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Here we are going to go ahead and take a look at how we can work with Chromatic Aberration, or how we can correct Chromatic Aberrations, and also how we can work with the Defringe option inside of the Lens Correction panel. Let's go ahead and navigate to that panel. Let's do so by way of a shortcut. If you're on a Mac, that's Command+Option+6. If you're on Windows, Ctrl+Alt+6 or of course, you can always simply click on the icon here. Next thing I want to do is zoom in on this image. I will go ahead and zoom into 100% so I'll double-click the Zoom tool, then press the Spacebar key, and click and drag this image around.
Now as I drag around this image, I noticed there is just a ton of noise problems here. I will zoom in even a little bit closer so that you can see those even better. Now one of the areas of noise that I'm noticing is that around the highlight edges, there are just a lot of different colors that are showing up and a lot of different color variation around the eye, on the face, around the skin, also on the jersey here, we can see this purple edge. All we can do is we can choose a Defringe option. I am going to go ahead and select All Edges, so it works on the highlight edges, as well as the other edges.
And what we are going to see is that it's all of a sudden removed a lot of the problematic color. Now I am going to zoom in even further so you can take a look at how this works. Take a look at the strap here and also the background over here. Well, again, if I turn this to off, we can see we have all this weird color variation. We also see that in the face. We choose All Edges, now all that color variation and all those strange colors have been reduced or removed. All right. Let's turn that back to off for a second and then zoom out, and then let's say we want to work on perhaps this purple edge over here.
Well, a lot of times this edge happens as a result of Chromatic Aberration. We have a couple of different ways we can deal with this. If you ever see kind of a highlight fringe color, what you can do is use these controls and drag them one way or another. Because in this case it's purple, let me go with this blue-yellow control here. If I click and drag to the left, it's going to become more blue. We can kind of see how that's standing out even more there along the edge. Click and drag to the right, what I can try to do is just soften that, or reduce that, or for that matter, remove that.
And a lot of times what you can do is get out altogether by simply moving the slider. Other times, like in this case, if we combine this with our Defringing either of the highlight edges or of all edges, we are going to see that that's going to then reduce that color in that area, and by combining these two controls together, we can really get that out. Well, let me zoom in a little bit further so you can see this, and I have realized that we're seeing this really at a pixel level, but it can help deconstruct things a bit. So again, here is the Defringing off.
We can see all that purple there. Here's Defringing all edges reducing that, but it's still there, and then when we go ahead and crank this up, we can start to see that we can really remove that color altogether. All right. Well, let's zoom out a little bit and examine the photo, and of course, one of the things with this photo that we will want to do is we want to reduce the noise, and in order to do that we would simply go over to our Detail panel. Because this image has so much noise, I am going to do that really quickly, just reduce the Luminance Noise, bring my Detail down, Contrast up a bit and then just try to find a nice spot there for that and also reduce that Color Noise, and that will then make the image look much stronger.
Now if we want to view our overall before and after, we will go over here to our Presets panel, then press the P key. Here we have it before, and then after we have dealt with the color fringing, we've also reduced the noise. Now the only other thing we would want to do to this image is to sharpen it a little bit. We can then go back to that Detail panel, add a bit more Sharpening and reduce our Radius and Detail here, and increase the Masking. The reason that I wanted to jump into the Detail panel is just to get you to begin to think about howwhen you are working on certain areas, like in this Lens Correction area, nothing is really completely isolated; rather, if we can combine our skills with what we know about different panels and different controls, we can many times come up with the best results.
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