Adobe® Photoshop® CC® Bootcamp


Lesson Info

Perspective Cropping in Photoshop

The next thing that we have is actually a really interesting thing in the crop tool that's more of, I'd say an effect, but a very helpful effect. It's called perspective cropping. And perspective cropping, this can save, we'll just say the word "wonky" a wonky image. I like the word "wonky." If we go into cropping and we open up the perspective crop, I've got two images here for you that we can use this on. This happens to me a lot. I like to visit museums, and I like to photograph the images, the paintings that I see specifically, the quality of light, just to see what painters did. They didn't have necessarily the light source right in front of them. A lot of times they were just painting from memory. But to see how they control light from their memory, it's absolutely brilliant. So I do a lot of this stuff. I was at the Louvre; I shot this photograph. And I don't like the fact that I had to position my body in a weird angle to shoot this painting to not get a glare on it, right. So ...

when we look at this, it's offset. It doesn't look right. And the perspective is totally warped on this photograph. Well, there's a really cool tool in here called the perspective crop tool. And the perspective crop tool can be used in one of two ways. You can either click and drag and make a selection and then edit it later, which I'll show you on the next image. Or you can find very distinct points on an image that you want to be magically fixed with a perspective crop. So if we click right here in this upper left-hand corner and then we click over here on this upper right-hand corner and then we click down here on the lower right-hand corner and then over here on this lower left-hand corner you can see that we don't have the exact same stuff that we had going on with the regular crop tool. And more specifically, we don't have the option to delete or undelete the cropped pixels. So just know that going into this. You can turn on and off the grid if you want that grid on and off. I prefer to keep the grid on because it helps me keep my straight lines straight as I'm doing this. And then we also have resolution here. This data that's coming in here with these dimensions here, I would just ahead and make sure that they stay the same when you're doing this. Because if you did change this from 300 to 50, it will alter the image size. So it's not just a temporary crop like you'd see with something like the regular crop tool. If you change the resolution at this point it will alter the resolution in your image because it's incorporating image size in with this perspective crop. But the cool part is after I've laid those constraints down and I press enter, if we zoom out here, look at that. It automatically assessed how the perspective was warped in the image and it made it perfectly straight. How does this help you? It's a picture of a painting. Well, there are times where I take pictures of my pictures or I take pictures of maybe my pictures in a gallery and I wanna make sure that that is set up correctly. What we need to make sure, though, is that the perspective crop, if we are talking about that in terms of, let's say a gallery, here's another one of my favorite museums, Nelson-Adkins Museum in Missouri. If we look at this, the perspective is warped. I shot it with, I believe it was a 10 millimeter lens on a full frame camera. So you can see that that floor is really warped. Things are starting to warp in from the top, and it doesn't necessarily look right. It doesn't look correct as you would see it with your normal eyes. So if I take this perspective crop and I try to do the same thing that I did before and just pick a point like this and do this, I'm just gonna show you what happens if I press enter on this. Look what happens. If I press enter on that-- let me go ahead and delete that. It's gonna crop it to exactly what I told it I wanted it to be cropped to. So we have to keep that in mind. In the other example, that worked out perfectly fine. That worked out great, okay. So I'm just gonna make sure that resolution is set to zero there. I don't wanna change the resolution on this. So what I need to do now is I need to constrain what I want the actual crop of this image to be. So I said before you can either click on points and if you know the exact points that you need those to be, you can click on those points and go from point to point to get your perspective crop out. But if you don't necessarily know those points, one of the best ways to do this is to make the constraints of how big you want the image to be first, then set that perspective crop. So if you tried to do this the exact same way you did the other one because you saw that, oh, I want that back area to be perfect, well, it's not gonna work that way. So what we need to do is just click and drag, and this will pull out an entire rectangle for us, perfect rectangle. But from here, we get the option to manipulate the handles on this and push and pull the angle at which this is gonna come in. So I like this line right here. I'm gonna go ahead and move this over to that line right there, perfect. And pull it right up to that edge right there. I like this line that's happening down here, so I'll make sure that this line right down here and this line right here are perfect. I've got this side down. Now I'm gonna hop over to this side. I'll click on this, move this right to the bottom line that I have on the same side on the other side. Right to here, there. And then again up here, right to there. And now, if I commit to this and press enter, it automatically crops it and fixes that warped perspective for me. It's a really awesome tool to use when you're working with warped perspectives form wide-angle lenses. I work a lot with 10 millimeter lenses. It's my favorite lens of choice now. Once I got that and put on the Sony full frame, it just makes everything just look wild and epic. But at the same time, it has this drawback. What are the drawbacks? Things that are far away are really far away. And also, areas that should be straight up and down are warped into oblivion. So I know we covered quite a bit here. We talked about the composition basics, understanding why we do what we do when we are cropping. I can't just sit here and tell you about cropping without teaching you a little bit about composition and composition comprehension first. Because I wouldn't be doing you justice in order to understand why it's important to crop and not to be afraid to crop. A lot of times we have this image and it's my precious. We don't wanna crop it, but it needs that crop. So we talked about composition comprehension there. We talked about cropping in Adobe Camera Raw and identified some of the limitations. And those limitations being things like the inability to fill in areas outside of the area that we cropped. We then moved into Photoshop. We talked about regular cropping. Cropping for composition in mind. Cropping to fill in some of the areas where content is not. And then we moved into cropping specifically for a subject where we shot an image that needs a crop because we have to crop something else out. And then we talked about cropping for print and how aspect ratio and image size are in relationship to one another, but not necessarily a direct resemblance of one another. We also talked about perspective cropping, so it also fixes some of the warping while it does the cropping.

