Editing Digital Capture (section)

== Adjusting Files ==

This is the most complicated part of the Digital Capture process.  When matching a Digital Capture to an original image you have to keep in mind several things including, original white color, effect of the studio lights, white of the new paper, back light from computer monitor, vignette, bulging, color shift from different textures etc.


'''Bulging-''' Bulging or "bubbling" occurs because a curved camera lens is capturing a flat/square object producing curved or bulging lines that are supposed to be straight in the digital capture.  The edges will curve out from the object, the corners may appear pinched in.  Solution: Select Filter> Lens Correction  This will open the Lens Correction tool, you can fine tune this tool to be specific to your exact camera make and model.  However, the default settings should be fairly accurate, as it seems to send the camera settings from the .CR2 file. Toggle the "Preview" check box on and off to see the before and after.  Change the tab on the right from "Auto-correction" to "Custom" to manually change the lens correction settings. use the "Remove Distortion" slider to change the amount of bulge distortion.


'''Vignette-''' A vignette is the dark "halo" around the edges of the image.  This can be removed a few ways, the first is with the "Lense Correction" tool under Filter>Lens Correction.  The check mark on the right labeled "Vignette" will toggle the Vignette setting on and off.  If this does not give you the desired effect you can remove the vignette manually.  Simply create a new "Levels" adjustment layer, increase the midpoint slider to ~1.15.  Fill the adjustment layer mask with black, and use a large soft brushes, mask the adjustment layer to apply to the corners of the image where the vignette is visible.  Increase or decrease the midpoint slider of the Levels adjustment layer to match the vignette section to the rest of the image.


'''Different Textures-''' Alternating textures will cause problems when adjusting the color.  Textures that are shinier, or more metallic, will reflect light differently into the camera lens then matte textures, making the color shift for each texture different.  This means if you are adjusting the color to match a matte color, the color shift on a shinier piece of the original will not match the shiner piece on the Digital Capture, and vice versa.  The easiest way to avoid this is to color correct individually for colors, or parts of the original that are not matching.  The easiest way to do this is to color correct the entire image as one, trying to match as many colors as possible, then masking out the colors that are not cooperating and adjusting those colors individually.


Original White Color- Old originals will have a faded, usually yellowish white, instead of a bright vivid white that comes from new prints.  When matching the color to an original image using conventionally color correction methods, Photoshop may turn the faded white into a more neutral white, making the imaging look new and brighter, but and wont give the desired "old" effect.  Keep an eye on the color of the "original" white on the image to match the digital file too.