Adobe Photoshop CC Bootcamp

Lesson 72 of 118

The Warp Tool

 

Adobe Photoshop CC Bootcamp

Lesson 72 of 118

The Warp Tool

 

Lesson Info

The Warp Tool

What I'm gonna do next is I'm gonna show you how, practical application wise, you could be doing things with things like panoramas. And after you stitch a panorama sometimes you get some funky correction, some funky things that happen in the distortion that you can't fix with any of the automated things. So even something like adaptive wide angle is not gonna help you out very much here. These are instances where you're gonna have to do things manually and you have to go in manually. Now, one of the things I did not show when we talked about Adobe Camera Raw was I did not show how to do a panorama. So I'm gonna include that in this so that you can see what happens with something like one of my favorite things which is called a vertical panorama. So I'm gonna grab all of these and then I'm gonna go ahead and click on this, drag them into Photoshop so that they open up in Adobe Camera Raw. And this is what's called a vertical panorama. This is a panorama that you start basically from the...

floor and you take pictures all the way up to the ceiling. And to do this, you really wanna make sure that you're moving a third of the way into the frame every single time so that you're basically leaving about two thirds of that content as fresh content with each time you're going up. So what you can see here is this is shooting some benches. I love doing this in churches, especially old, gothic churches, you could create some of the most amazing images from those churches. So we'll start at the benches here, click here and I see that I went from basically shooting from the pews up a little bit and then up a little bit more and then up a little bit more until I reached the ceiling. Now when you're building panoramas, it's always good to have at least anywhere from one third to half of that frame being fresh every single time. Some people might tell you 10-20% but if you really wanna give Photoshop or Adobe Camera Raw a break, you give it a little bit more information than 10% or 20% when you're adding in your panoramas. The difference between this panorama and let's say a horizontal panorama is that a horizontal panorama you might tilt your camera vertically and shoot this way. Whereas this, you keep your camera horizontal to shoot vertical. And you can take anywhere from five to seven to 10 different images to do this. What we're gonna do is we're gonna grab the bottom, grab the top, press and hold shift, and then we're gonna go into right here there's a little dropdown icon. Say merge to panorama. It might give you a little error that says it's not able to automatically select a valid lens profile. If you wanna continue it's kinda up to you. Just go ahead and press OK, that does happen every once in a while. And it's gonna start building a panoramic preview for you of this. Now what it's doing with this is it's taking all of your image and it's doing a lot of the manual, it's doing a lot of that transformation for you and it's doing it manually to put all of those different images together and stitch them together. Now we have a couple different selections here. We have spherical, we have cylindrical, and we have perspective. Sometimes perspective won't necessarily work, especially if we're doing something like this, so I tend to stay within either spherical or cylindrical. I like the cylindrical look. If we go ahead and move the boundary warp over to the right, you can start to see all the area that it's cutting off on the sides. That's where Adobe Camera Raw's gonna automatically start filling those spots in so you get a bigger image. Because if we just leave this like this, it's gonna be a really skinny photograph and it's not gonna be a very compelling panorama. So if we move this over to about right there, that looks much better. A little bit of a wider format. Press merge. So it's doing a lot of that stuff for you, all the manually filling in of all the stuff on the sides that when we clicked on the extra stuff it's filling in those sides for you when you do that boundary warp. But it's gonna need to save this as its own file so it wants you to save it as a DNG file so you're basically creating your own digital negative from a series of four negatives. And you go ahead and press save. And there it will build that preview for you of what that image looks like and that's the stitched version of all of these images here. Now there's a lot of its own perspective warping going on, there's a lot of stuff that's happening, all the stuff that we've already talked about. Photoshop and Adobe Camera Raw working together trying to stitch all that stuff together but it's not always gonna be perfect. So typically with these, I'm even on a tripod, I'm tripod mounted. I've got it restricted so that my camera can only move up and down. Even though I've got it restricted so my camera can only move up and down, what I'm doing there is I'm trying to make sure that I'm causing any of that warping to happen as I'm building the images for this panorama. But what you can see across the top is that we still have this side and this side are not exactly perfect even though I went through and I did it really tediously to try and make it perfect. So with this set as a DNG, we can go ahead and just set the settings to auto just to get us into Photoshop here and I'll press open image. Once I open this up in Photoshop, I want to warp it in a way that it's a custom warp, essentially, we're not doing the lens corrections 'cause the lens corrections won't work here. 