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Using the Lens Correction filter

From: Digital Painting: Street Scene

Video: Using the Lens Correction 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. Beginning with CS5, the Lens Correction filter, using profiles created for specific popular lenses, accounts for and removes the distortions introduced by lens optics. Let's go ahead and take a look. The Lens Correction filter is located in the Filter menu right here, Lens Correction.

Using the Lens Correction 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. Beginning with CS5, the Lens Correction filter, using profiles created for specific popular lenses, accounts for and removes the distortions introduced by lens optics. Let's go ahead and take a look. The Lens Correction filter is located in the Filter menu right here, Lens Correction.

Let's open this up, and this is going to kind of put it in its own little world where we can do some things. One of the things that is really useful about the way this works is that Adobe has established a large database of optics models for a wide variety of popular camera lenses. In this case, I shot this with a Canon G10, so if we look over here at the Search criteria, we can see it knows it's from the Canon, and I have to check here to find which camera it is, and right down here is the Canon PowerShot G10.

Now your camera may not be found in this list. The good news is you can actually search for this, and it's done right down here. By clicking on Search Online, you have the option to be able to look for the lens that works with your camera. Not only has Adobe added a lot of popular lenses to this database, but end users using some software that Adobe provides can also create their own lens profiles, so there's a really big array of lens profiles available, and thankfully I was able to find my Canon PowerShot G10.

Now that it's in there, let's just turn the preview on and off and I want to watch what happens to the image. The difference isn't dramatic; we're not seeing some huge change in the image. But if you look particularly at the outer edges of the image, we're seeing a change to the way the image is being portrayed. It's almost like it's removing some curvature that's being produced at the outer edges of our image, and this is the kind of thing that the Lens Correction filter is capable of doing, with that model of the lens available to be able to breed this literally out of the image.

Now it's not going to automatically take out distortions like the keystoning we saw in the earlier video. That's actually caused by the user by tilting the plane of the sensor to a degree where that starts to happen. So that has nothing to do with the lens. That's the user causing that. The only things it's going to correct are true lens flaws, things like what they call pin cushioning where things kind of get distorted in the center of the image, or barrel distortion. That's basically what this is fixing here.

So we've taken that out. The other thing we can do here is if we go right here, we can use the Straighten tool. And I'm just going to do a quick run cross the horizon, even though I don't know that this truly was the true horizon line, but obviously it looks a little distorted. So now, I can straighten that out, and I've gotten some basic lens flaws removed from this image. I can see now that things are tilting, but just like we did earlier, I can use the Free Transform tool to further tweak this out.

So an image like this is going to probably use a combination of both the Lens Correction filter as well as something like the Free Transform tool in order to be able to get all these kinds of distortions out. And as I've said before, all of this is subjective. These are artistic decisions. You may or may not choose to take them out, but the idea behind all of this is to get out of these images as much as possible the language of photography.

So these very things we're talking about are those language elements that make this image look like a photograph. The more we can take this out before we ever apply a brush to it, the more this is going to look like a painting in the end. I can't tell you the sad stories I've seen in teaching classes where people will spend an inordinate amount of time painting an image and when they ask what do you think of it, I'll look at it and I say, "Well, why is the horizon tilted?" They didn't bother to take those things out, and those are the little things you have to get rid of in order to get a successful source image to turn into a painting.

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This video is part of

Image for Digital Painting: Street Scene
Digital Painting: Street Scene

45 video lessons · 15048 viewers

John Derry
Author

 
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  1. 8m 50s
    1. Welcome
      1m 11s
    2. Using the exercise files
      39s
    3. Installing custom brushes
      7m 0s
  2. 22m 3s
    1. Understanding the visual vocabulary
      4m 46s
    2. Using the vocabulary of photography
      6m 41s
    3. Using the vocabulary of painting
      7m 1s
    4. Looking at reality through a mental painting filter
      3m 35s
  3. 10m 22s
    1. Understanding that resolution is in the brush strokes
      3m 6s
    2. Understanding the subject
      7m 16s
  4. 16m 1s
    1. Removing lens distortions
      2m 33s
    2. Using the Free Transform tool
      4m 42s
    3. Using the Lens Correction filter
      4m 36s
    4. Understanding the ACR lens correction profiles
      4m 10s
  5. 12m 23s
    1. Working with Vibrance
      3m 14s
    2. Using the Match Color command
      2m 59s
    3. Understanding the traditional paint color swatch set
      6m 10s
  6. 16m 6s
    1. The eye has a bettor sensor than a camera
      3m 16s
    2. Using the Shadow/Highlight filter
      3m 17s
    3. Using the HDR Toning filter
      5m 23s
    4. Understanding how RAW files provide malleability
      4m 10s
  7. 14m 42s
    1. Working with the Reduce Noise filter
      2m 50s
    2. Working with the Surface Blur filter
      3m 6s
    3. Using Smart Blur for simplification
      2m 51s
    4. Working with the Topaz Simplify plug-in
      5m 55s
  8. 31m 10s
    1. NDLP: A creative safety net
      5m 1s
    2. Using custom actions
      9m 41s
    3. Using the reference layer
      5m 29s
    4. Cloning layers
      6m 5s
    5. Working with the Hue/Saturation adjustment layer
      4m 54s
  9. 17m 28s
    1. Brush categorization
      10m 1s
    2. Working with canvas texture
      3m 41s
    3. Using Sample All Layers
      3m 46s
  10. 12m 48s
    1. Being willing to destroy detail
      7m 21s
    2. Establishing the painting style
      5m 27s
  11. 25m 1s
    1. Simplified indication
      9m 3s
    2. Understanding color
      4m 10s
    3. Introducing texture
      11m 48s
  12. 17m 36s
    1. Providing rest areas for the eye
      6m 55s
    2. Focusing on the subject through detail
      10m 41s
  13. 24m 20s
    1. Being willing to depart from the original
      6m 48s
    2. Creating detail to enhance the artwork
      8m 36s
    3. Creating physical surface texture effects
      8m 56s
  14. 10m 33s
    1. Waiting a day
      4m 14s
    2. Examining your importance hierarchy
      6m 19s
  15. 57s
    1. Goodbye
      57s

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