start
over and create a brand new selection or
| | 02:25 |
I could add to the selection or subtract
from the selection as needed.
| | 02:29 |
For the Patch option, I'll want to make
sure to take advantage of the
| | 02:32 |
Content-Aware feature.
Ans so, I'll choose Content-Aware from
| | 02:36 |
that Patch pop-up.
Now, you'll see that the controls have
| | 02:39 |
changed a little bit.
I want to make sure, first of all, that
| | 02:42 |
the sample all layers check box is turned
on, so that I can place the corrective
| | 02:47 |
pixels, the pixels that will cover up
that roofline onto my Image Cleanup layer.
| | 02:51 |
But taking into account the pixels that
are on the background image layer.
| | 02:55 |
But now I have an option for adaptation.
And what that means is how much change is
| | 03:01 |
allowed in the pixels that are going to
be copied.
| | 03:04 |
In this case, a lot of change would be
perfectly fine.
| | 03:07 |
In fact, a lot of change would probably
be good, because it would create a bit
| | 03:11 |
more random appearance in the sky.
If, on the other hand, I were cleaning up
| | 03:15 |
an area where I needed to retain the
texture of the surrounding area of the
| | 03:19 |
source area, then I might need a lesser
degree of adaptation.
| | 03:23 |
I'll click the pop-up here and you can
see we have a range from Very Strict all
| | 03:28 |
the way down through Very Loose.
The default is Medium and that's a good
| | 03:32 |
starting point in many cases.
But if you want to make sure that you
| | 03:35 |
retain the texture of the area you're
using for the source, you might set the
| | 03:39 |
option to Strict or Very Strict.
And if you want a little bit more
| | 03:43 |
randomness, you might choose Loose or
Very Loose.
| | 03:46 |
I'll choose Very Loose in this case.
And now, I'm able to define the area that
| | 03:51 |
will be used as the source of pixels for
this cleanup.
| | 03:55 |
To do that, I'll simply point my mouse
inside of the selection that I created.
| | 03:59 |
In other words, right on top of the
blemish that I've defined, and then I
| | 04:03 |
will click and drag.
And what I'm essentially doing is just
| | 04:06 |
moving the selection.
As I do so, you'll see that I now
| | 04:10 |
essentially have two selections, the
selection that I'm dragging around and
| | 04:14 |
the original selection that I created to
define the area that I want to clean up.
| | 04:19 |
What I need to do is to select an
appropriate source and you'll notice that
| | 04:22 |
I get a preview within my original
cleanup area.
| | 04:26 |
So I can get a pretty good sense of
whether or not my mouse is currently
| | 04:29 |
hovering over a good are.
This looks to be pretty good, so I'll go
| | 04:33 |
ahead and release the mouse button, and
you'll see that that cleanup is performed.
| | 04:37 |
And it's performed in a very intelligent
way.
| | 04:40 |
I'll press Control+D on Windows or
Command+D on Macintosh to remove that selection.
| | 04:46 |
And you'll notice that some additional
clouds were created and yet there's an
| | 04:50 |
air of randomness there.
It doesn't look like a duplication of an
| | 04:53 |
existing cloud.
It actually looks like a random shape to
| | 04:56 |
a cloud.
I'll turn off the visibility of my Image
| | 04:59 |
Cleanup layer, so we can see the before
version and then I'll turn the visibility
| | 05:03 |
back on and you see the after version.
And we have what appears to be a very
| | 05:08 |
seamless clean up.
Thanks in large part to that
| | 05:10 |
Content-Aware option.
So as you can see, the Patch tool is very
| | 05:14 |
helpful when you like to clean up an
area.
| | 05:16 |
And it's just easier to work with a
selection because it's a relatively large
| | 05:21 |
area, for example, or it would just be
too difficult to paint over.
| | 05:23 |
But the point is that we're able to use a
selection as the basis of Image Cleanup,
| | 05:29 |
still working on a separate layer in a
non-destructive way, and taking full
| | 05:32 |
advantage of the Content-Aware
technology.
| | 05:35 |
| | Collapse this transcript |
| Content-Aware Fill| 00:02 |
In some situations you just don't have a
lot of flexibility in terms of trying to
| | 00:06 |
compose the scene exactly as you'd like.
And this is certainly an example of that.
| | 00:11 |
When I captured this image I was on a
moving boat.
| | 00:13 |
And of course, these seals are not
trained seals, so I didn't have a whole
| | 00:17 |
lot of opportunity to change my
composition.
| | 00:20 |
I could certainly move around on the boat
but there was a limited amount of time as
| | 00:24 |
I was passing these seals on a floating
iceberg.
| | 00:26 |
And so I was left with a few
distractions, one in particular is this
| | 00:31 |
other seal.
Its head is turned away and it's just
| | 00:35 |
barely entered the frame and I'd like to
remove it.
| | 00:37 |
But you can probably appreciate in a
situation like this that it's going to be
| | 00:41 |
difficult to remove this seal because it
crosses over the line between the ice and
| | 00:46 |
the water in the background for example,
and it is relatively large in the frame.
| | 00:51 |
And there's also not a whole lot of other
area.
| | 00:53 |
In essence I would want to replace this
seal with ice but there's not a big
| | 00:57 |
section of ice that I can use to cover up
that area.
| | 01:00 |
In this type of a situation I'm going to
depend upon the content aware
| | 01:05 |
capabilities in Photoshop and
specifically I want to create a selection
| | 01:08 |
and just fill that area.
In other words I'm going to have
| | 01:11 |
Photoshop do all of the work for me.
Because I want to work in a
| | 01:16 |
nondestructive way, I'll start off by
creating a new layer, but in the case of
| | 01:20 |
the content aware fill command I can't
actually work on an empty layer.
| | 01:24 |
I need to work on an actual pixel layer
that contains pixels and so that means
| | 01:28 |
instead of adding an empty image layer
above my background image layer I need to
| | 01:32 |
make a copy of that background image
layer.
| | 01:34 |
And I can do that by simply dragging the
thumbnail for the background image layer
| | 01:38 |
down to the Create New Layer button at
the bottom of the Layers panel.
| | 01:41 |
That will create a background copy and I
can now use this as the basis of my image
| | 01:46 |
clean up.
Next, I need to create a selection
| | 01:48 |
identifying the specific area of the
image that I want to clean up.
| | 01:52 |
In other words, in this case, the seal
over on the left hand side.
| | 01:56 |
I'll just go ahead and use the Lasso tool
for that.
| | 01:58 |
So I'll select the Lasso tool from the
toolbox, and then I will click and drag
| | 02:03 |
around the image, identifying the seal.
The area that I want to remove in this case.
| | 02:08 |
And making sure with this particular
example that I'm including those whiskers.
| | 02:13 |
And then once I've created that selection
I'm ready to clean up this area, or more
| | 02:18 |
specifically to have Photoshop clean up
this area for me.
| | 02:21 |
And so with my background copy layer
selected on the layers panel and the seal
| | 02:26 |
selected within the image I'll go to the
Edit menu and choose Fill.
| | 02:30 |
In the Fill dialogue I'm going to choose
Content Aware from the use popup.
| | 02:36 |
In other words I want to use content
aware to fill the selected area.
| | 02:41 |
I'll leave the blending mode set to
normal, the opacity at 100% and then I'll
| | 02:46 |
simply click the OK button and let
Photoshop get to work on that area.
| | 02:50 |
You can see that it's actually done a
pretty good job, not perfect but a very
| | 02:54 |
good job.
The ice at least has for the most part
| | 02:57 |
replaced the seal.
I'll press Ctrl+D on Windows or Cmd+D on
| | 03:01 |
Macintosh to deselect that selection so
that we can get a better look at it.
| | 03:05 |
And at this point, I have a little bit
more work to do but that's no problem,
| | 03:09 |
I'll create another selection.
And then once again, choose Edit > Fill.
| | 03:14 |
Make sure the Content Aware option is
selected, and click OK.
| | 03:18 |
And we're getting much closer.
I'll deselect one more time, and then
| | 03:22 |
create a selection here of the area that
still looks a little bit off.
| | 03:26 |
And once again, Edit > Fill from the
menu, and make sure the Content Aware
| | 03:30 |
option is selected, and click OK.
And I'll deselect one more time, and you
| | 03:34 |
can see that now we have a good result.
So, it did take a few steps in this
| | 03:39 |
particular case.
And this was a challenging situation, so
| | 03:42 |
frankly, the fact that we had to use
three iterations of content aware is not
| | 03:47 |
so bad, because this would have taken a
lot more effort if I needed to clean it
| | 03:51 |
up manually.
But as you can see, we can use a
| | 03:54 |
selection as the basis of our clean up
and then take advantage of the content
| | 03:58 |
aware technology to produce great results
with minimal effort.
| | 04:02 |
| | Collapse this transcript |
| The Content-Aware Move tool| 00:02 |
In some cases, you may find that you
don't really want to remove a subject or
| | 00:06 |
an object from an image, but rather move
it around a little bit.
| | 00:10 |
In this case, I might like to move this
eagle a little further up into the top
| | 00:14 |
right corner of the image, essentially so
that it has a bit more room to move as it were.
| | 00:18 |
And to do that, would involve,
essentially copying that eagle into a
| | 00:23 |
different position, and then removing the
original eagle.
| | 00:27 |
Well we can actually perform both of
those steps with a single process using
| | 00:32 |
the content-aware move tool.
Let's take a look at how it's done.
| | 00:36 |
I'm going to start off by creating a new
empty image layer that will serve as the
| | 00:40 |
destination for the pixels that are going
to be created as part of this process.
| | 00:45 |
So I'll click on the blank sheet of paper
icon, the Create New Layer button at the
| | 00:49 |
bottom of the Layers panel.
And then, just so that I stay organized
| | 00:53 |
on my Layers panel, I'll rename that
layer to something more meaningful.
| | 00:56 |
I'll just double-click on that layer and
then we'll call this Move Eagle.
| | 01:01 |
And I'll press Enter or Return on the
keyboard.
| | 01:04 |
Next, I'm going to select the content to
where move tool, and that tool is found
| | 01:09 |
underneath the spot healing brush tool on
the toolbox.
| | 01:12 |
And so, on the Toolbox, I'll click and
hold my mouse on the spot healing brush
| | 01:16 |
tool, and then from the file menu that
appears, I'll choose Content-Aware Move tool.
| | 01:21 |
The Content-Aware Move tool essentially
behaves as a selection tool.
| | 01:25 |
In other words, I need to select the
object that I want to move, and then,
| | 01:28 |
move it.
So, I'll start off, essentially, with the
| | 01:31 |
Lasso tool, simply clicking and dragging
within the image to define the area that
| | 01:37 |
I would like to move.
In this case, just the eagle of course,
| | 01:40 |
and so I'll trace around the eagle,
leaving a bit of a buffer around the
| | 01:44 |
eagle itself.
Then I can take a look at the options bar
| | 01:48 |
and specify the various settings that I
want to use, but first notice that we
| | 01:52 |
have options for creating a new
selection, so if I want to start over and
| | 01:56 |
make a new selection.
Or, I can add to an existing selection,
| | 01:59 |
subtract from an existing selection, or
create an intersection with an existing selection.
| | 02:04 |
But in this case,I think my selection is
in pretty good shape, so I don't need to
| | 02:08 |
modify it.
Next, we'll take a look at the Mode option.
| | 02:12 |
The default here is Move.
We can also Extend, so if I had an
| | 02:16 |
object, let's say a building that I
wanted to make a little bit taller, I
| | 02:20 |
could use the Extend option, select just
the top of the building and then drag
| | 02:25 |
that upward for example...
But in this case, I want to completely
| | 02:28 |
move the subject within the frame, and
so, I'll leave the option set to move.
| | 02:33 |
Next, I can take a look at the Adaptation
option and that allows me to determine
| | 02:38 |
how much change is allowed between the
source and destination areas.
| | 02:42 |
Well, in this case, I want things to be
kept pretty much exactly as they are.
| | 02:47 |
I don't want there to be any changes, and
so, I'm going to set the option to very strict.
| | 02:52 |
I can arrange all the way from Very
Strict to Very Loose.
| | 02:55 |
If I'm removing the cloud around in the
sky for example, then the Very Loose
| | 02:58 |
option would probably be perfectly fine.
It would result in some random variation
| | 03:03 |
and the result.
But that's okay, but in this case of
| | 03:06 |
course, I want things to remain
essentially as they are.
| | 03:08 |
I just want the object moved within the
frame, and so, I'll use the Very Strict option.
| | 03:13 |
And I also need to make sure that the
Sample All Layers checkbox is turned on,
| | 03:18 |
and that's because I want my pixels
placed on an empty layer without altering
| | 03:23 |
the background image layer, but I do want
that background image layer to be used to
| | 03:27 |
calculate the source pixels.
In essence, I'll be copying pixels from
| | 03:31 |
the Background Image Layer onto my Move
Eagle layer.
| | 03:34 |
So, with those options established, I'm
ready to apply the change.
| | 03:38 |
I'll go ahead and point the mouse inside
my selection.
| | 03:41 |
And then, I will click and drag in order
to move the eagle.
| | 03:45 |
Now, initially, you'll see a duplicate
eagle.
| | 03:48 |
So I can adjust the position of that
duplicate, essentially dragging my
| | 03:52 |
selection around within the image.
But at the moment, I still have the
| | 03:56 |
original eagle as well.
But once I release the mouse, the eagle
| | 04:00 |
will be placed in the position where I
drop this selection and then the original
| | 04:05 |
eagle, the position of my original
selection will be removed.
| | 04:09 |
That area will be cleaned up.
So essentially two things are happening
| | 04:12 |
at once.
I'm copying the eagle to another location
| | 04:15 |
and also removing the eagle in the
original location and the best part is of
| | 04:20 |
course that Photoshop is doing all the
real work for me.
| | 04:23 |
I'll go ahead and release the mouse and
we'll let Photoshop Process the image and
| | 04:28 |
you can see I now have an eagle moved
into a completely different area of the image.
| | 04:32 |
I'll press Ctrl+D on Windows or Cmd+D on
Macintosh in order to deselect that
| | 04:37 |
selection, and then I'll turn off the
visibility for the background image layer
| | 04:41 |
so that we can see exactly what happened.
And clearly, the area where the eagle was
| | 04:47 |
has been replaced by new sky pixels, and
a copy of that area, a copy of the eagle
| | 04:52 |
was placed in another area of the image.
Of course, if we turn on the Background
| | 04:57 |
Image Layer once again, you might notice
that we have a little bit of a halo type
| | 05:00 |
of effect around the eagle.
And what that means is that my adaptation
| | 05:05 |
was actually a little bit too strict.
In other words, Photoshop was trying not
| | 05:09 |
to alter the destination area too much
but that's resulted in some obvious
| | 05:13 |
indications of change within the image.
I could, in theory, work to clean those
| | 05:18 |
areas up, perhaps with a Spot Healing
Brush tool, for example, but instead, I
| | 05:22 |
think I'll go back a few steps, and then
change that Adaptation setting.
| | 05:27 |
I'll go ahead and choose Edit > Step
Backward, and that undoes the deselection
| | 05:31 |
of my selection.
I'll step backward one more time, and
| | 05:35 |
that puts the eagle back in its original
position.
| | 05:38 |
So now, I can change my Adaptation
option.
| | 05:41 |
I think I'll try Medium in this case.
And then, click and drag in order to move
| | 05:46 |
that eagle once again with slightly
different settings.
| | 05:49 |
And now, when I release the mouse, the
image will be processed once again and
| | 05:53 |
I'll deselect, and now, we have a much
improved transition between the sky that
| | 05:58 |
had been around the eagle And the new
sky.
| | 06:00 |
And of course I could continue working in
this way to fine tune the overall result
| | 06:05 |
trying to make sure that my settings are
just right to produce the most realistic
| | 06:09 |
result possible, even though I'm
certainly playing around with reality a
| | 06:12 |
little bit in this particular case.
But as you can see, that Content-Aware
| | 06:16 |
Move tool Can be very helpful for
situations where you essentially want to
| | 06:21 |
fine-tune the overall composition of your
image.
| | 06:23 |
| | Collapse this transcript |
|
|
3. Cleanup TechniquesReducing noise| 00:02 |
Noise can be an especially big challenge
when it comes to image cleanup.
| | 00:06 |
In large part because noise occurs,
generally speaking, across the entire
| | 00:10 |
image, or at least much of the image in
most cases.
| | 00:14 |
Noise can be caused by a wide variety of
factors.
| | 00:16 |
For example, increasing the ISO setting
on your camera increases the
| | 00:20 |
amplification, which can lead to noise.
An extreme underexposure that needs to be
| | 00:25 |
brightened up significantly will likely
have a lot of noise and we can see other
| | 00:29 |
issues as well such as heat build up in a
camera that will also contribute to noise.
| | 00:34 |
Whatever the cause, the result is not so
pleasing.
| | 00:38 |
Specifically, you'll see random
variations of tone and color within the image.
| | 00:43 |
Let's go ahead and Zoom In, for example,
and we see that there is quite a bit of
| | 00:48 |
noise in this image.
You can see there are all sorts of random
| | 00:52 |
color variations within the night sky.
And that's problematic.
| | 00:55 |
If I were to print this image at a large
size, it would be quite obvious as a very
| | 01:00 |
colorful, though not in a good way,
texture throughout the photo.
| | 01:03 |
Let's take a look at how we can reduce
noise.
| | 01:06 |
There are obviously a variety of ways we
could attack the problem of noise.
| | 01:10 |
We can make sure that we capture images
that are properly exposed at the lowest
| | 01:14 |
ISO setting possible.
But in some cases that noise simply can't
| | 01:17 |
be avoided in the first place.
You have a number of opportunities though
| | 01:21 |
to reduce noise.
When you're processing your RAW captures,
| | 01:23 |
for example, you'll have Noise Reduction
options available, but we also have Noise
| | 01:27 |
Reduction available right inside of
Photoshop.
| | 01:30 |
Let's take a look at the process of
applying noise reduction to an image.
| | 01:34 |
I'll start off by creating a copy of my
background image layer so that I'm
| | 01:38 |
working non-destructively.