'Cause what's happening is this side of the image is being pulled in this way more so than this side of the image is. So there's another kind of warping tool that we have here that doesn't do anything automatically for you. It's not a lens correction, it's not an adaptive wide angle. So what I'm gonna do is I'm gonna press control and space bar and zoom out a little bit by going to the left. And I'm gonna go into a tool that's called the warp tool. So I'm gonna go to edit, I'm gonna go to transform, and I'm gonna go to warp. So when I look at this, the way warp works, it looks like your typical, when you press command or control T and you transform your image that way, doesn't it? We've already done a lot of transformation by the way, that's one thing I didn't miss to say. When we were working with shapes and text and any time I press the command or control T that's getting me into some form of transformation, which is typically gonna be a freeform transformation. This looks and appears like it would be a freeform transformation 'cause we get the same grid lines and we get the same handles on the sides. The difference between this is that we have these little individual handles that appear inside the line from one handle at the top to the handle at the bottom. And what these are is these are like perspective warping or custom warping I should say paddles that when you pull them to the left, it will pull the image in just in that one spot but also look at what's happening in the rest of the image, and manipulate it around it or pull it to the right. So when you pull those out from the sides, it's gonna make your image wider, it's basically gonna pull the whole thing and warp it out to the right hand side. If we were to grab the top, again, pull it up or pull it down. It's gonna do some weird things if you pull it down and you commit to that so I wouldn't do that. Command or control Z will automatically reset those. Ctrl+alt+Z will reset the one on the right hand side. If you grab a corner and move a corner at this point, notice how it's not moving like the regular free transform did. The free transform, if we grabbed that corner and we moved it in, it would do some time of perspective transform or maybe make that image smaller. If we were pressing shift and alt it would center it down from, it would shrink it from the center. So if I click this and move this over to here, you can start to see what I'm doing is I'm grabbing the edge of the inside of that archway and pushing it up to the edge of the image. And you can guess what I'm gonna do on the other side, grab this one and do the same thing right to about there, right about there. I might even grab this one and go a little bit further over so that I get those lines right there to match up perfectly. Now what happens in the center of the warp is if you grab in the center of the warp and you move it around, it will warp the image from the center. Something like that or bow it out. So you can see here this is not like any of the lens corrections that we've looked at in the past because those lens corrections that we looked at in the past will allow us to basically move equally as we change that barrel distortion. This does not let you move equally as you move that distortion. If I move this on this side of the image, it's just moving it on the side of the image, it's not creating that kind of barrel warp that we would create if we were using something like a lens correction tool that has that barrel distortion fix that we saw before. So that would be, I wouldn't wanna do this to this image, I'm just showing you what happens if you click from the inside of that. And it's hard to get it back once you make that decision, you're kinda stuck with it, it's hard to get it back to where it was before. So it's something we definitely would not wanna do with this photograph. So I'm gonna go ahead and exit out of here and if we press escape it will not commit it. Again, if you wanted to go back to it you go to edit, transform, and then warp. And again, I'll just grab this in the upper right hand corner, get that warped right to about there. I like the way that looked right there. And then warp that over to there. So then if we take a look at the photograph though, if we actually like zoom in here and look at what's happening within the image, it doesn't look like much has really changed. But all we've done is because we have a lot of symmetry here is we've just made that a little bit more symmetrical. These vertical panoramas are a lot of fun. I highly suggest that if you're gonna be doing these you definitely do them when you're tripod mounted. Move from the bottom, work your to the top. Give yourself between 30 to 50% extra space between images so that it makes Photoshop a little bit, gives it a little bit more room to work with. But they do create a very warping perspective in themselves. So what a vertical panorama is it's not really natural anyway so it's gonna have this kind of warping, kind of bowing thing going on there. If you're in something like the Notre Dame, it can really make that thing look awesome with all the gothic architecture just forcing you right into the center of the image. It's just a really nice artistic kind of panorama to do that's different than the traditional okay, move left to move right. This is a vertical panorama, it creates some really interesting things inside churches.

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 Photosho® 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!