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CHAPTER 6 ERASING AND TOUCHING UP 245 Blurring Backgrounds with Gaussian Blur The Blur mode of the Convolve tool was an easy way to make part of a subject stand out. But what if too much of the background is busy and confusing, as in Figure 6-26? You could run the Blur tool over and over the background, but that gets tiresome. There s an easier way. Figure 6-26. I want to blur the branches on which the butterfly sits. First, select the background (everything but the butterfly) using any combination of the techniques from Chapter 5, such as Paths, QuickMask, or Intelligent Scissors. Then bring up the Blur filter: Filters . Blur . Gaussian Blur… (Figure 6-27).
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244 CHAPTER 6 ERASING AND TOUCHING UP DEPTH OF FIELD The visual property that makes closer objects stand out is related to an effect photographers call depth of field. Some cameras let you control the aperture of the lens, or how wide open it is. The F-stop is related to the aperture: the bigger the F-stop, the smaller the aperture. At an F-stop of F/2.8, a lens is fairly wide open, whereas at F/11, most of the opening has been closed off, as shown in the figure. The curious division notation used, F/number, is actually somewhat descriptive. It s the result of dividing the focal distance of the lens by the current aperture diameter. A wide open lens lets in a lot of light, so you can take photos in dimly lit rooms or with fast shutter speeds; but the larger the aperture of the lens, the smaller is its depth of field. Depth of field is the range of distances that are in focus. If your subject is a person five feet away from the camera, the photo might actually have good focus for everything from three feet away to the mountains in the distance ( infinity ) a large depth of field. Alternately, if the depth of field is very small, perhaps only the range from 4′11″ to 5′3″ away will be in focus the person s nose may be in focus while his ears might not be! Wouldn t having everything in focus be a good thing? In fact, it s often useful to have a shallow depth of field. If your subject is the only object in focus, then the eye is naturally drawn to that subject and away from the rest of the photograph. Looking back at the meerkats, the original Figure 6-24 shows a large depth of field: both meerkats are in sharp focus. The modified Figure 6-25 simulates the effect of a shallow depth of field: only one meerkat is in focus, and the other one is blurry. One problem: the photo now looks somewhat strange, because the background meerkat is fuzzy while the wall behind him is sharp. In the section Blurring Backgrounds with Gaussian Blur, you ll see a better way of simulating a shallow depth of field over a wider area. Large aperture (small F-stop number) means that more light is coming through the lens, but the depth of field will be smaller.
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CHAPTER 6 ERASING AND TOUCHING UP 243 Figure 6-24. One meerkat tries to distract your eye from the other. Figure 6-25. Now the meerkat in the foreground stands out.
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242 CHAPTER 6 ERASING AND TOUCHING UP Sharpening with the Convolve Tool Dragging the Sharpen tool around the newt s head a little bit produces Figure 6-23. Figure 6-23. The newt is much sharper now. You may notice that the area around the head, and especially the eye, has become a bit grainy. That s what happens when you sharpen something too much (as you may remember from Chapter 2, with Unsharp Mask). If necessary, you can zoom way in and clean up some of that with the Smudge or Clone tools and a very fine brush. By the way, why Convolve ? Why not just call it Blur or Sharpen ? The name comes from convolution, the mathematical operation used to blur or sharpen an image. Blurring with the Convolve Tool The flip side of the Convolve tool is Blur. Why would you ever want to make something more blurry? One good reason to blur is to de-emphasize a distracting background, like the second meerkat in Figure 6-24. A little judicious use of the Blur tool on the rear meerkat s face, and suddenly the front one stands out much more (Figure 6-25). As with Sharpen, you can drag back and forth over the area you want to blur until it s as blurry as you like. (This technique also works well for hiding license plates or other incriminating details.)
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CHAPTER 6 ERASING AND TOUCHING UP 241 Figure 6-22. The Convolve (Sharpen/Blur) tool The Convolve tool lets you blur or sharpen small regions of an image just by dragging over them. The more you go over an area, the more it will blur or sharpen. The tool s options include the usual drawing and touch-up tool options, plus a switch for Convolve Type (this is where you choose between Blur or Sharpen). There s also a Rate slider to let you choose the strength of the effect. Since you can drag over the same area repeatedly, Rate doesn t matter as much as it does in some tools.
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240 CHAPTER 6 ERASING AND TOUCHING UP You will probably want to turn off both the selection boundary (View . Show Selection, or Control+T) and the layer boundary (View . Show Layer Boundary) temporarily, in order to see the edges of the pasted layer better. That s all there is to it! Quick and easy. If you need to clean up any details around the edges, the Smudge and Clone tools are good for making small corrections. Tip This technique also works well with finger-in-front-of-the-lens mistakes. Not that you d ever do that! Sharpening or Blurring Specific Regions: The Convolve Tool Don t you hate it when you take a picture of something, and it turns out the focus was on the wrong place in the photo (Figure 6-21)? Figure 6-21. The focus is good on everything except the newt s face! You already know about Sharpen and Unsharp Mask from Chapter 2. But if you used those tools on an image like this, the parts that are already sharp would turn grainy. What you really need is something that can sharpen just the newt s face. That s a job for the Convolve tool (Figure 6-22), more commonly known as Blur or Sharpen.
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CHAPTER 6 ERASING AND TOUCHING UP 239 Figure 6-19. Move the selection boundary, not its contents. Figure 6-20. Move the pasted selection back over the unwanted object. The selection and layer boundaries are shown.
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238 CHAPTER 6 ERASING AND TOUCHING UP Figure 6-18. Dunes, with a person in the way You could use the Clone tool to get rid of the person, but there s a faster way: copy a region shaped like the object you want to remove, and then paste it over the object. Start by making a selection around the object. The selection doesn t have to be perfect just make sure it s big enough to cover the unwanted object completely. With some feathering, the Lasso tool is usually fine for this job. Now move the selection boundary to the area you want to copy. You can use Alt-drag to move the selection boundary (use Shift-Alt-drag if your system uses Alt-drag for something else). Or use the Move tool with Affect set to Transform Selection, and then just drag from inside the selection. With the selection boundary in the right place (Figure 6-19), you can copy and then paste. Move the pasted selection back on top of the object you re trying to remove, and then fine-tune its position with the arrow keys until everything meshes (Figure 6-20).
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CHAPTER 6 ERASING AND TOUCHING UP 237 Figure 6-17. Alignment modes in the Clone tool In Aligned mode, the first stroke you make after setting the source will begin from the source origin, just as in Non-aligned mode. But for subsequent strokes, GIMP will make each stroke relative to the last, so you can paint an exact copy of the source region as you keep making strokes. In Registered mode, painting will clone from wherever you are painting, rather than from where you chose the source image. This is primarily useful for painting parts of one layer into another layer at the same position. Copying Small Regions Cloning works great for filling in small areas, or for painting patterns. But there are times when it s easier to copy a pattern all at once, in a single block. For instance, the dune view in Figure 6-18 would look better without the figure standing at the lower-left corner.
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236 CHAPTER 6 ERASING AND TOUCHING UP Figure 6-16. Cars, gone! Clone Tool Options I haven t said much about the Clone tool s options (which were shown in Figure 6-12). That s because most of the time, you won t need to change anything. The collection of settings should be familiar from other tools you ve already used: Mode, Opacity, Pressure Sensitivity, Fade out, and Hard edge. In addition, you can clone from one of GIMP s built-in patterns instead of from an image by changing the Source. The only complicated option is Alignment (Figure 6-17). The default is Non-aligned: for each stroke you make, the pattern GIMP will paint begins at the source origin (the place where you Control-clicked) and proceeds from there.
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