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Straighten, crop, and geometric distortions

From: Photoshop CS5 One-on-One: Advanced

Video: Straighten, crop, and geometric distortions

In these next few exercises, we're going to be discussing issues related to geometric distortions, and this might include straightening an image or cropping it. Now that's all child's play by now I would think. It works a little differently inside of Camera Raw, and I'll explain how that works. But we also have Lens Correction options, because here's the thing. Straightening isn't always a very satisfying process. You may get one of the elements inside of your image exactly plumb, but a bunch of neighboring elements may be out of alignment and then you sort of have to pick and choose who is going to be plumb, who is not going to be plumb, that kind of thing.

Straighten, crop, and geometric distortions

In these next few exercises, we're going to be discussing issues related to geometric distortions, and this might include straightening an image or cropping it. Now that's all child's play by now I would think. It works a little differently inside of Camera Raw, and I'll explain how that works. But we also have Lens Correction options, because here's the thing. Straightening isn't always a very satisfying process. You may get one of the elements inside of your image exactly plumb, but a bunch of neighboring elements may be out of alignment and then you sort of have to pick and choose who is going to be plumb, who is not going to be plumb, that kind of thing.

This may be a function of the perspective of the scene. It may be a function of lens distortion, which is the way the light comes in through the lens. You may get a barrel effect or a pincushion effect, something along those lines, and you can correct for all of these effects using the Lens Correction options, which are extremely satisfying features as you'll see. So I have opened here San Simeon Pool .dng found inside the 24_camera_raw folder, and this is that exterior pool at the Hearst Castle estate and it's really a wild trippy place.

Now I shot this image basically at noon. So it's very hot light with some very deep shadows. So I went ahead and saved off a snapshot of settings, and I'll apply those settings by clicking on this flyout menu icon right there to the right of the word Basic, and I'll choose Apply Snapshot. This is another way to get to your snapshots instead of going to the Snapshots panel, and then I'll choose Basic adjustments, and that basically tempers the contrast a little bit. So the scene doesn't look quite so hot. It's still obviously a daytime scene. I'm going to zoom in now on the bottom of these steps right there, and I'm going to straighten the scene using the most obvious choice. Not my favorite tool inside of Camera Raw.

It's called the Straighten tool. The reason I don't like it compared with the Ruler tool inside of Photoshop is that with a Ruler tool you draw measurement line that you can then turn around and edit. This tool, the Straighten tool, you draw a line and you apply it immediately. So you basically have to get it right the first time. So anyway, I'm going to select the tool and then you drag with the base of the cursor along the items that you want to make perpendicular like the bottom of the step, for example, and then you release and the deed is done. That automatically switches you over to the Crop tool incidentally, which has a keyboard shortcut of C, just like the Crop tool inside of Photoshop.

I'm going to zoom out so that you can see that we have this Rule of Thirds Grid right there, and if you're not seeing the Rule of Thirds Grid then you can go up to the Crop tool and click and hold on it and then turn on Show Overlay. Now I'm going to choose the command to turn it off for a moment so I can show you that there's another way to get to that exact same menu there, and that's to just right-click inside the image window. There is the same menu we saw a moment ago. Choose Show Overlay to turn the overlay back on. Now I want you to notice how we are seeing the image at its original orientation.

So it hasn't been cropped or straightened yet, and we're also seeing the crop boundary that is drawn exactly inside the confines of the image. So the crop boundary does not move outside the image. That way we don't have any little wedges around the perimeter. You will see this option right here that's new to Camera Raw 6.1, and I don't know if its behavior is going to change in the future. That's why I mentioned this. Right now it says Constrain to Image, and you would think you turn it off and then you could drag the crop boundary outside of the image, and then you would fill in the wedges using Content-Aware Fill inside of Photoshop or you'd heal that area or what have you.

However, that's not the way it works. You're not allowed to take the crop boundary outside the image edges right now, unless you first apply a lens correction. So as I say, that behavior of this command might change later on down the line because that feel half-baked to me. But that's the way it works right now. Anyway, we also have these various crop ratios that we can choose from. For example, I could select a 5:7 ratio. Once I do I lose my side handles. That is left and right side handles, the top and bottom handle as well, and I am left with just corner handles.

