LPC - Distortion, CA, Vignetting factors
For lens profile creation tool, there are three variables that can be altered (versus static):
- Focal Length
- Aperature
- Focal Distance
So that I can understand how to shoot my image sets -- what types of image sets (varying focal length, varying aperature, varying focal distance) are important to be included for creation of a decent profile for each of the following corrections?
For instance, I understand (hopefully correctly) that for geometric distortion, varying the focal length is important, but aperature is not and focal distance... well, I'm not sure.
- Geometric Distortion:
- Chromatic Aberration:
- Vignetting:
Thanks in advance!
Avery
Thanks, Simon.
So, if I was able to shoot some image sets with a zoom lens on a Sony NEX-5N (before I sold it), using different focal lengths at F8.0 -- I should create a profile for geometric distortion and CA, omitting vignetting? (as I understand, focal distance isn't taken into affect for this camera)
Similar Messages
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How to disable distortion correction for micro 4/3 lens
Hello,
I have an Olympus E-P2 and Panasonic 14-45mm lens. Adobe Lightroom 3 and Photoshop CS5 appear to be performing some very heavy-handed distortion correction at the wide-end of the zoom (running the file through a different raw converter yields dramatically different results at the edges). This is without selecting any lens profile or enabling manual correction. How can I disable this?
Thanks,
Dara
P.S. Strangely, ACR 6 is not doing any correction of chromatic aberration. Given that the system is set up to try and fix distortion and vignetting automatically, it would make a lot of sense to fix CA too.That's a solution. It doesn't however answer my question. Clearly there is some metadata tag that tells ACR what corrections to apply. Using EXIFTool, I can replace all the metadata with that from a shot with a non-correctable lens. Unfortunately, this screws up my cataloguing by replacing other things like focal length, aperture and so on. It would be nice to know the exact tag. Thanks.
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After going through the exercise of creating lens profiles to corect the vignetting inherent in wide-angle pinhole photos, I thought I'd offer some feedback on the data model. Not a complaint, just an observation.
The model requires the vignette to be represented as the coefficients for 2nd, 4th, and 6th degree terms in a polynomial. This representation offers a very close approximation of real falloff for moderate ƒ/Dmax ratios, but cannot represent the *actual* falloff and the approximation gets increasingly poor as the ratio shrinks.
Here's a graph of the actual falloff as expressed by the function y = 1/(((d/ƒ)^2)+1) graphed against the representations created by the Lens Profile Creator, which offers a handy tool for fitting the curve (click it to see it bigger):
The first curve is a hypothetical 6x6cm frame with a "normal" 80mm focal length, as if one converted an old 6x6 film camera to pinhole. The approximation here is fantastic.
The second is my 6x12cm pinhole camera with a 40mm focal length. This is fairly common; both my $480 Zero 612F and the $50 Holga 120WPC use this combination. The fit here is pretty good, but it's a good thing the frame isn't any wider.
The last is a relatively common large-format pinhole ratio, with a 25mm focal length on 4x5" film. The Zero 25B uses this combination.. As you can see, the model is quite poor at representing this curve.
Since the actual falloff due to distance can be expressed by the simple formula above, it's too bad it can't be represented precisely. Maybe if someday there's a v2 of this specification...That would help, but not nearly as much as a hybrid approach -- allow all photos to get corrected using a mathematically proper model following the 1/(((d/ƒ)^2)+1) formula, *in addition* to a polynomial correction to account for other vignetting factors.
All photos taken with a flat sensor or film have a falloff curve that matches that formula, though in the "normal" case the effect is quite small. (Does it get screwed up at large apertures or with funky lens designs like retrofocus lenses? I'm not enough of an optics guy to figure that out without devoting some serious mental energy, and it's too late at night for that right now.)
No additional tags would be needed in the profile -- in most cases you already know the focal length and frame size, which is all you need to calculate it. You could have a boolean tag for whether to perform that correction or not I suppose... -
there is distortion correction
vignette correction
why isn't there a sharpness vignette to fix soft edges for lenses in low aperture ?
it can be done in photoshop afterwards with unsharp mask and layer masking, but an option in ACR 7 would be nice.Sharpening can be found under the third icon in from the left, which looks like a pointy mountain.
