Adobe® Photoshop® CC® Bootcamp

Lesson 71/118 - Photoshop and Lens Correction

 

Adobe® Photoshop® CC® Bootcamp

 

Lesson Info

Photoshop and Lens Correction

Now let's go ahead and minimize this, and we'll open up the exact same photograph, but this time we're gonna use Photoshop's lens correction to try and fix this. Because all of the perspective corrections that are found in Photoshop are under our filter, we're gonna go ahead and change this to a smart object, so that we can have access to those if we ever need to go back to them. So I'm gonna right-click this, and go to Convert to Smart Object, and then go up to Filter, and go up to Lens Correction. So under Lens Correction, there's a lot of different boxes here that we can check, we can tick and check to get everything right and set up for our image, especially using things like the Camera Make, the Camera Model just like we saw in Adobe Camera Raw. Those things still exist in here as well. It's already loading up a lens profile for me, which'll be the Sony 16 to 35 f/2.8 lens So I could turn on and off that vignetting, just like we do in Adobe Camera Raw. It's very similar to the thi...

ngs that you would see in Adobe Camera Raw. If I were to go over to the custom setting here, this is where I can do some more chromatic aberration removal that we didn't see in Adobe Camera Raw. This gives us a red cyan fringe, a green magenta fringe, and a blue yellow fringe, whereas Adobe Camera Raw, I believe, just gives us the green and magenta fringe. We also have our vignetting and our ability to transform down here. So if we were going to transform this image using the custom settings here, we have our vertical perspective correction, which we would then turn like this, which essentially when we go into Adobe Camera Raw and we tell Camera Raw to make our vertical lines more vertical, this is essentially what it's doing. We just get a slider now that gives us the ability to do it rather than waiting to see what Adobe Camera Raw is gonna spit out for us. And again, the horizontal perspective is the same thing, it's gonna be how you shift that horizon on either the left- or right-hand side of the image, and this looks like it blends a little bit right there. And then we we have the scale. I'm gonna pull that scale out again. You can see that when we pull that scale out, we can see all the things we've done to the top of our image are actually making this perspective get fixed. But it's the same concept here. When we pull that scale out, we will have all of the bounds on the outside of the image that we would need to fill in. And the autocorrections didn't quite fix it like we would want it to fix it. So if we go ahead and, here we have our Straighten tool as well, and we have a Remove Distortion tool. So, the Remove Distortion Tool, if we click on the Center of our image, we drag it to the left or to the right, it's going to allow us to fix that barrel distortion that's happening in the image. I'll just do an extreme version here. You can see how it's turning into an orb, it's actually making more distortion than it is fixing any distortion. This would be a manual way for us to correct any barrel distortion that's happening in the image, that say maybe the autocorrection could not fix. And then we have our Level tool, our Straighten tool, and the grid tool. I don't see that doing much of anything here, so let's just. Yeah. Let's see what happens now. Oh, so what the Move Grid tool is doing here is it's basically just giving use a series of guides to help us and assist us with any of the things that we're gonna be doing over here with our custom corrections. So I have a guide here now that tells me that this vertical line that I have right here probably isn't as straight as I thought it was, so if I were to move this over, I'm now basing that off of that. And if I wanna move that guide at any time, I just move this over, and now I can move that over to make sure that that straight line is straight. So just a guide to help us out to make sure that we get our image straight. But again, it's cropping off the bottom of our shadow here, so if we did wanna keep that, we'd have to consider what we're gonna do in Photoshop after we're done with this. If we were to bring this scale down so we could see the outer bounds of the image, just to the bottom of that shadow. So with this perspective at this point, we've got the nice shadow along the bottom. If I were to open this image up in Photoshop, this is set to a smart object, so at any time I could double-click on this and open this image up. Again, because it's a smart filter, just to see what's gonna happen here, maybe we go ahead and click on the smart filter, press B for our Brush tool, and brush in with black on a given area. And you can see that it's pulling in the old image. So we can recover it that way if we needed to also. That just recovers that top area there, and doesn't give us that issue. Now I'll make this brush a little bit smaller, transfer over to white, and then brush that in to resurrect that top area. So instead of having to fill in that area, we're just using the data that was already there before, and because it's a smart object, we have the ability to go into that. Now, because it is a smart object, if at any time we wanted to go back in and change those lens correction settings, we're not stuck with them. We can double-click on the lens corrections, or back into the the lens correction. Now just like we talked about before with Adobe Camera Raw, it has a smart object. In the last lesson, when we double-click on the filter settings, it's not seeing the mask that we made there. So just keep in mind that when we go back out of here and press okay, it's going to have those settings, and then it's going to put the mask on top of it, okay? There is another tool that we have in Photoshop, that is gonna be more of a sledgehammer. Now that was more of like a, I don't know, a mild hammer. The sledgehammer tool for fixing perspective correction is going to be in the Adaptive Wide Angle Perspective Correction. So if I right-click this, I'm gonna turn this into a smart object so I can always go back to it later. Control and Space Bar, right-click, make this a little bit bigger so I can see what's going on here. If I were to drag a ruler in from the side, if you press Command or Control + R, it's gonna turn your rulers on and off. So if I were to drag a ruler from the side to see what a straight line is, this clearly has nothing straight in the vertical area. So if I go up to Filter at this point to straighten this out, I'm gonna go right here to Adaptive Wide Angle Lens Correction. And the Adaptive Wide Angle Lens Correction has a couple different settings in here to try and help you fix maybe a fisheye perspective, or just regular perspective. You can try auto to see