We can switch the direction of the lighting on the frame by simply flipping that Layer horizontally. We have a trick that will make fixing this a breeze!
The lighting from the environment is coming from the right, while the lighting on the frame is coming from the left. The first thing that tends to stand out in composites is lighting mismatches. First, let’s analyze some of the differences between the frame and the bookshelf photo. With the frame now present in the bookshelf photo, we can start refining the frame Layer and then matching it to the perspective of the environment. Move the new frame Layer over to the bookshelf image, and we’re ready to start compositing! Refining the Selection Once the selection is made, Duplicate it so that a copy of the selected frame appears on a new Layer.
Just try and keep the Marquee along the inside edges of the frame to minimize the amount of white wall in the selection. We’ll refine the shape and edges in a bit. Just Create a Marquee around the edges of one of the frames and don’t worry about it being perfect. That means this is relatively quick work for the Rectangular Marquee Tool. The frames are photographed straight on and art almost perfect rectangles. Learn how to master this important skill in How to Remove Backgrounds, our PRO course that covers everything you need to know about cutting people and objects out and placing them in new environments!įortunately, this isn’t too hard. If there’s one thing Photoshop is great for, it’s cutting stuff out. Our goal is to move one of the framed art pieces into the bookshelf scene and place in perfect perspective, and that all starts with making a simple cutout. Notice that the framed art photo was captured straight-on, and the wall and bookshelf was captured from an angle. We have a photograph of some framed art on a wall and a photograph of a wall and bookshelf. We’re keeping our example relatively simple. We’re going to show you a quick and easy method of cutting out an object, placing it into a new scene captured from a completely different perspective, and seamlessly integrating it into the new environment!ĭon’t believe us? Well, follow along and see how it’s done! Cutting Out an Object in Photoshop So what do you do if you have a single product photograph and a client that wants to see the product in a bunch of different environments? Perspective can be tricky to deal with, especially when you’re not the photographer capturing the images for a composite.
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