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Clone Between Documents

Lesson 52 from: Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

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Lesson Info

52. Clone Between Documents

Lessons

Class Trailer
1

Introduction To Adobe Photoshop

04:05
2

Bridge vs. Lightroom

06:39
3

Tour of Photoshop Interface

18:21
4

Overview of Bridge Workspace

07:42
5

Overview of Lightroom Workspace

11:21
6

Lightroom Preferences - Saving Documents

08:19
7

How To Use Camera Raw in Adobe Photoshop 2020

05:10
8

Overview of Basic Adjustment Sliders

13:09
9

Developing Raw Images

30:33
10

Editing with the Effects and HLS Tabs

09:12
11

How to Save Images

03:37
12

Using the Transform Tool

04:48
13

Making Selections in Adobe Photoshop 2020

06:03
14

Selection Tools

05:55
15

Combining Selection Tools

07:37
16

Using Automated Selection Tools

17:34
17

Quick Mask Mode

05:07
18

Select Menu Essentials

21:28
19

Using Layers in Adobe Photoshop 2020

13:00
20

Align Active Layers

07:29
21

Creating a New Layer

06:15
22

Creating a Clipping Mask

03:02
23

Using Effects on Layers

11:24
24

Using Adjustment Layers

16:44
25

Using the Shape Tool

04:39
26

Create a Layer Mask Using the Selection Tool

04:39
27

Masking Multiple Images Together

15:15
28

Using Layer Masks to Remove People

10:50
29

Using Layer Masks to Replace Sky

10:04
30

Adding Texture to Images

09:11
31

Layering to Create Realistic Depth

05:35
32

Adjustment Layers in Adobe Photoshop 2020

05:29
33

Optimizing Grayscale with Levels

10:59
34

Adjusting Levels with a Histogram

03:37
35

Understanding Curves

06:18
36

Editing an Image Using Curves

18:41
37

Editing with Shadows/Highlights Adjustment

07:19
38

Dodge and Burn Using Quick Mask Mode

07:14
39

Editing with Blending Modes

08:04
40

Color Theory

05:59
41

Curves for Color

16:52
42

Hue and Saturation Adjustments

08:59
43

Isolating Colors Using Hue/Saturation Adjustment

13:33
44

Match Colors Using Numbers

16:59
45

Adjusting Skin Tones

05:25
46

Retouching Essentials In Adobe Camera Raw

10:52
47

Retouching with the Spot Healing Brush

07:53
48

Retouching with the Clone Stamp

06:51
49

Retouching with the Healing Brush

04:34
50

Retouching Using Multiple Retouching Tools

13:07
51

Extending an Edge with Content Aware

03:42
52

Clone Between Documents

13:19
53

Crop Tool

10:07
54

Frame Tool

02:59
55

Eye Dropper and Color Sampler Tools

08:14
56

Paint Brush Tools

13:33
57

History Brush Tool

06:27
58

Eraser and Gradient Tools

03:06
59

Brush Flow and Opacity Settings

04:17
60

Blur and Shape Tools

11:06
61

Dissolve Mode

09:24
62

Multiply Mode

15:29
63

Screen Mode

14:08
64

Hard Light Mode

14:54
65

Hue, Saturation, and Color Modes

11:31
66

Smart Filters

11:32
67

High Pass Filter

13:40
68

Blur Filter

05:59
69

Filter Gallery

07:42
70

Adaptive Wide Angle Filter

04:43
71

Combing Filters and Features

04:45
72

Select and Mask

20:04
73

Manually Select and Mask

08:08
74

Creating a Clean Background

21:19
75

Changing the Background

13:34
76

Smart Object Overview

08:37
77

Nested Smart Objects

09:55
78

Scale and Warp Smart Objects

09:08
79

Replace Contents

06:55
80

Raw Smart Objects

10:20
81

Multiple Instances of a Smart Object

12:59
82

Creating a Mockup Using Smart Objects

05:42
83

Panoramas

13:15
84

HDR

11:20
85

Focus Stacking

04:02
86

Time-lapse

11:18
87

Light Painting Composite

08:05
88

Remove Moire Patterns

06:11
89

Remove Similar Objects At Once

09:52
90

Remove Objects Across an Entire Image

05:46
91

Replace a Repeating Pattern

06:50
92

Clone from Multiple Areas Using the Clone Source Panel

10:27
93

Remove an Object with a Complex Background

07:49
94

Frequency Separation to Remove Staining and Blemishes

12:27
95

Warping

11:03
96

Liquify

14:02
97

Puppet Warp

12:52
98

Displacement Map

10:36
99

Polar Coordinates

07:19
100

Organize Your Layers

11:02
101

Layer Styles: Bevel and Emboss

02:59
102

Layer Style: Knockout Deep

12:34
103

Blending Options: Blend if

13:18
104

Blending Options: Colorize Black and White Image

06:27
105

Layer Comps

08:30
106

Black-Only Shadows

06:07
107

Create a Content Aware Fill Action

08:46
108

Create a Desaturate Edges Action

07:42
109

Create an Antique Color Action

13:52
110

Create a Contour Map Action

10:20
111

Faux Sunset Action

07:20
112

Photo Credit Action

05:54
113

Create Sharable Actions

07:31
114

Common Troubleshooting Issues Part 1

10:23
115

Common Troubleshooting Issues Part 2

07:57
116

Image Compatibility with Lightroom

03:29
117

Scratch Disk Is Full

06:02
118

Preview Thumbnail

02:10

Lesson Info

Clone Between Documents

Now let's talk about working between documents because you can copy from the contents of one document and apply it within another. So here I'm gonna open to images. We have a blue sky. I wish we had a blue sky with a cloud in it. Well, we can potentially get that if we start over here, there's our cloud. If you look at the brightness and color of the sky, it doesn't match this guy. So therefore, if I would use my clone stamp tool, it would do a lousy job, but it would still be able to work. If you want to see it, I'm just gonna option click within this cloud. I'm going to switch to the other document and I don't know if that other documents larger is smaller. But I'll click in here. I can apply my cloud. But you see, it did nothing to attempt to make it match the surroundings. That's because there was no healing involved. Let's go back to the other tab. This time I'm going to choose the healing brush, gonna go to the same cloud and remember, with healing brushes, I use hard edged brush...

