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Adobe Photoshop: The Complete Guide Bootcamp

Lesson 89 of 118

Remove Similar Objects At Once

Ben Willmore

Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

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Lesson Info

89. Remove Similar Objects At Once

Lessons

  Class Trailer
Now Playing
2 Bridge vs. Lightroom Duration:06:39
3 Tour of Photoshop Interface Duration:18:21
4 Overview of Bridge Workspace Duration:07:42
9 Developing Raw Images Duration:30:33
11 How to Save Images Duration:03:37
12 Using the Transform Tool Duration:04:48
14 Selection Tools Duration:05:55
15 Combining Selection Tools Duration:07:37
17 Quick Mask Mode Duration:05:07
18 Select Menu Essentials Duration:21:28
20 Align Active Layers Duration:07:29
21 Creating a New Layer Duration:06:15
22 Creating a Clipping Mask Duration:03:02
23 Using Effects on Layers Duration:11:24
24 Using Adjustment Layers Duration:16:44
25 Using the Shape Tool Duration:04:39
30 Adding Texture to Images Duration:09:11
35 Understanding Curves Duration:06:18
36 Editing an Image Using Curves Duration:18:41
39 Editing with Blending Modes Duration:08:04
40 Color Theory Duration:05:59
41 Curves for Color Duration:16:52
42 Hue and Saturation Adjustments Duration:08:59
44 Match Colors Using Numbers Duration:16:59
45 Adjusting Skin Tones Duration:05:25
52 Clone Between Documents Duration:13:19
53 Crop Tool Duration:10:07
54 Frame Tool Duration:02:59
56 Paint Brush Tools Duration:13:33
57 History Brush Tool Duration:06:27
58 Eraser and Gradient Tools Duration:03:06
60 Blur and Shape Tools Duration:11:06
61 Dissolve Mode Duration:09:24
62 Multiply Mode Duration:15:29
63 Screen Mode Duration:14:08
64 Hard Light Mode Duration:14:54
66 Smart Filters Duration:11:32
67 High Pass Filter Duration:13:40
68 Blur Filter Duration:05:59
69 Filter Gallery Duration:07:42
70 Adaptive Wide Angle Filter Duration:04:43
71 Combing Filters and Features Duration:04:45
72 Select and Mask Duration:20:04
73 Manually Select and Mask Duration:08:08
74 Creating a Clean Background Duration:21:19
75 Changing the Background Duration:13:34
76 Smart Object Overview Duration:08:37
77 Nested Smart Objects Duration:09:55
78 Scale and Warp Smart Objects Duration:09:08
79 Replace Contents Duration:06:55
80 Raw Smart Objects Duration:10:20
83 Panoramas Duration:13:15
84 HDR Duration:11:20
85 Focus Stacking Duration:04:02
86 Time-lapse Duration:11:18
87 Light Painting Composite Duration:08:05
88 Remove Moire Patterns Duration:06:11
89 Remove Similar Objects At Once Duration:09:52
91 Replace a Repeating Pattern Duration:06:50
95 Warping Duration:11:03
96 Liquify Duration:14:02
97 Puppet Warp Duration:12:52
98 Displacement Map Duration:10:36
99 Polar Coordinates Duration:07:19
100 Organize Your Layers Duration:11:02
101 Layer Styles: Bevel and Emboss Duration:02:59
102 Layer Style: Knockout Deep Duration:12:34
103 Blending Options: Blend if Duration:13:18
105 Layer Comps Duration:08:30
106 Black-Only Shadows Duration:06:07
109 Create an Antique Color Action Duration:13:52
110 Create a Contour Map Action Duration:10:20
111 Faux Sunset Action Duration:07:20
112 Photo Credit Action Duration:05:54
113 Create Sharable Actions Duration:07:31
117 Scratch Disk Is Full Duration:06:02
118 Preview Thumbnail Duration:02:10

Lesson Info

Remove Similar Objects At Once

And now let's move on to other adjustment challenges in this image. What I would like to do is get rid of some of the white paint that is on this train car. That white paint was freshly applied to the car because they were painting the train station directly above this. And if you saw the person painting, he was like head to toe covered in white. So he wasn't doing a great job when it comes to just getting the paint where it was supposed to go. But if you think about how long it might take you to retouch out a large number of those spots, well, first we could use something like the spot healing brush to try to tackle this. But if we dio, you've got to come in here and paint over each and every one of those spots, one at a time to fix it. And I'm way too lazy to do that because that unless the clients paying by the hour, they'd be happy to. We're happy to have somebody else do it, but let's see how I could attempt to fix us. I'm gonna revert just to get rid of the little spots have alre...

