IntroductionWelcome| 00:04 | I am Taz Tally and welcome to scanning
technique for photography, art, and design.
| | 00:09 | In this course we'll look at scanning a
wide variety of images, including simple
| | 00:14 | and complex line-art, continuous
tone grayscale and color images, complex
| | 00:19 | images, and documents on a
range of scanning devices.
| | 00:23 | I'll start by showing you the
fundamentals of scanning including the types of
| | 00:26 | scanners and image challenges, linear
resolution and bit-depth as well as well
| | 00:30 | as the characteristics and use
of pixel and vector-based images.
| | 00:35 | We will address how to properly
evaluate your images prior to scanning and
| | 00:39 | discuss some of the particular
challenges of tone and color reproduction.
| | 00:43 | You'll also see how to select and use
scanning tools including histograms, color
| | 00:48 | sampler points and info panels,
levels, curves, and sharpening.
| | 00:53 | Along the way I'll show you how to
complete specific scanning tasks, calibrate
| | 00:57 | your scanner, color manage your
workflow, and accomplish entire projects.
| | 01:01 | So darn those lint-free gloves and
gather up all your favorite graphics,
| | 01:05 | images, and documents and let's get
started with scanning technique for
| | 01:09 | photography, art, and design.
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| What you should know before watching this course| 00:00 | Let's chat about what you should
know before you start taking this class.
| | 00:03 | First, the good news is, no
scanning knowledge is expected.
| | 00:07 | We are going to start right from the
fundamentals and move up from there.
| | 00:10 | You should know however this course is
really optimized for dedicated scanners.
| | 00:14 | Rather than the multipurpose scanners,
printers, and fax machines, a home and
| | 00:19 | business course is really optimized for that.
| | 00:21 | So if you're taking this course you
should probably have a dedicated scanner
| | 00:24 | such as the flatbed scanner that you
see on the left here that may or may not
| | 00:28 | have transparency scanning or
automatic document feeder capabilities but you
| | 00:32 | should have a good flatbed scanner
with a glass platen or the dedicated film
| | 00:36 | scanner that you see here on your right.
| | 00:38 | Having access to basic image editing
applications such as Photoshop or Photoshop
| | 00:42 | Elements and some basic knowledge of
how to open images and access menus in
| | 00:47 | Photoshop or Photoshop Elements
is certainly going to be helpful.
| | 00:49 | And to maximize your compatibility and
minimize problems that you might have
| | 00:53 | with operating your scanner it's a real
good idea before you start the course to
| | 00:57 | go ahead and update your scanner drivers
and your software, and here let me just
| | 01:01 | show you how to do that on a couple of
different websites for some of the more
| | 01:04 | common scanners and drivers and software.
| | 01:07 | The primary scanning application we are
using during this course is SilverFast
| | 01:11 | software from LaserSoft.
| | 01:12 | We are using this software
for two fundamental reasons.
| | 01:15 | One is, it's very, very high-quality
software with lots of sophisticated
| | 01:18 | controls, and two, the company that
makes the software LaserSoft make SilverFast
| | 01:23 | for a wide variety of medium
-to-high quality scanners.
| | 01:26 | So it's kind of like the Photoshop
of the scanning world if you will.
| | 01:29 | Gives you lots of controls and
it gives you a standard interface.
| | 01:33 | So if you don't have SilverFast and you
might want to go to the site and here's
| | 01:36 | the website here www.silverfast.com,
and if you don't already have it or you
| | 01:42 | don't have the most recent version,
click on the Download button and then you
| | 01:45 | can click on Demo Versions and you can
buy and use the demo version and it's
| | 01:49 | fully functional as far as manipulating
it, you won't get the high-quality scans
| | 01:54 | without some text on top of it.
| | 01:56 | And then notice they have a wide
variety of different softwares here.
| | 01:58 | We are using SilverFast for scanners so
click on that, and then just select your
| | 02:02 | manufacturer and here we'll
get down and we'll choose Epson.
| | 02:07 | It's one of the scanners we are using here.
| | 02:09 | And then the Perfection scanner and we
are using the V750 Pro and English and
| | 02:17 | then choose your Operating System,
and we are doing Mac 10.6 on this
| | 02:21 | particular computer.
| | 02:23 | And then you want to download either SilverFast
AI or SilverFast AI Studio, one of those two.
| | 02:28 | You can just click on the Download and
then you just put in your name and your
| | 02:32 | country and your email address and tell
them, yes absolutely, you want them to
| | 02:36 | send your emails every single day and
then basically you are just adding your
| | 02:40 | name to their database
but I would not check that.
| | 02:42 | then register and then download the software.
| | 02:45 | So that's from the SilverFast site and
get it for your particular scanner and
| | 02:49 | you will be glad that you did.
| | 02:51 | From the Epson site one of the more
common scanner manufacturers and we are
| | 02:55 | using one of their
scanners here for this course.
| | 02:57 | You go to Drivers & Support and then go
to Scanners and we will click on Epson
| | 03:03 | Perfection Series and V750 Pro and
then Drivers & Downloads and you can just
| | 03:12 | click on Macintosh or Windows 32 or
64-bit whichever one you're using.
| | 03:17 | Then just scroll down once you get to your
version of the page and here it's the Macintosh.
| | 03:21 | You are working on Windows you will
get to a Windows list and then just find
| | 03:25 | your version of the specific version
of the operating system that they are
| | 03:28 | offering here and download the Scanner Driver.
| | 03:31 | And then there is the Epson Scan Installer.
| | 03:33 | This is the actual scanning
software itself, notice this is 10.4-10.6.
| | 03:39 | So whichever manufacturer you have it's
going to be a similar type of download
| | 03:43 | circumstance to this.
| | 03:44 | If you don't have Photoshop or
Photoshop Elements I would encourage you to
| | 03:47 | get one of the other.
| | 03:48 | There are some really good
essential training that's available here on
| | 03:51 | the Lynda.com site.
| | 03:52 | Well, let's go scanning.
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| Using the exercise files| 00:00 | If you are a premium member of the Lynda
.com Online Training Library or if you
| | 00:04 | are watching this tutorial on a DVD ROM,
you have access to the Exercise Files
| | 00:09 | used throughout this title.
| | 00:10 | You will find these files in
the folder labeled Exercise Files.
| | 00:14 | When you open this up, you will see
the Exercise Files folder is divided into
| | 00:19 | chapters and here we have six chapters
in this course and I have provided files
| | 00:23 | of two different kinds.
| | 00:24 | One, such as those files in Chapter
01 you can use to follow along in the
| | 00:28 | explanations in exercises that
I do and that you see on screen.
| | 00:32 | Others such as you see in Chapter 06
are the results of scanning and editing
| | 00:37 | that I've accomplished in Photoshop
that you can then open and see the results
| | 00:41 | for yourself and compare with your own results.
| | 00:43 | Many of the scans that I will perform
in this class are on images of course
| | 00:47 | that you don't have.
| | 00:47 | So it'd be a great idea for you to
follow along with similar kinds of images.
| | 00:52 | If I'm scanning simple black-and-white
line art such as this bicycle, if you can
| | 00:56 | find a similar file that's simpler,
that's an edge-base line art and you can
| | 01:00 | follow along and perform the same scans.
| | 01:02 | Similarly, if I'm scanning negative
such as this Fireworks file or a continuous
| | 01:08 | tone grayscale images or detailed line
art, if you can find your own examples to
| | 01:12 | follow along and then you'll
have files to actually scan.
| | 01:16 | You probably don't want to try to
print these images out and then rescan them
| | 01:20 | because you will be scanning a printed
version of what was originally a line art
| | 01:24 | drawing or a continuous tone image
and the results will be very different
| | 01:27 | because your images are going to
be constructed out of halftone dots.
| | 01:30 | Do try to find your own images.
| | 01:31 | That would be great.
| | 01:32 | If you are a monthly member or an
annual number of Lynda.com you don't have
| | 01:36 | access to these exercise files, but you
can follow along from scratch with your
| | 01:40 | own assets, so let's get started.
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|
|
1. Scanning FundamentalsScanners and digital cameras| 00:00 | Let's begin our discussion of scanners
by comparing them with the technology
| | 00:04 | that is perhaps more familiar, a digital camera.
| | 00:07 | For many people scanners are these kind
of mysterious black boxes that you open
| | 00:11 | up, you put in your image or your
document, you close it, you click the Auto
| | 00:15 | button, you are not quite sure
what's going to come out the other end.
| | 00:17 | There is a good historical reason for this.
| | 00:20 | Prior to the digital age, cameras and
scanners had very different technologies,
| | 00:24 | in fact the imaging product they
created were very, very different.
| | 00:27 | But with the development and evolution
of digital imaging technology cameras
| | 00:31 | and scanners really have blended right
together, they really work very much the same now.
| | 00:35 | Both capture and digitize subjects,
both create pixel-based images.
| | 00:40 | Now of course there is some
packaging differences between them.
| | 00:42 | A digital camera, you can pretty
much tell that from across the room.
| | 00:45 | scanners, not so much.
| | 00:47 | This is obviously kind of a scanner
particularly when you open it up, but this,
| | 00:50 | not sure what that is, and this, is this a
scanner, is it a fax machine, is it a printer?
| | 00:54 | Well lo and behold, it's all three.
| | 00:57 | So there are some packaging differences
between the two and there are also some
| | 01:01 | differences in terms of what we
use them for in terms of capturing.
| | 01:04 | Typically, digital cameras we used
these for capturing live 3D images, and it
| | 01:08 | tend to work in a single shot, click,
you take the picture all at one time.
| | 01:11 | A scanner on the other hand, we tend to
use them, we are capturing more static
| | 01:15 | two-dimensional objects such as
documents and photographs, and there is a
| | 01:18 | scanning element that moves back and
forth to capture the image, so instead of
| | 01:22 | taking as a single shot, like a camera, it
scans back and forth, hence the name is Scanner.
| | 01:26 | Now certainly there is some crossover
uses, there are some cameras that are used
| | 01:30 | for capturing large dimensional artwork
that's two-dimensional and there is even
| | 01:35 | some three-dimensional scanners, and
there are even cameras that have scanning
| | 01:39 | backs on them, but for most of us in
the graphic arts industry and in business,
| | 01:43 | we are going to be using our cameras
for capturing live three-dimensional
| | 01:46 | objects and scanners for
flat two-dimensional ones.
| | 01:50 | Now there is also some handling differences.
| | 01:51 | With a digital camera we can hold it in
our hands, we can put it on the tripod,
| | 01:55 | we can change the position.
| | 01:57 | Scanners tend to be more static
environment, which is actually a good thing.
| | 02:00 | It means it's easier for us to
capture images because they are flat all
| | 02:03 | the time, very static.
| | 02:05 | Now there are some control
options differences as well.
| | 02:08 | With digital cameras we control things
like shutter speed and focal length, and
| | 02:11 | f-stop, there is perspective changes
and of course enormous lighting changes in
| | 02:15 | a digital camera environment.
| | 02:16 | We don't have any of those.
| | 02:18 | This is a much more consistent
environment when we work with a scanner.
| | 02:21 | This means that things are actually
easier with a scanner in a lot of ways.
| | 02:25 | And I know what you
creative people are thinking.
| | 02:26 | I want creative control of my artwork.
| | 02:29 | Well, I promise you two things, one,
we'll show you how to do plenty of
| | 02:31 | creative things with your scanner, and
I promise you that in the post-scan I
| | 02:35 | will show you how you can capture
images with your scanner and you can have
| | 02:38 | your creative way with them in your
digital imaging editing program such as
| | 02:42 | Photoshop or Photoshop Elements.
| | 02:44 | So choose your digital weapon.
| | 02:45 | If you are capturing three-dimensional scene,
digital camera is going to be your weapon.
| | 02:49 | If you are doing more two-dimensional
static art, such as a photograph, then the
| | 02:53 | scanner is what you are going to be using.
| | 02:55 | It's nice to have both and to
have facility to control both.
| | 02:59 | On our course we are going to be
focusing on two-dimensional line art graphics,
| | 03:02 | photographs, and scanning
and processing documents.
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| Types of scanners| 00:00 | Let's discuss the kind of scanners
you're likely to have access to and to use.
| | 00:04 | Here before us we see three
very common types of scanners.
| | 00:07 | We have a flatbed reflective scanner, we
have a dedicated film scanner, and then
| | 00:11 | we have a multi-purpose scanner.
| | 00:13 | There is a fourth kind of scanner
called the Drum Scanner, we don't show
| | 00:15 | you here and that's a very large
and expensive scanner that you are
| | 00:18 | unlikely to encounter.
| | 00:20 | So we are going to focus on
these three scanners here.
| | 00:22 | Let's break down each one of these
three and talk about how they work and what
| | 00:26 | they are most likely to be used for.
| | 00:28 | This is the flatbed scanner
also known as a Reflective Scanner.
| | 00:31 | It's called a Reflective Scanner
because of the way in which it works.
| | 00:35 | A Reflective Scanner like
this has three primary elements.
| | 00:38 | It has a cushion top that
holds the image in place.
| | 00:41 | It has a glass platen on which you
place your image to be scanned or your
| | 00:46 | document page to be scanned.
| | 00:47 | Then there is a scan element
that's underneath that glass platen.
| | 00:50 | And that scan element has two elements to it.
| | 00:53 | It has a lighting element and it
has an image capturing element.
| | 00:56 | After you place your image on the
scanner and you close the top that scan
| | 00:58 | element moves underneath the image, the
light shines, reflects off of the image
| | 01:03 | and then it's captured by that same
element that's moving across, hence the
| | 01:06 | name Reflective Scanner.
| | 01:08 | This type of scanner is really
optimized for doing this kind of scan.
| | 01:12 | There are some options that you can get for
this kind of scanner to extend its usefulness.
| | 01:17 | One of those is you've got some film
holders, this one holds slides, but you can
| | 01:21 | also do this with negatives as well
and these are holders that you can put
| | 01:26 | inside and when you use these you take
off that from top and then you see that
| | 01:33 | there is another glass platen up
here and there is another scan element.
| | 01:36 | And the way this works is, when you
close this scanner top, both of the
| | 01:39 | scan elements move.
| | 01:40 | The top one provides the light and the
bottom one provides the capture of the
| | 01:44 | light, and this allows you to scan
film of both positive and negative types.
| | 01:49 | So the scanner then becomes a film scanner.
| | 01:52 | It's really not optimized for
this but it can be used for that.
| | 01:55 | Some of these types of scanners you
can also get them with a document feeder
| | 01:58 | option which is similar to the ones
that are built into the multi-purpose
| | 02:01 | scanner, more on that in just a few minutes.
| | 02:03 | But again, this kind of scanner is
really optimized for scanning reflective art.
| | 02:07 | If you are going to be doing primarily
film then a dedicated film scanner is
| | 02:12 | something you probably want to consider.
| | 02:13 | As you can see this is a
smaller and simpler device.
| | 02:17 | It works very simply, you put your
film inside of a holder like this either
| | 02:21 | positive or negative, then you slide
it inside the scanner and typically fix
| | 02:25 | into place and then you scan your image.
| | 02:27 | Even though this is a smaller and
simpler scanner, it actually results in
| | 02:30 | higher quality scans, why?
| | 02:32 | Because it's a very simple and elegant
light path that your light follows, there
| | 02:36 | is a light source which goes through
the film and then it's captured by the
| | 02:40 | capture device underneath.
| | 02:41 | Unlike, for instance film scanning
with a flatbed scanner like this where the
| | 02:46 | light has to go through two glass area
interfaces, two film area interfaces,
| | 02:50 | and then two more glass air interfaces,
that's a very complicated light path,
| | 02:55 | and you can get things like dispersions,
and reflections and things like Newton
| | 02:58 | rings, dedicated film scanners typically
don't have those kinds of problems or challenges.
| | 03:03 | So you can't do reflective art here.
| | 03:04 | This is not a flexible scanner like this one,
but it does a very good job of scanning film.
| | 03:09 | Now the third kind of scanner
is the multipurpose scanner.
| | 03:12 | I call this a Swiss Army Knife of Scanning.
| | 03:15 | This is actually a modified version of the
reflective scanner, of the flatbed scanner.
| | 03:20 | It has a cushion-top and
has a glass platen like this.
| | 03:23 | Typically, these don't
have film scanning options.
| | 03:26 | they are primary used for reflective work.
| | 03:29 | But what they are really
dedicated for is scanning documents.
| | 03:33 | That's what they are really optimized for.
| | 03:35 | You can do an okay job, moderate
quality in terms of graphics, but if you are
| | 03:39 | scanning lots of documents and
converting them into the PDFs and managing
| | 03:42 | those documents that's what this kind
of scanner is really optimized for, you
| | 03:46 | would purchase that for.
| | 03:48 | So your choices of scanners are
basically these three in the graphic arts
| | 03:52 | and business world.
| | 03:53 | Which type of scan you get is really
going to depend upon your scan challenges
| | 03:57 | that you have, and of course your budget,
that's always going to come into play.
| | 04:00 | If you primarily need to scan a
reflective art, like this, then flatbed scanner
| | 04:05 | is going to be the scanner for you.
| | 04:06 | If you are primarily scanning film,
then this is the kind of scanner.
| | 04:10 | If you really want to mostly do
documents, then this kind of scanner.
| | 04:13 | Now most people have more
than one thing they need to scan.
| | 04:16 | So if you are primarily doing
documents and modest quality graphics are okay,
| | 04:20 | you can go with this device, but if
you really need high-quality scans of
| | 04:23 | reflective art, then this
is going to be the scanner.
| | 04:26 | If you need to do good quality of both,
then you may really need to get both scanners.
| | 04:31 | If you can do modest quality on your
film, get good results but not the very
| | 04:35 | best then maybe this is the
scanner if you have budgetary issues.
| | 04:38 | By the way what are these scanners cost?
| | 04:39 | Well, these scanners, depending upon
your options are between $500 and a $1000
| | 04:43 | for the good quality ones.
| | 04:45 | The dedicated film scanners are
anywhere from like $200-$600 and then the
| | 04:50 | multipurpose scanners are
in the $100 to $200 category.
| | 04:54 | Now if you are lucky just get one of
each and then you have optimized scanning
| | 04:57 | for all the things that you need.
| | 04:58 | But otherwise you have to make
a choice based upon your budget.
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| Scanner location| 00:00 | Let's discuss the features
of a good scanning location.
| | 00:03 | The two things we want to emphasize is
maintaining high image quality and having
| | 00:07 | an efficient scanning workflow.
| | 00:09 | First and foremost we want a good
flat, stable surface, and this is
| | 00:12 | particularly important if you're
working with a flatbed scanner that has large
| | 00:16 | scanning elements that move back and
forth, the scanner tends to move a little
| | 00:19 | bit and if your surface is moving,
that in turn moves the scanner and you end
| | 00:23 | up with lower quality scans.
| | 00:24 | Secondly, and this is so
important, so many people don't do this.
| | 00:27 | Have a large enough scanning surface
for staging your whole scanning workflow,
| | 00:31 | particularly your images that most of
your surface should be of your images, the
| | 00:35 | scanner is going to take up
relatively small portion of this.
| | 00:38 | Can't tell you the number of times I
see people put their scanners on their
| | 00:40 | roll-around carts which are not stable
to begin with, but there's no place to
| | 00:44 | stage and manage your scanned images.
| | 00:47 | So give yourself some room here to move out
and dedicate that space for your scanning.
| | 00:52 | Third, and this maybe the
most important thing of all.
| | 00:54 | You want to work in a dust-free environment.
| | 00:57 | The first thing to make sure that
happens is, work on a solid surface.
| | 01:00 | No cloth, I don't care how bad you
think the surface looks, and this one looks
| | 01:03 | pretty good, but no cloth because
cloth gets static electricity and static
| | 01:08 | electricity attracts
dust like nobody's business.
| | 01:11 | And particularly when you are working
with film, you can put that film down on
| | 01:14 | that cloth surface, boom, the dust
jumps on that film and that's it.
| | 01:18 | That's all she wrote in terms of your
scanning efficiency workflow because you
| | 01:21 | can spend lots of time to clean off
that dust and you never get it all and then
| | 01:25 | when you get it on your
scanner it's still going to be there.
| | 01:27 | All right, so if we want to work in a
dust-free environment the first thing is
| | 01:31 | no cloth, secondly, we want to avoid moving air.
| | 01:34 | Things like manufacturing and
shipping environments where a lot of dust is
| | 01:37 | generated, you want to stay away
from heating and air-conditioning vents,
| | 01:40 | doorways, open windows.
| | 01:42 | It's really even worth installing air filter.
| | 01:45 | They are very inexpensive and they
can really keep the dust away from
| | 01:47 | your scanned images.
| | 01:48 | I want to emphasize this whole thing about dust.
| | 01:51 | When you take dust and it gets into
your scanner or it gets on your images,
| | 01:54 | when you scan it, the scanning process is
actually going to magnify the impact of that dust.
| | 01:59 | Particularly if you are starting
with a small piece of film like a 35
| | 02:03 | millimeter slide or 120 film, you have to
magnify that a lot in order to get up to a useful size.
| | 02:08 | 35 millimeter, to 5x7 or 8x10.
| | 02:11 | You are not just magnifying the image,
you are magnifying the dust and then when
| | 02:14 | you go to apply Unsharp Mask,
what does Unsharp Mask do?
| | 02:17 | It enhances high contrast edges.
| | 02:20 | What is a piece of dust?
| | 02:21 | The dust is a high contrast edge.
| | 02:23 | So the process of sharpening your image
actually exacerbates the impact of that dust.
| | 02:27 | So avoid at all cost.
| | 02:30 | Another issue that you want to
address is constant temperature.
| | 02:33 | You want to keep your scanner away
from heater and air-conditioning vents and
| | 02:36 | open windows, any place where you've
got a lot of change in temperature.
| | 02:39 | Certainly stay away from south-facing windows.
| | 02:41 | north-facing windows are okay, but stay
away from south facing windows where you
| | 02:44 | can have temperature
changes of 40 or 50 degrees.
| | 02:47 | The reason for this is
that your scanner changes it.
| | 02:50 | How it performs changes with temperature
and if you are calibrating your scanner
| | 02:53 | which you want to do, you calibrate it
in the morning when it's cool and then by
| | 02:57 | mid afternoon it's 40 degrees warmer
in the scanner, your calibration is gone
| | 03:01 | and the consistency of your scans have
changed, all right, completely dissolved.
| | 03:06 | All right, so just a review, for your
scan location, good flat, stable surface,
| | 03:10 | adequate dimension, nice and clean,
no dust, constant temperature.
| | 03:14 | These are the keys to setting up
your scanner for high-quality efficient
| | 03:17 | scanned workflows.
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| What scanners and digital cameras create| 00:00 | In this movie, I would like to
discussion what scanners, and for that matter
| | 00:03 | digital cameras capture and create,
and hopefully at the end of this video,
| | 00:07 | you will have removed some of the
blackbox effect of what a scanner is and
| | 00:11 | what a scanner does.
| | 00:12 | And I will also give you some
foundation knowledge, so you will know as you are
| | 00:16 | selecting various scan modes, what you
are actually going to end up with, at the
| | 00:19 | end of your scan process.
| | 00:21 | Okay, first step, what the scanners
and digital cameras create, what's the
| | 00:24 | basic building block? It's pixels.
| | 00:27 | And we see the pixels here.
| | 00:28 | Pixels are basically square building blocks.
| | 00:30 | I refer to them as pixel bricks and what
a scanner and a digital camera does, is
| | 00:34 | they construct an image out of
these pixel bricks, if you will.
| | 00:37 | Now depending upon the scan mode in
which you are working, you can create
| | 00:41 | certainly black-and-
white pixels to pixel bricks.
| | 00:44 | When you work in say grayscale scan
mode, you capture pixels that have
| | 00:47 | grayscale values or if you're working
in color RGB scan mode, you can actually
| | 00:52 | create "color" pixels.
| | 00:53 | We are going to put that color in
quotes, because as you are going to see
| | 00:56 | scanners and digital cameras don't actually
capture "color," more on that in just a second.
| | 01:01 | By the way, the dimensions of these
pixels, the size of these pixels is all
| | 01:05 | wrapped up in a linear resolution of the
file which we'll talk about a little bit later.
| | 01:09 | Okay, let me just reduce the size of
this window a little bit, and let's take a
| | 01:14 | look at some images and some scan modes,
and to help us discuss scan modes, I am
| | 01:20 | going to bring up Channels.
| | 01:21 | I am also going to introduce another
tool we are going to be using throughout
| | 01:25 | the scanned process and
this is called the Info panel.
| | 01:28 | We are just going to get started with
these and that will help us transition
| | 01:31 | into working with and controlling our scanner.
| | 01:34 | These are four kind of basic images
that we will work with and we capture
| | 01:37 | images with the scanner.
| | 01:39 | The first image we see here is a line
art image and we are going to zoom in this
| | 01:43 | line art image, and we are going to see,
this is one of the very basic kinds of
| | 01:47 | images we'll capture with the scanner.
| | 01:49 | Some images that you capture will just
have black and white pixels that we have
| | 01:53 | here, and notice that there is
only one channel in this image.
| | 01:57 | When we are capturing black and white,
are sometimes called line art scan mode,
| | 02:01 | this is what we end up with.
| | 02:03 | One other thing to introduce at this point
is the actual values assigned to those pixels.
| | 02:08 | I am going to zoom way in here, and I
am going to go to my Info tool, and I am
| | 02:13 | going to look at the value of the black
pixel and the value of the white pixel,
| | 02:17 | and notice down here in my Info tool, I
have K value which stands for black and
| | 02:21 | notice it's 100% on the black
pixel and 0% gray on the white pixel.
| | 02:26 | That's one way to look at the
grayscale value of this image.
| | 02:29 | There are only two shades of
gray here, black and white.
| | 02:31 | There are two ways to measure grayscale
value, and this is another way over here
| | 02:36 | on the right side of the panel, the RGB value.
| | 02:38 | I am going to go back to that black
pixel and notice the RGB value is set at 0
| | 02:43 | and the K value is set at 100.
| | 02:45 | So when I move over to the white
pixel, notice how the RGB goes to 255.
| | 02:50 | Notice those two scales are
inverted, this is not my fault.
| | 02:52 | It's kind of just the way it is.
| | 02:54 | But you want to get used to and that's
why we are starting now talking about RGB
| | 02:58 | values and they are really
grayscale values on the scale of 0 to 255.
| | 03:02 | So if you are just working with
straight black and white images, it's okay to
| | 03:06 | think in terms of K value, but we are
going to be working in the RGB world, so
| | 03:10 | it's good to start thinking about it now.
| | 03:11 | So remember a black pixel is
0 and a white pixel is 255.
| | 03:15 | So that's the simplest image.
| | 03:18 | Let's move over to our Moose image.
| | 03:20 | I am just going to move zip over here,
I am going to move the Moose back in
| | 03:22 | here, and let's zoom in on our moose
image, all the way in, and notice that
| | 03:28 | unlike the simple black-and-white
image that we have here, this is a
| | 03:32 | multi-tonal grayscale image.
| | 03:33 | And notice we have pixels with grayscale values.
| | 03:36 | But first before we talk about the
detail of the grayscale values, let's
| | 03:39 | look back down here at Channels just
like he black-and-white image, where we
| | 03:43 | just have two shades of gray, black-and-white
with one channel, we still have one channel.
| | 03:48 | But on this channel, we can
capture more than one shade of gray.
| | 03:51 | Let's go back down to our Info panel
here and notice that the white pixels, look
| | 03:55 | at the K value close to 1%, the
dark ones are getting up towards 100.
| | 03:58 | But when we are dealing with multiple
shades of gray, again, we need to start
| | 04:03 | thinking of it in terms of RGB values.
| | 04:05 | So let's look at the RGB values.
| | 04:07 | We are looking right here on our RGB
value close to 255, whereas the darker ones
| | 04:12 | are down close to 0.
| | 04:13 | So these two basic images we can
tell our scanner to capture in straight
| | 04:17 | black-and-white mode, in which we get
one channel of pixels that are either
| | 04:20 | black or white or we can ask our scanner
to capture in grayscale mode, sometimes
| | 04:25 | called a grayscale photo
or black-and-white photo.
| | 04:28 | Different scanners and different
software use different terminologies, but the
| | 04:31 | results are the same.
| | 04:32 | One channel with multiple
shades of gray in our pixels
| | 04:36 | On an image like we have with Zip here,
and let's enlarge Zip a little bit and
| | 04:40 | zoom in, here we go.
| | 04:42 | And we see that this image when we zoom
way in is still again pixels, and once
| | 04:47 | again we have multiple shades of gray.
| | 04:49 | A lot more density of grayscale value,
but notice that the lighter pixels have
| | 04:53 | higher values to them, and the
darker pixels have lower values to them.
| | 04:58 | And then the other and final kind of
image that we can capture with a scanner
| | 05:01 | is an RGB color image.
| | 05:03 | And boy, this has got a lot of color in
it, lots of brilliant yellows and reds
| | 05:07 | and some blues, but notice the big change here.
| | 05:10 | Instead of just having one channel,
we have got three, but here is the
| | 05:13 | important point about understanding
how fundamentally a scanner and output
| | 05:17 | devices work with your scanner.
| | 05:19 | When we look at these three channels,
the red, the green, and the blue, notice
| | 05:23 | that your scanner can only capture grayscale.
| | 05:25 | I know what you are thinking, hey,
that's color there, but that color is not
| | 05:29 | actually captured by your scanner.
| | 05:30 | And here is one of the fundamental
truths of working in the digital world.
| | 05:34 | all colors are created by output devices.
| | 05:36 | When you capture an image with a
scanner or digital camera, what you are
| | 05:39 | actually capturing is 3 grayscale
channels, to which we assign various shades
| | 05:44 | of red, green, or blue, and then our
output devices take those shades of red,
| | 05:48 | green, or blue in the case of a RGB
monitor, paints them with red, green, and blue.
| | 05:52 | One a printing device you may print
them with Cyan, Magenta, Yellow and Black.
| | 05:57 | So on a scanner, depending upon which
mode we select, we get various number of
| | 06:01 | channels, shades of gray, and then
in some cases multiple shades of gray.
| | 06:06 | So in black and white modes we get one
channel, which is black-and-white pixels.
| | 06:10 | When we work in grayscale mode, we get
one channel, but we get multiple shades
| | 06:14 | of gray assigned to those
pixels on a scale of 0 to 255.
| | 06:18 | When we scan in RGB color mode, what
we end up with actually is 3 grayscale
| | 06:22 | channels to which we then
assign color and output.
| | 06:25 | And if you're thinking about this,
this isn't the first time you've kind of
| | 06:28 | realized that what we actually capture
is grayscale, which by the way is why
| | 06:31 | they are called digital scanners or
digital cameras, they only capture 0s and
| | 06:35 | 1s, black-and-white, or shades of gray.
| | 06:37 | You may be thinking, then how
do we actually control the color?
| | 06:41 | We control the color by
controlling the shades of gray in our image.
| | 06:44 | To remember the fundamental truth, all
color is created by output devices and
| | 06:48 | when you truly understand this, then
the desktop publishers lament, make sense,
| | 06:52 | oh, what I see on my monitor
doesn't match what I have on my printer.
| | 06:56 | What I saw came off my digital camera
doesn't match what I get on my printer.
| | 07:00 | I have two different printers or two
different monitors and the color looks different.
| | 07:03 | Well, it kind of makes sense now, doesn't it?
| | 07:05 | We have the same shades of gray, but
they are all being interpreted a little bit
| | 07:08 | different, because all color
is created by output devices.
| | 07:11 | One final point to make here is that
one of the things we can decide to do is
| | 07:15 | convert these pixels into vectors,
which are the other basic building blocks
| | 07:19 | that we have with digital images.
| | 07:20 | More on that later.
| | Collapse this transcript |
| Understanding grayscale values and channels| 00:00 | In this movie I would like to expand our
understanding of grayscale values in Channels.
| | 00:05 | In previous movies we talked about the
basic building blocks of a digital image,
| | 00:08 | what does a scanner or a digital camera
capture, we saw that it captures pixels.
| | 00:12 | We talked about the fact that
depending upon the scan mode that you choose
| | 00:16 | you'll end up with single or multiple
channels and you can have black-and-white
| | 00:20 | simple black-and-white or grayscale
values in pixels that your scanner or
| | 00:23 | digital camera captures.
| | 00:25 | And what I'd like to do here is develop
that whole concept of grayscale value in
| | 00:29 | channels and that number we
actually put in those grayscale values.
| | 00:32 | So I have zoomed in here on this Blue-
Green cape and it's very, very colorful
| | 00:36 | image, and just to review when you
capture a "color image" what the scanner or
| | 00:41 | digital camera actually captures is
three grayscale channels that we call Red,
| | 00:46 | Green, and Blue, but as we see here
they are really nothing, but grayscale,
| | 00:50 | because that's all a digital
camera or digital scanner can capture.
| | 00:53 | And where does this color come from?
| | 00:55 | Remember that all colors
created by output devices.
| | 00:58 | In this case the monitor on which you
are viewing this image actually applies
| | 01:02 | Red, Green, and Blue colors to these
grayscale pixels and the amount of Red,
| | 01:05 | Green, and Blue that are size of the
pixels depends upon the grayscale value
| | 01:09 | that's on the Red, the
Green, and the Blue channel.
| | 01:11 | So let's take a look at an individual
pixel and here I am going to use my Info
| | 01:15 | tool in Photoshop, that's the I for
Info tool, and I am setting a Point Sample,
| | 01:20 | so I am just measuring one pixel at a time.
| | 01:23 | Normally when we're scanning or
correcting images we'll do an average number of
| | 01:26 | pixels, but in this case I just
want to look at individual pixels.
| | 01:29 | So I am going to zoom in just a little bit more.
| | 01:32 | I see you can really see that
we're just looking at one pixel.
| | 01:35 | Now look at the grayscale value of
that pixel, we'll do that by looking at
| | 01:38 | their, remember, "color image" RGB
values that we see over here, so when I look
| | 01:42 | at the Info panel, the Red is 115,
the Green is 140, and the Blue is 137.
| | 01:47 | Now with these grayscale values going
to scale of 0 to 255 where 0 is Black and
| | 01:54 | 255 is pure White, and we look at the
ratio of these numbers, look at the Green
| | 01:58 | and the Blue is higher than the Red
which certainly makes sense, right, because
| | 02:01 | this is a Green, Blue cape if you will.
| | 02:03 | But what do these numbers actually mean?
| | 02:05 | I am going to go through these three channels.
| | 02:07 | I am just going to do it
from my keyboard shortcuts.
| | 02:09 | I am going to use Command or Ctrl+3, 4,
and 5, as you see in the Channels panel,
| | 02:15 | so that I don't move my tool
from looking at that one pixel.
| | 02:17 | So I am going go to the Red channel and look
at the Red value in the Info panel right after.
| | 02:22 | It's at 115.
| | 02:22 | Notice when I activate just the
Red panel notice the number is 115.
| | 02:26 | Let's go back to the RGB.
| | 02:29 | Now the Green Channel is 140, so if
we activate the Green Channel it's 140,
| | 02:33 | back to RGB view, Blue is 137, guess what, when
we go to just the Blue Channel everything is 137.
| | 02:39 | So when you're looking at the Red,
Green, and Blue values what we're really
| | 02:44 | seeing is the grayscale
value in each of those channels.
