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Lens Corrections

Lesson 22 from: Adobe Lightroom: The Ultimate Guide Bootcamp

Jared Platt

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Lesson Info

22. Lens Corrections

Lessons

Class Trailer
1

Differences Between Lightroom Desktop and Lightroom Classic

19:42
2

Hard Drives

08:06
3

File Organization

08:31
4

30,000 Foot View of Workflow

05:36
5

Importing into Lightroom

04:10
6

Building Previews

07:14
7

Collections and Publish Services

05:11
8

Keywords

06:27
9

Hardware for Lightroom

06:08
10

Searching for Images

07:51
11

Selecting Images

14:15
12

Organizing Images

04:02
13

Collecting Images for Use

14:56
14

Develop Module Overview

10:15
15

Profiles

11:34
16

Basic Adjustments

11:45
17

Basics Panel: Texture, Clarity, and Dehaze

05:31
18

Basics Panel: Saturation and Vibrance

02:40
19

Tone Curve

09:26
20

HSL

04:48
21

Split Tone

08:19
22

Lens Corrections

08:32
23

Details

09:34
24

Transform Tool

05:52
25

Effects Panel

10:00
26

Synchronizing for Faster Editing

07:40
27

Spot Tool

17:51
28

Skin Softening and Brush Work

07:00
29

Range Masking

13:28
30

Dodge and Burn

17:36
31

Working with Specific Colors

08:30
32

Edit Quickly with Gradient Filters

11:22
33

Making Presets

13:24
34

Preparing Image in Lightroom

09:51
35

Content Aware Fill

11:14
36

Skin Repair

02:44
37

Skin Smoothing

14:39
38

Expanding a Canvas

04:30
39

Liquify

10:22
40

Layers and Composite Images

12:54
41

Sharing via Web

17:52
42

Exporting Files

10:47
43

Sharing with Slideshows

08:00
44

Archiving Photos and Catalogs

19:54
45

Designing

13:35
46

Making Prints

11:27
47

Color Management and Profiles

13:00
48

Archiving Photos and Catalogs

11:31
49

Using Cloud Storage

04:09
50

Adding Images to your Portfolio

09:23
51

Collecting for Your Portfolio

18:03
52

Publishing Unique Websites Per Project

19:48
53

Sharing to Instagram

07:06
54

HDR

15:32
55

Panorama

06:41
56

HDR Panorama

09:54
57

Making Presets

15:39
58

Creating Profiles

18:09
59

Maps

07:08
60

Setup for Tethered Shooting

23:21
61

Sharing with the Client

05:42
62

Watched Folder Process

07:04
63

Second Monitor and iPad

06:09
64

Backup at the Camera

03:50
65

Gnar Box Disk Backup

06:45
66

iPhone and iPad Review

12:52
67

Importing to Lightroom on iPad

02:59
68

Cloud Backup

04:39
69

Adjust, Edit, and Organize

07:46
70

Using Lightroom Between Devices

11:27
71

Lightroom Desktop

05:27
72

Removing Images from the Cloud

10:49
73

Profiles

09:34
74

Light

04:34
75

Color

05:36
76

Effects

15:22
77

Details

08:33
78

Optics

03:49
79

Geometry

04:12
80

Crop

04:39
81

Adding and Using Presets and Profiles

13:41
82

Local Adjustments

15:40
83

Healing Tool

03:29
84

Synchronizing Edits

04:57
85

Editing in Photoshop

08:54
86

Finding Images

07:09
87

Sharing and Exporting Albums on the Web

09:18
88

Posting Images to Social Media

14:01
89

Overview of Lightroom Desktop

07:35
90

The Workflow Overview

10:08
91

Organizing Images

05:10
92

Albums and Shared Albums

18:21
93

Lightroom Desktop Workspace Overview

04:36
94

Importing and Selecting Images

09:23
95

HDR and Panoramics

22:44
96

Light

07:47
97

Profiles

07:23
98

Tone Curves

02:57
99

Color

08:35
100

Effects

17:01
101

Details

12:43
102

Optics

04:05
103

Geometry and Crop Tool

06:01
104

Sync Settings

02:40
105

Making and Adding Presets

03:48
106

Healing Brush

02:21
107

Brush Tool

03:14
108

Gradient Tool

04:16
109

Edit in Photoshop

02:53
110

Finding Images with Sensei

06:32
111

Sharing Albums on the Web

04:57
112

Print through Photoshop

02:09
113

Exporting Images to Files or Web Services

04:36
114

Connecting with Lightroom Classic and Mobile Devices

05:24
115

Archiving Images for Storage

09:55
116

Review of the Workflow

07:20

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 Materials

Bonus Materials with Purchase

Adobe Lightroom Mobile Cloud
Adobe Lightroom Image Pipeline System
Workflow in Adobe Lightroom
BW Preset Collection
Color Art Pro Profiles

Ratings and Reviews

Ira Richterman
 

I am truly a recreational novice in the photography world and this video is fantastic. Photography has become a very technical world both on the camera side as well as post production. Jared has great teaching skills and sure makes it look very simple. I would recommend this video for those starting out in Lightroom as this program can be overwhelming and has a daunting amount of information. I would like to know if there is a resource of location of contact to ask a question or two for clarifications as a viewer goes through the course. For example, when making a new collection and if you choose the option of making this new collection a target collection, what happens if you then make another new collection and select that new collection to be a target collection? If you click on B to add a photo to a target collection and you made two target collections then where does this virtual selection go, ie into which target collection? Thanks Ira irichterma@aol.com

Dan Clarke
 

This class was great. I've never used Lightroom before and now I feel comfortable in it. Massive amount of good info.

Hannah
 

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).

Student Work

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