To do so, I'll simply drag the thumbnail
| | 01:42 |
for the background image layer down to
the Create New Layer button, the blank
| | 01:46 |
sheet of paper icon at the bottom of the
layers panel.
| | 01:49 |
And then I'll go to the Filter menu and
choose Noise, followed by Reduce Noise.
| | 01:54 |
And that will bring up the Reduce Noise
dialog and by default we're viewing the
| | 02:00 |
image at a 100% preview but in the case
of noise reduction I actually recommend
| | 02:04 |
Zooming in quite a bit closer.
In many cases I'll zoom in to around 300
| | 02:09 |
or 400% so that I can really see the
noise throughout the image.
| | 02:13 |
I'm also going to move the dialog over
just a little bit so that we can see more
| | 02:18 |
of the image, because we can actually use
that image as the basis of choosing which
| | 02:23 |
portion of the photo we want to see in
the preview.
| | 02:26 |
I'm going to take a look at this area
over toward the bottom right of the image
| | 02:31 |
because that allows me to see the tree,
as well as the sky, or at least portions thereof.
| | 02:36 |
Let's start off with Color Noise
Reduction.
| | 02:39 |
Usually, if we have noise in a photo, the
color noise is going to be the more
| | 02:43 |
problematic because it simply stands out
more as a random problem as opposed to
| | 02:48 |
just a random texture.
To reduce that color noise, we'll start
| | 02:51 |
off with the Reduce Color Noise slider.
And the key thing to keep in mind here is
| | 02:55 |
that we want to use the minimum amount of
noise reduction necessary.
| | 02:59 |
I realize when you have a very noisy
image, you may just want to crank up the
| | 03:03 |
noise reduction but that can actually
lead to other problems.
| | 03:07 |
I'll go ahead and increase the value for
Reduce Color Noise to the maximum value
| | 03:11 |
and you can see that the noise has pretty
much been eliminated.
| | 03:15 |
Perhaps even been completely eliminated
but we also have an elimination of some
| | 03:19 |
of the color and detail within the photo.
If I click and hold my mouse on the
| | 03:24 |
preview, you'll see the before version of
the photo.
| | 03:26 |
And then I can release the mouse to see
the after version.
| | 03:29 |
And you'll notice that all the colors
have been blended together a little bit,
| | 03:33 |
and so the effect is an overall reduction
in saturation.
| | 03:37 |
And so again, I want to use the minimum
amount of Color Noise Reduction necessary
| | 03:41 |
in order to produce an improved version
of the image.
| | 03:44 |
And it's important to keep in mind that
with noise reduction we're not likely to
| | 03:47 |
get a perfect result, we're just looking
for the best possible result.
| | 03:52 |
If I increase Noise Reduction just a
little bit, you'll notice that the very
| | 03:56 |
small details, those individual pixels
have largely been eliminated.
| | 04:00 |
But instead those pixels have sort of had
their color blended out into surrounding areas.
| | 04:05 |
And so you might notice that I have some
blobs, as it were.
| | 04:09 |
Some areas of the image here in the sky
that have a fair amount of red or a fair
| | 04:14 |
amount of green in different areas.
And essentially what that means is that
| | 04:17 |
I've just blurred that color noise into
other areas of the image.
| | 04:21 |
So that the color effect of the noise is
now just spread out.
| | 04:25 |
It certainly reduced but it's still
there.
| | 04:27 |
And so you'll have to make a decision as
to how much you want to increase Color
| | 04:32 |
Noise Reduction in an effort to get rid
of those artifacts without having too
| | 04:36 |
much of an impact on the rest of the
photo.
| | 04:38 |
In this case, I have an image that was a
long exposure.
| | 04:42 |
And so, there was a lot of heat buildup,
and the ISO setting was relatively high.
| | 04:46 |
And so, I have a lot of noise to deal
with and I'm going to have to be a little
| | 04:49 |
bit aggressive.
That certainly means I'm losing some
| | 04:52 |
degree of color in the overall photo, but
I think the noise is the bigger problem here.
| | 04:57 |
Next, I'm going to move on to the
strength slider, and that is the slider
| | 05:01 |
to Reduce Luminance Noise.
In other words, variations in tonality at
| | 05:06 |
the pixel level.
I'll start off by increasing the strength
| | 05:09 |
to its maximum value.
And much like we saw with the Color Noise
| | 05:13 |
Reduction, with Luminance Noise
Reduction, we're losing detail if we
| | 05:17 |
apply too strong an effect.
So once again, we want the minimum value
| | 05:21 |
necessary to improve the appearance of
the photo.
| | 05:23 |
And for Luminance Noise Reduction, the
strength slider, that usually means using
| | 05:29 |
a rather low setting.
You can see that with a value of 0 we
| | 05:32 |
have a little bit of luminance noise but
we also have good detail within the photo.
| | 05:36 |
Just taking that up to a value of 1
causes a rather significant blurring of
| | 05:41 |
detail and texture in the image.
We can combat that to a certain extent
| | 05:46 |
with the preserve detail slider.
I'll go ahead and increase that value.
| | 05:50 |
And you'll notice that now we have a
little bit more contrast, a little bit
| | 05:53 |
more detail within the image, while still
getting a little bit of a reduction in
| | 05:57 |
the noise, in that luminance noise in the
photo.
| | 06:00 |
And in fact, with the preserved details
value set to a moderately high setting, I
| | 06:05 |
can even increase the strength value a
little bit more in order to really try to
| | 06:08 |
compensate for that luminance noise.
And then finally, we have the sharpen
| | 06:13 |
detail slider, and that allows us to, as
the name implies, sharpen the detail that
| | 06:19 |
is left over after we've reduced noise
within the image.
| | 06:22 |
And this obviously can be a little bit
helpful in terms of maintaining perceived
| | 06:27 |
sharpness within the photo.
But once again, we don't want too high a
| | 06:30 |
value or we'll start to see, essentially
new noise being created, new artifacts of
| | 06:34 |
that sharpening.
And so I'll keep that at a relatively low setting.
| | 06:38 |
I just want to boost the detail a little
bit, so that we have a sharper appearance
| | 06:42 |
for the photo.
It's worth noting, by the way, that in
| | 06:45 |
addition to these basic adjustments,
there's also the Advanced option.
| | 06:49 |
And if you turn on the Advanced option,
then we have the Per Channel tab available.
| | 06:54 |
And here, we can adjust the strength and
the preserve detail values for each
| | 06:59 |
channel individually.
Generally speaking, you'll find the least
| | 07:03 |
amount of noise on the green channel.
And the most amount of noise on the blue channel.
| | 07:07 |
That's not always true but it's true more
often than not.
| | 07:10 |
And so for example, you might apply some
additional Noise Reduction to just the
| | 07:15 |
blue channel and maybe a little bit to
the red channel and perhaps very little
| | 07:20 |
or none at all to the green channel.
And that can help you compensate for the
| | 07:24 |
noise while minimizing the overall impact
on the image in terms of lost detail.
| | 07:29 |
So, for situations where you really want
to try to fine-tune and really improve
| | 07:34 |
the image, I would certainly explore the
individual channels.
| | 07:37 |
But in most cases, just using those
overall options in the basic editing mode
| | 07:42 |
will work just fine.
But again, I can't stress enough that
| | 07:45 |
when it comes to Noise Reduction, the
best adjustment is the minimum amount
| | 07:49 |
needed in order to produce a good result.
You don't want to get too strong with
| | 07:53 |
your Noise Reduction efforts, because
that can actually cause bigger problems
| | 07:57 |
than the noise itself.
Once you're happy with the result though,
| | 08:00 |
you can go ahead and click the OK button
in order to apply that change.
| | 08:04 |
That change having been applied in this
case to my background copy layer.
| | 08:08 |
I'll go in and Zoom In a bit on the photo
here and then I will turn off my
| | 08:12 |
background copy and you can see that we
have quite a bit of noise.
| | 08:15 |
And then I can turn that background copy
layer back on and you see that much of
| | 08:19 |
that noise has been reduced or
eliminated.
| | 08:22 |
So by paying careful attention to the
settings and evaluating various areas of
| | 08:27 |
the image, you can find settings for
Noise Reduction that will help optimize
| | 08:30 |
quality without reducing overall detail
in the photo.
| | 08:37 |
| | Collapse this transcript |
| Fixing chromatic aberration| 00:00 |
The term chromatic aberration is a fancy
term for what we'd otherwise just call a
| | 00:07 |
color fringe.
In other words, colored haloing that
| | 00:10 |
appears especially along high contrast
edges in your photo.
| | 00:14 |
Chromatic aberrations and color fringing
in general.
| | 00:17 |
Can be a real problem in terms of overall
image quality.
| | 00:20 |
And so it's important to try to minimize
or even eliminate them whenever possible.
| | 00:25 |
Lets take a look first off at what
Chromatic Aberrations or Color Fringing
| | 00:29 |
looks like.
I'll zoom in on the towers here of the
| | 00:33 |
Brooklyn Bridge in New York.
And you can see quite a bit of sort of
| | 00:37 |
reddish magenta fringing over on the
right hand side here.
| | 00:40 |
And if I pan over to the left side of
that same tower, you'll see that we have
| | 00:44 |
some Sort of cyan to a green colored
fringing over on the left side.
| | 00:48 |
Chromatic aberrations and color fringing
can be caused from a variety of different
| | 00:52 |
issues but, generally speaking, it is
caused by a situation where light of a
| | 00:57 |
particular range of color values is at a
different focal point than the other light.
| | 01:02 |
In other words, light of a certain color
Is out of focus.
| | 01:05 |
And that leads to color fringing in the
image.
| | 01:07 |
Fortunately we can usually do a pretty
good job of minimizing or eliminating
| | 01:12 |
color fringing.
You'll usually have color fringe
| | 01:15 |
reduction options included in the raw
conversion software you're using.
| | 01:19 |
For example, Adobe Camera Raw in
Photoshop includes this option as does
| | 01:24 |
Adobe Photoshop Lightroom and other
applications but we also have the ability
| | 01:28 |
to apply chromatic aberration correction
with filter right inside of Photoshop and
| | 01:33 |
that's the lens correction filter.
Of course, the effect is going to be
| | 01:38 |
destructive meaning it's actually
changing pixel values.
| | 01:40 |
So I want to start off by a creating a
copy of my background image layer so that
| | 01:45 |
I can always get back to my original
pixels later if I want to for any reason.
| | 01:49 |
To do that I'll drag the thumbnail for my
background image layer down to the create
| | 01:53 |
new layer button, the blank sheet of
paper icon at the bottom of layers panel,
| | 01:58 |
and then I'll go to the filter menu and
choose lens correction.
| | 02:02 |
That will bring up the lens correction
dialogue.
| | 02:05 |
You'll notice that based on meta data,
Photoshop is trying to find a particular
| | 02:09 |
lens profile that will enable some
automatic adjustments for the image.
| | 02:14 |
I'll go ahead and zoom in on that tower
again, and then I'll turn off And turn
| | 02:19 |
back on the chromatic aberration check
box and you may be able to notice there's
| | 02:24 |
a very slight adjustment but it is very
slight.
| | 02:27 |
So in this case, the automatic removal of
color fringing is not producing a very
| | 02:32 |
good result and so I'm going to need to
apply a custom adjustment.
| | 02:36 |
I'll switch to the custom tab and then we
can take a look at the chromatic
| | 02:40 |
aberration controls here we can adjust
red cyan fringing.
| | 02:44 |
Green magenta fringing or blue yellow
fringing.
| | 02:48 |
I think in this case that magenta may be
the primary culprit, and of course the
| | 02:52 |
opposite is green.
And so I'll shift that slider.
| | 02:56 |
Now what you'll need to do is shift the
slider back and forth to get a sense of
| | 03:00 |
which direction you actually need to move
the slider.
| | 03:03 |
But it's also important to keep in mind
that the lens correction filter is not
| | 03:07 |
the fastest filter in the world.
And so you may need to pause momentarily
| | 03:11 |
as you're adjusting that slider to allow
the preview to update.
| | 03:15 |
Down toward the bottom left of the image
as I move the slider you'll notice
| | 03:18 |
there's a blue progress bar.
You'll want to wait until that blue bar
| | 03:22 |
disappears before evaluating the preview
because when the blue bar is there it
| | 03:26 |
means the preview is still being updated,
so I'll gradually drag that slider over
| | 03:30 |
toward the left.
Now, it looks like we have a pretty good
| | 03:33 |
adjustment along the right side of the
tower here.
| | 03:36 |
But I'll use the hand tool to drag
across, to pan across the image a little
| | 03:40 |
bit and check the left side, and it looks
like while a lot of that green was
| | 03:44 |
removed, we now have a bit of what
appears to be either cyan or blue, or
| | 03:48 |
somewhere in between.
I'll go ahead and adjust the red/cyan
| | 03:51 |
slider, and see if that produces a fix,
and it's actually seeming to create more
| | 03:56 |
of a problem, so this must actually be a
blue color fringe rather than cyan.
| | 04:01 |
So we'll take a look at the blue yellow
slider and it looks like we can get a
| | 04:06 |
reasonably good result there in terms of
eliminating or at least reducing the
| | 04:10 |
appearance of that blue fringe.
Keep in mind of course, that in some
| | 04:14 |
cases simple brightening or a little bit
of a halo effect behind the subject can
| | 04:18 |
trick you a little bit into thinking
that's it's actually color fringing.
| | 04:22 |
So you'll want to evaluate the image very
carefully.
| | 04:24 |
In most cases, I'll work with all three
of these sliders in order to produce the
| | 04:28 |
best result possible.
But you need to be very careful because
| | 04:32 |
as you reduce color fringing in one area.
You're likely to create more of it in
| | 04:36 |
another area.
You'll notice for example I have some red
| | 04:39 |
fringing here at the center of the image,
whereas I was able to remove the cyan
| | 04:43 |
fringing over on the left side as I
adjust that slider.
| | 04:47 |
You'll notice that I can eliminate the
red but not the cyan, so I may need to
| | 04:51 |
compromise a little bit in terms of the
overall adjustment I'm applying.
| | 04:55 |
But I'll also want to go back to each of
the individual sliders.
| | 04:59 |
Each will have an effect on the other
because of course there's some overlap in
| | 05:03 |
the colors that are being effected here
and so you'll need to go back and forth
| | 05:07 |
checking various areas of the image and
also trying to adjust all three of those
| | 05:12 |
sliders in order to try to get the best
result.
| | 05:15 |
I'll go ahead and zoom out a little bit
and zoom in on a different portion of the
| | 05:19 |
image and you can see We have some
problems over here as well.
| | 05:22 |
So, I'll need to work very carefully to
try and make sure that I'm getting the
| | 05:25 |
best result possible, and unfortunately
this can involve a fair amount of trial
| | 05:30 |
and error.
You might check one area of the image and
| | 05:33 |
get an adjustment that you're very, very
happy with only to take a look at another
| | 05:37 |
portion of an image to discover that
you've added additional problems in that area.
| | 05:42 |
So, you'll want to continue evaluating
multiple areas of the image, being sure
| | 05:46 |
to zoom in closely to examine those
areas.
| | 05:50 |
Generally speaking, most of the color
fringing you're going to find in an image
| | 05:53 |
will occur out closer to the edges, and
that's based on lens behavior.
| | 05:57 |
But it can occur anywhere, so it's
important to evaluate the overall image
| | 06:02 |
And do your best to minimize the
chromatic aberrations, the color fringing
| | 06:06 |
in the image using the valuable controls.
And once you feel that you've gotten the
| | 06:10 |
best result possible for a given image,
you can click the OK button in order to
| | 06:14 |
apply that change.
And then of course, you can continue
| | 06:17 |
evaluating that result, zooming in a
little bit and then turning off the
| | 06:21 |
background copy layer and then turning it
back on and you should see that with the
| | 06:25 |
background copy layer turned off.
You'll have some color fringing for
| | 06:28 |
example, I can see some on the roof line
over here.
| | 06:31 |
And when you turn the layer back on you
should see that that color fringing has
| | 06:35 |
been reduced or even better, hopefully
eliminated.
| | 06:38 |
| | Collapse this transcript |
| Straightening a crooked image| 00:02 |
Whenever I'm capturing a photographing
image I try to pay careful attention to
| | 00:06 |
make sure that I've aligned the camera
properly, so that, for example,
| | 00:10 |
horizontal lines appear correctly
horizontal, and vertical lines appear vertical.
| | 00:15 |
But sometimes that can be a little of a
challenge.
| | 00:17 |
In this case, for example, there isn't a
natural horizon that I can reference.
| | 00:21 |
Certainly there's a horizon in the
distance.
| | 00:23 |
But there's so much stuff going on in the
background that I can't really see that horizon.
| | 00:26 |
Making things even more challenging, I
was obviously photographing from a very
| | 00:33 |
low level.
In fact, laying down on my belly in order
| | 00:36 |
to photograph this scene.
And so, I just wasn't in a very good
| | 00:39 |
position to be able to effectively
evaluate whether or not I had that camera oriented.
| | 00:45 |
Perfectly in alignment with the scene.
And as you can see here, I obviously was
| | 00:50 |
not very well aligned.
Although in this case there's some
| | 00:53 |
additional challenges, because I was
using an extremely wide angle lens.
| | 00:57 |
And so there's some distortion here.
But let's take a look at the basic
| | 01:00 |
process of straightening out an image
like this.
| | 01:02 |
It involves crop cropping the image,
because by definition, if we're going to
| | 01:07 |
rotate the image, we'll need to crop it
back into a normal rectangle as it were.
| | 01:11 |
And so the first step is to select the
Crop tool.
| | 01:15 |
I can click on the Crop tool button on
the toolbox, or simply press the letter C
| | 01:20 |
on the keyboard, in order to activate the
Crop tool.
| | 01:23 |
In most cases, once I've activated the
Crop tool, I'll first make sure that the
| | 01:28 |
Delete Cropped Pixels check box is turned
off.
| | 01:31 |
With that check box turned off I'm
effectively cropping in a nondestructive way.
| | 01:35 |
Meaning that instead of cutting pixels
out and completely removing them.
| | 01:39 |
I'll just be hiding them from view.
