Lessons

Lesson Info

Removing Simple Objects and Local Adjustments

So let's continue and look at removing some simple objects. So let's go to a different one here and let's take this show, for example, because sometimes we have some distracting objects that you want to get rid off. So in this case, we've got some people in the sea on Dis. One in particular is kind of the most distracting. So let's first of all, edit image to a point that we think is good. And then we can start to use some layers. So once again, I think the horizon is off. So let's grab my straight until and drawer along the horizon gives me a perfect place to see, like so on. Then we're going to proceed for crop and crop the image as we see fit something like this and press H to get the hand tool back now. Adjustment wise. Let's look at the levels, too, and it's a little bit dark. So let's bring up the exposure to some extent and let's say a for auto on the levels, and that brings that up nice and snap early on. Then we can just dark in the mid, toned down a bit. And even though this ...

is going a little bit too dark. I'm pretty sure we can bring this up with just the shadows. Slider like so? So that gives us some good based corrections. But we've got some of these, you know, annoying distractions in the background or just turn my mouse located back on that. Didn't wasn't owning the restart. Okay, so we've got some annoying distractions in the background on. We can also use layers to get rid of those as well, but it's a different kind of layer once again. So we had our luminosity masking, drawing masks on by hand. And now we have this different kind of layer, which is called a hell, ORAC Lonely. So if we go over to the plus icon and we say new, he will layer this makes me land has a slightly different symbol, you see, with the sticking plaster here. So if I zoom in to 100% I want to get rid of this guy here. So we do that just by grabbing a dramas brush and you see the brush icon looks likely different. It's got those arrows around the edge, so I know this is a clone or he'll brush. So first of all, I want to pick a point where we're going to take some part of the image and drop that on top of the other bit to hide that guy. So if I ate press option or vote on my keyboard, you see, it changes to across there, So I want to pick a point around here. So then I get a small dot and then I'm gonna brush over this guy, and when I hide the mosque, you can see it's disappeared. Now, this wave isn't lining up to good. So what I can do is hover over this point here. And I could just move that down and match that quite nicely and just brush a little bit more over his head. So that's what we call a repair layer. And as you might have spotted, there was clone or he'll So what hell does is it tries to match the luminosity at the site we've healed up, so it actually blends in much better. So if I change this to clone and what I can do so here, also in the layers to then you could just see the color shift ever so slightly because it's just a like for, like, copy where the hell tries to blend the luminosity in better Now there's a slight limitation, or maybe a big limitation with the way he will layers work is because we can only have one source point per layer. So let's say we wanted to get rid off this person to If I I can't do the option click now because I've already got my source point. So if I start brushing here, then what it's actually doing is copying a piece of the sea, which is at the same distance and direction is the 1st 1 So you see, it's actually picking up the man which we tried to get rid off so I might be out to get away with it if I just move it that way so you can see how it's working like so So it is a bit of an annoying limitation, but you can sometimes get away with it. But in this case, not so good. So if you wanted to get rid of, say, some more people here than we could make additional here layers, but if I'm lucky, I might just be able to get rid of those as well. So there we go. So capture one. It's not a retouching tool, but for getting rid of kind of simple, annoying distractions like that. It actually works really, really nicely. So that saves you a job of perhaps having to go into a photo shop for something else. Let's have a look. It another example as well. We're finish up there. So another example here, which looks pretty good out of camera. Let's just command are to reset. That's how it's come out of the camera itself. I'm just going to rotate a little bit because it's slightly wonky. The way I prefer to rotate is to go into the rotation and flipped all and use my cursor keys. So if I press up and down cursor or shift up and down, shift up and down makes it in 0.10 degree increments, and if I'd issues the cursor key, it's in 0.1 increments. So super fine. So I preferred to just nudge the rotation like that and based corrections. It doesn't really need much doing to it, so we just put in a little bit of clarity. But What I don't like is that their faces are just kind of falling into shadow here, for example, which is not what we wanna have. So once again, our do this technique off the new filled layer so that an image sorry, a layer over the whole image and then we're dialing are adjustments. So probably in this case, I just want to lift the shadows a little bit. But it's not having a huge amount of effect, so maybe a curve is better in this case. So again, if I hover the cursor over the right hand side of her face, it's sitting somewhere down here. So I just lift this point of the curve. Doesn't matter that it looks a bit weird now because we're just gonna brush it in. And also it works quite nicely on the side of her face as well. So let's go back into our layers to let's just remember to name this. So recall this lighten. Grab a brush, gonna right click and make this considerably smaller and have a nice low flow down here, lower the better. There's no disadvantage of going too low. It will just take you longer to