Adobe® Photoshop® CC® is a valuable tool for photographers, but it can also be intimidating. In this all-inclusive 20 lesson course, you’ll go from opening the program for the first time to creating images that really stand out. Join Blake Rudis, Photoshop® expert and founder of f64 Academy, as he shows you how to maximize your use of Photoshop®. Topics covered will include:

Week 1
• Class Introduction & Bridge, Adobe Camera Raw, Setup Interface, Cropping and Layers
Week 2
• Layer Tools, Masks, Selections, Clean-Up Tools and Shapes & Text
Week 3
• Smart Objects , Transforming, Actions, Filters and Editing Video
Week 4
• Custom Creative Effects, Natural Retouching, Portrait Workflow, Landscape Workflow, and Composite Workflow

Don’t let the many aspects of Photoshop® prevent you from maximizing your use of this amazing app. Blake will help you develop the confidence to use your imagination and create the images that you will be proud to share with your clients.

Software Used: Adobe® Photoshop® CC® 2018


Bootcamp Introduction
The Bridge Interface
Setting up Bridge
Overview of Bridge
Practical Application of Bridge
Introduction to Raw Editing
Setting up ACR Preferences & Interface
Global Tools Part 1
Global Tools Part 2
Local Tools
Introduction to the Photoshop Interface
Toolbars, Menus and Windows
Setup and Interface
Adobe Libraries
Saving Files
Introduction to Cropping
Cropping for Composition in ACR
Cropping for Composition in Photoshop
Cropping for the Subject in Post
Cropping for Print
Perspective Cropping in Photoshop
Introduction to Layers
Vector & Raster Layers Basics
Adjustment Layers in Photoshop
Organizing and Managing Layers
Introduction to Layer Tools and Blend Modes
Screen and Multiply and Overlay
Soft Light Blend Mode
Color and Luminosity Blend Modes
Color Burn and Color Dodge Blend Modes
Introduction to Layer Styles
Practical Application: Layer Tools
Introduction to Masks and Brushes
Brush Basics
Custom Brushes
Brush Mask: Vignettes
Brush Mask: Curves Dodge & Burn
Brush Mask: Hue & Saturation
Mask Groups
Clipping Masks
Masking in Adobe Camera Raw
Practical Applications: Masks
Introduction to Selections
Basic Selection Tools
The Pen Tool
Masks from Selections
Selecting Subjects and Masking
Color Range Mask
Luminosity Masks Basics
Introduction to Cleanup Tools
Adobe Camera Raw
Healing and Spot Healing Brush
The Clone Stamp Tool
The Patch Tool
Content Aware Move Tool
Content Aware Fill
Custom Cleanup Selections
Introduction to Shapes and Text
Text Basics
Shape Basics
Adding Text to Pictures
Custom Water Marks
Introduction to Smart Objects
Smart Object Basics
Smart Objects and Filters
Smart Objects and Image Transformation
Smart Objects and Album Layouts
Smart Objects and Composites
Introduction to Image Transforming
ACR and Lens Correction
Photoshop and Lens Correction
The Warp Tool
Perspective Transformations
Introduction to Actions in Photoshop
Introduction to the Actions Panel Interface
Making Your First Action
Modifying Actions After You Record Them
Adding Stops to Actions
Conditional Actions
Actions that Communicate
Introduction to Filters
ACR as a Filter
Helpful Artistic Filters
Helpful Practical Filters
Sharpening with Filters
Rendering Trees
The Oil Paint and Add Noise Filters
Introduction to Editing Video
Timeline for Video
Cropping Video
Adjustment Layers and Video
Building Lookup Tables
Layers, Masking Video & Working with Type
ACR to Edit Video
Animated Gifs
Introduction to Creative Effects
Black, White, and Monochrome
Matte and Cinematic Effects
Gradient Maps and Solid Color Grades
Glow and Haze
Introduction to Natural Retouching
Brightening Teeth
Clean Up with the Clone Stamp Tool
Cleaning and Brightening Eyes
Advanced Clean Up Techniques
Introduction to Portrait Workflow & Bridge Organization
ACR for Portraits Pre-Edits
Portrait Workflow Techniques
Introduction to Landscape Workflow & Bridge Organization
Landscape Workflow Techniques
Introduction to Compositing & Bridge
Composite Workflow Techniques
Landscape Composite Projects
Bonus: Rothko and Workspace
Bonus: Adding Textures to Photos
Bonus: The Mask (Extras)
Bonus: The Color Range Mask in ACR