I can always bring those pixels back
| | 01:42 |
later if I need to, by choosing Image >
Reveal all from the menu, in order to
| | 01:47 |
enlarge the canvas to reveal the pixels
that have been hidden.
| | 01:51 |
Then, since I need to be able to
straighten the image, it makes perfect
| | 01:54 |
sense to take a look at the straighten
feature for the crop tool.
| | 01:58 |
I can simply click the level button, and
then click and drag in the image, that
| | 02:03 |
will create a line and I can simply align
that line to an area of the image that
| | 02:08 |
should be perfectly horizontal or
perfectly vertical.
| | 02:11 |
In this case, that would be a little bit
of a challenge, because I can't tell
| | 02:15 |
exactly where that horizon line is.
But But I could certainly try.
| | 02:19 |
I'll go ahead and identify what I think
is that horizon line, and then release
| | 02:23 |
the mouse, and you'll see the image is
rotated to make that line, in this case
| | 02:29 |
perfectly horizontal.
I could also use the straighten tool on a
| | 02:32 |
vertical line.
Simply click and drag on the line that
| | 02:35 |
should be vertical, making sure that the
ruler lines up perfectly with that
| | 02:40 |
vertical line, and then the image will be
rotated so that that line is perfectly vertical.
| | 02:45 |
But I can also take a little bit more
control by simply moving my mouse outside
| | 02:50 |
of the crop box, and then click and drag
in order to rotate the image manually.
| | 02:55 |
You'll notice that a set of grid lines
appears making it a little bit easier to
| | 03:00 |
evaluate the results.
And with this particular image if I align
| | 03:04 |
the left.
Side of the trashcan with one of the
| | 03:07 |
lines so that I know that that area is
perfectly vertical.
| | 03:10 |
You might notice that the light pole over
on the right side is still bending in
| | 03:15 |
just a little bit, and that's because of
the perspective created by the wide angle
| | 03:20 |
lens, and so I might want to compensate a
little bit.
| | 03:23 |
Perhaps compromise.
I can decide for example do I want to
| | 03:26 |
make sure with that the light post is
perfectly straight, or is it more
| | 03:29 |
important that the trashcan be perfectly
straight.
| | 03:32 |
In this case since the trashcan really is
the key subject, I want that to be
| | 03:37 |
straight, I don't mind a little bit of
distortion over on the right side.
| | 03:40 |
And also, by having the trashcan straight
I'm ending up with straight light poles
| | 03:45 |
off in the distance, and I think that's
helpful as well.
| | 03:48 |
So using that custom rotation capability
and referencing the grid line, I'm able
| | 03:54 |
to achieve what looks to me to be a good
adjustment for this image.
| | 03:57 |
You might notice that the corners of the
crop box are automatically staying inside
| | 04:02 |
the image, at least initially.
As soon as I start dragging around the
| | 04:06 |
edges or corners of the crop box that'll
no longer be the case.
| | 04:10 |
But, this a nice feature that helps to
ensure that I don't accidentally have the
| | 04:14 |
crop box outside the image.
Now that I've achieved a good rotation.
| | 04:18 |
I could also adjust the overall size of
the crop if I want to.
| | 04:22 |
Although in this case, I think I want to
keep most of the image within this crop.
| | 04:27 |
I don't want to cut out any areas of the
photo really.
| | 04:29 |
I just want to make sure that things are
straightened up to the best of my ability.
| | 04:33 |
So in this case, I won't crop very much
at all.
| | 04:36 |
I'm just cropping enough to accommodate
for that rotation.
| | 04:40 |
Once again, I have the delete cropped
pixels check box turned off, so that when
| | 04:44 |
I apply this crop it won't actually be
deleting the pixels, but rather just
| | 04:49 |
hiding them from view.
I'll go ahead and click the Check Mark
| | 04:52 |
button on the Options bar to apply this
crop.
| | 04:54 |
I could also double-click inside the crop
box, or press Enter or Return on the
| | 04:58 |
keyboard to apply that crop.
Regardless of which of those options I
| | 05:02 |
choose, the result is a cropped image
that, in this case, has been straightened
| | 05:07 |
out so that that trash can is now more
vertically aligned.
| | 05:10 |
| | Collapse this transcript |
| Basic lens corrections| 00:02 |
Different lenses of course, have
different behaviors and sometimes those
| | 00:06 |
behaviors are good and sometimes not so
good.
| | 00:08 |
In this case, I utilized a very wide
angle lens in order to get a wide field
| | 00:14 |
of view.
And that's certainly interesting.
| | 00:16 |
This is, I think, a bit of a fun image.
But a wide angle lens can also lead to
| | 00:20 |
some visual distortions that can
sometimes prove to be a little bit distracting.
| | 00:25 |
Fortunately, the correction is often very
easy, utilizing the lens correction
| | 00:31 |
filter, which is aimed at correcting for
the various behaviors of specific lenses.
| | 00:36 |
Let's take a look at how we can use the
lens correction filter to improve the
| | 00:40 |
overall appearance of this image.
I'll go ahead and create a copy of my
| | 00:44 |
background image layer so that I can work
non-destructively.
| | 00:47 |
I'll drag the thumbnail for my background
image layer down to the Create New Layer button.
| | 00:52 |
The blank sheet of paper icon at the
bottom of the Layers panel.
| | 00:55 |
And then to get started, I'll go to the
Filter menu and choose Lens Correction.
| | 01:00 |
That will bring up the lens correction
dialogue.
| | 01:03 |
I'll go ahead and turn off the Show Grid
check box down at the bottom, so that we
| | 01:07 |
can better see the image.
And you'll notice that at the bottom
| | 01:10 |
left, I have an indication of the
metadata for the image.
| | 01:13 |
Which specific camera and lens, and the
capture settings were used to create this image.
| | 01:20 |
And over on the right-hand side, you'll
also notice that under lens profiles, a
| | 01:24 |
profile has been automatically selected
that matches the actual sensor size as
| | 01:30 |
well as the lens that was used to capture
this image.
| | 01:33 |
And that means that Photoshop, through
the lens correction filter, is able to
| | 01:37 |
apply some automatic adjustments based on
the behavior of that specific lens used
| | 01:43 |
in conjunction with a sensor of this
particular size.
| | 01:45 |
If the appropriate profile were not
available here and not selected, I could
| | 01:50 |
also choose a specific camera model and a
specific lens from the available pop-ups,
| | 01:56 |
but in this case, the metadata enabled
that selection to be made automatically.
| | 02:00 |
And now, I can apply some automatic
corrections.
| | 02:03 |
I'll go ahead and turn on the geometric
distortion checkbox, and that will
| | 02:07 |
automatically correct for geometric
distortion caused by the lens.
| | 02:12 |
Now, the effect is admittedly a little
bit subtle, but it can be impactful for
| | 02:17 |
many images, especially with more exotic
lenses.
| | 02:20 |
But in this case if you pay attention as
I turn off and then on the geometric
| | 02:23 |
distortion checkbox, you'll notice that
essentially, those edges start to bow out
| | 02:27 |
just a little bit.
And the center of the image appears to be
| | 02:31 |
a little bit less rounded out.
We're essentially compensating for that
| | 02:36 |
barrel versus pin cushion distortion
effect.
| | 02:38 |
And so in this case, I definitely think
I'd like to keep the geometric distortion
| | 02:42 |
check box turned on.
I can also correct for color fringing, or
| | 02:46 |
chromatic aberrations within the image.
I'll go ahead and zoom in on an area in
| | 02:51 |
the back here where we actually can see
some chromatic aberrations.
| | 02:56 |
Those are very common with wide angle
lenses or less expensive lenses, and they
| | 03:01 |
usually occur along high contrast edges,
but that color fringing obviously can be
| | 03:06 |
a little bit distracting.
I'll go ahead and turn on the chromatic
| | 03:09 |
aberration check box, and you can see
we've gotten a pretty good improvement in
| | 03:13 |
the image as a result.
I'll zoom back out and then we'll turn on
| | 03:17 |
the Vignette check box, and that will
compensate for the vignetting that occurs
| | 03:22 |
with this specific lens.
And being a wide angle lens, that means
| | 03:25 |
there's a fair amount of light fall off
out toward the edges, and so there's a
| | 03:29 |
bit of darkening around the corners.
In this case though, I think the
| | 03:32 |
lightening that is being applied by this
vignette correction is a little bit too extreme.
| | 03:37 |
So I'll just turn that check box off to
disable the vignette correction.
| | 03:41 |
But I do like the effect of the geometric
distortion and the chromatic aberration
| | 03:46 |
correction, both of which are relatively
subtle changes in this particular case,
| | 03:50 |
but I think still helpful for the overall
image.
| | 03:53 |
But they do cause some change in the
shape of the overall image, so I'm also
| | 03:57 |
going to turn on the Auto Scale Image
check box, so that essentially the image
| | 04:02 |
will be enlarged just a little bit to
fill the available frame.
| | 04:06 |
Otherwise, I would need to crop the image
afterward in order to get rid of that
| | 04:10 |
empty area, that transparency along the
edge.
| | 04:13 |
So, with those options selected, I'll go
ahead and click the OK button.
| | 04:17 |
And my image is correct.
And I'll turn off the visibility for my
| | 04:20 |
background copy layer, and then turn it
back on again.
| | 04:23 |
And you can see while the difference is
relatively subtle, it does make a good
| | 04:27 |
impact in the overall photo.
| | 04:28 |
| | Collapse this transcript |
| Correcting perspective| 00:02 |
In situations where you're photographing
a subject from relatively close, with a
| | 00:06 |
relatively wide angle lens, you're apt to
run into some issues in terms of distortion.
| | 00:12 |
In other words, perspective issues.
There will be less of a perspective
| | 00:16 |
distortion if you move back and utilize a
longer lens, for example, than when
| | 00:20 |
you're close up with a wide angle lens.
And here, we have a relatively extreme example.
| | 00:25 |
I'm somewhat close to a relatively large
subject and I'm photographing with a very
| | 00:30 |
wide angle lens.
And so I have a very extreme result in
| | 00:34 |
terms of perspective.
It almost looks like this church's bell
| | 00:37 |
tower is falling over away from me.
If I decide that I don't care for that
| | 00:41 |
perspective distortion I can apply some
changes.
| | 00:44 |
And in fact there's a relatively basic
approach that involves the lens
| | 00:48 |
correction filter but I find that very
often it doesn't give me quite the degree
| | 00:52 |
of control I'd like to be able to
exercise over an image, so instead I
| | 00:56 |
utilize the Free Transform command.
Let's take a look at how we can use Free
| | 01:01 |
Transform in order to correct perspective
in a photo.
| | 01:05 |
I'll start off by making a copy of my
background image layer.
| | 01:08 |
So I'll drag the thumbnail for the
background image layer down to the Create
| | 01:12 |
New Layer button.
The blank sheet of paper icon at the
| | 01:15 |
bottom of the Layers panel.
That will make a background copy so that
| | 01:18 |
I'm working non-destructively, leaving my
original background image layer untouched.
| | 01:24 |
Next, I'm going to display a grid so that
I can evaluate when I've properly aligned
| | 01:29 |
the subject in this photo.
And so from the View menu, I'll choose
| | 01:33 |
Show followed by Grid.
And that will display a grid over the image.
| | 01:37 |
I'll then go to the Edit menu and I'm
going to choose Free Transform.
| | 01:42 |
I could also press Ctrl+T on Windows or
Cmd+T on Macintosh to activate the Free
| | 01:48 |
Transform command.
That will allow me to adjust the image.
| | 01:52 |
Now at first, you might assume that we're
essentially just resizing the image.
| | 01:57 |
After all, we can drag one of the corners
up or down, left or right, in order to
| | 02:02 |
adjust the size of the photo.
But we can actually exercise quite a bit
| | 02:06 |
more control.
I'll go ahead and zoom out a little bit
| | 02:09 |
so we have some canvas to play with and
then instead of just dragging one of the
| | 02:13 |
corners which allows me to resize the
image I'm going to hold the Ctrl key on
| | 02:17 |
Windows or the Cmd key on Macintosh while
dragging that corner around.
| | 02:23 |
And that allows me to drag that corner
without adjusting the other corners.
| | 02:28 |
And so, for example, I'll drag outward in
order to spread out the top of the image
| | 02:34 |
or in this case the top of the bell
tower.
| | 02:36 |
I'll then hold the Ctrl key on Windows or
the Cmd key on Macintosh once again and
| | 02:40 |
drag the top right corner outward, and I
might need to go back and forth a few times.
| | 02:45 |
If I only drag outward, then I'll end up
with a bell tower that looks a little bit squat.
| | 02:50 |
So I'll probably need to drag upward as
well.
| | 02:53 |
And of course I'm going to have a
difficult time evaluating the overall
| | 02:57 |
effect without adjusting both of these
corners.
| | 03:00 |
So generally I'll switch back and forth
between them.
| | 03:03 |
I'll generally want the top edge to be
perfectly horizontal but that's not
| | 03:07 |
always the case depending on the
specifics of the subject.
| | 03:11 |
In this case the bell towers seem to be
leaning a little bit toward the right.
| | 03:15 |
And so I actually might end up bringing
that left side down a little bit.
| | 03:19 |
But I'll use that grid as my reference
and try to get the best adjustment possible.
| | 03:24 |
I can even adjust the bottom corners of
course.
| | 03:27 |
For example, holding the Ctrl or Cmd key
and dragging that bottom right corner
| | 03:32 |
downward or maybe outward as needed in
order to get everything lined up to my satisfaction.
| | 03:38 |
Again, using the grid here is critically
important as far as being able to
| | 03:42 |
evaluate when you've achieved a good
result.
| | 03:45 |
I want to try to make sure that anything
that should be perfectly vertical follows
| | 03:50 |
a straight line.
And here I have these circles to use as a reference.
| | 03:53 |
As well as various lines within the
subject here, and so I can use that to
| | 03:59 |
gauge whether or not I have a good
result.
| | 04:02 |
That looks to be pretty good as far as
the overall alignment.
| | 04:05 |
I can also drag that top edge upward in
order to stretch the tower a little bit
| | 04:10 |
to get closer to the original height of
the tower, and then I'll continue
| | 04:14 |
fine-tuning, referencing that grid line
once again to try to get the best result possible.
| | 04:19 |
Now, I might not want to get this tower
absolutely perfectly straight, where the
| | 04:24 |
edges are perfectly parallel to the grid.
I might want to allow a little bit of perspective.
| | 04:30 |
In other words, that sense of the tower
getting a little bit smaller as it goes
| | 04:33 |
upward, since it is after all further and
further away the higher we go up in that tower.
| | 04:38 |
Right about there looks to be pretty good
though.
| | 04:41 |
I think I'm pretty happy with this
compromise as far as the overall adjustment.
| | 04:45 |
And so I can press enter or return on the
keyboard or double-click inside the
| | 04:49 |
bounding box.
Of course, it's also possible to rotate
| | 04:52 |
the image if needed.
I can simply move my mouse outside the
| | 04:56 |
bounding box and then click and drag to
rotate as needed.
| | 05:00 |
But once I'm happy with the result, I can
press Enter or Return on the keyboard to
| | 05:04 |
apply the transformation or I can double
click inside the transformation box or
| | 05:09 |
click the check mark button on the
options bar.
| | 05:11 |
I'll then go ahead and choose View >
Show, and then Grid to turn off that grid display.
| | 05:17 |
And now I'll turn off the visibility of
that background copy layer and turn it
| | 05:21 |
back on.
And we get a sense of that effect.
| | 05:24 |
Notice however that at the bottom right
corner I actually have a portion of the
| | 05:28 |
image that needs to be cropped out or
cleaned up.
| | 05:31 |
I'll turn off the background layer, and
you can see that sure enough that
| | 05:34 |
distortion has caused a little bit of an
issue there and so in this case I might
| | 05:38 |
just crop the image.
I'll press the letter C to activate the
| | 05:41 |
Crop tool and then I can drag the right
edge of the crop box inside that area of
| | 05:47 |
the image.
I'll go ahead and click the commit button.
| | 05:50 |
And now, if I turn on the visibility of
what had been the background image layer,
| | 05:54 |
you'll notice that I don't have any of
that showing through anymore.
| | 05:57 |
But, once again, turning off the
background copy layer to reveal the
| | 06:00 |
original image, and then turning it back
on to reveal our adjusted version.
| | 06:05 |
You can see that we've applied a rather
significant correction to the perspective
| | 06:09 |
of this photo, thanks to the Free
Transform command.
| | 06:12 |
| | Collapse this transcript |
| Shake reduction| 00:02 |
Camera shake is obviously something that
we try to avoid whenever possible.
| | 00:05 |
Whether that means making sure that we're
using a fast enough shutter speed, or
| | 00:09 |
mounting the camera on a tripod, and even
taking advantage of stabilization
| | 00:13 |
technology that is available in many
lenses and cameras.
| | 00:17 |
But from time to time you may find that
you have an image that you're happy with,
| | 00:20 |
but that exhibits a little bit of shake.
In this case I have a sample image that I
| | 00:24 |
wouldn't exactly call a real photograph.
I mean, it certainly is a photographic
| | 00:28 |
image, but it was just captured in order
to demonstrate the issue of camera shake,
| | 00:32 |
and more importantly.
To show how we can work to reduce the
| | 00:35 |
appearance of that shake.
I'm going to start off by creating a copy
| | 00:39 |
of my background image layer, so that I'm
not altering the original pixels directly.
| | 00:43 |
So, I'll drag the thumbnail for the
background image layer down to the Create
| | 00:47 |
New Layer button, the blank sheet of
paper icon at the bottom of the Layers panel.
| | 00:50 |
That will create a background copy.
I can also rename that layer if I want to
| | 00:54 |
provide an indication of why it's there.
