Lightroom Essentials

Lesson 18 of 40

Fixing Perspective and White Balance

 

Lightroom Essentials

Lesson 18 of 40

Fixing Perspective and White Balance

 

Lesson Info

Fixing Perspective and White Balance

So as you can see, the crop tool is pretty limited in its ability, you know, you can chop off edges of the image or you can use it to straighten images. What if you take a picture, but the building looks like looks like it's leaning back or you take a picture down, you know, a street and the buildings look like they're leaning in those air perspective problems, and light room five has a new tool to fix that is called up, right? This is not in any other version of light room argument for upgrading, so let's find another image to work with. We're gonna leave the islands for just a moment, ever so briefly, and we're going to go to italy just happens to be the only image I have of, uh, perspective problem, okay, because how many buildings are there in the island's? Not very many least not where we stay, we say an old toy. Okay, so what we're going to do here is bypassed the crop tool altogether, and we're going to come down to the lens correction panel case. We're still in our develop modu...

le in the lens correction panel and let's, go ahead and turn on our enable profile collections, corrections and removed chromatic aberration. You can tell I didn't have that set of the default when I first started processing this image, so the new bits for fixing perspective is this upright section right here and it's really, really fabulous for fixing this kind of perspective problem, but you do want to make sure that enable profile corrections has turned on that this helps light room do a better job it's saying it's really like you saying hey, light room if you don't mind, would you take a peek at the camera I was using and the lens I was using so that we end up with a more accurate perspective fix if you don't have those turn on it's not gonna look at your equipment that used and when you get these notifications that you need to update light room practically every week it's adding new camera profiles, new bodies, new lenses you know because his camera manufacturers make this stuff all the time so light room adobe has to keep pushing out updates so that light room supports all the new models and all the new lenses and jandi adriana, you can create your own profile it's a lot room can't find it, but that is hey beyond the scope this class but if you want to learn how to do that julian cost, which is she's call her the the light room goddess because she really is she works for adobe and she knows everything about this program but she's had a fabulous blah gone adobes website and she's got some links to the tools that you can download to create your own lens profiles if you want to go that route so just google it and you can't find that information so back to fixing this here picture right here so we've got a couple of different options teo fix this we've got an off and you can tell that the upright feature is off on this image right now because if I zoom in see how the off button is slightly darker than the auto button so just visually that's handy to know because you can tell what you've done and what you haven't done what's turned on and what's not so we think like the auto button and light room will do its very best to sure ate in that building up trevi fountain by the way in rome and make it look realistic so in some cases auto may be all that you need say that we light room is not not so much that it's a warping the image but it is changing it you know in a way moving pixels around so you may end up with some white edges but I believe if we turn on constrain crop right here and then do you auto light room's gonna automatically crop out those white bits so you could do it manually, or you could just let light room do it. I tend to leave this turn off, and I tend to click auto to see what it's going to give me first, and then if I have to, then I'll let it crop the image down, but for this particular image, I would go crop it myself because you'll notice that what happens to this area up here when we have that turn on so light rooms cropping some of that artwork off the top, and I might not want that. So in that case, I might leave it, turn off, go ahead and click auto, fix it, and then go back into the crop tool, and I might do a custom kind of crop to keep from losing that information, so just know that that's available. So that is the auto button. Someone turn that off and oh, by the way, if for whatever reason you forget to turn these two options on, you haven't said a mazza default, you haven't made a preset develop preset for those things and applied it then you might get a little bit of a different results, so if you didn't have in turned on and he clicked, otto, just click reanalyzed once she turned those back on. And that will trigger light room to take another look at the image because you've changed since setting so that's what that reanalyzed button is for in sometimes you can sometimes you may not know if light room is really changing anything like if your perspective problem is subtle and sometimes it just seems to have a little hiccup in this area maybe because it's our first version with these new tools so don't be afraid to click reanalyze at any point when you're messing around if these buttons just to make sure that it's happy and doing what it's supposed to do you have a question yeah all of my current collections and albums air in light room for and I'm going to important men delight room five if I add the lens corrections and import them if I said there's a default and I add the uh the light room four ones will those corrections take effect on my old photos they should yeah soon as you bring him into light ran five but you might want to click reanalyze if you have perspective problems like this to go in and make sure that everything is all happy so let's talk a little bit about using these other buttons down here so go ahead and turn that off so are upright correction is off so we're back to our original image so in some cases auto may look really great that's light room china d'oh very best teo fix everything if he click level light room is goingto look for horizontal lines in your image and try to level amount if you click vertical light room is going to try to find vertical lines in your image and make those straight if you click full it looks at the horizontal lines and the vertical