Knowing how to remove an object in Photoshop is essential for all Photoshop users. Whether you’re editing photos, designing, or creating photo composites, there will always be some unwanted detail that’s in the way. Luckily, Photoshop has several tools that can quickly and seamlessly remove an object!
Today, we will be looking at how to remove an object in Photoshop using five different techniques. Each tool excels at removing different types of objects in all different kinds of scenarios, all on their own.
The tools can also combine them, so you never have to worry about a distracting or unwanted object ruining your photos ever again.?
How to Remove Objects in Photoshop Using the Patch Tool
First, let’s start with the Patch Tool. The Patch tool is used to remove unwanted image elements. The Content-Aware option in the Patch tool takes nearby pixels and patches them over the unwanted area, creating a seamless blending effect with the surrounding area.
Step 1: Adjust Settings
Select the Patch Tool, found by Right-clicking the Spot Healing Brush and opening the tools carousel. You can also cycle through the different Patch tools using the shortcut J. With the Patch tool selected, look at the upper Options bar.
Patch: First, we want to set Patch to Content-Aware.
Structure: For Structure, we can enter a value between 1 and 7 to set how closely the patch will reflect any existing image patterns. This setting can change from image to image. Though, I find a Structure of 4 does a good job most of the time.
Color: For Color, you can enter a value between 0 and 10. This will specify how much Photoshop will apply algorithmic color-blending to the patch. If you enter 0, any color blending is disabled. I like to keep it at 0, but this can change from image to image.
Sample All Layers: If you want to make changes directly to your photo, keep this Unchecked. However, if you’re going to work less destructively, check this box and create a new layer. Everything you patch will be placed on the new layer.
Step 2: Select Unwanted Object
With our settings in place, we can create a selection around the unwanted options.
The selection doesn’t have to be precise. In fact, you want to grab some of the outer surrounding areas around the unwanted object.
Step 3: Drag Selection to a New Area
Now, drag the selection over an area similar to the area your object is on. Keep lines and textures in mind. Below, I ensured the horizon line between the grass and trees lined up.
Sampling from an area that was clear, removing the dark bush from the right-hand side of the subject.
Remember, if you’re getting a lot of weird artifacts or blurriness, try making several different test patches with different settings. Once you are happy with the results, move on to the main unwanted object.
You can also remove blurry pixels or repeating patterns by patch tooling them out, making smaller patches onto the main patch.
How to Remove Objects in Photoshop Using the Content-Aware Move Tool
Next, let’s cover the Content-Aware Move tool, which is similar to the Patch tool but used slightly differently.
If there is an object you want to remove from one spot but place on another, you’ll want to use the Content-Aware Move. Keep in mind that the Move tool is ideal when the background remains similar.
Step 1: Select the Object You Want to Move
Select the object you want to move. Make sure you select part of the background of the subject as well. You do not want an overly exact selection.
You can use the Move tool to draw the selection or any other selection tools, switching back to the Move tool once the selection is made.
Step 2: Drag to New Area
Drag the selection to the area you want to place the object.
If the Transform On Drop option is enabled, you can scale the part of the image you’ve just moved.
Step 3: Clean Up Previous Area
After dropping the object into its new location, the old area may have leftover pixels, blurry pixels, or other general odd-looking artifacts.
Clean this up using the Content Aware-Patch tool, following the same steps you would use when removing an ordinary object—treating them as unwanted objects themselves.
How to Remove Objects in Photoshop Using the Clone Stamp Tool
The Clone Stamp tool places one part of an image over another part of the same image. The Clone Stamp tool is ideal for duplicating objects or removing unwanted objects, both small and large.
Step 1: Set Your Brush Tip and Settings
Select the Clone Stamp tool in the Tools toolbar or by pressing S.
Choose a brush tip, Size, Opacity, and Flow in the options bar. This will depend on what you are stamping.
I like to choose a slightly larger brush than the detail I am removing and keep the Hardness at around 75%.
If the object is large, I set it to a slightly smaller size and decrease the Hardness for better blending.
Step 2: Sample an Area and Paint
Next, we set the sampling point by positioning the Stamp tool’s pointer over the area we want to be sampled and then holding Alt/Option and clicking.
Drag over the detail that you want to remove. It’s best to make smaller, shorter strokes instead of longer ones.
You also want to be careful about duplicating details or creating unintentional patterns. If that happens, go over the repetitive detail again using a different sampled area.
How to Remove Objects in Photoshop Using the Spot Healing Brush
The Spot Healing Brush tool can quickly remove blemishes and other more minor imperfections in your photos.
The Spot Healing Brush paints with sampled pixels from an image and matches both the texture and lighting of the sampled pixels to the pixels being healed.