I can that by simply double clicking on
| | 00:58 |
the layer name, and then typing a new
name.
| | 01:01 |
I'll go ahead and type shake reduction,
and press enter or return on the keyboard
| | 01:05 |
to apply the change.
Next I'm going to apply shake reduction
| | 01:10 |
to the image, and that essentially is a
sharpening technique and so we'll find it
| | 01:14 |
on the Filter Sharpen menu.
So choosing filter sharpen and then shake
| | 01:19 |
reduction, we'll bring up the shape
reduction dialogue.
| | 01:22 |
And you can see that just based on the
default settings, I actually already have
| | 01:25 |
a rather impressive improvement in the
image.
| | 01:28 |
I'll turn off the preview and turn it
back on again.
| | 01:31 |
And you can see that we have an image
that exhibits a lot of shake.
| | 01:34 |
Lots of motion blur essentially.
And with the preview turned back on we
| | 01:37 |
have a greatly improved image.
Not perfect, obviously and I think it's
| | 01:41 |
important to realize that this filter is
called Shake reduction, not shake elimination.
| | 01:46 |
You should certainly set realistic
expectations.
| | 01:49 |
We're trying to improve a bad situation,
and we're not going to be able to make it
| | 01:53 |
absolutely perfect, but having said that
we can certainly produce a very big
| | 01:57 |
improvement in our images as well.
Taking a look at the various settings
| | 02:00 |
that are available, we'll start off with
the blur trace bounds.
| | 02:04 |
And what this essentially means is, how
large of an area is going to be evaluated
| | 02:08 |
in terms of looking for edges within the
image that need to be, essentially,
| | 02:11 |
sharpened to reduce the appearance of
shake.
| | 02:14 |
If I set a very low value, then of
course, Photoshop is looking in a very
| | 02:17 |
small area.
For the blur artifact and the result
| | 02:21 |
tends to be not as effective unless the
shake was very, very low in frequency,
| | 02:26 |
meaning that the shake was occurring over
a short distance as it were.
| | 02:29 |
But is this case I need Photoshop to look
across a larger area.
| | 02:32 |
And so I'll increase the value for that
Blur Trace Bounds slider.
| | 02:36 |
Now, you might assume that you simply
want Photoshop to take as large a look as
| | 02:40 |
possible, but sometimes that will create
other problems.
| | 02:44 |
You can see here, for example, it has
produced a sort of ghosting effect in the image.
| | 02:48 |
So it's not about applying as much
strength for the effect as possible, but
| | 02:52 |
rather finding the right balance of
settings.
| | 02:55 |
For this image this large setting is too
large, and so I'll bring that back down
| | 02:59 |
to a more modest value.
Somewhere around 40.
| | 03:02 |
Looks like it will work pretty well for
this image, but I can of course fine tune
| | 03:06 |
as needed to try and get the best result.
I can also specify the degree of noise in
| | 03:11 |
the source image.
I can specify low, medium or high, or I
| | 03:15 |
can simply leave this set to auto and
Photoshop will analyze the image for me.
| | 03:19 |
I'll just leave it set to auto in this
case.
| | 03:22 |
And then we can take a look at smoothing
and artifact suppression.
| | 03:25 |
The artifacts in the image are pretty
obvious.
| | 03:27 |
You can see some streaks, lines, shadows,
etc, that were not in the original.
| | 03:32 |
I'll go ahead and turn off the preview
and turn it back on again.
| | 03:35 |
And you can see that while the image does
appear sharper, those artifacts are
| | 03:39 |
almost worse than the original blur.
So I'll start off by increasing the value
| | 03:43 |
for artifact suppression, and as I do
that you'll notice that the artifacts get
| | 03:48 |
toned down.
If I take the value too high, you'll see
| | 03:51 |
that I'm essentially getting more
blurring in the image.
| | 03:53 |
That certainly makes the artifacts
disappear, but it also reduces the
| | 03:57 |
overall image quality.
So I'll use a relatively moderate
| | 04:00 |
setting, in this case, and once again,
sort of balancing between artifacts
| | 04:04 |
versus that original shake blur.
I'll go ahead and reduce the value a
| | 04:08 |
little bit more here, and right about
there looks to be working pretty well for
| | 04:12 |
the image.
And then I can take a look at smoothing,
| | 04:14 |
and smoothing essentially is a blurring.
It's averaging out values so that we're
| | 04:19 |
losing texture and detail.
In fact if I increase that value to much
| | 04:23 |
you'll see that the photo starts to
become more like a drawing of sorts.
| | 04:27 |
It essentially looks sort of cartoonish
with very little texture at all.
| | 04:31 |
So I don't want to use to much smoothing
just enough.
| | 04:35 |
I'll go ahead and reduce the value
completely.
| | 04:37 |
And you can see that, for example,
there's some dings on the sign here,
| | 04:40 |
maybe some rust or whatnot, and that is
visible now, but if I increase smoothing
| | 04:45 |
too much, it nearly disappears.
So obviously, that smoothing is a
| | 04:49 |
blurring effect, and we don't want to use
too much of it, but a little bit will
| | 04:53 |
help to smooth out some of the problems
in the photo.
| | 04:57 |
So, in this way I could continue
adjusting my trace bound setting as well
| | 05:00 |
as the smoothing and artifact suppression
to try to get the best result.
| | 05:04 |
But if I turn off the preview check box
and turn it back on again, you can see
| | 05:07 |
that we're already doing very, very well
as far as improving the image.
| | 05:11 |
There's still some obvious problems in
the photo.
| | 05:14 |
But the reality is, if you have
significant camera shake, it can't be
| | 05:17 |
eliminated altogether.
So, really, we're just trying to make the
| | 05:20 |
best of a difficult situation.
In addition to these settings, there are
| | 05:24 |
also some advanced controls.
I'll go ahead and expand the advanced section.
| | 05:28 |
And here we can see that the blur
estimation regions are visible.
| | 05:33 |
There's only one, and it's viewing this
area of the image.
| | 05:36 |
So this shows us where exactly in the
image Photoshop is evaluating in order to
| | 05:40 |
identify where that blurring occurs.
In other words, where that shake is
| | 05:44 |
actually visible.
And this region, obviously, included a
| | 05:48 |
fair amount of shake in the original.
But maybe we can get a better result by
| | 05:52 |
adding additional regions for evaluation.
So, I'll click the add button, the plus
| | 05:56 |
button, you'll see that we get an
automatic new box, and I can re-size that
| | 06:01 |
box, and also drag the center button to
move it around.
| | 06:05 |
And now, for example, I'm analyzing this
particular area of the photo.
| | 06:09 |
You'll notice that we have a very
different result.
| | 06:12 |
In some respects an improvement, but now
we have more artifacts as well.
| | 06:16 |
So I can take a look at possibly
increasing the artifact suppression.
| | 06:20 |
Or possibly adjusting the blur trace
bound setting, in order to try to improve
| | 06:25 |
the results.
In essence what we want to do is identify
| | 06:28 |
the most important areas of the image, so
that we can apply an adjustment best
| | 06:33 |
suited to that specific area.
For example, if this were the most
| | 06:36 |
important area of the photo, I could even
turn off the blur estimation region for
| | 06:40 |
the other text in the image.
You can see that creates a pretty
| | 06:44 |
significant problem for that other text,
so I'll leave that turned on.
| | 06:47 |
But I still have some areas, like over
here toward the end of the word, where
| | 06:51 |
we've got a fair amount of blurring
visible, so maybe I'll even add another region.
| | 06:56 |
I'll click the Add button and then
re-size and move this particular region.
| | 07:00 |
And that looks like it might be helping a
little bit.
| | 07:03 |
I'll turn off that blur estimation region
just to see the results before.
| | 07:07 |
Then turn it back on to see after, and
once that processing is completed I do
| | 07:12 |
think that this is helping the image a
bit.
| | 07:16 |
But quite frankly, I think the second
blur estimation region is actually
| | 07:20 |
causing a negative impact on the image.
So I'm going to turn that off, and while
| | 07:24 |
that causes the text up above to be a
little bit more blurred, really I'm
| | 07:28 |
mostly focused on this lower text in this
case.
| | 07:31 |
And of course this isn't even really a
photo I'm concerned about.
| | 07:33 |
it just happens to demonstrate the issue
of camera shake.
| | 07:36 |
So again, I think the most important
thing to keep in mind is that we're never
| | 07:39 |
going to get a perfect result with shake
reduction.
| | 07:42 |
It simply involves a compromise.
We're taking an image that was quite
| | 07:45 |
blurry and trying to make the most of it.
But that said, you can see that the shake
| | 07:50 |
reduction filter really can make a
significant improvement in the image.
| | 07:53 |
That looks to be pretty good, so I'll go
ahead and click okay, in order to
| | 07:56 |
finalize the effect.
And then turning of the shake reduction
| | 07:59 |
layer, and turning it back on again, you
can see still some obvious problems in
| | 08:03 |
the image, but a significant improvement.
| | 08:06 |
| | Collapse this transcript |
| Basic spotting| 00:02 |
One of the most basic forms of image
cleanup invlves spotting, or removing
| | 00:06 |
spots in an image.
And I wanted to show you just how easy
| | 00:10 |
that process can be with the help of the
Spot Healing Brush tool.
| | 00:14 |
At first glance you might assume in this
image that I had a horribly dirty image
| | 00:19 |
sensor on my camera, but actually on
closer examination you'll probably
| | 00:23 |
recognize that those are objects actually
in the sky.
| | 00:26 |
In fact, they happen to be red winged
blackbirds.
| | 00:30 |
As much as I love red winged black birds,
in this case, they're just serving as a
| | 00:34 |
distraction in the image.
And so I'd like to get rid of them, and
| | 00:38 |
that can be done incredibly quickly and
easily using the Spot Healing Brush tool.
| | 00:43 |
I'll start off by adding a new empty
image layer, and then I'll rename that
| | 00:47 |
layer by double clicking on it, typing a
new layer name and then pressing enter or
| | 00:52 |
return on the keyboard in order to apply
that change.
| | 00:55 |
I'll then choose the Spot Healing Brush
tool from the toolbox.
| | 00:58 |
I'll make sure the Content Aware option
is selected on the options bar and that
| | 01:03 |
the Sample All Layers check box is turned
on.
| | 01:05 |
I can then move my mouse out over the
image and adjust the brush size using the
| | 01:10 |
left and right square bracket keys.
The left square bracket key will reduce
| | 01:14 |
the brush size and the right square
bracket key will increase the brush size.
| | 01:17 |
And then all I need to do is click and
paint over each of these black birds in
| | 01:23 |
the background and they will be removed.
They will be cleaned up from the sky and
| | 01:28 |
blended in, hopefully perfectly.
If I find any spots that aren't quite
| | 01:32 |
perfectly removed, I can simply paint
over them again so that, that content
| | 01:36 |
aware technology can give another go at
it.
| | 01:40 |
But in this case, I think for the most
part these are working out pretty well,
| | 01:43 |
there's one right there.
And one there that I think could use a
| | 01:46 |
little bit of touch up, but overall you
can see just how quick and easy the
| | 01:50 |
process can be to eliminate all of those
blemishes.
| | 01:54 |
Well all except one, I've saved the best
for last as it were.
| | 01:58 |
I'll go ahead and zoom in on the wing of
the goose here and you can see that we
| | 02:02 |
have another bird in the background that
creates that sort of dark halo effect.
| | 02:07 |
You've probably seen situations like this
and you may have struggled with them.
| | 02:11 |
Because if we have a high-contrast edge
like this, getting a good cleanup can be
| | 02:15 |
a challenge.
In fact, let's take a look.
| | 02:17 |
I'll go ahead and reduce my brush size,
and then I'll paint along this edge, and
| | 02:22 |
you can see that it turns into a very
wavy wing there, and we don't actually
| | 02:27 |
have a very good blending at all.
So I'll press Ctrl+Z on Windows, or Cmd+Z
| | 02:32 |
on Macintosh in order to undo that step.
And then I'm going to change the way I
| | 02:38 |
paint across this blemish.
Instead of painting parallel to the line
| | 02:43 |
I'm going to paint perpendicular to the
line.
| | 02:45 |
In this case I'm painting over a much
larger area than I normally would but I
| | 02:49 |
just want to show you the difference
between the two.
| | 02:52 |
And as you can see a much better and more
aligned result.
| | 02:56 |
I'll go ahead and undo that step and then
reduce my brush size and paint again, up
| | 03:01 |
and down, so to speak.
Or perpendicular to the line of the wing.
| | 03:06 |
And only covering the area that I
actually want to correct.
| | 03:08 |
And you'll see that we get a much better
result.
| | 03:11 |
So just by painting perpendicular to the
line, you'll get a better result in most cases.
| | 03:16 |
But as you can see, working with the Spot
Healing Brush tool can be very quick and
| | 03:20 |
easy when it comes to basic spotting
corrections in your images.
| | 03:24 |
| | Collapse this transcript |
| Properly aligning corrections| 00:02 |
Image cleanup in general calls for a
certain degree of precision, but in some
| | 00:06 |
cases, a little more precision is
required than in others.
| | 00:10 |
Such is the case when, for example, we
want to perform some cleanup against a
| | 00:15 |
relatively high contrast line.
Such as the horizon line, in this case.
| | 00:19 |
I'll go ahead and zoom in on this image
and you can see that there's an antenna here.
| | 00:24 |
And it's a bit distracting, so I'd like
to get rid of it.
| | 00:26 |
The problem is, that, that antenna runs
across the horizon line where we have
| | 00:31 |
some pretty strong contrast between the
sky and the ground below.
| | 00:35 |
However, that alignment can actually be
performed quite easily thanks to a simple
| | 00:40 |
setting for the clone stamp or the
healing brush tool.
| | 00:43 |
In most cases, I'll utilize this
technique with the healing brush tool,
| | 00:47 |
because the healing brush tool has the
added benefit of that automatic blending
| | 00:52 |
that causes the source pixels to blend in
seamlessly into the destination area in
| | 00:57 |
most cases.
Let's take a look at how we can
| | 01:00 |
accomplish that proper alignment for our
image cleanup.
| | 01:03 |
I'll start off by creating a new layer
for my cleanup work.
| | 01:07 |
I'll simply click the Create New Layer
button at the bottom of the layer's
| | 01:10 |
panel, and then I'll double-click the
name of the layer and give it a more
| | 01:13 |
meaningful name.
In this case, just image clean up.
| | 01:16 |
I'll press enter or return on the
keyboard to apply that name change and
| | 01:20 |
then I'll choose the Healing Brush tool
from the tool box.
| | 01:23 |
So I'll click and hold my mouse on the
button for the spot healing brush tool
| | 01:27 |
and then choose healing brush tool from
the fly out menu.
| | 01:31 |
At this point, I'm ready to start
cleaning up the image, but the problem
| | 01:35 |
is, that it will be very difficult to
properly align that horizon, for example.
| | 01:39 |
I might want to select a source from over
on the right, perhaps.
| | 01:43 |
I'll hold the Alt key on Windows or the
Option key on Macintosh and click on that
| | 01:47 |
horizon line.
But now it's very difficult to make sure
| | 01:50 |
that I click in exactly the right spot to
get a proper alignment.
| | 01:55 |
But, with just one simple setting, I can
make this task a lot easier.
| | 01:59 |
Up on the Options bar, I'll click on the
Clone Source button to bring up the clone
| | 02:04 |
source panel.
And then I'll turn on the Show Overlay
| | 02:07 |
check box.
With that option turned on, my brush will
| | 02:11 |
show me a preview of what I can expect,
which makes it very easy to align the results.
| | 02:17 |
I'll go ahead and close my Clone Source
panel, and then I'll move out over the
| | 02:21 |
image and you can see that, that source,
the horizon line, is previewed in my
| | 02:25 |
brush and so I can move my brush into the
exact position that will work well for
| | 02:31 |
this alignment.
And once I'm in that position, I can
| | 02:34 |
click and then in this case, drag upward
in order to paint away the top of that antenna.
| | 02:42 |
And because I was able to see a preview,
I'm able to get a great result.
| | 02:47 |
I'll then move down and sample from a
different area.
| | 02:50 |
I want to eliminate the entirety of this
tower.
| | 02:53 |
I think I'll sample from over here, so
I'll hold the Alt key on Windows, or the
| | 02:57 |
Option key on Macintosh, and click on the
top of that roof line, and then I'll move
| | 03:02 |
over here to the right and adjust my
brush position to align the roof that I'm
| | 03:06 |
copying into this destination area.
Then I'll click and drag upward once again.
| | 03:12 |
Just covering up the portion of the
antenna that's remaining in between the
| | 03:16 |
horizon and the area that I'm painting.
And you can see that, that has worked out
| | 03:20 |
pretty well.
I'll go ahead and maneuver the image
| | 03:23 |
around a little bit and repeat that basic
process of Alt or Option clicking to
| | 03:27 |
select a source.
And then moving my mouse over into the
| | 03:31 |
proper position to ensure good alignment.
And then click and paint to remove the blemish.
| | 03:37 |
I'll go ahead and repeat that process.
Obviously in this case, I need to work on
| | 03:41 |
several areas one at a time, getting the
guide wires here for example, removed or
| | 03:47 |
at least mostly removed.
Once I'm out in this open area, things
| | 03:50 |
get a little bit easier, of course.
I can also work with a vertical line, of course.
| | 03:55 |
I'll select a source here on this
vertical edge of the building.
| | 03:59 |
Holding the Alt or Option key while
clicking on that source, and then I can
| | 04:03 |
align with my destination and click and
drag upward to get rid of that final
| | 04:07 |
guide wire.
So, by using that show overlay option,
| | 04:11 |
I'm able to remove that antenna.
I'll go ahead and turn off the image
| | 04:15 |
cleanup layer, and we can see the antenna
reappears.
| | 04:18 |
I'll turn the layer back on, and it
completely vanishes and all of those
| | 04:22 |
lines off in the distance.
