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Adding a vignette

From: Photoshop CS5: Landscape Photography

Video: Adding a vignette

Earlier, we talked about how the photographer's job, when composing a shot, is to help guide the viewer's eye. We looked at tonal control as a way to lead the viewer through your image. But there are many other options, and one of the most effective is vignetting. Of course, earlier we viewed vignetting as a problem, and we looked at ways to remove it. But there will be times when adding a vignette might be exactly what you need to guide the viewer's eye through your image. Now, we could have added a vignette in Camera Raw, but honestly I didn't think of it at the time because I didn't know the image needed it.

Adding a vignette

Earlier, we talked about how the photographer's job, when composing a shot, is to help guide the viewer's eye. We looked at tonal control as a way to lead the viewer through your image. But there are many other options, and one of the most effective is vignetting. Of course, earlier we viewed vignetting as a problem, and we looked at ways to remove it. But there will be times when adding a vignette might be exactly what you need to guide the viewer's eye through your image. Now, we could have added a vignette in Camera Raw, but honestly I didn't think of it at the time because I didn't know the image needed it.

It wasn't until I got here to Photoshop and made some other corrections that I started to realize well, it's kind of just grass going out both sides of the image here. My eye doesn't really know what to do; it just wonders off. Maybe if there was a vignetting, because I can see a little bit of it here, maybe if there was all the way around the image, that would keep the viewer's eye here in the center. Fortunately, we can add a vignette here in Photoshop, and not have to go back to Camera Raw and start over. The Photoshop Vignetting tool is a destructive edit. It goes in and darkens the corners of the current layer.

I would like to implement it in a way that is nondestructive, in case vignetting turns up actually to be a really bad idea. So what I am going to do is go over here to my Layers palette where I have my Background layer, which contains my image, and I have these two adjustment layers. I am going to duplicate the Background layer. I can do that by clicking and dragging it down to the Add New layer button. Now, I have two copies of exactly the same image. I basically made a backup of the image data within the file itself. With my copy selected, I am going to go up here to Filter, and choose Lens Correction.

That takes me to Photoshop's mighty Lens Correction plug-in here, which has a few different things in it. In this tab, I've got Auto Correction, which will automatically try to identify what lens and camera I was using. To tell you the truth, it got it wrong. I've got the lens correct, but it didn't get the camera. It's going to, based on what it knows of that lens, try to automatically fix geometric distortion, which means barrel, and pin cushion distortion, which looks like an image that's being blown outwards or blown inwards.

It's going to try and correct Chromatic Aberration and Vignetting, all of things that we saw in Camera Raw. I am going to turn all this off, and there you see my image just went back to where it was, as I liked the way the image looked before. I am going to switch over here to the Custom tab where I get a lot of manual controls, manual controls of Distortion, Chromatic Aberration, Vignetting, and Perspective. This can be really nice when you are shooting architecture. You can correct perspective and vanishing point. But what I would like to do is darken the corners of the image, so I am going to just drag this to the left, and right away I've got a pretty nice vignette.

Just as in Camera Raw, I control how wide the vignette is with this slider, and I am liking that a lot more. It's almost turned the image into kind of a circular thing. I am going to click OK to accept this edit, and make the change, and there we go. I now have an upper layer that has a vignette on it. I can hide that, and you can see the un-vignetted layer below. If it turns out I don't like this vignette, I cannot go back and adjust its parameters the way that I can in Raw, but I could, if I so chose, drag it to the Trash, and now I am back to just my normal un-vignetted image.

So this is a way of taking a normally destructive edit and making it non-destructive. More importantly, it's a way of adding a vignette to my image to try to bring focus back to the center.

Show transcript

This video is part of

Image for Photoshop CS5: Landscape Photography
Photoshop CS5: Landscape Photography

59 video lessons · 22258 viewers

Ben Long
Author

 
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  1. 3m 14s
    1. Welcome
      1m 44s
    2. Using the exercise files
      1m 30s
  2. 46m 35s
    1. Defining landscape photography
      2m 23s
    2. Considering cameras and gear
      10m 41s
    3. Shooting and composition tips
      6m 39s
    4. Why you should shoot raw instead of JPEG
      4m 25s
    5. Making selects
      10m 42s
    6. Understanding the histogram
      6m 53s
    7. A little color theory
      4m 52s
  3. 1h 14m
    1. Opening an image
      4m 42s
    2. Cropping and straightening
      9m 56s
    3. Nondestructive editing
      6m 23s
    4. Spotting and cleanup
      3m 53s
    5. Cleaning the camera sensor
      11m 17s
    6. Lens correction
      6m 26s
    7. Correcting overexposed highlights
      7m 29s
    8. Basic tonal correction
      5m 45s
    9. Correcting blacks
      11m 54s
    10. Correcting white balance
      6m 35s
  4. 21m 34s
    1. Performing localized edits with the Gradient Filter tool
      7m 24s
    2. Performing localized edits with the Adjustment brush
      7m 54s
    3. Controlling brush and gradient edits
      6m 16s
  5. 16m 34s
    1. Working with noise reduction
      5m 33s
    2. Clarity and sharpening
      5m 23s
    3. Exiting Camera Raw
      5m 38s
  6. 58m 5s
    1. Retouching
      8m 23s
    2. Using Levels adjustment layers
      10m 59s
    3. Saving images with adjustment layers
      4m 18s
    4. Advanced Levels adjustment layers
      9m 36s
    5. Guiding the viewer's eye with Levels
      8m 48s
    6. Using gradient masks for multiple adjustments
      5m 32s
    7. Correcting color in JPEG images
      3m 15s
    8. Adding a vignette
      3m 25s
    9. Knowing when edits have gone too far
      3m 49s
  7. 33m 24s
    1. Preparing to stitch
      5m 59s
    2. Stitching
      7m 39s
    3. Panoramic touchup
      7m 17s
    4. Shooting a panorama
      4m 58s
    5. Stitching a panorama
      7m 31s
  8. 27m 18s
    1. Shooting an HDR Image
      7m 53s
    2. Merging with HDR Pro
      11m 52s
    3. Adjusting and retouching
      7m 33s
  9. 24m 4s
    1. Why use black and white for images?
      2m 26s
    2. Black-and-white conversion
      7m 13s
    3. Correcting tone in black-and-white images
      7m 38s
    4. Adding highlights to black-and-white images
      6m 47s
  10. 49m 32s
    1. Painting light and shadow pt. 1
      11m 22s
    2. Painting light and shadow pt. 2
      12m 42s
    3. Painting light and shadow pt. 3
      9m 19s
    4. HDR + LDR
      5m 7s
    5. Reviewing sample images for inspiration
      11m 2s
  11. 48m 2s
    1. Sizing
      9m 8s
    2. Enlarging and reducing
      5m 3s
    3. Saving
      1m 24s
    4. Sharpening
      8m 23s
    5. Outputting an electronic file
      9m 4s
    6. Making a web gallery
      4m 17s
    7. Printing
      10m 43s
  12. 20s
    1. Goodbye
      20s

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