The New Way of Doing Frequency Separation | Joshua Butts | Skillshare

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The New Way of Doing Frequency Separation

teacher avatar Joshua Butts, Graphic Designer and Photographer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Frequency Separation Introduction


    • 2.

      Frequency Separation Example 1


    • 3.

      Automating with Actions


    • 4.

      Frequency Separation Example 2


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About This Class

In this course I will be going over a new way of doing frequency separation. This is a common technique among photo retouching that can make complex editing much easier to handle. It separates the detailed parts of an image with the base colors to make removing objects, and smothing out textures incredibly easy.

In the course I will also be teaching you how to create actions that will make repeating the process incredibly fast and you can get the same results over, and over again.

Meet Your Teacher

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Joshua Butts

Graphic Designer and Photographer


Josh Butts is a Graphic Designer and Photographer. He currently works for a creative agency in Provo, Utah. He's worked with many people doing creative work usually involving illustration, logo, and web design. The classes on this channel cover mostly vector illustration but there are also many other valuable skills that can be learned from the other classes on the channel. Join some of his classes to gain from valuable experience and get better at design and photography yourself!

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Level: Intermediate

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1. Frequency Separation Introduction: retouching as one of the most important factors in getting an image to go for mediocre to truly impressive. My name is Joshua Butts. I'm a photographer and a designer. For many retouch er's and photographers, frequency separation is one of the most commonly use techniques to removing artifacts and images, cleaning up skin tones and adding a professional look to images. The problem with frequency separation is it is misunderstood by most of the people that use it, which causes a technique to be ineffective. In this course, I'll be teaching you how to use frequency separation to retouch virtually any image I'll be teaching you about what is going on behind the scenes of frequency separation, how to use the mixer brush and how to create actions for this process so you can repeat the action quickly over and over again. I hope you join me in this course, so let's get started 2. Frequency Separation Example 1: Alright, So I've got this first image open and there's a couple problems with that one is ah, these lines of text on the train right here. And I want to get rid of those. So if I was to do this, um, a typical way how somebody would want a photo shopped using the healing brush of the clone brush if I hit s on the keyboard to the shortcut for the clone brush and I went in here and copy that layer. Ah, And then if I was to just go in and start cloning areas right here, then it's a little bit messy. And there's this transition from these two slightly different colors. And the more I do it, the harder it's going to be, too, to make this look seamless. And And yes, I could still do it and then go in and hit J for my healing brush tool and and then go and fiddle with that. But it's gonna take me a lot longer to try to produce the same results that I could get by using frequency separation. So one of the ways that I could do this using frequency separation is, um Let's see, Let's delete that layer and I'm going to hit command J twice on this bottom layer. So I have two copies of that, and the way somebody would typically do frequency separation is they grabbed this bottom layer and they go to filter and blur and Goshen blur. Um, And then they would go in, you know, and drag this around, um two, something like that, and then hit. OK, and then they go this top layer and you go to image and then apply image. And then you'd said the layer to the later you want to subtract from and hit the blending mode and go to subtract. And what it's doing is taking this top layer, and it's subtracting everything on that bottom layer. Um, and so then he said the scale to two and the offset to 1 28 and I don't know if anyone really knows quite what that does, but it works, and it doesn't matter what type of images who has. It's always scale set to two and offset at 1 28 So then I'll hit. Okay, um, and then you click on this top layer. You'll go to the blend mode and hit linear light. And then, if you did it right, he should be able to select these two layers and hit command or control G to group those. And then, if I uncheck that the visibility, it should look the exact same. Now, one of the problems with doing frequency separation using the Gaussian blur on the bottom is that will work. In some cases, there are some cases where you need to use it that way. But if I look at, let's see if I un group this top layer and with these two layers on grouped, then I can select this first layer and Aiken set that to normal just so that you can see what's happening on this layer. And I'll go up to my actions and I have set. I've created this action, um, called view bad splotches, and I'll just hit play on that. And essentially what it does is it creates a curves adjustment layer just a simple curves adjustment layer, and it moves the curves to different extremes on the high end and the Lohan and essentially , what that does is it makes it so that I can really see everything that's going on on each layer below. And so with this