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Retouching Using Multiple Retouching Tools

Lesson 50 from: Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

Retouching Using Multiple Retouching Tools

Lesson 50 from: Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

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Lesson Info

50. Retouching Using Multiple Retouching Tools

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

Retouching Using Multiple Retouching Tools

all right, let's work on other images that might help us really learn to think about how to use these features. Let's take a look up here and see if we can really get a sense for the true difference between clone stamp healing. Brush in spot healing brush. So first clone stamp with clone Stamp your just blatantly copying from one area and putting it somewhere else. And if you were used a hard edge brush, that would be nothing to help you blend it in with its surroundings. And that means that if I copy from this area here option clicking and I apply it over here, it's just a blatant application with no attempt to get it to look good. Choose, undo. If, on the other hand, I switched to the healing brush and I copy from the exact same area, and I apply it over here, the results will be completely different because any tool with the word healing attached to it will try to precisely match both the brightness and color of whatever's right outside the area where you've applied it Well, if you ...

look right outside that circle, you sees a completely different color in a completely different brightness. So when I click, it can still use that and apply it just fine. So therefore, if I wanted to get rid of these little vents that were in here, I could use the healing brush tool. And just to show you that it's possible I can copy up here from the red. I just option clicked all clicking and windows, and I can come right down here to apply it. Now you can see that is trying to blend in with what's on the edge, and therefore you see it getting a little kind of blurry looking in dark on the left side. That's because it's blending them with the rest of that vent. Once I get beyond the edge of event, though, it attempts to blend in with the color that's right next to it. I continue going if I want, because up on the red Object you can see the cross there of where it's copying from. And there's more space available so I can come in here and there might be enough space to get that entire that. Now, when I got to about there, you start seeing a slightly bright vertical area within my circle and you can see it over on the red object. Can you see it right here? It's like a little scratch or paint spot. Well, it's just picking up the variation and brightness that was over here and it was using it there. So you see that starting to show up all I need to do is copy from another area, come down there and clean it up. I'm gonna choose undo a few times to get rid of that. And that was the healing brush. The healing brush means copy the variation and brightness from one spot and apply it somewhere else. But when you do, make sure you match both the brightness and color. So to show you a few other examples, I'll copy from this bright white area option click, and I'll use it to get rid of this spot on the dark Red works just fine. If, on the other hand, I told it to copy from here, it's going to copy the texture that's here. So if I use that to try to come in here and get rid of something in this file, let's say going there, look, you can see the texture of the wall. It's a matter of the variation of brightness needs to be appropriate. So then we have the spot healing brush in the spot healing brush. It tries to pick where to copy from, and it doesn't try to do it an intelligent way. So I could come in here and paint over one of these letters and I gotta paint over the whole thing. All I see is a black overlay, and it's only when I let go that it decides where to copy from so I can go across each letter and see if it doesn't okay, job on occasion, it might mess up, and then I probably want to smooth it out so I can see what the edge of where kind of painted there. But we could get rid of that spot. Healing brush can usually do a pretty good job, and therefore I default to trying the spot healing brush first, because there's a good chance that it will just work and I won't have to do any additional work on the image. It's only when the spot healing brush fails three times in a row that I switch to something else. And when I switch to something else, if at all possible, all simply switched to the healing brush. And the only difference is with the healing brush, I tell it where to copy from. And so if I were to go in here and here, I can see kind of, ah, lighter, almost upside down V shape to this area. Maybe I copy from here. Option Click, and I decided to apply it over here. I'll get a bigger brush so I can see exactly where that transition into the shadow would be, so can line up out there, then get a smaller brush before I actually click to apply it. But I click and I dragged across like this and you'll see that same little upside down, V shaped bright area. Get transferred over here. But where did the color and brightness come from? Wherever surrounding this, what's causing copied from work here is the variation and brightness, and it takes a lot of time. I find for people to really get their head around that. So when I come over to an area like this and I see the shadow that's here, let's say, wanted to get rid of that shadow. Well, I would first try using the spot healing brush. And if I come over here, I need a paint across the entirety of the problem because it's gonna blend into whatever is right outside of where I painted. I don't want to blend into the dark, shadowy area, and it can do OK, but there's a grout line here that is now missing and so I can attempt to go over that a second time. Maybe had a smaller brush, and I paint right where the grout should be, hoping it's gonna bring it in. No luck. Try it again. Three strikes and you're out. That means I'm going to switch to a different tool to one. Going to switch to is the healing brush tool, and I'm just