es. I'll switch to the other file, and now it's attempt to apply it. It doesn't look right right now because I haven't completely made it all the way around the cloud. But once I may all the way around the cloud, that's when it notices that, Hey, it actually ends up with blue over on the edges and it's able to apply it now. It did end up making the cloud more blue, And that's just because if you compare this guy to this one, this guy is more vividly blue. And so it just made it. So the transition ended up transitioning into Justus bright of a difference, as there was between this blue in the white. Well, just imagine, you took this and adjusted it to make the blue sky Justus dark and as colorful as the other image. And you allowed that adjustment to apply across the entire image. This area here would also get darker and more blue, and it did. We can always adjust that, but that's not what I'm trying to show you right now. I'm just trying to show you that you can copy between documents. You should also know that you can copy between documents and in the process. It can copy colors. Let's say I want to put ah hot air balloon in here. I think that's gonna look ridiculous because we're gonna end up looking up at the balloon. But in order to make this fit into that other document, I think I'm gonna have to have it smaller. So I'm gonna go to image size under the image menu, and I might make this image about 30% of what it is right now. Not 3000 but about 30%. Come on. I hope it doesn't stay with a height of 3100 these to have, ah, link symbol between them. Which means that should use the same setting for both. But the fact that I'm getting a little twirly and a really long ah progress bar tells me I should click. Cancel and make sure that they're the same. I want percent 30 For some reason, this link symbol was ignored and it didn't have a 30% typed into the other field. There we go. Ok, now it's small enough that I think I can get it into the other document without bumping into other objects. I'm gonna use my ah healing brush. I'm gonna click right in the middle of the balloon switch to the other document, and let's just see if we can apply it. I'm just gonna click. It doesn't look right. That's because I haven't made it out to the edge of the balloon yet. The moment I get all the way around to the edge of that balloon I can get it to be in. This other document doesn't quite look right in the lower portion, and that's because this balloon went to a dark shade that looks similar to the sky. And so it's doing the same thing over here. But the main thing is, you can go between documents. That's great. That means that you confined. Let's say skin that has the right texture in someone else's face. And use that to remove blemishes on somebody's face that has blemishes everywhere where you can't find a clean area to copy from. You can clone between the documents and later on, when we get into advanced retouching, you'll learn how you can also scale in rotate when doing that and therefore it will become much more versatile, so you wouldn't have to do what I did, which was scaled down that balloon first. All right, let's look at a complex document. This is an image that I performed a bunch of retouching on, and I mainly want let you know how to think about retouching along with adjustments, because if you use adjustment layers and you do retouching, you've got to be careful because it's easy to mess up in kind of get in your way when you attempt to continue working on a picture. So I'm gonna turn off all the layers that are in here at the moment, and when I do, you'll see how much stuff had been retouched. I have a layer just above the background, Ah, of the image of the original image, and I call it Weeds Be gone. That's just what I like to call my retouching layers. I'm gonna turn on the eyeball for that layer on. You'll see how much stuff was retouched out in there. Then, on a separate layer, I decided to de clutter the right side of the picture to get rid of a few extra elements. I wasn't certain that I was going to want them to be gone though, so that I put it on a different layer. Therefore, I could talk about that later, on and off to decide if I wanted to do that or not. Then I have another layer that removes the Elektronik sign that's in here. And maybe it was that I wanted to sell this picture to the town of Cohen. I think this is Cohen, Tennessee. Think where the station exists. And, ah, I would put it on a separate layer so I could easily turn it on or off to decide if it should show up or not. I should mention that this bus, by the way, is my own bus. That's the bus we lived in full time for over a year. It's not painted like that anymore. But if you would like to find out about our little adventure in that bus, look up Creative cruiser on either instagram or on um, Facebook, and you can find out more. Anyway, I have three layers there that are doing the retouching work, but then here's what we need to do is we need to make sure that those retouching layers end up being below any adjustments that we dio if we end up doing any adjustment layers and then we put retouching above it, it's going to be very difficult to make changes later. You see, if I can show you what I'm talking about in this case, I'm gonna act like I'm starting over. I'll just turn off these eyeballs and I'm gonna make an adjustment. Let's say the adjustment I made was one called black and white. That will make it pretty obvious because the image