Removing Visual Distractions with Stamp Tool
Lesson 52 from: Creating Your Reality with Composite PhotographyRenée Robyn
Removing Visual Distractions with Stamp Tool
Lesson 52 from: Creating Your Reality with Composite PhotographyRenée Robyn
Lesson Info
52. Removing Visual Distractions with Stamp Tool
Lessons
Class Introduction
09:16 2Why You Should Sketch Your Composite
03:25 3What to Look for in Your Background
10:51 4Posing Your Model
08:23 5Communicate with Your Team
10:34 6Elements of Compositing
31:36 7Learning from Failure & Criticism
12:27 8On-Location Safety Tips
03:42How to Nail the Right Perspective for Your Composite Photo
07:15 10Gauging Light & Exposure On-Location
03:49 11On-Location Posing
18:37 12Cliff Shoot Location Final Thoughts
12:03 13Tips for Culling Images
09:41 14Culling Images Q&A
11:29 15Preparing Your Image for Composite
07:18 16Composite Image Cleanup
11:01 17Adding Background Image to Composite
17:04 18The Difference Between Flow & Opacity
05:41 19Composite Sky Elements
20:58 20Using Curves to Color Match
05:43 21Adding Atmospheric Depth to Image
17:08 22Using Color Efex Pro to Manipulate Color
07:37 23Using the Liquify Tool
05:15 24Color Theory & Monitor Calibration
10:35 25Adding Smoke Layer to Image
07:55 26Selective Sharpening
05:18 27Crop Your Image
02:29 28Goal Setting for Digital Artists
04:39 29Review of Location Composite
01:57 30Understand Angle & Height for Your Base Plate Image
06:15 31Base Plate Focus Point
04:45 32Base Plate Lighting Tips
06:10 33How to Use a Stand-In for Base Plate Image
03:47 34Capture On-Location Base Plate Image
05:57 35Student Positioning Demo
09:05 36Base Plate Sketching
07:33 37On-Location Sky Capture
01:53 38What to Look for in a Base Plate Model
14:30 39Building Composite Model Lighting
10:03 40Composite Model Test Shots for Angle Matching
19:48 41Composite Model Shoot: The Art of Fabric Throwing
13:34 42Composite Model Shoot: Working with Hair
05:45 43Composite Model Shoot: Posing Techniques
21:26 44Composite Test with Final Shot
06:12 45Lighting Setup Overview
04:52 46Culling Model Shoot Images
03:35 47Adjusting Skintone Colors
04:54 48Merging Background with Model
04:54 49How to Mask Hair
09:49 50Creating a Layer Mask with the Brush Tool
14:23 51Creating Shadow Layers
07:10 52Removing Visual Distractions with Stamp Tool
07:11 53Replacing Sky with Layer Mask
05:15 54Drawing Hair Strands and Atmospheric Depth
10:30 55Creating Contrast in Your Composite
12:23 56Adding Atmospheric Elements
06:43 57Using Particle Shop
11:47 58Selective Color Adjustments
07:58 59Cropping, Sharpening, & Final Touches
10:29 60Closing Thoughts
05:52Lesson Info
Removing Visual Distractions with Stamp Tool
Control, shift, new. Control, shift, N: control, shift, new. Alrighty, so I'm gonna call this background cleanup. So, I am going to do all these signs of civilization here. All this crap. I'm not into it, it can go away. If you watch the photo week version of this, I went over some of this as well. So, I did a class on photo week in the fall, if you want to check that out you can totally do it. So, I'm using this stamp tool. And I'm gonna use all the brushes like I said, I've said this before, come stock in standard with Photoshop. These are not special brushes. Although I highly encourage, I really encourage the use of custom brushes. I'm gonna try using the 32 brush. It might work, it might not. I'm setting it right now, the brush is set to current layer. I'm gonna set it to all layers. Reason why I don't want it set to current layer, of course, is that if I'm stamping on a transparent layer I'm gonna get more transparent layer. My flow is two percent, I need higher than that. I'm ac...
