Adobe® Photoshop® CC® Bootcamp

Lesson 21 of 118

Perspective Cropping in Photoshop

 

Adobe® Photoshop® CC® Bootcamp

Lesson 21 of 118

Perspective Cropping in Photoshop

 

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.

Class Description

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

Lessons

  1. Bootcamp Introduction
  2. The Bridge Interface
  3. Setting up Bridge
  4. Overview of Bridge
  5. Practical Application of Bridge
  6. Introduction to Raw Editing
  7. Setting up ACR Preferences & Interface
  8. Global Tools Part 1
  9. Global Tools Part 2
  10. Local Tools
  11. Introduction to the Photoshop Interface
  12. Toolbars, Menus and Windows
  13. Setup and Interface
  14. Adobe Libraries
  15. Saving Files
  16. Introduction to Cropping
  17. Cropping for Composition in ACR
  18. Cropping for Composition in Photoshop
  19. Cropping for the Subject in Post
  20. Cropping for Print
  21. Perspective Cropping in Photoshop
  22. Introduction to Layers
  23. Vector & Raster Layers Basics
  24. Adjustment Layers in Photoshop
  25. Organizing and Managing Layers
  26. Introduction to Layer Tools and Blend Modes
  27. Screen and Multiply and Overlay
  28. Soft Light Blend Mode
  29. Color and Luminosity Blend Modes
  30. Color Burn and Color Dodge Blend Modes
  31. Introduction to Layer Styles
  32. Practical Application: Layer Tools
  33. Introduction to Masks and Brushes
  34. Brush Basics
  35. Custom Brushes
  36. Brush Mask: Vignettes
  37. Brush Mask: Curves Dodge & Burn
  38. Brush Mask: Hue & Saturation
  39. Mask Groups
  40. Clipping Masks
  41. Masking in Adobe Camera Raw
  42. Practical Applications: Masks
  43. Introduction to Selections
  44. Basic Selection Tools
  45. The Pen Tool
  46. Masks from Selections
  47. Selecting Subjects and Masking
  48. Color Range Mask
  49. Luminosity Masks Basics
  50. Introduction to Cleanup Tools
  51. Adobe Camera Raw
  52. Healing and Spot Healing Brush
  53. The Clone Stamp Tool
  54. The Patch Tool
  55. Content Aware Move Tool
  56. Content Aware Fill
  57. Custom Cleanup Selections
  58. Introduction to Shapes and Text
  59. Text Basics
  60. Shape Basics
  61. Adding Text to Pictures
  62. Custom Water Marks
  63. Introduction to Smart Objects
  64. Smart Object Basics
  65. Smart Objects and Filters
  66. Smart Objects and Image Transformation
  67. Smart Objects and Album Layouts
  68. Smart Objects and Composites
  69. Introduction to Image Transforming
  70. ACR and Lens Correction
  71. Photoshop and Lens Correction
  72. The Warp Tool
  73. Perspective Transformations
  74. Introduction to Actions in Photoshop
  75. Introduction to the Actions Panel Interface
  76. Making Your First Action
  77. Modifying Actions After You Record Them
  78. Adding Stops to Actions
  79. Conditional Actions
  80. Actions that Communicate
  81. Introduction to Filters
  82. ACR as a Filter
  83. Helpful Artistic Filters
  84. Helpful Practical Filters
  85. Sharpening with Filters
  86. Rendering Trees
  87. The Oil Paint and Add Noise Filters
  88. Introduction to Editing Video
  89. Timeline for Video
  90. Cropping Video
  91. Adjustment Layers and Video
  92. Building Lookup Tables
  93. Layers, Masking Video & Working with Type
  94. ACR to Edit Video
  95. Animated Gifs
  96. Introduction to Creative Effects
  97. Black, White, and Monochrome
  98. Matte and Cinematic Effects
  99. Gradient Maps and Solid Color Grades
  100. Gradients
  101. Glow and Haze
  102. Introduction to Natural Retouching
  103. Brightening Teeth
  104. Clean Up with the Clone Stamp Tool
  105. Cleaning and Brightening Eyes
  106. Advanced Clean Up Techniques
  107. Introduction to Portrait Workflow & Bridge Organization
  108. ACR for Portraits Pre-Edits
  109. Portrait Workflow Techniques
  110. Introduction to Landscape Workflow & Bridge Organization
  111. Landscape Workflow Techniques
  112. Introduction to Compositing & Bridge
  113. Composite Workflow Techniques
  114. Landscape Composite Projects
  115. Bonus: Rothko and Workspace
  116. Bonus: Adding Textures to Photos
  117. Bonus: The Mask (Extras)
  118. Bonus: The Color Range Mask in ACR

Reviews

a Creativelive Student
 

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.

Esther Gambrell
 

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!!!!

Sonya Messier
 

I'm been using Bridge, Adobe Raw and Photoshop for 12 years. I thought I knew those programs until I started to follow Blake and do this Photoshop CC Bootcamp. This course is AMAZING. I love the way Blake teach, brakes down concepts and tools... excellent teaching qualities! I'm half way in this course and I change all my workflow already. Much better results and better use of what Adobe offer me. This course is an investment! When I will be done, I will listen it again. Great job and congratulations on your success Blake!