| | 02:46 | The reason why this is so important
to really understand is that when we're
| | 02:50 | going to be controlling our scanners,
we're actually going to be controlling the
| | 02:53 | grayscale values that make up these
RGB images on each of the three channels.
| | 02:58 | So this is on a scale of 0 to 255
where 255 is pure white, 0 is pure black,
| | 03:04 | means the absence of that color.
| | 03:06 | In as we have here in this Green, Blue
image, the Green, Blue values will be
| | 03:09 | higher than the Red because there is more
Green and Blue than there is Red in this image.
| | 03:13 | So it's all grayscale values that
we're going to be capturing, editing, and
| | 03:16 | manipulating during the scan process.
| | Collapse this transcript |
| Understanding pixels and vectors| 00:00 | Welcome back to Scanning Fundamentals.
| | 00:02 | In this section I'd like to talk to
you a little bit about the difference
| | 00:05 | between pixels and vectors, and one
of the reasons for this is at the very
| | 00:08 | beginning of your scanning process one
of the decisions you want to make is, do
| | 00:11 | I want my image to actually end up
as a pixel or a Vector-based image?
| | 00:15 | The reason why you make this
decision early on is that how you scan your
| | 00:19 | image, well in some case it would be very
different if you're scanning for pixels or vectors.
| | 00:22 | Now understanding the
characteristics of pixels and vectors of course is
| | 00:26 | critical to understanding how you
are going to choose one or the other.
| | 00:29 | Here up on screen you see two
different versions of the same image.
| | 00:33 | On the left-hand side here you see in
Photoshop a Pixel-based version of the
| | 00:37 | image, on the right-side and I'll
click over here to activate that we're now
| | 00:40 | working in Illustrator, and this is
a Vector-based version of the image.
| | 00:44 | So as I go click back and forth here I
am moving back and forth in Photoshop to
| | 00:48 | Illustrator from Pixel to Vector-based
image, and you'll notice that over in the
| | 00:52 | left we have the Photoshop tools and
over on the right side I have moved my
| | 00:55 | toolbar for Illustrator.
| | 00:57 | I have just set it up this way so
you can see both applications and both
| | 00:59 | versions of the image at the same time.
| | 01:02 | First let's zoom in to the Photoshop
or Pixel-based image and take a look at
| | 01:06 | that edge and we take a look and we
see that our edge is made up of this
| | 01:11 | stair-step of pixels.
| | 01:13 | Not a bad looking edge and I am going to
show you how to scan lighter on images,
| | 01:16 | you get a good-looking edge like that.
| | 01:18 | Now let's pop over to Illustrator when
I click over on this side and I am going
| | 01:21 | to do the same thing I am going to
zoom in on this edge and look at the
| | 01:24 | difference between these two.
| | 01:25 | When you zoom in on an Illustrator
image no matter how much you zoom in, and
| | 01:29 | notice if you look at down in the
lower left-hand corner here in its 6400%, I
| | 01:34 | notice how very, very sharp that edge
is, because this a Vector-based edge.
| | 01:38 | Instead of being made up of building
blocks what I call Pixel Bricks like the
| | 01:42 | Pixel-based image in Photoshop is, and
a Vector-based image instead of being
| | 01:45 | built up like that you instead have
these paths connecting one point and
| | 01:49 | another, so no matter how much you zoom
in you're still going to get that nice
| | 01:53 | hard edge and this is called
a Resolution-Independent Edge.
| | 01:56 | That is, the resolution of this edge
is not defined in the actual image it's
| | 02:00 | determined when you actually output it.
| | 02:02 | Whereas in Photoshop the pixels are a
specific size and the resolution of the
| | 02:07 | image is determined by the size of the
pixels, and in this case if we go into
| | 02:11 | the Image Size dialog box we see this
is a 600 pixel per inch image, so each of
| | 02:16 | these pixels is one-600th of
an inch on the side, this is a
| | 02:19 | resolution-dependent image.
| | 02:21 | The reason why it's important to know
this is that some images are really,
| | 02:24 | really good in capturing, in editing as
vectors, whereas others really require
| | 02:28 | pixels and we're going to move into
more that discussion in the next section.
| | 02:32 | Right now I just want to kind of cover
the difference between pixels and vectors.
| | 02:35 | So you can see Vector-based images
are very, very sharp whereas Pixel-based
| | 02:39 | images are kind of stair-
step, or you might think, oh!
| | 02:41 | I always want vectors, hold your guns.
| | 02:43 | In the next video we're going to
talk about the difference between those
| | 02:46 | two types and how we would match them up with
various kinds of images, but first watch this.
| | 02:50 | Let me show you one of the
differences between pixels and vectors.
| | 02:52 | I am going to do a selection here, like
this, and I am going to do a transform
| | 02:57 | and I am going to take this image, I am
going to scale it down and I am going to
| | 03:00 | deform it as you can see here, and then
I am going to take this and I am going
| | 03:03 | to rotate this image.
| | 03:05 | And then I am going to deselect that and
I am going to zoom back in on this edge.
| | 03:08 | Remember that nice, beautiful, stair-
stepped edge we saw where everything
| | 03:12 | was kind of nice and even, notice how that
edge is starting to break up and fall apart.
| | 03:16 | That's due to interpolation
more on interpolation later.
| | 03:19 | This is what happens when you scale,
skew or rotate or apply any kind of
| | 03:22 | dimensional change to your
image if it's a Pixel-based image.
| | 03:25 | The edge quality is going to degrade.
| | 03:27 | Now let's pop over here to Illustrator
and do the same thing, let's scale this
| | 03:31 | puppy down and distort it and then
we'll actually rotate it as well, no matter
| | 03:36 | what we do, how many times, in what ways
we do this, I am going to click and now
| | 03:40 | I am going to zoom back in
on that edge, look at that.
| | 03:42 | It's just as sweet as it was to begin with.
| | 03:44 | With a resolution-independent edge it's
made up of vectors, remember there is no
| | 03:48 | resolution to actually output the image.
| | 03:51 | So there is a difference between
those two images, pixels versus vectors.
| | 03:55 | In the next section we're going to talk
about which kinds of images you'd like
| | 03:57 | to use for vectors and which
kinds you'd like to use for pixels.
| | Collapse this transcript |
| Choosing pixels or vectors| 00:00 | In this movie I'd like to discuss which
kinds of images we're going to convert
| | 00:03 | and edit as pixels and which kinds of images
we're going to convert and edit as vectors.
| | 00:08 | In the previous movie we talked about
the fundamental differences between Pixels
| | 00:12 | and Vector-based images.
| | 00:13 | If you have any questions about that go
ahead and refer to the previous movie.
| | 00:16 | Here we're going to move on and look
at a couple of different kinds of images
| | 00:19 | and see which ones lend themselves
best to saving as vectors and editing as
| | 00:22 | vectors and which one to
saving and editing as pixels.
| | 00:25 | Let's start with the bicycle image
that we used in the previous movie, I am
| | 00:28 | going to zoom in here and just as a
quick review I am going to zoom in on that
| | 00:32 | edge remember Pixel-based
images are made up of pixels.
| | 00:35 | Whereas and let's move over to
Illustrator and the Vector-based images are made
| | 00:39 | up of edges, where you don't
have any of that stair-stepping.
| | 00:42 | You can see the quality
difference alone just looking at this.
| | 00:45 | In the previous movie we discussed how
the more you edit a Pixel-based image
| | 00:49 | particularly, dimensionally scale, skew and
rotate the lower the quality that edge gets.
| | 00:53 | When we're working in Pixel-based
images if we know we're going to be doing a
| | 00:57 | lot of editing we know that edge quality
is going to be degraded, whereas, if we
| | 01:01 | have that same kind of image and we're
working in a Vector-based image we know
| | 01:04 | that we can edit that image to our
hearts the light and the edge quality is
| | 01:07 | going to remain the same.
| | 01:08 | Now notice with this bicycle-based
image this image is defined by the edge, so
| | 01:13 | if we have edge-based images in
typically logo, line art, type that simple then
| | 01:18 | it's going to behoove us to convert it
into vectors and then to our editing,
| | 01:21 | because then we're not going to
have any degradation of our image.
| | 01:24 | On the other hand if we have an image
like this Moose that we see here, this is
| | 01:27 | also a line art image, but it's a
detailed line art image, and notice as we zoom
| | 01:32 | in here we see lots and lots of detail.
| | 01:34 | If you can imagine and try to convert this
into a Vector, couple of things would happen.
| | 01:37 | One is, the very detailed nature that
you see in this image would be lost,
| | 01:41 | because everything would
be converted into vectors.
| | 01:43 | Secondly, it would be enormously complex
who achieves the basic nature of the image.
| | 01:47 | Let's take a look at another kind of image
that has detail, a continuous tone image.
| | 01:51 | Here is a picture of my buddy Zip, and
as we zoom in on a Pixel-based image we
| | 01:56 | see a lot of detail there as well.
| | 01:58 | And here we begin to see a real
fundamental difference between the kind of
| | 02:01 | images we want to capture and save
as Pixel-based images and edit them as
| | 02:05 | pixels and those we want to capture
as pixels as we have to in the scan and
| | 02:09 | convert to vectors.
| | 02:11 | If our image has a lot of detail in it we're
going capture it as pixels and keep it that way.
| | 02:16 | If the image on the other hand is an edge
-based image such as our bicycle, we're
| | 02:20 | going to capture it as pixels because
that's the way a scanner works and then
| | 02:23 | we're going to convert it to
vectors before we do any editing to it.
| | Collapse this transcript |
| Resolving resolution| 00:00 | I would like to address what is
probably the most confusing area of digital
| | 00:04 | imaging that ever was and that is resolution.
| | 00:07 | What is the Resolution of this image?
| | 00:09 | Well, you can get all sorts of answers
about that depending upon who you talk to.
| | 00:12 | And that's one of the challenges.
| | 00:13 | various people use various types of terminology.
| | 00:16 | Some people would use DPI, Dots Per
Inch other use PPI, Pixels Per Inch, still
| | 00:21 | other will use res or 640x480 and
some people have been using Megapixels to
| | 00:25 | discuss Resolution and none of them are
wrong necessarily, but they are coming
| | 00:29 | at Resolution from slightly different
orientation and that some people even use
| | 00:33 | file size to discuss resolution.
| | 00:35 | So I would like to try to clarify
this and at the same time discuss which
| | 00:39 | Resolution values are so important
when you're setting up your scanner to
| | 00:42 | do scan of an image.
| | 00:43 | So to help us understand Resolution,
we're going to go up underneath image
| | 00:47 | where in Photoshop.
| | 00:48 | I am going to go to a
dialog box called Image Size.
| | 00:50 | I don't particularly like the title
Image Size, I would rather it be Image
| | 00:55 | Dimension, and typically the way it's
set up in Photoshop by default is like
| | 00:58 | this, where kind of everything is
turned on, the Resample, the Constrain
| | 01:01 | Proportions and all these numbers are here.
| | 01:04 | Now for a lot of people when you look at
this dialog box, you think, oh, my gosh!
| | 01:07 | Quick close that before I hurt myself, right,
because there are so many numbers in here.
| | 01:11 | But what I would like to do is breakdown
this dialog box for you and at the same
| | 01:15 | time really gives you an
understanding of how to discuss and understand
| | 01:18 | Resolution and how to use that
to give you better quality scans.
| | 01:21 | To want to be clear about
discussing Resolution, do two things.
| | 01:24 | One is Resolution terminology that
matches the building block into your image,
| | 01:28 | and secondly, separate Input
Resolution from Output Resolution
| | 01:31 | I am going to click OK, because I want
to zoom in our image just to remind us
| | 01:35 | what are the building blocks of our
image, and when we zoom way in here, we
| | 01:41 | remind ourselves, this
image is made up of pixels.
| | 01:45 | So when we go back to our Image Size
dialog box, we see that Adobe in Photoshop
| | 01:49 | gets it right, they use pixels, not
dots, because there are no dots here.
| | 01:53 | Using DPI to describe the
Resolution of this image is not just wrong,
| | 01:57 | it's really confusing.
| | 01:58 | So we're going to use pixels.
| | 02:00 | These first two numbers up here,
2200x3000, what this means is if you were to
| | 02:05 | measure this image in pixels and
just count them all the way across
| | 02:09 | horizontally, you would count 2200 pixels.
| | 02:12 | If you count out the same
number of pixels vertically, boom!
| | 02:14 | You would get 3000 pixels,
so this is Pixel Dimensions.
| | 02:18 | You may be more familiar with
terms like 640x480 or 1024x768.
| | 02:23 | It's the same thing, it's Pixel Dimension.
| | 02:25 | So when I am having a discussion about
Resolution with somebody or with myself,
| | 02:29 | I am very clear, are we talking about
Dimensional Resolution, which gives me the
| | 02:33 | Dimensions of the image in this case, yes.
| | 02:35 | So let's just click OK and go back up,
we now know this image is 2200 pixels
| | 02:40 | across and 3000 pixels down.
| | 02:42 | That's the Dimensional Resolution of this image.
| | 02:45 | Back into Image Size.
| | 02:46 | I want to skip the Width and Height
and go right to this number down here.
| | 02:51 | Notice this number is 300, and when we
look at the units, it says pixels/inch.
| | 02:55 | What does this mean, 300 pixels/inch?
| | 02:58 | Let's zoom in on our image just once
more, and if we were to look at 1 inch
| | 03:05 | of this picture across, see there is
4 inches and coming down here all the
| | 03:11 | way we come to 3 inches.
| | 03:14 | That mean if there's 300 pixels/inch,
what's the significance of this number?
| | 03:19 | Well, various kinds of output devices need
different densities in terms of pixels/inch.
| | 03:24 | A high quality printing device such as
a Commercial Printing Press, generally
| | 03:27 | requires 300 pixels/inch, whereas, say
a Web image, 72 or 100 pixels/inch is
| | 03:33 | all you really need.
| | 03:34 | The point being is you want to pay a very
close attention to this Linear Resolution.
| | 03:38 | Now I am adding a new term here where
it says, just Resolution, which is not a
| | 03:42 | very good term all by itself, Linear
meaning in a straight-line pixels/inch, 300
| | 03:45 | pixels in every horizontal and
300 pixels in every vertical.
| | 03:50 | So when we're setting up for a scan,
we want to set our Linear Resolution for
| | 03:55 | the highest quality output
device we're going to be printing to.
| | 03:58 | If you're printing to one device
and you set up for that device.
| | 04:00 | If you're going to be outputting on
multiple devices then you'll choose the
| | 04:03 | highest quality output device for
your Linear Resolution, and typically 300
| | 04:07 | pixels/inch is about the highest that
you need to go for most high-quality say
| | 04:11 | Commercial Printing Presses.
| | 04:13 | Next, let's come down here and turn
off this little Resample checkbox,
| | 04:16 | because its an important little
checkbox particularly in Photoshop unless
| | 04:19 | when we turn this off the number of
pixels in the image are frozen, which
| | 04:24 | means that no matter what you do
down here, the number of pixels in your
| | 04:27 | image will not change.
| | 04:28 | That is that there's no interpolation,
and we're going to discuss a lot more
| | 04:31 | about interpolation a little bit later.
| | 04:33 | But what's important here is notice
that at 300 pixels/inch, we can print a
| | 04:38 | high-quality image at 7 inchesx10 inches.
| | 04:41 | If on the other hand, we go up to
100 pixels/inch for the Web or even 72
| | 04:45 | pixels/inch, notice the Dimensions in
inches, which is the Output Dimensions,
| | 04:50 | goes all way up to 30 inches x 41 inches.
| | 04:53 | If we go to 100, it goes to 22 x 30
inches, we're not changing the number of
| | 04:58 | pixels in the image, we're changing the
Output Dimension of the document size,
| | 05:02 | by changing the Linear Resolution.
| | 05:04 | This would be fine for a Web image,
but not good for Commercial Printing.
| | 05:08 | For high-quality inkjet device
that prints photo quality inkjets, 240
| | 05:11 | pixels/inch, and by changing that with
Resample turned off, we know we could
| | 05:16 | print a 9 inch x 12 inch image.
| | 05:18 | So when we set this up in a scanner,
we want to make sure we have the proper
| | 05:22 | Linear Resolution set for the
highest quality output device.
| | 05:25 | We also want to make sure that we
have the proper Output Dimension.
| | 05:28 | Okay, one other thing to discuss here
and hopefully this brings everything back
| | 05:33 | to center and kind of wraps a bow
around all this is what is the relationship
| | 05:37 | between the Pixel
Dimension and the Output Dimension?
| | 05:40 | So let's go back to our 2200 that we see here.
| | 05:43 | 2200 pixels across, notice if we divide
that by 100 pixels/inch, if you remember
| | 05:47 | back to third grade, they said, well,
if you divide pixels by pixels/inch, the
| | 05:53 | pixels cancel out and you end up with
inches and that's exactly what we get.
| | 05:56 | 2200 divided by 100, lo
and behold this 22 inches.
| | 06:01 | 3000 divided by 100 is, you get it, 30 inches.
| | 06:05 | That's the relationship between
these numbers in this dialog box.
| | 06:09 | Coming back to the discussion
specifically of the scanner, when we set up a
| | 06:13 | scanner then, we want to make sure that
we set the proper Linear Resolution for
| | 06:16 | the highest quality output device that
we're going to printing to, and make sure
| | 06:20 | we get the document size, the Output
Resolution properly, and we want to try to
| | 06:24 | minimize the amount of Resampling that
we do to our images, which is why we want
| | 06:27 | to capture them with a proper Linear
Resolution and Dimensions to begin with.
| | Collapse this transcript |
| Working with interpolation| 00:00 | Here I would like to discuss the
difference between and the significance of
| | 00:04 | Optical Resolution versus
Interpolated Resolution.
| | 00:07 | I've opened up an image of an O
that I've scanned with my scanner at a
| | 00:11 | resolution of 1200 pixels per inch.
| | 00:13 | I chose 1200 pixels per inch for two reasons.
| | 00:16 | One, it gives me enough detail that I
can get a really sharp consistent edge as
| | 00:20 | we'll see, but I also know that this
is the optical also known as hardware
| | 00:24 | resolution of the scanner.
| | 00:25 | What that means is that the scanner is
actually set up to actually physically
| | 00:29 | capture pixels at one-
1200th of an inch on the side.
| | 00:33 | So this is going to capture 1200
pixels in every inch horizontally and 1200
| | 00:37 | pixels in every inch vertically.
| | 00:39 | The reason why this is important
will become clear in just a moment.
| | 00:42 | So this is a 1200 pixel print scan and
I'm going to zoom in on this so we can
| | 00:46 | take a look at these two edges right
here and you'll notice there is a real
| | 00:49 | consistency to the placement of pixels.
| | 00:51 | There is a little missteps every once
in a while, but in general this is very,
| | 00:55 | very consistent edge and
the same thing on the inside.
| | 00:59 | What I'm going to do now is I'm going to
make a duplicate copy of this image and
| | 01:02 | I'm just going to label this 1700 and
we're going to convert this image from a
| | 01:08 | 1200 pixel per inch image to a 1700
pixel per inch image in Photoshop.
| | 01:14 | Notice a couple of things, one is, by
default and I'm leaving it that way I'm
| | 01:18 | re-sampling this image, watch what happens
when I resample this image from the 1200.
| | 01:23 | The original pixel dimension is
540x442, when I go up to 1700 the number of
| | 01:29 | pixels goes from 765 to 626.
| | 01:32 | We're adding pixels, we're adding them
by interpolating, by using the pixels
| | 01:36 | that are already there to create more
pixels, this is what interpolation does.
| | 01:40 | I'm going to click OK and then I'm
going to reposition this so we can see these
| | 01:46 | pixels in the same place that we see them here.
| | 01:49 | Now let's compare and in fact
contrast these two different edges.
| | 01:52 | Look at this very, very nice smooth
consistent edge and look what's happened to
| | 01:56 | this edge, do you see how much rougher it is?
| | 01:58 | It's even worse on the inside, and
that's just one step of interpolation from
| | 02:02 | 1200 to 1700, we haven't
rotated or skewed or done anything.
| | 02:06 | And what this demonstrates is that if
you interpolate your image either during
| | 02:10 | the scan or in the post scan you're
going to lose edge quality, the quality of
| | 02:14 | your image is going to go down, because
new pixels are created from old pixels
| | 02:18 | and they're never as good as the original ones.
| | 02:20 | This is particularly important if in
the very beginning phases you decide oh I
| | 02:25 | want this line art image, in this
case this O to be converted into vectors.
| | 02:29 | When we do a conversion of vectors
the vectorization software loops the
| | 02:33 | consistency of this edge and the
smoother and more consistent the edge is the
| | 02:37 | higher the quality of the vector the
smoother the vector is going to be.
| | 02:40 | But the same thing is true for
continuous tone images, the more you resample
| | 02:45 | them the lower the quality they're going
to be, they're going to lose sharpness,
| | 02:47 | they're going to lose definition.
| | 02:49 | So our general rule of thumb is we
want to avoid interpolation whenever
| | 02:52 | possible, and what this involves is
scanning, using the optical resolution of
| | 02:57 | the scanner whenever we can.
| | 02:58 | And in the case of vectors and we'll
return to this later wait until you've
| | 03:02 | converted your images into vectors before
you do any geometric manipulation of them.
| | 03:06 | Because remember as long as you've
got pixels and you're doing geometric
| | 03:09 | manipulation the quality of
your edges are going to be lost.
| | 03:13 | There are some cases where you actually
can embrace the enemy where you've got
| | 03:17 | damaged images, where you can actually
use this interpolation to your benefit to
| | 03:21 | kind of smooth out some of the damages,
but as a general rule we want to avoid
| | 03:25 | interpolation whenever possible and as
far as scanning goes that means setting
| | 03:28 | the proper resolution to begin with.
| | Collapse this transcript |
| Understanding the effects of compression| 00:00 | Previously we discussed the evils of
applying interpolation to your image and
| | 00:04 | the benefits of minimizing
the amount of interpolation.
| | 00:06 | Here I would like to visit a similar
related topic and that is Compression,
| | 00:10 | and where we want to avoid it and
particularly if you're trying to maintain
| | 00:13 | maximum image quality.
| | 00:15 | What we have on screen here is two images.
| | 00:17 | The one on the left is saved out as a .
PSD, a native Photoshop file coming right
| | 00:21 | from a RAW file, no compression.
| | 00:23 | On the right is another version of this file.
| | 00:25 | It's saved out instead of .PSD as a
level 4 JPEG, so fair amount of JPEG
| | 00:31 | compression has been applied to.
| | 00:33 | When you look at these two images, as
you can see here we're looking at them at
| | 00:35 | 100%, the image quality is fairly
similar although the more you look in some of
| | 00:41 | the details here you can see that
this doesn't have quite as much detail.
| | 00:45 | But you know what at a cursory
inspection both images look okay.
| | 00:48 | So you know maybe saving it
out as JPEG is not so bad.
| | 00:52 | But now let's zoom in and let's take
both images up so we're comparing exactly
| | 00:56 | the same view to 250%.
| | 00:57 | We'll take the one on the right to 250
as well, and let's orient them just about
| | 01:05 | the same on the screen and
now look at there detail.
| | 01:08 | Couple of different places here, take a
look at down in this area where you have
| | 01:11 | the big indent in through here and
compare the same area, see how broken up.
| | 01:15 | You can see these blocks of pixels
that are created by the JPEG compression.
| | 01:18 | What's going on here is that this is a
lossy type of compression which means
| | 01:22 | that data in the image is averaged and
then re-created so you end up with losing
| | 01:27 | a lot of sharpness and a
lot of detail in your image.
| | 01:29 | And look along this one vein here and
up in this area where you see lots of
| | 01:33 | fine detail, all of that detail is completely
lost up in here because of the JPEG compression.
| | 01:37 | Now if you're viewing this on screen
at 100%, in particularly even smaller,
| | 01:41 | not a big deal, if you're printing to
a low-quality printing device doesn't
| | 01:45 | show up nearly as much.
| | 01:46 | But when you're printing to high-quality
devices that really do show the detail,
| | 01:49 | such as a very high-quality inkjet
printer or a commercial printing press you're
| | 01:53 | really going to see the differences in
image quality, sharpness, and detail.
| | 01:57 | In addition to avoiding interpolation
we want to avoid compression as much as
| | 02:01 | possible if you want to
maintain maximum image quality.
| | Collapse this transcript |
| Evaluating and correcting images with histograms| 00:01 | Earlier we discussed how images such
as this RGB image that we see here a
| | 00:05 | Greenwich is really a
construction of three grayscale channels.
| | 00:08 | What I'd like to do now is show you a
tool if you can use to get a different
| | 00:12 | look at all the grayscale data, and
show you how to see where the data is, show
| | 00:17 | you how to use that tool to evaluate
the image and even to correct it and this
| | 00:20 | tool is called a Histogram.
| | 00:22 | We start in the upper left-hand corner
with this Greenwich Village Gold image
| | 00:25 | that you've seen before and we look
down here at the Histogram panel, we see
| | 00:30 | that there is data all the way from
one end of this graph to the other.
| | 00:34 | This is a graph that shows you from
highlight to shadow where the distribution
| | 00:39 | of data is in your image.
| | 00:41 | This is the highlight, this is the mid-
tone, this is the shadow, this is the
| | 00:44 | quarter tone, this is the three-
quarter tone, and as you can see this is a
| | 00:48 | pretty well-exposed image so we have
data all the way from the highlight all
| | 00:51 | the way to the shadow.
| | 00:53 | Just by looking at a Histogram you can
get a real good idea of how the image has
| | 00:58 | been exposed and as we're going to see
it can lead you in the path towards how
| | 01:02 | you need to correct the image and this
works both in scanning and in Photoshop.
| | 01:06 | What I'd like to do now is take a look
at a variety of different images that
| | 01:09 | have a different distribution of
data to get you used to looking at and
| | 01:13 | evaluating a Histogram.
| | 01:14 | Let's look at this Cloud image and what
I'd like to get you to do is be able to
| | 01:18 | visually look at an image and actually
imagine what the Histogram looks like.
| | 01:22 | Notice that we've got white clouds but
if we click on this image we see that
| | 01:27 | there's data in the highlight but it
maybe not pure white clouds and we look
| | 01:31 | over this image we see, ooh, is there
anything that's truly dark or truly black
| | 01:35 | in here, truly shadow?
| | 01:36 | When we look at the Histogram of the
image we see, there's nothing that's
| | 01:39 | exactly pure white and we've got most
of our data from the quarter tone down to
| | 01:44 | between the three-quarter tone and
shadow and there's almost no shadow data in
| | 01:47 | this image at all from about 60% to 100%.
| | 01:51 | One of the points I want to drive home
here is you really shouldn't be trusting
| | 01:54 | your eyes to look at and evaluate your image.
| | 01:57 | The human eye does a really good job
of making very detailed qualitative
| | 02:01 | assessments of your image when it's side
-by-side with another image if there's
| | 02:04 | been a small change, but the human
eye does not do a good job of making
| | 02:08 | quantitative assessments of the
content or the color characteristics or the
| | 02:12 | tonal variations in an image.
| | 02:13 | And a Histogram is a graphical, it's a
visual tool that we can use to really
| | 02:18 | help out in this fashion.
| | 02:19 | All right, let's take a look at the
Lighthouse image and notice the lighthouse
| | 02:22 | image is mostly dark.
| | 02:23 | When we look at the Histogram we see
lo and behold it's kind of almost the
| | 02:26 | opposite of the Clouds image.
| | 02:28 | Here most of the data is from
the mid-tone down to the shadow.
| | 02:31 | So notice how the Histogram in our
evaluation of it matches the actual image itself.
| | 02:36 | What do you think about this image
here, the Gnarly Reflections image?
| | 02:40 | When we click on the Gnarly
Reflections image we see that most of the data in
| | 02:44 | this one is from highlight to mid-
tone, there's almost no shadow data.
| | 02:47 | You look at it and the eye goes, oh
that's dark, but in terms of the total tonal
| | 02:51 | range it's really only a mid-tone.
| | 02:53 | See the eye is fooled into the thinking
that things are lighter or darker than
| | 02:56 | they maybe based upon relative tonal
or color values elsewhere in the image.
| | 03:00 | And finally let's look at the Cloudy
Landscape image and we see that here we
| | 03:04 | have a grouping of most of the
data right around the mid-tone.
| | 03:07 | Right from the three-quarter tone not
quite up to the quarter tone, and that's
| | 03:10 | why the image is by the way very low contrast.
| | 03:13 | And in fact when we carefully,
visually evaluate the image we see there is no
| | 03:16 | real dark shadows in here and
there's certainly aren't any bright white
| | 03:19 | highlights matching indeed the Histogram.
| | 03:22 | So just quickly going from one image to
another you can see how that Histogram
| | 03:25 | changes and how much valuable
information a Histogram can be.
| | 03:29 | Now so far we've been looking at
the composite Histogram, haven't we?
| | 03:32 | Let's go one step deeper.
| | 03:34 | Notice that these images are all RGB
images which we know from earlier in the
| | 03:39 | course means that this image has
three grayscale channels in there.
| | 03:43 | This Histogram that we're
looking at is the composite.
| | 03:46 | If we take this and we look at in
All Channels View and we move this
| | 03:54 | side-by-side to each image we can see
what the Red, Green, and the Blue channels
| | 03:59 | look like for each of the three channels.
| | 04:01 | So this is the master Histogram and
then we have three individual channels.
| | 04:04 | Let's just take a look at
each of these images in turn.
| | 04:08 | There's the Clouds image, there is
the master, remember not much data from
| | 04:12 | three-quarter tone to shadow and it's
the same on all of them except for look
| | 04:15 | at the Blue channel, do you see how the Blue
channel has even less data than the other ones?
| | 04:19 | Click on the top of the Histogram.
| | 04:21 | Let's go to the Lighthouse image, and
here we see again missing data in the
| | 04:25 | master channel but all three of them
have lots of missing data, but notice
| | 04:28 | that the Blue channel is a little bit
further to the right than the Red and the Green.
| | 04:33 | And when we look at this image that
tells us, then that this image has a little
| | 04:36 | bit of a blue color cast to it.
| | 04:38 | Let's move to Gnarly Reflections and
we see the same thing but it's even more
| | 04:42 | dramatic, where we have the master Histogram,
where we see data from mid-tone to highlight.
| | 04:47 | When we look at the individual
channels notice how the Red and the Green are
| | 04:51 | almost coincidence, the Green is
offset a little bit, but do you see how the
| | 04:55 | Blue is offset even more indicating
that this has a blue color cast to it.
| | 04:58 | In fact when we look at it we see this
has a little bit of blue to it or pretty
| | 05:02 | significant amount of blue.
| | 05:04 | And finally when we look at the Cloudy
Landscape we see again not much data in
| | 05:09 | the highlight to mid-tone, but the Red
channel is offset a little bit more to
| | 05:12 | the right than the Green and the Blue
channel but not nearly as much of an
| | 05:15 | offset as we saw in Gnarly
Reflections in the offset of the Blue channel.
| | 05:18 | So when you get used to looking a
Histograms even minor variations are small
| | 05:22 | changes can add up a lot of
understanding of what this image is all about
| | 05:26 | and where the data is.
| | 05:27 | This is significant because when we
look at an image such as say Gnarly
| | 05:30 | Reflections we can see it's
low contrast. That's fine.
| | 05:33 | We can really semi-quantitatively say,
oh my gosh, look at that everything from
| | 05:38 | about 60% down to 100%
grayscale is missing in this image.
| | 05:42 | And then we can make an assessment, do
we want to keep it that way, do we like
| | 05:45 | the moody aspect of the image
or would we like to change it?
| | 05:47 | It gives us creative control of our image.
| | 05:50 | Let's see how we might use the
Histogram to help us make an adjustment.
| | 05:53 | In this case of course we're working
in Photoshop but the same thing we'll
| | 05:56 | apply during the scan.
| | 05:57 | All right, what I'm going to do is I'm
going to add a Curves adjustment layer
| | 06:02 | and notice that when we add a Curves
adjustment layer we see the Histogram
| | 06:06 | actually displayed in Curves,
the same thing is in levels.
| | 06:09 | But I'm showing you curves, because
curves gives us much more control over
| | 06:12 | the distribution of grayscale data
because we can adjust the curve anywhere
| | 06:16 | along the total range.
| | 06:17 | I'm going to do two adjustments here
just to show you how we can use the
| | 06:21 | Histogram to help us adjust an image.
| | 06:23 | One, I'm going to work
with the master RGB channel.
| | 06:26 | I'm going to click on the shadow point
here and I'm going to use the Histogram
| | 06:30 | to help determine how far I'm
going to move that shadow point.
| | 06:33 | I'm going to move it right up
to the beginning of that data.
| | 06:35 | What this allows me to do is still
maintain the detail in the image but
| | 06:38 | increase the contrast.
| | 06:39 | Notice if I go too far see how
all the shadow detail gets lost.
| | 06:43 | So I can visually using a Curve tool
adjust the shadow point up, but not to the
| | 06:48 | point where we start to lose shadow detail.
| | 06:49 | So I've done a master Histogram, so
we'll call this one the Master Adjustment.
| | 06:54 | Now I'm going to turn that off for a minute.
| | 06:57 | I'm going to go back to the background
layer, I'm going to add another curve
| | 07:00 | layer, and in this case what we're
going to do is I'm going to go into the
| | 07:03 | individual channels.
| | 07:05 | I'm going to go into the Red channel
and let me just cycle through here, there
| | 07:08 | is the Red, the Green, and then the Blue.
| | 07:10 | Remember how we noticed that the Blue
channel was offset, you put my little
| | 07:13 | pointer there and go backwards.
| | 07:15 | See how it's not pointing at the data
anymore, the Blue channel is offset more.
| | 07:19 | And in this case then if we adjust the
shadow point on each of the individual
| | 07:24 | channels the Blue, the Green and now
the Red, it's a different point at each
| | 07:30 | place on each of the individual channels.
| | 07:32 | So we'll call this the Channels Correction,
and look at the difference that we get.
| | 07:37 | In the master channel we did them all
at once, everything just gets darker, we
| | 07:41 | get increased contrast, but the color
balance remains the same, there's still
| | 07:44 | the blue color cast.
| | 07:45 | But when we did the individual
channels, notice how it would neutralize the
| | 07:48 | image more, take out some of that
Blue and we can go anywhere in between.
| | 07:52 | My point is that the Histogram is a
very valuable tool for helping us not only
| | 07:56 | evaluate the image in terms of where
the distribution of grayscale values are
| | 08:00 | in our image, it could point us in the
right direction about how to correct the
| | 08:03 | image and we combine a Curve tool which
allows us to make corrections anywhere
| | 08:07 | in the tonal range.
| | 08:08 | As we'll see when we perform this
during the scan rather than in the post-scan
| | 08:12 | in Photoshop we'll actually end up
with higher-quality images, because we're
| | 08:15 | doing this before we actually capture
the data and send it out of the scanner.
| | 08:19 | So histograms and curves working
together, great evaluation as well as image
| | 08:24 | editing correction tools.
| | Collapse this transcript |
| Saving to different file formats| 00:00 | When you've completed the scanning
process, you want to perform one more thing
| | 00:03 | and that is to save your images,
and in part of that saving process is
| | 00:06 | choosing a file format.
| | 00:08 | And one of the reasons why this is so
important is, earlier in the course, we
| | 00:11 | talked about things like interpolation
and compression, and minimizing those to
| | 00:15 | maintain the quality of your image.
