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Well, hey, everybody. Welcome into this Photoshop tutorial, brought to
you, as always, by tutvid.com. Today, we're going to take a look at five different
techniques for getting rid of basically anything from basically any photo right
here in Photoshop. Now, before we actually jump into it. I want to give a quick
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want to check it out. Speaking of checking stuff out, let's jump into this
tutorial, and check this thing out. Alright, here we are in Photoshop. I want
to take a look at the first method, and that is using the patch tool. The idea
is going to be get rid of this guy in this photo. It's a complex background
behind him, and he takes up a lot of the photo, quite frankly. So, let's see what
we can do with the patch tool. Will it be perfect? Probably not, but I think
you'll be surprised at just how good it can be. Now, when I'm using the
patch tool, which by the way, it's located beneath the spot healing and
healing brushes - right there, patch tool. I tend to like to work with content
aware. It's a really great mode for working with this tool. Now, structure
has to do with how much of the source structure is preserved when you are
adjusting your image, or getting rid of something. Now, the general rule that
I like to follow, is the bigger the selection, or the bigger area that I'm getting
rid of, I want the structure to be high. So, when I get rid of the bulk of this
dude, the structure is going to be up to seven. But if I was just selecting this
little leaf, and getting rid of that, I would probably go ahead and set the
structure like one. Color has to do with how much Photoshop can edit the
colors that it's working with, to speak in very layman's terms here. So, let's
leave the structure at seven, we'll create a quick selection around our subject
here. There we go, something like that. And I will just drag this over, and don't
worry if we have some of him left there. You can see him hanging out on the
lefthand side. We want to just get rid of the bulk of this, and I'm just watching
where the dirt on the ground is. Give it a second, it's a big image that I'm
working with. I'm just watching where the ground plane is, because I know
that's going to have to be adjusted a little bit. CMD/CTRL+D to deselect, and
look at how - that's pretty good! Let's reduce our structure to about four
or so, and try to get rid of this big mess over here. Alright, so we'll take this,
and what we'll do is we'll just get some of the grass from over here and I'm
just watching, again, where the dirt mound is going to be. Just make sure it
lines up with the rest of the dirt. And then I'll CMD/CTRL+D to deselect. We
still have some ghosting, and some blurriness. Maybe I'll select this and just
move this grassiness over. CMD/CTRL+D to deselect; and a lot of using
something like the patch tool, is a matter of knowing, yeah, I'm going to
go over my image a couple of times. Especially with something that's a big
heal like this. I'll go over it a couple times if I need to, but I'm going to put
myself in a position to succeed by knowing how I'm using the tool; and you
can see very, very quickly, we've gone in an gotten rid of this whole entire
dude who was taking up a big part of our image. Okay, let's move over
to technique number two, and this one is going to be the straight content
aware fill. So, here what we've got is a couple. Let's say their names are
Jack and Susie, right? But then Jack started getting a little weird. He
started espousing some strange beliefs, and he started going on these
nationwide pilgrimage things; and Susie was like, "mmm, getting a little
weird for me. I'm ready to get out of this." But they had these great couple
photos together. Problem is, Jack's got to go. So, Jack, I'm sorry about this,
but we've got to get rid of you. So, the first step would be to work on the
layer itself. This is a destructive technique. And then go ahead and loop a
lasso selection around your subject. And then what I'll do with the lasso, is
I'll go through and get rid of anywhere - you really want the selection to be
relatively tight. It doesn't have to be that tight. But something around that
is fine. But I may even go in here to where there's nothing, and get rid of that.
I'm holding down ALT/OPT with the lasso tool, and getting rid of these bits
of selection. It just makes the job of content aware that much easier, and
gives you that much of a better result. But, just know if you create a selection,
and you're not getting great results, you can go select and choose modify
and expand or contract your selection by - I usually go 10 or 15 pixels at
a time. So, if this doesn't work, I may expand it 10 pixels, and so on and so
forth. But let's go ahead and try this. Let's go edit and choose fill, and right
here, from the contents drop down, you want to choose content aware, and
leave color adaptation checked on; and just go ahead and hit OK. And then
I'll hit CMD/CTRL+D to deselect, and you can see, just like that, she can go
on living her own peaceful life with none of the weirdness; and, of course,
if you do need to make some changes, you can grab your patch tool like
we did before, and you can just go in and change up the background
a little bit to try to hide any kind of irregularities, or anything you notice.
I think I actually made the background look worse by doing that. So, I'll
undo that. But you can see, over a background that would be difficult to
just clone stamp and make it look realistic, content aware fill literally takes
seconds. It takes longer to make the selection. Alright, let's stop here for
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them for supporting us. Thanks guys! And let's get back to the tutorial.
Okay, and moving on to technique number three. This one is the straight
healing brush, and I absolutely love this tool. Not the spot healing brush -
it's the second healing brush tool here. The regular, old healing brush,
healing brush. And I like to use this non-destructively. So, the idea is going
to be here, with this beach photo, we want to try to get rid of a bunch of
the stuff here in the foreground. Let's say we want to clear out all this
stuff over here and just make a clear path right through to the beach.
