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Copy sunglass reflection to other eye and clean up.


tdpol

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I have the image below and the sunglasses were dirty when I took the shot. I'd like to clean up the left eye, around the edge and duplicate the left reflection to the other eye.

For the lens correction: I've tried to use the clone stamp tool (didn't work very well), a brush, at low opacity with a similar color, then changing the blend mode to soft light, but that didn't help. I've also tried to use the spot healing brush, and the one that samples layers, but those didn't help. Maybe I was to aggressive with the tool?

For the duplication: I tried to make a selection around the layers, then move the selection to a new layer, and transform it to fit the other side. Using warp, distort, and size. Would that be the best way or is there another way? I may just need more practice and some pointers.

Selfie1.jpg
 

IamSam

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Just to clarify, the subjects right eye lens reflection and not his left?

Have you cut-out (isolated) both lenses with the Pen Tool?

After isolation, I would just use a clipping mask and free transform to make the right eye lens a tad bit larger to do away with the edge clean up.
 

tdpol

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Just to clarify, the subjects right eye lens reflection and not his left?

Have you cut-out (isolated) both lenses with the Pen Tool?

After isolation, I would just use a clipping mask and free transform to make the right eye lens a tad bit larger to do away with the edge clean up.

Sorry, I meant the right eye (left reflection with the umbrella) is to be copied over to the left eye (right reflection).

I used the magic wand and selected it that way, and tried moving it over and fixing the perspective. But didn't do a great job. Would the pen tool be the preferred tool here?

Also, any tips for cleaning up the scratches on the lens and the dirt round the edges?
 

IamSam

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Would the pen tool be the preferred tool here?
Yes.

Also, any tips for cleaning up the scratches on the lens and the dirt round the edges?

Already answered this.............

After isolation, I would just use a clipping mask and free transform to make the right eye lens a tad bit larger to do away with the edge clean up.

Screen Shot 2015-05-27 at 12.41.54 PM.png

Screen Shot 2015-05-27 at 12.41.46 PM.png
 

IamSam

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As I don't know your Ps experience level, I have to ask if you are you following me? If not I can explain it in more detail.
 

tdpol

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As I don't know your Ps experience level, I have to ask if you are you following me? If not I can explain it in more detail.

Wow - Sam. I'm impressed. You're so fast to respond, and fast to show how to do it!! Of course my experience with PS is limited, I considered myself to be a advanced beginner, or early novice, so I know what clipping masks are, and how to do some general cleanup and photo enhancements, but definitely need more training - especially with the pen tool!

I would love a more detailed explanation of after the pen tool selection....

How did you make the black filled selection?
- pen tool, twice on the same layer? That's not clear to me.
- I understand clipping masks, but how did you get them in this case.

I'm not following you , no ... on this site or elsewhere?
 

IamSam

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Ok, no problem!

The first thing I did was make a selection of both lenses using the Pen Tool.
Screen Shot 2015-05-27 at 12.46.38 PM.png

Then I created a new layer.
With the original layer still highlighted, I hit Cmd/Cntrl + J to copy the selected lenses to their own layer. Cmd/Cntrl + D to deselect.
We will call this the Lens Layer.
Screen Shot 2015-05-27 at 12.47.20 PM.png

Then I created a new layer BELOW the Lens Layer.
Cmd/Cntrl + click the Lens Layers -- layer mask to create a selection.
Then fill with black. This is the layer we will use for the clipping masks so lets call it the Clipping Layer.
Screen Shot 2015-05-27 at 1.06.35 PM.png

Now go back to the Lens Layer. Select/highlight the layer.
Select your Rectangular Marquis Tool and make a selection around the left eye lens like the photo below, then hit delete.
Screen Shot 2015-05-27 at 1.10.22 PM.png

I'll let you start with this while I finish in a new post.
 

tdpol

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Awesome explanation!!! Everything here , so far, is pretty clear. Just wondering...

1 - How many points you made with that pen tool ?
2 - Can I make 2 selections with the pen tool prior to putting them on a new layer? (can't remember)
 

IamSam

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Now, with the Lens Layer still selected, hit Cmd/Cntrl + J to copy the layer.
You should now have two right eye lenses on separate layers.
Screen Shot 2015-05-27 at 1.14.54 PM.png

You may have noticed that I have had the BG layer turned off.
Turn on the BG layer now.

If you have had the right eye lens 2 layer turned on, turn it off now.