| | 00:16 | Well, in the spirit of at least doing no
harm to your images, you want to choose
| | 00:20 | the proper file format for how you
want to use your images and be aware that
| | 00:24 | certain file formats, such as JPEG will
actually apply compression to your image
| | 00:28 | and it can downgrade the quality of your image.
| | 00:31 | So let's discuss various file formats
you might use to save your scanned images,
| | 00:35 | and let's start with this really
beautiful portrait of Isaac that was taken by
| | 00:39 | Lucas Deming, the photographer at lynda.com.
| | 00:41 | I love this picture, and we're working
in Photoshop of course, because it's kind
| | 00:44 | of a standard application and your
dialog boxes may look a little bit different
| | 00:47 | if you're using different
applications and certainly from your scanning
| | 00:50 | programs, but the fundamentals are the same.
| | 00:53 | We're going to start off here by just
using the Save As command, which brings up
| | 00:56 | a dialog box that allows us to name our
images and then choose a file format in
| | 01:01 | which to save our images.
| | 01:02 | Let's start with naming convention.
| | 01:04 | I suggest that you use
something like the following:
| | 01:06 | Choose a logical name so you can tell
what the file is, and then I like to put
| | 01:10 | in a mode like RGB, and then I like
to put in the linear resolution of the
| | 01:14 | file, and the reason for this is
that this allows me to just get a lot of
| | 01:18 | information about that file.
| | 01:20 | Let's assume that we're going to be
editing our image, and if you're going to
| | 01:24 | edit your image after the scan,
you've done what you wanted to do.
| | 01:26 | If you make your mind during the scan, and
you say, all right, I'm going to edit my image.
| | 01:29 | Well, the best file format to choose
is the .PSD or Photoshop file format and
| | 01:33 | that's we've chosen is, the first one at
the top of the Format menu. So .PSD, why?
| | 01:38 | Because this is going to be a small
file format, but completely editable, gives
| | 01:42 | you all the functions of Photoshop.
| | 01:44 | So if you know you're going
to be editing choose .PSD.
| | 01:47 | As a general rule it's a good idea to
go ahead and embed the color profile,
| | 01:51 | because what this does is provide
information embedded into your files, so when
| | 01:54 | you open up your file in any other
application, including a web browser, that
| | 01:58 | there is information about where that
color, or where the data came from, and it
| | 02:01 | can be used in color management,
which we'll discuss a little bit later.
| | 02:04 | So .PSD, if you know you're
going to be editing your file.
| | 02:07 | On the other hand, if you know that
you're completely done with your image and
| | 02:10 | you're ready to go to print, you
don't want to edit, well, then a good file
| | 02:13 | format you might want to choose is the
TIFF file format, and notice there is a
| | 02:17 | whole bunch of different file
formats you can choose from.
| | 02:19 | In fact, there are over 400 graphic
file formats, but I'm just going to discuss
| | 02:22 | four, the .PSD, the TIFF, if you
want to print is the second one.
| | 02:26 | That stands for Tagged Information File
Format, which is not critical for you to
| | 02:30 | know, but what you do want to know
is that this is a full quality, full
| | 02:33 | resolution, no compression,
no down-sampling file format.
| | 02:36 | All the quality of your file is going
to be maintained, no damage will apply to
| | 02:40 | your image and it will allow you to
maintain the quality when you go to print
| | 02:43 | on any quality device.
| | 02:44 | So if you named your file, choose TIFF for
your file format if you're going to go to print.
| | 02:48 | Embed your color profile and then
click Save, and you'll get this TIFF
| | 02:52 | Options dialog box.
| | 02:53 | My recommendation is to keep things as
simple as, than using a high quality as
| | 02:57 | possible, is apply No Compression.
| | 02:59 | You can apply some LZW and some ZIP
which is lossless compression, but it takes
| | 03:04 | a little bit longer for your file
to process when it goes to print.
| | 03:06 | So I generally choose NONE.
| | 03:08 | Don't choose JPEG, because that's
going to lower the quality of your image.
| | 03:11 | For Pixel Order, go with the default
which is Interleaved and for the Byte
| | 03:15 | Order, that's the order in which the
data is written on the disc, choose IBM PC,
| | 03:19 | even if you're working on a Macintosh,
because a Macintosh can read both with
| | 03:23 | equal facility and some Windows machines
prefer the IBM PC right Order format. Boom!
| | 03:27 | There you go, and then you've
saved your file out in a really nice
| | 03:30 | high-quality print format.
| | 03:32 | What if you want to take an image to the Web?
| | 03:33 | And to do that let's look at a
different image in here an RGB image.
| | 03:37 | Here is a picture of my GF, we're
out shooting pictures of each other on
| | 03:40 | Kachemak Bay with the beautiful Kenai
Mountains in the background, and let's say
| | 03:44 | we want to take this image to the web.
| | 03:45 | Again, we're going to perform a Save As
and we're going to name this file again
| | 03:50 | with a logical name and then RGB in
this case, and then 300, and we've already
| | 03:55 | edited, so it's a .PSD file now, and
we just want to take it to the web.
| | 03:59 | Then this is one we'll go to, the JPEG
format, and this is both a file format
| | 04:03 | and a compression scheme.
| | 04:05 | Note that when you do this, you are going
to be compressing your image in a lossy way.
| | 04:09 | that is you're going to lose some data.
| | 04:10 | Makes it very compatible for sending
across the internet, because it's smaller
| | 04:14 | and it will display for quickly on
web pages, but you're going to lower the
| | 04:18 | quality of your image somewhat.
| | 04:19 | So choose JPEG, embed your color
profile and then when you click the Save
| | 04:23 | button you'll get this dialog box and there
are two things you want to pay attention to here.
| | 04:27 | one is the Quality options which is
you're 8-10 and this goes up to a maximum of
| | 04:32 | 12 in Photoshop, but if you're 8-10
that's going to be fairly high-quality.
| | 04:35 | If your image has high contrast edges
in it, such as this high contrast edge
| | 04:40 | here and the high contrast edge on
the horizon, then I recommend going for
| | 04:44 | the maximum, go for 10.
| | 04:45 | If you go to low contrast image such
as a portrait, and you can get by with
| | 04:49 | maybe something like 8, but don't drop
below 8 if you really want to maintain
| | 04:53 | the quality of your image, and you
don't want to have the chance of getting
| | 04:56 | those really awful JPEG lossy
compression of damaged areas in your image.
| | 05:01 | The second thing you pay attention to
is the Format Options, you can choose
| | 05:03 | either Standard or Baseline Optimized
if you want your image to pop up all
| | 05:07 | at once on the web.
| | 05:08 | I recommend using the Standard option to
give you maximum compatibility with all
| | 05:12 | versions of web browser,
everybody recognizes that one.
| | 05:14 | The Optimized makes the file a little
bit smaller and optimizes the colors, but
| | 05:18 | isn't quite as compatible.
| | 05:20 | Actually I never had problems with
either one, but you want to make sure you get
| | 05:23 | full compatibility, use the Standard.
| | 05:24 | You would only choose Progressive if you
have a larger file, say typically above
| | 05:28 | 640x480 in which you want them to
appear one, two or three times in order with
| | 05:33 | the lower quality, medium
quality and higher quality.
| | 05:36 | When you save out to JPEG, pay
attention to setting your Quality Options
| | 05:39 | based upon the content of your
images, set your Format Options and then
| | 05:43 | you're ready to go.
| | 05:44 | One final format I like to talk about,
because many people are starting to use
| | 05:48 | this format and that is PDF format, and
we'll choose Photoshop PDF and this is
| | 05:52 | actually a graphic file version of the
PDF format, and again, save your color
| | 05:55 | profile, name your file and choose
Save and when your dialog box comes up I'm
| | 06:00 | going to make a recommendation to you.
| | 06:01 | There is actually lots of settings here,
but if you choose High Quality Print,
| | 06:05 | which is one of the Adobe PDF Presets
you're going to get a very high-quality
| | 06:08 | PDF file and no alteration will occur to
the color profile of your image at all.
| | 06:14 | So you choose High Quality Print and then
you can just click Save PDF if you want to.
| | 06:18 | Just a little side note here about
what's actually applied here is there is down
| | 06:23 | sampling that occurs if your
image is larger than 450 pixels/inch.
| | 06:25 | It will downsample it to 300, and
there's a small amount of Compression, high
| | 06:30 | quality JPEG Compression that is applied.
| | 06:33 | You can turn these off if you want to.
| | 06:35 | You can choose Do Not Downsample, and you
can choose No Compression if you would like to.
| | 06:39 | You'll still get the very flexible
PDF format, which is Internet safe and
| | 06:43 | very printable as well. So it's up to you.
| | 06:45 | Typically, if you're going with the
High Quality Print, you'll end up with good
| | 06:48 | quality images and they will print very well.
| | 06:50 | Notice when we go to Output, there is
No Color Conversion that takes place and
| | 06:54 | that's why I prefer to use that as
opposed to the Press Quality, which will
| | 06:57 | indeed apply a color
profile adjustment to your image.
| | 07:00 | Then just click your Save
PDF and you're good to go.
| | Collapse this transcript |
| Color management| 00:00 | Let's talk about color management.
| | 00:02 | Color management refers to the proper
control of tone and color in our workflow system.
| | 00:07 | In a typical image workflow,
we start by capturing an image.
| | 00:11 | In our workflow we are starting by
capturing an image without scanner.
| | 00:14 | And then we move our image from a
scanner to a monitor and from a monitor to
| | 00:18 | an output device, such as printer or it
might be another output device like on the web.
| | 00:22 | So the image content is
transferred from one device to the other.
| | 00:25 | The image tone and color is
reproduced differently on each device.
| | 00:29 | And therein lies our greatest challenge.
| | 00:31 | All right, scanners capture tone.
| | 00:33 | In fact, that's all they capture is tone.
| | 00:35 | They don't really capture color.
| | 00:36 | Remember the all color is created
by output devices, not input devices.
| | 00:40 | So scanners take our tones and
convert them into grayscale base and pixels.
| | 00:44 | Then those grayscale pixels are sent to
a monitor and monitors will then paint
| | 00:48 | those pixels with various red, green,
and blue technologies, LCDs, Phosphors,
| | 00:53 | LEDs, wide variety and constantly
expanding output technologies on monitors.
| | 00:59 | And then, those color pixels are
being colored by the monitor are sent to a
| | 01:03 | printing device, where not only are we
using dots to reproduce that instead of
| | 01:08 | pixels, but we are using inks like cyan,
magenta, yellow, black and that's just
| | 01:12 | a baseline on wide gamut printers, we
are adding light cyan, light magenta,
| | 01:16 | greens, and oranges and
expanding a range of colors.
| | 01:20 | The result is that each of these devices
has what we call a different color space.
| | 01:24 | And color space refers to the
range of reproducible tone and color.
| | 01:28 | So a scanner has one color space, a
monitor has another one and a printer
| | 01:33 | has another one indeed.
| | 01:34 | Some are larger, some are smaller,
there's some overlap but you can reproduce
| | 01:38 | tones and colors on one
device that you can't on another.
| | 01:40 | Now is if that weren't enough of a
challenge, add to all those color
| | 01:44 | variables output substrates.
| | 01:47 | We start with the substrate which is
the actual original surface with the
| | 01:50 | scanner and the image is
transferred over the monitor.
| | 01:53 | It's glass or plastic.
| | 01:54 | We go to an output device, right.
| | 01:56 | It's going to be paper or plastic or
metal and we are using a variety of
| | 02:00 | different inks on those.
| | 02:02 | Then add to that challenge, variable
lighting that changes all the time.
| | 02:06 | So with all those challenges of
trying to reproduce tone and color, it's a
| | 02:10 | wonder these images look anything like
it always, you move them from one end to
| | 02:13 | another, never mind match.
| | 02:15 | Well, our solution to this
is called Color Management.
| | 02:17 | And with color management, we try to
coalesce all these different devices with
| | 02:21 | all these challenges to reproduce
tones and color the same way on each one or
| | 02:24 | get as close as we can.
| | 02:26 | We do this though a
process called characterization.
| | 02:29 | Here is how it works, which we
start with the target with known value.
| | 02:33 | In this case, this is a scan target.
| | 02:35 | We use a reflective target on
reflective scanners and then we use film
| | 02:38 | targets on film scanners.
| | 02:39 | Then we scan this target that has known
values with our scanner and then we take
| | 02:43 | that file and we run it through a color
management software that creates what we
| | 02:46 | call a color profile.
| | 02:48 | And that color profile contains the
color space of that device, which says this
| | 02:53 | device can reproduce
these tones in these colors.
| | 02:56 | We do the same thing on a monitor, and then
we do the same thing on a printing device.
| | 02:59 | For the printing device, we actually, print
the tones and colors and then analyze them.
| | 03:03 | And then what the color management
system does, is it takes all those color
| | 03:07 | profiles and it links them together, and
we try to use those to try to reproduce
| | 03:11 | our tones and colors the same on each device.
| | 03:13 | That's just kind of an outline of our
challenges in what we do to meet those challenges.
| | 03:18 | Well, the details of that are
well beyond the scope of this course.
| | 03:21 | But what you and I can do is we can
learn how to calibrate our scanners
| | 03:24 | and create use color profiles, and very
importantly learn to scan images by the numbers.
| | 03:30 | We use to learn scan images by the numbers.
| | 03:33 | we are going to get the proper grayscale base.
| | 03:35 | And remember, that all we can
actually capture is grayscale base.
| | 03:38 | If we get the grayscale base right off
of our scanner and we send our image to a
| | 03:42 | calibrated device like a monitor or a
printer, then the color is going to likely
| | 03:45 | come off right on those.
| | 03:47 | To learn more about a color management,
I will refer you to this really great
| | 03:51 | class called Color Management
Essential Training with Chris Murphy.
| | 03:54 | It's right here on the lynda.com Library.
| | 03:57 | As a starting point, I am going to
recommend to you that you learn how to
| | 04:00 | calibrate your own monitors.
| | 04:01 | And simple to do, you can buy a simple
monitor calibration device for a $100 to
| | 04:05 | $200 with software and that's going to
calibrate your monitor, which is going to
| | 04:10 | give you much better representation
of tone and color right off the bat.
| | 04:13 | And then add to that what we are going
to do here is learning to calibrate and
| | 04:16 | color manage your scanner, and that's
how we are going to do our part to help
| | 04:20 | you manage your whole color workflow.
| | Collapse this transcript |
|
|
2. Preparing to ScanCleaning your scanner| 00:00 | Let's chat about caring for
and cleaning your scanner.
| | 00:02 | Well, first rule of engagement is
prevention rather than cure, as we already
| | 00:06 | talked about, but just to review.
| | 00:08 | Locate your scanner in a dust free
environment, away from drafts, away from
| | 00:12 | any sources of dirt and dust, no moving air,
windows, doors, vents, fans, avoid them.
| | 00:17 | All right, and then set up your scanner
on a nice hard surface, no fabrics, all
| | 00:20 | right, because fabric has static
electricity, which attracts dust and dirt and
| | 00:24 | therefore that gets on
your scanner and your images.
| | 00:27 | So stay away from that completely.
| | 00:29 | And you may have noticed I've been
wearing these lint-free gloves the whole time
| | 00:32 | we've been talking about scanners and
I've been handling my scanners and my
| | 00:34 | images, always, always wear these, and
it's critical, because your figures have
| | 00:38 | oil on them, no matter how much you
wash your hands, you've got oil on your
| | 00:41 | fingers, and that oil gets on your
scanner, gets on your images and then that
| | 00:45 | attracts dust and dirt and boy!
| | 00:46 | It's just awful to keep
clean. Don't believe me?
| | 00:49 | Take a look at this keyboard
that hasn't been washed in a while.
| | 00:52 | See all that gunk on there?
| | 00:53 | That's from oil on the fingers
that has attracted dust and dirt.
| | 00:56 | Think about getting that on
your images or on your scanner.
| | 00:59 | Now we want to avoid that whenever possible.
| | 01:02 | And since these gloves are so important,
and I don't know about you, but I don't
| | 01:06 | wear these all day along, all day.
| | 01:07 | It's not the kind of environment that
I'm work in, I typically use them just
| | 01:10 | when I'm working on my
scanner or touching my images.
| | 01:12 | So I'm likely to, if I don't already
have my gloves on, is I'm likely to walk to
| | 01:16 | my scanner and start handling my scanner,
and then I remember, oops, all right!
| | 01:19 | So what I do is I put a pair of these
gloves right on the top of the scanner,
| | 01:23 | and that gives me a visual reminder that,
oh, I need to put on my gloves before
| | 01:26 | I even touch my scanner,
and it really works for me.
| | 01:29 | Couple of other details about
gloves, is I recommend you get the good
| | 01:33 | quality ones like these.
| | 01:34 | See how nicely that fits.
| | 01:35 | It improves the dexterity that you've
for handling your scanner and your images
| | 01:39 | and loading and unloading and so forth,
and I buy them by the bag or the box and
| | 01:43 | I recommend getting it from a company
that has the good quality gloves, not just
| | 01:47 | the inspection gloves, but
the really good quality gloves.
| | 01:50 | I get mine from gloves-online.com, and
it's gloves-online.com and these right
| | 01:57 | here are the all day gloves.
| | 01:58 | So that's what I
recommend in terms of the gloves.
| | 02:00 | And then of course, leave the gloves in
the plastic packages until you're ready
| | 02:03 | to take one and use it, so
that you are not collecting dust.
| | 02:06 | So but, no matter how careful you are,
you're going to end up getting some dust
| | 02:11 | and dirt on your scanner or images,
so let's talk about some tools and
| | 02:14 | techniques to help you clean your scanner.
| | 02:16 | First tools, well, what's the
first tool? Well prevention.
| | 02:19 | Second tool, the gloves for sure.
| | 02:21 | All right, no question about that.
| | 02:22 | Then some other tools here
are these little PEC PADs here.
| | 02:27 | These are dust-free, lint-free pads.
| | 02:29 | You can go and buy the PEC PADs, a lot
of people sell these, and they are kind
| | 02:32 | of the industry standard.
| | 02:33 | There are some other varieties as well,
but make sure that they are lint-free
| | 02:35 | and very, very soft.
| | 02:38 | And then a little brush here, little fine
brush, this one with a little air pump on it.
| | 02:43 | And then lens cleaning solution.
| | 02:45 | You want to get some of that for when
you can't just wipe things off, but make
| | 02:49 | sure you don't use your household or
industrial cleaners, because of two things.
| | 02:52 | one, they will leave a film, and two,
sometimes they will actually corrode the
| | 02:56 | plastic on your scanner.
| | 02:57 | Then some judicious use of canned
air can sometimes be helpful as well.
| | 03:01 | All right, so these are kind of
our tools, now let's talk about the
| | 03:04 | actual cleaning process.
| | 03:06 | When you want to clean your scanner?
| | 03:07 | Well, just prior to using your scanner.
| | 03:09 | Don't clean your scanner and say, oh
it's time to go lunch and then come
| | 03:12 | back and start scanning.
| | 03:13 | No, you want to clean it just before it.
| | 03:14 | So get everything all ready, organize
your images and then clean your scanner,
| | 03:18 | and I'll be go about doing that.
| | 03:20 | Of course, you got to get
your gloves on all the time.
| | 03:22 | Open up your scanner, we're going to
talk about cleaning this kind of a scanner,
| | 03:25 | the Flatbed Scanner or the multipurpose
scanner, why, because there are lots of
| | 03:29 | surfaces that can get dirty here.
| | 03:30 | We'll do the film scanner in just a little bit.
| | 03:32 | That's easier to kind of handle.
| | 03:33 | So get your gloves on and then we're
going to grab a lint-free pad here.
| | 03:38 | Notice I'm taking it out of the bag,
because after you use these ones, toss
| | 03:41 | them, because they are going to get
dirty, they will collect lint and when you
| | 03:44 | start using, you put lint on
the scanner. Not a good idea.
| | 03:46 | Okay, so grab your gloves, grab the
lint-free pad and then your initial
| | 03:52 | inclination is to start cleaning the
bottom, because that's the key surface.
| | 03:55 | Don't, because, one, you'll either
forget to clean the top, or then you'll go
| | 03:59 | clean the top and knock
all the dust onto the bottom.
| | 04:02 | I know it's silly, but it happens all the time.
| | 04:03 | So clean the top surface first, all right,
and I like to wipe away from me, away
| | 04:08 | from the scanner, away from the images,
all right, and then you can come down
| | 04:11 | and do the bottom, same thing like this.
| | 04:15 | Sometimes that's all you need to do.
| | 04:16 | But you know, I don't know how it happens?
| | 04:19 | But I looked down there, I cleaned it
off and there is somebody's thumbprint,
| | 04:22 | certainly not mine, all right.
| | 04:23 | I know somebody has been touching
the scanner while I had been away.
| | 04:27 | So when it's like that, don't just push harder.
| | 04:29 | That's when you want to use your
lens cleaning solution, all right.
| | 04:32 | So you open this puppy up, and then
don't spray this right on the platen, spray
| | 04:39 | it on the cloth here and then easy
circular strokes like this and then I end up
| | 04:43 | going away from me, away from me like that.
| | 04:46 | You can do the same thing on the top of
scanner, and you know, if you don't have
| | 04:51 | this foam part, and if you've got a
transparency adapter on top of your scanner,
| | 04:55 | you'll be cleaning the glass on top.
| | 04:58 | Either way, start on the top.
| | 04:59 | All right, so do the pad, and then you'd
be working with your image, and you may
| | 05:04 | notice, oh, this one
little piece have dust in there.
| | 05:06 | That's when this comes in handy.
| | 05:08 | Always away from you, away from your
images, away from the scanner and then
| | 05:12 | sometimes a little bit of canned air is useful
and helpful to you, just blow a little bit off.
| | 05:18 | But listen, if you're working in a
dusty environment at all, all the canned air
| | 05:21 | does is blow dust into the
air and covers everything.
| | 05:23 | So I tend to use this rather than the
canned air, because sometimes the canned
| | 05:28 | air is just too hard and too strong.
| | 05:30 | All right, and then finally, I want to
tell you not to do what I'm doing, and
| | 05:34 | that is don't talk while you're
cleaning your scanner or your images.
| | 05:38 | All right, because what happens is when
we've got a pedi pad, right, and we're
| | 05:43 | over the top of the scanner and I'm
cleaning the scanner like this, what am I
| | 05:46 | doing, I'm talking and I'm
spitting on my scanner, all right.
| | 05:48 | I don't intend to, but that's what happens.
| | 05:50 | Same thing when you're clean your
images, silent process, all right.
| | 05:54 | So that's for cleaning your flatbed
scanner and your multipurpose scanner.
| | 05:58 | Now for film scanners, actually these are
a little bit easier to deal within a way.
| | 06:02 | What you don't want to do
is what I've done right here.
| | 06:05 | All right, see how I've got my film
holder and it's still in the scanner, maybe
| | 06:08 | I scanned this morning or last week
and the film holder is still there.
| | 06:12 | That's going to cause the problem. Why?
| | 06:14 | Because most of these film holders -
I've got these windows on them like this
| | 06:18 | and that prevents dirt and dust
from getting inside the scanner.
| | 06:21 | If you keep the film holder in the
scanner for long periods of time that opens
| | 06:25 | it up to dirt and dust.
| | 06:26 | Can you clean dust way if it gets inside?
| | 06:28 | Oh, sure, you can kind of take
your canned air and put in here.
| | 06:30 | So all that really does is
blow the dust around inside.
| | 06:34 | Hopefully you blow it off,
maybe the scanned surface.
| | 06:36 | But yeah, cleanliness and prevention
is really the way to go with these,
| | 06:40 | because if you get much dust or dirt, then
you have to open them up to actually clean them.
| | 06:46 | And then when you get done with the
scanned process, close everything up, all
| | 06:48 | right, so that you prevent dust and dirt
from getting on the scanners, and then,
| | 06:53 | what I like to do at the very end,
you'll notice in the end of my scan bench
| | 06:56 | here, I've got this cloth.
| | 06:58 | We'll put that down, so we don't knock
it over, and I fold that cloth back on
| | 07:04 | top of itself, so at the end of the
scanning process, I can take this and just
| | 07:08 | drag it all over everything on my scan bed.
| | 07:11 | That prevents any dust from
collecting while I'm not using my scanner.
| | 07:14 | I don't scan every day.
| | 07:16 | All right, I scan you know maybe I have
a scan session a couple of times a week,
| | 07:18 | but I keep it covered like this, and
then when I take it off I just fold it back
| | 07:22 | on itself, so that the dusty surface
is never facing towards my scanner or
| | 07:26 | scanner equipment images and cleaning equipment.
| | 07:29 | So that's how to keep your scanner clean.
| | Collapse this transcript |
| Cleaning your images| 00:00 | Let's discuss care for and
prep up your images for scanning.
| | 00:03 | Just a quick review about why this is
important, is this all about improved
| | 00:07 | image with quality and better
and more efficient workflow?
| | 00:10 | Dust and dirt and scratches are all
magnified during the scanning process,
| | 00:14 | during enlargement and
particularly during Unsharp Mask.
| | 00:16 | All right, and that requires
an awful lot of retouching.
| | 00:20 | After the scan it's going to slow you down.
| | 00:22 | It's going to reduce your image quality.
| | 00:23 | So given that we know we are going to
have to do this, let's talk about some
| | 00:27 | of the tools that we are going to
use for keeping our image clean and for
| | 00:30 | cleaning our images.
| | 00:31 | First, location, location, location.
| | 00:33 | Just like real estate, all right.
| | 00:34 | Keep your scanner in a dust-free
environment with no dirt and no moving air, and
| | 00:39 | that's going to be the
best thing that you can do.
| | 00:41 | Now how about some tool for handling images?
| | 00:43 | Well, number one, we are back to the
old lint-free gloves again, I know I am a
| | 00:47 | broken record, but they're so darn important.
| | 00:50 | Remember my suggestion about putting
a pair of your clean lint-free gloves
| | 00:54 | right on the top of your scanner to
remind you to put on before you even open
| | 00:58 | your scanner, good idea.
| | 00:59 | The other thing that you want to do
is, you want to keep your images in a
| | 01:02 | dust-free storage
environment. It's so important.
| | 01:06 | Actually so many images is just kind of
laying out on the table, collecting dust
| | 01:10 | for days and sometimes weeks at a time.
| | 01:12 | Keep them in here until
you're ready to scan them.
| | 01:14 | For the moment you create them, for
the moment you print them, keep them in a
| | 01:18 | dust-free environment.
| | 01:19 | And the other thing of course is
remember oil from your fingers is so
| | 01:23 | problematic, wear your gloves
all the time, very, very important.
| | 01:27 | You are going to get much better
results with your scan, you are going to have
| | 01:30 | less cleaning to do.
| | 01:31 | Remember, higher quality gloves, and
for those of you who don't know remember,
| | 01:36 | gloves-online.com, great place to get gloves.
| | 01:40 | These are the all-day gloves and they
are reusable and washable, and of very
| | 01:44 | high-quality, very nice.
| | 01:46 | Okay, so some other things we've got
here is little blaster, for blowing air,
| | 01:51 | off of particularly your film, it's handy.
| | 01:54 | It is a lot of varieties of these
things and here's one with a little bit of a
| | 01:58 | brush bristles on the end of it and
typically those don't actually move much air
| | 02:02 | but this one does so I'd
like to have both of these.
| | 02:04 | And some emulsion cleaners, it's going
to be very important for cleaning a dirty
| | 02:08 | film, very important, make sure that
the emulsion cleaners that you have works
| | 02:13 | with the film that you have got.
| | 02:15 | Most of the emulsion cleaners that you
have today that are available with easy
| | 02:18 | access today are for cleaning the hard emulsion.
| | 02:20 | If you have some of the older film
that has the albumen, the softer emulsion,
| | 02:24 | you have to get a specific cleaner for that.
| | 02:26 | And then some very tightly
woven lint-free swabs are good.
| | 02:31 | And then I do use canned air, I
probably use this more on the film than I
| | 02:34 | actually do on the scanner.
| | 02:36 | And then for mounting purpose,
particularly for reflective art, there is
| | 02:39 | a little bend to it.
| | 02:40 | I used to really low tack, low stick film.
| | 02:45 | So there are my tools.
| | 02:47 | Now, let's talk about the
actual cleaning of the actual pieces.
| | 02:51 | Well, let's first discuss this
right here and that is a reflective art.
| | 02:58 | When we are going to clean reflective
art, first of all handle it with your
| | 03:01 | gloves and sometimes you can just use
your gloves, all right, to wipe off some
| | 03:05 | of the reflective art.
| | 03:06 | That works pretty well.
| | 03:07 | The other thing you can use is a little
bit of canned air on your image or you
| | 03:13 | can use a little bit of air-blaster,
but do you notice what I am doing?
| | 03:16 | I am blowing this not towards my scanner,
this is the last thing that you want to do.
| | 03:21 | Get your scanner open, oh yeah, we will blow
the dust right off the image onto the scanner.
| | 03:24 | Believe me, I have seen it more than once.
| | 03:27 | So if you are going to use some sort of the air
movement device, do it away from your scanner.
| | 03:31 | And if you have handled your images
and you have kept in the dust-free
| | 03:34 | environment, you may probably
don't have to do much more than that.
| | 03:37 | You can use emulsion cleaner on
some of these like this, but honestly I
| | 03:41 | have very few problems.
| | 03:42 | Now one thing I should mention again, it
was about talking while you're mounting
| | 03:46 | your images and cleaning them, don't,
like how I'm doing now because I am
| | 03:50 | probably spitting, in fact, I can see
it right there, I am spitting on my image
| | 03:53 | which is not a good thing.
| | 03:54 | So, wait you are cleaning and mounting.
| | 03:56 | Then for mounting these images, you
typically want to -- and particularly with
| | 04:01 | line art that is vertical and
horizontal edges, you want to make sure you mount
| | 04:04 | these images right along the edge of
the scanner so that good, parallel and
| | 04:08 | perpendicular to the direction of the scanner.
| | 04:11 | So that's basically what you have to do
for most of your reflective images, most
| | 04:15 | important thing to do is
keep them clean to begin with.
| | 04:18 | The surface of reflective prints like
this, photographs, tend not to attract as
| | 04:24 | much dust or dirt as film does anyway.
| | 04:27 | Film tends to be the real challenge.
| | 04:29 | So let's talk about film, and
I use a piece of negative here.
| | 04:33 | And keeping these first and foremost
in a dust-free environment is important.
| | 04:38 | Don't take them out until you
are absolutely ready to scan.
| | 04:40 | Don't leave them out there and go to lunch.
| | 04:42 | Only take them out when you are ready to scan.
| | 04:44 | You can look at them, the nice thing
about these is you can get a little of
| | 04:47 | reflected light off them to see if there
is any stains on there and this is when
| | 04:53 | I like to use this or my little brush,
very, very fine brush for cleaning those
| | 04:59 | off, again no talking because
we definitely spit on these.
| | 05:03 | And notice that you've got
two surfaces to clean here.
| | 05:06 | Unlike the reflective art where you
only have one surface, you've got two here
| | 05:09 | and you need to understand that most
film has a little bit of a curve to it, you
| | 05:13 | can see that probably.
| | 05:14 | The concave surfaces where the
emulsion is, that's the surface you have to
| | 05:19 | be very careful about.
| | 05:20 | The outside, the backing surface is
usually just straight plastic, I mean you
| | 05:23 | don't want to mistreat it, but the
inside surface where the actual image is,
| | 05:27 | that's the one you have
to be most careful about.
| | 05:30 | So make sure, if you do use a brush,
it's very, very likely, and if you do use
| | 05:34 | canned air, make sure that that canned
air is not too close to it, back it off a
| | 05:38 | little bit and just a little bit of
canned air to blow that off, because you
| | 05:41 | really can damage that surface.
| | 05:43 | And that's true for both slides and for
filmstrip negatives like this, they both
| | 05:49 | have an emulsion surface.
| | 05:52 | So that's cleaning those and if you
do need to use your emulsion cleaner,
| | 06:00 | typically what you want to do, take a
little swab like this one here, and I'll
| | 06:05 | put a little bit of the cleaner on the
swab itself, and then I'll use that to
| | 06:11 | actually clean my images.
| | 06:12 | Notice I am never touching these images
except for, with my gloves on. There you go.
| | 06:19 | Nice and light, not too hard.
| | 06:23 | And if you use a good emulsion cleaner,
it will evaporate in just a matter of
| | 06:28 | 30 seconds usually.
| | 06:29 | It won't leave a motion behind,
any surface behind. So there we go.
| | 06:35 | Then finally about mounting these
particular images, remember, you've got two
| | 06:40 | surfaces, and typically unless you're
using oil, which we'll talk about, oil
| | 06:44 | mounting a little bit later, most
scanners, even the flatbed scanners but
| | 06:48 | particularly the film scanners are set up to
accommodate that natural film bin that you have.
| | 06:54 | You want to make very sure that you
mount the film in the proper direction
| | 06:58 | because if your scanner is set up so
that it expects the concave image down and
| | 07:02 | you put the concave surface up, then
only one very narrow area of the image is
| | 07:08 | going to be in focus.
| | 07:09 | So make sure that you direct
emulsion side in the proper direction.
| | 07:13 | And you can refer to your scanner's
manual and you will be very clear about what
| | 07:17 | direction that's supposed to be.
| | 07:18 | Usually on most film scanners, like
the one we have been using, it's emulsion
| | 07:21 | side down, and then you put it in the
holder, and then make sure that that
| | 07:25 | clicks like that positively, and then
put it right inside your scanner and
| | 07:30 | you're ready to rock and roll.
| | 07:32 | So there's our cleaning and mounting
of both reflective art and film, both
| | 07:39 | negatives and positives.
| | 07:40 | Remember about that film emulsion,
treat it very, very carefully.
| | 07:44 | And there we go, there's
cleaning and mounting your images.
| | Collapse this transcript |
| Calibrating your scanner| 00:00 | Earlier in this course, we discussed how
important it is to calibrate, and color
| | 00:04 | manage your scanner, why?
| | 00:07 | So that we can get the grayscale values right.
| | 00:08 | If we get the grayscale values right,
our continuous tone images and our color
| | 00:12 | images are going to be correct, and
we'll be passing on to the rest of our
| | 00:16 | workflow a tonally
correct and color correct file.
| | 00:20 | In this movie and the following movie,
I am going to show you first how to
| | 00:23 | calibrate your scanner using a ten
step target and then we're going to follow
| | 00:27 | that up and create a color profile
for a scanner based upon an IT8 Target.
| | 00:32 | The first step here is going to be to
calibrate our scanner and to do that,
| | 00:36 | we're going to use this 10 step
target that I have actually created and
| | 00:40 | developed for use in digital
photography and in desktop scanning.
| | 00:43 | Each of these swatches, these 10 swatches
here have a grayscale value assigned to them.
| | 00:48 | An RGB value, 242 for the first one,
219 for the second one, 196, 173, 150, 128
| | 00:56 | for the midtone, 105, 82, 59, and 36
and the way this works is we scan this
| | 01:03 | target, we do a preview of the scan
and then we're going to measure the
| | 01:07 | grayscale values that the scanner
actually sees, and then we're going to compare
| | 01:11 | those values with what are on this
target, and if there's a difference, then
| | 01:15 | we're going to apply a correction curve
to our scanner so that when it looks at
| | 01:19 | this target, it's going to see the
grayscale values properly, and if it sees
| | 01:23 | these grayscale values properly, then
it's going to see the proper tonal values
| | 01:27 | in our images properly, and then our
grayscale and our color, contone images are
| | 01:31 | going to be properly captured.