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My Tamron 10-24 is listed as Unknown Lens
Any way to fix this?
Details are:
Lightroom version: 5.3 [938183]
Operating system: Windows 8 Business Edition
Version: 6.2 [9200]
Application architecture: x64
System architecture: x64
Camera Pentax K5 WIth latest Firmware 1.16
Shooting Format - DNG
Info from EXIF tool:
Lens Type : Tamron SP AF 10-24mm F3.5-4.5 Di II LD Aspherical [IF]
Lens ID : Tamron SP AF 10-24mm F3.5-4.5 Di II LD Aspherical [IF]
Amy Ideas? I've copied the full output of exif tool below in case other lines help someone smarter than me in this are.
Thanks, Jim
ExifTool Version Number : 9.54
File Name : _K5_0175.DNG
Directory : D:/Photos/2014/2014-03-23
File Size : 25 MB
File Modification Date/Time : 2014:03:23 09:49:46-07:00
File Access Date/Time : 2014:03:23 10:48:26-07:00
File Creation Date/Time : 2014:03:23 10:48:26-07:00
File Permissions : rw-rw-rw-
File Type : DNG
MIME Type : image/x-adobe-dng
Exif Byte Order : Big-endian (Motorola, MM)
Make : PENTAX
Camera Model Name : PENTAX K-5
Orientation : Horizontal (normal)
Software : K-5 Ver 1.16
Modify Date : 2014:03:23 09:49:44
Artist : JIM CRUICKSHANK
Image Width : 4992
Image Height : 3284
Bits Per Sample : 14
Compression : JPEG
Photometric Interpretation : Color Filter Array
Strip Offsets : 162048
Samples Per Pixel : 1
Rows Per Strip : 3284
Strip Byte Counts : 24742950
X Resolution : 300
Y Resolution : 300
Planar Configuration : Chunky
Resolution Unit : inches
CFA Repeat Pattern Dim : 2 2
CFA Pattern 2 : 2 1 1 0
CFA Layout : Rectangular
Black Level Repeat Dim : 2 2
Black Level : 0 0 0 0
White Level : 15864
Default Scale : 1 1
Default Crop Origin : 22 10
Default Crop Size : 4928 3264
Bayer Green Split : 0
Anti Alias Strength : 1
Subfile Type : Reduced-resolution image
Primary Chromaticities : 0.64 0.33 0.21 0.71 0.15 0.06
Y Cb Cr Coefficients : 0.299 0.587 0.114
Y Cb Cr Sub Sampling : YCbCr4:2:2 (2 1)
Y Cb Cr Positioning : Co-sited
Copyright : Jim Cruickshank
Exposure Time : 1/50
F Number : 4.5
Exposure Program : Creative (Slow speed)
Date/Time Original : 2014:03:23 09:49:44
Create Date : 2014:03:23 09:49:44
Flash : Off, Did not fire
Focal Length : 24.0 mm
Sensing Method : One-chip color area
Custom Rendered : Normal
Exposure Mode : Auto
Focal Length In 35mm Format : 36 mm
Scene Capture Type : Standard
Subject Distance Range : Close
GPS Version ID : 2.3.0.0
DNG Version : 1.1.0.0
DNG Backward Version : 1.1.0.0
Unique Camera Model : PENTAX K-5
Color Matrix 1 : 0.963470459 -0.4771881104 -0.07902526855 -0.34
95941162 0.9834136963 0.4286651611 -0.01779174805 0.03717041016 0.6799163818
Color Matrix 2 : 0.8302001953 -0.2508850098 -0.1111907959 -0.39
95361328 1.230117798 0.1880645752 -0.09773254395 0.1713256836 0.6513366699
Analog Balance : 1 1 1
As Shot Neutral : 0.4848484848 1 0.5541125541
Baseline Exposure : -0.5466766357
Baseline Noise : 1
Baseline Sharpness : 1
Linear Response Limit : 1
Pentax Version : 7.0.0.0
Pentax Model Type : 0
Preview Image Size : 640x480
Preview Image Length : 33984
