Make a perspective image in Photoshop. Four Ways to Use the Perspective Warp Tool in Adobe Photoshop
Tips, tricks, and full information about how it all works.
This is part one of what is expected to be a two- to three-part series of lessons on the theory of composition, perspective, and how all of this will allow you to create some really awesome drawings.
In Part One we will look at all three types of linear perspective with step by step examples and LOTS of advice. I really hope you guys learn something new from this tutorial! The information given here is similar to what is given in any art colleges/institutes. Only here everything is free.
1: BASE
Perspective and composition usually go hand in hand. Good perspective in a drawing can dramatically enhance the effect of a composition. Conversely, poor composition can completely ruin the effect of perspective.
Today, in the first part of this series of lessons, we will focus on Linear Perspective and help your drawings gain depth and atmosphere.
INTRODUCTION TO COMPOSITION POINT OF VIEW
A conversation about perspective cannot begin without first talking about the horizon line. The horizon line is the most basic component of any perspective. It divides what is above and below, what is above and below, where lines/objects go and how far they go. The horizon line represents the farthest line the earth can see human eye. This is the area where everything comes down to one point. Where heaven and earth meet.
In the figure, the direction, angle and height of the camera are what is called point of view, or TO. TO – very important tool in creating the mood and feelings that the drawing evokes. If you look higher, the viewpoint will place the horizon line lower on the drawing plane, causing the sky to dominate. If we look down, the horizon line moves up the plane of the drawing, and we mainly see the ground. We must consciously understand that we see more; we cannot simply place the horizon line anywhere just because “we liked it that way.” For example, TO looking up reveals the sky to us, and there must be a reason for this.
When planning your vantage point, ask yourself the following questions:
“Why do I show the earth or the sky more?”
“How high up am I looking? Is the horizon line visible?
“Are there objects or characters blocking the sky? Standing in the way?
“Is there a ceiling or a flat surface? Or is the sky absolutely clear and open?”
“What feelings does it evoke? given point review together with these elements?
“Is this the feeling I am trying to achieve in the drawing?”
Look at these examples:
Click on the picture to view the image in full size and 100% quality.
Here are three drawing planes with different positions of the horizon line. Have you noticed how placing the horizon line higher or lower on the plane changes our point of view? For example, what position of the horizon would be better to show off a race track or a stadium? What about demonstration flights? What about the example in the middle? Why is he lost compared to the other two? In this example, the drawing is divided strictly in half. There is no dominance between heaven and earth. This option may not be chosen by chance if the focal point is not the background.
LINEAR PERSPECTIVE
Since the horizon line is where all the details come together, when the sky and the earth meet, logically we would have to trace where the objects plotted on the viewpoint go.
IN linear perspective, all details converge at one vanishing point on the horizon. All objects that look at us have parallel sides. Thus, all verticals are absolutely vertical, and all horizontal lines horizontal. The only lines that are angled are those that move away from the edges of objects toward the vanishing point on the horizon line.
These lines moving away from objects are called “orthogonal”, and that’s what we’ll call them from now on.
Consider the following examples to better understand the principle of linear perspective:
1) Here a horizon line is drawn on the drawing plane. There is a vanishing point on the horizon line. At this point all our orthogonal lines that emanate from the objects of the drawing will converge.
2) Here we have drawn a square and a small rectangle. Notice that the square is at the intersection with the horizon line, while the small rectangle is located below this line and to the right.
3) From each corner of both figures we draw orthogonal lines to the vanishing point on the horizon. They all converge at this very point.
4) Now we remove the lines that are behind the object. (Also, you can avoid drawing these invisible orthogonal lines at all if they are not needed, as in this example. However, drawing invisible orthogonal lines can help you understand the object better.)
5) To avoid the effect of these blocks receding into infinity, we can cut off the back of them by intersecting the orthogonal lines of each object. Notice that the front of the blocks have straight lines going up and down, left and right. Notice the new vertical and horizontal lines we added to the back cut of each block?
6) Finally, we remove the orthogonal lines going all the way to the point where we intersected them vertical line, thereby forming the final edges of these blocks. Now you can see that they are three-dimensional and located on the surface of the earth. You can continue to fill the drawing area with other shapes to obscure the horizon line.
7) Look at these new blocks we added! Let's draw their orthogonal lines to better convey the depth.
8) Looks better already! You can again trim the orthogonal lines with an intersecting vertical line, as we did earlier, to give these blocks volume. Next, we remove the excess orthogonal lines and overlapping shapes.