  • Amazing course, but don't be fooled into thinking this is a beginner's course for photographers. The problem isn't Blake's explanations; they're top. The problem is the vast scope of this course and the order in which the topics are presented. Take layers for example. When I was first learning Photoshop (back when we learned from books), I found I learned little or nothing from, for example, books that covered layers before they covered how to improve/process photographs. These books taught me how to organize, move, and link layers before they showed me what a layer was actually for. Those books tended to teach me everything there is to know about layers (types of layers, how to organize them, how to move them, how to move them two at a time, how to move them two at a time even if there are other layers between the two you're interested in, useful troubleshooting tips, etc. ) all before I even know (from a photographer's point of view) what it is the things actually do. The examples of organizing, linking, and moving mean everything for graphic designers from Day One, but for photographers not so much. Blake does the same thing as those books. Topics he covers extremely early demand a lot of theoretical imagination for a photographer who doesn't already know quite a bit about what he is talking about. Learning about abstract things first and concrete things later only makes PS that much harder to understand. If you AREN'T a beginner, however, this course is amazing. I thought it would be like an Army Bootcamp, taking you from zero and building you into a fit, competent Photoshop grunt. Now I think it's more like Army Bootcamp for high school varsity jocks. It isn't going to take you from the beginning, but the amount you'll get out of it is nonetheless more than your brain can imagine. I've been using PS for years to improve my photographs, and even to create the odd artistic composite or two. The amount I've learned in the first week is amazing, and every day I learn something -- more like many things -- which I immediately implement to improve my productivity and/or widen the horizons of what I can achieve. If you ARE a photographer who's a Photoshop beginner, I'd take very seriously the advice Blake gives in the introduction: Watch one lesson, and practice the skills and principles you learn in that one lesson for two weeks. THEN watch the next lesson. You can't do that of course without buying the course, so it's up to you to decide whether you'd like to learn Photoshop and master Photoshop all from the same course. Learning it first and mastering it later will cost more money, but I think you'll understand everything better and have a much more enjoyable ride in the process. As for me? I'm going to have to find the money to buy this course. There is simply way too much content in each lesson for me to try to take on all at once, but on the other hand I don't want to miss anything at all that he has to share.
  • WOW!!! I've been purchasing CL classes for several years now and have watched HOURS of "How-To Photoshop" classes, but this is the first one I've actually purchased because of the AWESOME BONUS content!!! SERIOUSLY??!!?!? A PLUG-IN??? But not only that, Blake is SO easy to understand, and he breaks down concepts in different ways to connect with different people's learning styles. I REALLY appreciated this approach because I am a LEFT-BRAINED creative that has an engineering background, so I really connected to what Blake was saying. THANK YOU FOR THAT! There are TONS of Photoshop courses out there, but I found this one to be the most helpful in they way Blake teaches concepts so that you know WHY you're doing what your doing. I feel like he taught me how to fish with Photoshop to feed me for a lifetime instead of just giving me a fish to feed me for one day. This is the BEST overall PS course out there!!! Thank you!!!!
  • A superb course and excellent overall job, beautifully presented and easy to grab the material, in total the material the style and the whole set of classes is just great love to g back and watch again and again