The horizon and the various lines down
| | 04:25 |
below, have been retained thanks to the
Show Overlay option.
| | 04:30 |
In most cases, I actually find that the
Show Overlay effect is a little bit distracting.
| | 04:35 |
So I only use it when I need to properly
align a subject.
| | 04:39 |
And once I'm finished with that alignment
work, I'll go ahead and return to the
| | 04:43 |
Clone Source panel and then turn off that
Show Overlay check box so that I won't
| | 04:48 |
see that overlay.
In most cases, I only want to display it
| | 04:52 |
when I really need to be careful about
alignment, but you can see the Show
| | 04:55 |
Overlay check box can be a tremendous
help when alignment is critical for your
| | 05:00 |
image cleanup work.
| | 05:01 |
| | Collapse this transcript |
| Correcting color contamination| 00:02 |
In certain situations, you may run into
an issue that I refer to as color contamination.
| | 00:07 |
I find that it happens most often when
there’s an object relatively close to the
| | 00:12 |
lens that is rendered completely out of
focus but adds a little bit of a color wash.
| | 00:17 |
Sometimes this can be used to great
creative effect.
| | 00:20 |
For example, very often I'll hold up a
flower very close to the lens when I'm
| | 00:25 |
photographing another flower so that I
add a nice color wash to the scene.
| | 00:29 |
But in some cases, it can be problematic.
In this case for example, I have some
| | 00:34 |
green color contamination.
It looks like maybe some foliage or grass
| | 00:38 |
was over on the left side of the frame,
very close to the lens.
| | 00:42 |
And if was rendered completely out of
focus so that we only have color
| | 00:45 |
contamination, but the texture of the
underlying image is actually showing through.
| | 00:50 |
Fortunately, it's incredibly simple to
correct this type of color contamination.
| | 00:55 |
Let's take a look at how it can be done.
I'll start off by by creating a new
| | 00:59 |
layer, but I want that layer to have a
couple of special properties.
| | 01:03 |
So I'm going to hold the Alt key on
Windows or the Option key on Macintosh
| | 01:07 |
while I click on the create new layer
button.
| | 01:10 |
I'm going to give the layer a name, this
is mostly just for my own purposes so I
| | 01:14 |
know why a particular layer was added.
I'll call this color fix, for example,
| | 01:19 |
and then I'm going to change the blend
mode from normal to color.
| | 01:24 |
And this is really the key of the entire
technique here because using the color
| | 01:29 |
blend mode will cause anything that I
paint onto this new layer to only affect
| | 01:34 |
the color of the underlying pixels, not
the tonality.
| | 01:38 |
In other words, the texture will be
preserved.
| | 01:41 |
I'll go ahead and choose that color
option, and then I'll click Okay to
| | 01:45 |
create that new layer.
Next I'm going to choose the Brush Tool
| | 01:49 |
from the toolbox.
I could also press the letter B on the
| | 01:52 |
keyboard in order to select the brush
tool.
| | 01:54 |
I'll make sure that the brush is set to a
0% hardness.
| | 01:58 |
In other words that I'm working with a
soft edge brush.
| | 02:00 |
I'll make sure the blend mode is set to
normal on the Options Bar.
| | 02:04 |
I want that color blend mode to effect
the layer not the brush.
| | 02:08 |
So I'll paint with a normal blend at a
100% opacity.
| | 02:13 |
I'll then bring my mouse out over the
image.
| | 02:15 |
And I can adjust the brush size as
needed.
| | 02:17 |
Using the left and right square bracket
keys.
| | 02:19 |
The left square bracket key will reduce
the brush size, and the right square
| | 02:23 |
bracket key will increase the brush size.
I just need a brush that's about the size
| | 02:27 |
of the object that I am trying to
eliminate, so in this case, about the
| | 02:31 |
width of the area that I am trying to
correct.
| | 02:34 |
But of course I don't want to paint with
just any color, I want to paint with the
| | 02:38 |
specific color from within the image
itself that I am going to use to correct
| | 02:43 |
the color.
I'll hold the Alt key on Windows or the
| | 02:47 |
Option key on Macintosh to give me
temporary access to the eye dropper tool
| | 02:52 |
while I'm working with the brush tool.
So, holding the Alt or Option key I'll
| | 02:56 |
simply click on an area of the image.
To sample a color from the photo itself,
| | 03:01 |
you can see my foreground color is now
set to that sand color.
| | 03:05 |
And now when I move over the image I can
click and paint over those green areas
| | 03:10 |
and they will be replaced with sand
color.
| | 03:14 |
It's important to evaluate the results in
terms of overall saturation.
| | 03:18 |
So that you make sure your getting a very
good result.
| | 03:22 |
Depending on where exactly I clicked.
I might get a color that doesn't quite
| | 03:26 |
perfectly match.
If that's the case, or if I simply need
| | 03:29 |
to change the color so it'll better match
in specific areas, I can simply Alt or
| | 03:33 |
Option click on a different area of the
image.
| | 03:36 |
In order to sample a different color.
And paint that into the photo instead.
| | 03:42 |
I'll go ahead and turn off the visibility
of the color fix layers so you can see
| | 03:45 |
the before version.
And then I'll turn the visibility of that
| | 03:48 |
layer back on, and you can see we have a
very nice correction.
| | 03:52 |
I'm going to temporarily change that
blend mode back to normal, and you can
| | 03:56 |
see I was just painting with a solid
color.
| | 03:59 |
But because of the color blend mode, that
color is only affecting the color of
| | 04:03 |
what's below and not altering the texture
or the luminance variations.
| | 04:08 |
And so we get a good correction for that
color contamination.
| | 04:12 |
| | Collapse this transcript |
| Brightening and whitening| 00:02 |
Sometimes the image cleanup work you want
to perform isn't so much cleanup work as
| | 00:06 |
it is a targeted adjustment And such is
the case for what I refer to as
| | 00:11 |
brightening and whitening, which
especially since we're looking at a
| | 00:14 |
portrait here, might cause you to think
about brightening and whitening teeth.
| | 00:18 |
You can also use this same technique to
brighten and whiten the whites of eyes or
| | 00:23 |
just about any other area of photo that
could use such an improvement.
| | 00:27 |
In this case though, we're going to focus
on the teeth, both brightening and whitening.
| | 00:32 |
We'll start off with the whitening, and
for that we're going to use effectively,
| | 00:37 |
a targeted color adjustment.
I'm going to start off by adding a new
| | 00:42 |
image layer, but I want that image layer
to have some special properties.
| | 00:45 |
So, I'm going to hold the Alt key on
Windows or the Option key on Macintosh,
| | 00:49 |
while clicking on the Create New Layer
button at the bottom of the layers panel.
| | 00:53 |
That will bring up the New Layer dialog,
so I can adjust the settings for this layer.
| | 00:58 |
I'll give it a name.
In this case, Teeth Whitening, and I'm
| | 01:02 |
going to change the blend mode to Color.
And what that means is that anything I do
| | 01:08 |
on this layer will only be able to affect
the color of the underlying pixels.
| | 01:13 |
I'll go ahead and click OK to create that
new layer.
| | 01:16 |
Then, I'm going to choose the Brush tool
and I'm going to paint with any shade of gray.
| | 01:22 |
It doesn't actually matter which shade of
gray.
| | 01:24 |
Currently, I have black as my foreground
color, and that will work perfectly fine.
| | 01:29 |
Black, white, or any shade of gray in
between, as long as there is no color
| | 01:34 |
element to the value that I'm painting
with.
| | 01:37 |
Well, what I might otherwise call a color
that I'm painting with, but here, a color
| | 01:41 |
that specifically has no color, a shade
of gray.
| | 01:43 |
So, working with black as my foreground
color, I can move my mouse out over the
| | 01:47 |
image and then adjust my brush size.
Using the Left Square Bracket key as
| | 01:52 |
needed to reduce the brush size or the
Right Square Bracket key to increase the
| | 01:56 |
brush size.
I'll make sure that I'm working with a
| | 01:59 |
soft edge brush, so that the affect will
sort of taper off a little bit.
| | 02:03 |
And that means I want the hardness
setting at a value of zero on the brush
| | 02:08 |
pop-up on the Options bar.
I'll make sure the blend mode is set to Normal.
| | 02:11 |
I want the color blend mode to affect the
teeth whitening layer, not the brush itself.
| | 02:16 |
And I'm also going to work at a 100%
Opacity.
| | 02:19 |
I can then come back into the image and
simply start painting.
| | 02:23 |
Now, initially, you might find that the
result is a little bit problematic
| | 02:28 |
because we're removing the color from the
teeth.
| | 02:31 |
In theory, that's good, we're getting rid
of any of the yellowish appearance.
| | 02:34 |
But the result Is gray teeth, and that's
perhaps even just a little bit worse than
| | 02:40 |
teeth that have a little bit of a yellow
element to them.
| | 02:42 |
Now I would normally want to zoom in very
very close and make sure that I'm
| | 02:46 |
painting with a great deal of precision.
And that will help make sure that I'm
| | 02:51 |
not, for example, removing the color from
the gums or the lips here.
| | 02:54 |
But I won't worry about at just this very
moment.
| | 02:57 |
I can always come back and retouch things
a little bit later if I need to.
| | 03:01 |
But here you can see, we've absolutely
whitened the teeth, or you might say,
| | 03:04 |
we've grayed the teeth a little bit, but
we've removed that color element.
| | 03:09 |
And I think this helps to underscore a
key point, and that is that when we think
| | 03:15 |
we want to whiten teeth, we probably
don't actually want them literally to be white.
| | 03:20 |
We just want them to be less colorful
than they were before and perhaps a
| | 03:24 |
little brighter, so you can appreciate,
I'm sure, at this point that we don't
| | 03:27 |
want to completely remove the color, we
just want to remove the color a little bit.
| | 03:32 |
And so I've initially here removed all
the color but I can tone that down by
| | 03:37 |
reducing the Opacity for the teeth
whitening layer using the control at the
| | 03:42 |
top right of the layers panel.
If I take the Opacity all the way down to
| | 03:46 |
0%, you'll see that we have no teeth
whitening happening.
| | 03:49 |
If I increase it back up to 100%, you see
we have those grey teeth, and I can fine
| | 03:54 |
tune the Opacity to somewhere in between
where we're just toning down that
| | 03:58 |
yellowing of the teeth.
Next we'll turn our attention to the
| | 04:01 |
brightening of the teeth, and I'll follow
the same basic approach.
| | 04:05 |
I'll hold the Alt or Option key while
clicking on the Create New Layer button
| | 04:08 |
at the bottom of the Layers panel.
I'll call this teeth brightening (SOUND)
| | 04:12 |
and I'm going to change the blend mode,
in this case, to the Overlay blend mode.
| | 04:19 |
Now, the Overlay blend mode is actually a
Contrast blend mode, meaning, that we can
| | 04:23 |
use it to lighten or darken.
And in this case, I really only want to lighten.
| | 04:28 |
So I could use the Screen blend mode, but
that one's a bit strong and so I'll just
| | 04:31 |
tend to use the Overlay blend mode.
This also matches a dodging and burning
| | 04:36 |
technique that I often use.
And so, to me it just makes a lot of
| | 04:39 |
sense to use Overlay.
I'll also turn on the checkbox to fill
| | 04:43 |
this layer with the Overlay-neutral
color, which is 50% gray and that will
| | 04:47 |
just make it a little bit easier to see
exactly where I've painted, if I want to
| | 04:51 |
review this layer later.
I'll go ahead and click the OK button.
| | 04:54 |
And then, I'm going to press the letter D
on the keyboard to make sure the colors
| | 04:58 |
are set to their defaults.
And then, I'll press the letter X on the
| | 05:01 |
keyboard to switch the foreground and
background colors, so now white is my
| | 05:06 |
foreground color.
I'm going to paint at 100% Opacity and
| | 05:09 |
that is going to create a very bright
result.
| | 05:13 |
We're really going to be brightening up
those teeth a tremendous amount.
| | 05:18 |
I'll go ahead and just paint a portion of
the teeth here for the moment, so that we
| | 05:21 |
can quickly adjust our Opacity.
So that we're achieving a more pleasing result.
| | 05:27 |
But this certainly underscores the point
that we don't want to actually create
| | 05:31 |
white teeth, just brighter and whiter
teeth than they originally were.
| | 05:36 |
I'll go ahead and reduce the Opacity for
that teeth brightening layer, and that
| | 05:40 |
will tone down the effect, and you'll
notice that as I reduce the Opacity, the
| | 05:44 |
effect becomes much less strong.
So, maybe right about there.
| | 05:48 |
It can be a little bit difficult to
evaluate the result when we're zoomed in
| | 05:52 |
so close and we haven't finished all of
our painting work yet.
| | 05:55 |
I'll go ahead and increase my Brush size
and just paint across the rest of the
| | 05:59 |
teeth here.
Obviously, I'm probably not doing an
| | 06:03 |
absolutely perfect job.
But hopefully you'll forgive that as I
| | 06:07 |
just want to finish off this work
relatively quickly.
| | 06:10 |
There we go.
That looks to be pretty good.
| | 06:12 |
I'm now going to zoom out a little bit
and you can probably appreciate that
| | 06:16 |
these teeth are still way too white.
So, even though we want to brighten and
| | 06:21 |
lighten, we don't want to take it too
far.
| | 06:22 |
So, in this case, I'll want to tone down
that brightening effect a bit.
| | 06:26 |
And actually, a fairly significant
amount.
| | 06:29 |
I don't want to have too much of that
brightening effect.
| | 06:32 |
Likewise, I don't want too much of a
whitening effect, but I can go back and
| | 06:36 |
forth between these layers, adjusting the
Opacity as needed in order to fine-tune
| | 06:41 |
the final result.
Now, I'm gong to take a look at the
| | 06:43 |
before version.
And since I want to turn off two layers
| | 06:46 |
at once, I'm actually going to go down to
the Background Image layer.
| | 06:49 |
And I'll hold the Alt key on Windows or
the Option key on Macintosh and click on
| | 06:54 |
the Eye icon, so that only the background
layer will be visible.
| | 06:58 |
I can then continue to hold the Alt or
Option key and click once again on the eye.
| | 07:03 |
And that will bring back the visibility
of my whitening and brightening layers.
| | 07:07 |
And so again holding the Alt or Option
key, I can toggle the visibility off and
| | 07:11 |
on and then evaluate the results.
And what you're likely to find is that,
| | 07:15 |
initially, the results look great.
And then when you compare between the
| | 07:19 |
before and after versions, you realize
that maybe you had brightened things up a
| | 07:23 |
little too much or removed a little too
much of the color.
| | 07:26 |
And so, you can go back and fine-tune, as
needed, previewing the results so that
| | 07:31 |
you get a better sense of what the ideal
Opacity setting is for each of those two layers.
| | 07:37 |
But as you can see, with the help of a
couple of blend modes, we're able to
| | 07:40 |
brighten and whiten teeth relatively
easily.
| | 07:44 |
| | Collapse this transcript |
| Red-eye removal| 00:02 |
It seems to me that most photographers I
know would never admit that they ever get
| | 00:06 |
red eye in a photo.
But sometimes it's just unavoidable.
| | 00:10 |
You're probably aware that red eye occurs
essentially when the flash is too close
| | 00:15 |
to the lense.
And therefore the light of the flash is
| | 00:18 |
reflect back off of the retina of the eye
into the lens, and that gives us that red
| | 00:23 |
eye appearance.
In some cases, of course, it's just unavoidable.
| | 00:26 |
If you're using a compact camera, for
example, where the flash is permanently
| | 00:30 |
affixed, and there's no hotshoot to
attach a separate flash, you're very
| | 00:33 |
likely going to end up with red eye when
you photograph people.
| | 00:37 |
Fortunately, the process of correcting
red eye is quite easy.
| | 00:40 |
In fact, there's a specific tool in
Photoshop aimed at correcting red eye.
| | 00:45 |
And that tool is appropriately enough,
named the red eye tool.
| | 00:49 |
And you'll find it underneath the spot
healing brush tool on the toolbox.
| | 00:53 |
So you can simply click and hold you
mouse on the button for the spot healing
| | 00:56 |
brush tool on the toolbox.
And then from the flyout menu that
| | 00:59 |
appears, choose the red eye tool.
On the Options bar you'll see that we
| | 01:04 |
have options for pupil size and darken
amount.
| | 01:07 |
The defaults are 50% for each, and in
most cases that produces a good result.
| | 01:12 |
So, let's take a look at how those
settings are going to work for this
| | 01:15 |
particular photo.
Because I want to work in a
| | 01:18 |
non-disruptive way, I'm going to start
off by creating a copy of my background
| | 01:22 |
image layer.
To do that, I'll simply drag the
| | 01:25 |
thumbnail for the Background layer down
to the Create New Layer button, the blank
| | 01:29 |
sheet of paper icon at the bottom of the
Layers panel.
| | 01:32 |
With my Background Copy layer created and
the Red Eye tool active, I can zoom in on
| | 01:37 |
the eye.
I'll just hold the Ctrl and space bar
| | 01:40 |
keys at the same time on Windows or the
Cmd and space bar keys at the same time
| | 01:45 |
on Macintosh, and then click and drag
within the image in order to zoom in.
| | 01:49 |
And I just want to be able to see the eye
or in this case both eyes since they both
| | 01:53 |
exhibit red eye and then we can apply our
correction.
| | 01:57 |
I'll go to the eye on the left here
first, and essentially the red eye tool
| | 02:01 |
is a rectangular marquee selection tool.
I want to create a selection that defines
| | 02:07 |
the area that the red occurs in the eye
but, I also want to include the iris or
| | 02:12 |
the colored part of the eye.
And so, I'll click and drag outside of
| | 02:16 |
the iris and draw a rectangle that is
large enough to encompass both the pupil
| | 02:21 |
and the Iris.
I'll then release the mouse, and as you
| | 02:24 |
can see I get a good correction for that
pupil.
| | 02:27 |
Now if I wasn't totally happy with the
result, I can adjust my settings for both
| | 02:31 |
pupil size and darken amount.
I would adjust pupil size, if I didn't
| | 02:36 |
for example eliminate all the red.