9) Now we have beautifully lined up objects in linear perspective. Think about what this scene is like. Perhaps on a city street? Or maybe these are large containers in a goods warehouse? In just 9 steps we have prepared a good base for further development scenes.
PRACTICAL APPLICATION OF LINEAR PERSPECTIVE
Linear perspective is best used when we are looking at something straight on. Typical linear perspective scenes are long sections such as a corridor, a tunnel, a train or bus interior, a street scene with a road going down, a city street going up or down. When you think about these scenes, it's easy to tell why they're best captured in one point. Because a detail at one point most likely leads and converges at a point on the horizon line, which is where your gaze will be directed. This will be the focal point of your drawing. Of course, you can use volume and contrast to move the eye away from the point where the orthogonal lines converge and change the center of focus (which we will discuss in more detail in Part 2), but you should expect that the viewer will still want to look at the point where the orthogonal lines converge. lines.
The vanishing point in your scene doesn't always have to be on the drawing plane. Have you ever thought about drawing bigger stage, instead of cutting out certain areas, which makes general composition is it getting narrower? Have you ever thought about tilting the horizon line so that all the elements in the drawing are at an angle? You'll be surprised how little things like this can change a drawing (these effects will also be discussed in Part 2). Sketching small sketches of the scene can help you choose an appropriate perspective. Save yourself a headache by planning your perspective and composition in advance, even if it's as simple as the pictures below:
1) What if we cut out a small section from the drawing we created earlier? Let's see how this cut out area will look in full size...
2) What do you think of this option? By enlarging this area, we find new possibilities for composition. Looks better? What if we added a person on the front ledge?
3) How do you like the rotated composition? The image is still in linear perspective, it's just that everything is angled. How do you feel about this option compared to the previous one? When there is a lot of sky visible, should there be something there?
Here are some examples of my work that were done in linear perspective.
Using lots of detail to break up the vertical and horizontal lines can give the drawing a more or less one-point perspective look. Notice in the first example how the use of many shapes and short orthogonal lines can add a sense of greater depth to a fairly small scene?
2: CORNER PERSPECTIVE
While linear perspective can be found very often in drawings, it only occurs if you are facing the object. Otherwise, if your TO (remember, this is a Viewpoint) is rotated a few degrees to the right or left, it automatically becomes an angular (two-point perspective).
Linear perspective uses only one vanishing point and one set of orthogonal lines. As you most likely already guessed, angular perspective involves two vanishing points and two sets of orthogonal lines. This means that in angular perspective there are only two sets of parallel lines on your subject, which are usually (but not always) verticals. If you think about how objects rotate around you when you turn in place, you'll notice how quickly objects can go from a one-point perspective to an angular one. Looking ahead we see most visible world in angular perspective, and this should be one of general forms perspective, often used in drawing. Look at the examples below:
1) Here we have a horizon line with two vanishing points. To begin with, I will say that we are not going to draw flat figures like in linear perspective. Instead, we'll start drawing orthogonal lines emanating from the points to get a better feel for the object we're about to draw.
2) Lines extending from each point form a grid of orthogonal lines. I assigned each point a different color to avoid confusion. This grid will serve as an assistant when creating perspective angles in our scene.
3) Using only orthogonal lines emanating from points, we drew two walls converging at one corner. Please note everyone vertical edges walls are parallel to each other. This blank could become the basis for creating both interior and exterior. Is it a building, or part of a long corridor? It could be both.
4) B in this case we create the interior! Using the same orthogonal mesh, I added some more walls, doors, and light fixtures on the ceiling. All these lines only repeat the already defined orthogonal lines along which they go. The red vanishing point guides all left-facing walls, while the green vanishing point guides all right-facing walls.
5) So, we finalized everything and added even more details, again relying only on the orthogonal mesh. Notice how we raised the ceiling, continuing the line of the walls and connecting them again to the vanishing points. You can use temporary orthogonal lines to measure out what you need, such as the height of doorways, so they fit into their surroundings.
6) Remove the orthogonal grid, erase the temporary orthogonal lines, and you have a template for an attractive scene!
Just think how easily we could turn this scene into an exterior where there is no ceiling and the walls form other buildings.
Continued on next page
3hello, Dear friends. We continue to study the tricks of Photoshop and today we will learn how to do such a useful thing as correcting perspective. Often in photographs you can notice traces of a crooked perspective, they are especially visible if there are buildings in the photographs.