lines and tries to make those straight so depending upon the image one of these will look better than the other one. Your next question will be well, lisa full is straightening the levels or the horse on lines and the vertical lines that it finds in the image what the heck does ought to do well, let's look at the difference so here we are at full and there we are at auto auto tends to create a more natural result so if we click full again in some images it can look a little bit off in this one there's not it doesn't look bad to me using full but auto just looked a little bit better so I'd be tempted to go for auto most often times now to use this on multiple images you would select them in your film strip down here by clicking and then shift clicking or command or control clicking some nails that are not sequential not in order and then you're going to make sure that the image that you apply the change too is more selected harry are back to selected and more selected. And how do you know something is more selected? Well, you look really closely at screen now you'll probably be able to see it see the difference between the unsolicited backgrounds here? This one has a color label on it. That's why showing in blue so this is not selected, so you've got a kind of a light grey background. These images are selected because they're highlighted in a very light gray, but this one is more selected because it's the brightest so toe apply an upright correction perspective fixed to multiple images select um, make sure the one that you changed is more selected, and then what we're going to do is click the sync button down here at the bottom. So when we click sink light room's going to say, hey, I hear you want to sink of these developed settings which ones you talking about? So what you would want to do is turn, you know, click check none right and force specific upright transformations are upright perspective fixes then if you want to apply the same mode in the mode is these little buttons right here? Which mode do you choose? Then you khun turn on upright mode so that would make light room going to each of the selected images analyzed them and if you had auto turned on the light room's gonna do its best to do the appropriate perspective fix for each one of those images. Now, if you've got a siri's of the exact same shot that you would want to apply the exact same amount of up bright perspective fix, then you would also turn on upright transforms, so that would give you the exact same correction on every single image, but that you'd only use that if they were the exact same shot. But if they're slightly different than you want to leave upright, transforms off and just turn on upright mood because I'll make light room, analyze each image individually instead of just apply in the same math to everything so that could be handy and then a synergy click synchronize that room applies that change to those other images. There is another way that you could do that and what is very, very scary. It is fraught with peril fraught with peril, I say, and that is too. Before you do the fix on the image, you would select all the images that you wanted to do the same thing, teo and before you did anything over here, you would click this little switch zoom in, go away, there you this will switch right here. And that changes sink toe auto sync that means anything you do to one image happens to all of them I never, ever, ever use that scares me to death it's very frightening because you can get in trouble in a hurry. But if you're, uh, bright eyed and bushy tailed and freshen away, can you are on top of your game? Feel free to turn that on, and auto saint just know that whatever you do to one photo, if you have more than one photo selected, is going to happen all of them that you can get yourself into trouble with that, so I leave it off, so that brings me to another point. You'll notice that all of these panels have those little switches that's your before and after, so if I come up here to the lens corrections, I can flip that little switch, and I get it before and after. So that's, what those will switches are I use that mostly when I'm ending with the adjustments fresh, because when I'm editing with the adjustments brush, I'm usually really seemed in saul's email and I'll just flick that switch to give me a heywood in my image looked like before I started using that tool, now we have a before and after the preview in light room, but that previews the original image so in the case of let's, say previewing the effects of the adjustments brush we've probably already made a bunch of other changes to the image you've changed the exposure, etcetera, etcetera. You just want to see what the darn thing looked like before you use the adjustments fresh that's when the switches come into play, you do have another handy keyboard shortcut that's on your enrollment cheat sheet that I want to tell you about and that is a quick before and after preview, but again, it's going to preview the original image and that is the backslash key. So there's there's, our original and theirs are fixed image, and you'll notice that the top right gray area there as soon as I tapped that backslash key light room tells me that I'm looking at my before, which is the original all versus what I've edited thus far in the developed module. Now, if you want to see those side by side, you wanna press the why'd he why? I don't know why oh, why do we press the why he an easy way to remember the waikiki is that at the bottom left of this develop module, he actually get a nice little icon of a before and after preview and there's a big old y on it, so the white he's really keyboard shortcut for this alike on right here and you could just tap why again to go back to single image be which is really just summoning this little button at the bottom left so I'll tap why to go back to the original of that question you continue before absolutely and that sweet you can continue editing just like that you can even zoom in press the space bar what zoom percentage is that well I don't know that would depend on what you set up in the library navigator paying all these air your zoom controls right there that control what happens when you press the space bar and when you use their normal zoom in command which is command plus on a macro could drink that three to one control plus on the pc any questions on using upright or looking at our before and afters or we'll go back back to the develop