Lessons
Lesson Info
Using Content Aware
We're going open up this picture and this is a photograph of this guy named sean stew see he's kind of a guy behind we're not is kind of he is the guy behind the clothing brand soucie and let's say he or clients like the picture for editorial reasons they would have copy on the right car gone lots of ways we can do this elke for lasso and I'm just going to go ahead and after I hit the l ke trace around the car when you're working with this, you want to give yourself some breathing room if it's too close shift key and then get to that edge on shifting kind of last year that went up he ha so one tool that should have a built in sound effect because um and again I think I'm a little too close up here, so I'm going to go ahead and make a bigger selection when you're making selections if you were to just select the car needed to expand it, which is really helpful with what we're gonna do content where phil, you can go to select, modify and expand, so if ever you need to do that just like ev...
erything out five pixels you can choose that value here a great way to make that work better if we're on the background, we can just hit delete or backspace and she's content aware color adaptation turned on, and it just will depend if we get lucky. I got kind of lucky and it brought everything over, but the step if we ever like you pulled in the stop, you guys see that little part right there in that small if we ever find that it doesn't work, you can always either undo it or just keep doing on top of it. So so I can just keep hitting, delete or back space and keep going and it's going to keep trying to see how it's getting that step sometimes sometimes it isn't the other thing that you can do with this is you, khun, you know, do it again on the area that you've done, so just do multiple selections and the last little tip with this, I'm just gonna undo everything is if you find that it's point in content that you don't want it to pull in, make a selection of the content. You do want it to work with marquis to a copy it to new layer, and then I'm gonna redo my last, so idea we'll see how it, how photoshopped does with this. And now that I'm on a new layer, delete twelve access content where phil, now I have to go to edit and choose phil or the shortcut listed there. He's continent where same same kind of settings and what not and you can see in this case like that's actually pretty good I don't have a ton of work I can work on this little thing over here um in order to get that out I'm just going to do a few more you can also see I could clone and hell and I don't need you don't want to get into all that but did you see how that really helped us get to a better spot with where we are so that now we have a a job that would have been really difficult pretty quick so continent where phil large areas the trick I think a lot of people overlook is toe limit what it has access to and did limited by just going to that new layer and if you can do that you can save yourself otherwise I don't like dealing this happened I'm like how were his arm comes in on if you've ever seen that happen I mean crazy all right let's go backto light room in light room on any one thing regards to dust on a sensor and in this case we're going to go to our our tool which is spot removal tool cuchi for that the key to turn on the visualize spots I had a lot of dust on my sensor we can see where that's located and once that's visible, going in with a high capacity and just looking to take that out. And the reason I want to highlight this is occasionally you'll have issues which are consistent across multiple pictures. And the challenge with that, of course, is, is there a way to to it on one image and then be able to apply that to another there's? Probably a few more, but I think I got them. For the most part, a key again gets rid of that. I go to my next image, and when I get to the next image, the same issues air there. So if we turn on visualize spots, you can see this, these air bird it's that the spots are over here, right? So couple options. One option is to copy the settings shift, command cnn, mac shift control c on windows, check none and then choose what we want to copy over and what we're looking to copy overs or spot removal. So we choose that option. We hit copy, go to that next image shift, command the for paste, and then we'll bring that those same settings onto the other image and clean up that area. All right, one more trip court tipped with working with this tool and that's what this image here this is a reservoir in california that is now almost dry, so sad, but this image I have a lot of my issues like these kind of things that I need to clean up and get rid of, but I also have the straight line the way you can deal with straight lines as you click to set one point hold on the shift key and then click and what that will do is it will create a straight line of retouching and so that could help out. Otherwise what tends to happens you're drying and it gets all squiggly and you get into other stuff you wish you hadn't so that click shift click for spot removal is golden. Lastly, on this image, let's go down to the dock. I mentioned this before, but I want it want highlighted here, but if we have something like this cleat that we want to get rid of me going really, really close here have this weird rainbow reflection there or maybe want to get rid of the cleat if we click on that it's sampled in area in this case it did a really bad job, which is good for my demo, but what we can do is hit that forward slash but in this case it's not giving me any luck, which is too bad often I'll give that demo well, they're kind of getting worked a little bit better, but found the right spot, you know. And so the forward slash key is huge when you're working with this tool. That's true, whether you're just clicking on the spot or clicking and dragging and it's trying to sample to find that area, a quick couple clicks of the forward slash ke someth times can save the day. Other times, this one, it didn't quite do it for me. I lost my patients, so I'm gonna go ahead. Just move that to the to the new area.
Class Materials
bonus material with purchase
Ratings and Reviews
Steve61861
Chris Orwig has long been near the top of my most admired photographers list. I own his books, have watched almost all his courses, and naturally purchased this course from CreativeLive. As always, in a short time Chris covers new and unique material in his wonderful professorial manner that is always easy to understand. Great material, great class, great Orwig, and highly recommended. But I must add a short addendum for other Orwig followers who may be considering this course. Chris is easily the most philosophical, metaphysical, feeling photographer I know. He is a poet with words and images, and he teaches that you should produce images that resonate with your own higher self. Great! But I almost fell off my chair when this class started and Chris now has a very long beard. Okay Chris, I am a follower! You are not only my favorite instructor, but my guru of all things photographic!
Noemi Rav
Great class as usual by Chris Orwig, a gentle mix of useful teachings (it goes fast, be prepared to take notes or rewatch video) and wise guidance. I particularly appreciated how practical the course is, you get to learn things you can apply right away versus a general Lightroom or Photoshop class. If - like me - you know your way around a little bit the editing tools but want real life exemples on improving the edit of your images, plus appreciate it coming from a great teacher, definitely watch this course.
Patrick
Chris assumes you can keep up - excellent! All to often the pace is dragged down by needless spoon-feeding of very basic ideas and techniques, Whenever Chris introduces something which may be new to the viewer he reiterates it later without dwelling. As a result you learn more in a shorter time frame. If you didn't understand or want to go over it again - just re-watch! One of the very best classes I've seen on Creative Live or anywhere else - Highly recommended!