Let's take this photo as an example:
Determining when a perspective needs correction is very easy. It is enough to look at any vertical object with more or less straight shapes, for example, a building, a pillar, a tree (trunk), etc. If, after drawing lines through vertical objects on one and the other side of the photograph, they are not strictly vertical, but are inclined to the wrong sides, then most likely this photograph has problems with perspective.
Usually, it’s enough to just pull out the guide and figure out whether the objects are straight or not. To do this, you need to click anywhere on the vertical ruler and, without releasing the button, pull the guide in Right place in the image. To move the guides, select the Move Tool or press the V key. Guides can be removed by dragging them back onto the ruler. In our case, it is better not to delete the guides, they will come in handy when we move on to correcting the perspective, but if they interfere, we can hide them by pressing “Ctrl+;”; pressing them again will bring them back. If you don’t see rulers, just press “Ctrl+R”.
Clickable
In order for the image to be transformed, you first need to unlock the “Background” layer, to do this, double-click on it and click “OK”. Your layer will now be called “Layer 0″.
Now let's move on to correcting the perspective itself. Go to the menu “Edit -> Transform -> Perspective” (Edit -> Transformation -> Perspective). After this, take the upper right or left corner of the transformation grid that appears and drag it sideways from the photo until the building line becomes parallel to the guide. After that, press “Enter”.
Clickable
Usually, during transformation, the image is slightly blurred, so it would be useful to sharpen it a little, that is, to add sharpness. (from the word Sharp - sharpness). If you are preparing a photo to post later on the network, you can improve the clarity by using the lesson “ How to sharpen an image for publishing on the Internet" If the image big size, then it’s better to use the standard “Unsharp Mask” filter or other sharpening methods, which you will learn about in my future lessons.
That's all. Now you know how to fix perspective in Photoshop.
Pe.Es. I’ll tell you a secret, in this photo the horizon is also slightly obstructed, so both lines did not coincide with the guides. I’ll tell you about a quick and simple horizon correction in the very near future. Don't forget to subscribe to RSS so you don't miss out.
The Perspective Warp tool is almost magical. With it, you can change the perspective of an image, rotate buildings and objects, make a telephoto look like a wide-angle shot, and align multiple objects in less than a minute. In this tutorial you'll learn how to do this using a new tool from Photoshop CC.
Rotating buildings
Initially, the Perspective Warp tool was created to be able to change the perspective of an object. We use an image of a building for these purposes to make the example simple and clear. In our image the rear ones are not photographed from the best angle, we don't like the angle. But thanks to a new tool, we can fix this.
Here's how we'll do it. First, duplicate the layer by pressing Ctrl/Cmd+J, then convert the layer to a Smart Object by right-clicking on it and selecting “Convert to Smart Object”. Now we can apply the Perspective Warp tool non-destructively and return to editing repeatedly.
From the menu, select Edit > Perspective Warp. If you don't see this tool, make sure you have the latest Photoshop version CC. If this is the case and you still don’t see the tool, go to Edit > Preferences > Performance and make sure the “Use Graphics Processor” option is enabled. Please note that the GPU must have at least 512 MB of RAM.
Once you activate the Perspective Warp tool, click anywhere to create a mesh. Move the grid points to cover the building's perspective. You can also click on the dots and use the arrow keys on your keyboard to move them around. Please note Special attention on the grid lines and make sure they are parallel to the building lines.
Click somewhere else in the document to create another grid. Drag the top left corner of the new grid over the top right corner of the old one and release when the grid lines turn blue. This will connect the dots.
Do the same with the bottom point of the new mesh, then extend the mesh along the second edge of the building.
Now switch to Warp mode by clicking on the corresponding button in the settings panel.
You can move the points, but this usually only results in distortion, and that's not what we want to achieve.
Hold down the Shift key and click on the middle line. This will straighten the line and secure the top and bottom points. Now, by pulling one point, the second one will follow it horizontally.
While holding Shift, click on the remaining two vertical lines.
Now move the points to straighten the perspective of the building the way you like.
When you're done, you can crop the image using the Crop tool.
If you get any transparent spots, you can use the Healing brush. You can't use it in a smart object, but there is another way. Create a new layer and take the Healing brush. In the settings panel, enable the Sample All Layers option. Now you can work in this new transparent layer using data from all layers.
Here's what happened before and after Perspective Warp.
