Adobe® Photoshop® CC® Bootcamp

Lesson 70 of 118

ACR and Lens Correction

 

Adobe® Photoshop® CC® Bootcamp

Lesson 70 of 118

ACR and Lens Correction

 

Lesson Info

ACR and Lens Correction

So, we're gonna open up this number two transforming distortion in Adobe CameraRoll follow-along image. So, in Adobe CameraRoll, Adobe CameraRoll comes equipped with a lot of things, as we discussed before. And if I wanted to fix this lens correction in Adobe CameraRoll, there are a couple of different tools that I can use for that. If I come over here to Lens Corrections, this gives me the option to look at not just the make, the model of the lens and maybe the lens profile from that lens, and it'll give you the opportunity to either check my remove my chromatic aberrations or enable those profile corrections. By default, if you do not have this checked, these will be grayed out, meaning it's not doing any lens correction for you at all. So, if I click Enable Profile Corrections, you'll notice that it takes the warping that's happening from barrel distortion of the lens, and it starts to push it back into the back of the image. So, let me go and turn that off so you can see that again...

. Before, after. Now, you all also notice is that we had a vignette around here. We had a vignette around here because lens is naturally vignette. Where vignettes come from, vignettes come from what happens within the lens and how the light is gathered within the lens, and we add it later for effect. Now, if we press that Lens Correction button, it's gonna analyze the profile of this lens, and it's gonna go ahead and fix that as well. But what really want you to pay attention to is not the fact that it's getting lighter or darker because that lighter or darken thing then can be like why is my image getting lighter, especially after you make all of these corrections. If you do all these corrections over here in the Basic settings, and then you see your image just get lighter, I'm like, what's going on? That's the vignetting that's happening. What it's also doing is it's trying to fix the warp in the barrel distortion within the image. And it does a pretty good job of fixing the bowing that's happening in the middle of the photograph, where we might get some bowing kind of coming up along the top of here, look along this line right here, and when I change that Enable Profile Corrections, notice how that kind of bowing that was happening, that's the barrel distortion there is now getting straight. So that helps, but you notice that we still have our perspective kind of like this, it's still like a V shape there in the back, where lines should be vertical. There are some other corrections here where if you go into the correction amount, you can change the amount of distortion that's happening there, to make it more or less distortion, and you can see how that barrel is changing at the same time, if you want. If the profile didn't select exactly what you wanted to select to fix, you can do that there. And then, the vignetting, like I said before, we can make less vignetting or get that vignetting back, based on the settings that come by default. So let's just change this back to 100, and this back to 100. Because in here, we got into a point now, we look at this image, we did our lens corrections, and we're like, well, that really didn't fix our problem. So we don't have to jump into Photoshop at this point. There's still some things in Adobe CameraRoll that we can use to fix that warping, and that's up here under the Transform tool. Under the Transform tool, you're gonna see a couple of different settings here. The Hover over is gonna tell you exactly what's gonna happen here. If you press A, it's gonna try to automatically balance to photo out for you based on what it believes horizontal and vertical lines are. If you go with this one, it's gonna apply a level correction only. If you apply this, it's gonna be level and vertical correction. And if you try this, it's gonna be level, horizontal, and vertical correction all happening at the same time. And then, this guy right here is where you get to draw guides to tell it what those vertical and horizontal lines are. So let's go ahead and break those down for a minute. If we're to press A, for the Apply balanced perspective correction, what happens here is that it does a pretty good job of aligning our image up. We've had a really nice balance here, but you see here how, as we've talked about before, once things go out the scale of the image, you start to get those transparent spots around your photograph. Well, there are some things in Adobe CameraRoll that are smart enough to fill those in. This is, unfortunately, not one of those tools, so it can't fill that stuff in for us. So if we wanted to go with this balanced setting here, we'd have to come down to where it says Scale, and Scale is gonna basically be a zoom, to zoom us in and out of this photograph. So, if I were to zoom this over, it's gonna get us further into the picture, right there, and that looks a little