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The Spot Removal and Graduated Filter tools

From: Photoshop CS6 One-on-One: Advanced

Video: The Spot Removal and Graduated Filter tools

This time I have three images open in Camera Raw, we're going to start things off in View from Alcatraz-2.dng. Now, before we leave the Basic panel, I want to show you a few tools that are available to you up here in the toolbar. Starting with the Spot Removal tool, and ending with the Graduated Filter, we have a collection of four tools that allow you to brush in modifications inside of Camera Raw. So I'll start by demonstrating Spot Removal, it's pretty easy to use. The idea, let's say I want to get rid of whatever this thing is, whether it's a piece of camera guck or it's something falling off this tree, or some weird shaped bird, let's say I want to get rid of it.

The Spot Removal and Graduated Filter tools

This time I have three images open in Camera Raw, we're going to start things off in View from Alcatraz-2.dng. Now, before we leave the Basic panel, I want to show you a few tools that are available to you up here in the toolbar. Starting with the Spot Removal tool, and ending with the Graduated Filter, we have a collection of four tools that allow you to brush in modifications inside of Camera Raw. So I'll start by demonstrating Spot Removal, it's pretty easy to use. The idea, let's say I want to get rid of whatever this thing is, whether it's a piece of camera guck or it's something falling off this tree, or some weird shaped bird, let's say I want to get rid of it.

Well, what you do is instead of brushing, you drag a circle around it, like so, and then you decide where your source should be. So green is source; red is destination. I'll go ahead and move the source over to this location, set the Type to Heal. If you'd prefer to Clone instead, you can do that, but Healing is going to generally blend in the information better. And then I've got something else somewhere else here, there is this bird right there, I just don't like him. So I'll go ahead and drag something around him as well, and drag this cursor to a different location.

If you ever think better of one of your Spot Healings here and you want to get rid of it, then you press the Alt key or the Option key on the Mac and click on the item in order to delete it, but in my case I liked it, so I'll go ahead and press Ctrl+Z or Cmd+Z on the Mac in order to regain that Spot Healing. You can also turn off your Overlays by the way, and you do that either by deselecting this checkbox, or by pressing the V key, as you can see in that tooltip. All right, the next tool over is the Red Eye Removal tool. If you have red eye inside one of your photographs, then just go and select the tool, click on the pupil, cross your fingers, and hope for the best.

All right, now I'm going to switch over to the first thumbnail, Glanum ruins, and I've already applied a few basic modifications to this image. To check them out, by the way, if you ever want to switch back to the standard panel set, then you just tap the Z key in order to select the Zoom tool, which is the default tool inside of Camera Raw, and all of your options will be reinstated. And we can see that I modified the Shadows and the Highlights and so forth inside this image. And originally, by the way, this image was in pretty bad shape. If I switch over to Snapshots, you can see that I've created a bunch of Snapshots over time for this image, including Default settings.

This is what the image looked like when I first opened it, so pretty darn ugly. Now it looks like this. If you click on ACR7 conversion. All right, now I'm going to switch back to my Basic panel, and what I want to do is brighten up this foreground even more, and also neutralize the sky, because thanks to the fact that I cranked up the Temperature value in order to reinstate the natural colors of these pillars, I ended up making the neutral portion of the clouds really super brown. So we need to take care of both of these items, and we're going to do so using the Graduated Filter.

So you can get to it by pressing the G key. And then I'm going to drag from right about here up to here, like so, and I was pressing the Shift key during that drag so I have a perfectly vertical gradient. Green represents the beginning of the modification and red represents the end, and of course it gradually dissipates in the area in between. Now, you may end up getting a warning telling you that you need to modify some value here inside the Graduated Filter panel. Go ahead and do so and then try to draw your gradient again.

Now, all I'm seeing is the last stuff I was messing around with, none of which has anything to do with this image. So I'm going to go ahead and zero out these values. And what's amazing about this is that you can do it. So you can't create a gradient until you enter some values, but then after you've created the gradient, you can go ahead and zero out the values which doesn't make any sense, but there it is. I'm going to take that Exposure value up to 0.5 by pressing Shift+Up Arrow. And then I'm going to take the Contrast value down in order to brighten up the scene a little bit more.

And I'm going to take the Shadows value up, let's say, to +50, and then I'll take the Clarity value up to +50 as well, so that we emphasize the effect of these ancient carved pillars. And then finally I'm going to change the Temperature value. So much of this by the way is new to Camera Raw 7, in particular the fact that you can change Temperature and Tint, which we've needed for a long time, where the Graduated Filter and the Adjustment Brush are concerned, so this is really welcome stuff here.