| | 01:32 | So let's dive right in, let's go on
over to our scanner, here's our target
| | 01:37 | that we pre-scanned and I will go
ahead and pre-scan it again, so we go
| | 01:40 | through the whole process.
| | 01:45 | In this case, we're going to do a
neutralization, which is the more complicated
| | 01:49 | of the two calibration procedures.
| | 01:51 | We can just do a grayscale
calibration, which just involves getting
| | 01:55 | one grayscale value correct for each of
these swatches or we can do a color calibration.
| | 02:00 | To do that, we'll choose a 48 to 24 bit
Scan Mode, which means we're going to be
| | 02:05 | capturing three 8-bit grayscale
channels and we want to make sure that each of
| | 02:10 | those grayscale channels has
the proper tonal values on it.
| | 02:12 | So our goal here is to make
sure that each of these swatches is
| | 02:17 | captured accurately.
| | 02:18 | To do this, we're going to use the
expert function that's built into SilverFast
| | 02:23 | and I know this is pretty intimidating,
but when we step our way through it, I
| | 02:26 | think you'll see how it works.
| | 02:28 | What this allows us to do is adjust
the scanner in these various tonal ranges
| | 02:32 | and this is 255, this is pure white,
and this is at 13%, and 25% and 50%, and
| | 02:39 | all the way down to 0.
| | 02:41 | What we're going to do is we're
going to create color sampler points on a
| | 02:45 | couple of key ones.
| | 02:46 | We'll put one at 242 which is the
highlight, we'll put one at 173, one at the
| | 02:51 | midtone at 128, and down here in the
three-quarter tone at 82, and then we're
| | 02:56 | going to measure what the scanner is
actually seeing, compare that again to
| | 03:00 | these values, and then come back and
correct them with these input fields here. Okay.
| | 03:05 | If you're not quite sure what's going
on yet, hang in there and I think as we
| | 03:08 | go, it will become clear.
| | 03:10 | So the first thing we're going to do is
we're going to create four color sampler points.
| | 03:14 | We could do it for all 10, but I think if we
just get four, we'll have a pretty good curve.
| | 03:20 | and we'll have a really good idea
of what's going on in the scanner.
| | 03:23 | Let's start with this highlight point here.
| | 03:25 | It's supposed to be 242, 242, 242, and
when we click on there, and we measure
| | 03:30 | this, notice it's 248, 247, 246.
| | 03:34 | Not bad, pretty neutral actually,
and remember, this is not just a
| | 03:39 | calibration like for grayscale.
| | 03:41 | It's a neutralization, which means
we're doing calibration on three channels,
| | 03:45 | and when it looks at this grayscale
target in RGB mode, all these values should
| | 03:49 | be equal for each swatch.
| | 03:51 | This one is pretty darn close, isn't it?
| | 03:52 | It's within 2, which is less than 1
% difference on a scale of 0 to 255.
| | 03:58 | The 173 target, the number two, 174,
176, 171, pretty close, a little high on
| | 04:05 | these two, just a tad low on that one.
| | 04:07 | The 128 color sampler point, boom!
| | 04:10 | The red is right on the money, the green,
130, blue is 125, these are slightly
| | 04:17 | low, and then this value right here, 82,
the green is right on and the red and
| | 04:22 | the blue are a little bit low.
| | 04:24 | By the way, we should use this on a
scanner that's fully warmed up for half-an-hour.
| | 04:29 | So I will do a couple of scans and make
sure that the temperature is up to snuff
| | 04:33 | and it's the operating temperature for
the scanner, because the response of the
| | 04:36 | scanner will definitely change with temperature.
| | 04:39 | And if you recall earlier in some
of the movies I've talked about how
| | 04:42 | important it is to work in a constant
temperature environment and not have
| | 04:45 | huge temperature swings.
| | 04:47 | Well, this is the reason why, because
we're going to calibrate and color manage
| | 04:50 | at a specific temperature.
| | 04:52 | How do we then neutralize the scanner
that is calibrated on all three channels?
| | 04:56 | Well, SilverFast provides this Expert-
Dialog box here, which allows us to come
| | 05:00 | in here and input RGB values at
specific places along the tonal range.
| | 05:05 | Well, we're going to start up here by
the highlight to at 242, and notice, we
| | 05:10 | could come in here at 224, we're
about halfway between the 255 and the 224.
| | 05:16 | So since we're pretty close to the
highlight, I am gong to come in here and I
| | 05:20 | am going to start putting in some numbers
that I think are going to be pretty close.
| | 05:23 | And what I want you to do, while I do
this is, watch these numbers here as I put
| | 05:27 | in some numbers up here.
| | 05:29 | I am going to go 246, because notice
that these values are a little bit high,
| | 05:33 | so I am going to lower these values here from
255 down, so we can lower these values there.
| | 05:40 | Let's try some values here, try 246,
246, and 249, and then, let's see what
| | 05:48 | happens to our values over here.
| | 05:49 | And see by lowering these values, now we're
measuring these pretty close to 242, aren't we?
| | 05:55 | We could Shift+Tab come back and notice
that, that one is just a little bit too
| | 05:59 | low, so we could put this one to 247,
let's say, just to raise that a little
| | 06:04 | bit, and honestly, one point of
difference one way or another is not going to
| | 06:07 | make a whole hill of beans.
| | 06:08 | But we'll be pretty accurate here.
| | 06:10 | So now we've got the Highlight neutralized.
| | 06:13 | Now, we're going to go down to the 173,
and let's choose the area here that is
| | 06:17 | closest, 192 is the closest.
| | 06:20 | So let's try some values here, and we're
pretty close on a couple of these, aren't we?
| | 06:25 | We're right at 174, so we're going to
keep that one to 190, let's put this one
| | 06:29 | at 191, 190, and 193 and then just
see what happens to our values here.
| | 06:38 | We're supposed to be right at 173,
which is perfect, we've got the red just
| | 06:42 | right, green is up just by 1 at 174,
and the blue is down just by 1 at 172.
| | 06:51 | So we're within 1, and honestly, we
could just leave it there if you want to.
| | 06:54 | If you're really anal, you can come in
here and you can go up one value here and
| | 06:58 | go down one value there, all
depends on how anal you want to be.
| | 07:02 | So we get it just right on the money at 173.
| | 07:05 | Then let's go to the
midtone and see how we're doing.
| | 07:08 | Notice that as we correct the
highlight and our quarter-tone, the midtone is
| | 07:12 | already going through some
adjustments here. We're pretty good.
| | 07:15 | In fact we're right on the money on the red,
so we don't need to address that one at all.
| | 07:21 | The green is just a little bit high, so
let's drop that one down to 126. Boom!
| | 07:27 | Right at 128, and this one is
just a little bit low, the 128.
| | 07:31 | So let's put that one at
130 and see what happens.
| | 07:35 | 128, let's go up to 131, there we go!
| | 07:39 | Now all of them are at 128.
| | 07:40 | One more, the three-quarter tone, see
this is at 82, so we're going to want to
| | 07:46 | go to this one right here,
which is the closest, which is 64.
| | 07:50 | These are a little bit low, aren't they?
| | 07:52 | The green is pretty darn close.
| | 07:54 | in fact, this is right on the money.
| | 07:55 | So let's go with 69 on this one
and see what happens. Ooh Sweet!
| | 08:01 | Good guess, we went right up to 82, and
let's tab forward to the blue, and let's
| | 08:07 | go ahead and put 69 on
that one and see what happens.
| | 08:11 | Didn't quite make it, so let's
go up to 71, right on the money.
| | 08:16 | You can see slight changes in
the curve that we have here.
| | 08:19 | So we're making minor adjustments to
how the scanner sees these values, and now
| | 08:24 | we're just going to click
OK to save these values.
| | 08:27 | We've now calibrated our scanner
on all three channels, which means
| | 08:30 | neutralization, so that we know we have
proper tonal variation from highlight to
| | 08:35 | shadow, and we made minor
adjustments in each of these swatches.
| | 08:38 | 1, 2, 3, 4, true enough, we could do it
on each and every one of these swatches
| | 08:43 | and you'd get a little bit more
accurate, but honestly, just doing these four
| | 08:47 | points makes a huge difference in
terms of the accuracy of the scanner.
| | 08:50 | As we move forward now, we're going
to take this calibrated neutralized
| | 08:53 | scanner and move to the next step, which is
creating a color profile with a color IT8 target.
| | 08:59 | So I am going to click OK to apply that.
| | 09:02 | We've now neutralized the scanner
for RGB, so that the RGB values.
| | 09:06 | that are the tonal values in all three
channels are now going to be accurate
| | 09:10 | across the entire tonal range of this image.
| | Collapse this transcript |
| Creating and applying a color management profile| 00:00 | Previously, we performed a color
calibration, a neutralization of our scanner
| | 00:06 | using this 10-step grayscale target,
in which we scanned the target that has
| | 00:10 | known values and then compare what the
scanner saw with what it should have seen
| | 00:15 | and then went into the Expert dialog box,
and adjusted the scanner until it was
| | 00:19 | looking and saw the grayscale
values properly on all three channels.
| | 00:23 | hence a neutralization.
| | 00:25 | The next step in the process is to
create a color profile and we use exactly the
| | 00:31 | same procedure with just
a more complicated target.
| | 00:34 | Here we're going to use an IT8 target that has
over 200 swatches of color and a grayscale range.
| | 00:40 | And the procedure is exactly the same,
is we're going to scan this target
| | 00:44 | that has known values, and these known values
are contained in a file called a Reference file.
| | 00:49 | So we scan the target and then we're
going to run the target through the color
| | 00:54 | calibration software from Monaco
called EZcolor in which we match up the
| | 00:58 | Reference file with the target and
create a color profile which adjusts the
| | 01:03 | scanner, so that the scanner sees this
target very, very close, nearly exactly
| | 01:08 | to where the target values are.
| | 01:09 | So it's the same procedure that we did here.
| | 01:12 | We're just starting with a calibrated
scanner, so it's going to be close anyway,
| | 01:16 | and this is going to get us even closer,
and then we're going to use this target
| | 01:19 | to create our color profile.
| | 01:21 | So let's go over to our scanning software.
| | 01:24 | The process is to make sure we have
a very clean scanner, have on your
| | 01:28 | lint-free gloves, and for heaven's sake, don't
be handling this target with your oily fingers.
| | 01:33 | Make sure you have your lint-free
gloves on, clean the top of the scanner, the
| | 01:36 | glass platen, blow any dust or dirt off
the target, and this target should only
| | 01:41 | be taken out of its case and exposed
to sunlight and air and all that when
| | 01:44 | you're going through this color
calibration and profile creation process.
| | 01:48 | So we put it up in the upper corner of
the scanner, and then click Prescan, and
| | 01:52 | then we'll put our frame around the
target, set the Input Resolution to 200
| | 02:04 | pixels per inch, and then click Scan,
and then we're going to name this
| | 02:10 | IT8_EpsonV750_R and then the date.
| | 02:15 | It's important to name the scanner
and the date and the fact that it's
| | 02:18 | reflective, because my EpsonV750
scanner has a transparency adapter, and I am
| | 02:25 | going to make two
different profiles for the scanner.
| | 02:27 | one for the reflective, which
we're doing now, and then one for the
| | 02:30 | transparency adapter.
| | 02:33 | If I have another scanner like my Plustek,
I am going to make a separate profile
| | 02:36 | for that one as well for the film scanner.
| | 02:39 | Normally, I've got three different
profiles, three different targets that I
| | 02:42 | have to account for.
| | 02:43 | So very careful how I label them, so
that there's no ambiguity about oh!
| | 02:47 | This is the reflective target for the Epson
750 and this is the date on which I created it.
| | 02:53 | You just don't do this calibration and
color profile creation once really and
| | 02:57 | depending upon how much you're scanning,
you could do this weekly or at least
| | 03:01 | every month you should do this.
| | 03:03 | Remember, it's very important to
keep your scanner not only in clean
| | 03:06 | environment but a temperature-
consistent environment, and don't perform this
| | 03:10 | calibration and color profile
creation process until you've warmed up your
| | 03:14 | scanner for at least a half-an-hour.
| | 03:16 | You want it to be at operating
temperature, and then the temperature conditions
| | 03:20 | in which you're using the scanner
should not vary much during the day.
| | 03:22 | So we're going to save this target, and
we'll just replace the one we had previously.
| | 03:33 | So there's our target, and we're
going to go ahead and close that target.
| | 03:37 | We'll close these as well, and now we're
going to go over to our Monaco EZcolor software.
| | 03:43 | It is in the software where we're going
to marry up the scan of the target with
| | 03:48 | the Color Reference data file that has
the known color values for that target,
| | 03:52 | and then this software is going to
evaluate the target what the scanner saw with
| | 03:56 | what it should have seen, and then make
a profile adjustment that we could then
| | 03:59 | load into the scanning software.
| | 04:01 | So notice that this software can be
used for making a wide variety of different
| | 04:05 | kinds of color profiles.
| | 04:07 | We're going to make an input profile
for our scanner and it gives you some
| | 04:10 | instructions and encourages you to clean
your scanner and make sure that it's up
| | 04:14 | to temperature, and then we're going to
choose is this a Reflective 5x7, a 4x5
| | 04:20 | Transparency or a 35mm,
we're doing the 4x5 Reflective.
| | 04:24 | And it gives you some more information
about preparing for scanning the target,
| | 04:28 | and then once you scan the target as
we've had and save the target, now we're
| | 04:32 | going to load the image of that target.
| | 04:33 | There is that TIFF file that we created.
| | 04:39 | I am going to load that and then it
gives you some instructions on making sure
| | 04:44 | that the target was properly scanned,
and now we're going to load the reference
| | 04:49 | file, and we look in the lower left-
hand corner where it says MON which is
| | 04:53 | Monaco, R, reflective, 2010, and then,
colon, 12.01 which tells you that this
| | 05:00 | target was created for the Monaco
company and it's the Reflective target.
| | 05:06 | It's created in 2010, December 1st and
then for every batch of these targets
| | 05:11 | that they make, they measure them
very carefully and then they make a color
| | 05:14 | reference file to match that batch of
targets, and that's what we're going to
| | 05:17 | select now is the color reference file for that.
| | 05:20 | And these are stored in the -- now I
am on a Macintosh here, so it's in the
| | 05:24 | Library, Application Support,
X-Rite, and IT8 Targets.
| | 05:30 | And then we're going to scroll
down here until we find that MONR2010.
| | 05:35 | Here it is, MON, Monaco, Reflective
2010 and then 12.01, December 1st.
| | 05:41 | There is the color reference file for
that, and then we'll click Choose, and
| | 05:45 | then we'll move forward, and it says,
okay, I have married up the two.
| | 05:49 | It has now accepted the profile and
accepted the scan, and now we're going
| | 05:53 | to save the profile.
| | 05:54 | It's going to create a profile for that
reflective target on that scanner at that date.
| | 06:00 | I recommend that you label the color
profile in a way that's going to be very
| | 06:03 | easy to recognize, and I like to name it with
my scanner and the date on which I created it.
| | 06:10 | And we'll put R in here for Reflective,
building the profile, we're finished.
| | 06:19 | We can go out of that software and now
the last step is to access that profile
| | 06:24 | through the scanning software.
| | 06:25 | For SilverFast, we do this by going to
General and going to Options, and then
| | 06:32 | going to the Color Management System,
and then remember earlier we loaded a
| | 06:37 | general profile that was made by Epson
for all V700 scanners, which is fine,
| | 06:42 | and that's a good place to start,
but now we've created an actual custom
| | 06:45 | profile that can be used for proofing,
and for conversion to CMYK files, and
| | 06:51 | for properly controlling the scanner
during scanning, and we're going to zoom
| | 06:56 | up here and there is our EpsonV750R_08
-03-11 and that becomes the new color
| | 07:06 | reference file made specifically for this
scanner on this date and then you click OK.
| | 07:12 | Now, we're using a custom-made
profile during the scanning process.
| | 07:16 | Now, whenever you perform a scan,
that custom file is what's going to be
| | 07:20 | referenced, and one specific point
here is that if you do use any of the
| | 07:25 | automated scanning functions like this
Automatic Correction, notice if you hold
| | 07:29 | down the Shift key, you see the
colors that come out around there.
| | 07:32 | If you hold down the Shift key, it
will use that custom color profile that
| | 07:37 | you've just referenced to
adjust the files in the scan.
| | 07:40 | And watch I am going to do an automatic
adjustment, and watch just the target as
| | 07:43 | if that we were scanning that target.
| | 07:45 | It corrects, and now watch, I am going
to hold down my Shift key, and I am going
| | 07:49 | to click it, and watch, there's going
to be a very subtle difference and how
| | 07:52 | that target looks, because when you do
the automatic adjustments, and hold down
| | 07:55 | that Shift key, it uses that custom
color profile that you just created.
| | 08:00 | So that's how we do a linearization
with a 10-step target and we followed it up
| | 08:05 | and created a color profile, and we
then load it into our scanning application.
| | 08:10 | If you don't have an IT8 target, and
color management profile creation software
| | 08:14 | such as the Monaco EZcolor, you can at
least use the 10-step grayscale target to
| | 08:19 | neutralize your scanner.
| | 08:20 | If your software provides you with
the ability of doing that neutralization
| | 08:24 | right in the software like we did here with
the Expert function, then that works very well.
| | 08:30 | if not, you can scan the target,
bring it into Photoshop, do the correction
| | 08:34 | there, save out the curves,
and load them into your software.
| | 08:37 | That 10-step target is available
through lynda.com or through me personally and
| | 08:41 | there's full instructions that come
with it on how to use it. There we go!
| | 08:44 | There's color calibration,
neutralization, and then color profile creation to
| | 08:48 | get your scanner working right on the money.
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|
3. Evaluating Your ImagesEvaluating your scan challenges| 00:00 | All too often, creative people view
the scanning process as not very creative
| | 00:04 | intrusion into their whole creative
workflow, and they just want to throw the
| | 00:08 | image down in the scanner, do an
autoscan, and they can't wait to get into
| | 00:11 | Photoshop that can really
start the creative work.
| | 00:14 | But in many cases, nothing
could be further from the truth.
| | 00:16 | In fact, the scanning process meaning
the decisions that you make before you
| | 00:20 | scan can largely determine how creative
you can be, how high-quality your image
| | 00:24 | is going to be, and how easy
your workflow is going to be.
| | 00:27 | So in many ways, this portion of the
course maybe the most fundamentally
| | 00:30 | important that you may go through in
the entire course and that is evaluating
| | 00:34 | your images and deciding how
you are going to scan your image.
| | 00:38 | And we don't just think about it in
terms of just capturing the image.
| | 00:41 | we always want to think about how we are
going to use this image later on in the
| | 00:44 | workflow and what can we do during the
scanning process to facilitate what we
| | 00:49 | may want to do with our image
later on in the creative workflow.
| | 00:52 | We have up on screen here a variety of
different images representing a lot of
| | 00:55 | the different scan
challenges that we meet along the way.
| | 00:58 | So I would like to take these images
and evaluate them and I want to step you
| | 01:02 | through the process that I go through
when I evaluate these kinds of images.
| | 01:06 | Let's start with line art images.
| | 01:08 | I want to take these two images, the
Bike and the Moose, because they really
| | 01:13 | represent kind of the in-members that
we run into when we work with line art.
| | 01:17 | On the left side, you have the bicycle,
which is relatively simple line art image.
| | 01:21 | On the right, we have a relatively
detailed line art image of the moose.
| | 01:25 | Now when I look at these two images and
I say, okay, they're both line art, we
| | 01:29 | maybe tempted to just put them down the
scanner and just scan them as line art
| | 01:32 | in Auto mode and then move on. Boy!
| | 01:34 | That would be a bad decision, because
both of these images have really specific
| | 01:38 | things we want to do in terms of the
setup and the scanning of them to give us
| | 01:41 | the maximum flexibility later on
in our creative workflow system.
| | 01:45 | Let's start with the Bike and talk
about evaluating this image and how we want
| | 01:49 | to handle it in scanner.
| | 01:50 | I look at this Bike image and I say, all
right, what's the important part of that image.
| | 01:54 | That's the single most important
question you're going to ask yourself.
| | 01:57 | what do I want to focus on?
| | 02:00 | Line art images like this are really all about
the edges, and we've talked about this before.
| | 02:06 | When we look at an image like this,
this image is actually created by creating
| | 02:09 | this outline and then
just filling it with black.
| | 02:11 | The black is completely uninteresting.
| | 02:13 | That's not the important part.
| | 02:15 | What the important part of this
image is, is reproducing this edge.
| | 02:18 | I am thinking about during the scan, I
know what the scanner captures pixels,
| | 02:23 | but when I look at this, I am thinking vectors.
| | 02:25 | Converting my images into vectors is
going to give me the maximum amount of
| | 02:28 | geometric editability and the maximum
amount of edge quality, no matter how much
| | 02:32 | geometric manipulation I do.
| | 02:34 | So the two things I focus on in my mind
capturing image like this is I want to
| | 02:39 | capture this in line art mode that is 1-
bit black-and-white mode and I want to
| | 02:43 | use the optical resolution of this
scanner which is going to minimize any edge
| | 02:47 | interpolation and I want to scan this at 100%.
| | 02:51 | Even if I want to use it five times
larger, I am going to scan it at 100%,
| | 02:55 | because that's going to
minimize interpolation as well.
| | 02:57 | Then I know I am going to convert
this into vectors and then I can do my
| | 03:00 | geometric manipulations.
| | 03:02 | So black-and-white mode,
optical resolution, 100%.
| | 03:07 | If I just perform an automatic scan,
none of that is actually going to happen.
| | 03:11 | The moose on the other hand,
also a line art image, but totally
| | 03:15 | different challenges.
| | 03:16 | When we zoom in on this moose, look at
all of that detail and we zoom in more
| | 03:21 | and more, we see a lot of the detail is
actually created by changes in grayscale value.
| | 03:25 | We could scan this in just straight
black-and-white line art mode, but then we
| | 03:30 | would lose an enormous amount of
editability and creative potential later on.
| | 03:34 | So when I look at this image and say
what's the important part of that image,
| | 03:37 | remember that key question we asked?
| | 03:39 | What's the important part of
this image? It's the detail.
| | 03:42 | Yes, yes, the outline is important, but
that's not nearly as important as what's
| | 03:45 | going on in the middle as
compared to the Bike image.
| | 03:48 | It was going on middle is not
important at all, which is just solid black.
| | 03:51 | Here it's all about the detail.
| | 03:53 | So how am I going to scan this image?
| | 03:54 | Well, in order to capture and maintain
all the detail, I am going to capture
| | 03:58 | this as if it were
continuous tonal grayscale image.
| | 04:00 | I'm not worried about
converting this to vectors.
| | 04:03 | quite the opposite.
| | 04:04 | I want to scan it as pixels, leave it as pixels.
| | 04:07 | You see these two images both line
art we are going to handle completely
| | 04:10 | differently to give us the maximum
amount of quality and editability later on in
| | 04:14 | the scanning process.
| | 04:16 | Now let's move on to a true continuous
tone image where you and I would normally
| | 04:19 | consider to be a continuous tone image.
| | 04:22 | Let's take a look at my best buddy,
Zip here, my Cardigan Welsh corgi.
| | 04:25 | I look at this image and I say,
what's the important part of this image?
| | 04:29 | Well, obviously, it's the foreground.
| | 04:31 | We want to get Zip.
| | 04:32 | When I look at Zip what
are the key parts of this?
| | 04:34 | First of all, he's got some beautiful
white fur and so I want to make sure
| | 04:38 | that I capture that.
| | 04:39 | It looks bright white, but I want to
make darn sure that I capture all of the
| | 04:42 | detail that's there.
| | 04:43 | So I am thinking, all right, I am
going to focus on that white highlight.
| | 04:46 | Since it's a grayscale image, it's
going to come out to be neutral any way.
| | 04:50 | So I am going to focus on making
sure that I don't blow out that white
| | 04:53 | highlight, because it could be easy to do.
| | 04:55 | What's another important part of this image?
| | 04:57 | Well, I've got some dark shadow areas in
here in the fur and I want to make sure
| | 05:00 | that I maintain shadow detail there.
| | 05:02 | So I am going to make sure when I scan
this that I don't fill in no shadow details.
| | 05:06 | There is another really
important part of this image.
| | 05:09 | There is lots of fine detail, look at
his whiskers, look at the beautiful fur.
| | 05:12 | So I am thinking I want to focus on,
on the sharpening of this image.
| | 05:15 | I want to bring out the
sharpness, but not too much.
| | 05:18 | So in this image, it's the white
highlights, the dark shadows, and the detail
| | 05:22 | that's going to be important.
| | 05:23 | We are not going to maximize
all that by going into Auto mode.
| | 05:25 | That's for darn sure.
| | 05:27 | So that's Zip in a
continuous tonal grayscale image.
| | 05:29 | Let's look at another grayscale
image with kind of different challenges
| | 05:34 | certainly different composition.
| | 05:35 | This is the photograph I took of waves
on Surfers Beach and this is on Kodiak
| | 05:39 | Island, south of where I live in Alaska.
| | 05:41 | I look at this image and I
say what's the important part?.
| | 05:43 | Well, again, it's the foreground.
| | 05:45 | the foreground is very important here and
that's where I am going to focus a lot of my efforts.
| | 05:49 | We will talk a little bit about the
background, but it's really all about the foreground.
| | 05:53 | And what's the major
portion of focus of this image?
| | 05:55 | Well, it's the white spray and here
again, just like the white fur with Zip, I
| | 05:59 | want to make sure that I get all of the
detail here, but because there's so much
| | 06:02 | white, we have the potential of blowing
out this white detail and it just goes
| | 06:07 | flat, and then when you lose that
three-dimensional nature of the waves.
| | 06:11 | Then at the other end of the spectrum
in the shadows, here and here in the dark
| | 06:15 | part of the wave, there is texture in here.
| | 06:17 | We don't want that to go flat either.
| | 06:18 | So just like with the Zip image
highlights and shadow details are important,
| | 06:22 | but the highlights are just a paramount
importance in this image in maintaining them.
| | 06:27 | Then we look in the background, we want
to make sure that if there is any shadow
| | 06:30 | detail back here to be maintained.
| | 06:32 | So in this image, we are going to find
out where the lightest whites are, where
| | 06:35 | the darkest darks, where the detail is,
and make sure that those are maintained.
| | 06:39 | Sharpness is important here, but we
would want to make sure we don't oversharpen.
| | 06:43 | We would probably want to sharpen the
Zip image more than we'd want to do this
| | 06:45 | one, because if you oversharpen this
image, I am afraid that some of the spray
| | 06:49 | will get harsh, and there is power in
the spray but there is also subtlety and
| | 06:52 | texture and fine texture that
deserves a little bit of softness.
| | 06:56 | None of these things were addressed
when we go into an Auto mode in scanning.
| | 07:00 | Once we have ruined the highlights and
shadow details, once we've oversharpen
| | 07:05 | this too much, we can never get
that back working inside of Photoshop.
| | 07:08 | So these are all critical evaluation images.
| | 07:12 | Let's take a look at the
color version of the same image.
| | 07:17 | All the same qualities, all the same
characteristics, the things that are important.
| | 07:20 | the highlights, and the shadow
details, maintaining the power, and the
| | 07:24 | definition of the spray, sharpening
but not too much, but in the color
| | 07:27 | version, we have an additional issue
that we need to worry about is we want to
| | 07:32 | make sure the surf is white.
| | 07:33 | In the black-and-white version,
it's always going to be white.
| | 07:36 | But if this image and a lot of
images that are shot during the day have a
| | 07:40 | little bit of blue colorcast in them, we
want to make sure we remove that blue colorcast.
| | 07:44 | We get nice bright white spray that's
going to create beautiful contrast in this
| | 07:48 | image, and we scan this image, we want
to make sure that we're worrying about
| | 07:51 | color balance as well as
highlights and shadow details.
| | 07:55 | Our final image to talk about is
another color image and this is another
| | 07:59 | wonderful portrait by Lucas Deming of
Kim and when we look at this image, again,
| | 08:03 | we ask yourselves what are
the important parts of this.
| | 08:05 | Well, in an image like this, one of the
first things I ask myself is, is this a
| | 08:10 | portrait or is this a product shot?
| | 08:12 | This is a product shot for
the shirt or for the jacket.
| | 08:15 | That's kind of a
different focus than the portrait.
| | 08:18 | Well, this happens to be a portrait.
| | 08:20 | So when I look at an image like this,
one of the first things I think about is
| | 08:23 | skin is of paramount importance.
| | 08:26 | So we want to make sure that the color
balance of the skin is very important and
| | 08:30 | we also want to make sure that we have
good enough sharpness of things like the
| | 08:33 | eyes and the eyebrows and the hair, but
not so much sharpness so that we start
| | 08:37 | creating any modeling in the skin.
| | 08:38 | So then this image very different than
all the others, the skin is really the
| | 08:43 | focus and in this case, because it's
a color image, the color balance is
| | 08:46 | going to be important and the amount
of detail that we bring out is going to
| | 08:49 | be important as well.
| | 08:50 | Now there are some additional
characteristics that we want to worry about here.
| | 08:54 | We do have a nice diffuse white
highlight here in the white shirt probably
| | 08:57 | somewhere and we may have some shadow
detail that we want to maintain in the jacket.
| | 09:01 | If there's not shadow detail here, it's
not critical in this image, because it's
| | 09:04 | not a product shot, it's a portrait shot.
| | 09:07 | Finally, because it is a portrait,
we will want to make sure we maintain
| | 09:11 | shadow detail in the hair.
| | 09:13 | So we will want to look at all that.
| | 09:14 | So you think you can see from our
discussion that the evaluation of our images
| | 09:19 | deciding what's important is so
critical to having a good successful scans.
| | 09:23 | Remember, if we don't capture the
correct things and emphasize the correct
| | 09:27 | things during the scan we lose and we
never get them back inside of Photoshop.
| | 09:31 | So we can see from our discussion how
very important evaluating our images is.
| | 09:36 | It really sets up where we are going
to go in our scanning workflow and gives
| | 09:39 | us the maximum editability and
maximum quality for images later on in our
| | 09:43 | entire creative workflow.
| | Collapse this transcript |
| Reproducing vs. assigning colors| 00:00 | Taking our image evaluation process to
the next step really kind of completes
| | 00:04 | our whole analysis and evaluation of
our scan process and how it fits into the
| | 00:09 | rest of our creative process.
| | 00:11 | I want to be really clear before I
even start the scan what I'm going to do
| | 00:15 | during the scan and what I'm going to be
doing later on, maybe in Photoshop such
| | 00:19 | as an image editing program.
| | 00:21 | So I don't just think about the scan.
| | 00:23 | I think that whole process all the way
through, and here's a variety of images
| | 00:26 | will demonstrate that whole process.
| | 00:28 | Let's take a look at this
first image in Antigua Iris image.
| | 00:32 | I shot while I was down in Central America.
| | 00:35 | For this image the composition, the
cropping, the brightness, contrast, the
| | 00:38 | colors, I'm pretty happy with it.
| | 00:40 | So I'm going to do nearly all the
corrections for this image during the scan.
| | 00:43 | In fact, I might be able to just scan
right to a tiff in print with this image.
| | 00:47 | The second image, it's a portrait and
this one as well to continuous tone color
| | 00:51 | image, so I'm going to plan to
capture nearly all the color.
| | 00:54 | I might apply a little bit of
brightness and contrast and change that from the
| | 00:57 | original image, but again, I can
perform all that during the scan.
| | 01:01 | So these first two images I know in my
mind what's going to come off the scanner
| | 01:05 | is going to be pretty much
what I'm going to end up with.
| | 01:07 | For the third image, again, continuous
tone color image can do most of the color
| | 01:11 | capture during the scan, but when I
look at this image, I think I'm not real
| | 01:15 | happy with the contrast between the
darker green background and the colored
| | 01:20 | flowers and particularly between
the green flowers in the background.
| | 01:22 | So I'm thinking I'm going to do most of
this color capture during the scan, but
| | 01:26 | then I'm going to plan to take this
into Photoshop and mask this image and then
| | 01:31 | darken that background.
| | 01:33 | So I'm thinking during the scan, I
want to make sure that I get good enough
| | 01:37 | contrast as much as I can between
these foreground flowers and the background
| | 01:41 | grass, so this is going to be easy for me to
do that masking and conversion of Photoshop.
| | 01:45 | So what we're going to start with and
hopefully capture during the scan is
| | 01:49 | this image and then with the full
intent of taking and masking that background
| | 01:53 | and darkening it a little bit to create more
contrast between the flowers in the background.
| | 01:57 | So I know I'm going to do that in
Photoshop right from the get-go.
| | 02:00 | This fourth image, this is a photo I
took from porch of my house in Homer,
| | 02:04 | Alaska looking across Kachemak Bay and
my intention was to focus really on the
| | 02:08 | sunrise and reflections and kind of
use this foreground area as a frame.
| | 02:12 | But notice this image detail in here,
I could try to take some of that out
| | 02:16 | during the scan, but some of it's
lighter like the snow on the roof.
| | 02:19 | So what I'm going to do is focus on
capturing this part of the image during the
| | 02:23 | scan and then remove the foreground
detail here and take all of that to
| | 02:28 | silhouette in Photoshop.
| | 02:29 | So I know where my concentration is going to be.
| | 02:32 | So this is what I create during the
scan with a full intent of editing the
| | 02:36 | foreground and darkening to a
silhouette working in Photoshop.
| | 02:40 | So this is what I
concentrate on in my scan image.
| | 02:43 | Moving onto these line art images,
we've talked about this image quite a bit so
| | 02:47 | far in this seminar so we know
what we're going to do with it.
| | 02:49 | We know this is an edge-based image.
| | 02:51 | We're going to scan this at the optical
resolution of the scanner at 100% with
| | 02:55 | the full intention of converting that
defectors and then editing the vectors.
| | 02:59 | Well, this really comes into play if
instead of having just a black-and-white
| | 03:02 | image that we have here, what if
we have a colored line art image?
| | 03:06 | When I see an image like this, I'm
thinking right away, I'm asking that
| | 03:10 | question, am I going to capture this
color during the scan or am I going to
| | 03:14 | assign this later on either
in Photoshop or in Illustrator.
| | 03:17 | When I look at this image, I
see this kind of an image here.
| | 03:20 | my eye doesn't even look at the color.
| | 03:22 | I'm looking at what kind of an image is this.
| | 03:24 | this is an edge-based image.
| | 03:25 | So my job during the scan is to
define those edges, clearly that's the job.
| | 03:30 | So I really look at this image.
| | 03:32 | When I look at it, I see this over here
in my mind's eye and I'm fully intending
| | 03:36 | to convert this, because it's a simple
edge based line art image into a vector
| | 03:40 | and then assign the colors in Illustrator.
| | 03:43 | So when I look at this, I see this,
this is what I'm going to scan and then I'm
| | 03:47 | going to convert that image to vectors
and then just quickly, we can see how
| | 03:50 | this works in Illustrator, then each
of these areas is assigned to color.
| | 03:55 | Now I can come in here and I can
adjust these colors to my heart's delight
| | 03:58 | working inside of Illustrator and no
matter what colors we assign, I notice that
| | 04:04 | the type is treated just like a
vector just like anything else.
| | 04:07 | We end up with super high-quality edges and
the colors assigned exactly as we want them.
| | 04:15 | So back to looking at our original image,
when I'm capturing an image like this,
| | 04:19 | I ask a really critical question,
either of myself or if the client that I'm
| | 04:22 | working for is, do you know what
the values of these colors are.
| | 04:26 | are they Pantone spot colors, are they
metallic colors, do they have CMYK or RGB
| | 04:30 | values or web values assigned to them?
| | 04:32 | So I try to get what those specific values are.
| | 04:35 | Then I don't have to worry about trying
to reproduce those during the scan which
| | 04:38 | I likely cannot if there are specific values.
| | 04:41 | I just worry about reproducing the
outline, getting a nice sharp outline,
| | 04:44 | optical resolution to scanner, scan at
100%, convert to vectors and then I can
| | 04:48 | just assign the colors in Illustrator.
| | 04:50 | And boy, that's a much easier
process than trying to reproduce those
| | 04:53 | colors during the scan.
| | 04:54 | So with these kinds of images,
absolutely our goal is to reproduce the
| | 04:58 | color during the scan.
| | 04:59 | With these, it's not.
| | 05:01 | these are going to be assigned color
products in which we will capture the line
| | 05:05 | art portion during the scan,
but assign the colors later on.
| | 05:08 | And finally, going back to a
continuous tone image where we'll do most of the
| | 05:12 | conversion where editing or adjustments
afterwards, here's an image of sea star
| | 05:17 | legs I shot at the Homer in Alaska and
my intention from the beginning even when
| | 05:21 | I shot the image was to convert
this to a black-and-white image.
| | 05:25 | I knew I wondered these to be very
high contrast against a darker background
| | 05:29 | in my final product.
| | 05:30 | So I shot this with my camera in this
case to do that and if I had a print of
| | 05:35 | this image in the same fashion, I
would scan this image with the intent of
| | 05:39 | creating as much contrast between these
legs and this background and capturing
| | 05:43 | as much sharpness as possible and
the final result of this image in my
| | 05:48 | workflow would be, here's the original
and then there's the final version that
| | 05:52 | I end up with in Photoshop.
| | 05:53 | Here I capture the image focusing on
the contrast between the foreground
| | 05:57 | and background in capturing the detail fully
planning to do most of the work in Photoshop.
| | 06:02 | So it's really a good idea to not just
evaluate the image in terms of itself,
| | 06:06 | but look at that image in terms of your
entire creative workflow and very often,
| | 06:09 | you can make some decisions during the
scanning process such as an image like
| | 06:13 | this where you really don't
focus on the color at all.
| | 06:15 | you just focus on the form fully
intending to apply the color later on.
