Lessons

Lesson Info

Digial Darkroom: Enhancing Images

So I'm gonna open these up into camera raw, and I'm gonna come up here. I can either use the little iris up here to open them up into adobe camera raw, or I can do the shortcut Command are or control R. Okay, if we're in light room, let's actually go back. I mentioned that we're gonna do this inside of light room. So here, we've got our stack right here. You can see I can expand it just like I did in bridge. And I'm gonna come up here and now down here in the filmstrip. Um, I'm gonna right click on it and edit in emerged a panorama in photo shop. If I was still in bridge, which Aiken do there, we'll just jump back over, Guy. It's gonna be tools, photo shop, photo merge. Okay, so you select whatever you want inside of either the content window inside of bridge or back inside of light room. We're going to come down here and in the filmstrip, right? Click on it. Edit in, merge to Panorama in Photoshopped. You'll also notice in here we've got a few other things open as smart object in Phot...

oshop. I mentioned this. Also, on our first day, we talked about creative photography. If you were to open these up as smart objects in photo shop, all the raw data, whatever you had when you press the shutter would come into photo shop. And you could still have access to whatever you did to the file. Um, that one problem with doing panoramas is you can't stitch together smart objects. Smart objects because they maintained everything about the original file. Can't manipulate the file at a pixel level. And actually, when you stitch together Panorama, it's doing such intricate distortions to the file that it can't be done to a smart object it has harassed. Arise the file so but we will use smart objects later on in the class. Merge to Panorama is what we're going to do. Here is your merged HDR pro That's going to give you your high bit depth image for creating high dynamic range images. The great thing about HDR now is you don't have to use the HDR pro interface which isn't pretty. You actually now the standard way of doing hdr is inside. A photo shop is let HDR pro aligned them. Get them all set up and create one giant floating point path floating point mathematics file with this huge amount of dynamic range and the new tone map it inside of adobe camera, raw or inside of light room. So that is how that works. You also have the ability to open his layers in photo shop. When we do a collage inside of Photoshopped for that kind of tossed on the table Polaroid clash. You can use this technique when you open them up his layers and automatically have photo shop, align them anyway. But what we before we're going to stick your panorama? As I was mentioning, what we're gonna do is we're going to, um, tweak our images, optimized them. Last thing that I'll do is I'll show you if you guys aren't using your external editors. Um, inside of light room light room can use as many external editors as we want separate programs, and you'll notice these right here on these, like moku hunger and stuff. Thes air IPhone, APS. These are mobile photography APS that have been created for desktop computers, both Mac and PC, and you can go right out to Artie's toil from light room and get the same thing that you would get except probably in high rez on your mobile device. So if you haven't gone to the APP store for the Macintosh and the equivalent on the PC, um, you may not be taking advantage of all that you have at your disposal. OK? I'm just saying, Okay, so I mentioned before. What we're gonna do is we're gonna take a representational shot. In this case, this is the money shot out of the sequence. This is where the sun is. The color and the tone of the range is what I'm interested in. So I'm gonna come up here and I'm gonna have this image as in my main preview window, and I'm gonna jump over to the develop module and I can collapse down, give myself a little bit mawr of my space to work with, um, again, the last couple days we've been working in bridge and adobe camera raw. For those of you who are not a light room user, everything that you're looking here in the develop module has a counterpart with in adobe camera. Raw adobe camera raw is what is built into the bridge that's just will do the exact same thing here. We've got our images. Ah, click on that little iris. So we'll have the same images open in adobe camera as we have here. In fact, they are the exact same images. They are looking at the same images. Um, and we'll have that same one in the preview. Here's our toolbar At the top of a C. R. We have a filmstrip that is collapsible. On her left hand side, we have our Siris of different modules that are left to right in adobe camera raw coming back over to light room. We're going to come over here, and we're going to see that our modules are little. Panels are top to bottom rather than left to right. And the tools are here on the right hand side, not in the upper left. Aside from that, each one of these different areas, from the hissed a gram to the tools to things like the basic panel, are all exactly the same as they are inside of adobe camera. Raw terms of how they work. That's exactly the same. The files are compatible. Um, but we won't go into that because I don't recommend you use both things back and forth