top layer that holds all the textures when I zoom and you can see all these like really bad halos. And there's a lot of problems with this layer that if I was to go in and try to edit this layer, then it would be a little bit difficult. Um, and and these halos shouldn't really exist in real life, because when you combine it with that layer below by sitting, that too linear light. Um, it's just a straight line. And so those are just compensating for what's underneath. Um and so if I just select all these layers and I had to late, um, then I can hit Controller Command and J twice again, and then I could do this again. But and one of the ways that I found is a bit more effective to blur. This layer is to go to noise and median, and if I do that, then it's gonna blur everything. But it's gonna try to keep the edges as clean as it can. So I'll just blur that a little bit and hit OK, and now if I zoom out. Then all these lines are gonna be looking a lot cleaner. So what I can do is select this layer on top again and then go to image, apply image and make sure I have that layer one selected and go to subtract and everything and then hit. Okay, now, when I create my view, bats blotches later. Again. Then when I zoom in, there is not near as bad of halos like all these lines are fairly straight and easy to work with on on on all these layers. And now I can show you how you can much more easily get rid of a lot of these problem areas on your artwork. So if I just uncheck that layer and if I just set this layer to linear light, then you can see these two layers. If I toggle them off, they still look the exact same. And now we can go in and start editing these layers so that we can easily just erase all this stuff, um, and make it look very consistent. And when I apply that image, what it's what it's doing is it's taking everything from this bottom layer, and you can see everything is blurry, and it's subtracting the layer that I had on top from that bottom layer. And so all that you would have left are those sharp edges again and a lot of the details that got lost when that layer was blurred. So if I bring this layer back and then toggle my curves layer on again, then I can really see what's going on on that layer. And I usually will clip this top layer to that bottom layer by holding down ault or option , and then just clicking right in between those two layers. And that means this curves layer is only going to affect what's on that texture later. And then what I can do is select that texture later and then hit s for my clone tool. And then you can see there's a lot of areas that just have this really flat, smooth texture, this grain right here and so I can just grab that whole option, or Ault. And then I can just start painting around and just erasing everything on the textures that I don't want. And the nice thing about this is I'm not worrying about colors getting mixed or blended together because everything's just this one consistent gray color. And now when I'm doing this, one of the things I found that a lot of people don't always realize is is with the clone stamp tool. Ah, lot of the time, people will just select an area and then go paint. But then it changes where the clone sources, and so you'll have to go and select that same area again and paint and select the same area again. But what the clone stamps doing is it's aligning the source of the clone every time you click. And so if I uncheck that aligned, then I can select an area that has a good, flat texture that's really consistent. And then I can just go start painting, and every time I click, it's going to reset the source to that center point that I had before. And so now Aiken, very quickly just skill around and start painting everything that I want that texture, and then I can just paint it in and it's gonna look really good. Another trick that I like to use is, ah, when I'm on a Mac, all use the control, an option and I can just do a regular click and hold. And then when I drag left and right, it makes my brush bigger or smaller. I go up and down and makes it changes. The hardness of my brush and the short cut on a PC is control Ault and then you right click . And it's the same drag, Um, and so that makes it really easy for clicking and changing my brush size really quickly on the fly. Um, and so I can just go in and start painting out all of these problem areas that I that I don't want to see, and it's just going to keep selecting that same area. So I don't really have to worry about this texture causing a problem. And I can just go any race, all of this text, and it's going to update very nicely and look exactly how I want. And you can see there's some of these slight, wavy lines, and those are part of the reflection, and I want to get rid of those two so I can just go in and brush those away and erase that select up here and just going and and add that that texture to this whole area, that I just want to have that one consistent texture. And so I'm just gonna keep selecting around here and cloning that cloning that away. We have a little bit of a problem area right here where there is that texture really close , and that's not a problem. I can just select on that line and you'll still go away very easily. And I want to get rid of all this stuff right here. And so I just keep selecting around and I've It's always going back to that clone source where it's resetting. So I'm not even worried at all about, um, it finding new places and causing problems because it's not going to. So I'll just keep selecting around here. And the nice thing about this is you can see these are all of these lines or just these very straight lines. So when I'm cloning in areas around here, I'm not really