if that works, and then you can go to something like Full Spherical, if it was a a full spherical image, but it's not so it won't do it. But the auto by itself is not gonna fix this photograph. Not at all. What we're gonna need to do is we're gonna need to do the tedious process of building the lines on here to tell Photoshop what a straight line is, and how to straighten it. And the reason why they call it adaptive is because as you build this up, the whole image starts adapting what the wide angle perspective is gonna be as you start adding more lines and building up and building up and building up. So if I click right here, you can see I get a little preview over there in the Detail Section, and I drag this down. Look at that cyan line. It's actually doing a little bit of a warping on it's own, so it's not even drawing a straight line to begin with. So I'll just put that line there like that, and then I'll come over to the other side of the image and go from here all the way down to here. Again, I'm using that preview that you see on the right-hand side to define those edges. Now just by making these lines, it will start to shift things a little bit, but it's not gonna shift things until you tell Photoshop to start shifting this image around. This is where it starts to get kind of fun, and you can sit here for a very long time trying to get this to work. That's why I chose this image for you as your practice image. So if we click right here on this little arrow that's pointing back and forth, if we click and hold on this, notice how it's saying it's an 84.9 degree angle. If I press and hold Shift and move it over, it wants that to now be a 90 degree angle. Watch what happens; the whole image starts to shift over, but making that line straight. If I click on this line, press and hold Shift. Oops. If I click on this line right here and I have that little arrow next to it, press and hold Shift, click on it, then press and hold Shift, and move it over to the left. You can see it starts to make all my lines straight. But it's still not perfect. We've got this side of building is bowing in like this, we got this top of the building, which looks like this. So you just build up, and start adding multiple lines to this, and it adapts as it works. So if we click this side right here and move this over, again, look at that line. You see how it's kind of curving? It already knows that that's a line that you wanna fix, we'll click right there, click and hold, then press Shift, make that a zero degree angle, and fix that. But you're gonna have to do this quite a bit. Go over to this side, click on it, press and hold Shift. Get it to fix. Go to this side, look at that one, they're really bowed out. Click, press and hold Shift. Go to this side, maybe right here. Just work from the outside in. Click on it, press and hold Shift to get a 90 degree angle. Again, this top portion, click right here, move it over to let's say here, press and hold Shift and tell that to be straight. You can sit here all day and do this. I mean we could if, I could do this all day. And you just have to go through and continue picking lines, and as you do that, Photoshop is pretty smart. Look at that. And it will take a little bit of work to get the whole image straight. But know, the cool thing about this is that it is adaptive. As you add more lines, it gets smarter and smarter and smarter. And we'll do one more right here, and then I'm gonna work on the other side. This isn't a one like, oh I'm gonna just make a one line difference and fix this. It's gonna be a slow process. And we'll go over to this side, grab right here. Come to this edge, click and hold, press and hold Shift, straighten that out. This one's gonna be a tricky one 'cause it's so small. Isn't that cool? I don't know about you, but I get excited when I see that. Whoa, look at that! This building was not straight before, but it is now! It's getting there. Whoa, if you go too far though, something like that'll happen. So just make sure that you get 90 degrees, come over here like this, press and hold Shift. We'll do that right here with this one too, that might start fixing this up a little bit. That one's really bad. Have been starting to get in line though, you see that? Pretty cool. I'm just gonna do a couple more, and then we'll hop into Photoshop and I'll show you how you can fix the size again. I'll do one line across here, okay. One more, I just get addicted to it. I can't stop, can't stop! Yeah, okay, so that looks pretty good. We'll just go with that. Know that parts of this are still gonna be a little bowed, still a little warped, but I mean, I could sit here all day and keep adding lines to this to make it straight. The point is, and what I want you to gather from this is that the more lines you add to this, the smarter and smarter and smarter Photoshop is getting about what is not correct in this image, so that you can get that to be much more perspectively correct than it was before. If we go ahead and commit to that, press Okay. Again, this is a smart object. So everything we did in there is contained within that smart object. Let's go ahead and try something real quick. I'm wondering if this is gonna work, 'cause if it's a smart object, I'm not sure it's gonna add anything to it, but we'll see. So click the Magic Wand tool, now click outside here, oh, look at that. Press Shift + F5. Shift + F5! It's not gonna work. So that's one thing I didn't teach you in the last lesson. Certain things are not gonna be available in a smart object. And the reason why is because smart objects, because they are vector-based and they're always calculating what happened with the original pixels. They might not allow you to do certain things, especially like Fill. 'Cause now you're telling it to fill it with information that didn't exist before it became a smart object. It's not gonna allow you to do that. But if we go ahead and just press Command or Control + D, right-click on this, and let's duplicate it first. Command or Control + J to duplicate it, and then right-click and then rasterize. Why I duplicate it first is because now I still have all that information down there. If I ever go back to it, I have that information there, I'm working on a non-destructive layer here. So I'll just go ahead and add that, Shift + F5, and now it works because it's a pixel-based layer, not a vector-based layer, press Enter, and Photoshop is pretty darn smart and fills in those other areas too. Things are still looking a little kind of, I don't know, out of a cartoon here a little bit, but again, just spend a little bit more time on that. This is a practice image, so feel free to use this practice image and beat this practice image up to your liking.

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

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