ady retouched out, and what I'm going to use is a feature known as content aware fill. It's only first introduced. You know how it works in case you haven't used it before. With content aware fill, I first need to make a selection. So I make a selection, and I need to make sure that selection doesn't actually touch what I want to retouch out. Instead, its edges are touching the surroundings there directly outside. Now it only needs to be one pixel into the surroundings to be effective. But it's gonna pick up the color that's right on the edge of my selection, and it's gonna attempt to match that color in that brightness. And if instead, the selection was right on the edge of what I'm trying to retouch out, it would attempt to match the color of what was already there, which is the white paint. But once I have that selected, there's two different ways of doing content Aware fill. You can either choose its own choice here, content aware, fill or just choose Phil. And in here there's a choice in this menu called Content aware. When you click OK, it's going to compare the area that's selected to its surroundings in an attempt to figure out what it think would. Things would naturally go in that position if that area was changed and so you see how it retouched it out? Well, how could I do that in somehow? Put some automation in this to make it so I don't have to manually select everything. Well, if I go to the select menu, there's a choice in here called Color Range, and it's designed to select a range of colors. Well, why not tell it to select white? And if I tell it to select everything that's white, we're going to get all those paints. Areas that are there will likely also get the area just below the window train car, because I could see some white paint there. But we can easily get rid of that area of the selection afterwards. So, anyway, let's try it out. I'll go to the select menu. I'm going to choose color range, and when color range first comes up, what I usually do is I take this setting code fuzziness and I turn it all the way down. Then I move my mouse on top of my image, and I click on the color I'd like to select. And then there are little eye droppers here, and I either choose the eyedropper that has a plus sign on it, or I just hold down the shift key on my keyboard. Which does? The exact same thing is that watch when I hold down shift looking, my mouse. When I hold shift, you see the little plus sign, which means it's gonna act just like having that. And what that means is, let's select more than one exact color. Let's select a variety of them in those little white paint marks. They vary in how bright they are. So if I hold down shift and I click on another one of these, hold down shift, click on another and continue doing that until I've probably hit no No. Five or six of them. I should be giving it arrange to select. And so it's not selecting just one exact shade of white. It's selecting variety, so I'll call that good enough Then, if you look over here in color range, this is a preview, and this is a miniature version of your picture If you actually want to see that, it's your picture. Just hold on the control key. It'll turn into your normal image. Let's zoom up on that. And then when I let go the control key. This is giving me a preview of the selection it's about to create where any area that's white in here will be selected in the area. That's black will not. And so I can see that it's going to start selecting some of those specs that were in the image. And then that area I mentioned below the window. Well, there's a slider above called fuzziness. Fuzzy mutton us means How much can it deviate from the colors I clicked on? Is it okay to select things a little brighter, little darker are a little bit off in color. So what I want to do is bring fuzziness up to the highest setting that just gives me the white stuff in the picture in doesn't make weird areas of the background show up, so if I bring it up really high, you'll see way too much of the image shows up in that preview, I'm gonna try to find the highest setting that mainly gives me specs surrounded by black looking at the bottom portion of the picture, by the way, Uh, and I'm thinking right about there might give it to me. So if you look at down here, you see all those specs getting selected. Now you can get a preview that's more accurate. Instead of looking at the small version of your image, there is a pop up menu at the bottom. And if I were to set it to, um, black math, it's gonna put black over my image wherever it would not be selected. You can see that it's all those specs it's going to get where you can turn it on to quick mask, which will show you a red overlays that can see a little bit more of what's around it. But I think that's going to give me the majority of those specks that are at the bottom of the image I'm going to then click OK, And remember, I mentioned when you use content aware fill the selection you have shouldn't just be touching the edge of what you want to get rid of. It actually needs to be touching the surroundings because that's where it finds out what color it should match, and we don't want it to match these white shapes. So I'm gonna go to the select menu. I'm gonna choose modify, and there's a choice called expand. Expand means make my selection larger, but keep it the same shape. So it's like having a balloon full of air. Just put a little extra Aaron. It will. The shape of the balloon will generally be the same. It will just get bigger. So I'm Intertype in either one or two, maybe two in this case. And if I zoom up on one of these spots before I do that, I won't let me zoom while I'm in here. But I'll click OK, if I zoom up and I choose Undo Command Z. You see, before this selection was touching that color because what was in that EJ was the transition between the color and the surroundings. And afterwards you can see that it actually expanded out, and now it should generally be touching the surroundings that was expanding by two on occasion might need to go further. But now what I'm going to do here is I'm gonna duplicate this layer so that once I'm done, if it messes up anywhere, like in that white area directly below the window or where his white shirt is, I can easily use the eraser tool to erase any changes it's made. So I'm just gonna drag the layer to the new layer icon. Usually I'm used. You're used to hearing me say, type Command J to jump something to a new layer any time I needed to duplicate. But if I do that in this case, what it's going to do is it's only gonna copy the area that's selected. And I wanted to copy the whole layer and so command Jay wouldn't be appropriate here. All right, now, let's go to the edit menu. Let's choose Phil, and I'm gonna have it set to content aware. Ah, click OK, and let's see what we end up with. I'm gonna get rid of our selections. You can get a better view, and then if I just turn off this top layer that will reveal the layer that's underneath, ignore the top of the picture. Just look at the bottom and look at how many of those little paint splotches are gone now. Now, at the very top of the picture that were bright, areas that were close toe white and look at his shirt. The guys wearing inside in the area below the window we'll need to do is either grab the eraser tool or use a layer mask and come in here and paint on those areas that don't look appropriate. And so here I'm using my eraser and I'll just bring those areas back and you could do separate passes for other shades. They're in here because there are some more darker kind of white ish marks that are in here, and we didn't target those when I was using color range. We mainly got the extremely bright ones in, so it might be that I need to do a second past. I'm not going to right now, just trying to show you the concept. I don't think you're going to run into this exact image. Well, you'll need to do it, But look at how many of those paints watches. I was able to get fixed. There's couple areas over here that need fixing to. So that's the main thing is try to truly understand a feature, and if you can truly understand it, how it works. Then, when you learn another feature and you truly understand it, your brain might start to make connections that it wouldn't otherwise. If all you're doing is blindly following steps, you'd never know that once you learn about color range, your brain would suddenly go. Wait a minute. Wasn't there something else that used a selection and did retouching? And you'll combine two ideas together, but only if you truly understood them. And that's why I'm trying to give you more of, ah, understanding on how to use photo shop instead of just step by step.

