Synchronizing Upright settings
When synchronizing Upright settings, you have to think carefully about what you wish to achieve. This will have a bearing on the options you select in the Copy/Synchronize Settings dialog (see page 341). If an Upright adjustment is applied to an image and you attempt to synchronize the Upright setting with other images, you can choose to synchronize Upright Mode (the Upright method), or Upright Transforms. If selecting the latter, this checks the Upright Mode automatically. If Upright Mode only is checked, instead of replicating the adjustment you had just applied, just the Upright method is synchronized. You will notice how a synchronized Upright Mode adjustment (and especially an Auto adjustment) will produce a different outcome on other images. If you want to synchronize an Upright adjustment precisely, make sure the Upright Transforms box is checked. For example, if you were to prepare a group of bracketed exposure images to create an HDR master, you would want to use this method to synchronize the Upright settings.
- With this image, I began by checking the Enabling Profile Corrections and Remove Chromatic Aberrations boxes via the Basic tab section in the Lens Corrections panel.
- In the Upright section, I clicked the Auto button to apply an auto-correction. This applied an auto-perspective adjustment that combined a leveling and a horizontal and vertical perspective correction and, as you can see, transformed the image in such a way that the bottom edge of the image was shortened and revealed white padded areas on either side.
- I then selected the Full option. This applied a strong perspective correction, similar to the Auto adjustment, and also revealed white padded areas.
- I then selected the Level correction. This correction simply applied an auto-level adjustment and did not attempt to fix the keystone perspective.
- Lastly, I selected the Vertical correction. This leveled the image and corrected the keystone effect. Now, with every image you are always going to see different kinds of outcomes when running through these options. Although the Auto, Full, and Level + Vertical corrections may look fairly similar, they were in fact subtly different. Of the four corrections I tried out, I liked Auto best.
- I then switched to the Manual tab and adjusted the Vertical slider, setting this to +12, which as you can see caused the vertical lines to converge slightly. This gave the image a more natural-looking perspective. I also adjusted the Aspect slider and set this to −30 to widen the aspect ratio, because the image otherwise was looking a little squashed horizontally.
- Finally, I checked the Constrain Crop box to apply an auto crop that removed the white padded areas and trimmed the image accordingly (there is also a Constrain Crop box in the Basic tab section).