becomes black and white. Then, above that, I end up making a new layer. And in that new layer, I do some sort of retouching. Maybe I used the spot healing brush and I come in here and attempt to get rid of a tower. I'm not gonna attempt to do good work, but that did pretty amazing to get rid of that tower, get rid of the top of a tell a phone pole home or but now what if I decide I no longer want the image to be black and white? Well, the problem is, the retouching is looking at the current layer in what's underneath it, to choose what copy from and when it looks at what's underneath it. It sees that black of might adjustment layer, and it affects what copying. So if I later on turn off that black and white adjustment layer, then usually we're gonna end up with some issues. In this case, it's kind of funny, because the sky where I happen to do that retouching is really close to being gray. So it doesn't show up all that much, but it's still there. Do you see that? The sky is black and white right here and over here it iss black and white. But it just might have been that the clouds are pretty close to black and whites. You don't notice it as much, but I can see a little column right here where there is a lack of color in that sky. I should have done it in a more blatant area where we had color. So to prevent that kind of a problem, I always put my retouching on layers that are found directly above the original image. And that means even if I've already applied adjustment layers to this picture to refine it, I'm still gonna work below those adjustment layers. And if I put my retouching on layers below the adjustment layers. Then those adjustments will not be incorporated into my retouching, and therefore it's not gonna matter if I ever turn them off with this little eyeball. We're not in the future. The retouching will always blend in because retouching is always looking at where you're working and the layers below it. And so when I construct my documents, that was what I have is the original image on the bottom. Most layer, then retouching layers and above that, any adjustment layers I need to apply. In this case, they happen to be stored in a folder because there's a bunch of them now. There are other retouching tools available. There is one that is, Let me see if I can open another image to show you you're gonna find if I come in here to my retouching tools that I think ignored one called the Patch Tool. And that's because the patch tool doesn't like working on an empty layer, and I always put Are you touching on an empty layer so it's separate from the main image. Also, you'll find that it's rare for me to use if I create a new layer an option that is called content aware Fill. I do use it on occasion, but it's not in every day use, and I'll try to show you why. Content aware fill is available in two areas. One is to go to the edit menu and choose Phil, and then it's in a little pop up menu in the 2nd is you can go to the edit menu and there's a choice called content Aware Fill, and that allows you to get more control Where if it ended up copying from an area didn't want to. You can force it to be able to copy from Onley specific areas within your picture, but right here you'll see one of the reasons why it's not good working on an empty layer. Any time you have an empty layer active, these tools will end up giving you messages like, for instance, here If I say Phil content aware, I wanted to just get rid of that lamp click OK could not complete because there's not enough information there. It does not like working on an empty layer. Now I'll give you work around, just in case you need to use that tool and you also want to work on empty layers. Here's what I would do. I'm gonna throw away the empty layer that I was about to work on, and what I need to do is make a duplicate of my image. So that is on a separate layer. If it's only made out of one layer, you can simply duplicate that layer by dragging it down to the new layer icon. Otherwise, what I would do is select all go to the edit menu, and there is a choice in there called Copy merged. And then right after that, go to the edit menu and choose paste. What that's going to do is, if you have more than one layer in your image, it's going to take the result of all those layers whatever that image looks like, regardless of how many layers it's made out of and is gonna put a copy of it on a layer. We don't have a complex document here, so I don't need that anyway. I'm going to duplicate this layer. Then I'm going to use that feature the feature that didn't like working on an empty layer. I'll fill content aware it'll work just fine, most the time, and I just wanted that on its own layer, where we didn't have the rest of the picture there. So immediately after using it, I go to the select menu and choose inverse to get the opposite and then just hit the late. So now I have what I wanted, which is the retouching on its own layer. If I hide the layer that's underneath, you'll see there's the retouching, and I don't see why Adobe can't make it work on an empty layer, because I can easily trick it. Just get the entire contents of the document, a copy of it on its own layer. Use the tool, and when I'm done, invert my selection to get the opposite of it and hit delete. So it's a little work around. I wish I didn't have to do, but I just wanted to mention it. It's the reason why I don't use the ah, a couple of the other tools that just don't like working on empty layers