Select/highlight the right eye lens 1 layer.
Hit Cmd/Cntrl + T to enter the free transform function.
Hold down the shift key and the alt/option key and drag one of the corner handles outward.
We are increasing it's size, the shortcut keys are to maintain perspective and proportion.
(note: you can temporarily lower the opacity of the right eye lens 1 layer so you can visualize the transform)
Starting point..
Screen Shot 2015-05-27 at 12.54.43 PM.png

ending point...
Screen Shot 2015-05-27 at 12.54.55 PM.png

To give you an idea of how much it was increased, I will use a selection to show the difference. (you will not see this selection)
Screen Shot 2015-05-27 at 12.55.19 PM.png

For this lens, all that's left to do is to clip it to the Clipping layer.
Select the right eye lens 1 layer and right click the layer, choose "create clipping mask".

Should now look like this..
Screen Shot 2015-05-27 at 1.33.18 PM.png

Screen Shot 2015-05-27 at 1.28.16 PM.png

Note: at any time you can come back to the right eye lens 1 layer and make any adjustments.
 
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IamSam

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Turn on the right eye lens 2 layer and select/highlight.
Select your Move Tool.

You can click and drag or use the directional arrow keys to move the right eye lens 2 layer over in front of the left lens.
Screen Shot 2015-05-27 at 1.38.44 PM.png

As I noted before, I have lowered the layers opacity so I can see what I'm doing.
I have once again entered into free transform and I'm going to position the lens where I want it.
Screen Shot 2015-05-27 at 1.39.08 PM.png

I rotated it some and expanded it.
Screen Shot 2015-05-27 at 1.41.58 PM.png

Hit enter to accept the changes.
Run it's opacity back to 100%.
Add the clipping mask as described above.

Done.
Screen Shot 2015-05-27 at 1.45.49 PM.png

Screen Shot 2015-05-27 at 1.45.00 PM.png
 
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Tom Mann

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@OP: I don't want to cast a dark shadow (pun intended) on the fine work done by Sam, but as a photographer, leaving the reflection of the umbrella plus all the other clutter in the background of the reflection just shouts out: AMATEUR PRODUCTION / LOW COST PHOTOGRAPHER AT WORK. If you don't want to give that impression to your clients / customers, just string a large white sheet across the room and aim your flash through it. That way, you won't see the distinctive shape of the umbrella and its ribs, nor the details of the room because all that will be reflected is a featureless white sheet. Then, should you want to add any fake details to the reflection (eg, the sun over a beach, LOL), it will be much easier to do so.

Your other option would be to take two photos in rapid succession: (1) One with the umbrella to get softer lighting on the face, and then a second later, (2) another, at much lower exposure using direct flash (no umbrella) so that the man and everything else including almost all of the reflection is very, very dark, and all that you see is the bright, point like reflection of the flash. Then you can add the beach scene (or anything else) and people will think the reflection of the direct flash is just the sun. You then composite the two images.

HTH,

Tom M
 
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tdpol

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@OP: I don't want to cast a dark shadow (pun intended) on the fine work done by Sam, but as a photographer, leaving the reflection of the umbrella plus all the other clutter in the background of the reflection just shouts out: AMATEUR PRODUCTION / LOW COST PHOTOGRAPHER AT WORK. If you don't want to give that impression to your clients / customers, just string a large white sheet across the room and aim your flash through it. That way, you won't see the distinctive shape of the umbrella and its ribs, nor the details of the room because all that will be reflected is a featureless white sheet. Then, should you want to add any fake details to the reflection (eg, the sun over a beach, LOL), it will be much easier to do so.

Your other option would be to take two photos in rapid succession: (1) One with the umbrella to get softer lighting on the face, and then a second later, (2) another, at much lower exposure using direct flash (no umbrella) so that the man and everything else including almost all of the reflection is very, very dark, and all that you see is the bright, point like reflection of the flash. Then you can add the beach scene (or anything else) and people will think the reflection of the direct flash is just the sun. You then composite the two images.

HTH,

Tom M

Hey Tom

Thanks for the advice and opinions. This was my first attempt at a self portrait with my new 85mm and my D7000 - in manual mode with a yongnuo and manual focus (which also took a while to get properly). I'm really new to photography and PS and wanted to mess around whilst the wife was away. This was all done solo style, and not for a client. The final result I wanted was just the reflection of the umbrella, which (as you pointed out) also caught all the other distractions in the room, thus making the reflection low budget.

How would I do this "..
.string a large white sheet across the room and aim your flash through it
" ??

You mean across the back of the room? So it's a solid background and the door and walls don't reflect? That part's not clear to me.

This is what I was after:
10.jpg

I rather get it right in camera then have to post process the image, but this was as close I could get. Tethering wasnt working properly in LR and I constantly had to run to the preview on the camera to review the results.

