Photo Restoration techniques in Adobe Photoshop 2020 | Jonathon Parker | Skillshare

Photo Restoration techniques in Adobe Photoshop 2020

Jonathon Parker, Passionate MoGraph and VFX Lectu

Photo Restoration techniques in Adobe Photoshop 2020

Jonathon Parker, Passionate MoGraph and VFX Lectu

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7 Lessons (31m)
    • 1. Class Introduction

      0:53
    • 2. Lesson 1 - Image Analysis

      3:31
    • 3. Lesson 2 - Dust & Scratches Technique

      6:27
    • 4. Lesson 3 - The Healing Brush

      3:34
    • 5. Lesson 4 - The Clone Stamp Tool

      10:14
    • 6. Lesson 5 - The Stamp Tool

      5:27
    • 7. Lesson 6 - Summary

      1:02
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About This Class

Relive past memories while becoming a pro at photo restoration. It can be so disappointing looking through old photos only to find out that they haven't aged well. This course will go through some of the fundamental photo restoration tools and workflows.

My name is Jonathon Parker and I am a Visual Effects and Motion Graphics lecturer from Wales, UK. Throughout my lecturing career, I have developed a keen interest in photo restoration and have been restoring clients' photos for the past 2 years.

This class is designed by a teacher, for you, the student. This is a beginner's course that will go through some of the basics when it comes to photo restoration.

This class will teach you the following:

  • How to properly set up your Photoshop Project file
  • How to properly analyse your photo to see the full extent of the damage
  • A non-destructive workflow enabling you to go back to previous versions of your image
  • The Dust and Scratched feature, the clone stamp tool, the spot healing brush tool, and the stamp tool

So, what are you waiting for?! Either download the project files or grab one of your own photos and let's go!

Meet Your Teacher

Teacher Profile Image

Jonathon Parker

Passionate MoGraph and VFX Lectu

Teacher

My name is Jonathon Parker, a Motion Graphics and Visual Effects lecturer from the UK.

 

Firstly, a little background about me! I have always been the creative type and always strive to improve and push my creative skills further and further.

 

As stated above I am already teaching in the UK as a Motion Graphics and VFX lecturer – The difference with my courses will be the fact that they come from an educator, not someone doing this just in their spare time! All my courses focus on teaching and assessment. I will teach you a few skills and then set you an assignment to check that those skills have been learnt. I also see the importance of generating handouts and resources for the student, so I have included these in my courses also!