Adjusting the perspective
Another useful application Perspective Warp tool - adjusting the perspective of two different images. For example, let's take two images from ShutterStock.com - a truck and a road. The perspective in these two images is similar, but not a perfect match. To fix this, take the Perspective Warp tool and change the perspective of the truck.
Using this tool, create two "containers" on the sides of the truck. Hold Shift and click on the line you want to move.
That's all! It's a great photo manipulation tool so you don't have to spend hours searching for photos with the perfect perspective. There's still a little bit of wheel alignment left to do.
To do this, take the Puppet Warp tool and select it from the Edit menu. Click to create four points on the edges of the two wheels. Pull the inner points higher to align the wheels.
That's all! All that remains is to add shadows.
Turning a telephoto into a wide-angle shot
We can turn a telephoto into a wide-angle shot using Perspective Warp. To show how, here's a photo of the Tokyo Tower from Creative Market. Let's create three “containers” - each one for a third of the image.
Switch to Warp mode and hold Shift and click on the vertical lines.
Pull the edges as shown below.
That's all! Compare what the before and after photo looks like.
Align objects in less than a minute
It’s quite difficult to take a perfectly straight picture by eye - every millimeter can ruin the picture. Thanks to Perspective Warp, this can be corrected quickly and conveniently.
To fix this image simply create containers around the objects.
Switch to Warp mode, then click the vertical and horizontal alignment button.
That's all! CD sleeves are smooth.
Translation – Desk
Comments
- Vasiliy
November 22, 2014 at 9:29 amI sat and looked at the work “Converting a telephoto into a wide-angle shot” and couldn’t understand why?
1. look at the BEFORE picture. A photo is like a photo. The angles seem to be normal, without much distortion.
2. look at the AFTER picture.
- we look at the corners and understand whether Bonanno Pisano has not disappeared in the world or the architects decided to outdo him :), starting from the left corner (from the base of the Tower) and the right corner of the horizon....
In the end, the question is: Why was this necessary?
- Andrew_SV_GAD
April 10, 2015 at 5:48 pmActivating Perspective Warp in Adobe Photoshop CC, I looked through a bunch of information - I only found it here, for which I sincerely thank you.
- Lyn Evans
June 8, 2015 at 11:16 pmWhat a great happiness it is to LIVE,
Exist in the World, breathe, see the sky, water, sun! (I. Bunin)
Here's the problem: "There will be no one to judge." YOUR opinion and what to do?
Risking oneself is a personal matter. The risk of thermonuclear INcineration of Earthlings is a CRIME.
“There will be no one to judge” - this is the monstrous CYNISM of the father atomic bomb Oppenheimer,
his recognition of the DEATH of all PEOPLE from atomic insanity, matching his EXECUTIONAL
moralism: “I am DEATH, the great destroyer of WORLDS, bringing DEATH to all LIVING.”
Ignoring opponents and THREATS of 96% DARK energy and matter from the entire Universe
(all stars and Earth remained ~4%), NUCLEAR SCIENTISTS of the Large Hadron Collider CERN
and others are creating THERMONUCLEAR madness: the Big Bang of the Earth (OASIS of the Life of the Universe).
Any explosion is an ELEMENT. The price of the ELEMENTS of the Big Bang is the thermonuclear HOLOCAUST of the World.
FANATICS OF THE Big Bang RISK the most important Right of Earthlings - the Right to LIFE.
The darkness of NOTHING from the provocations of the Big Bang is MORE REAL than the spark of LIFE in the Universe.
It seems that collider-thermonuclear games have BURNED other Worlds. Aw! Universe! We are alone.
So the fatally irresponsible “fathers” of the BIG BANG risk the CREMATION of the Earth.
Apparently, the PRIDE of the mind of nuclear scientists SUPPRESSED the instinct of self-preservation - KILLED the conscience.
The US Tevatron was shocked: jets of DARK particles burst OUTSIDE from the mighty collider.
It's mind boggling! KNOWING that the bosses of CERN are taking the RISK of thermonuclear EXECUTION of Humanity.
It turns out that the more likely LIFE is, the more certain is the Gloom of NOTHING from collider AGGRESSION.
Black holes? Annihilation of Matter? Thermonuclear Big Bang? WHAT A DISASTER
WILL THE CHEFS OF THE COLLDERS BE OPENED FOR THE "Nobel Prize" BY THERMONUCLEAR PROVOKING 96% OF DARKNESS?
