Basic Editing in Lightroom® CC: Geometry
I'm going to go back to all of my photographs and I'm going to ... Oh you know? Let's see if we can search for something that has ... I'm thinking of a specific image. See, this is how the cloud is gonna help us out. So, I'm thinking of a specific image and I literally don't know where it is. So, I'm going to type in bird. I know the image that I was thinking of has a bird. Well, this has bird poop on it, so it's pretty clear. Okay, so ... Not birding. So, I'm gonna go through this and find my bird. Well, there's a squirrel. I'm not sure how a squirrel ... Well maybe it looks like a bird, kind of. There's vultures. Okay, so I'm going to go and look at this one here. Yeah, that will work. Okay, so I'm looking at this photograph here. I'm going to go into my settings. I'm looking at that photograph and I think it's quite humorous because I don't want to play ball in that area. That's gross, so what I'm going to do is I'm going to adjust this photograph first and, I'm just going to work o...
n it. It's pretty much good the way it is, but I want to work on it just a little bit. Well, by the way, there is a grain setting here. There's grain size and roughness. So you do have grain. I stand corrected, I thought there wasn't grain but there is. Anyway, but there are a lot of things that aren't in there and I was ... my ... the color adjustments that we were making aren't in there yet. Okay, so I like this, but I want to look at it more straight on. Like, I wish that I had been up about five more feet and further back with a telephoto lens so I could square that out a little bit, but as it was I was just down here right? And so, I'm going to go into the geometry settings. And in the geometry settings it's called upright in Lightroom classic, but they've got it under geometry here and you can see that I've got a lot of different options for fixing things. And so, this comes in handy when you're looking at architecture, things that are parallax issues if you're looking up at a building and it kind of ... There's that perspective that happens as a result of looking down a street or up a building or something like that. So, what we're going to do is we're going to correct that perspective. So, I'm going to go in and I can do a lot of things. I can do an auto, and you can see what it just did. Let me undo that and do it again. So, if I hit auto, watch it. See how it automatically tries to straighten that thing up so it looks a little bit more like I'm straight onto it. So the other thing that I can do, instead of defining an auto, I can also do level, which will try to level the thing that I'm looking at. Or, I can do a vertical, and it tries to do the same thing. But what I can also do, is I can do a guided. So, if I click on this little cross section here, it becomes guided, so as it's guided, I just simply grab parallel lines. I say that's a parallel line and this is a parallel line and it parallels those two lines. So now I'm in the right perspective left and right. So now I want to be up or down correctly, so I'm going to say, "Now there's two more parallel lines." So I click here and then I go like this, and that's a parallel line, and then this here is a parallel line. There, so now that is completely paralleled with itself, up and down and right and left. So, Mom, remember ... So I took my Mom's art class. My Mom was an art teacher in high school. So my Mom would teach me how to draw, and that's the reason I'm a photographer, because I can't draw. (laughter) So I remember the only self portrait I ever drew. It didn't look like me, did it? Not really, it was pretty bad. I looked better than I ... I thought I looked better in my drawing than I did in person so I think I was just kind of wishing I was a better looking person. Yeah wishful thinking, so anyway, so my Mom would teach us perspective in drawing, right? So now I've just undone all the perspective. But, I want you to notice one problem with the perspective here. If you go crazy with your perspective and try and do stuff that's not real, I want you to look at the basketball hoop. That does not look right, it looks like someone really bent that thing up. And that's just going to happen. So, I've showed you a very, very, intense example of fixing perspective. And, most of the time you won't run into that but the basketball hoop is a good example of how it's kind of messed up. Now, you could also, by the way, once you're done with this, so let's just say we're done with our geometry, we like the shot as it is. We could crop it so that it's a square image. So if I go into the crop, I could then go in and say, "I'm going to crop this thing like this, so that we don't see any of that white." I'm just going to go like that and then I'm going to unlock the ... There, so something like that. So then I can put that photograph up on, you know, my social media or something and make some joke, but it's a corrected perspective. But, again, I've got that weird, bent up looking ... And I guess it's not a big deal because if that's what you're playing basketball on I don't know that you care whether or not the basketball hoop is straight. But, the other thing that you can do, and let's go back to the crop and reset it. If you take this image and take it to Photoshop, you can simply ask Photoshop to fill in these white areas. That's why they leave the white areas there, because it had to stretch the photograph to make the perspective correct, but then it'll take these white areas and it will fill them in with the proper blue. All you have to do is content aware fill that and it will take care of that and that and you'll have a full-size photograph with blue sky all the way along because Photoshop can figure that out and paste in it real easy. Grass, blue sky, trees, stuff like that it can just repeat that stuff out, no problem. So, that's what I would do if I were trying to do something with that. So, again, that's just a really big example that ... We could go in and use a better example. Oh, here, let's ... Here's a great example. So, now we're further away from this barn, this old-school barn and I can go back into my settings and now, if I want to just create the right perspective, I can click on here and then I'm going to go here, on this barn. See how that just straightened that up a little bit? Then I can grab this, and then do that, and that. So now that barn is nicely corrected for perspective but because I'm further away from it it was very easy for it to do it and there's nothing that looks out of place or weird, whereas, when I was doing that drastic shot where I'm looking up at that basket, its going to create problems within it as a result of it. So, that's a really useful tool and I use it a lot, especially when I'm dealing with something that has a real graphic, architectural, feel of someone in it and I want those ... everything to be in perspective and I want it to all ... Because as soon as you start doing things with architectural elements, you kind of want them to line up with your frame and so you don't want them to be slightly askew. You want them to be dead on, and if you have all that graphic element going on you want it to repeat the edge of the frame. So, you have a frame that's square and then you have something that's off kilter, it really messes with your sense of composition when you do that so you want those to be straight too. It's made me a little bit lazy when I'm shooting because I know that if I'm shooting I can, if I go like that a little bit and take the picture, I can still straighten it up so I still try to think in my head, "I need to make sure that I'm looking at my edges of my frame and try and match them up." But, if you mess up and you can't then you can do this.