&nb... See full profile

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Transcripts

1. Class Introduction: Hi guys, welcome to my photo restoration course in Photoshop. Now if you're anything like me, you love old photos. However, the problem is sometimes these old foe is a prone to a little bit of wear and tear and damage. Now, I've been doing photo restoration for many years now. I'm a lecturer in Wales in the United Kingdom, and this is some of the stuff I teach. So I thought I'll bring it to you guys. Now I'm going to be going to some of the basic tools within this course. Some of the basic tools to store your images and Tubman back to life, I will be doing further courses while I go through more advanced techniques. But yeah, let's jump on into the lesson and learn some of these basic techniques that project files will be available to you so you can follow along with the photo that I'm using or you can use your own photos. But let's not waste any more time. And let's go and dive onto the first lesson. 2. Lesson 1 - Image Analysis: By then guys in this lesson, what we're gonna do is we're going to just start analyzing our photo to see what work we've got to do to it. Now I've just gone to File and open and navigate to a photo was to open it. And as we zoom in, we can see that actually we haven't got a great deal of resolution there. So what I'm going to do is go to image, image size. And I just wanted to double these numbers. So instead of 510 and the width are gonna go 1020 and double height will be 1280. Okay? And with your resample, I've chosen by cubic smoother. You can also go for preserve details, but I feel you get, when I do this, at least to get these kind of like so strange artifact was if we used by cube cubic smoother, so little more blurred, but you don't get these really sharp artifacts. Okay? So I'm going to be using bi cubic smoother and then just click OK. So now I've got a larger image. I've got more pixels to work with, and we can really start happening and luck. So obviously we can see the sum so of this pieces of the photo missing up by here. And we've got pieces of photo missing by here. And we need to rebuild bits all around the edges where saw them paint or not paint, but where the photos are flaked off will score a lot, a lot. So scratches here hasn't been looked after this photo. And we've got some writing on top. We've got this 11, but here. Now that's all very well and good. But we need to really make sure we check with properly. So the way I do it is creating a downtown bottom right click this new adjustment layer, go and check a levels on. And if we basically crushed these colors were more contrasty like this. You can actually see now there's a lot more damage in there than we thought all these lights specs. Okay. If we turns off, they are still lab. There are a lot more visible when we turn this levels on. Okay. So always when you're doing something like this, use levels or, or something similar to levels to really push the tones to so you can kind of see the extent of the damage. Okay? And again, you can see actually there's loads and loads of damage down here. So load little things if we turn it off, not that visible, but there is loads a little things just in between here. You can see as we push IT, they come through. Okay, so that's just a really neat way of kind of really checking what your photo, what damage photo has. The good news for us is the sort of scratches and everything. Luckily, they're not on the face of our character or our subject. That would make it a lot more difficult. And also they're not really on top of him either. On top of his sort of clothes. They are sort of on top is trousers by here and detail of the chair. But they're, for the most part, this, this variance of areas which are quite relatively easy. So that's just a quick analysis of our, of our photon is important that you do that, especially if you're working on this as a sort of paid jobs as a freelancer, you need to be able to understand the extent of the damage and judge how long it'll take to fix that damage. So using stuff like levels really highlights the extent of the damage. Okay, so I'm going to stop this lesson here. And in the next lesson we're going to look at the first technique of cleaning this image up. 3. Lesson 2 - Dust & Scratches Technique: Right, so the first technique we're going to use is the dust and scratches technique. So what I wanna do is first of all delete my levels. So just click and drag this down to here. And I wanna get duplicate of my background. So click and drive a flow down to the New Layer icon. I'm going to name it photo, and I'm also going to make another duplicate. So click and drag down to the New Layer icon again. And I'm going to double click and rename it to dust scratches. Now, so far, we've got three of the same image. Background will always keep locked because it's always good to have that as a safety net. So if we need to go back and we like we make a mistake or anything, we can always go back to that background. Then we've got another version of it and another version of it here. And you'll see why we're going to have these two different versions. So with the top third layer selected, which we named Dustin scratches, What I want you to do is select that and go to filter, then down to noise and Dustin scratches. Okay, if we drag this little preview to the side, what we can see is if we increase this radius is actually blue in these pixels together in some, in some way. Okay? It's