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The Adaptive Wide-Angle filter

From: Photoshop CS6 New Features

Video: The Adaptive Wide-Angle filter

In this movie, I'll demonstrate another new filter called Adaptive Wide Angle that's designed to take the distortion out of fisheye and other wide-angle photographs. Now, it works best if the image contains lens data, but that's not absolutely essential and I'll show examples of both kinds of images. This image does contain lens data. Now, happily Adaptive Wide Angle is applicable to Smart Objects. So I'm going to go ahead and convert this background to a Smart Object and I'll rename it something along the lines of city hall and then I'll go up to the Filter menu and choose Adaptive Wide Angle.

The Adaptive Wide-Angle filter

In this movie, I'll demonstrate another new filter called Adaptive Wide Angle that's designed to take the distortion out of fisheye and other wide-angle photographs. Now, it works best if the image contains lens data, but that's not absolutely essential and I'll show examples of both kinds of images. This image does contain lens data. Now, happily Adaptive Wide Angle is applicable to Smart Objects. So I'm going to go ahead and convert this background to a Smart Object and I'll rename it something along the lines of city hall and then I'll go up to the Filter menu and choose Adaptive Wide Angle.

And because we're applying it to a smart object, we won't harm the original and we can edit our settings any time we like. Now, when you first enter the filter, your image may look more distorted than ever, and that's because I have Correction set to Auto. I could set it to Fisheye, so that Photoshop and I are on the same page and that does apply some pincushioning, but it's not the look I'm going for. We still have some distortion, as you can see. So I'm going to leave things set to Auto, which is a good place to start and then I'm going to take advantage of this Constraint tool which is selected by default.

I'll go ahead and drag along this top detail here, and notice that Photoshop is automatically bending the line to match. It's not because it can see the detail; rather, it's going off that lens data. All right, and I'll draw another line right about there perhaps. And so that's one way to work. Another thing you can do is press the Shift key as you drag. Notice I'm dragging along the steps down here near the base of the image and that will make those steps either exactly vertical or horizontal, whichever is closer of course. Now as soon as I release in this case, I'm going to lose that line because it's going beyond the base of the cropped image.

If ever you need to gain access to a line that disappears, you can take advantage of this Move tool, which allows you to move the image inside the canvas. But if you do that, you're going to have to move the image back at some point, so just take care. Anyway, I'm going to Shift+Drag along this edge as well. And if you decide that a line you've already drawn ought to be exactly horizontal or vertical, you can click on it to select it, then right-click and choose either Horizontal or Vertical. In my case, of course I'm going to choose Horizontal for both of these. All right, now I'm going to go ahead and drag down these columns. Now you might think you should stick with details that you recognize.

For example, I'm not really sure where I should go down here, so I'll just drag along the detail I can recognize. However, what ends up happening is that that straightens out the column, but it leaves both the top of the column and the base of the column at an angle. So, we want to go ahead and extend this line all the way down as well as all the way to the top of the column, and I just need to make sure that I'm tracing along this edge here. All right! I'll do the same for this column right there, paying careful attention that I'm tracing along the crease of the column. Now, notice that we have this big circle with small handles at either side.

What that allows you to do is move the angle of the straightened item. So in other words, right now this column goes down and to the right. If I wanted to adjust it over to the left a little more so that its angle will be say 88.4 degrees, which I can see in that heads-up display, then I would just drag over to the left a little bit like so. Now, I'll try to straighten out that column to a different direction. Notice that we get a green line telling us that we have a so-called arbitrary constraint. Now if you don't want that, if you want Photoshop to figure things out on its own, then you right-click on that line and choose Unfixed in order to send it back to a cyan line like so. All right, now I'm going to drag down this light pole and I'll drag down this column as well.

Another way to work, by the way, you don't have to drag. You can click at one point and then click at another to complete the line, and I'll go ahead and do that in both of these cases here. All right, that looks okay to me, so I'll go ahead and click OK to straighten that image. Now, if you notice that there are still details that aren't exactly straight, that still have a little bend associated with them because we assigned this filter as a Smart Filter, you can just double-click on it here inside the Layers panel in order to bring back all of your constraints. And at this point what I'm going to do is take advantage of the Polygon Constraint tool, which works a little differently.

What you can do with it is you click to set points in a polygon and most likely you're going to create something resembling a rectangle, but you can create other shapes as well if you find you need them. All right, I'm going to go ahead and straighten out that guy and I'll create another rectangular shape to straighten out this space here. And that looks pretty good to me, so I'll click OK in order to update my image. And just to give you a sense for the difference this has made, I'll go ahead and turn the Smart Filters off, so that you can see before, not only do we have a bend in the image, but you can see that it was kind of a wave bend at the top here. And now, thanks to Adaptive Wide Angle, it's completely straightened out. All right! Now, let's take a look at this stock image here that doesn't contain any lens data at all.