module or on these little often on switches um mary trevor was wondering if the upright tool will work with a j peg well I believe it will but you won't be able teo turn on any I don't you can turn on profile uh corrections haven't seen an exclusively raw so long that I haven't tried that on a j peg recently but I do believe upright will work can I wanted end into that question awesome so if I was to die just did this recently if I was to do if I had taken four five photographs of that building going across and then stitched together in photo shop. But then could I bring them back to light room to do that adjustment? You want to do the adjustment? First, I would think all those yeah, I get to harry when you process in light room and then you go to photoshopping the process. Then you do want to come back to light room because you can see all your penis tease in light room, but when you start re processing in light room for that third passed and things could get a little, then yeah, but I I try to do it. I tried to fix the upright here in light room, but but that said, we talked about earlier that every control here in the developed module in light room is the same as what you get in camera raw. So camera eight has this upright feature in it, which you can now access in photoshopped through a filter in photo shop cc. So I mean, it should be the same doing it one place versus the other, but just so you know that you can also access upright over in camera raw group if you're in photo shop already cool a few people, rick yours, too. If the's lens corrections are available in older versions of light room there's a sudden yeah, the upright feature specifically is only in light room five or in camera eight but this the other things that you're seeing here in the lens correction panel have been around for a while yeah, thank you already let's go back down to our film strip let's talk about white balance so let's try back up here to the top almost the top of our panels on the right hand side of develop module on let's choose basic so what on earth order do you use all these adjustments in and we haven't yet discovered what all of these do, but I tend to think that adobe put them in this order for a reason, so I tend to use them in the order in which they are laid out. That doesn't mean again, there is no light rain police that I'm were let me know if you encounter them I mean, you can obviously do whatever the heck you want, but I tend to use them in the order in which they are listed in the first one in the list this white balance so I always start there. I know folks that just hop around all over the place super high end photographers hop around all over the place, so you're going to find your own rhythm with the settings but they're in a pretty nice order as they are so I can use them in order so that's what we're going to start our discussion of the adjustments in this basic panel with white balance that's what this w b stands for and white balance is just color of light what color was the lighting when you took the shot and if you're dealing with a raw image, then if you click this little poppet menu next to the w b, which stands for white balance and you're going to see oodles and gobs of options in here if you are looking at anything other than a raw file, you're only going to see custom so you'll probably see as shot and custom you can't you don't have any of these other options because it's a baked cookie right? I can just see somebody tuning in at that moment. What j thanks debate cookie yes it is so as we try through the's different white malas options the color of lining and her image will change so I've already done quite a bit of processing on this one and I'll prove it to you by pressing the why key so we can see a before and after that is not pretty over there the original image has a serious color cast, so I'm gonna go ahead tap why again and I'm gonna come down here to the bottom of our develop module and click reset so we're back where at square one the original image so let's come up here and try through the presets for our white balance and we can see how that changes the color of lighting in the image and these are all subjective again there's no right or wrong with this you're the one that took the picture so makes the picture look good to you. What looks good to you may be different than what looks good to me so in my opinion, auto looks just fine. So already without me trotting through all these other sayings and trying to fix the color in the image, you may be able to take care of it with white mallon's maybe that's why don't be listed it first so let's say you trot through this list and you're still not real happy with it just doesn't look right to you well, you could use this tool right here in uh easily enough the keyboard shortcut is w for white balance that one is actually easy to remember, so we compress the w key and it picks up the tool. Remember how we were using the paint can yesterday to spray on cures and spray on star rating so much and when you pick up the paint, can you got to remember to put it back and all that same kind of things going on here with the white balance till so once you grab it then, if you want to get rid of it, if you want to exit out of it, then you can either press the escape key, or you could click it's little doc again, and that puts the tool away so that we can do this. Come over here to our image and weakened click on an area that's, a neutral color, and what the heck is neutral? Color me that this means an area that doesn't really have any color, so you're looking for areas of gray, which shade of gray is going to be your next question? Ideally, see how when I zoom in that little grid, how it has numbers underneath it, it's giving me the values of red, green and blue, that my cursor is pointing to sew the pixels directly underneath that cursor, their values, or showing up down here at the bottom of this little panel, we'll to pick a true neutral in a perfect world, those numbers would be the same. So what you want to do is spin the moment, and the more you do this, then you'll you'll stay, but those kinds of colors, if you do it often enough, you'll begin to notice you'll get faster at it, but just click around, I'm gonna have him back out, click around and see how those about values are changing so you'll drive yourself insane if you try to get it perfect so don't go down that rabbit hole but do take note of the numbers what I try to do is