In theory, you could go through and clean everything in the image out.
But we're working on a little bit of a time budget here. So let's get through
this quickly. We're going to get rid of everything over here. Now, to work
non-destructively, you simply create a new layer, and we can name this
layer something like "blemishes," that always works. And I like to set my
tool to current and below. What that means, is it's going to sample pixels
from the current layer, and any layers beneath it. So, it's going to get stuff
from the background which is exactly what I want. And the way diffusion
works is, the higher your diffusion number is, the more fadedness there's
going to be on the outside edges of the brush. The lower your diffusion
is, the more hard edged the blends on the edge of your brush are going
to be. Again, using layman's terms. Ignore that little warning dialogue
box that popped up. Just in very layman's terms. Now, the reason that
dialogue box popped up, is because when you're working with this tool -
I'm going to zoom in here a little bit - when you're working with this tool,
you need to sample before you try to paint. So, I'm going to make my
brush a little smaller using the square bracket keys, and I'm going to
hold down ALT/OPT, and the trick with this brush is, let's say we want
to get rid of these people here. Well, we wouldn't just sample the sand,
I'm holding down ALT/OPT and now I just paint over them. You can see,
that looks pretty horrible, right? What you want to do is identify the edges
of high contrast. And right here, the edge of high contrast is, of course,
where the sand runs into the sea in this photo. So, I'm going to sample
right along that edge and then when I hover over these people I'm going
to try to line that edge back up. See, I get the little preview there? Line that
edge back up, and now when I paint over them, I have a beautiful, little
heal just like that; and I can go out in to the ocean at that point, and say,
you know what, ocean? I actually want this wave moved over here, like
that. And get rid of that wave, kind of sort of altogether. And this would
probably call for making the brush a little smaller, as well. And something
like this, too, you may be better suited having a lower diffusion. But you can
see, we just got rid of them perfectly like that. And then I can select the
edge of the beach here - make my brush a little bit bigger - and I can go
ahead and get rid of these towels, just like that. And you know, as I fly
through this image here, you can just see, I can very, very quickly get
rid of people sticking their heads out of the ocean. Even these people
here in the foreground, we can get rid of them. There's all kinds of really,
really great stuff that we can do here with this healing brush. And one
thing you'll notice here, is that we do have a lot of faded, almost artifacts
left behind. This would probably be an area where I would reduce
diffusion down to three or four, something like that, and then just begin
painting over this stuff. And sometimes the preview looks bad, but the
trick is: keep painting until it looks good, because sometimes it's a matter
of covering up the problem area, if you will, and as soon as you do, things
really clean up and start looking better really, really fast. And there
we have it. Again, it's a matter of identifying high contrast edges, going in
and finessing it a little bit. You can see there's a bit of a repeating shadow
here. You could go in with a smaller healing brush and really try to smooth
and flatten some of that stuff out. Correct this edge a little bit. Maybe we
would paint over that to try to get rid of some of the brightness, or take
dodge and burn in there and adjust that a little bit. But the point is,
very, very quickly with the healing brush on a separate layer, we took this
photo from having all this stuff in it, and got rid of it. So, you can imagine
if you have a landscape photo with just a single person in there, getting
rid of them is going to be relatively easy, because this - we took a lot of
stuff out in a very little amount of time. Alright, well, on to technique
number four, and this is just the good, old, standard clone stamp tool.
Right here. The clone stamp tool. I'm going to set the opacity back to
100, and I'm going to use it pretty much as you see it here. Opacity and
flow at 100, I'm going to check on aligned, and once more, I'm going to
sample current and below. We're going to create a new layer. The idea
is going to be, we want to cover up the fireplace. Or, at least, the bulk of
it here, for this example. The clone stamp tool has so much you can do with
it, and there's a really amazing panel that goes along with it called clone
source, which we'll take a little look at in a little bit. You can see it right over
here. There's some really powerful features here, including the rotation
features of the tool, being able to flip the brush horizontal and vertical, and
also, changing the size of the clone that you're painting. So, that can be
really nice if you're sampling from something far away and painting up
close, you can make it much bigger. Or vice versa, you can make it much
smaller. Basically, all we want to do here, is cover the fireplace. Now, we
have to have a beautiful brick pattern right up here. So we can just sample
from that. So, I know I'm going to begin my clone at the top left corner.
So, I'm going to look for bricks up here in the top left corner of this.
So, in theory, I can paint the entire thing; and I'm going to zoom in, and I
can see this is the joint that I'm going to target right here. So, I would have
one brick, two brick, and then the brick that's kind of straddling above them.
That's the point which I want to sample. So, I'm going to move up here. I'm
going to grab my clone stamp tool. I'm going to make sure that the brush
head is small enough. It's a little too big, maybe something like that's good.