I now have a 5:7 constraint and it's a horizontal crop of the moment, but I could change it to vertical, just by dragging one of these corner handles if I so desire. Anyway, I want to make it fairly large again. If you want to switch to a different ratio, then right-click inside of the image once again, choose a different ratio, or dial in your own by choosing the Custom command. Then you also have the option of getting rid of that constraint by choosing the Normal command, which is what I'm going to do here. And I'm going to make my crop boundary a little taller by dragging up on the top handle, down on the bottom handle, and I end up getting this boundary here.

Now to apply it, so you can see what kind of job you've done, you switch back to your default tool, which is the Zoom tool there. My favorite way of doing that is to just press the Z key. I was telling you about that earlier. However, every one of the tools in the toolbar allow you to switch to and from them with a single key. So, for example, if you press the C key to select the Crop tool, then you'll see your crop boundary once again. If you press the C key again, you'll leave the Crop tool and return to the Zoom tool and apply your crop.

And notice that we have straightened the image. So all the steps in the background are nice and straight. However, here inside the pool things are a little different. We are seeing some lines at various angles. Now inside the pool, the angles of lines are due to the fact that the pool is shallow on the left-hand side and deep on the right-hand side. So there's nothing we're going to do about that. That's endemic to the scene. However, what about these horizontal and vertical lines right in the foreground here as well as the various ornamentation in the background here? All these lines should be exactly plumb, and they aren't, and that's something we're going to have the fix using Lens Correction.

Now before I show you how to apply manual Lens Corrections, I want to introduce you to the new automated Lens Correction features here inside Camera Raw 6.1. So I'm going to switch to New York.dng. This file comes to us from Chris Orwig, a fellow presenter here at the lynda.com Online Training Library. And again, this image needs some adjustments. So I will click on the flyout menu to the right of the word Basic. I'll choose Apply Snapshot and I'll choose Basic adjustments. I have a habit of calling my snapshots the same thing over and over again.

Then I want you to switch to the Lens Corrections panel. So a total of six icons in is Lens Corrections. Go ahead and click on it. Then switch to Profile, in case it's not already active, and you should be able to turn on this check box that says Enable Lens Profile Corrections,and it should automatically figure out the lens that was used for this specific image. Because it was shot with a Canon EOS 5D and all the various make and model information for the camera itself and for the profile associated with the camera lens are built in to the metadata for this image and were captured along with the EXIF data.

And so Camera Raw is able to lift that information and apply a Lens Correction automatically. So to see the difference here, I'll turn off the Preview check box. This is the way the image looked originally. So pay attention to the various lines in the bridge here and you can see that there's a little bit of arching, a little bit of distortion associate with the lines. Turn the Preview check box back on and those horizontal lines are now exactly straight. So now if you're fortunate enough that Camera Raw is aware of your camera and your lens and all that good stuff, then you can just turn on this check box and you're done.

However, in the case of my images that were shot with an Olympus E30, ACR has no idea what's going on at this point in time with my make and model and lens, and so on. So I'm going to have to apply manual Lens Correction adjustments, and I'll show you how to do exactly that, and believe or not it's actually fun, in the next exercise.