Preview Image Start : 35680
Pentax Model ID : K-5
Date : 2014:03:23
Time : 09:49:44
Quality : RAW
Flash Mode : Off, Did not fire; Internal
Focus Mode : AF-S (Focus-priority)
AF Point Selected : Auto
ISO : 3200
Exposure Compensation : 0
Metering Mode : Multi-segment
Auto Bracketing : 0 EV, No Extended Bracket
White Balance : Auto
Saturation : Normal
Contrast : Med High
Sharpness : Med Hard
DSP Firmware Version : 1.16.26.29
CPU Firmware Version : 1.16.26.29
Effective LV : 5.1
Picture Mode : Auto Program (Shallow DOF); 1/3 EV steps
Drive Mode : Single-frame; No Timer; Shutter Button; Single
Exposure
Sensor Size : 24.122 x 15.976 mm
Color Space : Adobe RGB
Image Area Offset : 22 10
Raw Image Size : 4928x3264
Preview Image Borders : 28 28 0 0
Lens Type : Tamron SP AF 10-24mm F3.5-4.5 Di II LD Aspheri
cal [IF]
Camera Temperature : 16 C
AE Lock : Off
Noise Reduction : Off
Flash Exposure Comp : 0
Image Tone : Bright
SR Result : Stabilized
Shake Reduction : On (7)
SR Half Press Time : 1.72 s
SR Focal Length : 24 mm
Shutter Count : 10161
Faces Detected : 0
Face Position : 0 0
Raw Development Process : 8 (K-5,K-5II,K-5IIs)
Hue : Normal
White Balance Auto Adjustment : On
Tungsten AWB : Subtle Correction
Dynamic Range Expansion : Off
World Time Location : Hometown
Hometown DST : No
Destination DST : No
Hometown City : Vancouver
Destination City : Vancouver
High/Low Key Adj : 0
Contrast Highlight : 0
Contrast Shadow : 0
Contrast Highlight/Shadow Adj : Off
Fine Sharpness : Off; Normal
High ISO Noise Reduction : Medium; Active (Medium)
AF Adjustment : 0
Monochrome Filter Effect : None
Monochrome Toning : None
Face Detect : Off; 0 faces detected
Face Detect Frame Size : 0 0
Shadow Correction : Off
ISO Auto Parameters : Standard
Distortion Correction : Off
Chromatic Aberration Correction : Off
Vignetting Correction : Off
Bleach Bypass Toning : Off
Black Point : 0 0 0 0
White Point : 16896 8192 8192 14784
Picture Mode 2 : Auto PICT
Program Line : MTF
E-Dial In Program : Tv or Av
Aperture Ring Use : Permitted
Flash Options : Normal
Metering Mode 2 : Multi-segment
AF Point Mode : Auto
Focus Mode 2 : AF-S
AF Point Selected 2 : Auto
ISO Floor : 100
Drive Mode 2 : Single-frame
Exposure Bracket Step Size : 0.3
Bracket Shot Number : n/a
White Balance Set : Auto
Multiple Exposure Set : Off
Link AE To AF Point : On
ISO Auto : On
AE Exposure Time : 1/47
AE Aperture : 4.6
AE ISO : 2934
AE Xv : 0
AEB Xv : 0
AE Min Exposure Time : 1/7723
AE Program Mode : Shallow DOF Program
AE Aperture Steps : 0
AE Max Aperture : 4.4
AE Max Aperture 2 : 4.6
AE Min Aperture : 32
AE Metering Mode : Multi-segment
Flash Exposure Comp. Setting : 0
Level Indicator : 252
Nominal Max Aperture : 4.8
Nominal Min Aperture : 32
Max Aperture : 4.6
AE Metering Segments : 2.5 2.8 4.1 4.4 4.6 4.9 5.0 5.0 4.8 4.6 4.1 3.
3 3.1 3.9 4.3 3.8 4.9 4.5 4.8 4.3 3.9 3.9 4.4 3.9 3.9 3.9 4.1 5.5 5.6 5.3 5.0 4.
5 4.3 3.5 2.9 3.5 3.9 3.9 4.1 3.9 3.9 4.3 4.3 3.8 2.8 1.9 3.1 3.8 4.8 5.0 4.9 4.
0 4.1 3.4 4.0 3.4 3.1 3.3 3.5 3.9 4.8 3.9 2.8 2.8 2.5 3.3 3.0 2.9 3.4 3.6 2.6 2.
