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Perspective Warping

Lesson 23 from: Photoshop and Lightroom Creative Cloud Additions in 2015

Ben Willmore

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Lesson Info

23. Perspective Warping

Next Lesson: Creating Artboards

Lesson Info

Perspective Warping

All right, let's take a look at perspective warping what I have here is this is a picture of my former home I used to live on that thing I sold this one and I'm waiting for my next one to be finished because we usually live on the road and I want to put that into a scene but the scene was shot at a different angle than this one and so the perspective wouldn't look right so let's see how I might be able to do that? I'm gonna come here use the quick selection tool to select this object well, there you can select it using any tool you like and for now, just to the with our limit in time that we have, I'm not going to ensure that their selection is overly good. You can use your imagination as if it's uh, overly precise I'm gonna call that good enough like I mean ignore my mirror over there I'll say fine, I'm going to take that and I'm gonna copy it to its own layer and if you remember the keyboard shortcut for copping to a layer but his command j control jam windows and then I'm going to c...

onvert that into a smart object and therefore any change to make to it later won't be permanent it'll be something that I could always go back and change the settings later then I'll use my move tool and I'm going to move that from this document over to the other document that I have open if you're not used to working with two different tabs we have two different documents open like this um there's a couple ways of thinking first off if you want to drag and drop, what you need to do is use the move tool clique within the document you want to move, drag your mouse onto the tab for the other document and then don't let go yet I used to just let go thinking that should go there no, your mouse is right now on top of the tab for that document it's not within the image itself I need to drag down into the image itself ignore these kinds of warnings that tuckey about color related things if you already know what these mean, you wouldn't care where you would already have known this in the default setting here just okay means make it look right so that's a little small imagine this was bigger. Ok um I have hadn't coordinated the sizes of these documents so a little less than ideal of scale it up that's all right, but you notice that just plunking it there it doesn't look right as far as the angle goats and so let's see how I might be able to change the angle that that buses sitting that if I go to the edit menu, you know how usually have transformed where you can scale in rotate and do other things? Well, I want to choose something special called perspective warp if I choose perspective warp first it's going to try to give me some instructions that are trying to help me out telling me how to use it. Unfortunately, if you've never used perspective warp, the instructions are going to be a little bit too basic, not quite enough detail to truly help you. It might be enough to remind you if he used it may be months ago and just need a little refresher, but I'm going to close that by clicking in the upper right corner and will to show you how to use it. I'm gonna go in my image, and I'm going to click on the image I'm going to get this rectangle if I just click and let go and I he's hit here and move the four corners of this, or I could have clicked and dragged in the first place, and I'm going to try to get this tow line up with the horizontal and vertical edges of this object, and by doing so, I'm educating photo shop about the perspective that this image is currently at. So if you look right now, this line should be parallel with lines in the front of the bus. The lines here in the middle should be parallel with the lines going across the bus, and these vertical lines should be parallel with where the corner of the bus would be. It doesn't have to perfectly align with all those elements it just needs to educate photo shop about it, meaning I can't have it like this, where this line is not parallel with things that would be horizontal on the bus that would mess it up. Don't get that close, you can also grab the sides. If you need to adjust, I'm going to try to get that edge right where it needed tio to be, then you can move your mouse close to one of these corners, click and drag, and you can create another rectangle like this, and if you started it close to where the other rectangle was, it will automatically snap to it. Then I'm going to grab those corners and try to get them to be parallel with the edges of the bus and just the vertical and horizontal zx that would be in the bus, I need to I can try to drag it down or up, and then there's two different modes this khun b in and that is up here at the top we have some icons and if you ever want to know what they dio just hover over them without clicking this is where you lay out the shapes that are there like we have in this is where we adjust the corners to actually change the perspective of the image. So once you've defined those surfaces then we click on this icon it'll try to help you some more and watch it weaken d'oh you see how now aiken bend the image so that it didn't really look right in the perspective of this particular photograph I might be able to go at the back of the bus to swing over there get the verticals toe look like the verticals that air in the photograph that's here and so what I might want to do to make it look more like it belongs here is just look at the perspective in this image the background image do you see this horizontal line right here? You know that would be a nice level horizontal line I want to get this angle to be about the same so it would be parallel with it and therefore the perspective there should look a little bit more like it see the vertical that's here I want this angle to be parallel with that vertical and it might need toe find him a little bit to achieve that then you see this line here that's on the edge of the building will get the top edge of the bus to be about the same angle, so be parallel with it, and if you can figure out where that would be, teo, get that parallel feeling you could most likely get to feel like the perspective is appropriate for the bottom of the bus. You'd have to look at another line that would be the horizontal in the background. You see this line here to finding the edge of the building, we'll try to create an angle right here that would be parallel with it. When you're done up at the top, you have a check box to apply it, or the no symbol to say you're messed up, and if I do the check box, we'll have applied it. I can always make changes to it later, because it was a smart object, and if it's smart object, I could just go back to the edit menu and choose perspective, war begin, and it will remember the settings I had so I could find to knit if I notice it's off a bit, and then it just hit the check box again to say, I'm done, and if you want to see before and after, I'll end up choosing, undo when you see the angle we had previously in the angle we have now could be more careful with the angles I'm ending up with, but it gives you an idea of how you can change that. They have to be careful with this feature, though if you have any curved surfaces instead of straight ninety degree corners it's not going to work that well on it, and it could just end up with some issues in certain areas, but you can use it for all sorts of other purposes. If I worked on the background let's say that this particular image was one where I tilted by camera up on the top of the building was a little bit smaller than the bottom. Well, you can use perspective correction in programs like white room or you can come in here and use something like this tool, because what you can do is if you go to the edit menu and you choose perspective warp, you can click on one of the corners of this building, drag too opposite corner and get these tow line up with various parts of that building. Then I go near the corner, click and dry again, it'll snap to that corner, and if I get each one of these tow line up with this building and get all of these lines to be parallel, I can continue drawing that in the other parts of the image then what you can do is up here at the top. There are some icons in the first icon here means that if I come in here and tell it, I want to distort the image, this is going to straighten near vertical lines, which means if I had a building where these lines that I put in, we're not perfectly straight up and down by clicking this icon, they suddenly would be so or I could try to get the tops of the building this shoe if this works at all, this will look weird because it's going to take the angles that are currently in the top of the building and try to straighten them out is if I shot this building straight on, you see how it tried to straighten the top, or I can straighten both. And so, if you ever need to make it look like you have a drawing of just the front that's perfectly lined up, you could do that, but I find mainly just the verticals could be useful in some cases, but this particular building doesn't need much of that because I wasn't tilted up all that much on it. It's when you have more complex images where it would be difficult to get them to line up, that prospective warping could be more useful, right? Any questions about the prospective war feature if you were wanting to be really anal retentive like when you're trying to measure up the bus could you take like on another layer take like a straight line drawing tool and and draw the line of the building and then lay on top of yeah if you wanted tio to really get it down right what I would often do is if I was really gonna spend the time to do this correct what I would probably do is create a brand new empty layer in on that brand new empty layer I would come in here in draw a line and I would usually use something like the pen tool but not everybody is comfortable with the pen tool let's say just used to paint brush tool and I could end up creating a line where I just start over here and if I'm using the pencil it'll be easiest though click right here and then I'm going to click in the distance and if I hit the space bar can reposition this and I'm moving this until it lines up with the top of the building so the angle is the same to see how right about there the angle is getting close to the same and then I would create another one of those who would go down here to maybe the bottom of the building um and I could click maybe over here and then add another one out this way oops, I didn't want to. Ah, drag. I wanted to just click and get that angle just right. And then I can either stroke this there's a way in the past panel to have a draw on top of those lines. If I grab my little paintbrush tool, I can pick the size, and there is a night come down here that means stroke. That just means draw line along that path. So then I could have this sitting here, and I could move this around to where I want to put the bus, and I'd have that angle just sitting right there, and I could draw the vertical line and drag it over as well. So I can have some references, a cz to what needs tio angles I need to use, and I could be much more precise with doing it. So that would be a nice way of working there's, all sorts of interesting things we can do.