All right, so that takes care of the pillars, now let's take care the sky, and I'm going to drag from right about here downward, like so, until we meet up with the end of the previous gradient. And you know what, I'm going to take it all the way down to the bottom of the sky, what the heck! All right. And all I need to do here, I'm going to go ahead and zero out these values, because I'm not interested in darkening the sky or brightening the sky, I want to take this Temperature value down, and I'm going to take it down to -50, a point at which the sky looks pretty darn neutral.

So just to give you a sense of what we were able to accomplish, I'll press the V key in order to hide the Overlays, and of course you can just press V to bring them back again. And then I'll turn off the Preview checkbox. And the Preview checkbox by the way controls the display of just those settings in the active panel. So in other words, I'm just temporarily turning off the Graduated Filter and nothing more, and now I'll turn it back on, and we have what I consider to be a much better effect. And so now I'm going to press the Z key in order to switch back to the Zoom tool, so I get back all my panels.

I'll switch over to Snapshots. I'll go ahead and click on the Page icon and I'll call this Graduated ACR7, because this is the newest version of this effect for me. And now, just to give you a sense of how far we've come with this image since I first opened it, here are the Default settings, oh just terrible, and here is the effect of the work that we've done. So that's how you work with the Spot Removal tool, as well as the Graduated Filter. In the next movie I'll show you how to work with the most complex of the tools, which is the Adjustment Brush.