tually just gonna go straight to 100. And all I'm trying to do is make things so that people don't notice it. So, get rid of all the little tiny rooftops. And I'm resampling a fair bit. I think this brush is like a little bit sharp for this job. But, it's so far away and it is a small detail in this image that I think I can get away with it. So, if I was to do this with my own custom brushes, I probably would take a part of this background and create a brush out of it. So that the texture and everything is the same. But, if you want to learn how to make brushes, there are CreativeLive courses on that, and I once again, am not gonna spend another hour or so explaining how to do that. But, the information is totally out there and you can do awesome stuff with brushes. So, get rid of this stuff. Like I said, unfortunately there's no way to make this interesting and exciting. I would love to be able to be like, yeah, this is, like, run around and see awesome crazy changes. But, I mean compositing is a bunch of lots and lots of really tiny changes that turn into big things. So, it's not, you know, one big slider to change everything. It takes time and it's boring. But it's really fun once you get going if you're into that (laughs). So, watch here as I'm going along the water line and I'm making sure that I'm stamping along the water line so that everything is relatively even. I also want to make sure I don't have repeating patterns, so I'm sampling a lot. And like with anything it's kind of like with the fabric moving, right. It's not something that we necessarily want people to notice like, "Oh my god, "look at the movement in that fabric." I just want it to be a detail that nobody notices. Alright, and so they can get back to just enjoying looking at the image and enjoying the experience. So, I have some custom brushes for this task that are totally awesome. But, we're gonna do it this way. Sample some nicer green from over here. Oh, click. Go away. Alright. So, we're just removing distractions. Before, after. Next little batch of stuff down here, there's more real life going on over here. So, we'll get rid of that because it's gonna drive me totally nutty. But in this case, this brush is way too sharp for this. So, I'm gonna try something else. We're gonna try using this 45 brush here 'cause it's got softer edges. Ooh, yeah, this is way nicer. Should've used this before. So, I'm doing this at 100 and 100: 100 opacity, 100 flow. Because I want all the noise to stay consistent. If I do less than 100 percent flow and opacity, then of course, the noise starts to get a little murky. But this is another great example, as I was explaining yesterday, the things that are further away have less contrast, less detail and less saturation. Compare this part here to what's going on over here to what's going on over here. This has far more saturation, far more detail and far more contrast than what's going on down here. So perfect example of that. And, because I'm a little bit neurotic, I'm gonna fix up some of this because it needs to be. There we go. Yeah. That 45 brush is pretty awesome for stamping out trees and homes and stuff. Alright, next thing I want to clean up, is I want to look and I want to see are there any tiny humans in the picture? There's tiny humans in the picture. Little tiny blue shirts. You can go away. I don't know what that is. The thing looks like a Sasquatch or something there. You can go away too. You can go away. And if you're out, ever shooting on location like this, sometimes there's garbage. That's another thing I like to look for when I'm cleaning up an image. Clicking for any trash because some humans did not learn anything when they were in school. And they weren't very nice and they're throwing their garbage everywhere, or it flew out of a backpack. All things are legit and possible. I thought I saw something blue over here, there we go. Garbage. And that's bugging me, it looks like a floating cat head. We're gonna get rid of it. So, now quite quickly, before an after, we've cleaned that up.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Dino Maez
i have to say, the class was AMAZING! in every way from the tricks and technique's of mastering this art form to the personalized attention given by Renee. through the class you are able to learn information that would normally take the average person years of trial and error. Renee gives you the gift of benefitting from her her experiences and what she has learned THE HARD WAY! Renee is an outstanding instructor full of passion for what she does, and with a strong desire to not only improve the art, but more importantly, pay it forward, by sharing her knowledge with others. I was fortunate enough to be able to attend the event in person, truly a once in a lifetime experience for me, the staff at creative live were THE BEST! they are helpful in every way and really made this event something special, i can't say enough about the experience i had and would highly recommend that anyone who has the opportunity to go down for a class, it will be an experience that you will never forget. but the best part of creative live is that wether you are there in person or wether you are watching from the comfort of your own home, you are involved in the class in REAL TIME, you have the ear and attention of the skilled artist giving the instruction, being there myself i can tell you that Renee was regularly given questions and comments from the viewers via the creative live staff and she would respond to them as they came, in that way you are very much apart of the class you are never left without getting that personalized attention of an amazing artist or that specific question you have answered, and even better you have the option to purchase the class and have it as a constant resource in your tool kit that you can refer back to at any point that you need a refresher or want to recall that special technique that was demonstrated. thank you thank you to renee and all the staff at creative live you have a life long member in me. and i would recomend that everyone take advantage of this valuable resource dino maez
stephen lenman
I have completed many creative courses. This is by far the best so far. Quite the most amazing and inspiring presenter with a true passion for their craft. The core information is excellent, but the thing i liked most were her subtle tangents, dropping incredible information completely on the fly. A complete real world honest view of business and practical side of the industry. Especially her advice on how she started to her business. Saving up enough in her day job so she could pay the rent, and do photography for 3-6 months.
Sheldon Carvalho
Awesome class. I've been following Renee for a very long time. I love her work and to finally see her work and get an image done from start to finish was quite something.. I love the way she sees things and the way she treats her work and all fellow creative. I would recommend this to everyone interested in getting into composting. Looking forward to creating and making my own art work. But it now :) Have fun creating. :)
Student Work
Related Classes
Commercial