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Digital Photographer's Software Guide - Bertemes - Net

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23<br />

Lens Distortion Correction<br />

Lens and perspective distortion are among the most common “errors” in photography.<br />

In one sense they are not really errors at all because they are almost impossible to avoid<br />

completely. Tilt the camera up and you get parallel lines converging toward the top of<br />

the image, tilt it down and you get keystone distortion. If you fit a wide-angle lens, especially<br />

on a full frame DSLR, you will undoubtedly see some barrel distortion at the<br />

edges. Lens manufacturers make corrections to barreling and its opposite pincushion<br />

effect using aspherical elements, but sometimes this results in a double-whammy, in socalled<br />

“complex distortion,” which can create a wavy image not unlike the shape of Sir<br />

Arthur Conan Doyle’s moustache.<br />

The most extreme distortion comes from the use of ultra-wide-angle or fisheye lenses. For<br />

these 14mm and smaller focal length lenses, manufacturers have dropped any pretense of<br />

eradicating the distortion and so it becomes an integral part of the image. At least, in precomputer<br />

days, that is how it was treated—as a dramatic effect to show (for example) the<br />

supposedly gigantic pair of feet of someone lying down, head away from the camera. But<br />

now that the computer can unwrap the image to give it a true perspective, the use of ultrawide<br />

and fisheye lenses has changed completely. You can photograph an interior with a<br />

fisheye and make it suitable for the human eye in, almost, the blink of an eye.<br />

For very rapid results, the software ideally needs access to specific data about the<br />

lens/camera combination used for taking the image. Armed with this information, it<br />

can easily make corrections by running the right set of numbers. Without it, you have<br />

to start using slider controls while judging the results in real-time.<br />

Correcting geometric errors can make an improvement to the image equal to that of<br />

exposure correction or white balance. It is so important it should not be left to the standard<br />

tools of an image editor although good facilities are available in Photoshop CS2<br />

to CS4 and Paint Shop Pro. Specialist packages are listed in this chapter. You will also

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