Maybe I'll make the edges of the brush a little bit harder. So, I'll increase
the hardness to 50%, or so. By the way, I just right clicked, ignore that little
dialogue. And I'm going to sample right from there. And you can see, the
two bricks coming together, and the brick straddling it. I'm going to move
back down here, I'm going to line that right up right there, or right about
there. And then I can just go ahead and paint. So, I can just paint right
over this fireplace, and just like that we can cover the entire fireplace.
And you can see just how quickly working with the clone stamp brush
can work, even on something that's a more intricate pattern like this. Of course,
it's eternally helpful that we have this beautiful pattern from which we
can sample. But again, this is just an example of knowing which tool to
use for which job. And then, of course, we can go in and mask away.
Make sure we get our little, golden orb ball back, and correct the lighting
a little bit. It should be a little darker over here on the right side of the
fireplace. Things like that. But all that can be done after the fact.
The point is, we got this fireplace removed from this photo in no time flat.
Alright, so now we are on to feature, function, technique number five,
and that's using the clone stamp tool in perspective. This one is pretty cool.
To work non-destructively, CMD/CTRL+J to duplicate your layer, and we're
going to add our vanishing point grid to this layer number one here and
do all of our cloning up here. Let's go filter and choose vanishing point.
Now, here in the vanishing point UI, I'm going to zoom out a little bit, that's
just CMD/CTRL and the minus key. I have the grid tool, and I want to draw
my grid. So I'm going to go right along the base of the building right like
that. And then I'm going to say, yup, bring this up to about the roof of the
building and then come back across the roof of the building. Just like that.
Something like that. Probably close enough. Now, we want to get the base
of our little mudroom appendage here on the side of the building. So, I'm
going to select the grid middle point, and I'm just going to pull straight
down like that. There are a lot of cool things that you can do with grids.
We're not going to get into all of them in this tutorial though. Alright,
let's zoom in a little bit, and focus on the task at hand. And that is, getting
rid of this bizarre looking building here. I don't know why I'm calling it a
building - piece of this building. Let's grab the clone stamp tool here. It's
a bit of a dumbed down, rudimentary clone stamp tool. But it's cool,
nonetheless. So, what I'm going to do is hold down ALT/OPT and I'm
going to select this corner of this window, because I know I can exactly
line it up with this corner and hopefully our vertical columns will line
up. We may have some trouble with that, but let's give this a shot and
see what it looks like. Let's select there, and then I'll come over here and
let's try to line this up perfectly with the window. Maybe kind of sort
of like that. There's going to have to be some blending here. Yeah, and these
pillars are going to be a little off. But, you can see here, as I go over,
we're placing an entire window in place and coming down and placing
grass. Now, we need to adjust where our stamp is sampling from, because
we're getting more of the roof here. But you can see here that we've gone in
and completely made that go away. Of course, we can blend these bricks
together afterward. I'm going to really try not to be too concerned with that.
I'm going to sample from this same corner here. ALT/OPT, get a new sample,
line it up with the window that we just installed, if you will. Let's undo,
I accidentally starting painting. Let me sample again, ALT/OPT and click,
and there's our sampling point, and right there should work. And we can
paint right over this, and you can see, just get right into place where we
clone stamp away this entire funky looking doorway, whatever, appendage
thing it is on the side of this building. And in terms of making these bricks
and things line up, cleaning up the shadows, all that is going to be relatively
easy to do, compared to what we had. Now, one thing I do want to point
out is you do have a healing option here in this clone stamp tool, in
vanishing point. I had that shut off, because I tend to like to be able to
heal up, and clean stuff up later on my own. But just know you have the
power and the ability to do that. Now, it doesn't look horrible - eh, it
looks horrible. But it doesn't look that bad like this, considering the fact
that we began with that, and in a mere two, three minutes, whatever it
was, we got rid of it and all we have left to do is blend some shadows and
texture together. It's really, really nice. We can lighten up the grass.
You know, clone some stuff in along there. But, essentially, we can make
that renovation to the building very, very quickly using the clone stamp
tool in perspective. Well, there you have it, ladies and gentlemen. That's it.
Those are the five techniques, and kind of that one finished image there,
to top it all off in the end. If you enjoyed it, I would appreciate if you would
subscribe to this channel, so you never miss any Photoshop, or other
graphic design, or photography related tutorials in the future. Also, if
you're on Instagram, check me out on Instagram @tutvid. There's a whole
different side of me that you get over there, in terms of seeing a little
behind the scenes stuff. We try to do some fun stuff over there and keep
things interesting, so to speak. So for everything we covered here in this
tutorial today; from the patch tool to content aware fill and content aware
this, that, and the other; the healing brush; making a tree, for crying out loud,
are you kidding me? Ladies and gentlemen, for all that, and everything else
we covered in this tutorial. That's it!
Get it? Got it? Good!
Nathaniel Dodson, tutvid.com, I'll catch you in the next one.