get him all like say in the sixties are all like in the eighties I try to keep them like ten percent close to each other, so you'll notice as I mouse around, I get completely different values so if I come over here are these? Of course I'm clicking in all the perfect places, but we will get to points where we've got quite a bit of difference, okay here's a good one see how we've got sixty seven, sixty five and seventy three in a perfect world, all those numbers would be in the sixth she's that's just my own little tick, so just keep an eye on him, you know? And if they're really far apart, you're probably not gonna get you'll get a more accurate result the more similar those values are but that's but even though that it might be a more accurate result it's still my look it not look good to you so it's subjective but a good starting point is to try to find a something close to a true neutral and again that's going to be a light light to medium gray area in your image with as close to similar color values as possible but again, don't drive yourself insane trying to get that exact so as soon as you click then light room changes the white balance according to what you've just told it is a true neutral in your image now once you've done that, you can come over here to these temperature and ten sliders and you can further fine tune the color of the light so if you're looking at this particular image and you say, gosh, I'd just like to warm it up a little bit well then come over here to the temperature slider and the sliders do a fabulous job of telling you what's gonna happen depending upon which direction you drag him. So this slider is filled with blue on the left hand side and it's filled with the yellow on the right hand side if I want to warm the image up which direction I'm not going to drag woman dragged to the right, so pay attention to the sliders they're there trying to give you an idea of what's going to happen so as I dragged that side of sugar, right, see how that image this worms right up so you can find tune you're my balance even if you you don't get something exactly right with a white balance tool and if you are noticing any kind of color tint to the image, you can drag this slaughter more towards magenta so I personally liked the way that looks now better than what it did before or you can drag it to the left for more of a green look so by using these two sliders you can fine tune your white balance now you'll notice that my white balance tool did re dock itself as soon as I clicked that's because I have an option turned on so with the white balance tool active and active means you're trotting around with it and it's your cursor remember how would the crop tool we had those extra the extra auto show our whatever option down here at the bottom left we've got a couple of additional options for the white balance tool and one of them is auto dismiss and I believe that's off by default which means you can just keep clicking, clicking, clicking, clicking, clicking with this tool but if you turn on auto dismiss light room puts it away after your first click so that's how that happened and if you don't want this little zoom grid which is called a loop to show, then you can turn it off down here with the check box you can also change its size with a scale slider over there all right? And I want to show you one more thing about white balance and that iss the amazing ex right x dash r I t e pro keller check her passport so this is all well and fine getting white balance adjusted in light room, but if you really want to get it accurate, like your doing a shoot for actual, many thin, the easiest thing to do is get one of these and put it in the shot, because it's got color swatches of true neutrals in there. So what you would do is take the picture, said it upon your tripod. I would never have your model hold this or position this on an object in, then take one shot and then take this out of the shot. And then when you come in here and you start to process in light room, set your white balance for the image that has this physical item in it. Use your white balance tool to click on one of the neutral swatches and then copy that white balance correction to the other images in that set. So this is how you would do it really accurately, and your next question will be, well, he said, there's, a lot of swatches in there, which one do I click on you want to click on that? You find a white? So we've got pretty close to a white down here at the bottom left you'd want to go one over from that, so the next to the brightest swatch in this particular one and this is a great little thing to carry around. It's even got its got a big one for fixing white balance in the back. So you just put that in the shot. Have the model hold the shot, pulled the passport, take this out, set your white balance on the image that you had this in with the white balance tool. Click on the next to the widest swatch in something like this, and just be done with it. And then either copy those settings and patient for the other photos, or used that thinking, uh, feature that we looked at. And we're gonna be using that all throughout the day.

Class Description

Ready to take control of your photo library and actually enjoy image processing? Join best-selling author and image-editing/stock expert Lesa Snider for a comprehensive three-day immersion into Adobe Photoshop Lightroom.

Lesa will cover everything you need to know about importing, managing, and correcting images using Lightroom's non-destructive workspace. You'll learn how to apply global changes to photos, how to target specific areas for more selective changes, and how to apply changes to multiple photos en masse. You'll also learn how to fix skies, retouch portraits, remove sensor spots and other objects, as well as when and how to switch over to Photoshop (or Elements) for more difficult tasks. Lesa will also show you how to sharpen like a pro (with nods to specific settings for submitting stock imagery), export your photos, apply a wide variety of practical effects, share images via social media networks, add location data, build photo books, create sizzling slideshows, customize print layouts, create gorgeous web galleries, and much more.

By the end of this course, you'll be in love with Photoshop Lightroom and you'll have mastered the art of photo management and non-destructive editing.


Software Used: Adobe Lightroom 5

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