on Lee for trained professionals such as myself. Okay, Because I don't do tech support, because if I told you to do it, you'd say Wait. But how, Uh and you try and look me up and you wouldn't find me and again. So, um, with that also related to the interface one last thing we've been talking about presets, snapshots, collections. Those are also available inside of bridge and adobe camera raw except for history. We've talked about presets before. If you were in my class, the first day we talked about that is one of the main benefits of presets. Inside of light room is you have this wonderful navigator preview window where you literally can just come over here and scroll through your presets and see exactly what would happen if you were to click. You don't actually have to click. You just kind of hovered over until you find something you like and go for it. So that is something that is different from adobe camera raw. So you do have presets and you also have snapshots. In this case, I haven't made any snapshots this image, but that is where they would reside. That's where you can save off multiple versions of your files. Okay, Last thing related Teoh interface tips. Um, my interface you're gonna notice is different from your interface because my interface has little arrows that are made up of dots and yours is solid years. Looks like this and mine doesn't. Dan There then and there I was told that I shouldn't do that cause some people may actually get offended. Think that I'm actually saying man in India, but what it is, if you're in this mode right here, the default setting, you can open up all your different panels at one time. And that problem with that is that also means that you can have all your panels open at one time and you'll speak scrolling for a week to get down to the bottom of camera calibration. Because all your panels are open. If you hold down your option key on the Mac or the old key on the PC and click on any one of these arrows, you get into what's known as solo mode, which means that as soon as you open one, it will collapse the other ones. So you never have more than one panel open, which means you're nevermore than one click away from every single option inside of light room. So it's called solo mode. If you, um, uh, have a two button mouse, it doesn't work with the control click. You could actually see this over here on the right hand side. So to button mouse, you can right click and you can turn on what's known as solo mode. Also, because this is the last day of a three part section of our 10 parts Siri's. I'm going to give you the best tip of the entire three days right now. You ready for it? You go into your friend's computer inside of light room and you come over here and you turn off the basic panel and there's no basic panel. It's gone. They can do. They can optimize. They can tweak. They can't do anything on their files, will spend a week. They'll do tech support. Don't tell Adobe. I told you this. They will go. Absolute. This is the equivalent of Saran wrap again over the toilet seat. Right? You know that. Remember that from college? I just gave you Saran wrap over the toilet seat inside of leg room. You'd better have a two button mouse so you can turn it back on. But that's in case you never use camera calibration or whatever. You can actually turn that off. But it's hilarious. Just a hoot due to your friends. Okay, back to our basic panel. I think I'll pull that on Lisa Snyder next time she's in the studio. Yeah, I'm sure she knows that. I'm sure we've got our representational image. It has chosen. We're going to do optimizing of the image, Really not the purpose of this class to go through things like optimizing, but we'll just go through some of the basics. First thing I'm gonna do is I'm going to crop or white balance of necessary to the file crop. If you were working on the horizon line, we're dealing with this topic of shooting and stitching panoramas, even though that sort of misaligned horizon line will be part of the alignment process Inside of photo, merge with inside a photo shop. If you can see that you have a out of aligned, you know, um, rise in line for your image? No. What? We're gonna do it there. You are going to go ahead and do it. There's no reason to not go ahead and align the image in terms of your horizon line. Just give a little helping hand to the photo merge process so you can do that white balance. In this case, I could warm it up if I wanted to. I could use my eye dropper. The nice thing also, about, um, the preview window in the upper left of the navigator. I just need to hover the cursor over my image. And depending upon where I'm hovering, if I were to click, it would be creating a custom white balance based upon that. In other words, whatever I click on, it's gonna try and neutralize the color caste. I've got Gray Rock. If I really was trying to fix it, I could just go in the Great Rock and you're going to see it's basically is a correct white balance here. But you'll notice that if I go over the red of the rock, it says Okay, I'm gonna try and get rid of that red and therefore everything else is going for this dramatic blue, which could be a viable option. Except, of course, the main story here is the sunrise in this arch is known for the blood red nature of the of the underside of this arch. But I could come up here and kind of, you know, do a little bit of a combination of cool and warm. Of course I can target this other ways. I go up into the blue. Of course. It says if if I want to neutralize the blue, I'm gonna be creating a warm throughout the file so you can do a creative use of white balance in your scene. When we synchronize what we do to this image to the rest of the images, whatever we do, including white balance will automatically saying to the rest of the file. So I don't have to worry about a consistency. I can do that. I normally in this case, especially with this dramatic sunrise of blues and reds, because I have access to the HSE l panel. Another thing that we spent that first day on. You're going to know that if I want to warm up the shadows or cool down or do some change I have access to hs l. So I can go in and pour color basis And I can warm up that blues a little bit without changing the red. Or I can take my shadows and make them a little bit more purple without neutralising my highlights here, the red ones here. So I'm not gonna be using white balance in any creative way here. Just remember that you do have access to it, and it could be creative. That may be one of your first steps when you do change the white balance. If I were to come up here and click on this, but I don't have to click on it. If you look at, um, the image, you can see how it's changing the luminosity, your hissed, a gram will change if you change your white balance. You want to have an accurate hissed a gram for all of your tweaking steps. So don't save white balance toward the end. Do it toward the beginning. If you know you need to do that. Okay. Oprah Becker to Turkey baster. Next. If you want, you can hit the, um, auto button down here as part of our basic panel again, either in light room or a CR auto is gonna take a stab at thes 1st 6 different aspects of your image the 1st 2 exposure contrast or your mid tone values if you're doing a portrait, which probably not for panorama. But if you got a portrait, that would be your basic skin tone is what you're looking for in terms of a file. Um, but the exaggeration. That contrast is a mid tone of the of A curves adjustment. The steepness of a mid tone curves adjustment. You then have highlights. And shadows, which are kind of your quarter and 3/4 tones, doesn't quite map out to 1/4 system. But you can think of it that way and setting of your black and white point. If you come up here to your hissed a gram, you'll notice as I move over each one of these kind of quadrants, it is showing me what is being affected. As a matter of fact, if you look down here to the numeric values, those are also being highlighted as I move through it. This has been added to Adobe camera, so this is a feature built into adobe camera raw now as well. Um, so I'm going to hit auto. And when I hit auto, you're going to see that it is going to make a stab. As I said of these six things, So it's taking exposure up. Contrast down highlights way down, shadows up, whites up and blacks up as well. Now that may or may not be a good adjustment for what you're going for. It's a bloody computer. It has no idea what story you're trying to tell. This is backlit silhouette shapes. The last thing I may want is that much shadow detail in this file because I'm going for this beautiful, positive, negative. You know, Yang Yang of light, dark, blood, red and black shadow, so I may not need any of that. But the nice thing is, is by hitting Auto one, you're going to see what's in your file if it had to do some significant work to it, and it may be a good starting point for what you're working on. So again, auto, if you don't like it, then you can simply undo and move onto the next step I'm gonna undo just so I can go through the other steps that you can see that process when it comes to a landscape. Oftentimes, the next thing that I'm gonna do is I'm actually gonna do clarity pretty darn early in that process, and you could see that contrast it's already in this file. Looks like it's been manipulated a little bit, um, clarity, because clarity is edge contrast. It's not mid tone contrast like we had up here with a contrast lighter, its edge contrast. And with that, um, it's going to have the potential of, um, actually plugging up or blowing out your highlighter shadow detail along that edge. Contrast. In other words, you can get greedy with it, and with that greediness, because it does such a great popping. That clarity is this. You know, it's known a structure and other sort of applications. It could be so elaborate that you get a little greedy and therefore it was dark in your shadows or lighten your highlights in this edge areas you're going to see in a second. Because of that, I will often do clarity before I'll do shadow and highlight, because that way I won't do shadow and highlight do clarity and then that will actually mess up your highlight and shadow. Let me just do it and you're gonna see what I'm talking about. So here you can see what it's doing by exaggerating the tone in the file you're looking. If you look at this ridge here, let's go ahead and take this toe, Phil. Um, not to be confused with Agent Coulson. Okay. I had to be a geek reference. I give it a try. OK, Bill, When did he become Phil? Iron