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Photoshop CS6 One-on-One: Advanced

Applying manual lens corrections


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Photoshop CS6 One-on-One: Advanced

with Deke McClelland
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  1. 30m 4s
    1. Welcome to One-on-One
      2m 19s
    2. Loading the dekeKeys keyboard shortcuts
      6m 5s
    3. Remapping your Macintosh OS shortcuts
      3m 4s
    4. Adjusting a few general preferences
      4m 3s
    5. Using the visual HUD color picker
      2m 2s
    6. The interface and performance settings
      5m 31s
    7. Adjusting the color settings in Photoshop
      7m 0s
  2. 47m 0s
    1. Smart Objects
      1m 36s
    2. Three ways to place a Smart Object
      3m 6s
    3. Copying and pasting from Adobe Illustrator
      4m 11s
    4. Transforming and warping a vector object
      4m 48s
    5. Blending a Smart Object into a photograph
      3m 10s
    6. Blurring with a nested Smart Filter
      4m 57s
    7. Editing a Smart Object in Illustrator
      3m 20s
    8. Creating "true clones"
      3m 50s
    9. Duplicating a group of clones
      2m 53s
    10. Breaking the Smart Object link
      2m 53s
    11. Styling and blending Smart Objects
      2m 44s
    12. Editing originals; updating clones
      3m 41s
    13. Removing people from a scene with Median
      5m 51s
  3. 29m 59s
    1. Luminance meets sharpening
      1m 2s
    2. Correcting for lens distortion
      4m 39s
    3. Introducing Shadows/Highlights
      3m 54s
    4. Mitigating halos with Radius values
      4m 19s
    5. Enhancing the effects of Midtone Contrast
      3m 18s
    6. Creating a "bounce" with Gaussian Blur
      3m 29s
    7. Sharpening on top of blur
      2m 47s
    8. Masking a group of Smart Filters
      2m 53s
    9. Reducing the density of a layer mask
      3m 38s
  4. 49m 10s
    1. Using Curves
      2m 40s
    2. Introducing the Curves adjustment
      7m 36s
    3. Adding and editing points on a curve
      6m 27s
    4. Winning Curves tips and tricks
      8m 12s
    5. Correcting a challenging image
      6m 33s
    6. Selecting and darkening highlights
      4m 39s
    7. Neutralizing colors and smoothing transitions
      6m 6s
    8. The new automatic Curves function
      6m 57s
  5. 1h 31m
    1. Camera Raw
      2m 11s
    2. Opening and editing multiple images
      8m 1s
    3. Correcting white balance
      4m 8s
    4. The revamped Exposure controls
      8m 8s
    5. Working with archival images
      7m 54s
    6. The Spot Removal and Graduated Filter tools
      6m 4s
    7. Painting edits with the Adjustment Brush
      7m 23s
    8. Tone Curves (and why you don't need them)
      5m 57s
    9. Straighten, crop, and geometric distortions
      5m 17s
    10. Applying manual lens corrections
      5m 14s
    11. Vignette, chromatic aberration, and fringe
      6m 49s
    12. Selective hue, saturation, and luminance
      6m 36s
    13. Working with JPEG and TIFF images
      6m 36s
    14. Camera Raw Smart Objects
      6m 48s
    15. Editing Camera Raw images from Bridge
      4m 24s
  6. 32m 30s
    1. Duotones
      1m 23s
    2. Creating a professional-quality sepia tone
      4m 18s
    3. Introducing the Gradient Map adjustment
      5m 42s
    4. Loading a library of custom gradients
      3m 48s
    5. Creating a custom quadtone
      5m 48s
    6. Colorizing with blend modes and Opacity
      4m 6s
    7. Creating a faux-color, high-key effect
      7m 25s
  7. 1h 6m
    1. Noise vs. Details