Step 1: Adjust Settings
First, select the Spot Healing Brush tool, the shortcut being J.
Type: We want to make sure the Type is set to Content-Aware.
Brush Size: We want to choose a brush size. Selecting a slightly larger brush than the area you want to heal is ideal. I also like to keep the Hardness at around 75%.
Mode: More times than not, you’ll want Mode set to Normal. However, you can choose Replace, which will preserve noise, film grain, and any texture at the brush edges.
Sample All Layers: Check Sample All Layers if you want to sample pixels from all visible layers. You can Uncheck Sample All Layers to sample only from the current layer.
Step 2: Drag Over the Unwanted Object
Now, click the area you want to fix. You can click and drag to select and remove imperfections from larger areas. Try not to choose too large of an area. Making multiple smaller selections is ideal.
The Spot Healing Brush automatically samples from around the selected area.
Step 3: The Healing Brush as an Alternative
Try the Healing Brush tool if you want more control over which areas are sampled.
The Healing Brush tool works like the Spot Healing Brush, but you choose which areas to select by holding Alt/Options and clicking, similar to the Clone Stamp tool.
How to Remove Objects in Photoshop Using the Brush Tool
Finally, let’s cover how to remove unwanted detail using just a default round Brush. This technique is ideal for objects on simple undefined backgrounds with little to no detail. A subject with a shallow depth of field is a great example.
Step 1: Set Your Brush Settings
First, set up your Brush.
Brush Tip: For the brush tip, you want the default round Brush set to 0% Hardness most of the time. Ultimately, however, it will depend on the area you are painting. If the area you’re painting has harsher edges, increase the Hardness to match.
Brush Size: The size will change as you paint. Change the size of your Brush quickly using the [ and ] keys. I like to start with a size slightly larger than the area I am painting.
Flow & Opacity: Flow and Opacity are great tools for building up color slowly, which you’ll want to do in this technique. I suggest setting the Flow to as low as 10% and as high as 75%. The Flow rate will change as you go.
Step 2: Choosing Colors
Next, sample a color from the area you’re painting, overusing the Color Picker tool.
Every time you paint on an area with a new color, you’ll want to color pick from that area, so you will often switch colors. To quickly switch from the Brush tool to the Color Picker and back again, press and hold Alt. Choose a new color, and, when you let go of Alt, your Brush tool will be active again.
Step 3: Paint Over the Object You’d Like to Remove
Now that your Brush is set up and you know how to select colors quickly, simply paint out the unwanted object or detail.
This works best on out-of-focus backgrounds because you don’t have to focus on painting any specific shape. You just need to get the blend of colors correct.
Conclusion
That is how to remove an object in Photoshop! Remember each tool has its strengths and weaknesses. Once you get a feel for when you should use each tool, removing objects becomes both quick and easy. You can also combine the different object removal tools and techniques, giving you infinite options and a chance to decide your own preferences.
Seamlessly removing objects is a must for photographers and digital artists alike—just be careful of repeating patterns, blurry pixels, and glitches like artifacts.
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Abbey Esparza is a mixed media artist whose composites are all based on photographs that undergo an intense treatment to transform them into the surreal, unusual, and macabre. She typically creates surreal themes, but is experienced in all different kinds of styles and genres, including child-friendly fantasy! She works with The Glorious Company, a content-marketing agency
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That again was no use: he but got another smile and a friendly look of the sort he no longer wanted. I said I thought I could gallop if Harry could, and in a few minutes we were up with the ambulance. It had stopped. There were several men about it, including Sergeant Jim and Kendall, which two had come from Quinn, and having just been in the ambulance, at Ferry's side, were now remounting, both of them openly in tears. "Hello, Kendall." We have this great advantage in dealing with Plato—that his philosophical writings have come down to us entire, while the thinkers who preceded him are known only through fragments and second-hand reports. Nor is the difference merely accidental. Plato was the creator of speculative literature, properly so called: he was the first and also the greatest artist that ever clothed abstract thought in language of appropriate majesty and splendour; and it is probably to their beauty of form that we owe the preservation of his writings. Rather unfortunately, however, along with the genuine works of the master, a certain number of pieces have been handed down to us under his name, of which some are almost universally admitted to be spurious, while the authenticity of others is a question on which the best scholars are still divided. In the absence of any very cogent external evidence, an immense amount of industry and learning has been expended on this subject, and the arguments employed on both sides sometimes make us doubt whether the reasoning powers of philologists are better developed than, according to Plato, were those of mathematicians in his time. The176 two extreme positions are occupied by Grote, who accepts the whole Alexandrian canon, and Krohn, who admits nothing but the Republic;115 while much more serious critics, such as Schaarschmidt, reject along with a mass of worthless compositions several Dialogues almost equal in interest and importance to those whose authenticity has never been doubted. The great