Image 3 - Keystone Tool and Aspect Ratio
So why I have this sort of slight obsession with shooting old doors and things like that and recently in Tokyo, down this small street, I came across this one and I fail every time to stand myself perfectly in front of the door and get it nice and square. So even though I thought I was dead on, clearly, I wasn't, um, that's just pop color balance and color editor away for a second. Fortunately, there's this super awesome curse. It'll this one here, which is the keystone to So you can see we have Keystone Vertical, Keystone, horizontal and both. So this is really good for correcting perspective on, you know, like buildings, especially the falling down building sent syndrome, where you point the camera up on the building drops backwards or for photographers like me, you can't stand straight. So if I choose the two way keystone like so you can just see these faint lines are move from up here so you can see it better with a circle in each corner. So what I need to do is drop this circle or...
cross hair on each corner and basically describing to capture one. The mistake I made. So this is Theo, the area that I want to be square, essentially. So now in the middle, there's a button that says, Apply if I tap that thin straight away It snaps to as if I was standing correctly in front, so it's no on automatic process. You, of course, do have to drop those lines on it, but it gives you a really good result. What it's actually doing is if we go to the lens tool and we look a keystone, then we can see it's dialed in some values for vertical and the horizontal. So if I grab vertical, for example, you can see exactly what the keystone tool is doing. And if I was to grab horizontal, then it's going in this direction. So by dropping those you know for corner points in there, then capture. One can do that calculation for you and fix it. So let's just make sure that's correct and say apply, and then straight away there it goes. Now, by default. If you use the um, the the horizontal or vertical on its own, it will correct to about 80% by default. The reason being, if you perfectly correct a building. It looks kind of a bit strange. So it looks too good, because even if we stood on the street now, we looked at a high rise. It does look like it's falling over a bit, so the default is to correct to 80% if we using vertical or horizontal. There's also this really handy slider called aspect, which will actually squash the image in either plane so you can make something look a bit taller or look a bit flatter as well. So that even works on people. If you want to stretch them out a little bit, it can work quite nicely. Okay, so I've, um, corrected my key stoning from this to this so that look much better. So if I press see on my keyboard just to figure out the crop that I want, incidentally, if you've done um, like a heavy keystone correction, you'll find there's a little button in the crop tour that says crop outside of the image. So that will actually let you go beyond the boundaries of the actual image. And then you could fill those areas back in info to shop, for example, like with content, aware fill or something like that. So you'll see here if we go over there. There's the the adjustment that capture one had to make on that image. But if I take crop outside of image, I can freely go about anywhere in that space. But I don't need to in this case. So let's just talking my crop like so and have a bit of the front h on my keyboard, like so No years get rid of that so h on my keyboard. And I'm happy that so now back to what we normally do looking it. Exposure and levels exposure might just need a little tiny bump. Our press a for auto on levels, and that's going to set my points quite nicely. And maybe the mid tones are a bit bright, so we just grab this down like so equally. Once again, most images always benefit from a little bit of clarity. So if I open up the clarity pushing in this direction once again, clicking on the clarity name, we can see before and after and remember, that's the mid tone contrast adjustment. It's very safe you shadows and very safe for the highlights And don't be afraid, Teoh. Push it hard as well. Actually, in this case, I think I choose punch because we have these nice colors on the door. And if you remember, what punch does is just lift up the saturation a little bit as well. So don't be afraid to push it quite hard. The image can take it. And finally, do we want to see into the shadows? Perhaps a little bit more. So let's just open up shadows ever so slightly, just going to check my exposure warnings. So I had a feeling that once I changed the exposure, we just clipped a little bit to, let's say, a full auto on. Then we should be fine. It's nothing worse than having a completely blown out highlights, especially if you print it. It doesn't look great on, certainly on the Web. When it gets compressed, a bit more doesn't look great weather. So I've got. If we look at the values just hanging on to some form of dot on there, if you like sharpness and structure wise, it's great. Might just do a little bit of structure just a tiny bit, and then I think I'm happy with that lens wise, I might prefer, in this case that it doesn't vignette now. Interestingly, you see in the lens correction tool here it says manufacture, profile. So this means it was shot with a camera and my probably Sony. Yep, it was my Sony that has the ability to read data from the lens manufacturer. So, of course, if you look in the profile tool, you can see the various different lenses that have bean Excuse me, Pro Fold Boy kept you one, but also some manufacturers, like Sony and Fuji Film. They also right enough data into the raw file from the lens, which means it can be corrected by using this the manufacturer profile. So the benefit is is that if Sony or Fujifilm launch a new lens tomorrow, it's instantly supported in capture one, because we can read that data from the lens. So, in this case, distortion wise, if I wanted to correct for that, but it's barely distorting a total, but there is a bit of like fall off, so I think I'm just gonna light and the edges slightly, But it's not much, but again. So Fujifilm, Sony, Panasonic. I think the micro 4/ systems. They all right that data in there. So if you look at manufacturer profile, don't think that's a bad thing. It's actually great benefit for the camera you're using. The only difference between this profile on the one created by capture one is that capture. One also builds in some sharpness. Correction. So if you have a lens that's starting to get softer towards the edges, the sharpness slide. It can compensate for that a little bit as well. Of course, if something soft it can be hard to get it back up to full sharpness. But it's done as part of the lens profile. Come, worked really nicely. Okay, Last thing if I go to the color editor, I really like the paint on the door. So I'm gonna use my color picker, the advanced tool tab. Click on this on the door itself. And then I'm just gonna make it a bit darker and slightly more saturated, like so So quite a lot of edits. If we hold my option key down and go to reset, that's before and after. Without that correction, if we perhaps look at a new variant, it's quite a bit different between the two from the drunk one key photographer Teoh. Nice story image that I was kind of thought I'd taken in the first place. So Keystone, till really super handy