worried about those halos because they're not. They don't really exist on this because of the way I blurred that bottom layer. It doesn't really have those halos and so I can make these lines. I can just get right up close to those lines, and it's still not going to cause any problems for me. And now let's zoom out. And I just wanna make sure that I'm getting big areas right here, too, so that everything is still looking good and I'll select over here. And after doing this for a while, this can really be enjoyable. Just, you know, cloning different areas. And it's not stressful. I'm just going in and finding areas that I want to get rid of, and it can actually be kind of fun and relaxing just going in and doing this. And so I'll just like right here and then I'll click right there and then shift, click and then click right there, and it's just gonna drag that across very quickly. Same thing below here all changed my brush size and do that same thing right there, and now that's all looking really good. And I also want to get rid of that text down here. When I shot this image, um, part of the clients ah, part of the client's requirements, where they couldn't have any text on an image that was specific to a brand because they wanted the train on this to be generic. And so that's why for this, imagine what you'll find in a lot of photo shoots. You'll have clients that want you to get rid of certain things. Um, and so you'll want to make sure that you're gonna be able to do that before you take a photo. Um, and when I took this, I knew that I could easily get rid of this stuff by using frequency separation. So that's why I'm just going in. And I'm just erasing all of this stuff right here and look out just fast. That is, to just erase that. Just cloning in from these texture areas. We'll get rid of this area right here, hips. We'll do that. Make sure I'm selecting over here and now some of the stuff I'm like, Oh, wait, maybe I don't remember exactly what looked like. All I have to do is go this bottom layer, which this is kind of my backup layer. That's why I created two copies Analogous, option or halt and click on that bottom layer just so I can make sure you go up on Dream Ember. What's going on in these And now that I look at that, I can see Oh, yeah, that's a reflection. I think I kind of like this reflection about I'm not necessarily over here where it gets little bit messy, But over here, I think that's fine. So I'm just gonna go back in over here, and mostly I want to look at getting oops. Um, I will make sure that correct layer selected and one thing you want Make sure when you're doing this. Also is that top texture layer you have. You want to make sure the sampling is on lee on the current layer, especially when you have a curves adjustment on top of that, then that can really cause you some problems on dso everything that I'm cloning hoops and I don't want toe clone out that line. But everything I'm cloning is going to be on this great layer. And so you're just gonna want to make sure that your only cloning from that grey source and so now it's just going here. I want to select a area out there because I'm gonna shift, click and clean of that really quickly right there. Click and you can see very easily. It's still keeping all those straight lines when im shift clicking and just adding that texture just all around here. And one thing that you'll notice when you're selecting different layers that's going to reset that aligned option sometimes. And so you just want to always make sure you can see what's going on right there. Eso I mean, it's like that again right here and just erase the rest of this just really quickly. And it's just constantly adding that texture. And I'll make sure double check what it's looking like that's still looking pretty good. And just add that upon the top here and now. I've got a couple of these problems where I need to add this line eso that straight everywhere else. And so with this, I can just carefully uncheck that and then go in, and so I can see where this lines copping and I'll just drag that over same as before, just dragging that line over and may be kind of hard to see, but I can see where that Linus and then I can check that thing back on and really be able to see that line a little bit. A little bit easier, and I'll just select right there and just keep cloning that line back in exactly how I want . Yeah, that's looking pretty good right there. And so let's say you're at a point right here where you're like, Hey, I've got all the areas there, a problem erased. Now I can remove that line and select this top layer and set it to linear light. And then I've got this bottom layer, and this is where the magic really starts happening. Is, um I can go to my brush and somebody showed me once is so amazing is, um, a lot of people use a brush Klum brush If you use a mixer brush, What that does, is it So it's kind of like this much, but it's it pushes colors around and mixes them together. If you see this first option, this is for your load. So, for example, if I have ah, load for that color and I wanted a select a color that I want to mix into an area, then I've got that brown and then I can start brushing in this, and it's gonna mix that brown into whatever image I'm using. I don't want to do that for this. So usually all keep that unchecked because I never want to have ah, color preloaded into my mixer brush in a second. And the second option right here is to clean the brush after every stroke. And I always want do that because if I have that unchecked, let's say I'm mixing up here. Then the next area I mix is gonna pull in that color that I had before, and I'm always moving around. And so I don't really want