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Remove Moire Patterns

Lesson 88 from: Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

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Lesson Info

88. Remove Moire Patterns

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 Moire Patterns

in this session, we're gonna cover advanced retouching in a previous lesson. That's part of the complete guide. We covered retouching essentials, and that's not always gonna address everything you got to do. So in this session, we're going to get much more deep into retouching and let's dive right in. The first thing I'm gonna do is show you how to get rid of moray patterns. Moray patterns happened when you photograph something that has a regular pattern to it, like the weave of fabric. You're photographing that with the camera that's using a grid of pixels, and it's kind of like having two grids that don't perfectly align. I don't know if you've ever seen it before, but if you take the screen that you might find in a screen door and take two pieces of it, put it one right on top of the other and then rotate them slightly. A lot of people have seen that effect, but if you do see it, you get a weird interference patterns between the two screens. Well, the same thing happens when you tak...

e a camera that's capturing a grid of pixels, and you pointed out a grid of fabric or something, you can get a pattern. Let me show you what one looks like. If you look closely at this, you see these odd colors that are in here in this pattern well. To avoid that camera manufacturers put a filter in front of the camera sensor that actually softens the image slightly, Uh, and that prevents this from happening. But because it softens the image, oftentimes manufacturers will create two versions of a camera, one that has that filter in front of the sensor and one that does not. So those people that shoot things like landscapes, which you don't find regular patterns and nature. They could use the version without the filter. They'll get a sharper picture. But then those people would do shoot man made objects. Specially fabrics would get the version of the camera with the filter. Sometimes it's called an anti alias ing filter, but there are other names for it. And so this is what it would look like if you might choose one of those cameras without the filter in front of it and use it on fabric. So let's figure out how to fix that. I'm gonna fix it using adobe camera raw. Now this is a J peg file. So fire to just double click on it. It would open it all the way into photo shop, and we can access camera raw from the filter menu in photo shop. But I'm gonna go appear to the file menu in Bridge and choose opening camera. Now, in Kameron, we're not gonna be able to fix us with the normal adjustment sliders that are found in the right side of my screen. Instead, I'll have to go to the top of my screen where I find a bunch of tools up there. You're gonna find two different paintbrush tools we want the one that doesn't have the dots around it. That's the spot removal tool. We want this one. It's called the adjustment brush. When you choose the adjustment brush on the right side of your screen, you're going to get sliders that look a lot like the normal ones you have there when you're just adjusting a picture. But in this case, we're gonna brush these changes into the image. So if I move one of these sliders right now, I'm not going to see any change in the image at all because I need to first paint within the image. Uh, So what I'm gonna deal here is there's a slider called more ray reduction, and that slider is not found in any other areas off camera or and photo shop. And so it's unique to this tool. I'm gonna crank it up a size. It goes just so I can see something when I'm painting on my picture. Then after I'm done painting, we can adjust the amount to make sure it's the lowest amount that really tackles the job. So I'll zoom up here so even more better. See this, and I'm just gonna start painting now. When I do this, I want to make sure that down here near the bottom, the choice called Auto Mask is turned off because auto mask tries to limit where I can paint. And sometimes it might limit me to only painting on these areas that are colorful, and we need that to paint across the whole area. But the thing you want to be careful of is when you're painting here to correct for this more. A pattern is that if the object that has the Marais pattern in it touches another object that is dramatically different in color. That's where you want to paint a minimal amount, because this is blurring the color transitions in a picture. So if I get up here at the top and I see where this outfit stops in the red cherry sitting in begins do you see how the color of the red chair has transferred over to his outfit? And that's because of this choice called the Fringe. Before I fix that, I'm gonna look down here at the main portion of the fabric and I'm gonna adjust the amount setting for more a reduction. I'm gonna bring it all the way down to zero, and then I'll slowly bring it up and try to find the lowest setting that really tackles the job. And I think somewhere right around there is fine, because now I have a more accurate idea of how big of a problem I have up here, where those colors are blending together. If you watch that, I ended up with a setting of, I can't even read that it's either or 66 but if I continue bring it higher, you'd see that that color blends even more shoes undo to get back down. Well, up here at the top above the sliders is a choice called erase E. And if I have that set to erase that probably want feathering turned up a bit so that I get a soft edged brush and I'm just gonna try to get it off of the edge of the fabric so I don't get the color from the chair blending in now we might see some of the more a pattern appear in that area. If I do, I just got to choose a smaller brush and maybe lower the ah slider a bit when I painted in. Ah, but most the time. You can remove it from areas where there's a transition between two distinctly different colors because this moray reduction is gonna blend colors together. And that's how it attempts to get rid of the Moraine. Now, to show a before and after all I'm gonna do is hit the delete key. The delete key is going to remove this little adjustment pin that's here and that all type command Z to undo its controls and windows and so you can see before and after I'm gonna click done there

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