Nothing nuclear scientists do is worth Earth Murder. Symbolic security failures
“from the FOOL” of nuclear scientists to the ACCIDENT of shame of the CERN SUPERCOLLIDER from a piece of bun.
The SCIENCE of the Universe is not driven by colliders alone. It should protect nuclear workers from
of CRIMINAL risk, develop a UNDANGEROUS search for TRUTH by studying the all-encompassing SPACE.
Not an atom, our indifference is TERRIBLE: VICTIMS of Hiroshima, Nagasaki, Chernobyl nuclear power plant, Japan.
Are Passers-by and crowds of ardent fans equal - particles of space and tornadoes in a collider?
There is no pretend Big Bang - the collider will EXPLODE and the World WILL DISAPPEAR. Intelligence! Where are you?
In order to avert the collider DEATH of all Earthlings, send your indignation to CERN!
Ask yourself: “If not Me, then who?” Wake up! Having shown will, overcoming apathy,
take an ACTION, tell EVERYONE this TEXT or your VERDICT and LIFE will extend!
Please, participate, there is hope - the dangerous Tevatron collider has already been eliminated.
Leave a reply
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I'm not good at writing step by step instructions, Honestly. A long time ago, I remember, I wrote. Today’s reason to pick up a saber is caused by the blatant injustice that reigns in the vastness of photo sites, zhezheshechki and other places where photographs are collected. We are all white, fluffy and we know that there is a blockage in the horizon terrible sin and the lot of noobs and losers. Quite often we see the laconic comment of home-grown photo critics “the horizon is littered” and often we ourselves approve of their verdict, but for some reason few people care about the distorted perspective. Yes, yes, I’m talking about those strange parallelepipeds, parallelograms and other trapezoids in photographs where buildings and structures should be. As for me, they often look as shameful in architectural photographs as a littered horizon. Moreover, correcting this misunderstanding, in general, is not much more difficult than “straightening” the notorious horizon. And today I will tell you about three simple ways to correct perspective distortions.
For example, in the most arrogant way, let's take a random photo of a famous travel photographer frantsouzov
from his post about the Lyakhovo estate. Here is at least this image of the building facade: 
What I said - a little more and the shape of the building will begin to resemble Egyptian pyramids. It's time to try the namba one method. Almost all we need is a tool Crop (trimming). Open the image in Photoshop, select this tool and use it to outline the entire image. Next, check the box Perspective in the tool settings panel. 
Yes, I almost forgot. You may find the guides helpful. These are lines along which we can check the parallelism and perpendicularity we need. If rulers are not displayed in your Photoshop window (see screenshot below), click Ctrl+R. Next, simply point the mouse anywhere on the ruler and, without releasing it, drag it to the picture. Release the mouse at desired position. The first guide will appear. You can create any number of them. If they bother you, press Ctrl+H and they will disappear. Click again and they will appear again. 
After this optional preparation, we choose, in fact, the one described above crop-tool. We grab the corners of the photo with the mouse and do something similar. 
As soon as it's ready, poke enter and we get this picture. 
We “straightened” the walls, but the building turned out to be somehow flattened. Not ice. We literally do the following: select the entire picture ( Ctrl+A), turn on the tool " Free transform" (free transformation) and simply pull our jeep with the mouse by the top anchor until the height of the building suits us. 
This is what we ended up with. All these manipulations blur the picture a little, so you need to work with a full-size file, and not like me with a small picture with a resolution of 72 dpi. However, we now see the building, so to speak, almost as the human eye sees it. At least I hope so. The picture, of course, is cropped “too tightly,” but this is just an example. In addition, you can initially, at the shooting stage, try to “take” a little wider, implying future trimming. 
Let's move on to the Namba Tu method. Let's use a special filter, hidden so far away that “many” Photoshop users have never heard of it. 
Open the filter window Lens Correction. Moving the block sliders Transform and controlling the result on the grid, remove perspective distortions. In the dropdown list Edge choose what the program should do with those parts of the photo that now seem to be missing. I chose the option for them to be transparent. Option Edge Extension, where the edges are automatically filled by stretching the corners, is not suitable in this example. Then it looks too unrealistic. With less distortion, sometimes a passable result comes out, so try both options and choose the best one. Also pay attention to the slider Remove Distortion. Sometimes, after manipulating the perspective, the picture becomes convex. This misunderstanding is easily removed with this very slider. In our example this was not required. 