taken the surrounding pixels and put them together. Now you can play around with your radius in your threshold. If you bring threshold up a trust startswith detail back-in. So what, what people tend to try and do is they tend to push this up and say completely gotten rid of all of it. Maybe split high, they push data with and then a push a threshold up to try and bring detail back in and it doesn't work. So what you really need to do is do this on a separate layer and then we'll paint in the areas we want this to happen at. So I'm gonna put my radius to about five Anakin and indefinitely or concerned about getting rid of all of these things. Okay. I'll bring my threshold up to about seven radius, up to a maybe radius time to sex. Threshold delta four, something like that. Yeah. Okay, that's, that's good. Skin would have a lot of it. And let's click. Okay. And obviously, like we said, we've got no detail left here. So what we wanna do is we wanna paint this Dustin scratches layer in, like we want to show it through it only in certain areas. So it doesn't scratches layout which now has this effect. Click the Layer Mask icon down by here. And what you wanna do with this little layer mask here selected, just hit control and I, or on a Mac it'll be command and I. And basically what I can do now is get my brush over on the left. And wherever I paint, white, CR got white. I wanna make sure I'm painted on the slave mask, not on the actual image. Make sure this Layer Mask selected and wear white paint white. You'll see what happens is I'm gonna look down here. I'm painting this layer. Back in only on the areas that I want. If I painted a backend on his face, you'll see is not what I wanted to. So what you need to do is come through with a small brush and just paint white on this Layer Mask to bring back in this of Dustin scratches only in the areas where concerned about okay. And that they'll be these main scratches. Now when you come to areas such as overhear, what you want to be careful of is or find a better example. Yeah, looked at here, when you paint this end, obviously, it looks fine by here. But a future actor, if you were to actually go over this crease by here, it starts to play out. Make sure that you're not just gain a huge crush and going, yeah, I'm going to pay drawback in here because you get rid of all these so creases and that's not what you want to k. So make sure that you alter the size of the brush. Make a smaller and they get larger just to kind of, you know, best crater the areas. So I don't make it really small just for by here because I don't want to go over the line and learn these creases. Okay, so just going to have a quick look and see if there's anywhere else I should mention before I time-lapse this. Again yet be careful on its tribes as a few to make a big brush and just get rid of that line. But I blurred the crease in his trousers. So again, small brush and just come in and paint like so just in the areas. Be sparing with this. Okay. So what I'm gonna do now is I'm gonna go ahead and I'm going to timelapse myself doing it. And there may be one of two things which I pick up as I'm doing this, which I feel in a, mainly to mention, and I leave them to the end. So I'm going to time axis through and I'll see you in 30 seconds or so. Okay, so I've got my photo to a place where I'm happy. So if I'd say, well this layer on and off, you can see how far I've come. We have issues still here such as this plant here. We've got these dots around here, which isn't quite big about whole. We've got the pattern at the top here, looks a little bit smudged. And that, and that's due to overuse of this doesn't scratches and we'll look at how we make that. We got this might turn up here. I could have kind of gone over and gotten rid of some of the best, but locket leaves all less smudgy stuff. So, you know, if you can, if you want to just means was still after covered up later, will still after, mop it up later. So by all means, go over like that and get it to a point where it's nearly ready but will still have to treat that later anyway. So yeah, what we're gonna do is I've also gotten rid of the 101, but I, but it's still visible. So this isn't foolproof. It'll, it'll give you some issues, won't get rid of everything. So what we're gonna do in the next videos, we're going to look at the next technique that we can use to kind of make this better and improve this photo. So I'll see you in the next lesson. 4. Lesson 3 - The Healing Brush: Okay, so in this lesson we're going to use another tool now to kind of clean up some of these smaller dots. Okay, now first of all, I've still got a dustin scratches layer and this photo layer by here. So what I'm gonna do is shift select both of them. Now that I'm happy with them, shift select them both and hit Control and E, I'm always gonna do is it's going to merge them into one so I can now call this photo. One side was my first so paths added. So for total ONOFF is just this background one left now. So what I wanna do is I can tell you what we can do is we can duplicate photo pass one and call it photo pass two. So again, each time we do a new stack will, will duplicate the latest weakness. You can go back to previous steps as quite good way of working. Ok. So I'll select Photo pass two now and come across the Tools panel. And if you hold your click down on this one, you should see if you haven't. I've got the patch tool already loaded. As you can see that dotted selected, you've got something here