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| Recognizing continuous tone (contone) vs. dot pattern images| 00:00 | One special image evaluation issue that
you need to pay attention to and this is
| | 00:04 | kind of a sneaky one is whether your
original image is a true continuous tone
| | 00:10 | image and I like to use the word contone,
like a photograph or if it's an image
| | 00:15 | that's built out of dot patterns.
| | 00:16 | Because they may look similar to the
human eye, in fact, they are designed to
| | 00:20 | look similar to the human eye.
| | 00:21 | But in fact when we get to the
scanner, they are not the same at all.
| | 00:24 | Let me show you the difference
between a true contone or continuous tone
| | 00:27 | photographic image, and one that
is built-out of patterns of dots.
| | 00:31 | On the right, we have an image that was
scanned from a true continuous tone photograph.
| | 00:35 | The building blocks are actually microscopic.
| | 00:38 | In fact, they are atomic in size and dimension.
| | 00:41 | They are either a film-based emulsion
type building block or they are a silver
| | 00:45 | halide crystal if it's an old
grayscale photograph, and the crystals are
| | 00:50 | literally on the size of the atoms.
| | 00:52 | It's just a collections of small atoms,
much, much smaller than the resolution
| | 00:55 | in which you're scanning your images.
| | 00:57 | So your scanner will never ever
actually see those building blocks.
| | 01:01 | Let's take a look, let's just zoom
in on this image here on Christina's
| | 01:05 | forehead, no matter how close we get,
you see you don't see any building blocks
| | 01:09 | of the image at all.
| | 01:10 | It's a true continuous tone,
particularly when you can look at something very
| | 01:14 | smooth like someone's skin tone, you
don't really begin to see any building
| | 01:18 | blocks until you actually see the
scanned building blocks, the pixels.
| | 01:22 | So the process of scanning an image
or capturing it with a digital camera
| | 01:26 | actually reduces the resolution
of a continuous tone photograph.
| | 01:29 | It takes something that is very, very
super high resolution and breaks it up
| | 01:33 | into pixel-sized building blocks, in this
case, one three-hundredth of an inch on a side.
| | 01:38 | That's what a continuous tone image looks like.
| | 01:40 | Notice, there's no original pattern in
that image that we have to worry about at all.
| | 01:44 | No matter what scale you look
at it, it's true continuous tone.
| | 01:47 | The only thing you change is, is
just a tonal value of the image itself.
| | 01:51 | On the left on the other hand, we have
a scan of a book, and there is a type of
| | 01:56 | course and then there's a "
photographic image" that has been reproduced.
| | 01:59 | And let's zoom in on that like we did
the previous image and notice as we start
| | 02:05 | to zoom in, it looks like a continuous
tone image, except for as we begin to
| | 02:09 | zoom in more and more and more
you start to see that dot pattern.
| | 02:13 | You see because printed images are not
printed as continuous tone unless they
| | 02:17 | are actually a photographic print.
| | 02:18 | When an image is printed on a printing
press or a laser printer or an Inkjet
| | 02:22 | printer, any of the standard printing
devices that you and I use today, the
| | 02:26 | image is actually
reproduced as a pattern of dots.
| | 02:29 | There are several terms that are used
to describe this, the most common one is
| | 02:33 | the most ancient one.
| | 02:34 | It's called the halftone dot.
| | 02:35 | In the process of reproducing a
photographic image as a printed image to allow
| | 02:40 | us to reproduce it cheaply at very
little cost and multiple, multiple many, many
| | 02:45 | copies is using this halftoning process.
| | 02:48 | Conventional halftoning looks like this
where you see you have an equal spacing
| | 02:52 | of dots and we vary the size of the
dots in order to create the perception of a
| | 02:57 | grayscale to the human eye when we zoom out.
| | 02:59 | That's the way a conventional
commercial printing works, with a lot of printers
| | 03:03 | like laser printers and particularly
Inkjets, instead of varying the size and
| | 03:07 | having equal spacing, they vary small
halftone dot and they vary the spacing.
| | 03:13 | But in either case, you
end up with a dot pattern.
| | 03:15 | This is a very obvious one because it's a
fairly coarse grained halftone dot pattern.
| | 03:20 | But the result is you don't end up
with a smooth continuous image like we
| | 03:23 | do over here with the Santa Claus image,
you end up with actually a pattern of dots.
| | 03:28 | As you move down the
production path things get worse.
| | 03:32 | This halftone dot image when you scan it,
not only reproduces the halftone dots,
| | 03:37 | but if you notice at various
enlargements here, you see the pattern that's
| | 03:41 | coming across on screen here,
let me go down a little bit more.
| | 03:45 | That pattern changes and you get this
very obvious black and white pattern.
| | 03:49 | That's all being created by the
interaction of the halftone dot pattern in the
| | 03:53 | scanned image that's been
reproduced by the scanner.
| | 03:56 | And the pattern or array of pixels
that you have actually displayed on your
| | 04:00 | screen, the same thing happens when you
take this halftone dot scanned image and
| | 04:05 | try to reprint it with
another pattern of dots. Ooh!
| | 04:08 | Things get real ugly in a hurry.
| | 04:10 | So it's very important that you
recognize if your image is built-out of a dot
| | 04:15 | pattern versus a true continuous tone
photograph before you start your scan
| | 04:19 | process, which is one of the reasons why
I recommend that if you are going to be
| | 04:22 | doing much scanning at all and
particularly of printed images, you should always
| | 04:25 | have a little magnifying glass with you
and you can look and see if you have a
| | 04:29 | true continuous tone or if
you've got halftone dot pattern.
| | 04:32 | You would be able to see that
pattern with the 10 power magnifying glass.
| | 04:36 | Obviously, during the scanning process,
our goal is going to be to remove this
| | 04:40 | halftone dot pattern as much as
possible, so we don't end up with all this
| | 04:44 | interaction on screen or even worse,
when we go to reprint this image again.
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|
|
4. Special Scanning ConsiderationsUnderstanding bit depth| 00:00 | Let's discuss bit depth, and get that
little bit of technical nuance out of the way.
| | 00:05 | I know you're thinking, ah!
| | 00:06 | Why do we have to do bit
depth, all that technical stuff?
| | 00:08 | Well, as it turns out most of your
good scanning interfaces actually include
| | 00:13 | bit depth as part of the description
and the choices you have when you're
| | 00:16 | selecting scan mode.
| | 00:17 | So rather than just kind of wonder
about what it is let's go ahead and dig in
| | 00:21 | just a little bit, understand what bit
depth is and then it becomes an actual
| | 00:24 | proactive choice that you can make.
| | 00:26 | The good news is there are only three
fundamental image bit depths that we work with.
| | 00:31 | 1 bit black and white, 8-bit
grayscale, and 24-bit color.
| | 00:35 | All the other bit depths that we will
deal with are really variations on those
| | 00:38 | three fundamental image types.
| | 00:40 | So let's just dive right in.
| | 00:41 | Let's start with the simplest of all kinds of
images and this is the 1-bit black and white.
| | 00:46 | I am going to enlarge this and notice
that down when it's smaller it almost
| | 00:49 | looks like a continuous tone grayscale
image like the middle one, but there is a
| | 00:53 | little bit of graininess to it.
| | 00:54 | And when we enlarged this we see why
there's graininess, because this image is
| | 00:58 | actually constructed out of
nothing but black and white pixels.
| | 01:02 | To help us understand this whole
concept of bit depth and the real issue is the
| | 01:06 | relationship of bit depth to shades of gray.
| | 01:08 | We are going to enlarge and we are going to
use our Channels panel and our Info panel.
| | 01:13 | Let's take it up even one more.
| | 01:14 | there we go, get a good view of those pixels.
| | 01:16 | Notice that this image is constructed
out of nothing, but black and white pixels.
| | 01:20 | It's a diffuse pattern of black and
white pixels to create something that
| | 01:24 | looks like a continuous tone image if
you look at it just the right size, but
| | 01:27 | this is the simplest of all images as I
mentioned, because there is only black
| | 01:30 | pixels and white pixels.
| | 01:32 | To understand the relationship between
these black and white pixels, let's use
| | 01:36 | our Info panel to look at
the K value and the RGB value.
| | 01:39 | Just a little bit of review remember K
value goes from 0-100% and the RGB value
| | 01:44 | goes from 0-255, where 0 is
pure black and 255 is pure white.
| | 01:50 | Honestly, when we are working in most
scanning programs there are typically
| | 01:54 | 0-255 values that you're working with,
so it's good to get a handle on that and
| | 01:58 | used to working in those.
| | 02:00 | We call these digital images for reason,
because anything that's digital either
| | 02:04 | a device or an image or a software
program is digital because it only works in
| | 02:08 | two numbers 0 and 1 and those are
called bits, the basic bits, there is a basic
| | 02:13 | digital alphabet if you will.
| | 02:14 | There are only two characters
in our digital alphabet, 0 and 1.
| | 02:17 | Luckily, there's a match in
this simplest of all images.
| | 02:20 | How many shades of gray do we have
here, only 2, pure black and pure white.
| | 02:25 | This is indeed a grayscale image.
| | 02:26 | It's just a simple one.
| | 02:27 | it's a bitonal image with black and white.
| | 02:30 | In order to construct this image all we
need to do is assign one of our two bit
| | 02:35 | values either 0 or 1 to each pixel.
| | 02:38 | So say 0 to the black pixels and 1
to the white pixels, and that's how we
| | 02:43 | construct this image 0, 1, 1, 0,
1, 0, 1, 1, 0 and so forth.
| | 02:50 | We assign one bit of information
either 0 or 1 to each pixel and that's how
| | 02:54 | we construct the image and that's why
we call this a 1-bit black and white
| | 02:59 | image, because we have two shades of
gray, black and white it only takes one
| | 03:02 | bit of information.
| | 03:04 | Notice in Photoshop channels we
see there is only one channel.
| | 03:06 | We only need one channel to construct
this image and only two shades of gray and
| | 03:11 | two bits of information, one
assigned each pixel to construct this image.
| | 03:16 | Notice that Photoshop uses the word bitmap when
it's using this 1-bit black and white channel.
| | 03:20 | So that's the fundamental background of
all shades of gray and all tonality when
| | 03:25 | we are working in Photoshop.
| | 03:26 | This is simple 1-bit black and white image.
| | 03:30 | The second kind of image that we work
with is the second one here, and notice
| | 03:33 | that what we have here is
more of a continuous tone image.
| | 03:37 | In fact, it started out as a continuous
tone image and we've converted it into pixels.
| | 03:40 | When we look at this image we see all of these
different shades of gray that we have in here.
| | 03:46 | Many more shades of gray than we had in
1-bit black and white image. How many?
| | 03:49 | Well, 0 to 255 or 256 shades of gray,
going from 0 to pure black 255 to pure white.
| | 03:58 | Notice that we still have one channel there.
| | 04:00 | The difference is the number of shades of
gray that are captured and displayed here.
| | 04:05 | But how to do that in machine and in an
image and software that only understands
| | 04:10 | 0 and 1 black and white? How do we do that?
| | 04:14 | Well, what we do is we add more bits of
information to everyone of those pixels.
| | 04:19 | Let's take a look at the numbers
behind these two images for a second.
| | 04:22 | Let's talk about our 1-
bit black and white image.
| | 04:24 | Remember, one channel and what we have is
two shades of gray, 1 bit of information.
| | 04:31 | So this is a 1-bit black and
white image with one channel.
| | 04:34 | Two shades of gray 1 bit for each one.
| | 04:37 | For the 8-bit grayscale image how
do we create that 256 shades of gray?
| | 04:42 | Well, we take 2 times 2 is 4 times 2 is
8 times 2 is 16 times 2 is 32 times 2 is
| | 04:47 | 64 times 2 is 128 times 2 is 256.
| | 04:51 | That's 8 bits of information
gives us 256 shades of gray.
| | 04:55 | That's an 8-bit grayscale image.
| | 04:57 | Again, we have one channel of 8-bit grayscale.
| | 05:00 | So both images have one channel, the
difference is this is eight times as much
| | 05:04 | information, so 8 bits of
information in every single channel.
| | 05:07 | Then the third fundamental type of image
that we work with in terms of bit depth
| | 05:11 | is the RGB color image.
| | 05:14 | If you remember back from our
discussion earlier in the course these are really
| | 05:19 | imposter images in terms of color, aren't they?
| | 05:21 | There is no such thing as color in
a digital image, because our digital
| | 05:25 | computers and digital images only
understand what, grayscale, black and white.
| | 05:29 | The color that we see here is
actually created by the output device.
| | 05:32 | in this case, the monitor that you're viewing.
| | 05:34 | When we look at the individual channels
that construct the image they're nothing
| | 05:37 | but grayscale and when we zoom in on
one of these channels what do we see,
| | 05:43 | multiple shades of gray just
like on the 8-bit grayscale image.
| | 05:46 | But in this case we have three
channels and if you were to just look at this
| | 05:51 | image right here and someone asked
you, oh, what kind of image is that.
| | 05:54 | You weren't looking at the Channels
panel, you say, oh, that's an 8-big
| | 05:57 | grayscale image, and guess what, you'd
be right, and so is that and so is that.
| | 06:02 | So if we have three channels with 8-
bit grayscale, three times 8 is 24.
| | 06:08 | That's where we get the
concept of a 24-bit color image.
| | 06:12 | So when we look at and we view the
numbers for this, we see 256x256x256, 256
| | 06:20 | shades of gray for each of these
channels, multiply those three out, you get
| | 06:24 | 16.7 million colors.
| | 06:26 | You may have heard that number before,
but now you know where it comes from.
| | 06:29 | That gives us three 8-bit grayscale channels,
24-bit color, 3x8 is 24. And that's it.
| | 06:36 | That's the fundamentals of bit depth.
| | 06:37 | When we go into a scanning interface we
are going to see choices like 1-bit or
| | 06:42 | black and white or line art,
those are all 1-bit terms.
| | 06:45 | You'll see grayscale or 8-bits of
grayscale and you may see 24-bit color and now
| | 06:50 | you know what you're going to be choosing there.
| | 06:51 | You're going to be choosing three 8-bit
grayscale channels to create from your scanner.
| | 06:56 | You may also see some other numbers
like 32 or you may see 48-bit color and
| | 07:00 | those are just devices that allow you
to capture more than 8-bits of grayscale
| | 07:05 | for every single channel.
| | 07:07 | So for instance, if you captured 16-
bits of grayscale it would be 3 times 16 to
| | 07:10 | 48 bits of grayscale on your RGB
color image or twice as much information.
| | 07:15 | More shades of gray, more tonal values.
| | 07:18 | So if you want more total values in your image,
then you add more bit depth to your image.
| | 07:22 | You can go from 1 to 8 to 24 by
adding more bit depth and more channels.
| | 07:27 | Now just to cement this concept of bit
depth and the kind of images we create at
| | 07:31 | various bit depths with various
numbers of channels, let's just do a quick
| | 07:35 | review looking at some different images.
| | 07:37 | Let's just review what their bit
depth and number of channels would be.
| | 07:40 | How about this image here?
| | 07:41 | What do you think this would be?
| | 07:43 | Black and white, so 1-bit black and
white and how many channels? One, Good!
| | 07:48 | And how about this one, this beautiful
portrait of Isaac, how many channels?
| | 07:51 | One channel, bit depth
would be 8-bits of grayscale.
| | 07:54 | How many shades of gray? 256.
| | 07:55 | Then this one our beautiful Santa
portrait of Tina. How many channels?
| | 08:02 | Remember, we've got RGB colors so
it's going to be three channels.
| | 08:05 | How many bits on each channel?
| | 08:07 | 8, it gives us 256 shades of gray
on each channel, 16.7 million colors.
| | 08:13 | 3 times 8 bits is 24-bit color.
| | 08:15 | For those of you who work in the print
world, particularly the commercial print
| | 08:19 | world you maybe sitting there thinking,
all right, well, RGB is 24-bit color,
| | 08:24 | but I print in CMYK.
| | 08:26 | Well, let's just open this up as CMYK
image in Photoshop and take a look at it
| | 08:30 | and in the CMYK image, just like in an
RGB where there is one channel per color,
| | 08:35 | there is one channel per color here.
| | 08:36 | So we have four 8-bit grayscale
channels, and let's take a look.
| | 08:40 | one for Cyan, one for Magenta,
one for Yellow, and one for Black.
| | 08:43 | Each one has 8-bits of grayscale, you bet!
| | 08:46 | This is a 32-bit CMYK image.
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| Selecting a scan mode | 00:00 | Let's dive right into the scanning software.
| | 00:02 | and start learning how to set up our
scanners for actually accomplishing
| | 00:05 | creating some scans.
| | 00:07 | One of the challenging parts of the
scanning world is that each scanner
| | 00:10 | manufacturer has their own hardware and
they also have their own scanning software.
| | 00:13 | The good news is that there is a
lot of commonality from one scanner
| | 00:16 | manufacturing software to another, and
they've actually gotten a little bit more
| | 00:19 | similar over the years, but
there still are some differences.
| | 00:22 | The other good news is that on the high-
end there is a scanning program called
| | 00:27 | SilverFast that a lot of scanning
manufacturers include with their higher-end
| | 00:31 | scanners, and we are going to be
working in both kinds of scanning software
| | 00:35 | during this course, and here we are
going to learn how to do a basic setup for a
| | 00:39 | scan first and manufacturer software,
where we are going to use the Epson scan.
| | 00:43 | You may not have an Epson.
| | 00:44 | you may have an HP or Plustek or some
other kind of scanner, but I think you'll
| | 00:48 | find a lot of commonality between them.
| | 00:50 | Then we'll move on and look at the
SilverFast software, and here I want to focus
| | 00:54 | on just basic modes for scanning.
| | 00:57 | Notice that this software, like many,
will default to the Full Auto Mode, and if
| | 01:03 | you are using Full Auto Mode, you
are really not controlling the scanner.
| | 01:05 | you are just putting an image down on
the scanner and then letting the scanner
| | 01:08 | make all of the decisions.
| | 01:09 | That's what Full Auto Mode is all about.
| | 01:12 | This course is really designed to help
you use some of the other modes and in
| | 01:16 | this case, in the Epson scanning software,
you have a Home Mode, an Office Mode,
| | 01:19 | and a Professional Mode.
| | 01:21 | Let's look at these three additional
modes and see how they are similar and
| | 01:24 | how they are different.
| | 01:25 | When you choose Home Mode, the next
menu down, pull-down menu, gives you
| | 01:30 | various kinds of scans, such as
Positive Film, Negative Film, B&W Negative Film
| | 01:36 | and what kinds of document choices you
have here will depend upon the kind of
| | 01:40 | scanner that you have.
| | 01:41 | We are hooked up to an Epson V750,
which gives us both film and reflective scan
| | 01:47 | capability, so we have those kind of choices.
| | 01:50 | If you don't have the scanner that has
those capabilities, those will either not
| | 01:53 | be there or be grayed out.
| | 01:55 | And then Illustration, Magazine,
Newspaper, Text/Line Art, so you can make some
| | 01:59 | basic choices as to what kind of
document or image you are scanning.
| | 02:02 | And then the software
basically makes many of the decisions.
| | 02:06 | This is far more powerful then just
doing Full Auto Mode because in Full Auto
| | 02:10 | Mode, scanner doesn't have any sense
for what's actually on the scanner.
| | 02:13 | So I would encourage you to at least
use your -- in this case, it's something
| | 02:17 | like the Home Mode that gives you at
least some basic choice of what kind of
| | 02:20 | document or image you'll be scanning.
| | 02:22 | Underneath that, let's say you chose
Photograph, then you can choose what kind
| | 02:26 | of photograph, Color, Grayscale or Black
&White, and if you watched the previous
| | 02:30 | movie on bit depth, you know what these mean.
| | 02:33 | This means 1-bit B&W. That means 8-bit
grayscale and that means 24-bit color.
| | 02:37 | And then the rest of this interface is
setting other characteristics in addition
| | 02:41 | to the basic Scan Mode, which I
don't want to go there right now.
| | 02:45 | Let's take a look at the Office Mode and
see how it's different from the Home Mode.
| | 02:49 | It gives us many of the same choices
in terms of Image Type and instead of
| | 02:52 | choosing a specific document
type, you go right to Image Type.
| | 02:55 | 24-bit Color, 8-bit Grayscale, 1-bit B&W
. Then you can choose the dimensions of
| | 03:00 | your document and then other
selections that you may have here, such as
| | 03:05 | Descreening and Unsharp Masking,
something we'll get into a little bit later.
| | 03:08 | The Office Mode takes you right to Image Type.
| | 03:11 | Of the two, in this particular scanning
software, the Home Mode actually gives
| | 03:15 | you more choices in terms of
document types and maybe a little bit more
| | 03:18 | logical to use, than just the
Office Mode if you are scanning a lot of
| | 03:22 | different kinds of documents.
| | 03:24 | Then let's move to the Full
Professional Mode and the Full Professional Mode,
| | 03:28 | you start out by selecting a document
type like Reflective scan, and then Film
| | 03:33 | (with Film Holder) or Film Guide.
| | 03:35 | The Document Source will be a flat
Document Table in this case, which is what
| | 03:39 | the scanner has and then the type of
exposure, is this a photo or a document?
| | 03:43 | Is it like a printed page or a
photographic image, and then you move into Image
| | 03:48 | Type, and here you really start to
have choices of the kinds of bit depth
| | 03:52 | choices that you might have in
the more advanced scanning software.
| | 03:55 | Start with the basic one which is B&W
. You now know that that's 1-bit B&W,
| | 04:00 | typically for line art, gives you an 8-
bit grayscale, gives you 256 shades of gray.
| | 04:05 | Then notice this 16-bit grayscale, in
this particular scanner in the software
| | 04:08 | will allow you to capture
more than 8-bit of grayscale.
| | 04:11 | It will allow you to capture 16 bits of
grayscale to capture more tonal range.
| | 04:15 | 24-bit Color, which is as we've learned,
previously, is 8 bits of grayscale on
| | 04:20 | these channel or it gives you higher
dynamic range choice of -- instead of just
| | 04:24 | 8 bits/channel, 16 bits/channel and
3 times 16 is 48, so you get 48 bit.
| | 04:30 | There's also in this particular
scanning software, you won't find this
| | 04:33 | everywhere, a Color Smoothing option,
which will provide decreasing the
| | 04:37 | choppiness that you have an image with a
lot of hard color boundaries in it, you
| | 04:41 | can choose Color Smoothing.
| | 04:42 | But normally you will find in the
higher end scanning software modes, the 24,
| | 04:46 | 48, and 8 and 16-bit in terms of grayscale.
| | 04:50 | We'll discuss more in terms of
different kinds of images which one you want
| | 04:53 | to choose a little bit later, but
this gives you an introduction to some of
| | 04:57 | the choices you'll have in basic scanning
setup and the manufacturer-scanning interface.
| | 05:02 | Next, we'll move on and take a look at
the SilverFast software, which is a full
| | 05:05 | professional version of scanning
software, which is supported by a lot of the
| | 05:08 | scanner manufacturers.
| | 05:10 | In here, now we've transitioned
it to the SilverFast software.
| | 05:13 | Again, this is a high-end scanning
software, which is common to a lot of
| | 05:17 | scanning manufacturers.
| | 05:18 | I like to refer to this as kind of the
Photoshop of the scanning world, because
| | 05:22 | it provides us with a lot of controls,
and because it's the same interface on
| | 05:25 | just about every scanner.
| | 05:26 | It gives us some consistency of
interface, which is very nice.
| | 05:30 | In this particular software, this
provides you with two basic buttons, a General
| | 05:35 | button, you'll start with the Scan Mode,
where you'll get a choice of selecting
| | 05:39 | Normal or Batch Mode for scanning
multiple files, and then you select an
| | 05:43 | original, which is Reflective,
Transparency if you are scanning films or
| | 05:47 | Transparency (full area), if you are
using the full area of the scan bed.
| | 05:51 | We'll come back and talk more about the
details of selecting these a little bit later.
| | 05:54 | Just wanted to give you an
introduction at this point, and then whether your
| | 05:57 | image is going to be a positive or a
negative, and if it's a positive image,
| | 06:01 | then whether it's going to be, looks like
an Ektachrome or Kodachrome type of image.
| | 06:05 | Then when you move to the Frame Setup,
you go to Scan Type and this is again
| | 06:09 | where you have a higher end scanning
program where you have the options of
| | 06:13 | choosing the bit depth of which you
are gong to be scanning, and this is the
| | 06:16 | 1-bit black and white liner which
you end up with 1-bit image with only
| | 06:20 | black and white pixels.
| | 06:21 | In SilverFast, you don't get just an 8
-bit grayscale option if your scanner
| | 06:25 | can actually capture more than that, and this
Epson V750 scanner can indeed capture 16 bits.
| | 06:31 | So SilverFast default choice here, kind
of like the low end choices, captures in
| | 06:36 | 16 bits and then converts to 8-bit.
| | 06:37 | It will actually capture more tonal
detail, 16 bits per pixel, and then it will
| | 06:42 | deliver you 8-bit when you
opened it in something like Photoshop.
| | 06:45 | Same thing for Color, it's going to
automatically capture in 48 bit if the
| | 06:49 | scanner supports it, which this one
does, and deliver 24 bits of color.
| | 06:53 | But if you want to capture and edit, say,
open the image in Photoshop later on
| | 06:58 | and work in 16 bits of grayscale data
of tonal data, then you can choose a
| | 07:02 | straight 16-bit scan, which it will
capture in 16 bit and deliver 16 bit.
| | 07:07 | Same thing for the color is
you can select 48-bit color.
| | 07:11 | It will capture 16 bits/channel and
all three channels will deliver you a
| | 07:15 | 48-bit color image.
| | 07:16 | This is similar, by the way, to selecting
RAW when you are working in digital camera.
| | 07:21 | you'll automatically get 16-bit
grayscale images, which is 16-bit times 3 are
| | 07:25 | 48-bit color images.
| | 07:27 | SilverFast with this particular
scanner also offers what's called as HDR or
| | 07:31 | High Dynamic Range Mode.
| | 07:33 | Notice if we choose like 48-bit
color, we have all these controls which
| | 07:37 | we'll get into a little bit later, for
controlling the quality and quantity of your scan.
| | 07:42 | They work both in all of these other
modes, the 16 and 48-bit color modes.
| | 07:46 | But when you choose 16-bit grayscale
HDR, notice it just shuts down all those
| | 07:51 | controls, or if you choose 48-bit HDR,
again, it closes down all these controls.
| | 07:56 | What it's telling your scanner to do is
just capture as much data as it possibly
| | 08:00 | can, all the way from Highlight and
Shadow with the full intention of working on
| | 08:04 | this image somewhere else, either
in Photoshop or in LaserSoft's other
| | 08:08 | application called HDR.
| | 08:09 | So you see you have a lot more
choices for setting up your scanner.
| | 08:13 | So it's very helpful to know about bit
depth and what these various bit depth
| | 08:17 | modes provide you for an option.
| | Collapse this transcript |
| Sharpening and its effects | 00:00 | One of the most common adjustments
you'll make to a scanned image or for digital
| | 00:04 | photographic image for that matter is
sharpening, and the reason for this is the
| | 00:08 | very process of capturing your image
with a scanner or digital camera, process
| | 00:13 | of digitizing, that is converting your
images into pixels softens your image.
| | 00:17 | This makes perfect sense conceptually,
because you're taking a not completely
| | 00:21 | infinite resolution image, like a scene
or a photograph, but a very, very high
| | 00:25 | fine-grained image, and you're
converting it into pixels, which has definite
| | 00:29 | structure at a much lower
resolution than the original image.
| | 00:32 | The very process softens your image.
| | 00:34 | So you'll want to sharpen nearly
every one of your digital images that you
| | 00:37 | capture with a scanner or digital camera,
the question becomes how much and when
| | 00:42 | you want to apply the sharpening?
| | 00:43 | And along the way, we'll
talk about some things to avoid.
| | 00:46 | Here we have the same image, this is
the Kodiak Tundra image, but the left hand
| | 00:50 | one has no sharpening applied to it.
| | 00:52 | So I've labeled this a Nosharp image.
| | 00:55 | The right hand one has already
had some sharpening applied to it.
| | 00:57 | Let's start with the left-hand one.
| | 00:59 | First, I want to show you that I have
actually assigned two color sampler points here.
| | 01:05 | sampler point #1 is right on the edge
of the leaf and it's a critical white
| | 01:09 | highlight area near the edge of the
leaf, and sampler point #2 is a critical
| | 01:13 | shadow area down here where we
want to maintain shadow detail.
| | 01:15 | We are going to zoom in and focus
visually on the edge of the leaf and the
| | 01:19 | highlight point, and then we'll monitor
the values of the shadow point over here.
| | 01:23 | Notice, currently, the highlight point is
about 228, and it's a good highlight value.
| | 01:29 | it's not right at 5% white highlight, which
is what we shoot for in a pure white highlight.
| | 01:34 | You'll notice that our starting value
along that highlight edge is 228, which is
| | 01:39 | certainly plenty good value in
terms of not being too light.
| | 01:42 | The shadow value is at 13.
| | 01:44 | we don't want to go too far below that.
| | 01:46 | A shadow value of 12 is about as low
as I will ever want to go, because if we
| | 01:50 | go below that, that's 95% shadow in the
percentage scale, then our shadows tend to fill in.
| | 01:56 | On the highlight end, we don't
want to go any lighter than 242.
| | 01:59 | So we're okay in terms of the
image and how it's exposed right now.
| | 02:03 | Let's zoom in a little bit, I am going
to move this over and we are going to
| | 02:07 | zoom in on the highlight edge, and we are
going to bring up a common sharpening tool.
| | 02:15 | This one is called Unsharp Mask.
| | 02:17 | This other good sharpening tool,
that's your smart sharpen, but they all work
| | 02:20 | pretty much the same way.
| | 02:22 | We create focus, we enhance the focus
or sharpness of an image when we apply
| | 02:27 | sharpening tool by increasing the contrast,
and particularly along high contrast edges.
| | 02:32 | Notice here, in this Unsharp Mask
tool, we are going to focus first on
| | 02:37 | addressing the amount or changing the
amount of sharpening and the amount is a
| | 02:40 | percentage as you see here,
and we have 50% sharpening.
| | 02:44 | That means that the increase in
contrast between two adjacent pixels is going
| | 02:48 | to increase by 50%.
| | 02:50 | Let's zoom way in right on the edge
here, and let's turn the Preview checkbox
| | 02:55 | off and on, and you can see how the
contrast between adjacent pixels is being
| | 03:01 | increased when we apply
sharpening in the preview.
| | 03:04 | That's how we create focus.
| | 03:05 | lighter pixels get lighter,
darker pixels get darker.
| | 03:09 | Move over to the Info panel here and
see what's going on at the same time.
| | 03:12 | Remember, our starting values is 228.
| | 03:15 | when we apply 50% sharpening,
our highlight value goes to 242.
| | 03:18 | That's right at 5% white highlight,
and notice the shadow stays at about 13,
| | 03:23 | which means, there probably isn't a
lot of difference in contrast in the
| | 03:26 | shadow area, which is okay, but we
certainly wouldn't want to go too much
| | 03:29 | higher along this edge than 242.
| | 03:32 | Notice what happens when we
increase the Sharpness amount to 100%.
| | 03:36 | Visually, you can see the pixels
get much higher contrast and over here
| | 03:41 | numerically, we see these white
highlight edge gets blown out to 255.
| | 03:44 | Now granted that's just one pixel,
but notice that a lot of the edge pixels
| | 03:49 | are getting very, very light, and let's back
off in our view just a little bit and come up one.
| | 03:56 | there we go, and I am going to take
this all the way up to 200% on this image,
| | 04:00 | and you can see that the
whole image gets very grainy.
| | 04:03 | The other thing that happens is you
see these white halos that start to
| | 04:06 | form along that edge?
| | 04:07 | That's a very common
phenomenon of oversharpening.
| | 04:10 | My point is a little bitter of
sharpening goes a long way and it's easy to
| | 04:14 | oversharpen an image.
| | 04:16 | Point that I want to make is to
really get the best visual representation
| | 04:20 | of what sharpening is going to do to
your image, you'll always want to work
| | 04:23 | ultimately at 100%.
| | 04:25 | You want to take a look at that 100%
view of your image and when we turn the
| | 04:29 | Preview off and on, you can see at 100
%, the whole image gets a little bit
| | 04:33 | grainy actually, and you do start to
get that white halo along the edge.
| | 04:37 | So for this particular image, we can
see that at 200%, this whole image gets
| | 04:42 | very, very grainy and we get a very
distinctive white halo along the edge.
| | 04:46 | So 200% would be way too much for this image.
| | 04:49 | Say, nothing of the fact that our edge
has certainly blown out and our shadow
| | 04:52 | has dropped down to a numeric value of 8.
| | 04:55 | For this image, probably 50%
sharpening for the amount of sharpening would be
| | 04:59 | good for this image, because this was a
pretty darn sharp image to begin with.
| | 05:03 | Notice, when we turn the Preview off
and on, you can visually see the increase
| | 05:07 | in overall sharpness of the image, but you
don't get a lot of graininess in your image.
| | 05:12 | These other two values that we
typically adjust when we do a high-quality
| | 05:15 | sharpening is Radius and Threshold.
| | 05:18 | Again, I'd like to zoom in on the edge of
our image to show you the impact of those.
| | 05:23 | The Radius controls the width over
which the sharpening is going to be applied.
| | 05:26 | Watch this edge right here where my
cursor is, when I go to a Radius of 2.
| | 05:30 | Do you see how everything
thickens up a little bit?
| | 05:33 | On a Radius of 3 it gets really thick,
rarely, if ever do I go above a Radius of
| | 05:38 | 1 on a continuous tone image.
| | 05:40 | For some line art images, I'd go higher,
but not for continuous tone images.
| | 05:44 | And then a more subtle control is
something called Threshold, and various
| | 05:48 | sharpening tools do this in different ways.
| | 05:50 | What Thresholds allows you to control
is where the sharpening is going to be
| | 05:54 | applied to an image.
| | 05:55 | For instance, a Threshold of 0 means
sharpening is going to be applied across
| | 05:59 | the entire image and notice there's
equal graininess across the whole image when
| | 06:03 | we have a Threshold of 0.
| | 06:05 | When I apply a Threshold of 3 to this
image, you'll notice that the interior of
| | 06:09 | these leaves get a little bit softer.
| | 06:11 | The edges are still sharp and pretty much
the same, but the interior has softened.
| | 06:14 | Let me just go back to 0 and watch this area
right in here, and then go to a Threshold of 3.
| | 06:21 | Notice the high contrast edge details
are still sharpened, but the interior
| | 06:24 | portions, which are a little bit
lower contrast, are protected a little bit
| | 06:28 | from that sharpening.
| | 06:29 | This is a very important tool when
you're sharpening people's faces, for
| | 06:32 | instance, where you want the eyebrows
and the teeth and the hair to be sharpened
| | 06:36 | more than say the skin tones.
| | 06:37 | Or on this particular image, if you
wanted the interior of the leaf to be a
| | 06:41 | little bit smoother than the edges,
then you can apply a small amount of
| | 06:44 | Threshold in the 1 to 3 category.
| | 06:46 | This would be a little good
sharpening amount for this image.
| | 06:49 | Amount of 50, a Radius of 1 and maybe
a Threshold of 2 or 3 or for this image
| | 06:54 | and in a lot of night landscape
images I'll use a Threshold of 0, I want
| | 06:57 | everything sharpened.
| | 06:58 | But something in this range here
would give us good quality amount of
| | 07:00 | sharpening in our image.
| | 07:02 | And notice, we end up with the RGB
value of 245 for our highlight area and an
| | 07:07 | RGB value of 11, which just
falls below the 12 Threshold.
| | 07:12 | And if you want to apply a little
bit more sharpening than what the two
| | 07:16 | highlight and shadow details will allow,
you can always fine-tune your highlight
| | 07:19 | and shadow details afterwards and I've
done that quite a bit, and particularly
| | 07:22 | if you use adjustment layers in
Photoshop, it gives you that freedom without
| | 07:26 | damaging your images.
| | 07:27 | So that's pretty good sharpening on
that particular image, and if we take that
| | 07:31 | to, again, 100% view and return that
Sharpening off and on, you can see that
| | 07:36 | it's enhanced the quality of that image.
| | 07:38 | Let's move over to the pre-sharpened
image and the point that I want to make
| | 07:41 | here, I think, you probably have already
figured out where I am going to go with
| | 07:44 | this, but let's just go there anyway.
| | 07:47 | Is this image is already sharpened, you can
tell by looking at the nice sharp edges here.
| | 07:51 | Look at our value 242 and 12.
| | 07:54 | The point I want to make is if I come
back in and I apply sharpening to this
| | 07:58 | image, just the 50% we did before,
notice the edge values go to 255, the shadow
| | 08:03 | value is dropped way too low down to 9,
and the image is getting too grainy.
| | 08:08 | You don't want to over sharpen your
image, you sharpened it completely twice.
| | 08:11 | This very commonly happens, because the
automatic mode on most scanners and for
| | 08:15 | that matter on a lot of digital
cameras is set to sharpen your image.
| | 08:19 | My suggestion is and particularly if
you intend to edit your image in Photoshop
| | 08:23 | after you scan your image, don't
apply sharpening during the scan.
| | 08:26 | If you go apply sharpening during the
scan and afterwards in Photoshop, you are
| | 08:31 | going to over sharpen your image.
| | 08:32 | Another thing to consider is if you do
want to work in your image, you want to
| | 08:35 | edge your image in Photoshop, notice
that sharpening not only increases contrast
| | 08:40 | along these edges giving us better
focus, but it also decreases the overall
| | 08:44 | tonality of your image.
| | 08:45 | That is the amount of tones in your
image decreases, because we are increasing
| | 08:49 | contrast between adjacent pixels everywhere.
| | 08:52 | If you want to edit your image, and
you want to have all the tonal values to
| | 08:54 | work with, you don't want to
be editing your sharpen image.
| | 08:57 | So my suggestion is finish your
editing and then apply sharpening.
| | 09:01 | So if you are going to go to Photoshop,
wait, don't apply it during the scan.
| | 09:05 | And in fact, as a general rule, I don't
sharpen any of my images during the scan.
| | 09:10 | I always like to have a fully color
corrected, but not sharpened image that I
| | 09:14 | can always go back to, if I
decide to apply some editing later on.
| | 09:17 | So there's how to apply sharpening and how
sharpening works and some things to worry about.
| | 09:23 | One final thing that we want to talk
about is there are some kinds of images
| | 09:27 | that are really dangerous to apply
sharpening to, and it is a kind of an image
| | 09:30 | that we talked about already, and this
is a JPEG image, particularly one that
| | 09:34 | has had a lot of JPEG compression applied to it.
| | 09:37 | I mentioned that sharpening really has its
greatest impact along high contrast edges.
| | 09:42 | Let's zoom in on this image and this
is the JPEG compressed image we talked
| | 09:46 | about a little bit earlier in the class.
| | 09:47 | Well, this is how the JPEG
compression amount of 4 applied to it.
| | 09:51 | When you zoom in, you see these boxes of
compressed pixels that have been created.
| | 09:55 | When we come in and just apply a modest
amount of sharpening to this image, say,
| | 10:00 | 50% of sharpening to this image,
watch what happens to all those JPEG
| | 10:04 | compression boxes that we see in the image.
| | 10:07 | The impact of the compression is actually
exacerbated by the application of sharpening.
| | 10:12 | It makes it actually worse, because the
edges of all those groups and pixels are
| | 10:16 | high contrast edges and the
sharpening tool doesn't know what they are.
| | 10:20 | they are just season this high contrast edges.
| | 10:22 | If you were to apply something
like 100% sharpening, oh, my gosh!
| | 10:26 | that impact of the JPEG compression
becomes worse and worse and worse.
| | 10:29 | This is one more reason why you
really don't want to save your high-quality
| | 10:32 | images out as JPEG, because when you
apply sharpening to them, the impact of the
| | 10:37 | JPEG compression just is exacerbated.
| | Collapse this transcript |
| Creating and assigning color management profiles | 00:00 | Let's chat about color spaces, color
conversions, and your color workflow.
| | 00:04 | First, whenever you capture an image
with a digital camera, a scanner you view
| | 00:09 | them on your monitor or on a webpage,
you're working in RGB color space and just
| | 00:13 | like the RGB images that we've been
capturing and working with so far that's the
| | 00:17 | color space in which you work and
when you capture and view colors.
| | 00:20 | When you go to print on the other hand
you're working entirely different color
| | 00:24 | space in difference set of color and
different substrates, papers and plastics
| | 00:28 | and metals and so forth.
| | 00:30 | So if you are a person of the
monitor and the web as well as a person of
| | 00:34 | printing, you really work in at
least two different color spaces.
| | 00:38 | Need to be aware that you're working in
different color spaces and also be aware
| | 00:41 | that you need to facilitate the
conversion from one color space to another.
| | 00:45 | In this case we have up on screen
we're converting from a scanning and
| | 00:48 | viewing color space of RGB to say
commercial printing color spaces, cyan,
| | 00:52 | magenta, yellow, and black.
| | 00:54 | If you're printing to the inkjet world
particularly the photo quality inkjet
| | 00:58 | world, you're dealing with devices
that have even more color, cyan, magenta,
| | 01:02 | yellow, and black they have CMYK plus
light cyan and light magenta and various
| | 01:06 | versions of black and even other colors.
| | 01:09 | The question is, where do you
want this conversion to occur?
| | 01:12 | How long do you want to stay in RGB?
| | 01:14 | Let's talk about those issues just a little bit.
| | 01:16 | First of all little bit of history.
| | 01:18 | Used to be way back in the dark ages
during the 1980s, and partly during the
| | 01:22 | early 90s when we would scan.
| | 01:24 | Scans were done by professionals on big
drum scanners and they actually did the
| | 01:27 | conversions right during the scanning process.
| | 01:30 | This was such a common practice
that everyone thought the scanners
| | 01:33 | actually captured CMYK.
| | 01:35 | What was actually happening is that we
were capturing in RGB just like we do
| | 01:39 | today, but we were using things called
palette color look-up tables to do the
| | 01:43 | conversion to a specific paper in a
specific press CMYK version right from the scanner.
| | 01:49 | As the digital age has progressed and
evolved this RGB to print CMYK or other
| | 01:56 | conversion has moved further
and further down the workflow.
| | 01:59 | Throughout most of the 90s and even in
today much of the color conversion is
| | 02:03 | occurred in Photoshop if
you're doing commercial printing.
| | 02:05 | Now that we're printing to these
really wide-gamut inkjet devices that color
| | 02:09 | conversion is so complicated we can't
even do it in Photoshop, that is usually
| | 02:13 | accomplished through the printer driver
or through something called a Rip that's
| | 02:17 | attached to the actual printing device.
| | 02:19 | You need to decide and be aware of
where this conversion is going to occur.
| | 02:22 | You can actually do it during the scanner.
| | 02:24 | High-quality scanners and scanner
softwares will actually allow you to do this
| | 02:27 | and I'll show you how to do that in
just a moment, but my suggestion to you is
| | 02:31 | to stay in the RGB color space for
all of your capture and for all of your
| | 02:35 | editing, and here's the reason, why.
| | 02:37 | First off all, RGB is a simpler
color space, noticed there is only three
| | 02:40 | colors, with cyan, magenta, yellow, and
black you have to have four colors that
| | 02:44 | you have to work with.
| | 02:45 | When in you work in RGB a neutral
color correction, like for 5% white
| | 02:49 | highlighted 242, 242, 242.
| | 02:50 | If you're working in CMYK, it may be
755 because of the impurities in inks.
| | 02:57 | And if you're editing, RGB is much
easier to edit, and in fact Photoshop is
| | 03:02 | really basically in RGB painting and
image editing program, Although you can
| | 03:06 | do some things in CMYK, it's much more
difficult and some things you can't do it all.
| | 03:11 | And CMYK is what we call a
very device-specific color space.
| | 03:15 | Conversions to CMYK or even other
print spaces really need to be specifically
| | 03:20 | for specific paper and a specific device.
| | 03:23 | So I say stick with RGB and then do
conversion to CMYK, if you do a conversion
| | 03:28 | to CMYK through Photoshop such as for
commercial printing I strongly recommend
| | 03:32 | you work in a copy of the image, so
you can save your original RGB file and
| | 03:36 | always go back to it.
| | 03:37 | So let's assume that we're all going to
stick in the RGB color world and we'll
| | 03:41 | do the conversion later on.
| | 03:44 | Understanding that you're probably
going to start with your scanner and then
| | 03:46 | move into Photoshop what you want to do
is set up Photoshop and your scanner, so
| | 03:50 | they have the same color profiles.
| | 03:52 | If you remember from our earlier
discussion we create profiles from targets
| | 03:56 | and those profiles and targets help
was characterized the color and grayscale
| | 04:01 | or tonal capture capability and
reproduction capability such as for monitors
| | 04:05 | of individual devices.
| | 04:07 | So let's go back to our scanning software.
| | 04:09 | In this case we will go to the
SilverFast software and we're going to set up
| | 04:13 | color profiles in SilverFast and then move
over to Photoshop and make sure they are the same.
| | 04:18 | The way you set up color profiles in
SilveFast is you go into the Basic tool
| | 04:23 | panel here and click Options and
then you click on the Color Management
| | 04:26 | System, by default General will come up first
and you just click on Color Management Space.
| | 04:31 | The most important profiles that you
need to assign here, and I know this is a
| | 04:35 | bit of an intimidating dialog box at
first, but there is only a few that you
| | 04:39 | really need to pay attention to here.
| | 04:40 | First, right here where it says
Internal to Output, we're going to stick with
| | 04:44 | RGB for the most part.
| | 04:46 | If you are one of those people who
really wants to scan into CMYK you can do it
| | 04:49 | and this is where you would set it
up, and we choose your P&P which is
| | 04:52 | Plug-and-Play CMYK, which would allow you
to capture in RGB and convert right to CMYK.
| | 04:58 | If you want to do that you would choose
that here and then you would come down
| | 05:01 | here, you would choose the output
profile and usually it's going to be something
| | 05:06 | like a sheet fed, coated
sheet fed, uncoated or web-coated.
| | 05:10 | One of the specific paper and press
combinations you would use for going to
| | 05:14 | Prepress, and that kind of
information we'd get from your printing company.
| | 05:18 | But for most of us who are working in
the multiple color world, we're not just
| | 05:21 | working in the print world, we're going
to choose typically RGB as our internal
| | 05:26 | color workspace that we are working
with, and then importantly you want to
| | 05:30 | choose the profile that was
created with this version of the scanner.
| | 05:34 | Here we're using an Epson
Perfection in version 700 scanner.
| | 05:38 | And this profile that you're
looking at here it's an ICC profile.
| | 05:41 | It's professional profile that was
created by Epson for this particular scanner
| | 05:46 | model, and then importantly you'll
come down here and choose a specific RGB
| | 05:50 | color space and a grayscale color space.
| | 05:53 | For most people I think we are taking
this class you can have one of three choices.
| | 05:57 | If you're really just a web person
through and through and you never go to
| | 06:00 | print then you'll choose one of
these sRGB color spaces because that's a
| | 06:05 | web-specific color space.
| | 06:06 | If you're a multiple color
space person web and print.
| | 06:10 | My general recommendation is
to go with the AdobeRGB1998.
| | 06:13 | If you are a professional photographer
and you're capturing in a wider color
| | 06:17 | gamut, it is a wider range of colors
you can capture with your camera and
| | 06:21 | printing to very wide gamut devices like
an Epson multicolor inkjet printer then
| | 06:26 | you may want to use a
ProPhoto and that's right down here.
| | 06:29 | So choose one of those three
basically and if you're a professional
| | 06:33 | photographer and you're capturing in
ProPhoto then by all means capturing to
| | 06:36 | ProPhoto in your scanner.
| | 06:38 | I'm going to set this on AdobeRGB1998
because that's a more general color space
| | 06:42 | that more people are going to use.
| | 06:44 | Then underneath Gray, if you're
doing grayscale scanning then I would
| | 06:48 | recommend that you choose one of these
two gamuts and we get into the actual
| | 06:51 | scanning, we can talk about which one
you would choose, but typically we'll be
| | 06:54 | choosing a great gamut of 1.8.
| | 06:57 | If you want things to be a little bit
lighter than we can choose a 2.2, but
| | 07:00 | typically we'll be using 1.8.
| | 07:01 | There we go and then you can apply this
and these are the profiles that will be
| | 07:07 | used during the scanning
process and then click OK.
| | 07:10 | Now we'll move back over to Photoshop
and what we're going to be going to the
| | 07:15 | color setups inside of Photoshop, going
to Color Settings and then we're going
| | 07:19 | to assign exactly the same
color settings here underneath RGB.
| | 07:23 | Here is the same one, there's the RGB, there
is the ProPhoto and there is the Adobe RGB.
| | 07:28 | So we're going to choose Adobe RGB here and
we're going to choose the Epson Gray Gamma 1.8.
| | 07:33 | This way when we transfer our images
from our scanner to Photoshop there is not
| | 07:38 | going to be any adjustment to the
colors or the display of the colors and the
| | 07:41 | tonal ranges of grayscale.
| | 07:43 | And of course those of you who want to
learn about conversion to CMYK this is
| | 07:46 | one of the places where you can
set your output profile for CMYK.
| | 07:50 | But having this setup you want the
scanner and Photoshop to have the same color
| | 07:54 | profile setups, and if you're a
photographer you want to have the same setup in
| | 07:58 | your camera as well.
| | 08:00 | Most cameras by default have setup on
SRGB just like Photoshop is, so if you
| | 08:05 | care about having consistency of which
your colors and tonal ranges look like
| | 08:08 | from one device to the other, make
sure they all have the same setup in terms
| | 08:12 | of the color profiles.
| | 08:13 | Now there is one step
beyond what we've done here.
| | 08:16 | We've taken profiles that were created
by somebody else, you see the scanner
| | 08:18 | manufacturers and the camera
manufacturers and at Adobe and we've applied them,
| | 08:23 | which gets us pretty far down that road.
| | 08:25 | If you're very, very critical about
your color and your tonal ranges and your
| | 08:28 | reproduction you can create your own
color management profiles using targets
| | 08:33 | like we talked about earlier.
| | 08:34 | If you'd like to learn more about
that I'd like to refer you to a lynda.com
| | 08:38 | course called Color Management
Essential training with Chris Murphy.
| | Collapse this transcript |
|
|
5. Specific Scanning TasksTaking the Tazmanian Oath!| 00:01 | Our primary goal in scanning is to
faithfully reproduce high-quality images,
| | 00:05 | and then in some cases attempt to
improve and/or edit the characteristics of
| | 00:09 | the original images.
| | 00:11 | However, before we begin the
capturing, editing, and improving imaging
| | 00:14 | processes, we must address the
fundamental issue and take an oath.
| | 00:19 | Just like the Hippocratic Oath and
medicine, our prime directive in scanning is
| | 00:22 | to first do no harm.
| | 00:24 | Well we tend to view the
scanning and image editing process as an
| | 00:28 | image enhancing process.
| | 00:29 | It is also indeed true that many of the
tools' processes and procedures, we use
| | 00:34 | doing the image capture editing and
output, can actually degrade the quality of
| | 00:38 | our images and in many cases significantly so.
| | 00:41 | Processes such as changing the
dimensional and linear resolution of our images,
| | 00:45 | repeatedly resaving our images in
different file formats and especially
| | 00:49 | compressed formats like JPEG,
applying improper tone compression, too much
| | 00:54 | sharpening and converting our
images through multiple color spaces can
| | 00:58 | dramatically reduce the quality of our images.
| | 01:01 | As I have repeatedly emphasized,
probably to your extreme annoyance at this
| | 01:04 | point, working in a dusty, dirty
environment and with unclean hands and images,
| | 01:09 | can cause all sorts of unspeakable
image quality degradation problems.
| | 01:14 | Here is a review of some of
the damage we can inflict.
| | 01:18 | Our goal with reproduction of line
art is to create these nice, clean,
| | 01:21 | consistent high-quality edges like this
objectively scanned edge that you see here.
| | 01:25 | With very little effort at all this
nice, clean, sharp, high-quality edge can
| | 01:29 | become this as highly
interpolated distorted edge.
| | 01:32 | Interpolation is a result of resizing,
re-sampling or geometric distortion.
| | 01:37 | In continuous tone images, this is our
goals to have nice, clean, sharp, high
| | 01:42 | contrast images with lots of detail
and tonal variation, and our image can
| | 01:46 | quickly go from something like this
to something that looks like this.
| | 01:50 | If we apply too much interpolation or
apply too much compression to our image,
| | 01:54 | you get significant loss of
detail in very little time.
| | 01:58 | And then of course, if you add too
much sharpening or sharpening at the wrong
| | 02:01 | time, particularly if you add that to
something like a JPEG compressed image,
| | 02:05 | you lose even more detail and
the quality of the image degrades
| | 02:08 | significantly, you start to get
these white halos around the edges, and
| | 02:12 | that's certainly not what we want.
| | 02:14 | If you're don't really pay a lot of
attention to the cleanliness of your
| | 02:16 | environment and handling of your images,
you can end up with adding dirt and
| | 02:19 | dust and all sorts of stuff to your
images which like here on this portrait it
| | 02:23 | is really a bad idea.
| | 02:25 | And then, if you combine all of these
entries at one time on one image, you can
| | 02:29 | end up with some truly hideous results.
| | 02:32 | In addition to knowing what tools to
use and how to properly use them, we also
| | 02:36 | need to pay attention to the
order in which we use tools.
| | 02:39 | So it's not just what we do but when we do it.
| | 02:42 | One of the more obvious examples is
applying sharpening too early in the image
| | 02:46 | capture and editing process.
| | 02:48 | Sharpening as you have seen is an edge
contrast enhancement tool which actually
| | 02:53 | reduces the overall tonal content of
your images, thereby reducing the edit
| | 02:57 | ability of our images.
| | 02:59 | Before we proceed any further you
must take the Tasmanian scanning pledge.
| | 03:03 | Raise your right hand or a left
if you prefer and repeat after me.
| | 03:06 | First, I will do no harm to my images.
| | 03:10 | One of the first steps in fulfilling
our pledge to do no harm to our images is
| | 03:14 | to make sure you don't add any
dust or scratches to your images.
| | 03:18 | To accomplish this, you want to work in
this dust-free environment as possible.
| | 03:22 | Always have on your lint-free gloves
and handle your images as little and
| | 03:25 | as cleanly as you can.
| | 03:27 | Going forward I'll scan project
instructions, we'll assume you have cleaned your
| | 03:31 | scanner and images, and of course
you're wearing your high-quality lint gloves.
| | 03:36 | Let's go scanning!
| | Collapse this transcript |
| Choosing your weapon| 00:00 | Let's discuss which kind of
scanner tool that you would like to use.
| | 00:04 | Basically we are going to
choose our scanning weapon.
| | 00:06 | Most of you or a lot of
you will have two choices.
| | 00:09 | The first choice is the
manufacturer scanning application.
| | 00:13 | And this is an Epson scanner that we
are using here so the, Epson scanning-ware
| | 00:17 | called Epson Scan is one tool you can choose.
| | 00:20 | One of the challenges of working with
scanners as supposed to working with
| | 00:23 | something like Photoshop for image
editing is a Photoshop is a fairly common and
| | 00:28 | universal tools you have a standard interface.
| | 00:31 | With scanner manufacturers, each
one has its own scanner interface.
| | 00:35 | It's somewhat of a challenge
to move from one to the other.
| | 00:37 | Although, as we'll see a lot of the
tools once you understand them are fairly
| | 00:41 | common from one to another.
| | 00:42 | Let's take a look at this scanner
interface first and other manufacturers has
| | 00:46 | similar kinds of scanning tools.
| | 00:48 | If we first look at the Mode, which is
a Full Automatic Mode, when you go in
| | 00:52 | that you just click Scan, there is a
Home Mode which is a relatively simple
| | 00:57 | interface, in which you can choose
from various kinds of documents and the
| | 01:02 | scanning software is
preconfigured to make certain choices.
| | 01:05 | Then as we move down you go to the
Office Mode which will give you a few more
| | 01:09 | choices and then finally
into the Professional Mode.
| | 01:12 | In this class we are going to be using
the mode that gives us the most control
| | 01:15 | which is the Professional Mode.
| | 01:16 | We are not going to be using the Automatic Mode.
| | 01:19 | If you use the Automatic Mode you
really don't learn anything about scanning.
| | 01:23 | To learn the most about scanning and to
get the most control over your image, we
| | 01:26 | are going to use the Professional Mode.
| | 01:28 | Little bit later on, I'll give you
some tips about how to configure Auto Mode
| | 01:32 | and when you might want to use it from
time-to-time but primarily this class is
| | 01:36 | about working in a full manual mode.
| | 01:39 | In most of the interfaces when you go
to a full manual mode like this, you'll
| | 01:43 | have a variety of settings that are
common from one to the other like assigning
| | 01:46 | a name and choosing a document type,
reflective or film for instance and various
| | 01:51 | kinds of film holders.
| | 01:52 | And where the document is coming from
if you have the scanner that has multiple
| | 01:56 | capabilities, and then exposure
type and then image scanning modes, and
| | 02:00 | resolution and document dimensions,
these are all going to be fairly common.
| | 02:04 | Then you'll have a Configuration Mode
or Preference Mode that you will work in
| | 02:08 | most scanning softwares.
| | 02:10 | So this is one tool that you could choose
to use, and we're work in this a little bit.
| | 02:14 | But what I'd like to show you now is a
tool that I consider to be kind of like
| | 02:17 | the Photoshop of the scanning
world which is called SilverFast.
| | 02:20 | It's made by a company called LaserSoft.
| | 02:23 | LaserSoft makes SilverFast for a
wide variety of different scanners.
| | 02:27 | And most of the medium-to-higher
quality scanners provide this as an option.
| | 02:31 | And if you really want to have good
maximum control, high-quality control of
| | 02:35 | your images I want to
recommend this software to you.
| | 02:38 | And because it's a common scanner
interface, as you move from scanner-to-scanner
| | 02:42 | you'll have the same tool.
| | 02:43 | So you have the same advantages that
you do working in Photoshop, complete
| | 02:46 | manual control and a consistency of interface.
| | 02:49 | Let's go take a look at that scanner
interface and start working in that one.
| | 02:52 | Here we are in the SilverFast interface.
| | 02:57 | When you first look at it, oh my gosh,
this is very complicated and indeed there
| | 03:01 | is a lot that you can do in this
software interface, and I am going to focus on
| | 03:05 | the main tools that we are using in
SilverFast that could give you the primary
| | 03:09 | control over your images.
| | 03:10 | Like the Epson software, it has some of
the same basic set up characteristics.
| | 03:15 | In this case, we start in General where
we select our device and the basic scan
| | 03:20 | mode and whether it's reflective or
film or not, and then we go and we set up
| | 03:24 | Frame for the scan types and settings
and names and dimensions and all that.
| | 03:28 | So this is a tool that we are going to be
use in throughout most of the scan course.
| | 03:32 | There is an Automatic Mode here and
it's this button right here, and when you
| | 03:36 | choose something like one of the
grayscale or the color modes, it's really a
| | 03:40 | very sophisticated automatic mode.
| | 03:42 | But again we are going to choose not to
use that because you really don't know
| | 03:46 | what you're doing to your image.
| | 03:47 | It's just a software making all the choices.
| | 03:49 | So we are going to use SilverFast,
throughout most of this course we will come
| | 03:52 | back to the other interface once in a
while, just to show you how things work
| | 03:55 | there, and we are going to be
working in Full Manual Mode.
| | 03:58 | So you are going to learn the
most about how to use this software.
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| Setting up your scanning preferences | 00:00 | Here I'd like to review the overall
SilverFast interface and then I would
| | 00:05 | like to show you how to set up the
options which most of us think of as
| | 00:08 | preferences for SilverFast.
| | 00:10 | First to note about SilverFast
versions, you'll notice that this is
| | 00:13 | SilverFast Ai Studio.
| | 00:16 | Depending upon the version of the
scanner, the model you may get a different
| | 00:20 | version of the software, but have
no fear, almost all the really good
| | 00:24 | fundamental scanning tools are
available in all the versions.
| | 00:26 | There are different bells and
whistles as you kind of move up the scale.
| | 00:29 | For instance Ai has a few more tools
than SE, few more capabilities, and if you
| | 00:34 | want to upgrade you can do that
directly through the LaserSoft website at
| | 00:38 | lasersoft.com, and they have a variety
of other tools that you can choose from.
| | 00:42 | We are going to be sticking with
the fundamental core scanning tools.
| | 00:46 | Don't sweat it if you don't have exactly
the same version, you probably have all
| | 00:49 | the tools that you need.
| | 00:50 | All right, now about laying out the interface.
| | 00:53 | Instead of having a lot of menu choices
up here, everything is pretty much laid
| | 00:57 | out in these panels, and I think
it's really inspired design, I like it.
| | 01:00 | It's different than most of us used to
working with, used to working with in Photoshop.
| | 01:04 | So at first, ooh boy, the interface is
a little bit confusing because we've got
| | 01:07 | so many tools down here, but it really
provides access to all the tools in a
| | 01:11 | real small area without having to go to menu.
| | 01:13 | So here's how I like to arrange things.
| | 01:16 | As I like to have my Primary Setup
panel over here and then this is the Preview
| | 01:19 | panel, and when we get into Scans, as
you will see, we will pretty much start
| | 01:23 | all scans by of course cleaning our
scanner and the images and laying it down
| | 01:27 | on the platen, so I can get into the
side of the dedicated film scanner and
| | 01:31 | then we click the Prescan button to
see where things are located and the
| | 01:35 | preview scan comes up here.
| | 01:36 | So this is the Preview window where we
will see the image, then we'll set up the
| | 01:40 | final scan based upon
what we see and measure here.
| | 01:44 | So I'd like to put this over here and then
I'd like to put the Densitometer in the middle.
| | 01:47 | You may want to put your Densitometer over here.
| | 01:49 | That's fine, you can
develop your own little system.
| | 01:51 | But keep this Densitometer up, this is
by the way similar to the Info tool in
| | 01:56 | Photoshop, and this is what we will
be using for measuring the critical RGB
| | 01:59 | values in grayscale and color
continuous tone images in particular.
| | 02:03 | There is also this Picture Settings
panel which we won't be using in awful lot,
| | 02:07 | in this course, we are going to be
using all the fundamental scanning tools.
| | 02:10 | So you can learn how to use that if
you like and you can add that to your bag
| | 02:13 | of tricks, but we are primarily going to be
working in these three windows in this course.
| | 02:17 | Now moving over to setting up just for
a basic scan, there's two buttons over
| | 02:22 | here, there is Frame and General.
| | 02:24 | We are going to start in the General
and this is where you designate what kind
| | 02:27 | of scanner and this
should be pre-selected for you.
| | 02:29 | SilverFast really doesn't launch
properly unless it's connected to a scanner,
| | 02:32 | your device should come up and be right here.
| | 02:35 | If for some reason this connection is
broken then SilverFast will really stop working.
| | 02:40 | So you won't have to worry too
much about setting that device.
| | 02:43 | But you will want to set the Scan Mode
to either Normal or Batch Mode, and Batch
| | 02:46 | Mode allows you to scan multiple images.
| | 02:48 | We will be doing a Batch Mode project
in the last section of this course where
| | 02:53 | we do multiple scans.
| | 02:55 | Then you will set the Original
either to Reflective or Transparency, your
| | 02:59 | Transparency (full area), we will talk
about the difference between these two
| | 03:01 | choices a little bit later when
we did discuss scanning films.
| | 03:05 | So we will set this to Reflective.
| | 03:06 | That's how we are going to start,
and then whether we are going to have a
| | 03:09 | positive or negative image, and of
course, when we are working with Reflective,
| | 03:12 | it is always positive.
| | 03:14 | SilverFast has a special
Kodachrome setting for Kodachrome film.
| | 03:17 | Again more on scanning film a little bit later.
| | 03:20 | And then this Frame-Set that you see
here, you can actually, after you set the
| | 03:24 | General and the Frame up, you can save
your frame-sets, notice when I choose
| | 03:27 | Save, this little dialog box, and this
says new frame setting, so you might set
| | 03:31 | up one primarily for like doing line
art or one for doing grayscale images or
| | 03:36 | one for doing color-con tones.
| | 03:38 | That's a really handy feature, so
you don't have to go through and do
| | 03:41 | everyone of those, or if you have
multiple scanners with multiple settings,
| | 03:45 | so you may have one frame setting for
doing your Epson Reflective Scanner,
| | 03:48 | another frame setting for doing maybe
your Plustek Transparency Scanner or
| | 03:52 | Film Scanner, so that's handy to do.
| | 03:54 | It can be a real timesaver
if you do a lot of scanning.
| | 03:57 | One of the other things that you will
notice, if you move around the interface
| | 04:00 | is there is these buttons with the
drop shadows that have the Q, these are
| | 04:03 | QuickTime instructional movies that
LaserSoft has added all over the interface
| | 04:07 | to help explain and these provide some
basic description of what the tools do
| | 04:11 | and a little bit about how they work,
but they are very handy to have there.
| | 04:14 | All right, next, let's go
click on the Options button.
| | 04:17 | This is basically setting up the
preferences for how SilverFast is going to
| | 04:21 | work, you'll notice that there
are four different buttons here.
| | 04:24 | The Auto button, we are not
going to talk about right now.
| | 04:27 | This is for how you would set up and
instruct SilverFast to do an automatic scan.
| | 04:32 | I will revisit this a little bit later,
but it's not the primary tool that we
| | 04:35 | are going to be using.
| | 04:36 | We discussed the Color Management
Setup tool a little bit earlier, so I
| | 04:40 | won't review that now.
| | 04:41 | If you want to review how to setup your color
management, please refer back to that movie.
| | 04:46 | And then there is this special section,
we will come back to it a little bit
| | 04:48 | later when we talk about half-toning.
| | 04:51 | Let's focus on the General options
or General preferences, and let's go
| | 04:55 | down through here and discuss how we might
set these, now or in specific circumstances.
| | 05:01 | The Color Mode notices RGB or CMY,
remember our discussion earlier about the RGB
| | 05:07 | versus CMYK workflow, we
are going to stick in RGB.
| | 05:11 | It's simpler, it's faster, smaller
files, easier color correction, and of
| | 05:16 | course, Photoshop is an RGB color image-
editing painting program, when you can
| | 05:20 | do with CMYK editing, but it's
really primarily an RGB program.
| | 05:24 | Remember, we discussed that CMYK is
really device-specific and device-dependent.
| | 05:28 | The conversion from RGB to CMYK is
something you should do later on in your
| | 05:32 | image-editing workflow, unless you
truly are just going up to one specific
| | 05:35 | printer on one specific paper.
| | 05:37 | All right, so we are going to choose RGB.
| | 05:39 | You can select your own units of measurements.
| | 05:41 | Typically I will use Inches.
| | 05:42 | If you like to use Centimeters or
Points, Pikes, or Pixels, it's up to you.
| | 05:47 | Densitometer Radius, this is an
interesting one to talk about the default.
| | 05:50 | By the way, I have got all the
default values set here to the
| | 05:53 | LaserSoft defaults.
| | 05:54 | Here it's 2 pixels.
| | 05:56 | What this is used for is, remember we
discussed the Densitometer, the RGB values
| | 06:00 | that you see here, if you were to
choose a one pixel radius, it would just
| | 06:04 | measure one pixel at a time.
| | 06:07 | This gives you like a 2x2
square for measuring the pixels.
| | 06:10 | My preference are a 3x3 pixel, and this is
similar the way I set it up in Photoshop.
| | 06:15 | My suggestion would be to set up your
Densitometer Radius here to the same one
| | 06:19 | that you have in Photoshop, so you
are going to get similar readings as you
| | 06:22 | move back and forth.
| | 06:23 | The reason why you want to have
something other than one pixel is, remember when
| | 06:26 | we were working with an RGB image, it's
really three grayscale channels and you
| | 06:31 | don't what the individual
pixels are on each channel.