      1m 28s
    2. Introducing the Reduce Noise filter
      7m 29s
    3. Correcting a noisy photo
      5m 33s
    4. Smoothing over high-contrast noise
      5m 50s
    5. Protecting details with an edge mask
      4m 52s
    6. Adjusting overly saturated shadows
      3m 35s
    7. Correcting with High Pass and Lens Blur
      3m 45s
    8. Brushing away blur and sharpening
      6m 42s
    9. Creating texture by adding noise
      5m 28s
    10. The Camera Raw Detail panel
      7m 8s
    11. Correcting noise and detail in Camera Raw
      8m 10s
    12. Adding noise grain and vignetting effects
      6m 47s
  8. 44m 30s
    1. Blur Gallery
      1m 36s
    2. Creating depth-of-field effects in post
      5m 29s
    3. Modifying your Field Blur settings
      4m 57s
    4. Editing and exporting a Field Blur mask
      6m 15s
    5. Adding a synthetic light bokeh
      3m 52s
    6. Using the Selection Bleed option
      7m 29s
    7. Creating a radial blur with Iris Blur
      6m 59s
    8. Creating "fake miniatures" with Tilt-Shift
      4m 35s
    9. Combining multiple Blur Gallery effects
      3m 18s
  9. 1h 34m
    1. Blend Modes
      1m 16s
    2. Using the Dissolve mode
      9m 47s
    3. Multiply and the darken modes
      8m 30s
    4. Screen and the lighten modes
      8m 10s
    5. Cleaning up and integrating a bad photo
      6m 38s
    6. Blending inside blend modes
      6m 55s
    7. Overlay and the contrast modes
      6m 53s
    8. A few great uses for the contrast modes
      9m 7s
    9. Difference, Exclusion, Subtract, and Divide
      5m 5s
    10. Capturing the differences between images
      4m 18s
    11. Hue, Saturation, Color, and Luminosity
      4m 45s
    12. Blend mode shortcuts
      6m 21s
    13. The Fill Opacity Eight
      8m 57s
    14. Using the luminance-exclusion slider bars
      8m 8s
  10. 44m 20s
    1. Color Range
      1m 14s
    2. Introducing the Color Range command
      7m 24s
    3. Selecting a complex image with Color Range
      5m 49s
    4. Refining a selection in the Quick Mask mode
      7m 4s
    5. Viewing a mask with or without its image
      4m 24s
    6. Painting directly inside an alpha channel
      5m 39s
    7. Correcting fringes around a masked layer
      8m 5s
    8. Turning a layer into a knockout
      4m 41s
  11. 59m 43s
    1. Refine Edges
      1m 28s
    2. Laying down a base layer mask
      6m 49s
    3. Introducing the Refine Edge/Mask command
      7m 57s
    4. Edge detection and Smart Radius
      4m 42s
    5. Using the Refine Radius tool
      7m 31s
    6. The transformative power of Refine Edge
      3m 37s
    7. Perfecting a mask with overlay painting
      10m 58s
    8. Combining Quick Selection with Refine Mask
      10m 37s
    9. Bolstering and integrating hair
      6m 4s
  12. 1h 18m
    1. The Pen tool
      1m 50s
    2. Pixel-based masking versus the Pen tool
      6m 45s
    3. Drawing a straight-sided path outline
      6m 57s
    4. Moving, deleting, and adding anchor points
      6m 10s
    5. Dragging control handles to modify curves
      5m 27s
    6. Converting a path outline to a vector mask
      5m 36s
    7. Customizing a geometric shape
      5m 53s
    8. How to position points and control handles
      7m 7s
    9. Drawing smooth points with the Pen tool
      8m 7s
    10. Duplicating and scaling a vector mask
      5m 21s
    11. Cusp points and the Rubber Band option
      6m 21s
    12. Setting anchor points in the pasteboard
      6m 8s
    13. Using the Convert Point tool
      6m 43s