bit better. Then we have the offset of X and the Y. If, after we zoom in, we still wanna see more of the top or the bottom, we can change the offset by moving this up or down to get it more in line of where we want it to be. If we wanted to change the offset to the left or to the right, we have the X-axis and the Y-axis. It even shows you little arrows there for us that might not be smart with graphs. I tend to like math, so I can get the offset of X and Y. The Aspect, if we move the aspect ratio, it's gonna either make the image fatter or thinner to try and get the aspect ratio to fit within what it is you're trying to do for that balance correction. We can change that back to zero. And then, Rotation would be, maybe you wanna line up one of those lines a little bit more and get it more straight. You could rotate this image without using something like the Straighten tool. This would be a manual version of straightening. Let's go ahead and change these back. So, by default, once we click that upright, it's gonna clip us in on the sides, we'd have to zoom into this. And when we do that, though, we're losing that shadow there, which is actually kind of cool. So, if I were to click just the level, it's just gonna try and level out the bottom of the photograph, or the back of the photograph, I should say. And if we go with vertical lines, it's gonna try to make an application. It's gonna make our vertical lines more straight. So it's pretty smart with it finds those things. So you're shooting with the wide-angle lens, sometimes you shoot with that, knowing that you're gonna lose something. And if you shoot with that, knowing that you're gonna lose something, and you're okay with scaling into this image, then this is perfectly acceptable. But there are also times, if we press this button, this is just gonna try and balance all of what we see right here, your straighten, your horizon, your verticals, and any perspective correction at the same time, too. I'm just gonna press the Cancel on this. This guy right here, this one is where you can draw guides to tell Adobe CameraRoll what the straight lines are in the image. So, this is a pretty cool feature. I'm gonna press Control and Spacebar, and click to zoom in here. If I know that this is a straight line, and I click right here, and I drag up, I can press the Alt or Option key and move that over. And what Alt or Option is gonna as I move it over, notice how if I just do this, it's flying, and it's getting really hard for me to get this perfect. If I press Alt or Option, it's gonna restrict my movement to a really slow movement. I'm moving this mouse pretty crazy to the left and to the right, and it's not getting me go out of the confines, basically, of where I want to make that straight line. So, if I put that line right here at the edge of this and unclick, and then I click over here to this side, maybe click right here, and drag this up, and then Alt, oops. It's flying all over on me. Ah, I never learned to fly. It's like that up-down thing when you are flying. (chuckles) Okay, stop, calm down, you're drunk. Press Alt or Option, and then just click right over here. Stop, there you go. And then, I'll just press Control and Spacebar, Fit in View, and again, you see what it's doing there is, I'm telling it what those vertical lines are, and then, if I wanted to get even more precise with this, I can come in to another area within the photograph, say right here, and tell it what I want. A horizontal line to be, press Alt or Option. There is the horizontal line, and then pick another horizontal line from here, Alt or Option to see what I'm doing, there we go. So that would be me telling Adobe CameraRoll, hey, these are the lines that are straight. I got a straight line over here, I got one over here, I got one over here, and then it's going to go ahead and take what I've given it, and it's gonna morph the image to the way it needs to be in order to fix that perspective. But again, we still have those areas that are cropped off on the sides. As we've talked about before, we don't have to be stuck with that. We know that we can use something like the Content-Aware Fill tool 'cause we've already talked about that. We've talked about how we could fill in areas that aren't necessarily there. So what I would do is something like this at that point, is then I just press Open Image, and I can open this up in Photoshop. And if I wanted to select those areas on the outsides, I could grab the Magic Wand tool, click outside here, and it's got both of them select because the Contiguous is unchecked. If I press Shift F5, to Content-Aware Fill, it's gonna do its best to try and fill something in. Look, it even made its own sculpture here. (chuckles) Look at that, like, whoa, yeah, that can definitely, it even looks like it fits. (chuckles) and then from there, I could clean things up a little bit, use parts of pieces on the other side and fix that up. That's basically using Adobe CameraRoll to fix basic lens corrections that you'd find with a wide-angle image.