Man? Come on. Agent Coulson, Agents of Shield. OK, so you can see what it's doing, its exaggerating the planes in the file. If we look into the distance, all this atmospheric perspective, all the rays of light, all the little elements within the detail in the rocks is being exaggerated with clarity, and you can see why it can be so addictive. But with that, it may actually be darkening these shadows along the edge too much. But by doing it beforehand, before I do the rest of the image, um, I now Congar oh into shadow and bring back whatever detail that I may want. So let's let's go ahead and take that quite a ways up. Maybe not all the ways up, but we'll take that up. So, clarity. Then I'm gonna do shadow. This is where I can determine how much shadow I want to bring into the file. Okay? I do want some detail. I love the layered nature of these rocks in the foreground. So I've got that. My highlight. I'm gonna do that next, and you can see that I can come up here and pull in a little bit more detail. Remember, this is a J peg file, so it's tonal range in the census cooked in. I did that just for the file size here. I could have used the new reduction in raw file size. Basically, what's brought in is part of spark previews won't go into that technology now, but you actually can reduce files, leave them raw and change their file sizes. That's typically what I do in terms of teaching these days is will reduce the teaching files, maintain their raw attributes. But in this case, this is a J pic. Okay, so I'm gonna take my highlights down to maintain a little bit more. You'll notice that this does look like this image has been opened up before I got vibrance down that it's such it really is. If you've never been to this location, it is just dramatic how the sun is bouncing off the cliff face up onto this arch that is over the cliff on the other side of the cliff. And so I'm actually taking down, um, the vibrance in the file, you know, make it a little bit more, probably closer to what would be a printable gamut. Gamut. If you know May, with the term gamut is a reproducible range of colors For a particular device, a monitor has a gamut. Printers are mainly what you're concerned with. What gamut, What range of colors can a printer print coming up here and turning on our warnings If we come up here And uh, let's take this up, see if we can get it out of gamut in terms of color. Certainly we if we come up here in terms of our whites, you're going to see these warnings that saying that I'm clipping the tonal range somewhere within this file, okay, and a period see little flecks of blue that saying that's going to one of those channels is being clipped again. I don't want it. We could spend the whole day on just the basic panel right here. But for now, we'll say that that vibrance and we could get into self proofing, which we won't get into. But for right now, we'll say that a slight reduction in the vibrance is gonna make me a lot more comfortable with getting a decent print out of this. So because it's already kind of carried away. So I've got that there, um, anything last that I might do you if you've been with me before, you know that I might do Ah, a then yet to draw the eye into the center of the scene. If I've got bright areas in the corners, you can notice that when I brought in clarity, it actually kind of brought in a little bit of vignette along our corners. Um, I'm not really crazy about that, because I'm really not going for that. I'm trying to stitch together a series of images, and the last thing I want is to have a dark corner where you're going to get this scalloped effect in the sky. So but I like clarity. So what am I gonna do? Obviously what I'm gonna do is just wine about it, complain and say that it doesn't quite work. Let's actually do a couple things here. And this brings up a uninterested point, um, of doing targeted adjustments inside of a panorama. Normally, you would stay away from If I've got this image and this image in this image, I don't want a dodge and burn on this image and then come over in Dodge and burn on this image because the likelihood of me doing the exact same dodge in this overlapping area on this image in exactly the same dodging and burning on this image, there's the chance that I'm just not gonna match that. So I would excuse me. I'd recommend that you're very, very cautious in terms of doing targeted adjustments as an example going in and hand putting in clarity inside that rock. If you are going to do it, do it with a big, soft, subtle brush. Don't do any targeted real work on the file. Make sure that it's big, soft and subtle, or you could do a targeted adjustment with something like a graduated filter. If you actually are on a level tripod, then your images air probably lining up pretty well across the scene, and then using this graduated filter right here inside of flight room is going to allow you to do some targeted adjustment. As an example, you could do a little graduated in D effect on the sky. Darken that up that maybe something Will you hold off until you're done with the panorama Has targeted adjustments are a little bit precarious to do separately before you do the stitch, so as a default setting, when light room goes into Photoshopped to do it's stitching, it keeps it as a 16 bit high bit depth image. 16 bits per channel. It will keep it's billions of colors. They'll still be cooked into the file. They'll be permanent, but it will have a range of potentially billions of colors at its disposal. So targeted adjustments coming from a panorama from light room into Photoshopped as a default. You still have that latitude there. You have my blessing to do targeted adjustments there. So from that standpoint, what I'm a do is take down my clarity for the global image, and then I'm gonna come back in with done, and I'm going to do the dodging and burning and a little bit of that clarity when I'm done with my panorama. If I were to do some sort of target adjustment, maybe I'll come over here to my graduated filter. Reset it. You notice that I've got a, um, preset already loaded here. Glamour skin. What presets For Brett. If you guys haven't been taking advantage of presets for targeted adjustments in both light room and adobe camera raw that have been there for years, you should. Because just like you have presets on the left hand side, you can create presets for your targeted adjustments inside of both adobe camera, raw and light room. And they are pitching because if you come up with a little glamour skin glow brush that knocks your socks off, you do it once. You certainly want to be able to grab that tool quickly. And, you know, portrait one put to the only way you're gonna make a money. And photography is if you can bang at your work quick, which would lead you to my light room class or my adobe camera raw class, where we go into all that sort of thing who have glamour, retouching and all sorts of stuff. But we won't go into that here. Basically, if you come over here to this little thing, you come up here and save current settings as new presets. So that's how you create new presets. And the same thing is in adobe camera raw, a little teeny menu in the upper right hand corner. Click on it and you can access or save your own presets. Four targeted adjustments in this case, I want to reset thes because I'm not gonna do glamour skin. And ah, in that case, I'm gonna come over here and reset. I mentioned also the other day that if in doubt about where little hidden features and light room are, you hold down the option key on the Mac or the all key on the PC. In this case, you're going to notice that the word effects which looks like a label, is actually a button. And if you hold on the option key, it tells you that clicking on that will reset all the parameters in that panel. Really good to know, because they are sticky and obviously I wasn't doing glamour skin. That was for the last session that I was working on. Okay, so that is a good thing to know. And I'm now gonna come up here and let's say that I do want to do a little bit of a targeted adjustment, and it could be that I dio I'll just show it in the sky. We won't. Actually, I'll do. I'll save that for later. But just to show you that some things like a Grady int maybe something that you would want to do globally. If you've been working on a level tripod than, in all likelihood, these air going toe line up, I'm quite well. But for this case, I'll hold off and, um, get rid of that little adjustment. Okay, so we've done Ah, basic tone. We will come over here and, uh, in our basic panel, we'd have shadows up. We'll do it a little bit more. So it's basically here is, um, are before and after your, um I'm gonna go back and turn off our warning here. And, um, your preview setting in, uh, right image inside of light room Is your backslash key your before After a preview button is the backslash key in adobe camera raw. It is the peaky. It now has a nice before and after inside of adobe camera raw on, but we're using the backslash key for our preview. So we've got one image set. I'm not going to go through the images, the other images down here in my filmstrip. Select the rest of the five images and you'll notice is soon as I selected more than one, a little button became active down here in the lower right, and that is the sink. But sync button. If you hold down the option, it's going to automatically sync everything in the file. You'll notice is a default. It has that ellipse I mentioned before, which means it's gonna ask your opinion on how you would like to sink it. What aspects of what you did to one file. You can sink to the others, so if you're lazy and you know that you're going toe, I think everything you can hold down the option or all key and it turns into a sync button. Also, this little button little light switch over here lets you do on Auto Sync that would mean if you were to select all five images while you're working on one, it would automatically sync those parameters. Toe all at one time is a little slower, cause obviously, it's working on five images at one time, and if you're doing targeted adjustments, it's not really appropriate for that. So I rarely use the auto Sync capabilities. I just hit, sync and come up here and I can say check all, maybe check all but not Crop because, as I mentioned, I may have used that crop to straight in the file on the horizon line as I moved around. So in this case, everything that I did toe one file I'm going to share with all the other files automatically. I'm taking advantage of my work flow to do it toe once and rather than