now what I'd like to talk about are some of the adjustments and light room that we have not had a chance to talk about yet so I'm just going to jump in and let's see what you come up with I'm gonna bring this image over the develop module and so far the main things that we've used is the stuff under the basic uh area in these tools at the top now we're gonna move our way down here and we have all these categories of adjustments some of which we've played a teeny bit with but we really haven't spent much time with it let's go into the area called lens corrections with lens corrections we have three main check boxes the top one is called enable profile corrections and that just doesn't really make any sense if you just read it but what it means is adobe has tested a bunch of lenses and they've created profiles to describe how those lenses caused problems with your picture what they've done is they've pointed that got a camera lens combination at a target that they could measure and they ...
measured the difference in brightness between the corners of the image in the middle and how quickly does that the darker corners fall off is it gets towards the middle so that therefore they can correct for it with one little check here they also pointed the camera at a grid and they analyzed the end result and if the grid lines were not perfectly straight in the end result instead they bowed outward or bent inward they measured by how much so they could describe how much that particular lens distorts the grid and they included that in the profile so if I turn on that check box it's going to look at the metadata for my file that's where like the shutter speed aperture setting is and all that and is going to see if the lens is listed and the camera model is and if it happens to be one of those that adobe is tested then when I click the image will look different corners who usually get brighter tomb or match with the middle looks like and any distortion was faras the image bending should be corrected for if I turn it off and back on again you can see the difference and so that could be nice do anything about that is sometimes I like the fact that my lens delivers less like to the corners of my image because it seems to keep the middle where my main subject is brighter so my eyes drawn to it mohr so when you turn on that lens profile correction check box there's a separate little area in here called profile and if I click on it first off it tells me which lends it found that you used from the metadata and the profile that it's using and if it couldn't find your lens if this says non or just not found you could click on this and try to educated about what was used what model was it what make what model lens was it because it means that that image didn't have the metadata attached for some reason or it was in a weird format and then down below that it just tells you the name of the profile that it had found for that but then at the bottom you could tell it that you wanted to mellow out on its corrections these air the two kinds of corrections is doing distortion for like how it bent the image and been getting for brightening up the corners and if I liked the fact that the corners were darker I just take the vignette ing sliding and instead of saying used one hundred percent of what that profile thinks it needs bring it down to zero and then it won't fix for the darker corners that are in the image or if I find for some reason the lens I have seems to be a little different than the one that they tested it makes the corners even darker then you could push us to the right to overcompensate I'm away to the rights to see the picture change and that just means the particular lens you have seems to be different than what the profile recommends it always needs a little more main time I use that is when I like the fact that the corners are darker and I don't want it to correct for it you could do the same thing for the lens distortion it's rare for me to need to do that but the time it is useful is if you have a fish islands with a fish eye lens this will attempt to fix the fish eye effect and straighten everything out and if you don't want that to happen then you need to bring the distortion slaughter all the way down I'll do that a minute but you might want to do the vignette I'll go back to basic there's another check box here called remove chromatic aberration and on this image I'm not sure if we'll be able to see him all that much but let's find out I'm gonna zoom up on this image see not overly obvious but sometimes when you zoom up on the edge of an object you'll see right around the edge of things little hints of color I see little hints of reddish in here just the tiniest bit of a bluish sigh in there but I think they're too hard to see if to use this as an example so let's switch to a different picture where I know their prominent this image was shot with a fish eye lens in this particular fish I I believe produces a good amount of chromatic aberrations it's already turned on the light turned off okay and can you see right here green sticking out of the hell zoom up on my screen more do you see a green halo right there in reddish magenta ish stuff on all these edges those air chromatic aberrations and the best of my knowledge they happen because the lens when light goes through the lands and similar to sending light through a prism you know how if you send white light through president comes out as a rainbow color well the same kind of thing is happening with light goes to the lens of your camera is just happening to a lesser extent but it gets separated a little bit and in order to correct for that