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 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

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Ben Willmore

As a photographer, Ben Willmore has shot in all 50 states and explored over 80 countries. He has been pushing Photoshop and Lightroom Classic to their limits since the beginning.

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topics covered in this class

Adobe Photoshop Beginner Fundamentals Photo Editing

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!!!

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Remove Similar Objects At Once

Remove Similar Objects At Once

Lesson Info

89. Remove Similar Objects At Once

Lessons

Introduction To Adobe Photoshop

Bridge vs. Lightroom

Tour of Photoshop Interface

Overview of Bridge Workspace

Overview of Lightroom Workspace

Lightroom Preferences - Saving Documents

How To Use Camera Raw in Adobe Photoshop 2020

Overview of Basic Adjustment Sliders

Developing Raw Images

Editing with the Effects and HLS Tabs

How to Save Images

Using the Transform Tool

Making Selections in Adobe Photoshop 2020

Selection Tools

Combining Selection Tools

Using Automated Selection Tools

Quick Mask Mode

Select Menu Essentials

Using Layers in Adobe Photoshop 2020

Align Active Layers

Creating a New Layer

Creating a Clipping Mask

Using Effects on Layers

Using Adjustment Layers

Using the Shape Tool

Create a Layer Mask Using the Selection Tool

Masking Multiple Images Together

Using Layer Masks to Remove People

Using Layer Masks to Replace Sky

Adding Texture to Images

Layering to Create Realistic Depth

Adjustment Layers in Adobe Photoshop 2020

Optimizing Grayscale with Levels

Adjusting Levels with a Histogram

Understanding Curves

Editing an Image Using Curves

Editing with Shadows/Highlights Adjustment

Dodge and Burn Using Quick Mask Mode

Editing with Blending Modes

Color Theory

Curves for Color

Hue and Saturation Adjustments

Isolating Colors Using Hue/Saturation Adjustment

Match Colors Using Numbers

Adjusting Skin Tones

Retouching Essentials In Adobe Camera Raw

Retouching with the Spot Healing Brush

Retouching with the Clone Stamp

Retouching with the Healing Brush

Retouching Using Multiple Retouching Tools

Extending an Edge with Content Aware

Clone Between Documents

Crop Tool

Frame Tool

Eye Dropper and Color Sampler Tools

Paint Brush Tools

History Brush Tool

Eraser and Gradient Tools

Brush Flow and Opacity Settings

Blur and Shape Tools

Dissolve Mode

Multiply Mode

Screen Mode

Hard Light Mode

Hue, Saturation, and Color Modes

Smart Filters

High Pass Filter

Blur Filter

Filter Gallery

Adaptive Wide Angle Filter

Combing Filters and Features

Select and Mask

Manually Select and Mask

Creating a Clean Background