Perspective Cropping in Photoshop

 

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.

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

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