Next we need a tool again Crop tool. Tick with Perspective needs to be removed. We simply crop out, so to speak, defective areas in the photo. I also cut off some space above the roof of the building. 
So, the result of the second method. 
For greater clarity, let's compare the original photo and both resulting images. 
The first and second options, as for me, are very similar, but the source code with such “neighbors” seems even stranger. It was as if, on the contrary, someone was tormenting him in Photoshop, trying to throw him to the ground. However, let's take a look at the third method of correcting perspective distortions. It is done, in general, according to the same principle. The same eggs, only in profile. Select the entire image( Ctrl+A), on the menu Edit select an item Transform, and there, you won’t believe it, the team Perspective. Next, you should drag the mouse over the corners of the photo card and draw something similar to my illustration. Click enter, we see a picture again similar to those obtained by the first two methods. 
What can be concluded here? All three methods are probably identical in terms of labor costs, so choose to use any of them. I note that the first method is especially good for “straightening” pictures, signs, and the like taken from the side. It will look something like this: 
The result will be this picture. 
Jipeg, by the way, is a random one issued by Yandex for the request “painting in a museum.” Here is the author of the photo, if anything.
Well, I say goodbye to you. I hope the lesson will be useful. I know exactly one user who has already followed my advice and his photos have become even better. This d_a_ck9
. I recommend it, and if something is not clear, ask.
N.B. . If, due to some of your moral, ethical or even political beliefs If you are of the opinion that it is not necessary to correct perspective distortions, I will answer you that you are simply lazy and nothing more. Yes, there are cases when distortion, on the contrary, adds charm to photographs (the same fishy), but I don’t to a greater extent about, so to speak, protocol architectural and interior photography. I quote the pedivics for the most stubborn: " With this type of photography, the main task is in true and accurate display of the form of the building, decoration, sculptures and decorative elements. Fundamental to architectural photography has verticality and straightness of vertical and straight lines. To do this, the optical axis of the lens must be horizontal, and the plane of the photographic material or matrix must be vertical and in no case tilted."
Now we release the mouse button and Photoshop adds a frame around the image, inside the frame there is a grid, and in the corners and in the middle of the sides there are movement handles:
If you don't see the grid, make sure you have the Show Grid option checked in the options bar at the top of the screen:
Now we need to drag the top left frame handle to the right until the interior grid lines are parallel to the slanted left wall of the building. In order for the marker to move strictly horizontally, you must first hold down the Shift key:
Most likely, changing the right side of the frame grid will also affect the left, already finished, side, so you will have to correct it again. You can also drag the handles located in the bottom corners, but in my case this is not necessary. Please note that part of the image on the left and right sides is currently outside the crop box. These areas will be trimmed after the final application of the tool:
Once you have adjusted the angle of the grid, you can also change the size of the cropping frame by dragging the handles located in the middle of the sides of the frame. Here I'm dragging the right-hand handle to the left to crop out the unwanted area on the right side of the photo:
When you're done with the settings, click on the checkmark in the options bar or press Enter to finally apply the tool:
Photoshop will instantly trim off the excess and apply perspective correction; the previously tilted houses are now vertical:
And now about the sad thing. One of the problems with this tool is that it is not that precise algorithms for its application do not exist. After using the tool, it may turn out that the angles of inclination of objects are not the same as we wanted, that is, in our case, the inclination is not completely corrected or, on the contrary, they are tilted in the other direction. If this happens, simply press Ctrl+Z to undo the changes you made using the Perspective Correction tool, and then try again. It may take several attempts to achieve the desired result.
Another problem you may encounter is that after you've corrected the angle, all the objects in the resulting image may look a little flattened vertically. In my case, the hotel building looks lower than it was originally, and people walking towards foreground, looks shorter than before. We can easily solve this problem by stretching the image using Free Transform.
Before we get started, let's look at the layers panel, where you can see that my photo is currently a background layer (in English Photoshop, instead of the name of the layer "Background" it will be "Background"):
Photoshop doesn't allow us to use Free Transform on the Background layer, but luckily all we have to do is rename the layer. To do this, hold down the Alt key and double-click with the left mouse button on the layer in the layers palette. This action will rename the layer to “Layer 0” and remove the lock icon:
Now we can apply free transformation, to do this press Ctrl+T. An overall frame will appear, and to stretch the image, drag the handle of this frame, located on the top edge, slightly up:
Once you are satisfied with the result, press Enter to apply the transformation.
Well, that seems to be all, look at the finished result:
