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Removing lens distortion with the Adaptive Wide Angle filter

From: Digital Painting: Architecture

Video: Removing lens distortion with the Adaptive Wide Angle filter

Every lens distorts the scene whose light passes through it. Some more some less. The fact of the matter is, that a photograph does not record what we see but how the lens optics bend the light onto the plane of a camera sensor. The Adaptive Wide Angle filter, also known as AWA, provides a tool for massaging various lens distortion effects out of an image. In this video, we'll take a look at how to take advantage of this useful tool. To find Adaptive Wide Angle filter, go to the Filter menu, and go down right here to Adaptive Wide Angle.

Removing lens distortion with the Adaptive Wide Angle filter

Every lens distorts the scene whose light passes through it. Some more some less. The fact of the matter is, that a photograph does not record what we see but how the lens optics bend the light onto the plane of a camera sensor. The Adaptive Wide Angle filter, also known as AWA, provides a tool for massaging various lens distortion effects out of an image. In this video, we'll take a look at how to take advantage of this useful tool. To find Adaptive Wide Angle filter, go to the Filter menu, and go down right here to Adaptive Wide Angle.

This will open up its own dialogue that is a little world we're going to work in while we're in Adaptive Wide Angle. I have it on auto and that's generally where you want to put this. What its doing is its actually using from your camera, and you may wonder where it gets that information? Formats like JPEG, TIF, RAW, all encode some of this camera specific data into the file. If we look down here at the lower left corner, you'll see it knew that this was my Canon 5D. It knows that its actually 17-40mm lens.

So, it has all the information about this lens, and using that, it's applying it to this image. So we're all, we've seeing some distortion in there, but with a knowledge of what the lens actually is doing to this image, and these tools, we can massage these errors out of the image. And in the case of this image, I'm approaching this whole project from a more of what I call an illustrative point of view. And by that, I mean, I am not going to utilize the keystoning, as it's called, where the lines of perspective in this image, particularly the vertical lines of perspective, all seem to have a point off up in the sky somewhere.

I want all of those lines to be straight. Much like an illustrator would draw this, as we talked about in the language of photography and painting earlier, I mentioned that these are things that our eye typically doesn't see. As artists, we tend to remove these errors out of the image and that's what we're going to do here. So, in order to make this l ook like a painting, I have to breed this photographic vocabulary out of the image. And how do we do that? Basically, we're going to be using the Constraint tool up here at the top, that's the key tool to this.

And you'll see I'm going to start from one edge here, I'm going to draw across. Now notice, see how that line's bending? That's because it has the formula for this particular lens and it knows that that has a natural angularity to it. When I let go, it goes ahead and it straightens this out. The thing I want to do, and by just selecting any area near the line if I click with my right mouse key, I can decide how I want this to be oriented. And, in this case, I want it to be exactly horizontal, so I'm going to say Horizontal. And you might have seen there, it just did a slight shift.

So, once that turns to yellow, that tells us this is an exactly horizontal line. So the first part of this is to go through and go through some of the key areas of this image, and straighten these out, and in each case I'll go back and I'll say, I want this to be horizontal. And so, it's really a pretty much kind of a rote exercise to go through and set each of these up. Now, you can do as much or as little of this as you want. I tend to be a little bit obsessive about it and I will go through, and if I want this to be very rigidly horizontal and vertical lines, then I have to make sure that anywhere I see something that doesn't seem correct is corrected.

And so, it's just a matter of going through all these. So, I'm going to go ahead and go through this and get all of the horizontals done, and then we'll come back and I'll go ahead and do the verticals. So, I've done all of the horizontals that I basically want to do here. I may need to add one or two once I start putting the verticals in, but I do want to show you, if you turn on the mesh here, you can start to see how it's bending that mesh around to conform the image to the horizontals that I want to do.

So, it's actually doing quite a bit under the hood here, but the visual aspect of it is fairly clear. It's just setting everything up so it's on horizontal. Now, I'm going to go through and I'm going to start dealing with all of these verticals. So, same thing here, we go ahead and click and drag. And, just as I did before, I right- click on that line and I set it to Vertical, and that sets it to purple. So whenever it's purple, that's telling us that it is a exact vertical line.

So, I'm going to go through and do all of the verticals here, and then we'll take a look at what we've got once it's all finished. Okay. So, I'm pretty much done here. I do want to show you just one little trick that I didn't mention at the outset and that is, when you make a line, I've actually removed one here temporarily so I can straighten it out. If I hold down the Shift key, whether I'm doing a vertical or a horizontal, see how it's already yellow? That's telling it that this is supposed to be a horizontal line, in this case.