Show transcript

This video is part of

Image for Photoshop CS5 One-on-One: Advanced
Photoshop CS5 One-on-One: Advanced

247 video lessons · 32797 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 2s
    1. Welcome
      2m 1s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 6s
  2. 1h 5m
    1. What you can do with Photoshop
      1m 46s
    2. The mission-critical eyes
      2m 44s
    3. Copy Merged and Paste in Place
      6m 52s
    4. Sharpening details to match
      4m 34s
    5. Masking eyes
      9m 22s
    6. Working with clipping-mask layers
      9m 5s
    7. Shading with layer effects
      8m 10s
    8. Color and highlight effects
      4m 2s
    9. Refining layer masks
      5m 43s
    10. Fabricating the highlights in the pupils
      7m 33s
    11. Using a merged copy to sharpen
      5m 34s
  3. 2h 14m
    1. Highlights, shadows, and midtones
      1m 16s
    2. Introducing the Auto commands
      7m 23s
    3. Adjusting Cache Level settings
      6m 8s
    4. Reading a channel-by-channel histogram
      6m 21s
    5. How the Auto commands work
      5m 22s
    6. Auto Tone, Auto Contrast, and Auto Color
      7m 7s
    7. Blending the Auto results
      4m 4s
    8. Introducing the Levels command
      6m 15s
    9. Using Levels as an adjustment layer
      3m 12s
    10. Applying custom Levels adjustments
      6m 8s
    11. Understanding the gamma value
      7m 39s
    12. The futility of Output Levels
      2m 56s
    13. Selections and adjustment layers
      5m 48s
    14. Opening up the shadows
      3m 40s
    15. Previewing clipped pixels
      4m 51s
    16. The black, white, and gray eyedroppers
      5m 7s
    17. Gray card tips and tricks
      6m 5s
    18. Making channel-by-channel adjustments
      7m 29s
    19. Introducing the Curves command
      7m 44s
    20. Curves dialog box tricks
      7m 16s
    21. Curves adjustment layer tricks
      5m 45s
    22. Correcting an image with Curves
      5m 32s
    23. Filling in the highlights
      5m 42s
    24. Neutralizing casts and smoothing transitions
      5m 37s
  4. 1h 46m
    1. The art of enhancing edges
      1m 26s
    2. How sharpening works
      6m 2s
    3. The single-shot sharpeners
      6m 7s
    4. Introducing Unsharp Mask
      6m 19s
    5. Radius and Threshold
      6m 24s
    6. Sharpening colors vs. luminosity
      5m 56s
    7. Gauging the ideal settings
      8m 59s
    8. Unsharp Mask vs. Smart Sharpen
      7m 1s
    9. Using the Remove settings
      9m 30s
    10. The More Accurate checkbox
      6m 8s
    11. Saving your Smart Filter settings
      5m 31s
    12. The Advanced sharpening settings
      7m 52s
    13. Accounting for camera shake
      6m 18s
    14. Sharpening with the Emboss filter
      6m 43s
    15. Sharpening with High Pass
      9m 23s
    16. The new and improved Sharpen tool
      6m 22s
  5. 1h 34m
    1. Edge's evil twin: noise
      1m 12s
    2. Color vs. luminance noise
      7m 21s
    3. Reducing color noise
      7m 45s
    4. Reducing luminance noise
      4m 59s
    5. Relegating an effect to the shadows
      6m 27s
    6. Switching between layer and mask
      6m 59s
    7. The Dust & Scratches filter
      4m 56s
    8. Adjusting shadow saturation
      5m 52s
    9. Combining High Pass with Lens Blur
      6m 57s
    10. Masking a layer of Lens Blur
      7m 34s
    11. Painting away High Pass sharpening
      8m 22s
    12. Building up a noise pattern
      6m 40s
    13. Converting noise to texture
      4m 24s
    14. Bleeding colors into paper
      6m 16s
    15. Matching different noise levels
      8m 31s
  6. 1h 32m
    1. We are the stuff of light
      1m 24s
    2. Applying automatic lens correction
      5m 53s
    3. Introducing Shadows/Highlights
      3m 44s
    4. Shadows/Highlights in depth
      7m 59s
    5. Creating a "bounce" with Gaussian Blur
      4m 43s
    6. Sharpening on top of blur
      7m 3s
    7. Sharpening the merged composition
      6m 16s
    8. Grouping and masking layers
      5m 40s
    9. Adjusting the density of a mask
      7m 14s
    10. Creating a Shadows/Highlights shortcut
      5m 47s
    11. Restoring detail with Shadows/Highlights
      6m 23s
    12. Changing the Shadows/Highlights defaults
      6m 21s
