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This course is a collection of short Photoshop and Illustrator projects and creative effects that can be completed in ten minutes or less. The series is taught by computer graphics guru Deke McClelland, and presented in his signature step-by-step style. The intent is to reveal how various Photoshop and Illustrator features can be combined and leveraged in real-world examples so that they can be applied to creative projects right away.
All right, so in the previous movie I showed you how to correct for chromatic aberrations, specifically transverse chromatic aberration, using the Lens Correction filter. In this movie, I am going to show you how to correct with more control, even though you have fewer controls to work with inside of Camera RAW. So just to very quickly review what we did last time, you go on to the Filter menu. You choose Lens Correction here inside Photoshop. You go ahead and zoom in on a detail, some area that has problems inside of the image, which is going to be some area near the outside, near the perimeter of the image.
And then you switch over to the Custom panel, here inside the dialog box and notice that you have three controls to work with. I went ahead, where this image is concerned, and change the Green/Magenta Fringe to -30 and then I balanced things out a little bit by changing the other two controls, Red/Cyan and Blue/Yellow, to 15. So I did most of the work using Green/Magenta. The irony is that Green/Magenta does not exist. That's the one control that does not exist inside of Camera RAW. You have Red/Cyan.
You have Blue/Yellow. However, they work very differently, so we're able to correct the image just using two controls instead of one, and you'll see we have greater control. Anyway, I am going to click OK in order to accept that modification, and we end up correcting the image. All right, now let's see how to correct the image inside of Camera RAW, and this is the same way it works inside of Lightroom as well. I'll go over to my Mini Bridge here inside of Photoshop and I've got this Rialto bridge.dng file. So this is a RAW image that was captured using my Olympus E-30.
You could, however, work with a JPEG or a TIFF image as well. So, I've got my bridge inside the Mini Bridge-- how's that for thematic consistency?-- and I'll right-click on that image and I'll choose Open in Camera Raw. And that's the way you'll want to work as well. So I'll go ahead and choose that command and the image obviously loads. I'll go ahead and zoom in on that same portion of the image over there. And why don't we just go ahead and zoom to 200%? And then I'll scroll over to that region of my photograph.
And we can see that the image is riddled with these aberrant color fringes that appear around these sort of shuttered windows here as green and red, and then around this figuring here, the statue. It appears sort of purplish on one side and cyan on the other side. Now notice we've got these Temperature and Tint controls. This is very important because that's the way that Camera Raw operates on chromatic aberrations as well, is by evaluating temperature and tint information, as opposed to strictly channel- based RGB information, by the way.
Because technically speaking, we don't have any channels at this point where a RAW image is concerned. So Temperature allows you to cool down the image or warm it up, so send it to either more blue or more yellow. And then Tint is a perpendicular color access that allows you to compensate for the Temperature control and you can make the image more green or more magenta, essentially. Now what I typically do at this point, just for the sake of seeing those chromatic aberrations in all their glory, I go ahead and crank Vibrance to the roof.
I'll take it to 100%, and then I take up the Saturation value as well. I'll take it to 20. Now, I am not going to leave those controls there. I just want to be able to see those chromatic aberrations as clearly as possible. All right, next you go ahead and switch to this panel, Lens Corrections. So it has the same name as the filter. And then drop down here to Chromatic Aberration. Make sure that your manual controls, you need to click on the Manual tab to switch over to it. And you'll see these two Chromatic Aberration sliders. So we've got Red/Cyan. We have Blue/Yellow. We do not have Green/Magenta.
Now the way to really think about these controls is Fix Blue/Yellow Fringe is your temperature control, so that Blue/ yellow slider we saw just a moment ago, and Red/Cyan is analogous to the Tint control. All right, so I am going to start things off with Red/Cyan. Now, I was telling you when we were working with the Lens Correction filter that if the green is over here on the left- hand side and the red is over here on the right-hand side, then they're in the same order as Green/Magenta inside of that dialog box. Well, we don't have that here, and the logic doesn't really apply anymore.
