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Adobe Lightroom 2020: The Ultimate Guide Bootcamp

Lesson 22 of 116

Lens Corrections


Adobe Lightroom 2020: The Ultimate Guide Bootcamp

Lesson 22 of 116

Lens Corrections


Lesson Info

Lens Corrections

So once you are done with split toning if you did this and you're like, Oh, I really like that But I was too much vignette ing go down toe Lin's corrections and simply turn on the enable profile corrections and notice what it does. It actually starts to negate those natural vignette ing. So if you have natural vignette ing that you don't like, click on enable profile corrections and it will not only help to straighten out some of the curvature of the lens, but it will also remove some of the vignette ing. This isn't a great example, because who's going to do that anyway? So I'm gonna double click my de hes put it back to normal because once it it's at normal. If I go down to my lens correction and turn on room, uh, enable profile corrections, it does it perfectly like you can see edge to edge. There's no vignette ing whatsoever, so because that's because it's on Lee dealing with lenses specifics. Now some cameras have lenses that don't have a profile correction. Inside of Adobe, there ...

is a tool that will allow you to make your own profile Corrections. Eso just search on adobe dot com and look for the profile camera. Are the lens profile makers. I think that's what you call it, and you just set up a target and shoot a lot of pictures, and then it makes a profile for your lens specifically. Now, the other thing that goes with this lens correction is number one. You can choose whether you just want the distortion fixed or whether you want the vignette ing fixed a swell. So if I liked the vignette ing of my lens, I could take this and turn it off. So I still have the natural vignette ing, but it fixes the natural distortion of that lens. Or you could go the opposite direction and you could say, Well, I don't want it to fix the distortion, but I do want it to fix the vignette ing or any combination of the two so you have the ability to manipulate that. Okay, so in this tool is well, we also have the, um, chromatic aberrations, and I'm going to show you two images that have chromatic aberration because sometimes people don't understand what that actually is. Um, so let's go back to the develop module, and I'm gonna I'm gonna zoom in to this image and then I'm going to zoom in a lot more to this image. And even more than that, So by the way, over here at the very top of the Navigator is your zoom options. And And when you hit Z, presume it goes from this. Either fill or fit, which is either fitting inside the box or filling the box in the middle. Um, and then when you you click one for one, that's normal. Zoom. So from here on out, it's going to go back and forth between fit and normal. Zoom. But if I click here now, I'm at a different rate of zoom, so I'm actually 3 to 1, so I'm closer in. But if you don't like the way yours assuming and you want to zoom less or more, you can do that. So see how I can go toe 123 So it's a very small amount of zoom. And so so now see, how doesn't even fill the box. So I want to be at 4 to 1. They're not really getting in there. Nice and close. See that there's like a purple nous there, right at the edge. This kind of chromatic aberration. You see it in images where there is extreme edges. So there's a dark suit with the bright lights of white sky or a light sky. Uh, you're shooting on white in the studio, and you've got someone with dark suits and ties or things like that. You'll see these little edges that crop up, and it's Onley in those areas of super high contrast, and it also depends on the settings of your lens and the lens itself. So a lot of that is based on the hardware itself and how it reacts to light. But it shows up in these little edges. So when you come in and you click on this tool inside of the lens corrections, you click on remove chromatic aberration. This is what's gonna happen. Just click on it and these I don't know if that was good enough here. Ready? Okay, you gotta see this. They're purple. See this big purple line and then we click on it, Purple line removed. It doesn't change the fact that there's still light wrapping around that, and so there's a bit of Ah, kind of an edge, but it gets rid of the purple, which is the thing that calls attention to it, because then once we zoom out, you'll never see that. But you will see the purple edge. Um, so if you run into a circumstance where it doesn't quite fix it, so it's it's not quite fixing the right amount of it. You can always go into. Let me see if I can. You can always go into the same tool, but in the manual area and in there you just use the color dropper, and then you're gonna tell exactly what color is offensive. So I'm pointing at the color and clicking on it. And then it's removing instead of hunting around for a color and trying to remove the color that it thought was the right color to remove. Because sometimes you'll see like a chromatic aberration. That's purple over here, and then one that's green over here. And so in the manual area, you can actually choose to points, so you can choose a point that's purple and appoint. That's green. So there's those air to basic colors that come out, so it's like purple and magenta and then like a greenish bluish one. And so you can actually choose two of them, so that instead of just the automatic, sometimes cures one and doesn't cure the other. But in this case, you can actually highlight or click on both of those, and then you can actually adjust here. How much of that hue you want to capture so you can expand your search for that color? Or you can limit the search for that color if it's spilling too much over into one of the objects. So just recognize that this the manual operation here is really helpful when you get chromatic aberration that autos just not solving. But that being said, removing chromatic aberration as an auto feature actually works almost 100% of time, so I would just leave it on and have that is normal. And then on Lee, go in and play with it. If you absolutely need Teoh, I've never really seen it do anything horrible back in the old days. Early light room. You turn it on on Lee when you need it because it wasn't that great. And so sometimes people's eyes would look like Kamat chromatic aberration and they would become gray. But nowadays there's almost no downside to doing it all the time, so you might as well do it all the time. Um, here's another instance where chromatic aberration is coming into play. Um, so I'm gonna zoom in here and you can see the chromatic aberration right at the top of this umbrella. See that purple blue hue that that line is there? And if I turn on remove chromatic aberration, it does a decent job at it, but it doesn't There still purple in there. That's when you really need to go into that manual. Click on here, go in and find that purple. And once you click on it, it does a good job. But removing that and then you just kind of scroll through to make sure that there's no other areas that are created that are giving you that chromatic aberration. I don't see any other areas here, so I think we're we're good