historian of Greece seems to have been rather undiscriminating both in his scepticism and in his belief; and the exclusive importance which he attributed to contemporary testimony, or to what passed for such with him, may have unduly biassed his judgment in both directions. As it happens, the authority of the canon is much weaker than Grote imagined; but even granting his extreme contention, our view of Plato’s philosophy would not be seriously affected by it, for the pieces which are rejected by all other critics have no speculative importance whatever. The case would be far different were we to agree with those who impugn the genuineness of the Parmenides, the Sophist, the Statesman, the Philêbus, and the Laws; for these compositions mark a new departure in Platonism amounting to a complete transformation of its fundamental principles, which indeed is one of the reasons why their authenticity has been denied. Apart, however, from the numerous evidences of Platonic authorship furnished by the Dialogues themselves, as well as by the indirect references to them in Aristotle’s writings, it seems utterly incredible that a thinker scarcely, if at all, inferior to the master himself—as the supposed imitator must assuredly have been—should have consented to let his reasonings pass current under a false name, and that, too, the name of one whose teaching he in some respects controverted; while there is a further difficulty in assuming that his existence could pass unnoticed at a period marked by intense literary and philosophical activity. Readers who177 wish for fuller information on the subject will find in Zeller’s pages a careful and lucid digest of the whole controversy leading to a moderately conservative conclusion. Others will doubtless be content to accept Prof. Jowett’s verdict, that ‘on the whole not a sixteenth part of the writings which pass under the name of Plato, if we exclude the works rejected by the ancients themselves, can be fairly doubted by those who are willing to allow that a considerable change and growth may have taken place in his philosophy.’116 To which we may add that the Platonic dialogues, whether the work of one or more hands, and however widely differing among themselves, together represent a single phase of thought, and are appropriately studied as a connected series. Before entering on our task, one more difficulty remains to be noticed. Plato, although the greatest master of prose composition that ever lived, and for his time a remarkably voluminous author, cherished a strong dislike for books, and even affected to regret that the art of writing had ever been invented. A man, he said, might amuse himself by putting down his ideas on paper, and might even find written178 memoranda useful for private reference, but the only instruction worth speaking of was conveyed by oral communication, which made it possible for objections unforeseen by the teacher to be freely urged and answered.117 Such had been the method of Socrates, and such was doubtless the practice of Plato himself whenever it was possible for him to set forth his philosophy by word of mouth. It has been supposed, for this reason, that the great writer did not take his own books in earnest, and wished them to be regarded as no more than the elegant recreations of a leisure hour, while his deeper and more serious thoughts were reserved for lectures and conversations, of which, beyond a few allusions in Aristotle, every record has perished. That such, however, was not the case, may be easily shown. In the first place it is evident, from the extreme pains taken by Plato to throw his philosophical expositions into conversational form, that he did not despair of providing a literary substitute for spoken dialogue. Secondly, it is a strong confirmation of this theory that Aristotle, a personal friend and pupil of Plato during many years, should so frequently refer to the Dialogues as authoritative evidences of his master’s opinions on the most important topics. And, lastly, if it can be shown that the documents in question do actually embody a comprehensive and connected view of life and of the world, we shall feel satisfied that the oral teaching of Plato, had it been preserved, would not modify in any material degree the impression conveyed by his written compositions. breakfast in the kitchen by candle-light, and then drove the five The bargaining was interminable, something in this manner:— Then follows a long discussion in Hindi with the bystanders, who always escort a foreigner in a mob, ending in the question— There was a bright I. D. blanket spread on the ground a little way back from the fire, and she threw herself down upon it. All that was picturesque in his memories of history flashed back to Cairness, as he took his place beside Landor on the log and looked at her. Boadicea might have sat so in the depths of the Icenean forests, in the light of the torches of the Druids. So the Babylonian queen might have rested in the midst of her victorious armies, or she of Palmyra, after the lion hunt in the deserts of Syria. Her eyes, red lighted beneath the shadowing lashes, met his. Then she glanced away into the blackness of the pine forest, and calling her dog to lie down beside her, stroked its silky red head. The retreat was made, and the men found themselves again in the morning on the bleak, black heath of Drummossie, hungry and worn out, yet in expectation of a battle. There was yet time to do the only wise thing—retreat into the mountains, and depend upon a guerilla warfare, in which they would have the decided advantage. Lord George Murray now earnestly proposed this, but in vain. Sir Thomas Sheridan and other officers from France grew outrageous at that proposal, contending that they could easily beat the English, as they had done at Prestonpans and Falkirk—forgetting that the Highlanders then were full of vigour and spirit. 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