Class Materials

Bonus Materials with Purchase

Lessons 1 - 6 - Handbook 1: Introduction to Adobe Photoshop
Lessons 7 - 12 - Handbook 2: How to Use Camera Raw
Lessons 13 - 18 - Handbook 3: Making Selections
Lessons 19 - 24 - Handbook 4: Using Layers
Lessons 25 - 30 - Handbook 5: Using Layer Masks
Lessons 31 - 38 - Handbook 6: Using Adjustment Layers
Lessons 39 - 44 - Handbook 7: Color Theory
Lessons 45 - 51 - Handbook 8: Retouching Essentials
Lessons 52 - 59 - Handbook 9: Tools Panel
Lessons 60 - 64 - Handbook 10: Layer Blending Modes
Lessons 65 - 70 - Handbook 11: How to Use Filters
Lessons 71 - 74 - Handbook 12: Advanced Masks
Lessons 75 - 81 - Handbook 13: Using Smart Objects
Lessons 82 - 86 - Handbook 14: Photography for Photoshop
Lessons 87 - 93 - Handbook 15: Advanced Photo Retouching
Lessons 94 - 98 - Handbook 16: Warp, Blend, Liquify
Lessons 99 - 105 - Handbook 17: Advanced Layers
Lessons 106 - 112 - Handbook 18: Actions
Lessons 113 - 117 - Handbook 19: Troubleshooting Issues
Practice Images 1: Introduction to Adobe Photoshop
Practice Images 2: How to Use Camera Raw
Practice Images 3: Making Selections
Practice Images 4: Using Layers
Practice Images 5: Using Layer Masks
Practice Images 6: Using Adjustment Layers
Practice Images 7: Color Theory
Practice Images 8: Retouching Essentials
Practice Images 9: Tools Panel
Practice Images 10: Layer Blending Modes
Practice Images 11: How to Use Filters
Practice Images 12: Advanced Masks
Practice Images 13: Using Smart Objects
Practice Images 14: Photography for Photoshop
Practice Images 15: Advanced Photo Retouching
Practice Images 16: Warp, Blend, Liquify
Practice Images 17: Advanced Layers
Practice Images 18: Actions
Practice Images 19: Troubleshooting Issues

Ratings and Reviews

Noel Ice
 

I am an avid reader of photoshop books, and an avid watcher of photoshop tutorials. I have attended (internet) several hundred of presentations. In the course of this endeavor, I have found my own favorite photoshop websites and instructors. Creative Live is probably the bargain out there as well as among the top three internet course sites. I have to say with great enthusiasm that the best Photoshop instructor is Ben Willmore. There are many great ones, but truly, he is the best I have come across, and, as indicated above, I have watched literally 100s of tutorials on Photoshop. I have seen all of Ben's courses, I think, and among them, this one is the best by far, and that is saying a lot, because that makes this course the best course on Photoshop to be found anywhere. I am going back and watching it twice. Not only is it comprehensive, but Ben is so familiar with his subject that he is able to explain it like no other. This is crème de la crème of Photoshop classes. I have been wanting to write this review for some time because I have been so thoroughly impressed with everything about this class!

ford smith
 

Highly recommended if you want to take your Photoshop skills to the next level. Ben Willmore is clear, concise, and professional. He also has a good speaking voice that is not distracting but also keeps you engaged. Lastly, I would recommend that as you become more advanced, increasing the speed of the video (one of the options given on the menu)...especially if you've gone through the course once before and maybe want to watch it again. The double speed is very efficient as you become more advanced in Photoshop. Thanks for the help Ben!

a Creativelive Student
 

Wow. I cannot communicate the value of this course!! The true value in this course is how the instructor identifies workflows you'll need before you'll ever realize it, repeats important information without it becoming annoying, and explains the "why" behind the techniques so well that even if you forget the exact method, you can figure it out via the principles learned. Excellent value, excellent material, excellent instructor!!!

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