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This video is part of

Image for Photoshop CS6 One-on-One: Advanced
Photoshop CS6 One-on-One: Advanced

124 video lessons · 19176 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 30m 4s
    1. Welcome to One-on-One
      2m 19s
    2. Loading the dekeKeys keyboard shortcuts
      6m 5s
    3. Remapping your Macintosh OS shortcuts
      3m 4s
    4. Adjusting a few general preferences
      4m 3s
    5. Using the visual HUD color picker
      2m 2s
    6. The interface and performance settings
      5m 31s
    7. Adjusting the color settings in Photoshop
      7m 0s
  2. 47m 0s
    1. Smart Objects
      1m 36s
    2. Three ways to place a Smart Object
      3m 6s
    3. Copying and pasting from Adobe Illustrator
      4m 11s
    4. Transforming and warping a vector object
      4m 48s
    5. Blending a Smart Object into a photograph
      3m 10s
    6. Blurring with a nested Smart Filter
      4m 57s
    7. Editing a Smart Object in Illustrator
      3m 20s
    8. Creating "true clones"
      3m 50s
    9. Duplicating a group of clones
      2m 53s
    10. Breaking the Smart Object link
      2m 53s
    11. Styling and blending Smart Objects
      2m 44s
    12. Editing originals; updating clones
      3m 41s
    13. Removing people from a scene with Median
      5m 51s
  3. 29m 59s
    1. Luminance meets sharpening
      1m 2s
    2. Correcting for lens distortion
      4m 39s
    3. Introducing Shadows/Highlights
      3m 54s
    4. Mitigating halos with Radius values
      4m 19s
    5. Enhancing the effects of Midtone Contrast
      3m 18s
    6. Creating a "bounce" with Gaussian Blur
      3m 29s
    7. Sharpening on top of blur
      2m 47s
    8. Masking a group of Smart Filters
      2m 53s
    9. Reducing the density of a layer mask
      3m 38s
  4. 49m 10s
    1. Using Curves
      2m 40s
    2. Introducing the Curves adjustment
      7m 36s
    3. Adding and editing points on a curve
      6m 27s
    4. Winning Curves tips and tricks
      8m 12s
    5. Correcting a challenging image
      6m 33s
    6. Selecting and darkening highlights
      4m 39s
    7. Neutralizing colors and smoothing transitions
      6m 6s
    8. The new automatic Curves function
      6m 57s
  5. 1h 31m
    1. Camera Raw
      2m 11s
    2. Opening and editing multiple images
      8m 1s
    3. Correcting white balance
      4m 8s
    4. The revamped Exposure controls
      8m 8s
    5. Working with archival images
      7m 54s
    6. The Spot Removal and Graduated Filter tools
      6m 4s
    7. Painting edits with the Adjustment Brush
      7m 23s
    8. Tone Curves (and why you don't need them)
      5m 57s
    9. Straighten, crop, and geometric distortions
      5m 17s
    10. Applying manual lens corrections
      5m 14s
    11. Vignette, chromatic aberration, and fringe
      6m 49s
    12. Selective hue, saturation, and luminance
      6m 36s
    13. Working with JPEG and TIFF images
      6m 36s
    14. Camera Raw Smart Objects
      6m 48s
    15. Editing Camera Raw images from Bridge
      4m 24s
  6. 32m 30s
    1. Duotones
      1m 23s
    2. Creating a professional-quality sepia tone
      4m 18s
    3. Introducing the Gradient Map adjustment
      5m 42s
    4. Loading a library of custom gradients
      3m 48s
    5. Creating a custom quadtone
      5m 48s
    6. Colorizing with blend modes and Opacity
      4m 6s
    7. Creating a faux-color, high-key effect
      7m 25s
  7. 1h 6m
    1. Noise vs. Details
      1m 28s
    2. Introducing the Reduce Noise filter
      7m 29s
    3. Correcting a noisy photo
      5m 33s
    4. Smoothing over high-contrast noise
      5m 50s
    5. Protecting details with an edge mask
      4m 52s
    6. Adjusting overly saturated shadows
      3m 35s
    7. Correcting with High Pass and Lens Blur
      3m 45s
    8. Brushing away blur and sharpening
      6m 42s
    9. Creating texture by adding noise
      5m 28s
    10. The Camera Raw Detail panel
      7m 8s
    11. Correcting noise and detail in Camera Raw
      8m 10s
    12. Adding noise grain and vignetting effects
      6m 47s
  8. 44m 30s
    1. Blur Gallery
      1m 36s
    2. Creating depth-of-field effects in post
      5m 29s
    3. Modifying your Field Blur settings
      4m 57s
    4. Editing and exporting a Field Blur mask
      6m 15s
    5. Adding a synthetic light bokeh
      3m 52s
    6. Using the Selection Bleed option
      7m 29s
    7. Creating a radial blur with Iris Blur
      6m 59s
    8. Creating "fake miniatures" with Tilt-Shift
      4m 35s
    9. Combining multiple Blur Gallery effects
      3m 18s
  9. 1h 34m
    1. Blend Modes
      1m 16s
    2. Using the Dissolve mode
      9m 47s
    3. Multiply and the darken modes
      8m 30s
    4. Screen and the lighten modes
      8m 10s
    5. Cleaning up and integrating a bad photo
      6m 38s
    6. Blending inside blend modes
      6m 55s
    7. Overlay and the contrast modes
      6m 53s
    8. A few great uses for the contrast modes
      9m 7s
    9. Difference, Exclusion, Subtract, and Divide
      5m 5s
    10. Capturing the differences between images
      4m 18s
    11. Hue, Saturation, Color, and Luminosity
      4m 45s
    12. Blend mode shortcuts
      6m 21s
    13. The Fill Opacity Eight
      8m 57s
    14. Using the luminance-exclusion slider bars
      8m 8s
  10. 44m 20s
    1. Color Range
      1m 14s
    2. Introducing the Color Range command
      7m 24s
    3. Selecting a complex image with Color Range
      5m 49s
    4. Refining a selection in the Quick Mask mode
      7m 4s
    5. Viewing a mask with or without its image
      4m 24s
    6. Painting directly inside an alpha channel
      5m 39s
    7. Correcting fringes around a masked layer
      8m 5s
    8. Turning a layer into a knockout
      4m 41s
  11. 59m 43s
    1. Refine Edges
      1m 28s
    2. Laying down a base layer mask
      6m 49s
    3. Introducing the Refine Edge/Mask command
      7m 57s
    4. Edge detection and Smart Radius
      4m 42s
    5. Using the Refine Radius tool
      7m 31s
    6. The transformative power of Refine Edge
      3m 37s
    7. Perfecting a mask with overlay painting
      10m 58s
    8. Combining Quick Selection with Refine Mask
      10m 37s
    9. Bolstering and integrating hair
      6m 4s
  12. 1h 18m
    1. The Pen tool
      1m 50s
    2. Pixel-based masking versus the Pen tool
      6m 45s
    3. Drawing a straight-sided path outline
      6m 57s
    4. Moving, deleting, and adding anchor points
      6m 10s
    5. Dragging control handles to modify curves
      5m 27s
    6. Converting a path outline to a vector mask
      5m 36s
    7. Customizing a geometric shape
      5m 53s
    8. How to position points and control handles
      7m 7s
    9. Drawing smooth points with the Pen tool
      8m 7s
    10. Duplicating and scaling a vector mask
      5m 21s
    11. Cusp points and the Rubber Band option
      6m 21s
    12. Setting anchor points in the pasteboard
      6m 8s
    13. Using the Convert Point tool
      6m 43s

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