I finally got around to making a "before and after" images which show problematic reflection conflicts in a car picture, and the elimination of those conflicts. I again chose the 1966 Bizzarini, but used the rear end shot of that car for illustration. The images are in perfect registration with each other, so hopefully, you can flip back and forth between the two to see the differences more easily. I used a simple mask to obscure bothersome "museum garbage" and to eliminate minor window violations. It is a better world because of the fact that I did not choose "teacher" as a life profession. None the less, I'll try to briefly explain how this was done, and, wherever needed, the holes in my explanation can be patched through answers to you questions. As with any other stereo pair, the two chips first need to be properly aligned. This particular pair refused to be brought into satisfactory alignment with SPM, so I used manual methods to do this. ...Difficulty in aligning chips is a common problem with ultra wide angle lenses which have a lot of deviation. Having aligned the images, the pair needs to be assessed and a determination needs to be made which reflections are the most bothersome. I don't recommend that all of the reflection conflicts be resolved. It results in a very unnatural looking image. Once you have picked out the areas that need attention, It is a matter of copying and pasting and reforming the pasted patch from one side to the other. So, select the area that you wish to keep, using the lasso tool. Try to include at least one or two details of the surface. (not the details of the reflection, but rather the details of the surface itself) Keep the selection relatively small and in the same surface plane. You'll need to experiment for yourself to determine the selection size. It varies from image to image. Feather the selection rather heavily, about 25 px. Then edit>copy, edit>paste. Drag the selected area from one chip to the same area in the opposite chip. If you have not noticed by now, you are now in a new layer. Change the opacity of the new layer to make it appear about the same density as the underlying layer, maybe 50 0r 60 percent. Align the patch with at least one of the features in the surface of the layer beneath. Then the rest of the patch needs to be aligned. This is done mostly with the distort feature in PS, although the warp and the puppet warp features may also be used to a much lesser extent. So, edit>transform>distort. Grab the resulting handles and shape the patch to exactly conform to the image in the layer below. It is usually shaped pretty easily to align, and if you have difficulty in getting the proper "deformation", it probably is because you have chosen a  selection that is too large. When you are satisfied that you have the patch aligned ok, then increase the opacity to 100%, and if all still looks good, merge the patch with the layer below (Layer>Merge down), and then go on to the next reflection correction. So far, so good. Now, in the attached "after" images, I left one defect uncorrected. Bring your attention to the very rear of the rear engine deck. ...It appears as if the reflection is a blemish on the surface of the trunk lid. This is because the reflections themselves are suppose to have a different depth that the deck itself. ...no different than the  reflections in a mirror. ...To fix this, the pixels need to be selected and shifted "ever so slightly left or right", using crossed eyes to judge the proper depth. This will give the proper depth to the reflection itself, while leaving the details of the surface intact. The "marching ants" usually interfere with your judgement in how much to shift the pixels, so turn them off during this process (cntrl-h), but don't forget to turn them back on when done (cntrl-h again). Please note that the depth of the reflections do not need to be adjusted in all cases, only those where it seems to be a problem. So. That's it, guys. It is not really as hard to do this as the explanation seems to indicate, and a little practice seems to improve not only your work, but also the ease in carrying out the technique. Ray

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