if I had done this in photo shop, then obviously I would have needed to read an action or something to make sure I was exactly the same on each one of the files. Okay, you've got all the images set. Let's just go ahead and right click, and that will do that. Edit in merged to Panorama in Photoshopped Well, that starts up questions in the studio audience or out in TV land. Yes, Why did you take off the uncheck? The out of gamut warning. Oh, well, I was working after a while. Annoying. Oh, glue. Um, remember, gamut is the gamut. Warning is telling you that there's clipping in one of the one or more of the three channels red, green and blue. It may just be in one, so you may still have detail as next sense. I was getting a little blue clipping in the shadow. Its shadow. The human eye is not used to seeing detail in shadows, so clip shadow is nothing I'm gonna worry about in terms of printing. If it was in something like a person's face or eyes or some other area, certainly something other than a landscape, I could say, You know, I don't want any clipping to take place, but there's nothing illegal with a clipped shadow. There's even nothing illegal with a clipped highlight. If it's reflective surface glass, chrome water, the white of the paper of a print, which is this old antique way of reproducing photographs by actually having them in a physical. So there's nothing wrong with a speculum highlight. You know your eyes and all these things. So the gamut warning out of gamut warning is a nice precaution. I do have it there when I'm setting my tongue range. That's what I when I turned it on, but I don't leave it on while I'm working in most of the files. I can always look at my history, Graham. And you know, that's a rare that's for you to go in there. Hopefully, you're working with a calibrated monitor. It's all Presupposes. You have a calibrated monitor, so you know, good question. One question from online Johnny five. Wondering about lens correction on images And do you do that before you sticks? Damages? Absolutely, absolutely. We're I'm gonna saving that for when we stitch at GoPro image. But there's no reason in the world why we should have brought it up prior to this situation here. The other thing I did is I did a basic optimizing of the image, but I didn't do any sharpening. That would be one other aspect of it where, because I have more information, you really should do whatever you can to that file to make it as good as possible. If you're doing a correction to the image using the profile associated with particular lens, like what we'll do with Go pro? Ah, then by all means, you should do it. This dialog box here has an option for geometric distortion correction in it, so it's gonna attempt to do exactly that. But it's not doing the same sort of algorithms that will be done based upon a specific profile for a specific lens. And as I mentioned, even on things like the GoPro, Adobe has gone out of their way to do a scientific profiling of this exact sensor glass relationship. So you definitely should do that. And that's under the lens correction setting beforehand. And let's actually let's go ahead and cancel out of here and do that because even on this file probably was shooting at more of a wide angle anyway. So let's go here and go into our lens correction. We'll see if you can find this is a little bit of an older file, and basically what we're talking about here is under the basic portion of it. You've got enable profile correction. Now you can see it actually is doing a bit of a correction right there, and that actually is a really good point. Um, thank you for reminding me, even on this file here, that it's doing two things when you do enable the profile correction. It is coming up here and getting rid of the distortion. You can see it's doing a little bit of anti what would be considered a pin cushion and anti barrel, and it's bringing it back in. But it's also doing a vignette. If you look at the corners of the file, it's going in there and trying to make a consistent exposure across the entire what would have been called the film plane in the olden days. So there's really no reason at all to not take advantage of that, especially when we were trying to align images, especially when we've been working with a little bit wider angle lens than we normally might like. That is one of the in the olden days, you would never shoot a panorama with a wide angle lens just because it was so impossible. Each one of these has their own little distortion, so you can get away with it. Even with a fish eye, but there's no reason to not try and help that process along to things like taking advantage of remove chromatic aberrations. Okay, is also another feature built into it. This is now done via algorithms. Before it used to be done by profile profiling. What distortion may have come in on the edges, What are known as chromatic aberrations? Chromatic aberrations is just a nice big word to throw around it. Parties, you know, press people, you know, oxidative foster relation is also really good. One just toe have in your bag of tricks. Um and you've also got constrained crop here if you wanted to. So that's when you do a Dua distortion. It can make sure that you don't get that as part of your final image. But anyway, so, um, that there's no