Video: Applying manual lens corrections

In this movie I'll show you a couple of different ways to correct for distortions, whether they're caused by the lens element or the perspective of the scene here inside Camera Raw. So I'm starting off inside the San Simeon pool image, I've switched over to the Lens Correction panel and now I'll click in the Manual tab in order to bring up these options here. Now the number one problem with the scene is that it's coming at us over here on the left-hand side. So in other words the image is declining over to the right, and so what we need to do is angle it toward us.

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Photoshop CS6 One-on-One: Advanced
11h 8m Advanced Sep 12, 2012

Viewers: in countries Watching now:

The third part of the popular and comprehensive series Photoshop CS6 One-on-One follows industry pro Deke McClelland as he plunges into the inner workings of Adobe Photoshop. He shows how to adjust your color, interface, and performance settings to get the best out of your images and the most out of Photoshop, and explores the power of Smart Objects, Shadows/Highlights, and Curves for making subtle, nondestructive adjustments. The course dives into Camera Raw to experiment with the editing toolset there, and returns to Photoshop to discuss toning, blur, and blend modes. Deke also teaches tried-and-true methods for sharpening details and reducing noise, as well as creating quick and accurate selections with Quick Mask, Color Range, and Refine Edge commands.

Topics include:
  • Adjusting the color settings in Photoshop
  • Placing and blending Smart Objects in a scene
  • Transforming and warping vector objects
  • Correcting for lens distortion
  • Mitigating halos and enhancing contrast with Shadows/Highlights
  • Adding and editing points on a curve
  • Editing multiple images in Camera Raw
  • Creating a pro-quality sepia tone or quadtone
  • Colorizing with blend modes and opacity
  • Reducing and smoothing over noise
  • Creating depth-of-field effects with blur
  • Selecting with Color Range and Quick Mask
  • Perfecting a mask with Refine Edge
  • Drawing paths with the Pen tool
  • Converting path outlines to vector masks
Subjects:
Design Raw Processing
Software:
Photoshop Camera Raw
Author:
Deke McClelland

Applying manual lens corrections

In this movie I'll show you a couple of different ways to correct for distortions, whether they're caused by the lens element or the perspective of the scene here inside Camera Raw. So I'm starting off inside the San Simeon pool image, I've switched over to the Lens Correction panel and now I'll click in the Manual tab in order to bring up these options here. Now the number one problem with the scene is that it's coming at us over here on the left-hand side. So in other words the image is declining over to the right, and so what we need to do is angle it toward us.

And we can see these little icons that are showing us which direction we need to move. So in this case we need to move the right-hand side of the image toward us, so we need to apply a positive modification to this horizontal value. So I'll just go ahead and drag this triangle over to the right and obviously I've gone too far at this point but you can see that it allows us to angle the image in the opposite direction. I will go ahead and take this value down until it starts looking right, and my eye tells me that a value of about +8 is going to work out fine.

It also looks to me like the scene is sort of tilted toward us at the bottom here and so I'm going to go ahead and just tweak this vertical value slightly down to -2. And then finally it's hard to tell what kind of distortion we might have in this scene that is whether we have pin-cushioning that we need to address with some barrel distortion or whether we have barrel distortion inherent in the scene that we need to solve using some pin-cushioning. But to me it looks like we need to barrel things just slightly, so I'll go ahead and set that value to -2.

So altogether we've got -2, -2 and +8 for the Transform values, we don't need to modify the Rotate value. The image looks straight at this point. And Scale isn't going to do us any good either. All right, let's see another example that's sort of an opposite example. I'll switch over to Interior pool and this is the pool on the inside of the Hearst Estate, and of course the first thing that I would do is develop the image. So I'll go up here to the flyout menu icon, once again choose Apply Snapshot and then choose ACR7 conversion, and that gives us a world of better color inside the scene.

However, there's something up with it, something's off. So possibly your first temptation is to go for the Straighten tool and draw a line along the bottom edge of this wall here which is tipping slightly up and to the left. So I'll go ahead and release and we get this crop boundary, fine, and then I'll just go ahead and switch back to the Zoom tool and that actually looks worse than it did before. Now the ceiling is obviously off and so are the reflections in the water. So I'm going to go ahead and press Ctrl+Z or Cmd+Z on the Mac to undo that change, and I'm going to start things off once again by modifying the horizontal value, because the perspective is the most obvious problem with the scene.

Now in this case the right side of the scene is declining away from us, so I need to tip that left-half toward us by dragging the triangle to the left, and at about -8 we get a result that I think looks right. All right, now you can see that the image is bowing out toward us so we have a barrel distortion associated with the scene. And so that means I need to pincushion it and I'll do that by dragging this distortion triangle to the right, and I'm going to set this value actually to +8 like so, and that ends up flattening things quite nicely, and then I'm also going to just slightly tweak this vertical value.

I'll take it down to -1 and we end up with this much better effect here. Now you may recall where the San Simeon pool image was concerned. I'd cropped this image before I said about correcting the distortion of the scene. However, I did not crop the interior pool which is why we're seeing some gray edges around the side, so you probably want to crop those away. By switching to the Crop tool which you can get just as you can in Photoshop by pressing the C key and then I'm just going to drag pretty much around the entire scene like this and then Camera Raw will go ahead and snap that boundary inside the image.

Now if that's not what you want then you can right-click inside the image and turn off Constrain to Image. Now for whatever reason this command has no effect on an image that is not distorted, so you have to actually apply a Lens Correction before you can take advantage of it. In any case I'll go ahead and choose it just to show you how it works, and now notice that I can move the crop boundary outside to reveal empty portions of the image, those areas will appear as white if I open the image in Photoshop. However, I don't want that to happen, so I'll go ahead and right-click and choose Constrain to Image to move that crop boundary inside the image once again, and then I'll press the Z key in order to assign that crop.

All right, so just to give you a sense of how different these images look. I'll go ahead and click on the flyout menu icon and choose Camera Raw Defaults. This is the original version of the scene before I developed it or straightened it, and this is the after version. Meanwhile if I switch down to San Simeon pool and do the same thing, I'll go ahead and choose Camera Raw Defaults once again, this is the original version of this scene and then this is the developed and straighten version of the scene. Thanks to the power of the Manual Lens Correction controls here inside Camera Raw.

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