4 2.1 2.1 2.5 2.3 2.8
Flash Metering Segments : 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0
Slave Flash Metering Segments : 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0
Manufacture Date : 2010:10:18
Production Code : 2.1
Internal Serial Number : 17038
Power Source : Body Battery
Body Battery State : Full
Body Battery Voltage 1 : 7.58 V
Body Battery Voltage 2 : 7.25 V
Body Battery Voltage 3 : 7.84 V
Body Battery Voltage 4 : 7.45 V
AF Predictor : -1
AF Defocus : 0
AF Integration Time : 30 ms
AF Points In Focus : Center (horizontal)
Kelvin WB Daylight : 5205 0 2.088134765625 1.4703369140625
Kelvin WB 01 : 2500 0 1.140869140625 2.8192138671875
Kelvin WB 02 : 2630 0 1.2059326171875 2.6483154296875
Kelvin WB 03 : 2780 0 1.2783203125 2.4813232421875
Kelvin WB 04 : 2940 0 1.352294921875 2.331787109375
Kelvin WB 05 : 3130 0 1.435791015625 2.1839599609375
Kelvin WB 06 : 3330 0 1.5185546875 2.054931640625
Kelvin WB 07 : 3570 0 1.6116943359375 1.9281005859375
Kelvin WB 08 : 3850 0 1.711669921875 1.8084716796875
Kelvin WB 09 : 4170 0 1.8157958984375 1.69970703125
Kelvin WB 10 : 4550 0 1.9266357421875 1.597900390625
Kelvin WB 11 : 5000 0 2.0418701171875 1.504638671875
Kelvin WB 12 : 5560 0 2.164794921875 1.416748046875
Kelvin WB 13 : 6250 0 2.29052734375 1.3365478515625
Kelvin WB 14 : 7140 0 2.4205322265625 1.26318359375
Kelvin WB 15 : 8330 0 2.5526123046875 1.196044921875
Kelvin WB 16 : 10000 0 2.6844482421875 1.13525390625
WB Shift AB : 0
WB Shift GM : 0
EV Steps : 1/3 EV Steps
Sensitivity Steps : As EV Steps
Camera Orientation : Horizontal (normal)
Serial Number : 3842570
Level Orientation : Horizontal (normal)
Composition Adjust : Off
Roll Angle : 2
Pitch Angle : -6.5
Composition Adjust X : 0
Composition Adjust Y : 0
Composition Adjust Rotation : 0
WB RGGB Levels Daylight : 17257 8192 8192 13072
WB RGGB Levels Shade : 20620 8192 8192 9756
WB RGGB Levels Cloudy : 18594 8192 8192 11177
WB RGGB Levels Tungsten : 10371 8192 8192 24250
WB RGGB Levels Fluorescent D : 21309 8192 8192 12598
WB RGGB Levels Fluorescent N : 18270 8192 8192 14019
WB RGGB Levels Fluorescent W : 16609 8192 8192 17334
WB RGGB Levels Flash : 19567 8192 8192 12030
WB RGGB Levels Fluorescent L : 13895 8192 8192 21692
WB RGGB Levels User Selected : 17257 8192 8192 13072
Contrast Detect AF Area : 0 0 0 0
Camera Temperature 2 : 16.1 C
Camera Temperature 3 : 16.1 C
Camera Temperature 4 : 16 C
Camera Temperature 5 : 16 C
Calibration Illuminant 1 : Standard Light A
Calibration Illuminant 2 : D65
Aperture : 4.5
CFA Pattern : [Blue,Green][Green,Red]
Image Size : 4992x3284
Lens ID : Tamron SP AF 10-24mm F3.5-4.5 Di II LD Aspherical [IF]
Preview Image : (Binary data 33984 bytes, use -b option to ext
ract)
Scale Factor To 35 mm Equivalent: 1.5
Shutter Speed : 1/50
Circle Of Confusion : 0.020 mm
Field Of View : 53.1 deg
Focal Length : 24.0 mm (35 mm equivalent: 36.0 mm)
Hyperfocal Distance : 6.39 m
Light Value : 5.0
-- press any key --Thanks Tony,
Yes the supplied profile works - in my test shots it corrects distortion and vignetting nicely - but it is a pain to have to pick the proffile by hand for each shot.