So, if you want to not make this into a two step operation where at first you apply the line, then go back, right-click to tell it whether you want it to be horizontal or vertical, you can go ahead and utilize the Shift key to do that in advance of making it be a vertical or horizontal line. So, we've gone through this and the last thing I do wanna say here is that I was being pretty obsessive about this, and this is also a very unusual subject in that it's really got a lot of horizontal and vertical elements in it that, at least, I want to make horizontal and vertical.

So, different subject matter, you may not have to go nearly to the length of the number of lines that I've ascribed to this particular image. It's all very image-dependent and its up to what you ultimately are looking for vision-wise in your image. So, once you are done with this go ahead and say, okay. And it will apply all of these calculations to the image, so that we end up with a corrected image. So, if I do a before and after here, you can see how we've taken all of that distortion that the lens introduced, being a wide angle-lens, and I've straightened it up to more like the way I would have sat and drawn this image.

I wouldn't have drawn it, as I said earlier, with all of these lines going off into some perspective. I would have drawn it more like that. So, the Adaptive Wide Angle filter rids and image of lens distortion, but it also enables user-dictated adjustments. In our example, we altered a lens-distorted image to a more illustrational style of orthogonal rendering.

Show transcript

This video is part of

Image for Digital Painting: Architecture
Digital Painting: Architecture

49 video lessons · 11568 viewers

John Derry
Author

 
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  1. 26m 4s
    1. Introduction
      1m 3s
    2. Using the exercise files
      32s
    3. Installing custom content
      2m 46s
    4. Setting up Wacom express keys
      13m 32s
    5. Setting Wacom touch ring preferences
      2m 14s
    6. Setting Wacom stylus preferences
      3m 24s
    7. Division of labor: Image prep and painting
      2m 33s
  2. 19m 9s
    1. Visual vocabularies
      3m 49s
    2. The vocabulary of photography
      7m 38s
    3. The vocabulary of painting
      4m 59s
    4. Looking at reality through a mental painting filter
      2m 43s
  3. 38m 57s
    1. Removing lens distortion with the Adaptive Wide Angle filter
      6m 47s
    2. Removing distractions
      8m 7s
    3. Don't be a slave to the original photograph
      10m 51s
    4. Correcting image adjustments
      2m 58s
    5. Telling a story with added image elements
      10m 14s
  4. 25m 2s
    1. The eye has a better sensor than a camera
      3m 2s
    2. Adding natural shadows with Field Blur
      8m 47s
    3. Using the Shadow/Highlight adjustment filter
      7m 48s
    4. Using the HDR Toning filter
      5m 25s
  5. 39m 56s
    1. Resolution is in the brushstrokes
      3m 26s
    2. Using the Surface Blur filter
      6m 17s
    3. Using the Displacement filter to add imperfections
      6m 22s
    4. Using the Oil Paint filter
      11m 51s
    5. Making tonal and color corrections
      12m 0s
  6. 22m 40s
    1. Nondestructive layer painting (NDLP): Your creative safety net
      5m 54s
    2. Setting up the Mixer Brush cloning action
      7m 29s
    3. Using cloning layers
      2m 58s
    4. Working with adjustment layers
      6m 19s
  7. 20m 7s
    1. Using tool presets and not brushes
      3m 41s
    2. Categorizing and organizing brushes
      6m 14s
    3. Adding canvas texture
      4m 51s
    4. Using Sample All Layers
      5m 21s
  8. 14m 48s
    1. You must destroy detail
      2m 9s
    2. Establishing compositional structure
      3m 46s
    3. Determining a style and sticking to it
      7m 30s
    4. Painting in progress: Finishing the underpainting layer
      1m 23s
  9. 26m 40s
    1. Understanding simplified indication
      9m 9s
    2. Understanding color: Warm advances, cool retreats
      4m 9s
    3. Painting in progress: Introducing texture to the intermediate layer
      13m 22s
  10. 40m 19s
    1. The play's the thing
      5m 18s
    2. Focusing on the subject through detail
      4m 40s
    3. Using a traditional paint color swatch set
      4m 37s
    4. Painting in progress: Completing the detail layer
      16m 25s
    5. Adding surface texture effects
      9m 19s
  11. 12m 47s
    1. It pays to wait a day
      1m 55s
    2. Adjusting your importance hierarchy
      4m 49s
    3. You'll never paint the same thing twice
      2m 7s
    4. Helpful resources and inspiration
      3m 56s

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