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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.
In this movie we'll visit three pests of the photographic arts, specifically vignettes, chromatic aberration, and color fringing, and I'll show you how to correct for them as well. Notice that we're revisiting a handful of images here, starting with Interior pool.dng, and you can see the vignetting, which is the darkness around the perimeter, cast by the lens element onto the scene. So to get rid of it, I'll go ahead and switch to the Lens Corrections panel, and because I last left off in the Manual tab, it's ready and waiting for me.
Notice down here at the bottom we have a couple of Lens Vignetting options. If you move this Amount triangle to the left, you're going to add darkness to the scene, so that would be how you correct for a bright vignette; more likely though, you're going to want to brighten things up to account for a dark vignette, like so. So I'm going to start by cranking this value up to a 100, which is too far, but I want to demonstrate how the Midpoint works. If you increase the Midpoint, then you're going to reduce the size of the vignette correction, so that goes ahead and tucks that brightness toward the corners.
If you want to expand the size, then you decrease the Midpoint. In my case however, I want to go ahead and leave that Midpoint set to 50 and I'm going to back off the Amount until I get a more reasonable effect; I really want absolute neutrality where the wandering luminance is concerned. So I'll go ahead and take the Amount down to +40. All right. So vignetting is pretty common, not really conceptually challenging either. Chromatic aberrations are a little bit different. I'm going to switch over to the San Simeon pool image and I'm going to zoom into the top of this facade.
Now, while you may never have heard of chromatic aberrations, once you see them, you can recognize them like crazy. They're these wandering edge colors right there, where essentially the color channels aren't lining up properly with each other. And so in this case, we've got kind of this magenta along the top of the corners and then we're seeing the complementary color, this kind of cyan on the other side. Once upon a time you had to drag sliders around inside Photoshop in order to solve these things, now it's super easy.
You just switch over to this Color panel here and you turn on this checkbox, Remove Chromatic Aberration, and they go away, that's all there is to it. And what's amazing about this, I just love that it's so simple to do now. If it's that simple though, why isn't it turned on by default, why doesn't it just automatically happen? Because these things can drive you nuts, you'll see them in your photographs like five years later and you failed to correct them and you have to go back. Speaking of not having corrected something, I'm going to zoom out from this image here and I'm going to go ahead and scroll down and I'm seeing these steps are not actually straight, and I also have a little bit of distortion still associated with the scene.
If I go ahead and drag down to these bottom pool lines, you can see that they're actually curving, notice that I've got some barrel distortion at work here. So I'm going to switch back over to Manual and I came up with some new values. But notice if I change any one of these here, for example, let's say I go ahead and drag on this Distortion value in order to increase it to +12 is what I ended up coming up with, because it needed some pin cushioning and so that straightens out that pool line there. As soon as I release, Camera Raw goes ahead and zooms me out, and so you have to make these corrections backed out like this and then you have to zoom in to see if you got it right.
So I'll save us all a lot of headache here and just dial in the values that I came up with after way too much work frankly. But I'm going to dial in a Rotate value of 0.4 in order to rotate the scene slightly clockwise and then I'm going to take that Horizontal value down to +6; ends up working out better. And now you can see, if I go ahead and drag with the Zoom tool in order to zoom into this detail right here, I'll go ahead and drag it down, you can see that it's now flat so that took care of that problem.
And these pool lines here of course, they're declining, there's nothing we can do about them, because this is the deep end of the pool. And now I'll go ahead and drag the stairs down to the bottom and they are straight too. So that takes care of that. All right, a couple of different examples of chromatic aberration here. I'm going to switch to Lighthouse-2 and zoom in to the top of it and we'll take it in at 200% and you can see that we've got a little bit of chromatic aberration at work up here, along with some fringing. So I'm going to switch back over to Color and I'm going to turn on Remove Chromatic Aberration and that will take care of those wandering colors along the top there.
But we still have an issue, if you take a close look here at these bars, they've got these kind of purple edges going on, and that is the Color Fringing at work. And now inside Camera Raw 7 we can address that fringing. I'm going to go ahead and increase the Purple Amount to 10 and that takes care of that problem, as you can see. Now, you may be tempted to try to get rid of some of the blue fringing as well, and you can do that by the way by increasing the range of Purple. So if I go ahead and drag this triangle over, for example, to include blue then those edges are going to go away, but we've got bigger problems.
We have too much defringing going on, which frankly can look way worse than the color fringing. So I'm going to go ahead and back this value off to 26, that's the value before the slash, and that pretty well seems to take care of the problem there. Now I'm going to switch over to Glanum ruins and zoom in to these details right there, and you can see that we have a whole lot of aberrations going on where this image is concerned and a lot of purple and green fringing. So I'm going to turn on Remove Chromatic Aberration to take care of much of it, but we still have a little fringing at work as you can see.
So I'll increase that Purple Amount to 10, let's say, and then I'll take the Green Amount all the way to 20, I think will work out, and that definitely makes these details look better. Question is, is this going to work everywhere? So I'll go ahead and zoom out by pressing Ctrl+0 or Cmd+0 on the Mac, and then I will zoom in on these details. And notice this time around that getting rid of the fringing has left white spots. So if I turn the Preview checkbox off, this is how things used to look, obviously quite bad, but when I turn the Preview checkbox back on, it's as if Camera Raw doesn't know what to make of this area, doesn't know that that's part of the sky, and so this area ends up getting filled with white.
And we have a similar problem over against this edge and traveling upward a little bit as well. So I decided ultimately that there's no perfect solution, but I was going to go ahead and take the Green Amount down to 10 instead. All right. Well, go ahead and zoom out by pressing Ctrl+0 or Cmd+0 on the Mac. And that, friends, is how you address vignettes, chromatic aberration, and color fringing here inside Camera Raw 7.
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