| | 06:34 | You may have a straight pixel, you
really want an average of like what a
| | 06:37 | highlight or what a shadow value is.
| | 06:39 | So I like to set this on 3.
| | 06:40 | If I have very small highlights or very small
critical shadow areas, I will set it down to 2.
| | 06:45 | But typically I will set this at 3.
| | 06:46 | Notice the default settings where it
says SilverFast Defaults, and that's what
| | 06:51 | we are kind of setting up here, what
this is going to be for the default.
| | 06:54 | But notice that underneath Option
Parameter, again we can save settings, we can
| | 06:57 | delete them, we can go back to
the Factory Settings, if we want to.
| | 07:00 | When we click Save, we can name that,
so we wanted to set this up for Contone
| | 07:05 | images, I could make a
Contone setting and then save that.
| | 07:10 | Typically you don't want to do this
until you get done with all your settings, I
| | 07:12 | am just showing you how to do that.
| | 07:14 | And then all you have to do is to
come in here and choose Contone.
| | 07:17 | If you wanted a separate one for
grayscale, separate one for color, one for line
| | 07:20 | art, you can certainly do that.
| | 07:22 | Interpolation, definitely set
this on Anti-Alias rather than
| | 07:25 | SilverFast Standard.
| | 07:26 | What this does, when you set on Anti-
Alias, if you have some built-in like
| | 07:29 | grid structure in your image, the anti-
aliasing interpolation will try to take
| | 07:33 | that out of your image.
| | 07:34 | It's kind of a mini de-
screening function if you will.
| | 07:36 | So I suggest set that on Anti Alias.
| | 07:39 | This High-Resolution Prescan, what
you can do here is you can set this on
| | 07:42 | anywhere, the default is 1x, so when
you go through a Prescan, remember you
| | 07:47 | click this Prescan button down here
and you get 100% view of your image.
| | 07:51 | If you want to use your Magnifying
Glass to zoom in, typically what you have to
| | 07:55 | do on a scanner is, if you want to zoom
in, it has to go through another prescan
| | 07:59 | which can really slow down the process.
| | 08:01 | So if you set this on 4, for instance,
we'll go ahead and set it on 4, and then
| | 08:05 | we get done or show you how it
works, that allows you to zoom in.
| | 08:07 | The only downside of putting this at a
higher value than one is it does slow
| | 08:11 | down the prescan slightly, and you can
test your scanner with the software and
| | 08:14 | see if it significantly slows it down.
| | 08:16 | We will set it on 4 for now
and then you how it works.
| | 08:20 | This Preview Lightness by default is set Off.
| | 08:22 | Watch the relationship of this image
here to the outer frame background, watch
| | 08:27 | what happens when I go from Off to Dark.
| | 08:30 | See it will automatically darken the
outside area creating contrast between
| | 08:33 | where the frame is and the
area that's outside of the frame.
| | 08:37 | That's how I like to set mine, but
you can set yours to make it lighter.
| | 08:41 | So if you're working with dark images,
you will have more contrast with a
| | 08:44 | lighter background where you
can turn it off. It's up to you.
| | 08:47 | We will set it on Dark for now.
| | 08:48 | Gamma-Gradation, when I set this on
the factory default, it came up with 2.2.
| | 08:54 | What this Gamma-Gradation is, is that
the response of CCDs to grayscale values
| | 08:59 | is not linear which means that when it
looks at 50, it doesn't necessarily read 50%.
| | 09:04 | So typically for most continuous tone
images and reflective continuous tone
| | 09:09 | images, a default Gamma-Gradation
is about 1.8 and for a lot of films
| | 09:14 | Gamma-Gradation is between 2.0 and 2.2.
| | 09:17 | Since we are doing Reflective right
now we are going to set this at 1.8.
| | 09:20 | If you are doing HDR Output which is
High Dynamic Range Output which we will
| | 09:24 | talk about later, you can check that,
and this is one of the examples of, or you
| | 09:29 | might save a separate parameter option
for say High Dynamic Range versus Line
| | 09:34 | Art versus Continuous Tone
Images for Film or Reflection.
| | 09:38 | If you do some high dynamic range
scanning which basically you are just going to
| | 09:41 | collect data and send it somewhere
else to be edited, that might be a special
| | 09:45 | set up and you might have a
different Gamma-Gradation for that.
| | 09:47 | Okay, then just tabbing down, by the
way you can just hit the Tab key or
| | 09:51 | Shift+Tab to go backwards on these.
| | 09:54 | But the Q-Factor is when you're using
Line Screen in order to designate your
| | 09:58 | resolution, if we to go to the Frame
function, you see the Q-Factor is here, if
| | 10:03 | you are using Line Screen to
designate the resolution of your file, we are
| | 10:06 | typically not going to be doing that.
| | 10:08 | We are going to actually be
working down here in the pixels per inch.
| | 10:11 | So that's where Q-Factor is
effective or applied. It's right there.
| | 10:15 | My recommendation is to go ahead and
just leave that on the default of 1.5, we
| | 10:19 | will discuss that in a more detail as we go.
| | 10:22 | You can reopen SilverFast after the scan,
you can show image after the scan if
| | 10:26 | you want, typically I checked this on
and I have on Real-time Correction which
| | 10:30 | means that as soon as you do something
on screen, it's reflected in the preview.
| | 10:34 | The only reason you would want to trim
that out would be if you were working on
| | 10:37 | a very slow computer where
things were just dragging along.
| | 10:39 | If you have a computer that's just a
couple of years old or younger, SilverFast
| | 10:43 | is going to work just fine
in the Realtime Correction.
| | 10:46 | The Mask Edge, leave that on 0,
typically only you are going to be using that if
| | 10:51 | you're doing selective color
corrections and it creates a mass kind of an
| | 10:54 | anti-aliased or graded edge if you
will, or masked, so that you don't have
| | 10:58 | abrupt changes in color.
| | 10:59 | It's not something we are going to
spend a lot of time with in this course.
| | 11:03 | You can choose open color screen and
then your Frame Color, it's the color that
| | 11:07 | you have right here.
| | 11:08 | I kind of like that red orange color.
| | 11:10 | Let's just go into our Magnifying Glass
tool that you see here, and notice when
| | 11:15 | you click on that, when you have more
than a 1x, it gives you some keyboard
| | 11:19 | shortcuts that you can use using the
Ctrl key and dragging frames and clicking
| | 11:23 | and zooming, and notice that as I
click here, I can use my Command key or
| | 11:32 | Command or Ctrl, depending upon whether
you are on Mac or Windows, you can keep
| | 11:35 | magnifying as long as that says
Green, so I can keep magnifying in.
| | 11:39 | Once it gets to Red, then
it's going to perform a prescan.
| | 11:43 | If you hold down the Option+Alt key,
see the little P that comes up.
| | 11:46 | It goes right back to the one-to-one view.
| | 11:48 | So that's what we set and now we are using
that 4x that you see right here and then click OK.
| | 11:56 | Notice that Preview Scan at 4X,
we'll just go through that once.
| | 12:01 | It's a pretty fast preview scan, even
when you put it at 4x it's collecting a
| | 12:04 | little bit more data.
| | 12:05 | All right, so there is the interface,
the general interface and kind of
| | 12:08 | organizing things and setting up
their preview preferences and tool
| | 12:12 | preferences in SilverFast.
| | Collapse this transcript |
| Performing a prescan| 00:00 | One of the first scanning functions you
are likely to perform after you set your
| | 00:03 | General preferences is something
called an Overview Scan or Prescan, in
| | 00:06 | SilverFast that button is right here.
| | 00:09 | When you click on this Overview or
Preview button what happens is this scanner
| | 00:13 | performs a low-resolution overview
scan of the scan platen or the film holder
| | 00:17 | if you are working with the dedicated film
scanner, and this allows you to do several things.
| | 00:21 | One, of course it allows you to locate
the image to see where it actually where
| | 00:24 | it is within the scan area, and then
two, it allows you to set the scan frame
| | 00:28 | and that's this red rectangle that you see here.
| | 00:31 | You don't always want to scan the entire image.
| | 00:33 | If you just want to scan a portion of
it you can set the scan frame by using a
| | 00:37 | preview image and that'll determine
what portion of the image will actually be
| | 00:40 | scanned in final scan process.
| | 00:42 | The other thing, this is preview image,
of course it's very important for you,
| | 00:45 | is doing image evaluation.
| | 00:47 | Visually looking at the image or if you
want to come in you want to set critical
| | 00:50 | highlights and shadow points such as we
see here that you can then monitor with
| | 00:54 | your Info or Pipette palette that you see here.
| | 00:56 | Now in some cases just having this
small low-resolution overview scan like
| | 01:01 | working with some simple line
art is fine. That's all I need.
| | 01:04 | In other cases it's nice to be able to
zoom in and this does have a Zoom tool,
| | 01:08 | watch as I move my cursor up here in
the upper left-hand corner and I click on
| | 01:12 | Zoom you'll get some keyboard shortcuts
that will come up and then I'll show you
| | 01:16 | how to use your keyboard
shortcuts for zooming in.
| | 01:18 | But notice when I click on that with
the default setting, if I want to enlarge
| | 01:23 | then the preview scan has to be performed again.
| | 01:26 | So that can be kind of time-consuming.
| | 01:28 | One of the nice things about SilverFast
is that there is an option that you can
| | 01:31 | go to in the General tab and
then click on Options down here.
| | 01:35 | We discussed this in Setting
Preferences with a default to set on 1x for
| | 01:38 | instance if we set our High resolution
prescan at 4 times the normal amount and
| | 01:44 | then click Apply and OK, then when we
perform a prescan a little bit higher
| | 01:49 | resolution is going to be
used to perform that prescan.
| | 01:52 | It takes just slightly longer.
| | 01:54 | What this allows us to do is now when
we go up to the button like this and we
| | 01:59 | click on it or we use a keyboard
shortcut to magnify, such as this, and I click
| | 02:05 | on it, notice that I can keep
magnifying without having to go through prescan.
| | 02:09 | In SilverFast as long as that little magnifying
glass is green I can continue to keep enlarging.
| | 02:14 | Once it gets red if I click again
then it's going to perform a prescan.
| | 02:19 | Notice one of the nice keyboard
shortcuts you probably want to learn is if you
| | 02:22 | hold down the Ctrl key it brings up the
Magnifying Glass, then if you click the
| | 02:26 | Option on a Mac, Alt on Windows see
it says P, it will take you back to the
| | 02:29 | original preview scan size
and then you can zoom in again.
| | 02:33 | You can also do the click-
and-drag to zoom in as well.
| | 02:36 | So as long as this is green you can
continue to zoom in, and boom, go right back
| | 02:40 | to the low view or the small
dimension of the preview scan.
| | 02:43 | So there is setting up on performing a
preview scan and controlling the preview
| | 02:47 | scan resolution and how that can be
helpful to you in configuring your image for
| | 02:51 | setting up for the final scan.
| | Collapse this transcript |
| Assigning a scan frame| 00:01 | After you've performed your pre-scan
the next order of business is really
| | 00:04 | setting your scan frame of your image.
Whether you're doing an automatic or a
| | 00:08 | manual scan now is a good time to
go ahead and set the scan frame.
| | 00:11 | The scan frame is this outlined red area here.
| | 00:15 | What that designates is the actual
portion or area of the image is going to be
| | 00:19 | scanned when you finally click that
ultimate Scan button when you're all set up.
| | 00:23 | You can actually set the
color of this in your options.
| | 00:28 | You probably want to start for just a
manual kind of get close to where you want it.
| | 00:32 | Let's say if we wanted to 5x7 scan,
you can just manually drag it over there
| | 00:36 | with the default settings.
| | 00:37 | With the default settings this is the
area where you're really going to be
| | 00:42 | designated the scan frame and you can see
the results of any resizing that you do here.
| | 00:47 | You'll watch these numbers here
and here at the original and then the
| | 00:50 | output will change.
| | 00:52 | So you get it close to what you want.
| | 00:57 | Then you can move over here and you
can get it exactly right if you want to.
| | 01:00 | Let's take a look at a
couple of different scenarios.
| | 01:02 | Let's say that you wanted your original
frame to be 5x7 and you will find these
| | 01:10 | fields to be a little squirrely sometimes.
| | 01:12 | They seem to change on their own.
| | 01:13 | they have a mind of their own.
| | 01:15 | If you put in 5.0 and 7.0 instead
of just 5.7, you'll have better luck.
| | 01:20 | Watch to the scan frame over here.
| | 01:22 | I'm going to Shift+Tab to move backward.
| | 01:24 | You can Tab from one field to the other.
| | 01:26 | If I go 4 point and as soon as I hit
the point that red line comes to move in.
| | 01:32 | Sometimes it moves in without the
point, sometimes it doesn't, but the
| | 01:34 | point always helps.
| | 01:36 | If I go over 6, notice it didn't move that
time and then point, then it actually moves up.
| | 01:41 | So I'm going to hit that point that kind of
tells that red scan frame to actually move.
| | 01:47 | So Shift+Tab move about here. We'll go 5.
| | 01:48 | And see how it moves and then 7.0.
| | 01:51 | So go ahead and just put in the whole
number and be sure to use that point even
| | 01:58 | if you using full numbers.
| | 02:00 | Then I'm going to Tab forward here,
and I'm going to 5.0, Tab 7.0.
| | 02:07 | Notice we are at 100 and 100.
| | 02:08 | Then what I like to do as
soon as I set my output.
| | 02:11 | See this is the size of the original
frame here and then this is going to be the
| | 02:15 | output dimensions of the final image.
| | 02:18 | Then I'm going to click on these
two and it holds that in position.
| | 02:22 | It holds that output at 5x7.
| | 02:24 | So no more interpolation will occur.
| | 02:26 | Whatever we scan that's what's going to be held.
| | 02:28 | Notice that I can then move my
scan image anywhere that I want to.
| | 02:33 | So if I were to move that down here
I'd get part of this white area that
| | 02:35 | actually be captured.
| | 02:37 | So by clicking on these locks,
it locks that frame area.
| | 02:41 | Sometimes depending upon the
dimensions in the image you may want to actually
| | 02:45 | zoom out a little bit so that you
can see that scan frame location.
| | 02:49 | Remember to use that multiple or
higher-resolution prescan to give you that
| | 02:53 | capability without having to rescan the image.
| | 02:57 | Just another scenario.
| | 02:58 | let's unlock this again.
| | 02:59 | Let's say you wanted to change from the
5x7 format and you wanted to go to 8x10.
| | 03:04 | So we started with a 4.0 and then a 5.0
and then we wanted to output this at 8.0
| | 03:15 | and 10 and notice do you see this
little proportion here. That's turned on.
| | 03:20 | It's turned on by default and
generally you want that turned on.
| | 03:22 | Otherwise, you'll get non-
proportional scaling which is not a good thing.
| | 03:27 | Notice when I put in the 8 the 10
automatically filled itself in here.
| | 03:30 | Now when I click these see I've set
a 4 inch by 5 inch original frame.
| | 03:37 | Now I can move this around anywhere I want to.
| | 03:40 | When I complete the scan
I'll end up with an 8x10 image.
| | 03:44 | This framing and scaling data here
interacts with the resolution data that you
| | 03:50 | see down here and we'll
discuss that in the next movie.
| | 03:53 | One side note to mention about setting
your scan frame and this may happen to
| | 03:58 | you where we've placed a 5x7
image down on the scan bed.
| | 04:01 | In this case a flatbed
scanner with a glass platen.
| | 04:04 | If we nudged it all the way up to the
top to get the top edge of the image,
| | 04:09 | square with the top edge of the scan
platen and then we place the 5x7 scan
| | 04:15 | frame in the image and then we
scanned it we end up with this little white
| | 04:18 | space down here at the bottom and
that's because on some scanners, and this
| | 04:23 | particular one as well, the scanner
doesn't quite read all the way to the edge
| | 04:27 | of the scan platen and that can be a little
frustrating if you want to get the entire 5x7 image.
| | 04:32 | So what you can do is what I've done
here is I've actually taken the image and
| | 04:37 | I've offset it from the top of the
scanner and the easy way to do that just
| | 04:40 | take a short straightedge ruler,
usually a metal ruler works best, and just lay
| | 04:45 | the ruler parallel to the top edge of the scan
platen and then nudge the image up against it.
| | 04:50 | As you can see down here in my prescan I
placed little piece of light stick tape
| | 04:55 | down at bottom to hold it in place.
| | 04:56 | So this edge is still perfectly
parallel to the top edge and these edges are
| | 05:01 | parallel to the side edges.
| | 05:02 | I've just offset it using my ruler in the
nudged this edge up to the top of the ruler.
| | 05:07 | Then when we set our scan frame and we
complete our scan, we'll just call this
| | 05:13 | a Test scan, we end up with an image instead
of having that little white area in the bottom.
| | 05:21 | we've actually captured the entire 5x7 image.
| | 05:24 | So you may have to do that
on some of your scanner beds.
| | 05:27 | It's a less of a problem with
dedicated thumb scanner, because they're right
| | 05:30 | inside their holders.
| | 05:31 | You just get a steel flat edge and
it works best if it's a short one.
| | 05:35 | So doesn't overlap the edges of the
scanner body itself from the glass
| | 05:39 | scanner platen.
| | Collapse this transcript |
| Determining scan resolution| 00:00 | Let's discuss setting your scan resolution.
| | 00:03 | This topic can get a little bit
confusing and one of the reasons as we've
| | 00:06 | discussed earlier is that there is
different terminologies, different ways of
| | 00:10 | looking at in expressing resolution.
| | 00:12 | We're going to run into a little bit of
that here, but hopefully we can square
| | 00:16 | things around and clear it up.
| | 00:17 | First of all let's talk about setting
resolution for a continuous tone image and
| | 00:21 | then we'll address line art separately.
| | 00:23 | The first point to make about setting
Scan Resolution is that there is two
| | 00:27 | things that we're going to use to
determine Scan Resolution or Input Resolution.
| | 00:31 | That is, Scanning Resolution is
dependent upon the output device and on scaling,
| | 00:35 | those are the two variables.
| | 00:37 | For instance some output device if we go
to like the web for instance, 72 pixels
| | 00:42 | per inch is still the standard,
all that may rise over time.
| | 00:44 | I'll put resolution for
desktop printers 200 pixels per inch.
| | 00:49 | For high quality inkjet printers 240
pixels per inch is at this point in time we
| | 00:55 | found out to be that kind of an
optimal resolution for high-quality,
| | 00:58 | photographic quality of inkjets.
| | 01:00 | For commercial printing, typically
between 200 and 300 pixels per inch
| | 01:05 | depending upon the printing press and
something called Line Screen, which we're
| | 01:08 | going to get to right now.
| | 01:10 | So before we go any further with that
description of output device and scaling
| | 01:15 | let's take a side-trip into
a little bit of terminology.
| | 01:19 | First to understand that all the
expertise, the greater expertise behind
| | 01:22 | SilverFast scanning software really
comes from Prepress which is why it's such
| | 01:26 | a great software, because Prepress has always
been kind of the gold standard for image quality.
| | 01:31 | And one of the results of that is some
of the terminology from Prepress is used
| | 01:35 | in some of these dialog boxes.
| | 01:37 | Things like this you see in the word
Densitometer which is a Prepress term.
| | 01:41 | In Photoshop we call that the Info panel.
| | 01:43 | They do the same thing they are just
different terms, when we run into some of
| | 01:47 | the same issues when we talk about resolution.
| | 01:50 | When we look at resolution and setting
resolution in SilverFast this is the area
| | 01:55 | of the SilverFast panel that
we use for setting resolution.
| | 01:59 | You'll notice that there is a
variable called Q-Factor and something called
| | 02:02 | Screen, and it gives you megabytes which is
file size and then there is dpi down here.
| | 02:07 | Let's address these terminologies and
kind of square those round with what
| | 02:11 | we've been talking about.
| | 02:12 | First let's do the dpi.
| | 02:14 | dpi has been used in Prepress
forever, but really this is pixels print.
| | 02:17 | That's the terminology that we're using.
| | 02:19 | We're using image resolution technology
based upon the building blocks and since
| | 02:23 | we're creating pixel-based images we're
using pixels per inch, and you can click
| | 02:27 | here and you can change this to dots
per centimeter if you want to if you're a
| | 02:31 | centimeter-type person.
| | 02:33 | Instead of using dot it's pixels.
| | 02:34 | So that's the first thing.
| | 02:35 | Second thing is lpi, this is
definitely a Prepress term, and you can use lpi
| | 02:41 | or lines per centimeter and the L
stands for Lines and what the lines refers
| | 02:46 | to is the number of lines of halftone
dots that are laid down in every single
| | 02:51 | inch or centimeter.
| | 02:53 | One of the standards in
Prepress is 150 lpi or lines per inch.
| | 02:57 | Now the one who is 175 is commonly used.
| | 03:00 | For newspaper printing it may
be 80 or 100 lines per inch.
| | 03:03 | It's the number of rows of
halftone dots in every linear inch.
| | 03:08 | Scanning resolution is based upon the
requirements of the output device, while
| | 03:11 | in commercial printing since we're using
patterns of conventional half-tone dots
| | 03:15 | we use that variable, that factor to
help us determine what the input scan
| | 03:19 | resolution could be, and that's
what the Q-Factor is all about.
| | 03:23 | It's a relationship of pixels per
inch to line screen, and typically for
| | 03:28 | commercial printing this number is
going to be anywhere from 1.5 to 2.0 times a
| | 03:34 | line screen and for the various
highest quality commercial printing generally
| | 03:38 | it's going to be two times the line screen.
| | 03:40 | So the pixels print then if we 2 times the
line screen gives us 300 pixels per inch.
| | 03:47 | If I adjust this to 1.5 times a line
screen, notice it drops it down to 225, so
| | 03:53 | the really good news here is that
SilverFast is doing the math for you, and this
| | 03:57 | is handy to use this Q-Factor at first
if it's new it's a little bit confusing,
| | 04:02 | but let me show you another reason why
this is a nifty dialog box to use when we
| | 04:06 | talk about scaling, but let
me finish this discussion.
| | 04:09 | So if you're using Q-Factor and we're
talking about continuous tone images here,
| | 04:13 | SilverFast is going to do all the math for you.
| | 04:15 | If you're unsure to use 1.5 or 2.0,
error on the side of more pixels rather than
| | 04:21 | fewer, although if you have too many
pixels it is going to be down-sampled when
| | 04:25 | you go to Press, but it's better to
have a little bit too many than not enough,
| | 04:29 | because having to sample up when
you're printing creates far more deleterious
| | 04:33 | impact on your quality of your
images to sampling down a little bit.
| | 04:37 | In the best of all possible world you
scan it at exactly the resolution that
| | 04:41 | which you're going to print.
| | 04:42 | Most of us don't do that, we tend to
take our images and use them in multiple
| | 04:46 | places, we use them for commercial
printing, desktop printing, send them to the
| | 04:50 | newspaper and use them around the webpage.
| | 04:52 | And if you, like me and most people are
multipurpose in your images then what we
| | 04:56 | do is we scan for the highest quality
device and then we can make copies of
| | 05:00 | those images and down-sample them for
using our own five different devices if
| | 05:03 | we'd scan it five different times,
well, sorry that's going to cut into my
| | 05:07 | kayaking time way too much.
| | 05:09 | So I am going to scan it once for the
highest quality device and then make
| | 05:12 | copies and down-sample it.
| | 05:14 | Soon the highest quality image is going
to be two times a line screen that would
| | 05:17 | mean a 300 pixel per inch scan.
| | 05:20 | Now let's go back and discuss this
scaling, remember we set our 4.0x5.0 inch
| | 05:25 | frame and then we wanted to actually
I'll put it at 8.0x10.0, so we have a
| | 05:28 | scaling factor of 200.
| | 05:30 | The good news is we have a 200% scale
let's say, we absolutely want the scaling
| | 05:36 | to occur, the scanner is going to
work with original data information.
| | 05:40 | If we just do 100% scale take it into
Photoshop and then scale it up there using
| | 05:45 | Photoshop Interpolation, will end
up with far lower quality images.
| | 05:48 | This is one of those times we want
to let the scanner do the scaling.
| | 05:52 | So 200 pixels per inch times the 300, we
really should be scanning at 600 pixels per inch.
| | 05:58 | If you press your Ctrl key it shows you
the actual optical resolution which your
| | 06:04 | image is going to be scanned, when you
release it goes to 300 which gives you
| | 06:08 | this math times the 200, it
actually makes the determination for you.
| | 06:12 | So it's great, once you understand
what the Q-Factor is all about and Line
| | 06:15 | Screen all you have to do is put in the
Scaling, put in your Q-Factor of 1.5 to
| | 06:20 | 2.0 and you can discuss this with
your printing company, you go to standard
| | 06:23 | printing company that you normally
work with and they may tell you, oh!
| | 06:26 | 1.5 is fine and for a lot of printing it is
fine, so you can choose your factor there.
| | 06:31 | But the nice news is that SilverFast
will do all the scaling for you and all the
| | 06:35 | mathematics for you which is great,
so that's for continuous tone images.
| | 06:39 | Now for line art, when I'm scanning line
art, one, I don't usually scale my line
| | 06:44 | art during my scan at all and
particularly simple line art, and the reason for
| | 06:49 | this is that I don't want any
interpolation occur along that edge.
| | 06:52 | Remember we talked about that edge quality and
we want to minimize the amount of interpolation.
| | 06:57 | If I've got simple line art I am going
to be converting that into vectors and
| | 07:00 | then doing my scaling.
| | 07:01 | So for line art I put my Q-Factor at 1.
0, and then I just set my independent
| | 07:06 | resolution right here.
| | 07:07 | For scaling line art I always start
with 100% up here and then I just set
| | 07:14 | Q-Factor of 0 so there is no
multiplication, and then as you'll see I
| | 07:19 | typically use either 600 pixels per
inch for simple line art that I am
| | 07:23 | converting to vectors or 1200 pixels
per inch if I'm keeping my image as a
| | 07:28 | pixel-based line art image.
| | 07:29 | So I am going to get nice high
detail, sharp edges, and I can reproduce
| | 07:32 | detailed lined art images.
| | 07:33 | There setting your resolution, it's
probably going to be worthwhile to go
| | 07:37 | through this a couple of times and
listen to it, but you're really going to get
| | 07:40 | it when you start actually scanning your
own images and scaling them up and then
| | 07:44 | I am going to refer you to the simple
and detailed line art scanning portions of
| | 07:48 | this course where I show you
specifically in the details why we want scan at 6
| | 07:53 | and 1200 and we don't want
the scanner to do the scaling.
| | Collapse this transcript |
| Choosing a scan mode and bit depth| 00:01 | Now let's discuss scan mode, and in
particular, the bit depth that we're
| | 00:04 | going to scan our images.
| | 00:06 | We're talking about this portion of
the frame right here where it says Scan
| | 00:08 | Type, different scanning
surfers use different terminology.
| | 00:11 | They may say Scan Mode or who knows, but
this is what we are going to choose the
| | 00:15 | basic number of channels in the bit
depth, the number of bits/pixel that we are
| | 00:18 | going to have in our resulting scan image.
| | 00:22 | It's a little bit complicated when you
first look at it, but notice that there
| | 00:25 | is a variety of different grayscale
choices here, several different color
| | 00:29 | choices and then this one, 1
Bit black-and-white Line Art.
| | 00:32 | So let's start with a simple
and then move to the more complex.
| | 00:35 | When we get through I think you'll see it's a
little bit less daunting than it first appears.
| | 00:40 | 1 Bit black-and-white Line Art, this is
going to create an image that has one channel.
| | 00:44 | That's going to have one bit/
pixel, just like you see here.
| | 00:47 | It's either going to be black or white pixels.
| | 00:50 | We obviously don't use this
for continuous tone images.
| | 00:52 | This is the Scan Type or mode choice,
with the bit depth choice we're going to
| | 00:57 | choose, when we are scanning simple
Line Art, that we intend to convert into
| | 01:00 | vectors or just print as high
-quality pixel-based images.
| | 01:04 | That's the 1 Bit black-and-white Line Art.
| | 01:06 | We're going to use this when
we're trying to capture edges.
| | 01:09 | Grayscale, we've got several
different choices here, we have got 16-8 Bit
| | 01:12 | Grayscale, then we've got 16 Bit
Grayscale, then we have 16 Bit HDR Grayscale,
| | 01:17 | just take them in order.
| | 01:19 | This one, honestly this is the most
likely mode in which you're going to scan
| | 01:23 | your images, unless you do a lot of
image-editing or you like to work in
| | 01:27 | enhanced bit depth images, in
terms of your editing and output.
| | 01:31 | This is the most common mode which
you'd choose for grayscale images and I'll
| | 01:34 | recommend you start here.
| | 01:35 | When you choose this, the scanner
captures in 16 bit grayscale data, which means
| | 01:40 | it captures 512 shades of gray, and
then will deliver you 8 bits of grayscale,
| | 01:47 | after the scanner captures the image
and you apply all the corrections you're
| | 01:50 | going to do during the scan,
then it delivers an 8 bit image
| | 01:54 | So as long this scanner supports,
which most scanners do these days, this to
| | 01:58 | medium to high-quality ones, and
then delivers an 8 bit grayscale image.
| | 02:02 | So that's the most
common one that you'll choose.
| | 02:04 | The next one is it captures in 16 bit,
and delivers a 16 bit grayscale image,
| | 02:09 | full 512 shades of gray.
| | 02:11 | It's going to be twice the file size
of the 8 bit and more importantly, it's
| | 02:15 | going to have that 512 shades of gray,
and if you're working in Photoshop, you
| | 02:19 | can do a lot of editing in 16 bit mode,
not all the editing, but most of the
| | 02:24 | editing and if you are again doing lots
and lots of editing in Photoshop in the
| | 02:27 | postscan, this may be a good choice for you.
| | 02:30 | And increasingly, there are printers that
will actually print 16 bits of grayscale.
| | 02:34 | Now honestly there is a good deal of
debate about whether you can actually get
| | 02:38 | better quality out of a 16 bit
image on certain kinds of images.
| | 02:41 | My suggestion is test it, with your
images, your type of editing and your
| | 02:46 | type of output device.
| | 02:47 | Do a couple of the same images in this mode.
| | 02:49 | print them out, see if you see any
difference, and if you do, then use it.
| | 02:53 | The third grayscale mode here is 16 bit
HDR and notice when we choose this, all
| | 02:59 | of the editing modes are basically
shut off over here, and when you choose 16
| | 03:03 | bit HDR, you're selecting this, if you
intend to really perform most of your
| | 03:08 | editing in the postscan phase, you
might be working in the HDR software that
| | 03:13 | LaserSoft makes, so you may be working
in your 16 bit images in Photoshop or
| | 03:18 | some other application that
can actually work on 16 bit data.
| | 03:21 | So here you're really minimizing the
amount of work you're doing during the scan
| | 03:25 | and you would plan for your workflow
to where most of these image-editing is
| | 03:28 | occurring somewhere else.
| | 03:29 | We have the same set of choices in color,
we have 48 bit to 24 bit color, here
| | 03:35 | the scanner is capturing
in 16 bit/pixel/channel.
| | 03:38 | Remember from our earlier discussions
that a color image is really a scan which
| | 03:42 | has three grayscale channels.
| | 03:44 | If you capture in 16 bits/channel, 3
time 16 is 48, you capture 8 bits/channel,
| | 03:48 | it's 3 time 8 is 24, so it's very much
like the grayscale, but we're just doing
| | 03:53 | three channels and we're doing the
initial sampling and capture in 16 bit mode,
| | 03:57 | then apply the scanner corrections and
then deliver a very high quality 8 bit
| | 04:01 | image, 8 bits on each channel, 3 time 8 is 24.
| | 04:04 | On the other hand, if you want to
work in 48 bit color, that is 316 bit
| | 04:09 | grayscale of channels, work in
Photoshop that way, do most of your corrections
| | 04:12 | in Photoshop or another application
that can handle that, terrific, but you'll
| | 04:16 | apply corrections during the scan and
then work on the corrected 48 bit image,
| | 04:21 | and then similarly to the 48 bit HDR, if
you want to do most of your corrections
| | 04:26 | somewhere else rather than into the scan,
what this allows you to do is it would
| | 04:29 | capture all of the raw data with very
little of any corrections and then move
| | 04:33 | that raw image into some other applications.
| | 04:36 | It really kind of depends upon what your
workflow is like, where you do most of the correction.
| | 04:40 | This boils down to three choices,
right, where you can go 1 bit
| | 04:43 | black-and-white, one of the three
version to grayscale, or one of the three
| | 04:47 | versions of the color image.
| | 04:48 | If you're trying to decide between the
16-8 bit and the 16-bit grayscale or the
| | 04:53 | 48 bit-24 bit color, or a full 48
bit color image, which one you want to
| | 04:57 | actually create off the scanner.
| | 04:59 | Run some tests with your images and
your output devices, and test to see if
| | 05:02 | the additional bit depth actually
provides you with better image quality in
| | 05:06 | the final analysis.
| | 05:09 | When we choose something like 48-24
bit color, there's a lot of other Filters
| | 05:14 | that you can choose sharpening and
descreening, we'll come to that later.
| | 05:17 | For now I'm going to suggest for most
of your scans is we are going to apply no
| | 05:21 | Filtering, no Sharpening, no
Descreening, unless we really want to do that
| | 05:25 | during the scan, and we'll
address that later on in the course.
| | 05:28 | Notice we have an Image Type selection
here, these are Presets for a lot of the
| | 05:34 | tools that you see up here and a lot
of the corrections that you would do up
| | 05:36 | here, and that's kind of a semi-
automated scanning technique, and we'll talk
| | 05:40 | about that little bit later on in the course.
| | 05:42 | So choose a Scan Type, no Filtering,
choose Standard Image with no Preset
| | 05:47 | corrections, and then we're going to
go apply most of the corrections using
| | 05:50 | these correction tools that you see up here.
| | Collapse this transcript |
| Naming images| 00:00 | Just take a few minutes to
chat about naming scheme.
| | 00:03 | It may seem a little trivial, but in
fact it's really important for you to
| | 00:06 | develop your own naming system and then
use it, because later on when you go to
| | 00:09 | try to find images and you've got
different naming systems at different times,
| | 00:13 | they become a real nightmare.
| | 00:14 | On the other hand having a consistent
naming system will make organizing and
| | 00:18 | finding and sorting through your
images a whole heck of lot easier.
| | 00:21 | Let me just show you what I do and
maybe this'll give you some ideas about how
| | 00:24 | you want to name your images.
| | 00:26 | I like to have basically four
parts to most of the images.
| | 00:29 | These are the important images that I'm
going to keep and work on them, put in
| | 00:32 | my database and my portfolio.
| | 00:34 | I like to start out with the logical
name like for instance Kim, because this
| | 00:38 | is going to be a portrait of Kim and I may or
may not call this Kim portrait for instance.
| | 00:41 | We'll just keep it simple here.
| | 00:44 | Then I like to put in a mode or
bit depth. for instance, RGB.
| | 00:50 | So when I look at this I know this is a
photo of Kim and then RGB and then I'd
| | 00:54 | like to put the resolution of which
I'll be scanning this image we'll call this
| | 00:57 | 300, because I want to
this for prepress let's say.
| | 01:01 | Then I'll always to have a three
character extension on the end of my file and
| | 01:05 | it happens that in SilverFast, and
you can set up Photoshop do the same.
| | 01:08 | It'll automatically add that three
character extension at the end of the file.