Class Description

All lessons are also available here for individual purchase.


  • Efficiently cull and retouch photographs
  • Manage your files to enable seamless and immediate recall
  • Get your computer and software to run faster
  • Create impressive photo books and slideshows
  • Take advantage of global adjustments
  • Improve your mobile workflow with both your iPhone and iPad
  • Deliver and share your images directly from Lightroom


Adobe® Lightroom® is the industry standard for post-production workflow and in Adobe Lightroom: The Ultimate Guide, you’ll learn Jared Platt’s gold standard for retouching and managing files quickly and efficiently.

Jared will show the ins and outs of Lightroom Classic, Lightroom Mobile, and Lightroom Desktop. He’ll demystify the difference between each and demonstrate when to use each one for maximum output.

Jared will share tips on improving every phase of your workflow – from shooting to archiving. You’ll learn how to take advantage of the latest Lightroom tools and features and become faster and more skilled at adjusting your images.


  • Beginner, intermediate, and advanced users of Adobe Lightroom
  • Those who want to gain confidence in Adobe Lightroom and learn new features to help edit photos
  • Students who’d like to take ordinary images and make them look extraordinary with some image editing or Lightroom fixes


Adobe Lightroom Classic 9.2
Adobe Lightroom Desktop 3.2
Adobe Lightroom Mobile 5.2


Jared Platt is a professional wedding and lifestyle photographer from Phoenix, Arizona. Jared holds a Masters of Fine Arts in the Photographic Studies and a Bachelors of Fine Arts in Photography from Arizona State University and has been a professional photographer and college educator for the past 12 years and has been a speaking, debating and lecturing for the past 17 years. His attention to detail and craft make him a demanding photography instructor. Jared has lectured at major trade shows and photo conferences as well as at universities around the world on the subject of photography as well as workflow. Currently, Jared is traveling the United States and Canada teaching and lecturing on photography and post production workflow. Join him online for monthly "Office Hours" at