to do that either. Um, so I just want to make sure that's unchecked. And so the mixer brush does. It's almost ah, mix of, like the smudge tool and the clone tool. It's always just gonna take whatever source that you're brushing around on, and it's gonna mix it together. So now they have my mixer brush selected. Um, I'm going to go under my brush options, so brush settings, and I'm gonna make sure the spacing is down a little bit. That does use a little bit more computer power, but it does produce a lot better results, and now I can just go in and I have my texture layer already showing. So it's showing this nice texture up here, and so I'll select the layer below. And then I can just go and start erasing out, Um, everything that I don't want. And when I'm selecting the color that I want to use most, it's going to kind of push that color in and mix it with all the colors around, and it's gonna erase everything really nicely, and it's not gonna cause any problems. Ah, lot of the time I've seen people use ah selection tool and then they'll select an area and they'll blurt out, and that could work for this. But let's see Filter, Blur and Goshen blur. And so if I up that'll that you know that could work. But it's not still not gonna produce the same world results as the mixer brush, and in some instances, I really probably would want to that. But for this, the mixer brush is just going to make everything really smooth. And if I make that larger right here, it's just going to combine those colors really seamlessly, and so when when I zoom out, then everything's gonna have this really nice Grady int that goes all the way across it in areas like this, Sometimes it gets a little bit rough using that. And so what I can also dio is just use my regular brush by hitting Shift B, and that's gonna cycle through my brush options. And then I can just select a source around here, and then I can just paint that over the area that I want to get rid of. So let's see, right here it's one paint that in, and I'm not doing this right here to actually erase that area. I'm just doing it to get rid of the main color that is showing up there, that blue. And so I'm just gonna do that. And I want to see kind of what is underneath here, because without lying, I'm trying not to touch that. But if there's nothing underneath it like this, see, there's there's not really much that's causing a problem there and that that makes it really nice, because then I don't have to worry about that line getting in the way of my work so much that Aiken have that on that texture layer and go on this bottom layer and then I can kind of start brushing around hit shift, be a few times and go back to my mixer brush and then just start brushing this around again . And then I can even go across that texture layer right there, and it's not really gonna affect my work at all. Now you can see this line above right here. It did start to mess that up a little bit because that was showing up, so I just I still want to be a little bit careful, but it's gonna give me a lot more flexibility. See, you can see this right here. I can just brush that out, and it just disappears really quickly. And it's really nice how fast and effective this this works. And so I just I'm gonna brush that. Oops. It might be a little bit too big, so I'm just gonna brush that out right there really quickly and just going and then blend this stuff together right over here. Just blend that right there and makes that together. And now where you'll notice it may be kind of hard to see on this, but if I opened my review bad splotches layer. And if I unclip that is going to apply that to the entire image. And you can see I still have that texture right here. I can still easily see what's going on with everything. Um and what's nice about this? You can use it for seeing what you're doing on this bottom layer to you can see how where your blending, everything, some things might still look a little bit splotchy. And so you can use that and then start blending things together to make the colors look exactly how you want them to look for some like this, these colors air so close together that you're really never gonna notice that in the image once everything's all done and so I'm really not gonna worry about that too much. But if you want to be really nitpicky, then you can definitely go in and do that Eso down here. I can easily just go in, select my regular brush again, and then just add that color right around here. And I want to get rid of some of this stuff over here to just gonna slick that and with my regular brush. If I just hold down, alter or option, I can still going to click and brush that around, and I'll select this killer rate in here. Add that over here and now hit shift, be a few times and get my mixer brush again and then just start brushing this stuff around and getting rid of a lot of these problem areas. And just like that very quickly it was able to get rid of a lot of the stuff that if I was to go in and clone it individually or try to use the healing brush, it would have been very difficult and in a lot more time consuming. But doing it this way, I was very quickly able to just blend everything together, and it looks very nice. And now I can show you the before and after all of this area, we very quickly and easily were able to get rid of all that just using frequency separation . 