Serious Use of the Lens Correction Panel
Lesson 13 from: Adobe Lightroom 5 Develop Module In-DepthJared Platt
Serious Use of the Lens Correction Panel
Lesson 13 from: Adobe Lightroom 5 Develop Module In-DepthJared Platt
Lesson Info
13. Serious Use of the Lens Correction Panel
Lessons
Adjustment Panels in LR Develop Module
12:30 2Basic Adjustments in LR Development Module
15:39 3Vibrance vs Saturation
06:41 4How to Use Drastic Tone Curves
08:14 5How to create a film look using tone curve in LR
04:25 6Black and White Mixing in LR
02:46 7Using Luminance, Saturation and Hue for better color in LR
03:22 8Split Toning Explanation
05:49Lesson Info
Serious Use of the Lens Correction Panel
Now we're going to go up to the lynns correction area lens correction area is a combination of a lot of different things, very important area to understand first off inside of this area is the enable profile corrections. So if I click on that also removed dramatic aberrations, dramatic aberrations, or those weird lines of magenta or green or blue that are on the edge of, like really contrast areas like if you shoot a picture of me on white right here, there will be some kind of a magenta line, if it's a real high key type portrait and that's, because the the way, the light striking the chip and the difference between pure white and then this color it's confusing the chip and it doesn't know where to put the magenta, so it sometimes doesn't put it in the right place. That's because it's a square grid, and I'm not perfectly square, and so that cz having a hard time figuring you now. So what? What happens is the charismatic aberration allows you when you click it on it kind of sees those,...
uh, halos, and it gets rid of him. It does that by, um, by looking at those areas and kind of shifting pixels, which is funny, because sometimes, if you have, like magenta creeping out this side and you and you use the chromatic aberrational shove it in this sign some other coal peek out this side because it's really just shifting these pixels around to try and match them up better so just be aware of that but in most cases it works perfectly so in a lot of times I'll just turn on this and this all the same time and notice that this is actually changing the natural boeing of that lens. So it's it's actually warping in a little bit and it's getting rid of the natural falloff of the limbs so these air to very useful little check boxes to know also there is the upright section and this is kind of new to light room five now before we go to upright understand that anything that you do here in this basic area probably has some kind of detailed stuff going on here. So for instance, if I click on the profile corrections well, the profile is right here and I can adjust it and I can go crazy with it I could say, well, I want the distortion fixed but I don't want the vignette ing fixed so I could turn that off or I can say only want half the vignette ing to occur so now it's kind of a muted vignette, so and then once I've done that once I've decided what my favorite lens correction is, what can I do make a preset so now I don't have to do it again okay, so we're then going to go to color color is the removed chromatic aberrations but now if it didn't quite get it right, you can go in and click on this little color dropper and go find the exact color that's supposed to remove and then it will go in and try and remove that color by neutralizing in that area that specific color so it's very useful tio kind of drill down and find something that's just giving you a problem with the little halo so that's there and then of course manual you can do a bunch transformations len's been getting all sorts of stuff inside of here just play with it basically if you're you know, shooting up on a building you khun correct the you know, the parallax that's going on simply about like, for instance, if I'm here and I'm shooting up on these buildings, I can come in here and say, ok, I wanted tio you know, I wanted to look more like I was shooting straight on and so there it is and now I can hit this button here constrained crop and when I do that see that it crops in on the thing that I don't want it to do that and I also don't want to ruin my I like the perspective that I had by the way, um, this is what the photo really looks like and this is what I did inside of white room so those of you who think that you need photo shopped for things you don't there's a lot you can do inside of light room, including turn lights on and you can see that I've added like the spill of light here, and that was simply all done with the brush tool, so everything was done with the brush to, um ok, so let's talk then about this in the basic area there's this thing called upright, and so I'm going to go to a little set of images that I have they're perfect for this upright tool, and this is I want to show you how I use these specifically where where are we here? Ok, so you see these images here and I showed these yesterday, but I've got a bunch of images here and I don't want to have to go in and re crop every single one because, you know, I'm just shooting hand held and I don't I want the horizon line to be perfectly straight on all of them, but it's a severe waste of my time to have to go do that to every single one of them, so instead of going to the crop tool, I'll go into the developed tool and I'm going to go to the lens correction area here and all I have to do and let me show you this you've got auto level vertical and full so level just does this and it finds level and it levels it out vertical says I know that he's shooting up or down on something and so it'll try and take, you know, a parallax situation and go like that and then full does a whole bunch of tricky stuff like it goes okay, it straightens it up this way and it straightened you out so that you're in front of it and it you know, make sure that you're not on your level and it does all sorts of stuff and auto decides what it should do when it should do it, so these buttons all were kind of interchangeably, so do one and if it doesn't work, do another one okay? All right, so what we're going to do is use the level, so I'm first going to go in here and hit auto sink ok? Auto sink is that you need to live in auto sink, so I click on auto sink and once I'm in auto sink, anything I do and this is true of anything, so watch what happens when I go into the basic area and I take my exposure up a little bit all of these got their exposure increased so I don't have to do this one than this one than this one, and I don't even have to do this one and then paste all the things that I did to this one over here, I don't even have to sink its done auto sink is where I live came, and then I'll go to, you know, my whites and bring the whites up, and then I'll take the blacks down and I'll add a little bit more clarity and all increase or decrease the saturation, and then once I'm done, all of them are already done. Now I'm going to go down to my lens correction area and in lens correction the same strength thing is true because I'm using auto sink, so if I click on level, all of them are going to be leveled, so see how it leveled out that plane right there and this one level it found that and said there's the level, and then here it leveled out that area there. Sometimes it chooses this instead of that and so it's wrong this one's not quite as levels I would like it to be. Neither is this one, because I think it's looking at a different area, is probably looking at them to kind of straighten them this way, and so sometimes you'll have to go in tow, one of them and and just do that with one that didn't quite make it but in most cases it will just level everything out so you're in the right ballpark to begin with so level is a very, very useful tool to do all of it but that all presupposes that you understand how to synchronize because clicking on level on each image is not what level was made for level is made so that it can do it to a bunch images at the same time so highlight all the images make sure you're an auto sink and then could level and it will level all of them out at the same time then you can simply go in tow one at a time and kind of recalibrate if it didn't quite get it right same thing is true for if you wanted to you know make sure like for instance this one if I hit auto on this one watch what happens to the image nothing let's go full vertical apparently it's a perfect image nothing's happening let's go find a different image uh here this one will probably do something so you can see that obviously you've got lots of lines and whatever and so I'm going to hit full they're saying it straightened it up probably there's probably a lot of things that it just did there but real subtle but it just kind of tweeted out so now it's really level really straight and it looks and all I did is just hit full. And it just did it. Okay, so look for opportunities to do that kind of stuff. Play around with it and get used to which button works for you.
Class Materials
bonus material with purchase
Ratings and Reviews
Bill Frye
A very informative course dealing with an important module within Lightroom. Significantly improved my comfort with and capabilities in Lightroom.
a Creativelive Student
I am only half way thru and I love this class! I knew there was more to LIghtroom and what I could accomplish and Jared did that for me! Big thumbs up for me!
Raquel
Thoroughly enjoyed this package. I learned a lot and found everything Jared explained very useful to me. I'm new to using Lightroom. Thank you!