Class Description

Adobe® Photoshop® CC® is a valuable tool for photographers, but it can also be intimidating. In this all-inclusive 20 lesson course, you’ll go from opening the program for the first time to creating images that really stand out. Join Blake Rudis, Photoshop® expert and founder of f64 Academy, as he shows you how to maximize your use of Photoshop®. Topics covered will include:

Week 1
• Class Introduction & Bridge, Adobe Camera Raw, Setup Interface, Cropping and Layers
Week 2
• Layer Tools, Masks, Selections, Clean-Up Tools and Shapes & Text
Week 3
• Smart Objects , Transforming, Actions, Filters and Editing Video
Week 4
• Custom Creative Effects, Natural Retouching, Portrait Workflow, Landscape Workflow, and Composite Workflow

Don’t let the many aspects of Photoshop® prevent you from maximizing your use of this amazing app. Blake will help you develop the confidence to use your imagination and create the images that you will be proud to share with your clients.

Software Used: Adobe® Photoshop® CC® 2018

Lessons

  1. Bootcamp Introduction
  2. The Bridge Interface
  3. Setting up Bridge
  4. Overview of Bridge
  5. Practical Application of Bridge
  6. Introduction to Raw Editing
  7. Setting up ACR Preferences & Interface
  8. Global Tools Part 1
  9. Global Tools Part 2
  10. Local Tools
  11. Introduction to the Photoshop Interface
  12. Toolbars, Menus and Windows
  13. Setup and Interface
  14. Adobe Libraries
  15. Saving Files
  16. Introduction to Cropping
  17. Cropping for Composition in ACR
  18. Cropping for Composition in Photoshop
  19. Cropping for the Subject in Post
  20. Cropping for Print
  21. Perspective Cropping in Photoshop
  22. Introduction to Layers
  23. Vector & Raster Layers Basics
  24. Adjustment Layers in Photoshop
  25. Organizing and Managing Layers
  26. Introduction to Layer Tools and Blend Modes
  27. Screen and Multiply and Overlay
  28. Soft Light Blend Mode
  29. Color and Luminosity Blend Modes
  30. Color Burn and Color Dodge Blend Modes
  31. Introduction to Layer Styles
  32. Practical Application: Layer Tools
  33. Introduction to Masks and Brushes
  34. Brush Basics
  35. Custom Brushes
  36. Brush Mask: Vignettes
  37. Brush Mask: Curves Dodge & Burn
  38. Brush Mask: Hue & Saturation
  39. Mask Groups
  40. Clipping Masks
  41. Masking in Adobe Camera Raw
  42. Practical Applications: Masks
  43. Introduction to Selections
  44. Basic Selection Tools
  45. The Pen Tool
  46. Masks from Selections
  47. Selecting Subjects and Masking
  48. Color Range Mask
  49. Luminosity Masks Basics
  50. Introduction to Cleanup Tools
  51. Adobe Camera Raw
  52. Healing and Spot Healing Brush
  53. The Clone Stamp Tool
  54. The Patch Tool
  55. Content Aware Move Tool
  56. Content Aware Fill
  57. Custom Cleanup Selections
  58. Introduction to Shapes and Text
  59. Text Basics
  60. Shape Basics
  61. Adding Text to Pictures
  62. Custom Water Marks
  63. Introduction to Smart Objects
  64. Smart Object Basics
  65. Smart Objects and Filters
  66. Smart Objects and Image Transformation
  67. Smart Objects and Album Layouts
  68. Smart Objects and Composites
  69. Introduction to Image Transforming
  70. ACR and Lens Correction
  71. Photoshop and Lens Correction
  72. The Warp Tool
  73. Perspective Transformations
  74. Introduction to Actions in Photoshop
  75. Introduction to the Actions Panel Interface
  76. Making Your First Action
  77. Modifying Actions After You Record Them
  78. Adding Stops to Actions
  79. Conditional Actions
  80. Actions that Communicate
  81. Introduction to Filters
  82. ACR as a Filter
  83. Helpful Artistic Filters
  84. Helpful Practical Filters
  85. Sharpening with Filters
  86. Rendering Trees
  87. The Oil Paint and Add Noise Filters
  88. Introduction to Editing Video
  89. Timeline for Video
  90. Cropping Video
  91. Adjustment Layers and Video
  92. Building Lookup Tables
  93. Layers, Masking Video & Working with Type
  94. ACR to Edit Video
  95. Animated Gifs
  96. Introduction to Creative Effects
  97. Black, White, and Monochrome
  98. Matte and Cinematic Effects
  99. Gradient Maps and Solid Color Grades
  100. Gradients
  101. Glow and Haze
  102. Introduction to Natural Retouching
  103. Brightening Teeth
  104. Clean Up with the Clone Stamp Tool
  105. Cleaning and Brightening Eyes
  106. Advanced Clean Up Techniques
  107. Introduction to Portrait Workflow & Bridge Organization
  108. ACR for Portraits Pre-Edits
  109. Portrait Workflow Techniques
  110. Introduction to Landscape Workflow & Bridge Organization
  111. Landscape Workflow Techniques
  112. Introduction to Compositing & Bridge
  113. Composite Workflow Techniques
  114. Landscape Composite Projects
  115. Bonus: Rothko and Workspace
  116. Bonus: Adding Textures to Photos
  117. Bonus: The Mask (Extras)
  118. Bonus: The Color Range Mask in ACR