3. Automating with Actions: Now, one thing that I do want to show you really quick before we go into the next example is how to kind of automate some of these things. So what I'm gonna do is select this bottom layer right here and all of these layers I have been adjusting, and I'm just gonna do like those just for the sake of this example. And I like to create actions that are going to make doing this over and over. Ah, lot easier. So I'm going to go down, and I have a lot of these actions all set up right here. So I'm gonna create new folder and I'm going to call these actions frequency separation. And then what I can do is create an action and this is gonna be called frequency separation and then I'll just hit record. And now I would do the same things. I would want to dio to set up the frequency separation for this still hit Command J twice. And then what I'm gonna do is have it automatically renamed these layers. And so I have the layer I've selected. So I'll just double click on that and type in texture layer and then hit. Enter and then I'll head option and then left bracket, and it's going to select the layer below and then all double click that and all. Name it color layer. And then I can go that color layer and go to filter and noise. And then I'll go to Median and then I can just select, you know, any radius and I'm going to set that as, ah, dialogue box for when I'm using this action and then all hit option or Ault and then right bracket. And it will select that top layer again and then go to image and apply image. And then I'll go to color layer, subtract and have everything set up right here and then hit. Okay, and now we'll go to the blend mode and set it to linear light. And then I'll have to do is hit stop, and it's set of this really nice action where I can go to Ah, I can see all the areas I have set up in that action. And I remember when I said median it had that dialogue box. And so if I select this a little icon right here, that means that when I play that action it's going to ask me what settings I want to apply . So now I can just delete these two layers and I've got that bottom layer again and I can select my action and hit play and now it's going to give me this dialog box for the Radius and I could just change that. I can zoom out in here and can I see what it's doing? Um, let's say want to go down a little bit and then hit, OK? And now it's created this really nice frequency separation that I can easily go in and see exactly what's going on. And this is the same process I would use to create the view. Bad splotches layer. All I do is go to the same actions and create a new action and hit record. And let's change the name of this to view badness lunches. And then I just hit record and now I can go into my layers right here and I'll make sure that that texture layers always said to normal, and I'll go on to create a new adjustment layer and create a curves layer and the way you're gonna want to create this curve is going up with the beginning down and then doing that twice, and then you'll want it to be closer to the center where you're creating these curves because you want that to show up most. This to show up is gray, so you'll probably pushing it over to this side just slightly. And then it's going to show you a lot more of the detail that you need. And once you have that set up, then you can exchange this name Teoh view bad splotches, and then you just hit Stop. And there you go. Now you have these very quick actions right here. View bed splotches and your frequency separation, and you can go through and find all the areas on your work. They need to be updated very easily, and it makes it a lot easier to clean up your artwork. 4. Frequency Separation Example 2: All right, So in this next example, we're gonna go around and fix up a couple of problems with this image, and this is a little bit different because we have things like glares and reflections. And I'm going to show you how you can very easily use frequency separation to go and remove a lot of that stuff, which would be a little bit more difficult. Otherwise, especially, like, we're gonna go create a new layer, and I'm gonna go and create some markups. Ah, so that I know kind of the stuff that I want to go in and add it So already size my cursor right here and make sure I select a bright red color so they can kind of see where I marking out. So I want to go clean that up, This right here, um, maybe the reflection over on that area. And I think I'll just tackle those areas for this example, so I'll click on my base layer. And in the previous video, we created those actions so that I can very quickly create my frequency separation from that layer. So go to a frequency separation and click on the action and then I'll just hit play. And now I can change my radius. So let's zoom out of this so I can see how much of the radius I want to blur. And I'll go. I just want to make sure I get rid of all the fine details. And that looks like that student. Pretty good job. So I mean, I hit OK on that. No, I've got my back up later down here, which I could just turn off and I've got these two layers. Now let's say I want to go and see what's going on on my texture layer. So I said that to normal. And here's my texture earlier. And then I will click on that view bet, splotches, action that we created also. And then I'll hit play on that. And so now we can see a lot more easily what's going on on that layer. So now I can just click on that texture layer and then zoom in and I can see here is well, my first problem areas and I'm gonna skin go up and rename that area market. So I know that that's where the market is for the areas I need to edit. So I'm gonna turn that off and I can see this. There is a couple of problems right here. And here's that primary line going right through the middle of it. So, uh, I'll just click on my texture layer and then hit s for my clone tool and then just go in and you want to make sure when you're cloning that you don't want, like, a super hard edge. But you don't want a very soft