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Vignette, chromatic aberration, and fringe

From: Photoshop CS6 One-on-One: Advanced

Video: Vignette, chromatic aberration, and fringe

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.

Vignette, chromatic aberration, and fringe

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.

Show transcript

This video is part of

Image for Photoshop CS6 One-on-One: Advanced
Photoshop CS6 One-on-One: Advanced

124 video lessons · 19383 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 30m 4s
    1. Welcome to One-on-One
      2m 19s
    2. Loading the dekeKeys keyboard shortcuts
      6m 5s
    3. Remapping your Macintosh OS shortcuts
      3m 4s
    4. Adjusting a few general preferences
      4m 3s
    5. Using the visual HUD color picker
      2m 2s
    6. The interface and performance settings
      5m 31s
    7. Adjusting the color settings in Photoshop
      7m 0s
  2. 47m 0s
    1. Smart Objects
      1m 36s
    2. Three ways to place a Smart Object
      3m 6s
    3. Copying and pasting from Adobe Illustrator
      4m 11s
    4. Transforming and warping a vector object
      4m 48s
    5. Blending a Smart Object into a photograph
      3m 10s
    6. Blurring with a nested Smart Filter
      4m 57s
    7. Editing a Smart Object in Illustrator
      3m 20s
    8. Creating "true clones"
      3m 50s
    9. Duplicating a group of clones
      2m 53s
    10. Breaking the Smart Object link
      2m 53s
    11. Styling and blending Smart Objects
      2m 44s
    12. Editing originals; updating clones
      3m 41s
    13. Removing people from a scene with Median
      5m 51s
  3. 29m 59s
    1. Luminance meets sharpening
      1m 2s
    2. Correcting for lens distortion
      4m 39s
    3. Introducing Shadows/Highlights
      3m 54s
    4. Mitigating halos with Radius values
      4m 19s
    5. Enhancing the effects of Midtone Contrast
      3m 18s
    6. Creating a "bounce" with Gaussian Blur
      3m 29s
    7. Sharpening on top of blur
      2m 47s
    8. Masking a group of Smart Filters
      2m 53s
    9. Reducing the density of a layer mask
      3m 38s
  4. 49m 10s
    1. Using Curves
      2m 40s
    2. Introducing the Curves adjustment
      7m 36s
    3. Adding and editing points on a curve
      6m 27s
    4. Winning Curves tips and tricks
      8m 12s
    5. Correcting a challenging image
      6m 33s
    6. Selecting and darkening highlights
      4m 39s
    7. Neutralizing colors and smoothing transitions
      6m 6s
    8. The new automatic Curves function
      6m 57s
  5. 1h 31m
    1. Camera Raw
      2m 11s
    2. Opening and editing multiple images
      8m 1s
    3. Correcting white balance
      4m 8s
    4. The revamped Exposure controls
      8m 8s
    5. Working with archival images
      7m 54s
    6. The Spot Removal and Graduated Filter tools
      6m 4s
    7. Painting edits with the Adjustment Brush
      7m 23s
    8. Tone Curves (and why you don't need them)
      5m 57s
    9. Straighten, crop, and geometric distortions
      5m 17s
    10. Applying manual lens corrections
      5m 14s
    11. Vignette, chromatic aberration, and fringe
      6m 49s
    12. Selective hue, saturation, and luminance
      6m 36s
    13. Working with JPEG and TIFF images
      6m 36s
    14. Camera Raw Smart Objects
      6m 48s
    15. Editing Camera Raw images from Bridge
      4m 24s
  6. 32m 30s
    1. Duotones
      1m 23s
    2. Creating a professional-quality sepia tone
      4m 18s
    3. Introducing the Gradient Map adjustment
      5m 42s
    4. Loading a library of custom gradients
      3m 48s
    5. Creating a custom quadtone
      5m 48s
    6. Colorizing with blend modes and Opacity