I'm not sure how I would do option #2 you pointed out to me. Rapid succession? With only one guy? Do you mean, snap a pic, quickly take the umbrella off and snap another pic? Being in solo mode, I'm sure I wouldn't find the exact same spot again on the floor where I was standing and would make the angle different.
 

tdpol

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IamSam - Thank you so much for the detailed response and effort spent into this post. I'm curious how I would go about "following" you and your work?
 

IamSam

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@IamSam - Thank you so much for the detailed response and effort spent into this post. I'm curious how I would go about "following" you and your work?
Just hang around the forum! It's that simple.
 

Tom Mann

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Hi Tdpol - I must confess that it just never occurred to me that anyone might intentionally want to have part of the photographic setup (ie, the shape and ribs of the umbrella) visible in the shot, nor did it occur to me that this was done as a selfie. Take it as a complement -- Since the image of the face was so good, I figured you were probably shooting and/or editing pix for some small business that sold sun glasses and the images were to be used for advertising.

Anyway, since having the umbrella in the photo is actually your goal, then there is no reason to even consider my suggestions about using a white sheet (instead of the umbrella) as the diffuser, or getting a good point-like reflection in the glasses -- just follow Sam's tutorial, and darken the part of the reflection that shows the room. Or, using those same PS techniques, you can just take a completely separate picture of the front of your umbrella (and let the background go black), and then adjust it with respect to shape/warping, size, color, brightness, etc., and place it wherever you want as a reflection in both of the lenses.

Cheers,

Tom M
 
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tdpol

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The hardest part of this tutorial was that damm pen tool - lol. I hope I'm using ti right. I watched a bunch of videos online on how to use it, so not sure if my points are too close or too spaced out, but here's what I got.

Not to get too complicated, but since I didn't just get the umbrellas in the reflection, I'd also like to make the gold part of the glasses more solid, with just the umbrella reflection. Same to what was in that pic. Actually, it just came to me to grab someone else's glasses reflection (online or from Oakley directly) and use the same technique here and put that on first with the umbrella masked on top using a soft light or overlay blend mode.

Points.JPG Tom - thanks for the words. Just messing around right now but would love to be able and make this part time. :) cheers.

-Tom
 

IamSam

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You can never have your points too close together or too far apart..........all that matters is the path!

If the path follows the outline of what your trying to isolate, then that's all you need to worry about. If the path is off, add points or subtract points to make it right.

Please don't worry about the number points or how they are spaced, it's irrelevant. :thumbsup:
 

MrToM

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Just to add to Sam's excellent techniques, this is how I personally deal with paths...

When it comes to curves in the digital world you have to think like a PC, and in this case like PS too.
A section between two points (Anchor points in the case of PS), is a curve....that's not to say it IS curved, but its called a 'curve'.

Even a straight line is a curve, and this is something most people have difficulty understanding....but its how PC's and PS 'see' sections of a path....as a series of 'curves'.....regardless of whether they are straight or not.

PS doesn't know a straight line line from a lemon so it treats every section as a 'curve'.....straight lines are only 'straight' to us humans...we differentiate curves into being either 'curved' or 'straight'....PS does not.

That didn't really need to be said but its meant to get you to change the way you think about what a path is and how differently PS sees it and works with it....in an attempt to make it easier for you to work with too.

Right, onto business.

The first thing I normally do when creating paths is make life easy for myself.
Paths can get difficult to see so I always place a Black layer above the image and lower its opacity so I can still see to trace out the path but its also dark enough to see the path too...

selfie_MT_02.png

Then its a case of 'MENTALLY' splitting the outline up into its basic sections.....or curves.
At each intersection of TWO curves is where you will need an anchor point.

Hopefully this image says it all.....note how easy it is to see the path...:thumbsup:

selfie_MT_01.png

My usual method is to just click somewhere around each 'Intersection' first....this gives me straight lines but it doesn't matter....after you close the path you go back and adjust each anchor position more precisely, convert to a smooth bezier and adjust the handles to fit.

You can always 'Add' anchor points if you can't get the path to fit the curve.

This way you get a pretty precise path, (as precise as pixels allow anyhow), and with the minimum of anchor points.

Thats just how I do it......and its not failed me yet.

Regards.
MrToM.
 

tdpol

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Wow .. what detail and good tips. Thanks so much for that. I just read a wiki on the pen tool and realized that where you point your anchor, should be in the direction of where you're going. A huge eye opener!

Adding that to this detailed explanation is GOLD. Better than any video i've watched from some of the "pros" out there on youtube, and I prefer video learning than reading! hehe.

Thanks Tom - What's with all the Tom up in here?!!? Including myself, that makes 3 :)
 

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