edge either. You want to kind of the hardness it about, you know, 85 90% because that's not gonna blend too many pixels together. It's gonna be a little bit more of a hard edge, which when you're blending similar pixels, it's a little bit more convincing. So Ah, I'm just gonna select right here and make sure that I have a line unchecked so that I can just go in and start painting over and over right here where I have that nice texture. And I'm just gonna go up here and this is a little bit of a tight area. So I'm just gonna leave that alone for now, and I'll come back to that later. So I'm just selecting all around this area containing it out. And I can just keep clicking because it's always going back to that same clone area that I have selected. So just keep cloning this out right over here. And I'm going to see what's going on in this blue area right here, because I don't really want to mess with that if I don't need Teoh. So I'm going to uncheck these two layers and check that bottom layer, and it looks like it's just getting slightly darker. So I think I can easily go in and adjust that. However, these lines up here, I also want to get rid of because they just don't look right with the way it's reflecting on the ceiling. So now I can go back to those layers and make sure that might be about splotches layers turned on. And so I'm just going to get my pen tool by hitting P. And then I'm just gonna mask out some of these areas right around here and then all good click up right there and then down right here and then I don't need to worry about being very clean on this other side. Now that I've got this area selected will hit command and enter or control and enter. And then I will hit us again. And then I can very easily just go in and clone this area out really quick. And the nice thing about having that selected is I'm not wearing about any of the pixels in any of these other areas. And I'll command D or control D and you can see that I have that area cleaned up really nicely. And now I'll just do the same thing on this top area. I just select right there, and I want to select just inside that a little bit because there's some texture in there that's gonna help later. So I'm just gonna select up there right here, and then I just want to keep those corners intact and get rid of this darker area right there. And I'm going to select that, and that's okay and I'll hit command enter. And for this I want to feather at a little bit. So hit em or any of my selection tools, you can use W. And then once you have a selection tool selected, then you can right click on your selected area, and then you have all these different options that you can use. And so I'm gonna and click on Feather and I will feather this by one pixel, and I think that should be good enough for this. And now I've got that selected will Hit s for my clone tool again and I'll make that will smaller and then just go around and clone all this stuff out right here really nicely and very quickly. Okay, Now hit Command E and I've got this whole area right here. It clean up really easily, and it looks very clean. And one thing that I'm seeing as I'm doing this is a couple other potential problem areas like this right here. Um, I'm not sure what this texture is doing, but maybe I'll go back to this bottom layer and then hold down Option or Ault. And then I click that and then it's just going to show the visibility of that one layer, and I can see there's a bunch of these little reflections that I don't think that we really need in this. And so I can this option or all to click that layer again and I can see my texture there again. So I'm going to come down here and I'm just going to mask off some of this area down here. And I'm going to clean that up the same way that I cleaned up the other leg. So I'll just select this area right around here and like that. Ah, right there and then hit, command, enter and then use my selection tool and feather this one pixel and I'll hit s for for my clone tool. And I'll just add the same texture that was up there to this area down here. And so I'm just cloning that out really easily and getting it to look a lot cleaner right here. So that's gonna look good right now. And so I'm going to uncheck that and look at this and this looks a lot cleaner. Now I can go down to my layer below that layer and clean that layer up to. So let's go down here. You can see there's that one straight line going up across that this black area that I had messed with before on the texture looks actually pretty clean, so I'm not really gonna mess of that too much. I'm just going to select down here and use my pen tool and select up around in this area and then make sure you go up and select this and then slipped down here. Hit controller command center. And what you can also do if you don't want to use your selection tool, is just go up to select and feather and this on a feather a little bit more. Probably like two pixels. So not much more. And then I'll go in and use my brush tool by hitting be And then I'm just going to add a general color that's pretty close by hitting, alter or option and clicking, sampling an area around there and then just going in and kind of adding that color just right around here. And so all I need to do is just click around here and sample colors there nearby to make sure that I have a smooth transition and this is looking pretty good right here. I'm just gonna keep adding that a little bit more and what I've been doing as I've been painting this color around here is changing my A pass ity by hitting numbers on the number pad. If I had one, it changes it to 10% or nine. It goes to 19% and zero is 100%. Or what I can also do is hit two numbers very