My real issue is Lightroom not correctly identifying the lens and listing it as "Unknown" in the meta data. Was hoping there was a way to teach lightroom to recognize it - or a config file to hack to make it recognize the lens.
For testing puposes I changed the raw format of my Pentax from DNG to PEF but got the saame result.
Anyone else have ideas?
Jim -
Need lens profile rokinon 14mm for sony nex7
Please does anyone know if there is a Lightroom 5 lens profile for Rokinon(aka Bower/Samyang) 14 mm for sony nex 7??
ThanksThe Adobe Lens Profile implementation is not camera model specific. Cameras with the same sensor size should theoretically be able to use the same lens profiles regardless of the camera make or model. Adobe also provides the capability of using lens profiles from larger sensor size (full-frame) cameras with images shot using smaller sensor (APS-C) camera models (i.e. Crop Factor). As best I can tell the Adobe and User created lens profiles are agnostic, except for image file type. Different lens profiles are required for raw and JPEG images. As long as the lens profile crop factor is the same or smaller than the target camera it should work just fine. The Sony Nex7 has a 1.5 Crop Factor sensor size, so any lens profile with a 1.5 to 1 crop factor should work. Lens profiles with the nearly same sensor size 1.6 crop factor should also work.
The Adobe Lens Profile Downloader lists numerous lens profiles for this lens under 'Camera Make' Nikon for both raw and JPEG. You could also use any of the lens profiles that appear under 'Camera Make' Canon.
1) Download and install the Adobe Lens Profile Downloader for Windows or Mac.
2) Launch the Adobe Lens Profile Downloader, select a suitable lens profile, and download it. Add as many as you like!
3) Close and reopen LR, select an image shot with the 14mm lens, go to Develop> Lens Corrections panel, and select 'Make' same as you downloaded (i.e. Nikon), and under 'Model' scroll down to the bottom of the list and you should see the downloaded profile(s). Test it with the 14mm images.
4) If satisfied select in the Lens Profile panel Setup> 'Save New Lens Profile Default.'
These profiles are created and submitted by users with varying degrees of technical-expertise. The lens profiles have a 'Rating,' based on some metric. Please keep in mind that 100% distortion and vignetting correction can actually make the image look worse, especially with a wide-angle lens. Most wide angle lenses have barrel type distortion and when corrected with the LR Lens Profile tool you will see corner "stretching," which creates cropping and volume anamorphosis. Images also tend to look more natural when there is a slight amount of vignetting left in the image. I typically use 0% Distortion and 50% Vignetting and only adjust them higher in images where it is visible. YMMV..... -
Lens correction and Develop defaults
in this video http://tv.adobe.com/watch/the-complete-picture-with-julieanne-kost/enhancing-light/ J. Kost shows how to create default settings in the Develop module so that your photos are always lens corrected (she recommends doing that for every photo). I followed her instructions (they are pretty simple) and i'm getting mixed results. Sometimes when i open my photo in Develop, i see that the lens correction has been applied (good). Other times, there is none applied, and if i enable it, it applies the correction (so i know it can be applied.). All my photos are shot with the same Nikon D300, but some are shot with different lenses, and some are shot in JPEGs. I can't yet determine any pattern to why some have correction applied and others don't. Questions:
-- should this work for all photos shot with the same camera and different lenses?
-- should this work for all photos shot with the same camera but some in JPEG and others in RAW?
-- does this work only when a photo is opened in Develop?
Thanks!eschurr wrote:
that's interesting and curious -- why is that? do you recommend only using manual lens correction?
The underlying "Warping* model required for distortion correction is very processor intensive, but this is not the only factor we need to take into account. The choice of how and when to apply the profile in the workflow should be based on, amongst other things, image content, lens used, cpu and system resources. For example, does every image really need geometric distortion correction? Do some images not actually benefit from some vignetting?
Above examples actually highlight another issue (i.e. both lens distortion and vignette correction are built into a single profile). First, we have the correction of geometric distortion, which is the correction that hurts local adjustment and healing brush performance. Then we have correction of lens vignetting, which tends to brighten up the image as whole, rather than just the corners. Applying the lens profile up front will hurt when you carry out any local adjustments or healing whereas any fine tuning of overall tonal balance on an uncorrected image will be screwed up when vignette correction kicks in. So, which hurts your workflow more slow brush performance or having to re-edit tonal balance? -
How do I create an ACR custom lens profile if camera exposure can't be set to manual?