brush, but you'll get a better result so we can see what our layer is doing. So let's right click and clear that mosque. And then now I can just gradually lighting it up ever so subtly and the same goes over here a swell. If I turn this layer on and off, then you can just see the ever so slight difference it's made, and again, if it's too much, could just raise a little bit as well. Now, so far, everything we've done on the course I've been using a pen and a tablet. It's not a requirement. I just find it more comfortable and easier to use, especially when we're drawing and brushing. But there's no reason why you can't do any of this with the mouse as well. I just personally find it much more comfortable, especially if you're editing for a long time as well, especially with masking when we're drawing. In a way, I find it quite difficult with the mouse to make those arcs and sweeping movements or quick brushing much, much easier with a pen on the tablet. Okay, so that's just a little tweak that just lifted their faces ever so slightly. Um, over here is a bit distracting. Quite feel. So we're gonna make another layer, and we call that radio Darken edges. Grab our radio, Grady. A mosque where I start drawing. That's the center. So I'm going to sit it something like that. Turn it slightly by going into the center and grabbing one of the handles and just moving that out. Like so and again. If we press em, we can see what that's doing. So let's move it over there a bit. And if we go to exposure, I think that's gonna work pretty nicely. So I could just drop the exposure down can if it's a bit heavy handed. If the shadows getting a bit too dark you might find you're better off with brightness is as that would just bring the mid tones down. But hold on to the shadows a bit. If we drop their exposure down, you see, it's getting quite dark up in this corner almost a bit too much. So I find if we just take brightness down, it's just a little bit or subtle, and once again, if we've gone too far, we could just take the balance. It with the capacity as well on my even d century slowly to as that just brings it, the focus much more on the center now, talking and explaining this to you, You can see you know, you think well, that slow. That takes a long time to do that. As soon as you get fast with this and using shortcuts as well, you can knock out this kind of dodge and burn exercise really, really quickly. So functions like adding a new empty layer or a new filled layer or a clone layer weaken. Do all of this with short cuts as well. Now the reason why you know I choose not to short cuts here is that it makes it very difficult to follow. But at home, I always use shortcuts to that new layer had newfield layer and so on. And to find it if we go to the edit menu, edit cable, Joe cuts find anything to do with layers. So let's just type in layer and you can see we've got Ed adds new adjustment field clone Hell delete and so on. There's even short cuts for the layer rapacity and for going up and down the layers stack like so. So colon and apostrophe here allows us to move up and down the steps quite quickly so you can limit the amount of See, I'm just pressing colon. So semi colon, I can go up and down the layers stack quite nicely. So all of that, we can drive with your cuts to super simple. All right, Um, I think that brings us to almost the end of this segment. So I see that we have a couple of questions coming in from the online audience. But we'll ask you guys first as well. Do you have any questions? All clear is month good? Okay, s So the first question from Nat is there a short cut to undo the crop? Straightening edits that doesn't make your open both tools and reset using the back arrow. Unfortunately, Nat, there is not. So if we crop here, for example. So if we've crop this guy and we want to reset that, there's a one kind of get out thing you can do with the crop tool. If you want to disregard the current crop on the image like you see, I'm in the middle, it's changed to this cross hair, so that means I can only move the crop around the image. If you want to disregard that, if you hold down shift, then I can re draw a crop anywhere. So if I wanted to crop in the middle of this image, I can do so. So holding down shift will disregard that current image. But unfortunately, if I want O reset it, I've gotta go to the crop tool and hit the little reset button. It's a bit of a shame, but there is no way around it. And it's the same for rotation and flip A swell. Okay, thanks. That was there. One more question. A swell from man. Did the shopping algorithm improved in capture 1 In general, I would say no when it came to sharpening, there was some changes in capture one 11. I think it was. Don't quote me on that 10 or where we added Halo suppression, which is a really super awesome slider. So if we pick something that's maybe a tad sharper like this guy, go to this. Watch on. We look at sharpening if we push sharpening too hard and I'm gonna push it really aggressively. Then you start to see if we got to 200%. Then we get these kind of harsh halos. You can see the black around the G when we over sharpened. But Halo suppression is awesome, and it's often miss because it's such a long title halo suppression that you don't even know what it is. It's his halo supper. So what does that mean? But that reduces those halo so you can push this quite hard and bring up halo suppression and you get a really nice balance of sharpening. But it's a little known slider that isn't used that much. So if we go back to 100% like I really aggressively sharpen that and if I go option before and after, it actually looks all right. You know, I would probably brush that in on the watch face because it's maybe a bit too much on the fabric behind it. But for the watch face, it looks fantastic on DWI. Could achieve that with the halo suppression, so no shopping out algorithm hasn't changed, But I'm willing to bet a lot of people don't know that slider exists