  1. Differences Between Lightroom Desktop and Lightroom Classic
  2. Hard Drives
  3. File Organization
  4. 30,000 Foot View of Workflow
  5. Importing into Lightroom
  6. Building Previews
  7. Collections and Publish Services
  8. Keywords
  9. Hardware for Lightroom
  10. Searching for Images
  11. Selecting Images
  12. Organizing Images
  13. Collecting Images for Use
  14. Develop Module Overview
  15. Profiles
  16. Basic Adjustments
  17. Basics Panel: Texture, Clarity, and Dehaze
  18. Basics Panel: Saturation and Vibrance
  19. Tone Curve
  20. HSL
  21. Split Tone
  22. Lens Corrections
  23. Details
  24. Transform Tool
  25. Effects Panel
  26. Synchronizing for Faster Editing
  27. Spot Tool
  28. Skin Softening and Brush Work
  29. Range Masking
  30. Dodge and Burn
  31. Working with Specific Colors
  32. Edit Quickly with Gradient Filters
  33. Making Presets
  34. Preparing Image in Lightroom
  35. Content Aware Fill
  36. Skin Repair
  37. Skin Smoothing
  38. Expanding a Canvas
  39. Liquify
  40. Layers and Composite Images
  41. Sharing via Web
  42. Exporting Files
  43. Sharing with Slideshows
  44. Archiving Photos and Catalogs
  45. Designing
  46. Making Prints
  47. Color Management and Profiles
  48. Archiving Photos and Catalogs
  49. Using Cloud Storage
  50. Adding Images to your Portfolio
  51. Collecting for Your Portfolio
  52. Publishing Unique Websites Per Project
  53. Sharing to Instagram
  54. HDR
  55. Panorama
  56. HDR Panorama
  57. Making Presets
  58. Creating Profiles
  59. Maps
  60. Setup for Tethered Shooting
  61. Sharing with the Client
  62. Watched Folder Process
  63. Second Monitor and iPad
  64. Backup at the Camera
  65. Gnar Box Disk Backup
  66. iPhone and iPad Review
  67. Importing to Lightroom on iPad
  68. Cloud Backup
  69. Adjust, Edit, and Organize
  70. Using Lightroom Between Devices
  71. Lightroom Desktop
  72. Removing Images from the Cloud
  73. Profiles
  74. Light
  75. Color
  76. Effects
  77. Details
  78. Optics
  79. Geometry
  80. Crop
  81. Adding and Using Presets and Profiles
  82. Local Adjustments
  83. Healing Tool
  84. Synchronizing Edits
  85. Editing in Photoshop
  86. Finding Images
  87. Sharing and Exporting Albums on the Web
  88. Posting Images to Social Media
  89. Overview of Lightroom Desktop
  90. The Workflow Overview
  91. Organizing Images
  92. Albums and Shared Albums
  93. Lightroom Desktop Workspace Overview
  94. Importing and Selecting Images
  95. HDR and Panoramics
  96. Light
  97. Profiles
  98. Tone Curves
  99. Color
  100. Effects
  101. Details
  102. Optics
  103. Geometry and Crop Tool
  104. Sync Settings
  105. Making and Adding Presets
  106. Healing Brush
  107. Brush Tool
  108. Gradient Tool
  109. Edit in Photoshop
  110. Finding Images with Sensei
  111. Sharing Albums on the Web
  112. Print through Photoshop
  113. Exporting Images to Files or Web Services
  114. Connecting with Lightroom Classic and Mobile Devices
  115. Archiving Images for Storage
  116. Review of the Workflow



Thorough but very easy to follow. I've noticed a significant improvement in my work since starting this course a couple weeks ago, and I'm also spending noticeably less time editing my photos. I appreciate that it's up-to-date as of October, 2020, so the info is current (I wish CL would take down some of the older courses, since software changes make some of them obsolete).

Kayode Olorunfemi

I have been using lightroom for upwards of 6years and I still found this course incredibly useful. It can be useful learning through desperate tutorials online, but having a course that ties everything together, coupled with foundation principles, is invaluable.