reason for the most part with doing Panorama is why not to enable that, Um, this case right here, it's actually finding the lens set up for this particular lens. Sometimes it can't do it, and therefore you'd have to come up here and either fake it under this distortion and vignette ing option, you can see I can kind of exaggerate either one of those effects the correction that it's doing in this case, I like what it's doing as part of the profile. This is also where you can have that remove chromatic aberration turned on and fine tune that the last thing which will do here, which you could do related to, um, correcting an image is play around with a manual distortion of the file to try and correct for that perspective, this for the most part, I'm not going to do on individual files that I'm going to stitch because it doesn't know when I do one. The profile they can say. OK, all of these lenses have the same profile, and I can get a consistent correction. But if I come up here and say go into what's known as the new upright options found under basic where I can tell it to a level vertical auto will do this. Maybe with a architectural piece. Well, you can see what it's trying to dio. I typically will not do this for, um Panorama because, especially if I'm doing this, I'm getting some distortion. I was probably shooting by hand, and I may not be in a level environment, and so each one will be a slightly different correction, and I wouldn't be able to sink that in there, so I will take advantage of the profile. This is getting rid of lens distortion when you get down here into the upright option. This is getting rid of a perspective distortion, which is based upon how your camera is pointing up or down. It's not related necessarily to the lens. It's how far off a a leveled, um, shooting your at so very good. So we're just adding that there and in terms of sharpening again in terms of our detail, if we wanted to do some basic, you know, color luminosity or some sharpening to the file, um, I would certainly do it at this stage as well before I cooked the file inside a photo shop. So very good questions. Okay, I still have my one image. I don't have Auto Sync turned on. You'll notice that I have all the five images still selected, but only one is in my main preview window. So I'm gonna do that same sink again and come up here and say synchronized. So now all those settings, including this sharpening my lens correction. Everything has been sync between the files. Very, very good point. OK, now we're gonna right click now edit in now go down to merged Panorama in photo shop. Now, any more questions while it's going up in looting that stuff it? Yeah, we did have one Jack from Louise. Wanted to know when you upload the images from the GoPro to a CR what size image can you hope to produce? Depends one. How many I'm trying to stitch together right there. It's a 12 megapixel camera as a default coming from the phantom vision. If you're doing that one of those aerial ones, that's a 14 megapixel camera. Um, it depends point having your sitting together and what you're gonna dio. Um, big question. Well, it's been a lot of time on that. We will touch on when I blow this up. I'll touch on something I mentioned yesterday how I was able to get this ridiculous sharpness here. So we will touch on that. Um, but, uh, what dp I you need dots per inch is related to output PP. I is a file, you know, resolution. How many pixels Branch. Um or or vice versa. Pixels per inch is on the printed page. How many pixels are gonna be squished together for that print? So the pp I have a print depends upon what substrate you're going to, What surface? Your printing to things like this. This is a gallery rap with canvas canvas covers, a multitude of sins, the refraction of light across a textured surface. Whether canvas or taking into account something like an uncoated stock like watercolor paper. Both of those you could probably get away with 1 50 p p. I files much lower resolution than what most people print at which they normally think of his 300 300. Because of how interpolation works, 300 is actually four times as big point percent bigger file than a 1 50 If you think 1 51 51 51 50 When you're blowing up twice, it's four times the amount of information to double that file size. So what most people think of as I can print out this bigot 300 b p I. You can probably and watercolor paper on Akin Gelli wrap. You could probably double that safely because you could get away with murder, especially on something like a watercolor paper where you have, ah dot gate. Excuse me? A compensation. They Where The dots on the inkjet printer actually going to expand so you can get away with a lot mawr if you take that and go, well, I can double the file size because I know about Topaz Simplify, which we're gonna show in a little bit, probably after a break coming up. Now, you have just gone another twice as big as what you thought was the option. So a 300 dp I if I would have said I can only print this at 300 p I it would have been at least 1/4 of this. Have at least made this 40% bigger than what most people would print. Because I know those two things. I get away with murder because of the gallery rap and I could get away with murder once I've run this through something like Topaz simplifying