Join Bryan O'Neil Hughes for an in-depth discussion in this video Assembling pieces and creating frames, part of Learning Photo Restoration with Photoshop.
- [Instructor] Okay, so to close out this section on fixing serious damage, I thought we should take a closer look at this image. Because there's so much wrong with it, and yet, there's some parts of it that are fine. Overall, the gentleman in this picture looks fine, it's the frame and the background that just look like a ton of work. And when I look at this, I don't even know where I would start. I'd have to clean up all this stuff. And it's just sort of a blank background, I don't even know if it'd be worth the time. So I'm going to try an entirely different approach here, and I'm going to show you something that works well in a situation like this.
And it really embraces what Photoshop is best at. We're going to just grab him out of the picture and put him in another one. And to do that, I'm just going to select any of my selection tools, like in this case, I'm going to grab the magic wand tool. I'm not going to use it, but selecting that will give me the Select and Mask button here on the horizontal option bar. I'm going to click that. And we're going to enter this, sort of a ruby-colored world here. And you can choose to have different views. I think ruby overlay actually works really well for this.
What I'm going to do, is I'm just going to start dragging my house over him, and these new selection tools in here are so good. I mean, look at that. I immediately isolate what I want, and it's done a fantastic job of grabbing him. Let's just make sure his ear is represented. And you can see that it tunes up the result right away. If you haven't used this feature yet, you're going to love it. It works just as well as it appears to. I've never used it on this photo before today, and I'm very, very pleased with that. If I wanted to adjust the radius, I can play around with smart radius and tune up the edge of that a little bit.
Looks fine to me. Now, when you're done making the selection you have a lot of different options. Leaving here, I can have a selection, a layer mask a new layer. In this case, let's just start with an entirely new document, and go ahead and give it a layer mask. Let Photoshop do all the work. There he is, he's knocked out, he's isolated from the rest. And at this point, all I need to do is create some sort of background for him. So you can see I've got this great mask here. Let's just create a new layer, and let's fill that new layer. I've got that new layer selected.
Let's fill it with something. I'm going to go ahead and go to Edit, Fill. And I'm going to choose the foreground color. I remember that the background was similar to the color of his face. I don't want white, that would look kind of weird. So I'm just going to choose a color on his face, and I'm going to click OK. And it's going to fill that in there, and completely obscure what we're looking at. That's okay, we're just going to grab our layer, and bring it up on top of that. That looks pretty good. If we move in close, we're going to see that what looks weird about it is the background is pristine, and the foreground has this graininess and grit.
Which again, I don't really mind the foreground. But the two look like they don't belong together. So let's put our focus again on the background, and we're going to introduce some noise. Now, in the old days, we'd come in here, to Filter, Noise, Add Noise. But that's pretty limited. I happen to know that I've got much better tools for that in Camera Raw Filter. This would be the same as what I'd have over in Lightroom's Develop Module. So with that layer selected, I'm going to come into Camera Raw, and we're going to go over here to our effects.
And one of those is grain. Now let's just zoom in so we can see what we're doing here. This is great, because I can add grain, I can play with the size of it, I can play around with the roughness of it. I can get a really, really nice look. And you'll notice that it's not introducing a color in there. Click OK. That looks a lot more uniform. That looks much better. Just by virtue of doing that, it sort of has a hard edge. So the next thing I'd do is I might just come in here, filter it, and blur that a little bit.
Gaussian blur, maybe even a lens blur. Let's come in here, let's zoom in nice and close, so we can see the grain. And I'm just going to blur this a little bit. It doesn't have to be too much. That's too much. That looks great. Now what we have looks much more convincing. Now at this point, what I would do, is I would just go ahead and grab my rectangular marquee tool.
Drag the frame around this, and add sort of this oblong frame. Select the inverse. And fill that with white. So you see, we've done a pretty great job of just pulling him out of that other image, and dropping him into this one. So don't feel like you're constrained with the content that's in the image. You can lift stuff out and put it in other images. To me, this white frame, it looks okay, it's a little synthesized. I might do a similar grain treatment to that, or somehow distress it.
- Scanning versus photographing images
- Using Photoshop Fix for quick restoration
- Using Lightroom to prepare for restoration
- Saving time using bulk/multifile processing
- Hiding flaws and recovering details
- Retouching images in Lightroom
- Working with Smart Objects and layers
- Blurring and sharpening selectively
- Handling rips, creases, and missing pieces
- Dealing with stains and water damage
- Using Content-Aware Scale to adjust images
- Colorizing a photo
- Changing expressions