      4m 6s
    7. Creating a faux-color, high-key effect
      7m 25s
  7. 1h 6m
    1. Noise vs. Details
      1m 28s
    2. Introducing the Reduce Noise filter
      7m 29s
    3. Correcting a noisy photo
      5m 33s
    4. Smoothing over high-contrast noise
      5m 50s
    5. Protecting details with an edge mask
      4m 52s
    6. Adjusting overly saturated shadows
      3m 35s
    7. Correcting with High Pass and Lens Blur
      3m 45s
    8. Brushing away blur and sharpening
      6m 42s
    9. Creating texture by adding noise
      5m 28s
    10. The Camera Raw Detail panel
      7m 8s
    11. Correcting noise and detail in Camera Raw
      8m 10s
    12. Adding noise grain and vignetting effects
      6m 47s
  8. 44m 30s
    1. Blur Gallery
      1m 36s
    2. Creating depth-of-field effects in post
      5m 29s
    3. Modifying your Field Blur settings
      4m 57s
    4. Editing and exporting a Field Blur mask
      6m 15s
    5. Adding a synthetic light bokeh
      3m 52s
    6. Using the Selection Bleed option
      7m 29s
    7. Creating a radial blur with Iris Blur
      6m 59s
    8. Creating "fake miniatures" with Tilt-Shift
      4m 35s
    9. Combining multiple Blur Gallery effects
      3m 18s
  9. 1h 34m
    1. Blend Modes
      1m 16s
    2. Using the Dissolve mode
      9m 47s
    3. Multiply and the darken modes
      8m 30s
    4. Screen and the lighten modes
      8m 10s
    5. Cleaning up and integrating a bad photo
      6m 38s
    6. Blending inside blend modes
      6m 55s
    7. Overlay and the contrast modes
      6m 53s
    8. A few great uses for the contrast modes
      9m 7s
    9. Difference, Exclusion, Subtract, and Divide
      5m 5s
    10. Capturing the differences between images
      4m 18s
    11. Hue, Saturation, Color, and Luminosity
      4m 45s
    12. Blend mode shortcuts
      6m 21s
    13. The Fill Opacity Eight
      8m 57s
    14. Using the luminance-exclusion slider bars
      8m 8s
  10. 44m 20s
    1. Color Range
      1m 14s
    2. Introducing the Color Range command
      7m 24s
    3. Selecting a complex image with Color Range
      5m 49s
    4. Refining a selection in the Quick Mask mode
      7m 4s
    5. Viewing a mask with or without its image
      4m 24s
    6. Painting directly inside an alpha channel
      5m 39s
    7. Correcting fringes around a masked layer
      8m 5s
    8. Turning a layer into a knockout
      4m 41s
  11. 59m 43s
    1. Refine Edges
      1m 28s
    2. Laying down a base layer mask
      6m 49s
    3. Introducing the Refine Edge/Mask command
      7m 57s
    4. Edge detection and Smart Radius
      4m 42s
    5. Using the Refine Radius tool
      7m 31s
    6. The transformative power of Refine Edge
      3m 37s
    7. Perfecting a mask with overlay painting
      10m 58s
    8. Combining Quick Selection with Refine Mask
      10m 37s
    9. Bolstering and integrating hair
      6m 4s
  12. 1h 18m
    1. The Pen tool
      1m 50s
    2. Pixel-based masking versus the Pen tool
      6m 45s
    3. Drawing a straight-sided path outline
      6m 57s
    4. Moving, deleting, and adding anchor points
      6m 10s
    5. Dragging control handles to modify curves
      5m 27s
    6. Converting a path outline to a vector mask
      5m 36s
    7. Customizing a geometric shape
      5m 53s
    8. How to position points and control handles
      7m 7s
    9. Drawing smooth points with the Pen tool
      8m 7s
    10. Duplicating and scaling a vector mask
      5m 21s
    11. Cusp points and the Rubber Band option
      6m 21s
    12. Setting anchor points in the pasteboard
      6m 8s
    13. Using the Convert Point tool
      6m 43s

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