How do I create an ACR custom lens profile if camera exposure can't be set to manual?
I ask this question for the Nokia 808 PureView 41MP camera. It produces stunning image quality but exposure can only be controlled via EV +/- compensation. I need a lens profile to correct for vignetting to get even skies in panorama (which turn out stunningly otherwise). There is no profile for the Nokia 808 PureView I am aware of and I'd like to produce one.
Is the Adobe profile creator able to correct for varying exposure using EXIF or overlapping parts of the chart or background?
Or would the Adobe profile creator ignore EXIF if I use studio flash to enforce a constant lightning situation, even if shutter speed would vary (aperture is constant and ISO can be set constant, just not the shutter speed)?
Or did Adobe produce a profile internally they can share?
Thanks.If you read the first post, this is the camera-app of a 41MP Nokia Pureview 808 camera-phone, so maybe someone could write a new camera app but the phone is Symbian OS which is dead, making that unlikely.
http://www.digitaltrends.com/mobile/the-skeptics-guide-to-nokias-808-pureview-five-reasons -41-megapixels-are-not-a-gimmick/
http://www.digitaltrends.com/mobile/the-nokia-lumia-820-and-lumia-920-too-little-too-late/
It would probably be easier for Adobe to rewrite the LPC to allow vignetting to be computed from a single shot of a blank wall without a target in the shot, than to have someone rewrite a camera app that allows manual exposure.
Another idea about how to get the phone to keep a constant exposure would be to experiment with putting darker and lighter objects in the field-of-view away from the target area to make the camera metering adjust things so it’s exposure is the same from one shot to the next. This would take some doing but should work, unless the LPC uses the part of the frame that doesn’t contain the checkboard target in its computations.
You’re basically varying the scene around the target so the camera takes the same exposure of the target each time. -
ACR 8.7 release candidate, Nikon D750, Lens corrections tab
I capture images using a Nikon D750 & AF-S NIKKOR 24-120mm f/4G ED VR lens with image quality set for NEF (RAW) + JPEG fine & image size set for Large. Slot 1 card saves the NEF files & slot 2 card saves the JPEG files. I download the images using Bridge CC Photo Downloader converting the NEF to a DNG while downloading. When editing the DNG image using the Lens Corrections tab in ACR it correctly recognizes the lens. When editing the JPEG image the same way it incorrectly identifies the lens as an AF-S NIKKOR 14-24mm f/2.8G ED and does not offer a choice for the correct lens. I hoping this can be fixed soon. A workaround that seems fairly accurate is to choose the AF-S NIKKOR 24-70 f2.8G ED instead for the JPEG images.
I recently had to install Camera Raw 8.7 for CC Release Candidate Version: RC 1, Date: October 2, 2014 to recognize the D750 NEF files.What you’re seeing is normal. Most lens profiles from Adobe are for RAW files only. Many cameras do their own corrections, nowadays, so Adobe cannot assume the raw profile would work for JPGs from the camera as a general case. For example with my new Canon 7D Mark II, which I'm awaiting raw support for at all, I can select vignetting, chromatic-aberration and geometric distortion correction as separate items on the menu to be used for producing camera JPGs. Adobe doesn't attempt to interpret such proprietary information and apply the appropriate correction for corrections I haven't already asked the camera to do, they just don't supply a lens profile at all for JPGs. The kit lenses for some cameras seem to be the exception to this, as well as a few other lenses, which I'm not sure why they've supplied profiles for. You can also download profiles others have created, themselves, using the Adobe Lens Profile Downloader which you can find on the adobe.com site.
If you are confident you won't ever have distortion or vignetting correction enabled on your camera for the JPGs it produces, then you can hack a copy of the Adobe-supplied raw profile for a particular lens to be for non-raws, by changing the whateverRAW tag from True to False, and put the modified profile in the user-created profiles area of your computer and it’ll be seen and used. -
Lack supporting Sony RX100 II in Adobe Camera RAW
Please, integrate full support Sony RX100 & RX100 II to Adobe Camera RAW. This is a very good and expensive cameras. I replace my Nikon D5100 with Sony RX100 II, and second gives better quality despite very small size. But support in Camera RAW limited to opening ARW files — there are no lens profiles for this cameras: automatic correction of chromatic aberration, distortion and vignetting does not work.