gonna look for another ground line. It could possibly go for this one, but that looks like it's dark. I want to see if I can find one. That's light, and I'm not sure if I will. If I can't find one that's light. Then I might end up copying from the one that's already existing in the same location, but I'll just look around for where all the grout lines are. And I don't see another light one. Therefore, it means I'm gonna have to copy from the one that's here. Eso What I would usually do in this case is I can attempt to just copy from here Option, click and then apply. And then once I'm done, I'll try to break it up so it doesn't look so much like an exact copy. Maybe I copied from a little bit here and then use that to join those two sections. And then I think I'm starting to look OK. I might be off the tiniest bit there, so I might need to come in and just do a tiny spit of a touch up down below, though I think I'm gonna have some issues. Let's go back to going to my spot healing brush and gonna paint across the entirety of that shadow. And the problem is, I'm gonna end up kissing up against the edge of an object that I don't want to remove, which is the edge of the stair. In any time your brush touches something just on the edge, it's going to try to blend in with it. It's gonna try to match both the color and brightness when I let go. It doesn't look right. And it tries to extend the stair over. And sure, if you want to give it three strikes before it's out, you can try it again and again each time it's gonna mess up. That's gonna happen when you come up and just kiss against an edge where you didn't want to retouch there. So what I'm gonna do here is try to isolate the problem so that it is surrounded on all sides by the proper brightness and color that should end up on that edge. So that means I'm gonna go to the clone stamp tool. I'm gonna copy from somewhere up here option clicking. And then I'm gonna come in here with a smaller brush, and I'm just gonna create a gap between the edge of the stairs and the where the shadow is. And if you ever seem to make any straight lines, that means that I clicked in one spot, held down the shift key, and I click somewhere else, which made a straight line here. I got a little over spray cell. Just grab the eraser tool and get rid of that over spray hoops. Where's my eraser tool? Oh, I'm not working out an empty layer. I should have created an empty layer at the beginning. Well, it's interesting, but it's not unsolvable as far as being able to erase that little over spray. If you click and hold on the eraser tool, there's actually let's see. It's not there. Where is it? Somewhere is the history brush. It's right here. Just above the eraser tool is the history brush. If you look at it, looks like a brush with kind of a U turn symbol on top of it. And when you paint with that tool, it paints with whatever your image looked like when you first opened it. And therefore, if there's any way where you messed up and you didn't use a layer by painting with that tool, I could bring it back to the original. Regardless, that's the history brush. Now I can continue with my clone stamp tool. I'm gonna copy from area on the right side option clicking there, and I'm just gonna again pain right up against the edge of that step. There's only so far I'll be able to go down before I bump into information that wouldn't be appropriate. I'll start copying from this edge down in here, right where that edge of the wall is. Option click. Come over here and make sure it's at the right height before clicking an appliance. There we go. Then down here at the bottom, we still have the shadow somewhat hitting the ground. So I need to get a gap there. So I'm gonna option click from the bottom edge of the wall approximately what I need. And now I think I have that shadow surrounded on most sides with the proper brightness and color. The only spot where it isn't is on the edge of the document. In often time, this tool does find on the edge of a document. So now I can attempt to use a spot healing brush to paint across this entire object. And I just make sure that the edge where I stopped painting is within that little gap that I created and that it doesn't actually touch the edge of the stairs and therefore wet it sees on the edge Is the appropriate brightness in color. Let go. It is still messed up. Well, I can always give it three strikes, which means give it a try again in the smaller area where it's messed up. But since you have to go across the entire problem, I think it's probably gonna mess up again. Ah, it's a smaller area, though, so I might be able to try that. But let's say I didn't want to do that. I'll choose undo a few times to get back to this point and all he was doing his typing command Z controls and windows to undo what I'll usually do. If it's a large problem like this is, I will end up breaking it up into multiple pieces. So I'm just gonna break this in half. Ah, copy for Neri up here with my clone stamp tool by option clicking. And then I'll paint painted in right here, copy a little bit from down here, painted in. Now this chunk up here is surrounded by the proper brightness and color separate where it hits the edge of the document, and now I can attempt to use the spot healing brush and just make sure that I end right within that gap. I created then do the same thing on this side. Don't let it touch the stairs. Don't let it touch the bottom of the floor area. It seems to be really want to be messing up over here. And if it just continues messing up, that's when you just say screw it. You got three strikes. I'm going to the normal healing brush tool. All manually copy from over here to force you to copy from there. And then I'll come in here and paint that in, and then I'll manually copy from another area. But you get the idea of how you could fix an area that is too big and complicated for the spot healing brush. Deal with by breaking it up into separate pieces and those separate pieces just make sure on all sides, you've surrounded it with right brightness that it should end up being in the right color. Ah, and then it can tackle that

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