all we need to do is turn on a check box called removed chromatic aberration and when we do it analyzes the picture in tries to fix it and most of the time it does a pretty good job but there are certain colors that it does not do very good with and I think on this particular image I might be able to see an issue at least in the past let me reset some things make sure these are all reset all right if you look at this image can you see a hint of purple in various areas like I can see it right there I can see this edge just looks like it's got a purple glow to it sometimes you're going to still get that hint of purple holding the wrong key there uh and if that's the case you want to go to a tab over here called color and under color there is a little eyedropper grab that eye dropper move your mouse over the image in click on one of those areas that purple quick and that's going to cause photoshopped to analyse the image and it's going to move these sliders around to figure out exactly how strong was the purple it'll adjust the amount for that and what general color range how wide a range of colors was the purple in and it will try to eliminate it so now if I look close the same areas it's really hard to see any purple double click on the word be friends I'll see before and then I'll choose after you get cleaned up but look closely wherever there's high contrast edges a dark thing touching a very bright thing right where the two touch is where it's usually easiest to see these in what you can do is just for almost every image you open you can have that check box turned on called removed chromatic aberration because it helps really the vast majority of images here is an image that was shot with a fish eye lens lets see what happens if I go to lens corrections and I turn on enable profile corrections it tried to straighten out the fish eye before after sometimes I like that it does that for certain images because I just couldn't get a wide enough angle lens and I grabbed my fish I could but I knew it would distort but other times I only wanted it too brightened the corners of the image to make it consistent in brightness across so that's when I go to profile and right here under distortion I can lower it down and just say don't correct for that more if you want to get crazy you can push it even further to get the opposite there are other things within there that could be helpful though so let's take a look at him with this image I can tell that I had my lens tilted upward a little bit you see how the top of the building were just pretty much this line right here is not perfectly straight up and down often times you need to tell your camera up a little bit in order to get the top of a tall building in and when you do that these lines they start getting closer together as they get higher and higher you've all taken a picture of a skyscraper pointed up on the top looks much smaller the bottom well you can happen to a lesser extent like this in the same lens corrections area I might go to the basic area and turn on the two check boxes first to get it to get the corners to a brightness it's similar to the middle incorrect for the chromatic aberrations but after that just below that there are some buttons seem right here these air going to try to correct for perspective problems where if you tilted your lens in the building's off a little bit so I'm just gonna hit the auto bud look what I just did look at those verticals this one here that used to be near the edge of the frame will choose undo see it before it auto there it is after if auto doesn't do a good job there are other controls underneath the one called level will tryto level your photograph if it was crooked the one called vertical will on ly concentrate on the vertical zay building and won't try to do anything with the roof line like that the horizontal lt's so we could try that and then there's one called full which will often give you really weird looking result because it's trying to correct for both vertical lines and horizontal ones see how it made the edge of this building looks straight here I mean it didn't do anything with that but that edge right there compared to just being on the vertical used to be so most of time auto does a pretty good job but when it fails then I might try clicking on some of the other choices that air there and then the other thing I might do on this delicious crab my crop tool get rid of all that dead space at the bottom yeah so the combination of all the controls that aaron her lens corrections are quite useful louche with this image used to look like before lens corrections were applied I'm just going to turn off a little check box next the lens corrections before after that's because this image was originally shot with a fish islands and a fish eye lens really makes things look bent so if I turn off the lens corrections the other thing I need to do is clear the cropping that's on it because you see how you're not seeing the whole frame there's a reset button at the bottom for that so there's my original picture and let's see if we can make it a little more usable because to me the fish eye effect here is a little more distracting to the image so this is where under lens corrections I would come in here in turn on this little check box and let's see if we can reset some of this by turning off any weird settings that air in here those are all zeroed out okay so I'm going to turn on the two check boxes for chromatic aberration and lens profile that straighten it out relatively well but now I notice it's uneven do you see the distance right here compared to on the other side so let's see if I can