    13. Smoothing skin details with Gaussian Blur
      3m 56s
    14. Smoothing with High Pass
      5m 44s
    15. Lowering contrast with Gaussian Blur
      7m 4s
    16. Inverting a sharpening effect
      7m 5s
  7. 2h 32m
    1. Color becomes monochrome
      1m 31s
    2. Converting an image to grayscale
      6m 49s
    3. Extracting luminance information
      7m 37s
    4. Introducing the Channel Mixer
      10m 23s
    5. Aggressive channel mixing
      9m 42s
    6. Proofing CMYK colors
      7m 49s
    7. Color settings and intent
      7m 6s
    8. Practical Channel Mixer variations
      4m 30s
    9. Saving variations as layer comps
      7m 57s
    10. The default grayscale recipe
      8m 55s
    11. Creating a custom black-and-white mix
      6m 59s
    12. Shadows/Highlights in black and white
      4m 58s
    13. Introducing the Black & White command
      5m 55s
    14. Adjusting Black & White settings
      9m 39s
    15. Mixing a Black & White portrait
      6m 32s
    16. Black & White vs. Channel Mixer
      9m 21s
    17. Adding tint and color
      8m 0s
    18. Introducing the Gradient Map
      7m 10s
    19. Loading custom gradients
      4m 32s
    20. Editing gradient color stops
      9m 58s
    21. Colorizing with blend modes and Opacity
      7m 13s
  8. 2h 10m
    1. Two great commands working great together
      1m 18s
    2. Introducing the Color Range command
      5m 13s
    3. Setting key colors and Fuzziness
      5m 38s
    4. Predefined vs. sampled colors
      3m 57s
    5. The Localized Color Clusters option
      5m 41s
    6. Defining a selection with care
      4m 44s
    7. Introducing the Quick Mask mode
      5m 20s
    8. Testing edges with the Magic Wand
      5m 14s
    9. Hand-brushing a selection
      5m 39s
    10. Saving and loading an alpha channel
      4m 35s
    11. Converting a selection to a layer mask
      2m 46s
    12. Switching between an image and a layer mask
      6m 58s
    13. Protecting elements with a layer mask
      8m 5s
    14. Duplicating and editing a layer mask
      7m 34s
    15. Introducing the Refine Edge command
      4m 46s
    16. Accessing the various Refine Edge options
      5m 35s
    17. Refine Edge's preview options
      6m 21s
    18. The Adjust Edge values
      4m 11s
    19. Edge Detection and Smart Radius
      6m 5s
    20. Using the Refine Radius tool
      8m 8s
    21. Using the Decontaminate Colors option
      7m 30s
    22. Old-school masking adjustments
      7m 7s
    23. Four micro mask adjustments
      8m 33s
  9. 3h 13m
    1. Photoshop's vector exceptions
      1m 11s
    2. Making text in Photoshop
      6m 18s
    3. Creating and editing a text layer
      6m 56s
    4. Font and type style
      7m 35s
    5. Type size and color
      7m 52s
    6. Combining layer effects and type
      10m 57s
    7. Drawing a custom shape layer
      8m 34s
    8. Side bearing, kerning, and tracking
      10m 36s
    9. Point text vs. area text
      8m 26s
    10. Selecting and formatting a paragraph
      5m 19s
    11. Copying and pasting unformatted text
      7m 45s
    12. Creating text inside a custom path
      6m 26s
    13. Creating text along a path
      8m 13s
    14. Adjusting baseline shift
      6m 16s
    15. Drawing a fading arrowhead
      7m 29s
    16. Fading a shadow with a layer
      5m 32s
    17. Logo creation and Fill Opacity
      7m 44s
    18. Stretching a background element
      6m 9s
    19. Drawing with shape outlines
      6m 18s
    20. Combining vector-based shapes
      6m 42s
    21. Masking vector-based shape layers
      6m 7s
    22. Correcting spacing problems
      7m 44s
    23. Drawing the ultimate specular sparkle
      8m 45s
    24. Preparing text for commercial output
      5m 9s
    25. Saving a high-resolution PDF file
      7m 11s
    26. Inspecting the final PDF document
      7m 8s
    27. Saving large poster art
      9m 32s
  10. 2h 36m
    1. What filters ought to be
      1m 25s
    2. Layer effects vs. filters
      6m 14s
    3. Carving with an Inner Shadow effect
      7m 45s
    4. Selling an effect with Drop Shadow
      7m 17s
    5. Creating blurry shadow type
      5m 30s
    6. Saving custom default settings
      6m 22s
    7. Creating a custom contour