If there had been a little bit of reddish
| | 02:39 |
fringing along the outside of the pupil.
Then I would need to increase the value
| | 02:44 |
for pupil size.
If the neutralization of color extends
| | 02:47 |
beyond that red area into the iris then I
would want to reduce the value for pupil size.
| | 02:52 |
And unfortunately this isn't something
you can adjust on the fly, you'll need to
| | 02:56 |
undo a step by choosing Edit > Step
Backwards or by pressing Ctrl+Z on
| | 03:01 |
Windows or Cmd+Z on Macintosh.
So for example, I'll go ahead and press
| | 03:05 |
Control z or Command z.
And let's assume in this case, that the
| | 03:08 |
darkening was just a little bit too much.
I'll reduce the value for darken amount.
| | 03:13 |
And I'll take it down significantly, just
so that we can see a better idea of the effect.
| | 03:17 |
And then I'll redraw that rectangle
essentially the same as I had before.
| | 03:21 |
And now you can probably tell that the
darkening of the pupil is not quite as much.
| | 03:26 |
Now in this case, it makes it not dark
enough.
| | 03:29 |
We have a sort of a greyish pupil with a
couple of black areas, and that's
| | 03:33 |
going to look a little bit odd in the
photo.
| | 03:36 |
And so I'm going to go ahead and undo
that step and bring that darken amount
| | 03:40 |
back up to about 50%.
But the point is that in most cases,
| | 03:44 |
those default values work very well and
you probably won't need to refine them
| | 03:49 |
all that often.
But when you do of course it's good to
| | 03:52 |
know exactly how they work.
You can see that that correction is
| | 03:55 |
working quite well.
I'll move over to the other eye here and
| | 03:58 |
once again draw a rectangle that includes
both the iris and the pupil and I'll
| | 04:03 |
release the mouse and that looks.
Looks pretty good as well.
| | 04:06 |
I'll go ahead and zoom out just a little
bit initially to try to get a better
| | 04:09 |
sense of whether that correction is
working and then I'll zoom out all the
| | 04:13 |
way also to evaluate the image, but in
this case I think we're in really good shape.
| | 04:17 |
So you can see that working with that red
eye tool is very simple to quickly and
| | 04:21 |
effectively correct red eye in any image.
| | 04:24 |
| | Collapse this transcript |
| Mixing and matching cleanup tools| 00:02 |
At times you may find that the specific
cleanup tool you're using for a
| | 00:05 |
particular task is not quite giving you
the best results.
| | 00:09 |
And in those situations, you may be
tempted to sort of fight that tool a
| | 00:13 |
little bit to try and keep using it until
you get a good result, but sometimes you
| | 00:17 |
just end up making things worse.
And I think one of the best pieces of
| | 00:21 |
advice I can give you to help you avoid
that type of situation, is to remember
| | 00:26 |
that it's possible to mix and match image
clean up techniques.
| | 00:30 |
I can use one tool for one portion of an
image and a different tool for a
| | 00:34 |
different portion of the image, or even
combine a couple of tools in a tiered
| | 00:38 |
approach, using the Clone Stamp tool for
example, to perform some initial clean up
| | 00:43 |
work and then the Spot Healing Brush tool
to blend in those corrections a little
| | 00:47 |
bit better.
Let's take a look at a simple example
| | 00:49 |
that illustrates this point.
I'll zoom in a little bit toward the
| | 00:52 |
center of the image.
And we have this bright light that I'd
| | 00:56 |
like to remove from underneath the
bridge.
| | 00:57 |
As well as this little extension.
I'm not sure exactly what it is, but it's
| | 01:02 |
a bit of a distraction, so I'd like to
remove it.
| | 01:04 |
I'll go ahead and add a new image layer
by clicking on the Create New Layer
| | 01:08 |
button at the bottom of the Layers panel.
And then I'll double-click on the name
| | 01:12 |
for that layer and type a new layer name.
And then I'll press Enter or Return on
| | 01:17 |
the keyboard to apply the name change.
Now for the light over on the left, I
| | 01:20 |
think the Spot Healing Brush tool will
work very nicely.
| | 01:23 |
I'll choose the Spot Healing Brush tool.
I'll make sure that the Content Aware
| | 01:27 |
option is selected on the Options bar.
And that I have the Sample All Layers
| | 01:31 |
check box turned on.
I'll then move out into the image and
| | 01:35 |
adjust my brush size with the left and
right square bracket keys.
| | 01:38 |
The left square bracket will reduce the
brush size, and the right square bracket
| | 01:42 |
will increase the brush size.
And then I'll simply click and drag to
| | 01:46 |
paint across that portion of the image.
And you can see we have a good clean up
| | 01:50 |
in that area.
But for the other blemish, I think using
| | 01:53 |
the Spot Healing Brush tool is going to
be a little bit more challenging.
| | 01:57 |
And so I think instead I'd rather use a
selection as the basis of my cleanup.
| | 02:01 |
Specifically, I'll use the Patch tool.
And so even though I've started using the
| | 02:05 |
Spot Healing Brush tool for this
particular image with this specific image
| | 02:09 |
cleanup layer, I can switch to a
different tool.
| | 02:12 |
I'll switch to the Patch tool.
I'll make a selection of the area that I
| | 02:16 |
want to clean up and then I'll drag that
selection out to an area of the image
| | 02:21 |
that represents a good source of pixels
to clean up that area.
| | 02:24 |
Specifically, I think in this case, I'll
use another portion of the bridge.
| | 02:28 |
And then I'll release the mouse, and
deselect my selection and I have that
| | 02:33 |
area of the image cleaned up as well.
I'll go ahead and turn off the image
| | 02:38 |
cleanup layers visibility so that we can
see the before version of the image, and
| | 02:42 |
then switch to the after version by
turning that layer visibility back on.
| | 02:46 |
And there you see just a very simple
example of how we can mix and match
| | 02:50 |
different tools.
But again, very often, I will mix and
| | 02:52 |
match those tools for a single area of
the image as opposed to two different
| | 02:57 |
areas as we saw here.
The key is to keep in mind that you can
| | 03:01 |
always switch between tools at any time.
Whenever you think a different tool might
| | 03:06 |
serve you well, switch to that tool and
give it a shot.
| | 03:08 |
| | Collapse this transcript |
| Toning down rather than removing| 00:02 |
In most cases, when there's a blemish in
an image that you'd like to remove, you
| | 00:06 |
want to remove that blemish completely.
You want no trace whatsoever of the blemish.
| | 00:11 |
But sometimes, you might actually want to
just tone things down just a little bit.
| | 00:16 |
You don't want to completely remove
something that you find distracting, you
| | 00:19 |
just want to tone it down so that it's
not quite so distracting.
| | 00:23 |
For example, in this photo, I like the
blurry background behind this brown
| | 00:27 |
pelican, but I find some of these dark
areas to be a little bit distracting,
| | 00:31 |
they're just a little too eye-catching.
I don't want to remove them altogether
| | 00:34 |
because it really seems like a natural
part of the landscape of course, but I'd
| | 00:39 |
like to make them a little less glaring.
So let's take a look at how we can not
| | 00:43 |
remove a blemish, but actually just tone
it down a little bit.
| | 00:46 |
I'll start off by creating a new layer as
the layer that will contain my image
| | 00:51 |
cleanup work.
So I'll click on the Create New Layer
| | 00:53 |
button, the blank sheet of paper icon at
the bottom of the Layers panel.
| | 00:57 |
And then I'll rename this layer.
I'll go ahead and double-click on the
| | 00:59 |
name for the layer, and I'm going to name
it in such a way that it is obvious that
| | 01:04 |
this layer is intended for blemishes that
I'm toning down, not removing altogether.
| | 01:09 |
So I'll just call this tone down
blemishes, and then press enter or return
| | 01:14 |
on the keyboard to apply that name
change.
| | 01:17 |
And now I'm ready to remove the
blemishes.
| | 01:20 |
And yes, I'm going to start off
completely removing the blemishes.
| | 01:23 |
You might be aware that the Clone Stamp
tool includes an Opacity option.
| | 01:28 |
And that allows you to work at a reduced
opacity while you're painting with a
| | 01:31 |
Clone Stamp tool.
But generally speaking, I prefer to work
| | 01:34 |
with the Spot Healing Brush tool, or the
Healing Brush tool.
| | 01:37 |
And those tools do not have an opacity
setting.
| | 01:41 |
But we're going to work around that.
But we need to start off by completely
| | 01:44 |
removing our blemishes.
So, I'll turn on the Content Aware
| | 01:48 |
option, as well as the Sample All Layers
check box, and then I'll come into the
| | 01:52 |
image and just paint over the blemishes
that I want to tone down.
| | 01:55 |
And initially, I'll work to make sure
that I have a good clean up.
| | 02:00 |
In other words, that I have produced a
good removal of those blemishes, so that
| | 02:05 |
when I tone them down, it'll be less
problematic.
| | 02:08 |
I'll use a little bit smaller brush here,
adjusting the brush size with the left
| | 02:11 |
and right square bracket keys, and we'll
remove that blemish, the dark area over
| | 02:16 |
on the right side as well.
And just overall, essentially behaving as
| | 02:20 |
though I really were trying to completely
remove those dark areas.
| | 02:23 |
Once I've successfully removed those
areas, then I can focus on the toning
| | 02:28 |
down aspect of this approach, and that
involves reducing the opacity for the
| | 02:33 |
layer that I'm performing my clean up
work on.
| | 02:36 |
So with that toned down blemishes layer
active on the Layers panel, I'll go up to
| | 02:40 |
the top right corner of the Layers panel
and click on the pop up for the opacity control.
| | 02:45 |
And drag that slider over to the left a
little bit.
| | 02:48 |
If I take the slider all the way down to
zero, it will be as though I never
| | 02:51 |
performed this cleanup work at all, and
of course, at a 100% value, I will have
| | 02:56 |
completely removed the blemishes.
So now it's up to me to decide to what
| | 03:00 |
degree I want the blemishes to be
visible.
| | 03:02 |
At a very low value, they'll still be
relatively dark, in this case.
| | 03:05 |
At a high value, they'll be relatively
bright.
| | 03:08 |
And I think maybe somewhere right around
there looks to be pretty good.
| | 03:12 |
I'll turn off the visibility for that.
Tone down blemishes layer, so that we can
| | 03:16 |
see the original version of the image.
And then I'll turn the layer back on, and
| | 03:20 |
we can see the toned down version.
So as you can see, in most cases, when we
| | 03:25 |
want to take advantage of the best
cleanup capabilities in Photoshop, but
| | 03:29 |
not to completely remove blemishes, we
need to start off by completely removing them.
| | 03:33 |
And then simply reduce the opacity of our
corrections on that separate layer.
| | 03:38 |
And the result in most cases, I think, is
a much more realistic approach to
| | 03:43 |
removing or toning down distractions in
your images.
| | 03:46 |
| | Collapse this transcript |
|
|
4. Advanced Cleanup TechniquesRemoving strong color casts| 00:02 |
For certain image clean up techniques I
find that I really only use them in
| | 00:05 |
certain situations.
While some of the tools available for
| | 00:09 |
image clean up can be applied to a wide
variety of different possibilities, for
| | 00:13 |
the technique I'm going to show you here,
there's really a fairly narrow set of
| | 00:16 |
situations where you might utilize the
technique.
| | 00:19 |
Specifically you're most likely to use
this option when you have an older image
| | 00:24 |
that is faded in such a way that there's
been a very strong color shift.
| | 00:28 |
This image for example is a scan from a
print, and that print had been stored in
| | 00:33 |
an album for a number of years, and it
became faded over time shifting into a
| | 00:38 |
sort of reddish magenta tint.
And we're going to resolve that color
| | 00:42 |
issue very quickly and easily.
Let me show you how it's done.
| | 00:46 |
I'm going to start off by creating a copy
of my background image layer.
| | 00:49 |
So I'll drag the thumbnail for my
background layer down to the create new
| | 00:53 |
layer button.
The blank sheet of paper icon at the
| | 00:56 |
bottom of the layers panel.
And now, I want to determine the color of
| | 01:00 |
this very strong color cast.
And to do that, I'm essentially going to
| | 01:04 |
determine the average color of the entire
image, in other words the average of all
| | 01:08 |
pixel values.
To accomplish that, I'll go to the filter
| | 01:11 |
menu and then choose blur followed by
average, and what this does is
| | 01:16 |
essentially is blur the image so much
that the result is a single color, the
| | 01:21 |
average color for the entire image.
I'll go ahead and choose that option, and
| | 01:25 |
you can see sure enough that average
color is a variation on magenta you might
| | 01:29 |
say, somewhere in the red to magenta
range.
| | 01:32 |
But of course this is the problem color.
And I want to essentially remove this
| | 01:37 |
color, so I want the opposite.
I'm going to move my image into the
| | 01:41 |
opposite direction.
And so I'll invert this particular layer
| | 01:45 |
to get the opposite color.
To do that, I'll choose image and then
| | 01:49 |
adjustments, followed by invert.
I could also press Control I on Windows
| | 01:54 |
or Command I on Macintosh to execute that
command.
| | 01:58 |
And that gives me a shade of sort of
greenish, which would be the opposite of
| | 02:02 |
a somewhat magenta color, and that color
represents the direction that I want to
| | 02:07 |
move this image into.
Well I can apply that color directly to
| | 02:11 |
the underlying image simply by changing
the blend mode for this layer.
| | 02:15 |
So I'll go to the top of the layers panel
and click the blend mode pop up, and down
| | 02:20 |
toward the bottom I'll choose color.
And this causes the layer that I've
| | 02:24 |
created here, to only effect the color of
what's beneath.
| | 02:28 |
And so the tonality, the texture is
showing through as it were.
| | 02:33 |
It's as though I took a green sheet of
acitate and laid it down on top of the print.
| | 02:37 |
But of course the effect is a little bit
too strong.
| | 02:40 |
Well, a lot too strong, and so we need to
tone down the result.
| | 02:43 |
To do that, I'll go to the Layers panel
once again, and use the Opacity control
| | 02:48 |
to reduce the opacity for this background
copy layer.
| | 02:52 |
The specific value, you'll use will vary
a bit, depending on the particular
| | 02:56 |
circumstances, but generally you'll find
that it will be somewhere in the range of 50%.
| | 03:01 |
If the value is too low then you'll still
see some of the original color showing
| | 03:04 |
through, that strong color cast, and if
it's too high the image will take on the
| | 03:08 |
color cast off the background copy layer
that we created.
| | 03:12 |
So usually right around 50% will give us
a good balance, but you'll want to fine tune.
| | 03:17 |
To get the most accurate color possible
in the image.
| | 03:20 |
Once you've achieved that result,
obviously we've done a great job of
| | 03:23 |
removing the color cast, but the image is
a little bit flat, there's not very much saturation.
| | 03:28 |
So there will certainly be other
adjustments I need to apply.
| | 03:31 |
I want to enhance contrast an boost
saturation at the very least, in this
| | 03:34 |
particular case.
And I might apply some other fine tuning
| | 03:38 |
adjustments, but we're off to a great
start with this image.
| | 03:42 |
I'll turn off the visibility of the
background layers so we can see the original.
| | 03:45 |
And then turn it back on again, and you
can see the result with a very simple
| | 03:49 |
process, just creating a background copy,
applying the average blur to that copy,
| | 03:53 |
and so we've achieved a great result with
a very simple technique.
| | 03:58 |
All I need to do is create a copy of the
background image layer, apply the average
| | 04:02 |
blur filter, and then invert the result,
change the blend mode to color, and
| | 04:06 |
reduce the opacity.
Of course its always a good idea to keep
| | 04:11 |
your layers panel organized.
And so I might want to rename my
| | 04:15 |
background copy layer to something more
meaningful.
| | 04:17 |
I'll go ahead and double click on the
name and type a new name for that layer.
| | 04:21 |
And then press Enter or Return on the
keyboard to apply the change.
| | 04:25 |
But there you have it.
A very quick and easy way to take care of
| | 04:29 |
a very strong color cast in a photo.
| | 04:31 |
| | Collapse this transcript |
| Adjusting brush shape| 00:02 |
It doesn't take very much time to
appreciate that Photoshop has a huge
| | 00:06 |
number of tools with a huge number of
options.
| | 00:09 |
There are all sorts of possibilities in
Photoshop for performing a wide variety
| | 00:13 |
of tasks with your images and yet I find
that in many cases, photographers tend to
| | 00:18 |
use the tools with their default settings
without fine-tuning things to make their
| | 00:23 |
work a little bit easier.
A good example of that relates to the
| | 00:26 |
various tools we can use for image clean
up, such as the Clone Stamp tool or even
| | 00:30 |
the Healing Brush.
Let's take a look at one of the options
| | 00:34 |
you can use to make your work a little
bit easier in certain situations.
| | 00:37 |
Specifically, we're going focus our
attention on one blemish.
| | 00:40 |
You can probably see within this image
there are a number of dust spots.
| | 00:44 |
There was probably some water droplets on
the lens or maybe dust on the image sensor.
| | 00:48 |
But I want to focus on one specific
blemish at the chin as it were, of this egret.
| | 00:55 |
And there's this dark spot and it kind of
goes up into the corner there.
| | 00:58 |
And that makes it a little bit
challenging.
| | 01:01 |
Now in theory, I could certainly just use
a small brush and paint along that edge.
| | 01:06 |
But this is a good example of a situation
where it would be much easier to simply
| | 01:10 |
use an elongated brush that is angled
into that corner.
| | 01:14 |
And that's entirely possible.
Let's take a look at the Healing Brush
| | 01:18 |
for this purpose.
I'll go to the tool box and click and
| | 01:21 |
hold the mouse on the button for the Spot
Healing Brush tool in order to bring up
| | 01:24 |
the fly out menu, and then I'll choose
the Healing Brush tool from that fly out menu.
| | 01:29 |
As you can see, I now have a circular
brush.
| | 01:32 |
That's the default brush for the Healing
Brush tool, and I can adjust the brush
| | 01:36 |
size, in this case, reducing it as needed
to get down into that tight spot to clean
| | 01:40 |
up the blemish.
