Skip to main content

Remove an Object with a Complex Background

Lesson 93 from: Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

Remove an Object with a Complex Background

Lesson 93 from: Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

buy this class

$00

$00
Sale Ends Soon!

starting under

$13/month*

Unlock this classplus 2000+ more >

Lesson Info

93. Remove an Object with a Complex Background

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

Remove an Object with a Complex Background

let's say in this particular image a need to retouch out one of these objects. Well, if I want to retouch them out, that's gonna be kind of difficult, because if you look at the background that's behind it, it needs to be very exacting in what is placed there. And if I copy from this open area down here, let's say, Well, this might be brighter than up here where I actually need to apply it. So also, the background here is straight in there. It might be distorted because of the hanging that's in here. So how could I end up dealing with some of that? Well, I just want to share you a few ideas. I can come in here in, use my lasso tool in select the largest area that's clean in here. Not sure how much of it I'll need yet, so I'm gonna select as much as I have available. Then I'm gonna copy that to its own layer Command. J would work for that control JM windows. That means jumped to a new layer, and when you have a selection active, it doesn't just to the area that selected, then I could us...

e my move tool. And I could reposition this to the area that in need to apply it in. And so I'm gonna come up here and try to get this the lineup. Now, when I attempt to get this tow line up What? Zoom up right now, I'm looking in the left edge. I'll get this little yellow stripe to line up, and I might use the arrow keys on my keyboard if it might. Might move, Tool, I got into line up, but now down here, it doesn't line up and down there a dozen lineup, and it doesn't line up over here either. So how the heck would I possibly get this to work? Well, what I'm going to do is first, I'm gonna convert this into something. Notice a smart object. A smart object is going to make it so. Any changes that I make like transformations to scale into rotate this are not permanent. And I could go back again and again and try to update them. And I can do that by choosing layer. Smart object convert to smart object. We had an entire lesson on smart objects as part of Photoshopped. That complete guide So if you haven't looked for that particular lesson in your unfamiliar with smart objects, you might want to explore it. Then I could come in here and choose edit free transform That'll let me scale in. Rotate things when you're in free transform. It depends on your settings, but you might find a cross hair here in the middle. In older versions of Photoshopped that cross there was always there, but in newer versions, they have hid that, and we're going to use it. If you don't find across hair after choosing free transform, go to the upper left of your screen and just turn on this check box. That's what controls if you get that cross here or not. Well, what that is the cross here. Well, if you ever rotate something, it pivots it around that point and therefore by default, If I move my mouse outside of these handles in rotate, you see it's pivoting it right around that cross hair. I'll choose Undo Command Z. Well, if I click on the cross hair, I could move it up here to where that yellow stripe lines up with the image because I want that to be consistent. Now if I attempt to rotate, you notice it's rotating, pivoting around that spot and therefore I can keep that spot consistent. Then I can try to get the others as close as possible If I need to scale and I want to keep that spot consistent will watch if I don't do anything special and I just scale Do you see how the yellow line no longer lines up up there? Where the cross there waas Let me choose. Undo. Here's how you could keep it lined up in the same location when you're scaling, If you've placed the cross hair somewhere when you click right after you click before you start dragging hold down the option key and holding the option key in this case means keep the area where the cross hair is consistent. So you see, when I scaled down now that that yellow line right where the cross areas is still in the same position and so therefore it can scale this up and down and try to get as close as I can to the right size without messing up the position of that area, do something like that, you know, press return or enter indicate I'm done. But now how do I get the straight lines that are found here? Tow line up because they don't line up here. They don't line up there. Well, what I would do is I go to the edit menu and there's something called puppet warping. Puppet warping will put a mesh on top of your image. The mesh isn't really helpful to look at. So in the options bar at the top of your screen, you could turn off the show mesh check box. But then I can click on my image and I'm gonna click right where that yellow line waas and I'm locking in the position of that area so it doesn't move by adding the pin. Then I'll come down here and click on the next yellow line. I'm gonna click to add a pin and then I'm gonna grab the pin and move it up and down and I'm gonna get it so that yellow line aligns I'll go to the opposite end of the same yellow line. I'm gonna click, and then it adds up in, and I'm gonna move the pin up and down to try to get it where I think it should belong. I'll come down here to a white line that's not lining up, clicked at a pin. Then I'll drag this up and down and tell it, Aligns and I would continue doing that with the other lines until they line up on both ends. This is like making your image auto play doh or just clay and your moulding the clay with your fingers to pull it around to various positions. But by doing so, I should be able to get this to eventually line up in all the areas that are important. Once I've done that, I could either mask this with a layer mask to determine where it shows up and therefore get it so it only covers up the area needed war. Aiken get fancier with other tips in the middle here, I can also grab it if that needs to have any kind of a bend to it in fine tune it. Ah, press returner answer. When I'm done now, since I turned that into a smart object, if I ever returned to the edit menu and choose Puppet Warp once again, it's going to remember all those points and I'll be able to find tune them, which is very nice. So for now I might end up adding a layer mask of this. I'll click on the layer mask icon and then if I fill that mask with black, I could do that by edit adjustments. Invert inverse gives me the opposite of what you currently have. So if you look in the layers panel, I see a mask full of white. When I choose inverts, it's full of black. Then if I grab my paintbrush tool and paint with white, that's what I'm gonna bring this in. And so I'm gonna paint over whatever it is is trying to retouch in. Since I was covering a larger area than that, it's hard to figure out exactly where the edge is needed to be. So right here. The yellow doesn't line up same with down at the bottom, so that's when I go back to edit and I have to not be working on the mask, so I didn't mean to choose what I did when he did not work on the mask. I need to be working on the image. Then I could go back to the edit menu and choose Puppet Warp once again. And I just add more spots here to get this tow line up where it needs to. Wherever it doesn't line up, grab it, pull on it. And there's one other spot here I need to retouch. I'm not going to spend the time to do it because you could just repeat the process of what I've done here. I mainly wanted to share with you how you can do, um, or complex retouch. But now let's get into the really hard stuff.

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!!!

Student Work