called Spot Healing Brush tool is a little plaster with so circle there, so few hold you click down and make sure Spot Healing Brush Tool is loaded. Or you could do is come in like this. And this is basically used for clean up little spots. So if I click, you'll see that that spot basically goes. I'll do it by here. Now what was happening is wherever we click this area that's highlighted dark, it's going to fall that area. It's going to look at the surrounding pixels and basically sample of misalignment in pixels to kind of cover up that dot. Okay? And so if I just go with that and go like that, wherever I draw now, this dark area is going to use the surrounding pixels. Okay? So I can go through and see if I can find any of these little dots. And I can just go through and tidy a few things up, possibly these ones by here. Now what I wouldn't do is I wouldn't get big brush and start painting like this. And let's see what happens. Okay, in that instance it worked with does really not the best way to go about it. The Spot Healing Brush Tool is better for smaller areas. I'm hoping I'm gonna give you another example and I'm hoping this one will kind of be bit worse. Yes, no class, no actually great to case. Very, very blurred that and that's no good example. So that's the amino acid example of why you wouldn't use it, that this is only for small areas. So let's have a look at this area. And yet Alaskan ok. And this one. But here, you can basically use this for small areas. And I've got a few dots here for i one that this line goes a debate and that was a thing that happened earlier. So I wonder what happens if we go we go spill tie, line up a bit better. Perhaps we can have a go of this. And yes, helped a little bit. These smudges by here. Definitely. If we were to go over, I don't think it's going to fit nice knock-on effects that, so we'll be doing that different way later. You've got a very light spot with their sludge. And yet to be honest, as all only use this tool for. So if we disable photo pass two, we can see we have come from, we believe just cleaned up a few of the smaller spots. Ok, so that's actually for this lesson. I'm going to move on to another better technique in the next lesson. So I'll see you guys then. 5. Lesson 4 - The Clone Stamp Tool: Okay, so I only have a couple steps left to show you. Now this step is going to be quite a powerful one. So first of all, what I'm gonna do is get photo pass to duplicate it. And I'm going to call this photo pass number three. And so, okay, again, necessary as number two, but we're just doing the next step now. What I'm also going to do is make a new layer above this. And I'm going to call this clone. Ok, let's just call it a clone. And what I wanna do now is I want to come over to the left and there's the stamp toolbar here or there. So stamp symbol. So if you click clone stamp tool, what we can do is we can paint, we can basically copy and paste pixels. So as I hold Alt, notice with, with my clone stamp tool selected, my cursor change in, changes into this little, little kinda target. So if I click what I'm holding, Alt, actually, first of all, make sure that you've got your sample at the top. Make sure it's set to current and below, okay, because it will be working on this new layer and the one below, we can sample from the one below. Now basically if you hold all, like I said, it'll turn into this little sort of target. So if I click column holding Alt on his eye and come over here, I can actually stop painting and you'll see that sort of cross hair moving around as I, I can start painting pixels from another location. Okay, and that's what we're gonna do. So let's look at this issue up the top of this oldest text. I wanna take some pixels from down here and paint them on top of that. So if I hold Alt Click, and now I can start painting pixels from down here. And you played with a little bigger. And if you want to, you can make your brush softer as well. So just bring the hardest time. And again, I'm gonna pick, Let's say for example, if I sampled by here and start drawn over here, look with our cause Harris, I'm now going to stop painted in the Curtin. Ok, so what you wanna do is you want to make sure that you keep on alt click in to resample new areas, okay, just to make sure that you don't pay the wrong stuff. So we've now got rid of that fact to enclose on and off. They go as brilliant, we gotten rid of that. So we can go forward now. And I think actually there's a little spot down there as to seize the clone stamp tool, copy paste and pixels brilliant. Copy-paste and pixel brilliant. Okay, now what I want to do is I'm going to click hole up here. Don't like it. So I want to get my alt click by here. See it goes off as we went up here, that dark sectional like section. I want to keep that moving up. So an alt click by here and, or maybe alt click down here. Actually, I'm just gonna carry on painting this alt click again to reselect Neriyah. And basically painting that over. Now with this crease by here, might rush smaller. I know that this sort of creased going up here does not damage. I think that's a crease. So I want to also click and I want to keep this kind of going up vertically. So when I paint over this big Scratch, but here, there we go. And now stopping a lot nicer. I do actually think I'm going to come and clean this stuff up later because I don't know if it is damage or whether it is the actual Curtin, but it's distracting for me. So moving forward, let's look for another