But that work can be a lot easier if I
| | 01:44 |
use an angled brush.
I'll go ahead and zoom out just a little
| | 01:47 |
bit so we have a bit better context here,
and then I'll click on the brush pop up
| | 01:52 |
for the Healing Brush tool on the options
bar, and of course, we have a size
| | 01:56 |
setting and a hardness setting.
But we also have angle and roundness settings.
| | 02:02 |
I'm going to start off by clicking inside
the roundness field, inside the value for roundness.
| | 02:08 |
And then I'll move my mouse out over the
image so that I can actually see the
| | 02:13 |
brush shape.
I'll then use the up and down arrow keys
| | 02:16 |
as needed to adjust the roundness value.
If I press the down arrow for example, I
| | 02:21 |
go down to 99%, or I can press the up
arrow button to go back up to 100%.
| | 02:26 |
In this case though, I'm also going to
hold the shift key so that I can reduce
| | 02:30 |
or increase the value for roundness by
10% increments.
| | 02:35 |
And so I'll go ahead and reduce that down
oh, right about 40% it looks like, will
| | 02:39 |
be a good value.
I'll also increase the brush size a
| | 02:42 |
little bit so we can get a better sense
of the effect here.
| | 02:45 |
And of course, now I have a better shaped
brush, but it's not at the right angle,
| | 02:50 |
but we can solve for that very quickly
just by clicking into the angle field.
| | 02:53 |
Once again, moving the mouse out over the
image so we can actually see that brush
| | 02:58 |
shape, and then I can use the up and down
arrow keys to change the angle.
| | 03:02 |
In other words, to rotate the brush.
And now I have a brush that will remove
| | 03:08 |
the entire blemish with one click without
interfering with other areas of the photo.
| | 03:13 |
I'm able to essentially reach up into
that tight little spot using an
| | 03:18 |
appropriately shaped brush, simply by
adjusting the roundness and angle values.
| | 03:23 |
I could even save this brush setting if I
wanted to, but I find that I tend to use
| | 03:27 |
extremely variable values here for both
roundness and angle.
| | 03:31 |
So my preference is to simply adjust
those values on the fly.
| | 03:35 |
Now that I have the settings established
well for this particular clean up, I'll
| | 03:39 |
go ahead and close that pop up, and then
I can move my mouse out over a clear area
| | 03:43 |
of the image.
Hold the Alt key on Windows or the Option
| | 03:46 |
key on Macintosh and then click to set a
source for the pixels that will be used
| | 03:51 |
for clean up.
I'll go ahead and create a new image
| | 03:54 |
layer and rename it to image cleanup, so
that I know that this is the layer I'm
| | 03:59 |
using for cleaning up my image.
I'll make sure that the All Layers option
| | 04:03 |
is established for sample on the options
bar, and that the option to ignore the
| | 04:07 |
effect of adjustment layers is also
enabled.
| | 04:09 |
And then, now that I've chosen a sample
area, all I need to do is click on that
| | 04:13 |
blemish, and you can see a one-click
cleanup with a relatively large brush
| | 04:18 |
making my work much easier by adjusting
the roundness and angle for the brush.
| | 04:23 |
And this works both with the Healing
Brush tool, as well as the Clone Stamp tool.
| | 04:28 |
So it's an often overlooked option that
can be very helpful in terms of the
| | 04:33 |
overall efficiency of your image clean up
work.
| | 04:35 |
| | Collapse this transcript |
| Gradient adjustments| 00:02 |
Sometimes an image cleanup task is really
more of an adjustment, but an adjustment
| | 00:06 |
that affects a specific area of an image.
And this image provides an example of that.
| | 00:11 |
For whatever reason I ended up with some
brightening along the bottom edge of the photo.
| | 00:16 |
And it sort of seems to taper off as it
moves upward into the image, and so I
| | 00:20 |
need to apply a targeted adjustment.
Essentially I want to darken down that
| | 00:24 |
portion of the image and have it very
smoothly taper off into the rest of the image.
| | 00:29 |
I think a curves adjustment will work
well for that.
| | 00:32 |
And specifically a curves adjustment that
affects only this small portion of the photo.
| | 00:37 |
I'll start off by adding a curves
adjustment layer.
| | 00:39 |
So I'll click on the Add Adjustment Layer
button at the bottom of the layers panel
| | 00:43 |
and then choose curves from the pop up
menu.
| | 00:46 |
I'll simply drag the curve downward a
bit, and in this case, initially I'm
| | 00:50 |
going to drag it down a lot.
I want an exaggerated adjustment so that
| | 00:54 |
I can see a little more clearly exactly
what's going on in the image.
| | 00:57 |
But then I'm going to choose the gradient
tool from the toolbox, and then I'll go
| | 01:02 |
up to the options bar, and I'll make sure
to choose the option at the very
| | 01:06 |
beginning of the list of gradient
presets.
| | 01:09 |
It looks like white to black at the
moment.
| | 01:11 |
It's actually my foreground color to
background color option.
| | 01:15 |
It's just that my foreground color and
background colors are set to white and
| | 01:19 |
black at the moment.
I'll go ahead and choose that option, and
| | 01:22 |
then I want to be sure I'm using a linear
gradient.
| | 01:24 |
So I'll click that first option for the
linear gradient of the five styles Of gradient.
| | 01:30 |
I'll make sure the blend mode is set to
normal, and the opacity is at 100%, and
| | 01:34 |
that the reverse checkbox is turned off,
so that I'll get exactly the results I'm expecting.
| | 01:39 |
Because I'm working with an adjustment
layer at the moment, the layer mask for
| | 01:44 |
that adjustment layer is selected
automatically.
| | 01:46 |
And so if I draw simply a gradient on the
image itself, that gradient is actually
| | 01:51 |
going to appear on the layer mask.
A layer mask for an adjustment layer is
| | 01:55 |
filled with white by default, which means
that the adjustment layer affects the
| | 01:58 |
entire image, and that's because, in the
context of a layer mask, white reveals
| | 02:03 |
the adjustment.
If I fill that layer mask with black,
| | 02:07 |
I'll get the opposite effect.
The adjustment is blocked for the entire image.
| | 02:11 |
But what I'm going to do is add a
gradient a white to black gradient so
| | 02:16 |
that the adjustment is visible in this
case only at the bottom of the image
| | 02:20 |
transitioning a little bit upward.
I'm going to start off by clicking and
| | 02:24 |
dragging further up in the image.
I'll click from the bottom up toward the
| | 02:27 |
top, but really, just in the center of
the image, and when I release, you'll see
| | 02:32 |
that the gradient, a white to black
gradient, has been added to that layer mask.
| | 02:37 |
And now the darkening effect of my curves
adjustment is only visible for the bottom
| | 02:42 |
half of the photo, and it tapers off
gradually toward the top of the photo,
| | 02:46 |
but what I need is for that effect to
apply way down toward the bottom of the image.
| | 02:50 |
And so the gradient I'm going to draw
will be probably from about there up to
| | 02:55 |
about there, just a very small portion of
the bottom of the image.
| | 02:59 |
With that gradient created, you can see
that I have an adjustment that affects
| | 03:04 |
only the bottom sliver of the image and
that tapers off smoothly.
| | 03:07 |
I'll go ahead and refine that adjustment
and you can see that I'm only affecting
| | 03:11 |
that bottom portion of the photo and I
think right about there is going to be
| | 03:16 |
enough of an adjustment to even out that
tonality.
| | 03:20 |
Of course I can always go back and forth
between these two options.
| | 03:23 |
I can use the Gradient tool to click and
drag to draw a different shaped gradient
| | 03:28 |
within the image, and I can go back to my
curves adjustment to refine the
| | 03:33 |
adjustment as needed.
But in this case just a gradient near the
| | 03:36 |
bottom edge of the image going from white
at the bottom of the page to black at the
| | 03:41 |
top of the image, but only effecting a
very small portion, and then fine tuning
| | 03:45 |
the adjustment so we have just a subtle
amount of darkening for that bottom
| | 03:50 |
portion of the image.
I'll go ahead and turn off the visibility
| | 03:53 |
for that curves adjustment layer, and
then turn it back on again, and you can
| | 03:56 |
see, we have a pretty good effect there.
Just a little bit of darkening needed
| | 04:00 |
along the bottom edge in order to correct
that small distraction that we had in the image.
| | 04:05 |
| | Collapse this transcript |
| Pen tool cleanup| 00:02 |
You may not be familiar with the pen tool
in Photoshop and even if you are you
| | 00:05 |
might not think of it as a tool that you
would employ for image clean up but it
| | 00:09 |
can actually be quite helpful for certain
situations.
| | 00:12 |
Let's take a look at an example where the
pen tool can make your work a little
| | 00:16 |
easier in terms of cleaning up
distractions in a photo.
| | 00:19 |
In this image, I have a construction
scene and the only thing that's really
| | 00:23 |
bothering me is this string that's run
across the scene.
| | 00:26 |
Now of course that scene is there for a
reason, to help the construction crew
| | 00:30 |
align the cobblestones perfectly.
But I still think I'd like to remove that
| | 00:35 |
distraction from the scene.
And I'm going to use the Pen Tool to help
| | 00:39 |
make that task a little easier.
I could certainly use the Spot Healing
| | 00:43 |
Brush Tool and just paint along that
string in order to remove the blemish,
| | 00:47 |
but following that line.
All the way across the photo can be a
| | 00:51 |
little bit challenging and so I'm going
to use the pen tool to make that task easier.
| | 00:56 |
I'll start off by selecting the pen tool
and then I'm going to click within the
| | 01:01 |
image now and in this case I'm actually
going to click just outside the image.
| | 01:05 |
I'll zoom in a little bit so that we can
see the image a little more clearly.
| | 01:09 |
And I'll start right outside of the edge
of the string.
| | 01:12 |
I want to click in perfect alignment with
that string.
| | 01:15 |
But outside of the image so that I make
sure that I'm going to clean up the
| | 01:19 |
entirety of that string.
And then I'll pan across just a little
| | 01:23 |
bit so that we can see the other side of
the image.
| | 01:26 |
And I'll, once again, click.
But this time I'm going to click and
| | 01:30 |
hold, just outside of the edge of the
image once again.
| | 01:33 |
And the reason that I'm holding the
mouse, instead of just clicking and
| | 01:36 |
releasing, is because that enables me to
adjust the shape of the line that I'm drawing.
| | 01:41 |
The pen tool can actually form Bezier
curves.
| | 01:45 |
In other words, lines that are not
exactly straight.
| | 01:48 |
If I move my mouse away from that anchor
point, and then drag outward, in other
| | 01:52 |
words, taking it in this case up or down
you'll notice that that line starts to curve.
| | 01:57 |
The further I drag away from my anchor
point the more toward the center of that
| | 02:01 |
line, the curve will be focused and then
of course moving up or down allows me to
| | 02:07 |
rotate the actual line itself.
The angle of that curvature essentially.
| | 02:12 |
In this case, I don't need much of a
curve at all, I just need an ever so
| | 02:16 |
slight amount of curve to follow the very
subtle curvature of this line, of the
| | 02:20 |
string that was going across the frame,
and so I think right about there is going
| | 02:25 |
to work nicely.
I'll zoom out and we can see that that
| | 02:28 |
pen tool line, we refer to that as a
path, is following quite nicely along the.
| | 02:33 |
Form of that string.
Now I've created a path.
| | 02:37 |
I've used that pen tool to draw a shape,
and now I can use the spot healing brush
| | 02:42 |
tool to trace along that path.
I'll go ahead and set up for the use of
| | 02:47 |
the spot healing brush tool, and that
means adding a new layer by clicking on
| | 02:51 |
the create new layer button at the bottom
of the layers panel.
| | 02:54 |
I'll go ahead and rename that layer.
Just by double clicking on the name of
| | 02:59 |
the layer, typing a new name and pressing
Enter or Return on the keyboard.
| | 03:03 |
And then I'll switch to this Spot Healing
Brush tool.
| | 03:06 |
And you can see that I have the option
set for Content Aware and to sample all layers.
| | 03:11 |
So now I want to zoom in a little bit so
I can see the line that I'm trying to remove.
| | 03:17 |
And then I'll move my mouse out over the
image and adjust the brush size.
| | 03:20 |
So I want a brush that's just barely
larger than the string that I'm trying to
| | 03:25 |
clean up here.
So I can use the left and right square
| | 03:27 |
bracket keys to adjust that brush size as
needed.
| | 03:30 |
In this case, the left square bracket key
to reduce the brush size.
| | 03:34 |
But I can also increase the size with the
right square bracket key as needed.
| | 03:38 |
With the brush adjusted, I'll go ahead
and zoom back out so we can see the
| | 03:42 |
entire image.
And then I'll go to the Window menu.
| | 03:46 |
And I'm going to choose paths and that
will bring up the path's panel, and you
| | 03:50 |
can see that work path defined on the
paths panel.
| | 03:54 |
So now I'm ready to paint with this spot
healing brush tool along the line defined
| | 04:00 |
by this path and for that I'll use the
stroke button and that's the second button.
| | 04:05 |
It's the solid circle that is not filled
in on the bottom of the paths panel.
| | 04:09 |
And when I click that button.
The spot healing brush tool will be used
| | 04:14 |
to trace along the path that I defined.
And what that means, of course is that
| | 04:19 |
I'm utilizing the content aware option
with the spot healing brush tool to
| | 04:24 |
remove the string.
Now that I've painted along that path I
| | 04:28 |
can go ahead and delete the workpath.
And now we can see that the string has
| | 04:32 |
been completely removed.
I'll go ahead and close the Paths panel,
| | 04:36 |
and then turn off my Image Cleanup Layer,
and turn it back on.
| | 04:39 |
And sure enough, you can see that, that
string has been effectively removed and
| | 04:44 |
very, very easily.
All I needed to do was define that path
| | 04:47 |
and then stroke the path with the Spot
Healing Brush tool.
| | 04:50 |
| | Collapse this transcript |
| Manual patching| 00:02 |
At times you might find that the image
cleanup task you're looking to perform is
| | 00:06 |
challenged a little bit because of the
nature of the subject.
| | 00:09 |
Here, for example, I have a broken window
with some plywood in it, and I'd like to
| | 00:14 |
replace that with a window that is not
broken.
| | 00:17 |
In other words, with a pane of glass
rather than a bit of plywood.
| | 00:19 |
And the challenge is I can't really use
the existing tools for this purpose.
| | 00:25 |
If I were to use the clone stamp tool or
the healing brush tool for example, then
| | 00:29 |
I need to paint very precisely, and that
can be challenging to say the least.
| | 00:34 |
Instead, what I really want to do is just
copy and paste another one of the window panes.
| | 00:38 |
So let's take a look at how we can
perform this task.
| | 00:41 |
It's a task that I generally refer to as
manual patching, because I'm literally
| | 00:46 |
just patching an area manually by copying
and pasting pixels.
| | 00:50 |
Since the window that I want to replace
is at the right edge of the frame here,
| | 00:55 |
instead of using the window to the left
to replace that area, I'll use the window
| | 01:00 |
above or below.
So, in this case, I'll just use the
| | 01:03 |
window above.
And what I want to do initially is to
| | 01:05 |
create a selection that is larger than
the area that I need need to repair.
| | 01:09 |
So, I'll go ahead in this case and choose
the rectangular marquee tool.
| | 01:14 |
And then I'll select more than I need
from the window pane that I'm going to
| | 01:18 |
use as the replacement.
So, I'll include the entire frame around
| | 01:22 |
that window pane, for example.
And even extend over into the bricks,
| | 01:25 |
just a little bit.
I want to make sure I have more than I
| | 01:28 |
need for the cleanup task that I'm
performing here.
| | 01:30 |
Next, I'm going to create a copy of the
pixels that are found within this selection.
| | 01:36 |
Specifically, I'll copy them from the
background image layer.
| | 01:39 |
So, I want to make sure the background
layer is active on the Layers panel and
| | 01:43 |
that my selection is in the right place
and then I can choose Layer > New and
| | 01:49 |
then layer via copy from the menu.
I could also simply press Ctrl+J on
| | 01:54 |
Windows or Cmd+J on Macintosh to perform
that task.
| | 01:58 |
I'll go ahead and choose that option from
the menu, and now you'll notice that I
| | 02:01 |
have a new layer.
It's called layer 1, and you can probably
| | 02:05 |
see just a little bit that we have some
pixels on that layer based on the thumbnail.
| | 02:09 |
I'll rename this layer to window
replacement.
| | 02:14 |
I'll just double click on the name of the
layer, type a new name and then press
| | 02:17 |
Enter or Return to apply the change, and
now I'm ready to use this duplicate
| | 02:22 |
window to patch my plywood.
I'll choose the move tool from the
| | 02:26 |
toolbox, and then click and drag to move
that window downwards.
| | 02:31 |
I could also use the arrow keys on the
keyboard to move it into position.
| | 02:34 |
It can be very helpful to reduce the
opacity, in order to ensure a perfect
| | 02:39 |
alignment here.
I'll set the opacity down to about 50
| | 02:43 |
percent, and then I can use those arrow
keys to move the image around.
| | 02:48 |
And it looks like right about there is
going to be a good position, so I'll
| | 02:51 |
bring the opacity back up to 100%.
Now it looks like we have a pretty good
| | 02:56 |
patch at the moment, but there's a pretty
good chance that along those edges we'll
| | 03:00 |
find some indications of our work.
You may see a faint line here for example
| | 03:05 |
that represents some subtle tonal
differences between the source area and
| | 03:10 |
the destination.
And I want to remove that, I can use a
| | 03:13 |
layer mask to accomplish that task.
