Join Steve Caplin for an in-depth discussion in this video Applying lens correction, part of Affinity Photo Essential Training.
- Now that we've got the basic corrections done, let's look at how we can fix this bulging effect and that was caused by the camera lens. To do this, we go to the Lens section of our RAW dialogue and you can see there's a single Distortion slider here. As we drag it, it makes the whole image bulge outwards and we drag it the other way, it bulges inwards. Now the question is how far do we drag it? Well, that looks more or less straight, but it's quite hard to see.
So let's go to the View menu and turn on the grid. And now we can see this grid overlaid on our image and we can see it's further away at the top than it is as the bottom and there still appears to be a slight bulge in it. So let's bring that down even more. Dragging the slider is a little clumsy. We can also use the up and down arrows here to give finer adjustments. Now that looks closer.
The problem we've now got is it seems to be leaning inwards slightly and that's not to do with the bulging, that's to do with the keystoning effect from the top of the pillars being further away than the bottom. So let's have a look at our vertical control. As we drag this left and right, you can see it tilts the whole image forwards and backwards. Once again, it's quite hard to do this accurately by dragging on the slider so we could use the up and down buttons.
An even easier way is simply to click inside the numerical field and use the up and down cursor keys on your keyboard to move this one degree at a time. So here at minus five percent you can see that the top and the bottom of this pillar are lining up with our grid lines. There's still a slight bulge in it so let's go back to our distortion and once again we can use the keys to reduce that slightly. And that's much better.
This is fitting fairly well. We could also, if we needed to, use the horizontal slider and that will slide it left and right like this. In our case, we don't need to. So we can set this back to zero. In some cases, we might want to rotate the whole image and once again we would use the rotation slider to do this. As I say, in this case we don't need to so let's undo that.
Of course you'll notice that as we've applied our distortion to our Lens Correction pane that we are now getting these bulges top and bottom and the best way of getting rid of those is to scale the image. We can drag the slider. When we get close, we can then use the numerical field and hit the up arrow until position like this where all that white has disappeared. Now we've got it framed as we want.
We can hide the grid. And there is our squared up image. It looks very much better. But we have some more controls we can work with in this Lens Correction section and the first one is the Chromatic Aberration and what this does, if we zoom into our image... is it will attempt to get rid of the color fringing.
We can click on it. It takes a second just to check it out. And in many cases, that will be all you need to do to get rid of blue and yellow fringing. We have a different problem here though. You can see, if we zoom in on these leaves, there's a very, very distinct purple fringe and that we can get rid of using the Defringe controls. We'll check the box and that opens our controls.
And all we have to do is to tell Affinity Photo what color we're trying to get rid of and it is this pink, pinky-purple color. So let's drag the slider. As we drag it, you can see the color popping up above the slider and we drag it over to that's our color there and when I let go, you can see how that color has very largely been removed. By increasing the radius, it allows Affinity to look at a wider range of pixels.
But in fact in this case, it's pushing it too far. Let's bring the radius back. The tolerance adjusts how wide a color range it affects. If we increase the tolerance, you can see that has now taken out all that extra fringing that was there. Let me show you this again. This is where we started and although it got rid of our basic fringing, there's still some purple showing through.
By increasing the tolerance, we get rid of it. And the aim is to have that to the lowest setting we can get away with. The threshold controls how much of the color is affected. If we bring the threshold right down, we can see at the bottom here we're still getting the color showing through. Once again, we can pull it up and the aim, as before, is to get these values as low as we can get away with while still producing the effect that we want.
Now we're very, very strongly zoomed in here. If we scroll to a different part of the image, you can see this is a place where there would be an awful lot of that fringing. We'll zoom out a little bit. Here it is without that Defringe control and here it is again with that Defringe added and you can see it make a very strong difference. Let's have a look at the whole image again. Come on zero. We'll fit the whole thing in our frame. And that's produced a nicely squared up image.
- Using Affinity Photo's raw controls
- Applying lens correction
- Removing chromatic aberration and fringing
- Reducing noise and sharpening photos
- Making and modifying selections in Affinity Photo
- Creating layer masks
- Making global adjustments
- Adjusting shadows and highlights
- Enhancing color
- Converting to black and white
- Applying standard and live filters
- Creating photomontages in Affinity Photo
- Working with image stacks
- Distorting images
- Exporting photos from Affinity Photo