Class Materials

Bonus with Purchase

Ben Willmore - Class Handbook.pdf
Ben Willlmore - LayerComps Example.tif
Ben Willmore - Lightroon Dehaze Preset
Ben Willmore - DeHaze Preset Pack Quick Start Guide.pdf

Ratings and Reviews


Got to "know" Ben during Photoshop Week and a few other courses. He has consistently been one of my favorite Photoshop instructors. He is extremely easy to follow, stays on point without being cold or boring, and is immensely knowledgeable on just about everything Photoshop. He does not disappoint in this fantastic in-depth review of some great new features in PhotoShop and Lightroom CC 2015 ... there are some real hidden gems in there for you. Ben polishes them up and serves them to you with extra info, insight, and pertinent examples. He goes the extra mile to answer questions and delve into related subjects without going off the rails. GREAT, GREAT course. Thanks Ben, and Creative Live! -Tim K.

Jose A De Leon

I just purchased this course today and it's wonderful. Ben is one of the best Photoshop instructors I've encountered. I had purchased the complete Mastery course and this one is a welcome addition since it covers new features. Even though Photoshop and Lightroom will continue to evolve, the basic techniques and tools used are basically the same, so I find myself going back to the mastery course if I hit a bump along the way. Ben's knowledge is second to none, but his true gift is the ability to transmit all that knowledge in bite size and understandable portions that are never boring. Someday I will have the privilege to know him personally, in the meantime I will continue to buy his courses as they come out. Such a wealth of information. Thanks Ben and CreativeLive!


Ben is a wealth of knowledge and covers the material beautifully. Highly recommend his workshops to others!

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