      7m 3s
    8. Introducing Bevel and Emboss
      7m 35s
    9. Adjusting Angle and Altitude
      7m 8s
    10. Exploiting global light
      8m 11s
    11. Gloss and edge contour
      5m 8s
    12. Applying and creating layer styles
      6m 45s
    13. Loading, saving, and merging styles
      6m 17s
    14. Creating a textured bevel effect
      6m 56s
    15. Using shadows as highlights
      7m 39s
    16. Combining filters and effects
      6m 58s
    17. Working with random effects
      6m 55s
    18. Smoothing with Gaussian Blur and Levels
      6m 13s
    19. Masking blacks from whites
      4m 37s
    20. Applying liquid styles
      4m 36s
    21. Simulating liquid reflections
      8m 12s
    22. Finessing and cropping a liquid effect
      7m 25s
    23. Initiating a displacement map
      6m 17s
    24. Applying a displacement map
      7m 37s
  11. 1h 12m
    1. Two words: Free Transform
      34s
    2. Scale, rotate, and constrain
      6m 30s
    3. Using the transformation origin
      7m 42s
    4. Applying a slant (aka skew)
      3m 37s
    5. The four-point "perspective" distortion
      7m 51s
    6. Two ways to make gradient text
      5m 59s
    7. Building complexity from a simple shape
      4m 42s
    8. Duplicating a series of transformations
      6m 3s
    9. Rasterizing a layer with its effects
      6m 41s
    10. Applying a custom warp
      7m 24s
    11. Blending and softening a warped layer
      4m 39s
    12. Creating spherical highlights
      6m 30s
    13. Using a center-source inner glow
      3m 51s
  12. 2h 42m
    1. Distorting reality
      1m 33s
    2. Extracting a foreground element
      6m 45s
    3. Introducing the Puppet Warp command
      7m 20s
    4. Setting and manipulating pins
      7m 48s
    5. Rotating pins and switching warp modes
      6m 41s
    6. Expanding and contracting the mesh
      6m 11s
    7. Changing the Density setting
      8m 0s
    8. Adjusting the pin depth
      5m 18s
    9. Winding an image into a pretzel
      6m 2s
    10. Applying Puppet Warp to type
      6m 30s
    11. Warping single characters
      6m 25s
    12. Editing puppet-warped text
      8m 24s
    13. Extending an image with Free Transform
      8m 46s
    14. Extracting from a white background
      10m 5s
    15. Tracing a shape with Puppet Warp
      9m 1s
    16. Introducing the Liquify command
      5m 4s
    17. Warp, Twirl, Pucker, and Bloat
      8m 53s
    18. Saving and loading a mesh
      5m 59s
    19. Push, Mirror, and Turbulence
      11m 49s
    20. Lifting and slimming details
      8m 22s
    21. Warping fabric, arms, and legs
      7m 1s
    22. Masking and finessing the results
      10m 8s
  13. 3h 3m
    1. Welcome to the digital darkroom
      1m 44s
    2. Introducing Camera Raw
      7m 40s
    3. Adjusting white balance
      7m 0s
    4. Selecting and synchronizing images
      6m 9s
    5. Making automatic adjustments and saving changes
      7m 19s
    6. Creating and managing snapshots
      8m 23s
    7. Adjusting the Exposure value
      6m 24s
    8. Working with clipping warnings
      5m 5s
    9. Adjusting Brightness and Contrast
      7m 35s
    10. Vibrance, Saturation, and Clarity
      9m 25s
    11. Recovery and Fill Light
      6m 57s
    12. Using the Graduated Filter tool
      7m 2s
    13. Painting edits with the Adjustment Brush
      9m 44s
    14. Straighten, crop, and geometric distortions
      7m 49s
    15. Applying manual lens corrections
      7m 19s
    16. Vignette and chromatic aberrations
      6m 21s
    17. Introducing the Tone Curves
      6m 9s
    18. Parametric curves and targeted adjustments
      6m 26s
    19. Correcting a low-noise photograph
      7m 35s
    20. Sharpening and high-noise photos
      8m 25s
    21. Selective Hue/Saturation adjustments
      5m 34s
    22. Selective Luminance adjustments
      5m 39s
    23. Adding grain and vignetting effects
      5m 23s
    24. Mixing a subjective black-and-white image
      7m 53s
    25. Colorizing with the Split Toning options
      4m 29s
    26. Opening a raw image as a Smart Object
      5m 39s
    27. Camera Raw wrap-up
      8m 38s
  14. 55s
    1. Until next time
      55s

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