Hi,
That specific camera doesn't seem supported as far as lens correction profiles in the latest camera raw 8.2 in photoshop cs6/cc, but you could download the
the Adobe Lens Profile Downloader and search for one.
http://www.adobe.com/products/photoshop/extend.displayTab2.html
The best match i could find is for the Sony RX100, so you can try them and see if they are satisfactory.
After you download the profile(s), they should show up in camera raw. -
ACR 6.1 vs DXO Lens Correction?
I have been experimenting with the lens correction module in ACR 6.1, which has profiles for two lenses I own, the Nikkor AF-S 18-70mm f/3.5-4.5 G and the Nikkor AF-S 70-200mm f/2.8 G IF-ED VR, and am quite pleased with the results. The 18-70 lens is a decent consumer grade zoom that has good resolution and little chromatic aberration, but which suffers from distortion at the wide end and vignetting at large apertures. From visual onscreen editing, the vignetting is completely removed from the images and the barrel distortion at wide angle settings is sufficiently well controlled that thus far I have seen no need for manual touching up of the distortion correction.
DxO (an Adobe rival) has criticized the ACR module as offering undercorrection of distortion and vignetting under some conditions, suggesting that the Adobe profiling procedures are not sufficiently rigorous. That may be so, but thus far I have seen no major defects and they gave no examples and I am wondering what the experience of other ACR users might be.
http://www.dpreview.com/news/1005/10052001adobedxoensprofile.asp
The 70-200 zoom was highly regarded for use with APS sized sensors, but full frame users have noted an alarming degree of softenss in the corners of the image. With ACR, one could attempt to provide extra sharpening at the edges of the image with an adjustment brush, but DXO claims to automatically correct for uneven sharpness across the image field. They don't say how this is achieved, but the web site explanation hints at something more sophisticated than a variable unsharp mask (perhaps a variable deconvoluiton algorithm) and I would be interested how this works out in practice.I hardly know where to start!
Anyway, looking at the list of available lenses, the list for Photoshop Nikon optics is extensive, and also has at least one error. The list for ACR is far less, and my principal lens isn't present. The problem with that item is that, if you choose Custom and your lens isn't on the list, it reverts to the first lens on the list and corrects the image for that. In Auto, it tells you it isn't on the list, so I would urge the use of Auto at all times when operating with commercially available lenses.
In PSCS5, my basic lens also is not present; (18 to 105 mm), but there is a lens, 18 to 125 which is not in the Nikon line. This appears to be an error. Is this the 18 to 105?
I have serious reservations with the idea of "Photographer Empowerment" with respect to lens corrections. I hope that if you publish this data it is in it's own category to which I can ignore. Lens measurement, data collection and conclusions is an intense activity and is best left to the professionals as is photo editing software. DXO knows what they are doing. The concept of "Photographer Empowerment" indicates to me Adobe does not know what it is doing. This makes me very nervous, to say the least.
Let me give you an example. I ran an image from my 70 to 300mm lens, which is on the charts, through both DXO and ACR 6.1, then set one over the other in Layers. Switching back and forth showe a vast difference in the correction for barrel/pincushion and vignetting. Which is right?
FYI, I always have two sets of raw data when anticipating running the DXO corrections so that there is no preconditioning by either party when running such tests. Also, I use DXO only for lens correction activities. Their RAW converter, imo, cannot compare to even CS3, for reasons I won't go into here. There are cheaper programs for doing barrel, vignette and such, but DXO also provides corrections for other lens errors, which makes it well worth while.
To answer my own question is that, in architectural photos, DXO is on the money. The only way to tell for sure is an optical setup that is precise and repeatable.
Finally, here is a site that uses the DXO software to provide lens tests that are extensive and comprehensive, all for the practicing photographer. Using their data for inclusion in the ACR correction would be a good start, not Photographer Empowerment.
http://www.slrgear.com/reviews/index.php
I use them once I have narrowed down the field to a few lenses and haven't been disappointed. -
Community lens correction works for me
A few days ago lens correction profiles showed up for my D300 with both 16-85VR and 55-200VR lenses. Brick wall testing indicates they seem to have nailed distortion/CA/vignetting, at least for focal length extremes.
