Blog - John Paul Caponigro

How To Change The Perspective Of Anything In Photoshop

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Learn how to change the perspective of anything using the Perspective Warp.

00:00 – Introduction
00:15 – Perspective Warp in Photoshop Guide
04:30 – Perspective Warp and Compositing
06:05 – Change The Perspective of a Room in Photoshop
08:20 – Change The Perspective of a Building in Photoshop
09:25 – Apply a Logo in Perspective in Photoshop
10:28 – Apply a Graphic in Perspective to Multiple Planes

New Ways To Light Up Photos In Camera Raw & Lightroom

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“Colin Smith shows you how to use masks in Lightroom to change the lighting in a photo. Create an easy rim light, flood light and more. Change a photo to look like the sun is shining.”

Colin gives you his sky and clouds pack for free here.

Learn more in my digital photography and digital printing workshops.

The Only Way to Steal Photoshop Color Grading That Works 100% Of The Time

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“Easily copy color grading styles using ‘Common Sense’ in Photoshop! Learn how to logically approach color matching using several techniques and create your own steps that get the best results based on your image and what you wish to achieve.”

Find more of Unmesh Dinda’s content here.
Learn more in my digital photography and digital printing workshops.

3 Ways To Adjust A Skies In Lightroom and Photoshop

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“Look at three ways to adjust your skies in Lightroom and Photoshop. Each works a little differently, and some make automatic selections – which works well sometimes. While others require a little more work but can give better results.”

Find out more on Matt’s blog.

Learn more in my digital photography and digital printing workshops.

How To Mask Curves In Adobe Lightroom Classic

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“Adobe added Curves to the masking tool in Adobe Camera Raw, but has yet to add the same feature to Lightroom Classic. Here’s how to cheat and apply Curves using the masking feature in Lightroom Classic.”

Check out more of Ben Wilmore’s Digital Mastery here.

Learn more in my digital photography and digital printing workshops.

Join Us Online Feb 3 – 5 For A Fabulous Night Photo Summit

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For years, the great folks at National Parks At Night have been hosting an online symposium on night photography.

3 Days

35 Speakers

38 Sessions

1 Year To Watch Replays

Feb 5 at 3:45 EST

I’ll present a new seminar

Naked Eye, Camera Eye, Mind’s Eye.

I’m delighted to participate this year. I’m also psyched to see many of the presentations, including Joseph DePasquale’s Unveiling The Infrared Universe With The James Webb Space Telescope.

Join us at the Night Photo Summit here.

7 Tips To Help You Crop Your Photographs Better

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A crop can make a good photograph great. There’s an art to cropping that every photographer would be wise to master. Here are seven things to consider.

Align

Horizon tipping? Level it, which will crop edges a little or a lot, depending on how tilted it was. Similarly, it’s best to keep other significant horizontals and verticals parallel to the frame. Perspective correction will distort elements within the frame unequally to do just this and crop edges unequally. (In these situations, plan to crop and shoot a little more than you need.) If, on the other hand, you’re trying to create an imbalanced topsy-turvy effect to add dynamism, tilt them substantially. A lot looks deliberate. A little looks sloppy.

Distraction

4 Alternatives To Cropping Your Photographs – Both Old And New Ways

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Original

Edges Darkened

Edges Retouched

So you don’t want to crop your image. What other alternatives could you consider to minimize distractions? Here are four.

Color - LHS

Contrast is an eye-catcher. So, if you don’t want elements to catch the eye, reduce their contrast. There are three types of contrast; luminosity, hue, and saturation. Depending on the situation, you may need to use one, two, or all three. Take your clues from the overall image and the immediate surroundings of the elements you’d like to direct attention away from. Rather than sleight of hand, it’s sleight of eye.

Blur

One of the strongest ways to deflect attention from an element is to blur it. The more you blur it, the less focus it will demand. Blur it enough, and it will disappear into its surrounding field of color. Take care to manage transitions between blurred and sharp areas convincingly (as if the blur happened in camera rather than in post-production); if they aren’t handled well, the blur will stand out as artificial and attract attention rather than reduce it.

Distort