get it to b level did okay but it's not perfect well if this doesn't do what you need you can do things manually you see there's a choice on the right side called manual if I click on one of the choices in here is rotate and so I can come in and just wrote that that around until I'm looking at the right and left sides right down here at the bottom trying to get to be evenly spaced then it's distracting to me that I tilted my lens up so much I wish I would have done it a little bit less well there's a choice here called vertical and I could make it even worse or I could go the other direction and I can try to straighten it out there's a limit to how far I could go but I don't know that I need to completely get rid of that I just don't want it to be quite a prominent maybe they're if it starts cutting off the top of the image there is a choice called scale and if you bring scale down it will scale down the pictures so that you can see if there's any stuff going beyond the edge and so therefore you're not limited to that so let's see here I'll go maybe about like that then the only other thing I need to do is crop out this empty space at the bottom so I grabbed my crop tool and I'll end up bringing this up like that if I wasn't willing to bring it up this high if instead it looked better right there I could use content aware fill in photoshopped to fill it in to remember content where phil we used on a panorama to fill in the sky in certain areas but I think it's fine if I bring it in there so you could see how you can transform an image quite a bit with lens corrections makes sense any questions questions yes great so couple ones grandpa jack wants to know can I or should I set to automatically remove chromatic aberrations and enable profile corrections as I import images what you could do is you can create a preset if you like we're make sure that you haven't moved any of the sliders at all in the that area other than exactly what you want which would be mainly the enabled chromatic aberrations and then you can save a preset over on the left side remember there's a choice down here called where is it recess and you could make a preset called removed chromatic aberration and then when you import your pictures on the right side of the import dialog box right where I had a choice for metadata template in keywords well there's a preset choice there and I could have it applied developed preset I wouldn't necessarily have it do the profile corrections in every single picture unless you don't own a fisheye lens because it would screw up your fish eyes and you might not realize that they were fisheye shots s so you could do that or you can even update the actual of default setting toe always have it on but yeah that wouldn't be a bad thing and then e c would like to know eyes they're much degradation of the image when you correct for distortion it is scaling the picture so any time you scale a picture it's going to soften the image a bit and so it's a matter of you got to decide what is worse the distortion is that worse or would it be worse to have a slightly soft image because any time you scale an image it's going to soften a little bit I could just boost up the sharpening a little bit to tryto compensate for it s o most the time I'm on ly compensating for it when it would be overly useful and so it's just a consequence that you have tto teo deal with great thank you and remember you have your full history so even when I was playing there I can always get back to wherever it was I wass which I think was that version but I kind of like our version sells well leave with ours
After catching parts of each of the three days, I knew that I would need to have access to this wealth of information. What is great about the program is the ability to stop and go back over something that is not fully understood...and be able to do that until confident enough to move on. I saw no "fluff" in the course, just great information imparted with a style that is makes it easy to understand. CreativeLive scored a big hit with this course! The bonus material is SO valuable, especially the presets. That saves an enormous amount of time for me. My appreciation of the power behind the software is becoming ever clearer. Thanks, Ben, for another outstanding presentation!
Shannon Beelman Photography
Ben has been amazing! He is a wealth of information on organizing images as well as great tips to make your travel images pop just a little more. I came into this class feeling like I had a good handle on lightroom and have come out with a better understanding of the power of the software to make artistic life easier. He covers tips, tricks and little known options that help make workflow smother.
I have sat here watching as much of the free broadcast as I can and in this last week I have gotten control over years of images in my lightroom. This is one I know I will be buying soon.
Great class! Somehow, it was enjoyable not having Ben default to "curves for everything"! I don't think the title for this course did it justice, tho. This class was 90% Light Room and 10% Photoshop. I was very happy to discover that dynamic and equally as happy to purchase this course! If you are new to Light Room, this class is a MUST. Creative Live offers several LR classes but this is the one to own. Ben is working on his new book about Light Room Mastery - can't wait! In the meanwhile, I'll be watching Ben's thorough approach to LR in this video. So, don't let the title throw you a curve ball, if you are new to Light Room or a seasoned user, there's plenty of great information - delivered as only Ben can! Thanks CL for this great class!