Reviews

a Creativelive Student
 

Amazing course, but don't be fooled into thinking this is a beginner's course for photographers. The problem isn't Blake's explanations; they're top. The problem is the vast scope of this course and the order in which the topics are presented. Take layers for example. When I was first learning Photoshop (back when we learned from books), I found I learned little or nothing from, for example, books that covered layers before they covered how to improve/process photographs. These books taught me how to organize, move, and link layers before they showed me what a layer was actually for. Those books tended to teach me everything there is to know about layers (types of layers, how to organize them, how to move them, how to move them two at a time, how to move them two at a time even if there are other layers between the two you're interested in, useful troubleshooting tips, etc. ) all before I even know (from a photographer's point of view) what it is the things actually do. The examples of organizing, linking, and moving mean everything for graphic designers from Day One, but for photographers not so much. Blake does the same thing as those books. Topics he covers extremely early demand a lot of theoretical imagination for a photographer who doesn't already know quite a bit about what he is talking about. Learning about abstract things first and concrete things later only makes PS that much harder to understand. If you AREN'T a beginner, however, this course is amazing. I thought it would be like an Army Bootcamp, taking you from zero and building you into a fit, competent Photoshop grunt. Now I think it's more like Army Bootcamp for high school varsity jocks. It isn't going to take you from the beginning, but the amount you'll get out of it is nonetheless more than your brain can imagine. I've been using PS for years to improve my photographs, and even to create the odd artistic composite or two. The amount I've learned in the first week is amazing, and every day I learn something -- more like many things -- which I immediately implement to improve my productivity and/or widen the horizons of what I can achieve. If you ARE a photographer who's a Photoshop beginner, I'd take very seriously the advice Blake gives in the introduction: Watch one lesson, and practice the skills and principles you learn in that one lesson for two weeks. THEN watch the next lesson. You can't do that of course without buying the course, so it's up to you to decide whether you'd like to learn Photoshop and master Photoshop all from the same course. Learning it first and mastering it later will cost more money, but I think you'll understand everything better and have a much more enjoyable ride in the process. As for me? I'm going to have to find the money to buy this course. There is simply way too much content in each lesson for me to try to take on all at once, but on the other hand I don't want to miss anything at all that he has to share.

Esther Gambrell
 

WOW!!! I've been purchasing CL classes for several years now and have watched HOURS of "How-To Photoshop" classes, but this is the first one I've actually purchased because of the AWESOME BONUS content!!! SERIOUSLY??!!?!? A PLUG-IN??? But not only that, Blake is SO easy to understand, and he breaks down concepts in different ways to connect with different people's learning styles. I REALLY appreciated this approach because I am a LEFT-BRAINED creative that has an engineering background, so I really connected to what Blake was saying. THANK YOU FOR THAT! There are TONS of Photoshop courses out there, but I found this one to be the most helpful in they way Blake teaches concepts so that you know WHY you're doing what your doing. I feel like he taught me how to fish with Photoshop to feed me for a lifetime instead of just giving me a fish to feed me for one day. This is the BEST overall PS course out there!!! Thank you!!!!

Sonya Messier
 

I'm been using Bridge, Adobe Raw and Photoshop for 12 years. I thought I knew those programs until I started to follow Blake and do this Photoshop CC Bootcamp. This course is AMAZING. I love the way Blake teach, brakes down concepts and tools... excellent teaching qualities! I'm half way in this course and I change all my workflow already. Much better results and better use of what Adobe offer me. This course is an investment! When I will be done, I will listen it again. Great job and congratulations on your success Blake!