quickly, like 05 And then that goes to 5%. And so, if I just click around here and I'm just painting very quickly and I'll go to 30% opacity and paint down here, then I've got this really nice transition. And I can clean up some things, other areas by hitting shift, be a few times and going to my mixer brush, and I'll make that a little bit smaller. And then I can just go in and basically mix us altogether, smooth everything out really nicely, especially down in this bottom area. And my flow is down a little bit low, and so I'm just going to up the wetness a little bit, so it moves it and my flow a little bit on, so that's gonna actually makes it a little bit better. And so I'm just gonna pull and push around right around here. Just make sure that this is really smooth and mixed together really well. I'll drop down my flow and your flow. You can actually change by hitting shift and then the numbers on your number of patents. So let's get to 30% and just makes this around. And then I'll hit controller Command D to de select everything. And then I can get some of these edges. They're going to be a little bit harder dislike, and then I'll just go in and makes us all together and make it really clean. And then once I show my texture later again and set that back to linear light, you can see it very quickly and easily was able to get rid of that huge reflection. And I can even go into my color layer, and I can mix this together a little bit more if I want to make that a little bit smoother transition. And then if I look at the original, that is a very ugly on big reflection splotch that would have been very difficult to get rid of. However, using frequency separation that was a lot easier. And so I'm just going to go down to this other area. I remember selecting before and I'll go to my market and I made sure I want to get rid of that area. So I'm just going to click on my texture later, set back to normal again and make sure I can see what's going on on it. And now I can just go and use my clone tool and select really clean area just over here. And I can erase that all that stuff out very easily. Make sure I want to go around the chair and just select up here and just erased this whole area right here and I'll go down a little bit. I'm extremely racing around here, and this is why masking areas can be really nice because then I could just go paint directly over here, and I wouldn't have to be so careful. Ah, to not hit any of these edges right here on that chair. But I just want to this really quickly just to show you in this example what's going on. So I'm just still erasing all around here, adding that same texture that's on this entire panel and just the racing shift clicking. If I select an area right here, I can shift click, and then it will just erase in that whole line right there. So now I've got all that erased. I'll make this a little bit smaller and get some of these there. He is right in there, and I'm also going to add that texture down here a little bit to make sure that I get rid of this texture, and that's looking really good. So now I can click on my color layer. Let's turn that off and click on my color layer, and I can just turn on this texture layer and work on the color layer at the same time. Sometimes it's easier to see what you're doing, kind of when you're doing that. Um, so now you can see where we're at and I can hit my brush tool, select a color over here and then just start brushing it in. Uh, one of things I forgot is to switch it to my brush tool. When you're using the mixer brush and that brush tool, they're in the same tool set, so you just want make sure you're going back and forth a lot. To do that always set my capacity at 100% and then I'll just go in and brush that in right here. And for this I think it will be easier to just go and make that selection. I proceeded on that earlier, but I'm just going to do it right now to make sure that this is going to be easier. So I'll select around here, make sure you've got that chair selected, select right here and then go up around the other reflection because this is a reflection of the chair that I do want to keep. And then we'll go up and then slunk that on the hit command enter and then go to select and feather and I'm going to go to one pixel. And now I can more easily disco on, brush everything to that same color so very quickly and easily just changing that color. And I'll want to make it a little bit brighter where it's transitioning to this area. So I'll turn that off and make sure I'm selecting a color that's in that area and I'll go to 50% and then I'll just kind of brush that in and in fact I might even go to my brightness lighter and then just make that a little bit brighter just so that we have that too. Good transition. I'll even said the opacity a little bit lower so that we've got that nice greeting right there and then I'll hit command or control de and then select that, and you can see how very quickly and easily were able to clean up that area without having to go in and clone anything. Just going into those texture layers was a lot easier, and you can see all that area would have been really hard to go in and clone out and make look that clean. And it's like, completely clean. We've got that nice texture on it. And if we want to, we can just go in and clean up a couple of these areas using my clone tool and then, just like kind of brushing that out right there and going in my color layer and brushing that area there also, and so that is how you use frequency separation to edit areas and architecture. You can really retouch anything using this technique, so I've hoped that you've learned something and that you found this useful and thanks for watching