How do you work with it? Well, start off the same way. Let's go ahead and convert this image to a Smart Object, rename it cyclist, and then I'll go up to the Filter menu, choose Adaptive Wide Angle. And notice that Photoshop has by default determined that this is a fisheye image, which is fine, but it's going with the last Focal Length data it saw, which was 24 millimeters, which was true for the previous image but isn't for this one. Now, I don't have a lot of architectural details to work with inside this image. Really, I have the horizon and that's it. So using my Constraint tool, I'm going to click on one side of the horizon and I'll go to the other side and notice this time, Photoshop is not bending the line at all.

It has no idea what to do with this image because it doesn't know the focal length. So anyway, I'll go ahead and click on the other side of the horizon in order to establish a baseline. Notice this time, we have a square right there in the middle. This handle allows me to bend the line downward and then as soon as I release, Photoshop goes ahead and straightens the image and tells me I guess we have a focal length of about 14.4 millimeters. Now, I might try taking that up a little bit because we still have a little bit of bend and that's too far, so why don't we try maybe 14.5 and press the Tab key.

The reason I'm doing this is because we have a little bend associated with the water right there. That's pretty difficult to get rid of inside of this image. Anyway, I don't think I want to go any go any farther over. I might try it and see what happens. Yeah, that kind of makes a bigger mess of things. I think I'll take it to about there instead. All right! Having done that, I'll go ahead and click OK because there's nothing else to trace inside this image. You can try tracing her, I suppose, like so and then trying to figure out how she should unbend, but you might run into problems.

For example, in this case, the filter is saying that it can't reconcile the information you've given it. So, I'll just click OK, and in fact I'm going to get rid of that constraint by pressing the Alt key or the Option key on the Mac and clicking on it. All right! Now, I'll click OK in order to accept what I've done and that is the straightened image. Now, on further reflection I see that things are not quite exactly right over here on the left hand side. All of a sudden, the ocean goes up a little bit. So I'll double-click on the filter here in Layers panel to bring it up again and I'll go ahead and take that line over to the left hand side of the image. And I might go ahead and take it over to the right hand side too, so that we can straighten things out as much as possible, and actually this looks pretty good. All right! Now I'll click OK in order to accept the modification and at this point I'd go ahead and crop the image using the new Crop tool, which works beautifully with Adaptive Wide Angle here inside Photoshop CS6.

Show transcript

This video is part of

Image for Photoshop CS6 New Features
Photoshop CS6 New Features

38 video lessons · 41781 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 1m 37s
    1. Welcome
      1m 37s
  2. 2h 27m
    1. The secrets of the dark interface
      3m 55s
    2. Background and Auto-Save
      3m 22s
    3. The altogether revamped Crop tool
      4m 0s
    4. The consolidated Properties panel
      3m 58s
    5. The searchable Layers panel
      5m 2s
    6. Modifying multiple layers at a time
      4m 50s
    7. The wide world of layer enhancements
      6m 48s
    8. Content-Aware Move and Extend
      6m 16s
    9. Content-Aware Patch
      3m 14s
    10. Auto-Power color adjustments
      6m 3s
    11. The brave new world of Camera Raw 7
      6m 16s
    12. The new three-part Blur Gallery
      8m 9s
    13. The Adaptive Wide-Angle filter
      7m 7s
    14. Correcting wide-angle panoramas
      7m 14s
    15. Text enhancements & styles
      4m 48s
    16. Filling & stroking shape layers
      4m 37s
    17. Aligning and stacking vector-based shapes
      4m 17s
    18. Working with the Scripted Patterns
      3m 32s
    19. Erodible brush tips & airbrushes
      5m 44s
    20. The enhanced Liquify filter
      4m 20s
    21. The new Oil Paint filter
      4m 10s
    22. Selecting skin tones and faces
      5m 11s
    23. The new Lighting Effects filter
      6m 29s
    24. Editing videos in the Timeline panel
      10m 16s
    25. Making editable 3D type
      8m 8s
    26. 3D shadows and reflections
      6m 35s
    27. Aligning and distributing meshes in 3D
      3m 0s
  3. 50m 34s
    1. Introducing the first Photoshop Creative Cloud update
      1m 36s
    2. Liquify and Blur Gallery support Smart Objects
      8m 42s
    3. Creating conditional actions
      9m 51s
    4. Moving a point with the Pen tool on the fly
      3m 32s
    5. Autonaming merged layers
      4m 42s
    6. Creating global default type styles
      4m 57s
    7. Copying CSS code from specialty layers
      4m 54s
    8. Enhanced 3D lighting with 32-bit bit color
      6m 42s
    9. The new default 3D image-based light
      5m 38s
  4. 29s
    1. Goodbye
      29s

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