area that could use this. I think actually down here, this could be any actual photo. We turn all this off. I think it is in the photo and is not damaged, but it's distracting for me. So I am going to actually paint derived. Now, again, if you're doing this for client, you want to be careful that you're not painted along stuff act. But for me it was a creative decision. Just Dan, I didn't like get this they'll mock, but here, if I click down, we're here just to carry this line going on. And there we go. Okay. Right. I think that's most of the kind of main interior damage, more or less repaid. We're gonna do a final pass in the next lesson. But first of all, we actually need to repair the edges. So I'm going to be using the same technique to do this. So let's start up here. So this chunk by here is missing. And I want to carry this out lists of side area going on all the way up to the top. So as alt click down by here, I can push a little bit bigger. We want to carry that side Curtin or whatever it is going all the way up. And you want to make sure, like I said, I'm lead paint in in a middle of the sidebar here. It doesn't look great. So you wanna make sure that you keep on clicking to resample areas, alt click all the time to resample areas and risk of a tidy this edge up. I'm not going to worry too much actually about this edge because I can just crop in slightly. But I'm gonna keep this going all the way up to the top like that, okay, and paint this in another bit from down here and carry on up to the top. Okay, something like that. Now I just need to tie this edge jump up here. And what you'll start to notice possibly is even though we keep on alt click in and selecting new areas, we've got this Khalid Howard pattern going on here. Don't worry, we're going to solve that in the next lesson. But we've got almost like these repeating patterns. You got dark rectangle, that dark rectangle, lad, OK, rectangle. No, nice. So next, I'm going to carry on. I'm going to get a little bit in this Curtin alt click and is carried out on up to the top of the photo. Move out. And I can for the most part, just go like that and take that all the way up to the top. You could also click and resample, but don't worry too much for the serious, very bland. And we will be cleaned in that up again later, like I said. So let's do the same over here. Thank you. Start with this bet. So an alt click down here and just carry this on up to the top, like so. And then rebuild in that buffer and less alt click again. And there we go. I'm gonna crop in two here, so I'm not going to worry too much about having a clean side. Because it's lost the photo all the way down, you know, and I think that is a bit of shadow. I don't even know if it is damage to be honest. I am going to crop into about by here, so I'm not going to worry too much, but there, this little bit up here, I'm gonna go back to my spot heat and brush tool because I don't like that and I can't do it on this one. I need to come onto photo past three. There we go. I can't do it on my clone layer there. I'm just going to clean up a little bit less because I really don't like it. And if I'm going to stop clone stamp and I don't want to kind of carry it across. And I'm going to get rid of that creases, just not nice to look at. And this CRISPR here. I've gotta be careful ox or do whatever, keeps some sort of line up here as best I can. But actually that line is just not nice to lock out. So I think one go into do is actually getting really small brush and come in there like that. And now I'm not final that. So we can get our clone stamp tool again, alt click and come down like this. But what I may do is it may turn my opacity of this brush down to about 15 or 20%. So I'm going to go over it, but only lightly, so it will have a little bit of a line still left in there. So alt, click and paint over there. I still go a little bit of a line left in a suit does look a little bit better, but we're still keeping a bit of a crease. So alt click and paint over with a small amount of 14% transparency. There we go. Okay, I'm kind of happy with that. Now. Wanna carry on building this up here. So a clone stamp tool and I'll put my opacity back 200. Let's kind of source some color, makeup brush bigger. So alt click and just paint some of this back in. Make sure actually that you're on the Clone layer by here. And when you do in your new clone stamp, and just make sure that you move back to the appropriate layer. And it paints this back in here. And again, the tones aren't completely match him, but don't worry about that for now because we're gonna be combat in that later in our, in our next lesson. Ok, so just get some dinner. Near enough works. There we go, and we'll come back to that in the next lesson. So yeah, it's not looking great up there. So that's a thing thing for us to do. When to do the same down here then. And an old click. Carry this on like so. And repeat this down here. So it's got a small brush and I just want to build the spit back in. I am gonna time-lapse it now except being going over the same thing for a while. So I'll just time-lapse this for you. Okay, so this is where I got to with mine. If we turn both the clone and photo pass three off, you can see where we've come from. And the next step is cleaning up this soft tone mismatch in the Curtin up the top by here, downside and perhaps in other places. And we're also going to co-op in, in the next one and tidy stuff up. Before we move on to the next one, select your clone and photo pass three, control a to merge them. And you can see as one layer now has been named clowns. I'm just going to call that photo past three again. And now we're ready to move on to the next video. So I'll see you in the next lesson. 