Class Description

All individual classes that make up this bootcamp are also available here for individual purchase.

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • Develop an understanding of how Photoshop works
  • Create your ideal workspace
  • Configure the essential preference settings
  • Set up Adobe Bridge and Lightroom for optimal integration with Photoshop
  • Navigate multiple images seamlessly

ABOUT BEN’S CLASS:

Adobe® Photoshop® 2020 is a feature-rich creative force, perfect for turning raw ideas into audience-wowing images. With Ben Willmore as your guide, you can master it faster than you think and take on a new decade of projects.

Ben takes you step-by-step through Adobe Photoshop 2020 as only he can. With an easy pace and zero technobabble, he demystifies this powerful program and makes you feel confident enough to create anything. This class is part of a fully-updated bundle – complete with 2020 features and more efficient ways to maximize the tools everyone uses most.

Whether you’re a 20-year designer or you’re opening the app for the first time, this is the perfect way to learn and love using Photoshop. From retouching to masking to troubleshooting, Ben unpacks all the essentials and hidden gems, while giving you real-world examples to drive each lesson home. By the end of the class, you’ll feel eager to make serious magic with Photoshop 2020.

WHO THIS CLASS IS FOR:

  • Beginner, intermediate, and advanced users of Adobe Photoshop.
  • Those who want to gain confidence in Adobe Photoshop and learn new features to help edit photos.
  • Students who’d like to take ordinary images and make them look extraordinary with some image editing or Photoshop fixes.

SOFTWARE USED:

Adobe Photoshop 2020 (V21)

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!

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!!!

marianne
 

The short lessons makes it easy to find things. Clear explanations, structured content, great examples, handbook plus practice images - this class is worth x10 the price! I have seen many of Ben's classes and I'm so happy you created this one, love it