In Photoshop you can find all the current keyboard shortcuts under …
Window, Workspace, Keyboard Shortcuts & Menus …
You can change them (add new ones or customize them) simply by double clicking a field and typing in your preferred keystrokes.
Save your settings to retrieve or share them in another copy or future version.
Adobe’s lens profile corrections are simply amazing. Lens Corrections automate correction of standard lens distortions, including geometric distortion, chromatic aberration, and vignette. In addition to correcting lens distortions, this feature can also be used to adjust perspective and rotation.
Adobe provides support for a growing list of camera manufacturers, camera models, and lenses: Canon, Nikon, Pentax, Samsung, Schneider, Sigma, Sony, Tamron, and Zeiss.
Adobe Lens Profile Creator
If Adobe doesn’t supply a lens profile for your particular lens you have three choices.
First, you may be able to access a lens profile created by another user on the Adobe Lens Profile Creator forum. Find and share lens profiles at Adobe labs. Of course, these lens profiles will only be as good as the creators were diligent about creating them.
Second, you can visually adjust the parameters of an existing lens profile and save the new settings under a new name for future use. There’s plenty of room for user error with this method but it’s more efficient than creating manual corrections from scratch. Expect to check the results frequently when you apply these settings to different types of images.
Third, you can create your own custom lens profile with the free Adobe Lens Profile Creator utility. Download the Adobe Lens Profile Creator at Adobe Labs.Adobe Lens Profile Creator is a utility designed for photographers who want to create custom lens profiles for their own lenses. The process of creating a custom lens profile for your lens involves capturing a series of images of a printed checkerboard pattern with your specific camera and lens, converting that set of raw images into Digital Negative (DNG) file format (using the Camera Raw plug-in, Lightroom, or the free Adobe DNG Converter), and importing the raw DNG images (or JPEG/TIFF images when creating lens profiles for a non-raw workflow) into the Adobe Lens Profile Creator to generate a custom lens profile. If you create new lens profiles, you can share them with the rest of the user community on the Adobe Lens Profile Creator forums, publishing them directly from inside the Lens Profile Creator. These profiles will then be available via new versions of the Adobe Lens Profile Downloader. This is an extended and complex process few photographers will want to go through, but for those using unsupported cameras and lenses worth the time and effort in the long run.
Using Adobe’s Lens Profile Corrections
You can access Adobe’s Lens Corrections in three locations; Adobe Camera Raw, Lightroom 3, or Photoshop CS5’s Lens Correction filter. (Lens profile corrections were first introduced in Lightroom 3. To get Lens Profile Corrections in Adobe Camera Raw CS5, you need to download a version that has been updated after the release of Lightroom 3. You can download the latest free update at adobe.com.
It’s far less destructive to make these types of adjustments to Raw files during conversion rather than after conversion. It’s also more flexible. (Use a smart object and reaccess the controls any time by simply by double clicking the smart object.) However, if you want to apply Lens Corrections within Photoshop, after a file has been rasterized, you can use CS5’s updated Lens Correction filter.
In ACR and Lightroom, you’ll find two tabs under Lens Corrections; Profile and Manual.
Under Profile, click Enable Lens Profile Corrections to activate this feature. Using the EXIF data in your Raw file, the software will automatically select the Make (of your camera), Model (of your lens), and the Profile (for that lens). You can use the supplied lens profiles, download a custom profile made by another user, or create your own (manually or with Adobe’s Lens Profile Creator).
Checking Enable Lens Profile Corrections will also allow you to access three sliders – Distortion, Chromatic Aberration, and Vignetting – for manually fine tuning the results. If you like the results of one correction but not another, you can decrease or increase the effects in one or more of the three fields.
Under Manual, you’ll find controls for visually creating your own lens profile corrections …
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Find the latest free Adobe® Photoshop®-related beta downloads, prerelease tools and experimental technologies available on Adobe Labs in addition to a listing of other Photoshop image editing resources for designers and developers.
Julieanne Kost discusses how the addition of color as well as supporting imagery can help reinforce the mood and message of a composite image that a single photograph may fail to do on it’s own.
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Learn more in my DVDs Photoshop Color Tools and Photoshop Color Strategies.
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Black and white printing presents several significant challenges; the ability to produce a neutral color, the ability to maintain that neutral appearance under different light sources (reduced metamerism), the ability to attain graybalance (consistent color throughout the entire tonal scale); the ability to achieve a very dark black (high Dmax) without sacrificing shadow detail (low dot gain), and longevity. All of these things are now easily attainable.
Black and white inkjet printing has come of age. In past years, there have been many compelling solutions for making black and white prints with inkjet technology; some have been fraught with problems (third party quadtone ink sets clog easily) and others have been expensive (ColorByte's ImagePrint RIP). Today, superior quality inkjet printing is both affordable and easily achieved.
Richard Harrington demos three features that use Adobe’s new Patch Match.
They’re game changers.
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Learn more in my fine art digital printing workshops.
It’s a perfect shot! If only those unwanted moving objects (UMOs, i.e., a person or a crowd) in the scene would disappear. As long as the unwanted elements in your frame move, even just a little, you can make them disappear from your image by taking two or more shots and using Photoshop’s layering and blending capabilities.
You don’t have to retouch your image. Blending is different than retouching. The unwanted elements aren’t covered over with new information by hiding them with replacement information similar to the surround, either from the same source or another. With blends, the information behind the moving subject is revealed. How? It’s contained in the other shot(s).
You even can do this with exposures that are made with slightly different angles of rotation or framing, so you can use this technique with handheld exposures, not just those made with a tripod. Camera motion may make manual registration difficult, but Photoshop automatically will align and, in some cases, distort the separate exposures so that they register precisely …
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Richard Harrington reviews Photoshop CS5’s new features.
Find out more about Richard Harrington here.
Find more great CS5 videos here.
Learn more in my fine art digital printing workshops.
It’s challenging to reduce the luminance (light and dark) component of noise without compromising image sharpness; often it requires a careful application of specialized software.
However, you can easily reduce the color component of noise using Photoshop.
Here’s how.
1 Duplicate the Background layer and turn the duplicate layer’s blend mode to Color.
2 Blur the layer (Filter: Blur: Gaussian Blur).
Be careful not to use the blur filter too aggressively. If contours exhibit reduced saturation, use a lower filtration
Using this technique, only the color of an image will be blurred, not its luminance; image sharpness will not be compromised. Luminance noise will persist; other methods are required to remove it.
This industrial strength technique is most useful when dealing with serious color noise when a Raw converter’s features can’t go far enough, such as the larger areas of color noise found in some images from Bayer pattern demosaicing.
Adobe Evangelist Julianne Kost demonstrates the advantages of working with and archiving to the DNG raw file format over proprietary raw file formats as well as choosing which tool to use to convert your files as you move through your workflow.
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Learn from Julianne live before our 2011 Iceland workshops.
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