In this case, what I recommend you do, we have a special little trick that you want to take advantage of. Instead of just dragging this control back and forth, which you can do, in order to just figure out, if I go this direction why the effect gets worse, so if I go this direction it gets better. You can do that if you want to. But here is an even better way to work. While you're dragging this slider control here, go ahead and press the Alt key on the PC or the Option key on the Mac, and then you'll get this kind of monochromatic view of your image. And if you see any form of color fringing going on around those edges, then that's bad, as we're seeing right now.
And if you drag the other direction while you still have Alt or Option down, then the image will become more monochromatic. And as soon as it's absolutely monochromatic around those edges, whatever the color you're seeing on screen doesn't matter. You want to see just that one color around the edge detail, then that's a good thing. That means you've wiped out those aberrations. So at a Red/Cyan Fringe value of -30, I get some very good results there. All right, so I went ahead and release the control. That returns me to the full color image. We've still got a problem with the figurine. It still has a very blue face and some cyan in the back.
And I can help eliminate that problem-- not entirely get rid of it, but I can help eliminate it--by Alt+Dragging or Option+Dragging this control right there. And notice that again I am looking for a monochromatic image. I don't want to see a bunch of fringes around the edges like I do now with a negative value. So I am going to take this value into the positive territory, and I am actually going to take it up to +15, and that pretty much does the trick. All right, now having gotten rid of the color fringing and there is still some color in this figurine, but as I said in the previous movie I didn't really see the figurine up close.
I don't know what colors are really there. I don't know if it's plain white and these are sort of grayer shadows or if they're really colorful shadows as they look here. So it's not really all that important. All right, now before we switch back to the Basic panel, which we'll do in a second, I want to show you that you can also preview your adjustments here inside this dialog box by pressing the P key once again. You can also turn off that check box right there at the top of the dialog box. But I am just going to press the P key in order to turn off the preview, notice we're just previewing the effects of this one panel. So we're still seeing the hyper- saturated colors in other words.
This is the old chromatic aberrations, the bad ones. And then I'll press the P key in order to invoke the preview and we'll see our adjustments or compensation. It looks very good. So now I am going to switch back to the Basic panel, and the reason I am doing this is I don't really want the high Vibrance and Saturation. So I'll return the Saturation value to 0, and I'll reset the Vibrance to what I had come up with before, which is 65. Now, if you want to open the image inside of Photoshop, which I do, then you'd want to click on the Open Image button. If you want the option to revisit Camera RAW any time you like, then press the Shift key in order to change that button to Open Object and then click on it.
And what that'll do is open the image as a Smart Object with the option to return to the Camera RAW just by double-clicking that thumbnail, that smart object thumbnail there inside the Layers panel. All right, I am going to hide the Mini Bridge so I can better see what I am doing. Now just because we've worked inside of Camera RAW and we've taken a more sophisticated approach to getting rid of the chromatic aberrations doesn't mean that's going to completely do the trick. It may well be that you still have a few aberrations to deal with, in which case you can now throw on the Lens Correction filter. So that's what I am going to do.
I am going to go ahead and zoom in on this detail once again, and maybe zoom in a little farther to 200%, so I can better see what I am doing. And then I'll go up to the Filter menu and choose Lens Correction. Now because I am working with the Smart Object, Photoshop is going to apply this filter as a Smart Filter, and I can edit its settings any time I like as well. So I'll go ahead and choose Lens Correction. Once again, I've got to zoom in here, always zoom in when we're trying to figure out chromatic aberrations. Go ahead and zoom in to 200% in my case. I'll switch over to Custom, and the only adjustment I am going to make is to take that Blue/Yellow Fringe value and knock it down to -20.
Now you may say, well, Blue/Yellow, that was available inside of Camera RAW, so why are you using it again here inside of Lens Correction? Why don't you try to get something done with Green/Magenta, which was the missing control? Well, as I was telling you, inside of Camera RAW those are really Temperature and Tint controls-- that is Blue/Yellow is Temperature, Red/Cyan is Tint. Here inside of Lens Correction we're taking advantage of the independent Red, Green, and Blue color channels, which have now been rendered out inside of Photoshop. Anyway, that gets us closer to what I am looking for. Then I would click OK in order to accept that modification, and we end up with this corrected image here.
And that is what I consider to be the best approach to wiping out chromatic aberrations inside Camera RAW and Photoshop.
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