So, with my Window Replacement layer
| | 03:17 |
active, I'll click on the circle inside
of a square button.
| | 03:21 |
That's the Add Layer Mask button that
will add a layer mask to that layer.
| | 03:25 |
Next, I'll choose the Brush tool, and
then press the letter D for default colors.
| | 03:30 |
To set my foreground and background
colors to white and black and then I'll
| | 03:35 |
press the letter X to switch the
foreground color to black.
| | 03:39 |
Now I can bring my mouse out over the
image.
| | 03:41 |
I want to make sure that I'm using a soft
edged brush.
| | 03:43 |
You can see in this case that I have my
brush hardness set to 0%, so that will
| | 03:47 |
work just fine.
And then I'll adjust the brush size and
| | 03:50 |
in this case I want to use a relatively
small brush size.
| | 03:54 |
So that you can see the effect a little
better, I'm going to turn off the
| | 03:56 |
background image layer temporarily, and
then I'll adjust my brush size as needed.
| | 04:01 |
And then I'm simply going to paint right
along the edge of the window replacement here.
| | 04:06 |
You'll notice that because I'm using a
soft edge brush, I'm getting a smooth
| | 04:11 |
transition between the area that I'm
patching and the rest of the image.
| | 04:17 |
So I'll just paint into the window frame
a bit.
| | 04:19 |
Bear in mind that I only need to replace
the glass.
| | 04:22 |
The window frame itself.
But I want to include some of the window
| | 04:26 |
frame here, just so that we make sure
that we get a smooth transition.
| | 04:30 |
And so that I don't inadvertently end up
with some of that plywood showing through.
| | 04:34 |
So this gives you a sense of the effect
we're achieving on this layer.
| | 04:38 |
Let's go ahead and turn on that
background layer once again, and we can
| | 04:42 |
then turn off our window replacement
layer, and turn it back on again.
| | 04:46 |
And you'll see that we've got a great
result, a perfect match.
| | 04:50 |
We're placing that window pane with a
pane that was taken from elsewhere in the image.
| | 04:55 |
So that's a manual patching technique
that can work very well for situations
| | 04:59 |
where the normal image clean up tools
just aren't going to be quite as effective.
| | 05:04 |
| | Collapse this transcript |
| Extending the frame| 00:00 |
And at times you may find that the clean
up work you're trying to perform doesn't
| | 00:05 |
exactly involve the inside of the photo
frame, as it were, but actually outside.
| | 00:10 |
In other words, that you want to extend
the frame of your image.
| | 00:14 |
Here I might like to have a little more
space over on the right hand side.
| | 00:18 |
(INAUDIBLE).
I feel that the whale tail here is just a
| | 00:21 |
little bit crowded.
I want some room for the overall whale to move.
| | 00:24 |
Especially since the whale itself of
course extends far outside of the frame,
| | 00:28 |
albeit under water.
So, let's take a look at how we can
| | 00:31 |
extend the frame to provide a little more
room over to the right hand side.
| | 00:35 |
I'm going to start off by creating a
selection from within the image.
| | 00:39 |
So I'll choose the Rectangular Marquee
tool, and then I'll start outside the top
| | 00:43 |
right corner of the image, and then click
and drag into the image.
| | 00:46 |
And I'm just going to sample a portion of
the photo.
| | 00:49 |
Specifically I want to create a selection
that will match the area that I'm going
| | 00:53 |
to duplicate, and then extend further out
from the photo.
| | 00:58 |
So I'll go ahead and release the mouse to
create that selection, and then I'm going
| | 01:01 |
to duplicate these pixels.
I'm going to make an exact copy of this
| | 01:05 |
portion of the photo.
And so, with my background layer active
| | 01:09 |
on the layers panel, and a selection
created.
| | 01:11 |
I'll go to the layer menu, and then
choose new followed by layer via copy.
| | 01:16 |
You could also press Ctrl-j on Windows,
or Cmd-j on Macintosh to achieve the same result.
| | 01:22 |
And that result is an exact copy of those
pixels.
| | 01:27 |
Next, I want to extend the canvas of this
image.
| | 01:29 |
I need to provide some room over on the
right side, in order to enlarge this image.
| | 01:34 |
And so I'll go to the Image menu, and
then choose Canvas Size.
| | 01:38 |
I'll set the Anchor option over to the
left side, so that the expansion only
| | 01:42 |
goes over to the right.
And then I'll turn on the Relative check
| | 01:46 |
box, so I can simply specify the amount
by which I want to increase the size of
| | 01:51 |
the image.
And in this case I think just a couple of
| | 01:54 |
inches in the width will be perfectly
fine.
| | 01:56 |
I'll add three inches just to be on the
safe side, and then I'll click OK and
| | 02:01 |
that gives me some room to work with, and
then I can specify how many inches I want
| | 02:05 |
to add to the width.
You'll notice that the current width is
| | 02:08 |
just shy of 21 inches, and so I'll add
around five inches just to make sure I
| | 02:13 |
have plenty of room to work with.
Next, I'll want to move that duplicate
| | 02:17 |
section of the image that I created.
So with the move tool active on the tool
| | 02:21 |
box, and layer one active on the layers
panel, I can simply click and drag in
| | 02:26 |
order to move that layer.
And I’ll go ahead and align it with the
| | 02:29 |
right edge of my photo, in this case I’ll
fine tune with the left and right arrow
| | 02:34 |
keys to move the position of that layer.
And then I’ll zoom out a little bit, so
| | 02:39 |
that we can see the problem we’ve created
for ourselves essentially, and that is
| | 02:43 |
specifically that things don't line up
along this edge.
| | 02:47 |
I have an obvious seam of course because
I've essentially taken pixels from a
| | 02:51 |
quarter of the way into the image
approximately, and moved them over to the edge.
| | 02:55 |
And so, these pixels match those pixels
and they're not in the same position but,
| | 03:01 |
the pixels along that right edge are now
over on the right edge of my duplicate layer.
| | 03:06 |
And so, I can flip this layer in order to
get a good match.
| | 03:10 |
So, I'll go to the edit menu.
And then under the Transform sub-menu,
| | 03:15 |
I'll choose flip horizontal.
And that will flip that layer.
| | 03:18 |
Now you can see we no longer have that
scene.
| | 03:21 |
We have a perfect match for those pixels.
Of course the problem is, we also have a
| | 03:26 |
perfect match for some of these other
elements.
| | 03:28 |
We've created some rather obvious
duplication here, but I can very easily
| | 03:32 |
clean that up with a variety of different
techniques.
| | 03:35 |
I'll go ahead and add a new layer for
image cleanup, and then perhaps in this
| | 03:38 |
case, I'll just use the spot healing
brush tool in order to try to clean up
| | 03:42 |
these areas.
I'll adjust the brush size, and then
| | 03:45 |
paint into those areas in order to apply
a cleanup effect.
| | 03:50 |
So, you can see, by duplicating pixels,
enlarging our canvas, flipping the
| | 03:54 |
duplicate pixels, and aligning them
properly, I can then do any other cleanup
| | 03:59 |
work needed to blend the result.
But now we have an extended canvas.
| | 04:03 |
The last step I need to perform in this
case is to crop ever so slightly, so I'll
| | 04:07 |
go ahead and apply that crop.
And now we have an extended canvas, so a
| | 04:13 |
relatively straightforward process for
extending a canvas in tricky situations.
| | 04:18 |
| | Collapse this transcript |
| Using multiple exposures to remove people| 00:02 |
More often than not, when I photograph a
scene, I prefer to have no people in that scene.
| | 00:07 |
I just like to have a scene without the
people in it, and sometimes that can be a challenge.
| | 00:12 |
In this case for example, I was
photographing this staircase that goes up
| | 00:16 |
this cliff, and I was waiting, and
waiting, and waiting for an opportunity
| | 00:22 |
to photograph that staircase with no
people in it.
| | 00:25 |
But it didn't seem like that was ever
going to happen.
| | 00:28 |
At any given moment, there were at least
a few people on the stairs, and so
| | 00:32 |
instead, I captured several images from a
tripod, of course, so that I had
| | 00:35 |
consistent framing.
And that allowed me to pick and choose
| | 00:39 |
among several images, and then I can
blend those images together to remove the
| | 00:43 |
people quite easily.
In this case I was able to select two
| | 00:46 |
images that I think will work well
blended together to remove all people.
| | 00:50 |
You can see here is the first image.
And then if I switch to the second image
| | 00:55 |
you'll find that there are people in very
different locations and I think enough of
| | 01:00 |
a difference that we can get a people
free result.
| | 01:03 |
As I switch between the images though you
might also notice that the alignment is
| | 01:07 |
slightly off, even though I was using a
tripod I ended up with a slight
| | 01:11 |
misalignment between those images.
But that, too, we're going to fix very easily.
| | 01:17 |
I'll start off by going to the File menu
and then choosing Automate followed by
| | 01:21 |
Photomerge and this is so that we can
have Photoshop automatically align our images.
| | 01:27 |
After choosing that option, I'll click on
the Add Open Files button so that both of
| | 01:32 |
the images I have opened are added to the
list of source files.
| | 01:36 |
I'll leave the layout options set to
auto, and then I'm going to turn off all
| | 01:40 |
three of the check boxes down below
because I just want these images to be aligned.
| | 01:45 |
So, with those settings established, I'll
click the OK button, and then a brand new
| | 01:49 |
document is created for me.
You'll notice that this document includes
| | 01:53 |
Stairs1 and Stairs2.
My original source images, and so at this
| | 01:58 |
point I can close those source images and
just work with the new image that's been created.
| | 02:03 |
If I turn off the top layer you'll see
that the bottom layer has people in
| | 02:08 |
certain positions, but there's a
difference between those two layers.
| | 02:11 |
So when we switch back and forth it looks
like we'll end up with a people free result.
| | 02:16 |
And so what I'm going to do is hide
portions of this top most layer to reveal
| | 02:21 |
the layer below.
In other words, where there are people in
| | 02:25 |
the top most layer, I'm going to block
those pixels in order to reveal the
| | 02:29 |
people free pixels down below.
To accomplish that I'll add a layer mask
| | 02:34 |
to my top layer.
So with the top layer selected on the
| | 02:37 |
layers panel I'll click on the Add Layer
Mask button.
| | 02:41 |
The circle inside of a square icon at the
bottom of the layers panel, and as you
| | 02:45 |
can see, that adds a layer mask to my top
most layer.
| | 02:48 |
That layer mask is filled with white,
which means this layer is being
| | 02:51 |
completely revealed.
Every single pixel is currently visible.
| | 02:55 |
But I'm going to change that.
I'm going to selectively hide certain
| | 02:59 |
pixels within the image.
I'll go ahead and choose the Brush tool.
| | 03:03 |
And of course I want to paint with the
opposite of white.
| | 03:06 |
With a layer mask, white reveals, but
black blocks.
| | 03:09 |
And so with the Brush tool selected, I'll
press the letter D on the keyboard to set
| | 03:14 |
the default color values, and then I'll
press the letter X in this case to switch
| | 03:18 |
the foreground and background colors so
that black is my foreground color.
| | 03:22 |
And then I can move out over the image
and adjust my brush size as needed.
| | 03:26 |
Using the left square bracket key to
reduce the brush size, and the right
| | 03:30 |
square bracket key to increase the brush
size.
| | 03:33 |
Notice on the options bar I'm using the
normal blend mode and a 100% opacity.
| | 03:38 |
And I'm also painting with a brush
hardness of 0%, so that I'll have a
| | 03:42 |
little bit of blending between the two
layers that I'm working with here.
| | 03:46 |
Bear in mind, of course, that they should
be perfectly aligned because I took that
| | 03:50 |
step using the photomerge command.
So, now I can paint with black and I will
| | 03:55 |
block the people from this layer,
revealing the people free version down below.
| | 04:01 |
I'll go ahead and zoom in on another
portion of the image so we can get a
| | 04:05 |
closer look.
And I'll reduce the brush size, in this
| | 04:08 |
case, and then click and drag and paint,
to paint with black on the layer mask,
| | 04:13 |
blocking pixels from that upper layer,
and revealing pixels from down below,
| | 04:18 |
effectively removing people in the
process.
| | 04:21 |
And so I can continue working on this
image.
| | 04:24 |
I'll zoom out so I can see where else we
might have some people.
| | 04:27 |
I see there are a couple up toward the
top of the image.
| | 04:30 |
And so once again I can paint to remove
those people from the frame as well.
| | 04:35 |
So with this process I'm able to take, in
this case, just a couple of exposures,
| | 04:39 |
and blend them together in order to
remove people from the frame.
| | 04:44 |
So that I'm combining the people free
portions of one image, with the people
| | 04:48 |
free portion of another image, in order
to remove all people from the image.
| | 04:52 |
| | Collapse this transcript |
| Replacing a bad sky| 00:02 |
It seems the most common thing I hear
from photographers who want to clean up
| | 00:05 |
an image is that they want to clean up a
bad sky.
| | 00:08 |
They may have been at a particular
location for a limited amount of time and
| | 00:12 |
just didn't get the beautiful sky they
were hoping for.
| | 00:15 |
And so they'd like to clean it up
essentially, replacing that sky with a
| | 00:18 |
completely different sky.
Here, for example, I have a rather drab
| | 00:23 |
sky, but if I switch to the other image
that I have open here, you'll see that we
| | 00:26 |
have a very nice cloudy sky.
And so I'd like to combine these two
| | 00:30 |
images, placing that cloudy sky into this
Monument Valley photo.
| | 00:35 |
I'm going to start off by combining these
two images, and so I'll go to the Window
| | 00:38 |
menu and choose Arrange followed by Tile
All Vertically, so that I can see both images.
| | 00:44 |
And then using the Move tool form the
toolbox, I'll click on the cloudy sky
| | 00:48 |
photo and then click and drag into the
Monument Valley photo, but before I
| | 00:53 |
release the mouse, I want to press and
hold the Shift key so that, that image
| | 00:57 |
will be centered in the destination.
I'll then go ahead and close my cloudy
| | 01:02 |
sky image and you can see that I have now
two layers.
| | 01:05 |
My original background image layer for
the Monument Valley photo, and the cloud layer.
| | 01:10 |
Of course, these two images were not the
exact same size, so you'll notice that
| | 01:15 |
the cloud layer for example, doesn't
quite entirely cover the sky from the background.
| | 01:20 |
I'll worry about that just a little bit
later.
| | 01:22 |
But for now, I'm going turn off the
visibility for my cloud layer, and then
| | 01:26 |
click on the thumbnail for the background
image layer to make that layer active,
| | 01:30 |
and now I want to create a selection of
the sky.
| | 01:34 |
In this case, I think I can just use the
quick selection tool and so I'll choose
| | 01:39 |
that tool from the toolbox.
I'll make sure that Sample All Layers and
| | 01:42 |
Auto Enhance are turned on and then I
will click and paint throughout the sky
| | 01:47 |
here in order to create a selection of
the sky.
| | 01:50 |
It looks like we have most of the sky,
but I missed a small portion here, so
| | 01:54 |
I'll zoom in and reduce the size of the
brush, and then click and drag to paint
| | 01:59 |
inside of that area.
And that looks like we've got a good
| | 02:03 |
selection now.
So, with a selection of that sky, I can
| | 02:06 |
now set about blending my cloudy sky into
this frame.
| | 02:10 |
I'll select my cloudy layer and I'll go
ahead and turn on the visibility for that
| | 02:14 |
layer as well, and now the selection
shows us where we want to be able to see
| | 02:19 |
this specific layer.
That means, I need to use a layer mask to
| | 02:23 |
hide portions of this cloudy layer and so
I'm going to use this selection as the
| | 02:27 |
bases of the layer mask.
So with my cloud layer active on the
| | 02:31 |
Layers panel, and with this selection in
the image, I can simply click on the Add
| | 02:35 |
Layer Mask button, the circle inside of a
square icon at the bottom of the Layers
| | 02:39 |
panel, and that will add a layer mask to
my cloudy sky layer based on the selection.
| | 02:45 |
Now I've defined the shape for that sky.
I might want to feather that just a
| | 02:51 |
little bit, so I'll increase the feather
value on the masks section of the
| | 02:55 |
Properties panel so that I get a little
bit of a blending between the Monument
| | 03:00 |
Valley image and the sky that I'm adding
to it.
| | 03:03 |
Usually somewhere around one pixel will
work out very nicely.
| | 03:06 |
But now, I want to fine-tune that cloud
layer.
| | 03:09 |
I'm going to zoom out a little bit so
that we'll be able to better work with
| | 03:13 |
the next step here.
With the cloud layer active, I'm going to
| | 03:16 |
turn off the link between the layer mask
and the image layer itself.
| | 03:22 |
And that's because I want the layer mask
to remain exactly where it is with
| | 03:26 |
exactly the shape that it has.
I only want to change the clouds
| | 03:30 |
themselves without changing where they
appear within the photo.
| | 03:34 |
Then I'll click on the thumbnail for the
clouds and then choose Edit followed by
| | 03:38 |
Free Transform from the menu.
I could also press Ctrl+T on Windows, or
| | 03:43 |
Cmd+T on Macintosh to activate that free
transform.
| | 03:47 |
You'll recall that the clouds didn't
quite go all the way up to the top of the image.
| | 03:52 |
So I could start off by stretching that
image just a little bit, so that the
| | 03:55 |
clouds do extend beyond the frame.
But in this case, I might also want to
| | 04:00 |
adjust the overall size and shape of that
cloud layer.
| | 04:03 |
In this case, bringing the bottom edge
upward just a little bit so that we see
| | 04:08 |
more of those darkened storm clouds off
in the distance.
| | 04:11 |
I could also stretch left and right if I
felt the need to do that.
| | 04:15 |
But in this case, I think this change in
shape will work out quite nicely.
| | 04:19 |
So I'll go ahead and click the checkmark
button to commit that change.
| | 04:23 |
And now I have a new sky behind my
Monument Valley scene.
| | 04:27 |
It is only visible where the sky was for
the existing image, and I've adjusted the
| | 04:33 |
overall shape of the clouds to better
match their surroundings.
| | 04:36 |
So as you can see, with the help of a
selection, we're able to blend a couple
| | 04:40 |
of images to replace the sky, what you
might think of as the ultimate in image
| | 04:44 |
clean up.
| | 04:45 |
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