6. Lesson 5 - The Stamp Tool: Great, so we're on our final lesson now. Okay, what we're gonna do is I'm gonna duplicate vote to pass through it one more time. And I'm going to call it photo pass. Have a guess. Of course four. And we're going to use one more tool now. So I'm going to use is if I come into here, so into here, while spot helium two Bush was, and I'm gonna go to patch tool. Now what we're gonna do with this is I'm going to show you what it does. So I'm gonna draw around the little section in here, which is got a little mismatch tones. Ok. So draw around this, and I'm going to click and drag this off just to inhibit us nice and flat. And you'll notice a cleans up that texture in there. So all are kind of mismatch tone is now solved. So I'm going to combine this bet and we're going to replace this with just this flat texture and control D to Deselect. And you'll see it's cleaning that up quite nicely. So let's try with the up here. And we'll come right on the spot, which I don't like. And I'm going to bring this down to something around down here just to see what it looks like and deselect, it's not great. We've got a little bit of this edge. And so what I'm gonna do is undo lat and de-select. I'm just gonna do it part by part. So we'll just get a little bit first for it down and let go. Control to ys is bringing that texture up in his carried it on ongoing is really nice. So I'm gonna go for here and I want this to be quite flat instead of a mixture tone that's gotten there, something like that. And I'm just going to carry that on oh, it's going to carry that going on down here to get rid of them. And we get a nice flat texture. But when maintaining that line going up. So just to fill top bit was also muddled for your time. And I would go and the ice carried on that texture. So let's get rid of vessels lot as well. Something like that. Control D every time a member. So I'm going to go run this bet because it's a little bit texture in there that I don't like. Us just flatten it out by going to this flat texture. And as cool, let's have a look where else at the top we've got, let's put a levels on here and crunch it down. You can see as a love so Miss mix matched, toned up there. So on, past fall. And it's going to go a bit by Beth's unwillingness down into a flat area and the spit by here. And I'm bringing us into flat area. And there we go. So what I'm gonna do now finally is I'm going to crop in. So and mentally, levels photo pass for, let's just get our crop tool and a crop in just like that. So I may come down just a touch. Let me go. Going to come in by here just to get rid of that. And the thing that top is fine. Let's hit enter. Okay, so we've got a few things that we can do now to tidy this up. Let's first of all, see where we've come from. Sweet, come from this to this, ok, which is brilliant. Now in order to clean up the sides, different ways you can do it. You can get your patch tool, for example, by here and just come down that bet and move this to the side. Ci works shortly. And as you know, students and myself job there as clean a fact that come across. You can use a mixture of the tools basically that we've used today. So let's just see if we can work our way down using the Patch Tool. And this May 1 not be able to quite nicely keeps that fold going on there. And so yeah, we're making do with that patch to over here. You can come in with the clone stamp tool and do this as well. There's no reason why you can't do that. Just match these creases up right here, okay, and Control D. And you can probably match it up a little bit better for us. Come in with a different tool. Spot Healing Brush, for example. See if that does a good job. Yes, did a nice job. And along bottomless stick with clone stamp, Spot Healing Brush Tool. And yeah, just clean up these little spots as we go. So you can see the tools we've used that can be useful, polluted, different things like as we go along the bottom here is just get rid of these dots and too much. And we'll come back to that pepper there. And yeah, you can basically, I'm gonna time-lapse this now, but you can basically clean up in multiple ways. So I'll time-lapse this NEH for you. Okay, so here we now have our before and thereafter where we've cleaned up this photo. So I'm going to do a little summary in the next lesson and then we'll be finished. So I'll see you in the final summary. 7. Lesson 6 - Summary: So we've already gone through a lot in this course. We've gone through a whole host of tools. We've gone through the Spot Healing Brush Tool, patch tool, clone stamp tool, I think some other stuff as well, the Dustin scratches technique. And also I think the most important thing to remember is as you work in, make sure that you save a different path each time, okay? Because you know, you can then say you of things we don't like the result of something, you can kinda go back. So hopefully you now see is turned all these off. You can see that we've come from a to B, and hopefully you've learned a lot skills in store and old photos. So I really hope you find this course useful and I'm going to be uploading more courses on photo restoration in the future, some more advanced ones. So hopefully I'll see you in some of them. Chase for tuning in.