So how do we know where these profiles originated, if for no other reason than to give credit?
Richard SouthworthI can think of one really good reason why a lens profile should be camera-specific for the best possible results:
Not every sensor responds the same to light coming in from various angles. Microlenses, for example, are different from sensor to sensor.
So the vignetting profile for one camera might be a general improvement on another, but it may not produce specifically accurate results on that other camera.
You cannot oversimplify the problem and achieve perfection.
-Noel -
Automatic correction of converging lines and volume anamorphosis in lens tab
What would be very useful for architectural photography is to have a feature that detects vertical (and possibly even horizontal) lines like ShiftN does and an automatic correction for them.
If that is going to be implemented it would be good to take the EXIF data into account so it won't be a simple transform that clinches the subject but to have virtual tilt-shift lens in ACR that works according the rules of rectilinear projection for different focal lengths.
While implementing that, it might be a good idea to fix the transform tools that always move the image out of the frame, at the moment to fix this you have to scale down the image by a significant amount loose therefore alot of resolution.
When cropping a wide angle image asymetrically one has to live with different amounts of edge distortion, so the possibility to move around the center and warp the image accordingly again according to the rules of rectilinear projection would come in handy often.
Another useful feature would be a spherical and cylindrical volume anamorphosis correction for extreme wide angle lens in ACR.Though we do not have a direct volume anamorphosis type of correction at present, for spherical correction you can get a very similar effect by dialing the Manual Distortion slider to the left. I often do this on my wide-angle non-architecture shots (< 30 mm, 35 mm equivalent). This better preserves the relative shapes and sizes of objects at the corners of the image, at the expense of some linear distortion.
In my workflow, I prefer to use the lens profile to correct for rectilinear distortion and vignetting automatically and completely. This gives me a consistent baseline from which to work. Then, I will use the Manual Distortion slider and Post-Crop Vignette tools to deliberately re-introduce distortion / light falloff as desired for the image (presets come in handy here). -
Volume anamorphosis correction?
Hello!
I'm enjoying the LR4 Beta, great work on a wonderful piece of software.
I own DXO Optics and was curious if we might be able to look forward someday to being able to make volume anamorphosis correction (recover cylinders) directly within Lightroom. For those who don't know, this particular perspective control allows for the correction of wide-angle images mostly involving people's shoulders "flying" out of the frame in group shots taken with, for example, the Canon 16-35 lens.
Thanks!Though we do not have a direct volume anamorphosis type of correction at present, for spherical correction you can get a very similar effect by dialing the Manual Distortion slider to the left. I often do this on my wide-angle non-architecture shots (< 30 mm, 35 mm equivalent). This better preserves the relative shapes and sizes of objects at the corners of the image, at the expense of some linear distortion.
In my workflow, I prefer to use the lens profile to correct for rectilinear distortion and vignetting automatically and completely. This gives me a consistent baseline from which to work. Then, I will use the Manual Distortion slider and Post-Crop Vignette tools to deliberately re-introduce distortion / light falloff as desired for the image (presets come in handy here). -
Hello, Can you tell me where I can found the lens profil for the Canon 500MM F4 Mark II
Can some one tell me where I could find this lens profile for Lightroom 5.4.
thanksGiven the 600mm F4 IS II (February 2011) lens profile hasn't been created yet it may be a while (if ever). I wouldn't worry about it since the lens profile only corrects distortion and vignetting. There is virtually no distortion with either of these lenses and vignetting is within 0.2EV using the 600mm profile, which you can set as the "default" profile. Personally I think people put too much emphasis on the need for "automatic" lens profile correction. All my lens profile defaults are set to Distortion = 0 and Vignetting = 50. I change the setting only when an image appears to need more correction. WHY?
REASON
Distortion correction crops part of the image and increases "edge" stretching with wide angle lenses–It's a trade-off for straight lines in the image. IMHO-If it's not visible in the image you don't need it. 100% Vignetting correction setting can look un-natural and amplifies lens aberrations and softness in the corners, which is where vignetting correction is applied the most.
My 2 cents worth.
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