| | 01:12 | Now as I mention if you want to
have more detailed information.
| | 01:15 | So you could do something like this Kim_
Portrait_RGB_300 and then I would save
| | 01:20 | this out as a TIF most likely or it's a
.psd file if I maybe working on it and
| | 01:24 | doing some image editing in Photoshop.
| | 01:26 | So at a glance I can look at this image
and say, oh, that the portrait of Kim, I
| | 01:30 | know it's an RGB image,
and I know it's 300 print.
| | 01:32 | So it's a high-resolution file.
| | 01:34 | Now that just kind of naming system that
I like use and if it were grayscale I'd
| | 01:38 | have GS instead of RGB and if it were a 1
-bit black-and-white image I would have
| | 01:43 | BW for black-and-white.
| | 01:44 | Develop your own naming system and
use it consistently and you'll be glad
| | 01:48 | that you did.
| | Collapse this transcript |
| Scanning simple logos and line art | 00:00 | For our first honest-to-goodness scan
project let's start with doing a simple line art.
| | 00:05 | In many ways, it's one of the simplest
kinds of scans to perform in terms of the
| | 00:08 | setup, but it takes some fairly
sophisticated thinking in terms of your whole
| | 00:12 | scan workflow as to how you actually
want to construct your scan and what
| | 00:17 | setting do you want to make.
| | 00:17 | So it's a simple scan, but it takes some
sophisticated thinking to really get it
| | 00:21 | exactly right, and honest-to-goodness
many people make the wrong decisions even
| | 00:25 | scanning the simplest kinds of images like this.
| | 00:28 | So we've got this line art image.
| | 00:30 | Let's review what we mean by simple line art.
| | 00:32 | Simple line art is line art that
is defined by the edge of the image.
| | 00:36 | When we look at this image here, we
can see we don't care what goes on
| | 00:39 | in-between the edges.
| | 00:40 | It's the edges that really define this image.
| | 00:43 | Our goal here is to reproduce this
edge as close as possible to what
| | 00:47 | the original image is.
| | 00:48 | If our goal is to take the original
and then edit it, make it look different,
| | 00:54 | we're going to go a whole different direction.
| | 00:55 | But in this case, we have a high-
quality original line art or logo, and we
| | 00:59 | want to reproduce it.
| | 01:00 | So our goal is to get this edge as
close to the original as possible.
| | 01:04 | Now when we do this, remember we
talked about setting up the general and then
| | 01:08 | we're going to the frame.
| | 01:09 | Our next setup decision
is what kind of scan mode.
| | 01:13 | High-quality scanner operators for a
long time have known a trick about scanning
| | 01:18 | line art, and that is, you scan it in
grayscale and then you convert it to 1-bit
| | 01:22 | black-and-white line art, scan it
an 8 or 16-bit and then convert it to
| | 01:25 | black-and-white later.
| | 01:26 | We're actually going to use that
technique, but not for the simple line art.
| | 01:30 | We're going to use it for
complex line art more on that later.
| | 01:33 | What we want to do is we want to
reproduce this edge right here and the
| | 01:38 | sophisticated part of thinking
moves us down the workflow line.
| | 01:44 | I am thinking, boy, would I
like to convert that into vectors?
| | 01:46 | In order for me to do that and get real
high-quality vectors that don't require
| | 01:49 | a lot of editing to make it look right,
is I want to get this edge as sharp and
| | 01:54 | as hard as and as consistent as I can,
and to do that we're going to choose
| | 01:58 | 1-bit black-and-white line art.
| | 01:59 | That's the first choice.
| | 02:01 | So we're going to end up with a nice
hard edge and it's going to be identical
| | 02:04 | to the current one.
| | 02:05 | Remember, if we're going to edit
the edge, we'll do something else.
| | 02:07 | We're going to go to grayscale, but for
just edge reproduction, that's the first
| | 02:11 | important choice is 1-bit
black-and-white line art.
| | 02:15 | Then as we move down here,
we're going to name the file.
| | 02:18 | This is how I like to name my scan files,
a logical name and then like a mode or
| | 02:23 | a bit depth, black-and-white which
assumes 1-bit and then the size about 5x7 and
| | 02:28 | then we're going to go with 600
pixels per inch for our first scan and then
| | 02:32 | we're going to do two scans
here, one at 600 and one at 1200.
| | 02:35 | That's going to be the second critical
choice that we make in terms of our settings here.
| | 02:38 | The first one is 1-bit black-and-
white line art and then since we're just
| | 02:42 | working our way down the dialog
boxes here, we can go Output and you can
| | 02:46 | actually put in if you want to 5x7
if you want an exact 5x7 inch image.
| | 02:51 | With an image like this that frankly
I am going to be taking the vectors
| | 02:54 | anyway, so the dimensions of the image
actually is going to be determined by
| | 02:57 | the vectors that we create.
| | 02:59 | doesn't make too much
difference if we get exactly 5x7.
| | 03:02 | If we were intending to print this and
wanted exact borders and so forth at 5x7,
| | 03:06 | you can designate it.
| | 03:07 | Honestly, for this one, it
doesn't make too much difference.
| | 03:10 | So I'm just going to set this manually
by eye and make sure I have got enough
| | 03:13 | space going all the way around so that
I don't impinge upon the image at all.
| | 03:17 | But the next crucial setting is this
one right here, resolution settings.
| | 03:21 | As much as I love SilverFast, I don't
really like the way they have done the
| | 03:25 | resolution and certainly I don't
like the terminology which is dpi.
| | 03:29 | What I am going to be using in
this course is ppi, pixels per inch.
| | 03:32 | If you remember our earlier
discussions about resolution, I prefer to use
| | 03:36 | resolution terminology that
matches the building blocks of the image.
| | 03:39 | We'll be creating a pixel-based image
that's going to be 600 pixels per inch
| | 03:43 | vertically and horizontally.
| | 03:45 | So think of this as pixels per inch.
| | 03:47 | It's a holdover from really where
this program came from and a lot of the
| | 03:51 | basis, the foundation, the knowledge
come from prepress here, which is why by
| | 03:54 | the way, this interface uses Q-Factor and it's
multiplication factor based upon line screen.
| | 04:01 | I'll discuss that more a little bit later.
| | 04:03 | Let's just skip that for now and
let's just move right to pixels per inch.
| | 04:06 | We're going to put in 600 pixels per inch here.
| | 04:09 | Why are we choosing that, because the
optical resolution of the scanner is
| | 04:13 | 1200 pixels per inch.
| | 04:14 | I am going one-half of that,
which means that there will be very
| | 04:17 | little interpolation.
| | 04:18 | We should end up with a high-quality edge.
| | 04:20 | If we go up with something between 600
and 1200 we're likely to get interpolation.
| | 04:24 | That's why this is such a critical choice.
| | 04:26 | A lot of line art that we intend to take to
vectors doesn't require really small pixels.
| | 04:32 | It just requires a consistent edge.
| | 04:34 | So I am going to go with 600 pixels per inch,
1-Bit Line Art, no scaling of this at all.
| | 04:40 | We're not going to scale at all.
| | 04:42 | We're just going to scan this image
at 100%, not have the scanner do any
| | 04:46 | magnification at all, and I am going
to go ahead and click Scan, and oh, it
| | 04:50 | looks like we've got to
set on a multiple output.
| | 04:53 | So let me just go up here for a second.
| | 04:55 | Let's change this from Batch
Mode to Normal mode. There we go!
| | 05:00 | Back to frame and let's click Scan.
| | 05:01 | See how I could tell that.
| | 05:03 | that was set at Batch Mode, because it
had the multiple pictures of the scan there.
| | 05:06 | So if that ever happens, just come up
there to go back to the General frame and
| | 05:10 | put on single mode of scan.
| | 05:11 | All right there we go!
| | 05:12 | I am going to click Scan, and then the
name comes up and we're going to save
| | 05:15 | this as a 600 ppi, and then TIFF.
| | 05:18 | I don't want any interpolation.
| | 05:19 | We're not going to be going
with JPEG or anything like that.
| | 05:22 | In fact, we're going to save all the black-
and-white 1-bit line art images out as TIFFs.
| | 05:25 | Remember the reason why you wouldn't
want to go with a JPEG particularly here is
| | 05:29 | you want to maintain that high-quality
edge as much as possible and by saving it
| | 05:33 | out as a JPEG you risk
interpolating that edge from compression.
| | 05:36 | So the scanner is going to do its thing,
convert all those edges to pixels. Here we go!
| | 05:43 | Now we're going to go right back to scanner.
| | 05:44 | I want to scan this one at 1200.
| | 05:48 | I want to do two scans, because I
want to show you the difference between
| | 05:51 | the two and then scan.
| | 05:54 | Now something interesting is you notice
this scan is going to take quite a bit
| | 05:59 | longer, even the scanner makes a
different noise, and you notice the file size
| | 06:03 | is going to be 4 times larger.
| | 06:05 | Not twice, but four times larger. Why?
| | 06:08 | Because we're doubling the
horizontal and the vertical resolution.
| | 06:11 | So anytime you double the linear
resolution from 600 to 1200, it's going to
| | 06:16 | quadruple the scanning time and the file size.
| | 06:18 | A lot of people think that when you're
going from 6 to 12, you're just doubling,
| | 06:22 | but you're doubling
horizontal and vertical resolution.
| | 06:24 | That's why everything
goes up by a factor of four.
| | 06:26 | Now what I would like to do now
is just compare these two images.
| | 06:33 | I want to zoom in on a similar edge
right up here, and I always like to look at
| | 06:38 | two places when I look at these images.
| | 06:40 | I like to look around curved edges
like that and I also like to look at any
| | 06:45 | place that we've got like a hard edge
which comes to a tip, something like that.
| | 06:50 | We'll zoom in on both of those.
| | 06:52 | Let's start by zooming in right here
and comparing the consistency of these two
| | 06:57 | edges, and let me just move
this over here, and there we go!
| | 07:03 | Notice both of these edges have lots of
good real nice consistency in terms of
| | 07:09 | pixel placement and that's because we
use the optical resolution of the scanner.
| | 07:12 | We didn't allow the
scanner do any magnification.
| | 07:15 | Notice this is a 1.44 MB file, this is 6.63.
| | 07:19 | It's four times larger as we talked
about by doubling the horizontal and the
| | 07:22 | vertical resolution.
| | 07:23 | Both of these images have
nice consistent edges on them.
| | 07:27 | Notice almost no interpolation.
| | 07:28 | In fact, no interpolation at 600,
because all we have done is we've just doubled
| | 07:31 | the size of the pixels, but we
haven't moved them because it's one-half the
| | 07:34 | optical resolution scanner.
| | 07:36 | The question becomes which do we need?
| | 07:39 | The answer is this.
| | 07:40 | if you're going to be printing this as
a pixel-based image, then they're both
| | 07:44 | about at 233 here, you see that?
| | 07:46 | This is going to give you a
finer edge at 1200 pixels per inch.
| | 07:50 | So if you're going to print it as
a pixel-based image, scan it 1200.
| | 07:52 | 1200 is a good resolution if you
want to print as a pixel-based image.
| | 07:57 | If you're going to convert this into a
vector-based image, either one of these
| | 08:00 | will work just fine, thank you.
| | 08:02 | And if you know you're going to go to
vector, there is no sense scanning at
| | 08:05 | 1200, the 600 will work just as
well when you convert it to vectors.
| | 08:09 | To demonstrate this is we're going to
convert this into vectors and I want to
| | 08:13 | show you, and I am not going to step
you through this process, I am just
| | 08:16 | going to do it right now.
| | 08:17 | When we come to our projects we'll talk
more about how to actually do the conversion.
| | 08:22 | I just want to do it
quickly for you. There's our 600.
| | 08:25 | Let's go back.
| | 08:27 | I am going to go to the 1200, and I am
just going through this just to show you
| | 08:31 | so you've actually seen it so you
believe me that we're converting these images
| | 08:35 | to vectors, and how it's going to work,
because I want to compare these two.
| | 08:40 | Notice how the 1200 takes longer,
everything takes longer when you go from 600 to 1200.
| | 08:45 | The question is, is it worth it?
| | 08:47 | We're about to find out.
| | 08:49 | Let's take this, move
this over, this is the 1200.
| | 08:56 | Over here, come over to the
first one we did, the 600.
| | 09:03 | First of all, look at the
number of control points along here.
| | 09:05 | 1, 2, 3, 4, 5, 6, 7 down to the
changing curve and they're 1, 2, 3, 4, 5, 6, 7,
| | 09:11 | 8, 9, 10, there is about twice the
number of control points on the 1200.
| | 09:16 | Let's zoom in and take a look.
| | 09:17 | Look at the quality of that edge.
| | 09:22 | Look at the quality of
that edge. They're identical.
| | 09:25 | In fact, when we look at the greatest
detail area and here is where it really
| | 09:30 | tells and something like this in the two images.
| | 09:34 | Notice the detail is just as good
on the 600 as it is on the 1200.
| | 09:38 | No question about it.
| | 09:40 | Point being, folks when you've got a
simple line art image like this with not a
| | 09:45 | lot of detail, you can use half the
optical resolution of the scanner and create
| | 09:50 | just as good a vector-based image.
| | 09:52 | In fact, this one is actually
better, because it has so fewer pixels.
| | 09:55 | It doesn't create as many control
points and we just use default settings to
| | 09:58 | convert it to vectors.
| | 09:59 | The rule here then is one-half the
optical resolution of the scanner and most
| | 10:03 | scanners these days have optical
resolutions of around 1200 or some multiple of that.
| | 10:08 | So 600 pixels per inch, and you've seen it here.
| | 10:11 | It's proof that this image is not only
equal to, but actually better because it
| | 10:14 | has fewer control points in it from this one
that was constructed at 1200 pixels per inch.
| | 10:19 | All right, there's simple line
art scanning going to vectors.
| | 10:23 | But if you plan to scan this as pixels
and leave it as pixels and then keep it
| | 10:27 | and print it as pixels, then you'd go to 1200.
| | 10:29 | But honestly, why would you do that
when you could take it to vectors and then
| | 10:32 | you have all that scalability
while maintaining its quality.
| | 10:35 | I'd like to just say a few more words about
resolution and I want to show you something.
| | 10:39 | Down here remember we set the resolution we
were working at 6 and 1200 pixels per inch.
| | 10:45 | Notice that this software goes all
the way up to 12,800 pixels per inch.
| | 10:49 | Honestly, most people have been
trained or they tend to think that, well, the
| | 10:53 | higher the resolution, the better.
| | 10:55 | I see lots of line arts images that
are scanned at 2400 and 3200 and people
| | 10:59 | might be inclined to go
all the way up to 12,800.
| | 11:02 | First of all that's
interpolated resolution that high.
| | 11:04 | So you can get all sorts of interpolation.
| | 11:07 | But I think I've proven to you that
you don't really even need 1200 if you
| | 11:10 | intend to go to vectors.
| | 11:12 | The key is not how much resolution,
particularly interpolated resolution
| | 11:16 | you're going to be using.
| | 11:17 | When you look at your scanner manual, you're
going to see a couple of different numbers.
| | 11:21 | One is going to be, maybe, it'll say
hardware resolution or optical resolution.
| | 11:25 | That's really the optical resolution of
the scanner and probably it's going to
| | 11:28 | be 1200, might be 2400.
| | 11:30 | Then you're going to have a wide range of
resolutions up to in this case like 12,000.
| | 11:34 | The optical resolution of
the scanner is not 12,800.
| | 11:36 | It's not anywhere close to that.
| | 11:39 | But point is that you don't need that
resolution if you're going to be going to
| | 11:42 | vectors, 600 is all you
need for this kind of an image.
| | 11:45 | In fact, if you went all the way up to 8
,000 or 12,000, you would be imparting
| | 11:50 | so much interpolation that your edge
would actually be lower quality and you'd
| | 11:54 | end up with far more control points and the
scans would take so much longer. No benefit at all.
| | 11:59 | So this is one of those
circumstances where less is indeed more.
| | 12:02 | So I would encourage you to take a
couple of line art images like this and
| | 12:06 | practice with your scanner and the software
and see which one gives you better results.
| | 12:11 | is it 600, is it 800, is it 1200?
| | 12:13 | I think you'll find that for most
scanners these days 600 is going to work
| | 12:17 | really good for these kinds of images.
| | 12:18 | But test with your scanner and your images.
| | Collapse this transcript |
| Scanning complex line art | 00:00 | Here is an example of a great complex line
art image and it almost looks like a photograph.
| | 00:05 | In detail it is indeed line art.
| | 00:07 | It's a pen and ink or pencil drawing.
| | 00:09 | It's all black-and-white.
| | 00:11 | When you look at this it's
completely different than the simple line art.
| | 00:13 | With simple line art the whole issue
remember was the edge reproduction.
| | 00:16 | Here we want to reproduce the
edges in horns in the moose, but what's
| | 00:19 | important here is the detail.
| | 00:21 | That's what's really going on with this image.
| | 00:22 | If you don't have a perfect or
optical edge here, who cares?
| | 00:25 | But if we don't get the detail
captured in this image, it's a huge loss.
| | 00:29 | So this image is all about capturing the detail.
| | 00:32 | If we go back to our scanner interface
now and we'll set this up pretty much the
| | 00:38 | way we did the last line art scan.
| | 00:40 | We'll start in 1-Bit Line Art mode
and many people who do this, they will
| | 00:44 | think, oh, it's line art I need to
be in line art, because the scanner
| | 00:47 | interface says Line Art.
| | 00:48 | Let's just get right to resolution and
get that out of the way and then move
| | 00:52 | back to the mode, because the mode is
one of the key selections here is are we
| | 00:56 | going to go 600 or 1200?
| | 00:56 | Well, for a detailed line art like this
we are almost always going to choose the
| | 01:01 | full optical resolution and the
scanner like 1200 pixels per inch.
| | 01:04 | The 600 will work okay, but it really
doesn't give you enough definition of the detail.
| | 01:09 | Unlike the simple line art image that were
taken the vectors where the 600 was not only fine.
| | 01:13 | In fact, it was preferable.
| | 01:14 | Here we're going to go in the other direction.
| | 01:16 | We're going to want more detail.
| | 01:18 | So we want a higher
native resolution of the scan.
| | 01:21 | It's always good to use the
optical resolution if you can, far
| | 01:24 | less interpolation.
| | 01:25 | So 1200 pixels per inch.
| | 01:28 | But notice when we choose 1 bit black
and white Line Art as a scan mode, look
| | 01:32 | what the image looks like even in the preview.
| | 01:34 | If we would to complete a scan like
this and just to save a little bit of time
| | 01:38 | I've predone the scan.
| | 01:39 | Let's go back to Photoshop
and take a look at this image.
| | 01:43 | Here is the Moose_BW_1200 pixels per inch
and this is what happens when we do that.
| | 01:50 | Instead of having all the detail like
you saw in the original image all of the
| | 01:54 | darker areas went to pure black and
all the lighter areas went to pure white.
| | 01:58 | That's what 1 bit black-and-
white line art scanning does.
| | 02:00 | You're forcing the scanner to
make a decision. Is it black?
| | 02:03 | Is it white?
| | 02:03 | Now true enough, you can come in and
you can adjust the Threshold value, where
| | 02:07 | the pixels go black, and where they go
white, but when you go lighter than some
| | 02:11 | of the darker pixels go pure white and
the black ones lighten up a little bit,
| | 02:15 | but you end up with this real bimodal image.
| | 02:17 | So this is certainly not the
mode in which you want to scan.
| | 02:21 | Let's go back to the scanner interface
and look what happened to even to the
| | 02:24 | preview when we go to Grayscale mode.
| | 02:27 | Now we've got two choices here.
| | 02:29 | We can go 16 to 8 bit grayscale or
we can go to true 16 bit grayscale.
| | 02:34 | We can argue for days and weeks and
months over whether 16 bit is worth it or not.
| | 02:40 | If you're someone who likes to work in
high dynamic range images with extra bit
| | 02:43 | depth and you maybe even like to print
these images in 16-bit, because more and
| | 02:48 | more we have printers that will
actually print 16-bits of grayscale.
| | 02:51 | Feel free to scan this in 16 bit grayscale.
| | 02:53 | To either one of these would be fine
and then you can convert to 8 bit later if
| | 02:57 | you want to for simple or faster
printing or if your printer doesn't handle
| | 03:01 | 16-bit prints, or we can just choose
to scan in 16-bit and then downsample to
| | 03:06 | 8-bit by the scanning software
and that's what we're going to go.
| | 03:09 | But notice on the preview what happens,
boom, now all that detail is there.
| | 03:13 | For detailed line art the trick is to
don't scan in line art mode even though it
| | 03:18 | says line art, treat this as
if it's a continuous tone image.
| | 03:21 | All that detail we want to capture that
grayscale value in order to capture that detail.
| | 03:26 | So go to a grayscale mode and then
set your frame up to create the image at
| | 03:31 | the original size that you want, or
if you want to scale this image up now
| | 03:34 | it's the time to do it.
| | 03:35 | If you want this image to be a 200%
then puts your 200% Scale in here.
| | 03:40 | I'm just going to go at 100% we're just
going to capture the image at the original size.
| | 03:44 | My suggestion is there is the edge
of the original image right here.
| | 03:48 | Make sure that the frame is up above that.
| | 03:50 | Make sure you've got room all the
way around the image so that there is
| | 03:52 | nothing to cut off.
| | 03:53 | Pay attention to that.
| | 03:55 | Set your resolution to 1200.
| | 03:56 | Remember we're going with pixels per
inch instead of dpi here in terms of how we
| | 04:00 | think about this, because
we're actually creating pixels.
| | 04:03 | Then go ahead and click Scan.
| | 04:04 | Once again just to save some time I've
gone ahead and done the scan for you and
| | 04:08 | I'll show you what the results are,
because this takes a long time to scan,
| | 04:11 | because not only are we quadrupling the
file size by going from 600 to 1200, but
| | 04:15 | we're going from 1-bit to 8-bit
which then multiplies that number by 8.
| | 04:19 | So notice we end up with a 37 megabyte file.
| | 04:23 | Not a 1 megabyte or 6
megabyte, but a 37 megabyte file.
| | 04:27 | It takes a little while to scan, but
let me show you what you end up with when
| | 04:30 | you complete that scan.
| | 04:32 | Here is the image right here.
| | 04:34 | We'll just enlarge that and look at
the huge difference we have between this
| | 04:38 | image which is the 1-bit
scan and then the 8-bit scan.
| | 04:41 | Notice that the scan has much the
same detail that the original image does.
| | 04:46 | When we zoom in here we see we've got
lots and lots of pixels with grayscale
| | 04:50 | values going on in-between.
| | 04:52 | What this allows us to do is not only
capture that individual grayscale value as
| | 04:56 | we're doing here, but notice this
gives us full editability in the post-scan.
| | 05:02 | So if we bring up our Layers panel and
we use an adjustment layer for Curves
| | 05:06 | and it's good to use adjustment
layers, of course, because they're fully
| | 05:09 | editable and nondestructive.
| | 05:11 | Notice that I can change the
brightness of the image I can darken it up, push
| | 05:17 | some of the pixel more to
dark by moving the highlight.
| | 05:19 | Although in this particular image I'm
more likely to come in here and lighten
| | 05:23 | and darken the image by adjusting the midtone.
| | 05:26 | See, this gives me full editing
capability of those grayscale values once
| | 05:29 | I'm inside that image.
| | 05:31 | Skip back to the scanner
interface for just a second here.
| | 05:34 | We set the frame, we set the resolution,
and we're going to call this grayscale
| | 05:39 | and then if you want to put the
dimensions here and it's about 5x5.
| | 05:42 | It doesn't have to be exact.
| | 05:43 | It just reminds me what the
dimensions of the image are.
| | 05:46 | Set this at 1200 so we've got plenty of detail.
| | 05:48 | Set this to Grayscale.
| | 05:50 | Now sure enough we could come in here
for instance and we can come in here there
| | 05:54 | is a curves tool and we can come in
here and adjust that curves tool prior to
| | 05:58 | the scan just like we were doing in Photoshop.
| | 06:00 | Yes, that's absolutely possible for us
to do, but I typically don't do that.
| | 06:04 | We've got some great editing
tools here right in SilverFast.
| | 06:08 | Frankly, if you want to do this
quickly and you didn't have time to work in
| | 06:11 | Photoshop you thought ooh, that's a
little bit too dark, let me come in and let
| | 06:15 | me lighten this image by working the
midtone here in SilverFast, fine go after
| | 06:21 | to your heart's delight. It's no problem.
| | 06:23 | But typically I like my workflow.
| | 06:25 | what I like to do is scan the image,
get all the detail in there, and I might
| | 06:28 | lighten it up a little bit working
inside of SilverFast, but then I really want
| | 06:33 | to do my editing here in Photoshop, or
if you're working in Photoshop Elements,
| | 06:37 | or another image editing program. Why?
| | 06:39 | Because, I get to see all the pixels here.
| | 06:41 | When I'm been working in my scanner interface
I just have the preview pixels to work with.
| | 06:45 | Here I can see all of pixels and I can
make any kinds of edits that I want and I
| | 06:50 | get to work nondestructively by
working in an adjustments layer.
| | 06:54 | So that's my recommendation, capture
in 8-bit grayscale, go for the higher
| | 06:57 | resolution around 1200 so you get all the
detail in the image, save it out as Grayscale.
| | 07:02 | You can do maybe it's overall
lightening or darkening in the original scan, but
| | 07:06 | then save most of your image
editing working in the post-scan.
| | 07:09 | And I strongly recommend that you work
on copies of the image and certainly use
| | 07:14 | adjustment layers when you're
working inside of Photoshop.
| | 07:17 | So that's how I work with complex scans
and the final question to chat about and
| | 07:21 | we're going to get to this in more
detail when we talk about the projects in the
| | 07:24 | last section, is do we keep this
as grayscale or to be go to 1-bit
| | 07:28 | black-and-white, and we can go either
way and we'll come back and talk about
| | 07:31 | that a little bit later.
| | Collapse this transcript |
| Scanning grayscale contones| 00:00 | Here let's discuss setting the
proper exposure control for capturing a
| | 00:04 | continuous tone grayscale image.
| | 00:07 | At this point, we've already selected
the scan mode and we're going with no
| | 00:11 | filters, no sharpening.
| | 00:12 | I'm assuming we're going to do that
in the post-scan and we'll address
| | 00:15 | sharpening a little bit later.
| | 00:17 | We've named our file, we've set our
frame, we've enlarged our image so we can
| | 00:20 | see the amount of detail we need.
| | 00:22 | We know where this image is going and
we're assuming this is going to go to the
| | 00:26 | highest quality output device at prepress.
| | 00:29 | So 300 pixels per inch, so
we're going to focus on exposure.
| | 00:31 | So I want to begin our discussion with
setting the exposure by a visual evaluation.
| | 00:36 | I always look in the image and say, okay,
what's the important part of this image.
| | 00:40 | Well, here obviously, this is a
portrait so the face is the important part, the
| | 00:44 | background is of little consequence.
| | 00:46 | We might want to address the
contrast between the hair and the background
| | 00:49 | and address that issue.
| | 00:50 | So we've got a portrait,
the face is very important.
| | 00:53 | We also have neutral areas in here.
| | 00:56 | So we've got some white highlight areas,
we've got some shadow detail in the
| | 00:59 | hair that's important.
| | 01:00 | The coat may or may not be important in
terms of maintaining shadow detail and
| | 01:04 | we can see if there's any
shadow detail there to begin with.
| | 01:07 | By the way, one of the tools that you
can use if you're kind of wondering, you
| | 01:10 | can use your Densitometer because
sometimes if you look on screen, you can't see
| | 01:13 | if there's detail or not.
| | 01:14 | And if you move your cursor around
like this and then watch the values over
| | 01:17 | here, if there's only one or two point
change, it means that there's not much detail.
| | 01:22 | Watch when I move it over the hair,
there's a tremendous change in the value
| | 01:25 | because we can see lots of detail there.
| | 01:27 | So in this particular image as part of
my eval, I'm going, face important, shirt
| | 01:31 | important, hair and hair contrast at
the background important, jacket not so
| | 01:35 | much because there's not
a lot of detail in there.
| | 01:37 | But if there's any texture at all, we'll
want to maintain it, but it's not going
| | 01:40 | to be a focus of this image.
| | 01:42 | If in fact, this were a product shot
where the coat was important, we'd probably
| | 01:46 | want to get this re-shot different photography.
| | 01:49 | But in this case, it's a portrait shot.
| | 01:51 | That's what this is really important here.
| | 01:52 | So the photography is quite appropriate.
| | 01:54 | All right, So we know we're going to
have some highlights, we've got some skin
| | 01:58 | tones, we've got some hair, some shadow detail.
| | 02:00 | Where I like to start and there's lots
of tools we can use here, but here's the
| | 02:03 | ones that I like that I'd
like to introduce you to.
| | 02:05 | First we're going to start with this
tool right here, and when I click on the
| | 02:08 | very top of this, notice it shows me
where the lightest portion of the image is.
| | 02:13 | This could be a specular.
| | 02:14 | It could be a diffuse highlight, we'll
talk more about those a little bit later
| | 02:18 | when we talk about product shots, and
then when I click here, it shows me where
| | 02:21 | the darkest portion of
the image is. That's nice.
| | 02:23 | So I'm looking at this, I'm saying okay,
the teeth turned out to be one of the
| | 02:27 | lightest portion and also looking at
this image and going the white shirt is
| | 02:31 | typically part of the white highlight of
the image that I want to pay attention to.
| | 02:34 | So I'm going to look at the teeth,
I'm going to look at the shirt.
| | 02:36 | And when I look at the teeth, I can see
there's a little bit of reflection on those teeth.
| | 02:40 | So I'm thinking that's a
little bit of a specular highlight.
| | 02:44 | And a specular highlight is a
portion of the image that has not as much
| | 02:47 | detail or no detail.
| | 02:48 | The diffuse highlight that is the
light portion of the image that still has
| | 02:51 | detail is the one we really want to focus on.
| | 02:54 | By the way, as I'm moving my hand over
here, I can see the detail here in my
| | 02:58 | Densitometer and see there's a
little bit of reflection right there.
| | 03:01 | I'm going to look at the teeth, I'm
also going to look down here in the shirt.
| | 03:05 | The nice thing about this tool is not
only does it show you where the highlight
| | 03:08 | is by clicking on it, but if you hold
down your Shift key, it places a color
| | 03:12 | sampler point right there.
| | 03:14 | And notice, it is on a kind of a
specular highlight, a little bit of a
| | 03:17 | reflection area there and it
gives you the current RGB value.
| | 03:20 | Now I mentioned I was
also interested in the shirt.
| | 03:24 | So I'm going to go down and look at the
light areas of the shirt and look at this.
| | 03:27 | I'm getting about the same
highlight values, the high 210, 209, 211.
| | 03:32 | So I'm going to hold down my Shift key
again and I'm going to put a second color
| | 03:36 | sampler point there.
| | 03:37 | Notice these are both 211.
| | 03:39 | So I can use my shirt or I can use
the teeth, I'm going to trust the shirt
| | 03:43 | because there's a little bit of
reflection on the teeth and I don't like to use
| | 03:45 | reflections for color sampler points.
| | 03:47 | Then I'm going to come back up here to
my Pipette, put my Densitometer up here
| | 03:51 | so I can see both of them.
| | 03:52 | And these are values that I can monitor.
| | 03:55 | I can set these as color sampler points.
| | 03:57 | in this case, just grayscale sampler points.
| | 03:58 | Then as I make adjustments, I can monitor them.
| | 04:01 | Then I'm going to hold down my
Shift key, click here, and that gives me
| | 04:05 | that value down there.
| | 04:06 | That's the darkest shadow portion
of the image, and then I'm going to
| | 04:09 | investigate up in the hair here, put
that in the 50s and I'm looking at these
| | 04:13 | values right here these starting values.
| | 04:15 | See in the 60s, we've got
some of the 50s in the high, 40s.
| | 04:19 | All right, And then we've got some 38s and 39s.
| | 04:22 | Not a lot of change in values right there.
| | 04:25 | See as I move back, it
just goes from 37, 38, to 40.
| | 04:28 | So I'm going to put up here at the
top of the hair, I want to maintain
| | 04:33 | shadow detail up here.
| | 04:34 | I want to make sure that
that doesn't get too dark.
| | 04:37 | So I'm going to put my
fourth color sampler point there.
| | 04:39 | So I've got two highlight
points, we'll move things up here.
| | 04:44 | And then point number three, we've got
the deep shadow and then we've got kind
| | 04:47 | of three quarter-tone shadow right here.
| | 04:49 | So we're going to monitor these points.
| | 04:51 | And I always like to put my diffuse
white highlight as point number 1, I do that
| | 04:54 | in all of my images.
| | 04:56 | So when I'm working with these fixed pipette.
| | 04:58 | in Photoshop it's called color
sampler points, the number one point is
| | 05:01 | always going to be my highlight
which is really one of the most critical
| | 05:04 | portions of the image. Okay.
| | 05:06 | So now what tools we're going to use to
kind of adjust these points to get them
| | 05:09 | where we want them to go?
| | 05:11 | Well, there are some automatic tools but
we're going to stay away from those for right now.
| | 05:14 | We're going to use
primarily these tools right here.
| | 05:17 | It's the Levels tool and the Curves tool
and you're probably familiar with those
| | 05:20 | in Photoshop if you've worked in Photoshop.
| | 05:22 | And these days, we tend to work
primarily in the Curves tool in Photoshop, but
| | 05:26 | in SilverFast, these two functions of
setting highlights and shadows are really
| | 05:30 | designated for the Levels tool.
| | 05:32 | And then we're going to go to the Curve
tool to do our midtones adjustments for
| | 05:36 | brightness and contrast.
| | 05:37 | So let's start here and what this shows
us is a very well-defined, easy-to-see
| | 05:41 | histogram of the
distribution of the data in our image.
| | 05:44 | Now right now I'm going to pay
attention to these two values right here and
| | 05:47 | particularly value number 2, which
I know is a diffuse white highlight.
| | 05:51 | I'm going not quite so sure about this.
| | 05:52 | A really well-defined specular highlight,
like a real strong reflection will be
| | 05:56 | much lighter than the diffuse highlight.
| | 05:58 | Here they're about the same.
| | 05:59 | But I'm just going to trust this one a
little bit better because I know that's
| | 06:02 | flat, there's no reflection there.
| | 06:03 | And what I'm going to do is
I'm going to monitor this value.
| | 06:06 | Here is the starting value
and here's the ending value.
| | 06:08 | And I'm just going to take my
highlight curve and I'm going to move this in
| | 06:11 | until I get to the high 230s, low 240s.
| | 06:14 | See it's right at 238, 239, 237 right in there.
| | 06:18 | Notice, that's close to
the beginning of this data.
| | 06:20 | Sometimes you'll find little strings of
data in here and sometimes it's just noise.
| | 06:23 | Now this is how you can tell.
| | 06:25 | You can do it by the numbers, and why
am I going for the high 230s, low 240s.
| | 06:28 | Well, that 242 is a 5% white highlight
and I know on my inkjet printers, I can
| | 06:35 | hold a 5-7% white highlight so I tend to
set my highlights in the high 230s, low 240s.
| | 06:40 | We can shoot for around 240,
I'm going to put it 239 right now.
| | 06:44 | I know in a commercial printing press,
I can hold 5% all day long, and some of
| | 06:47 | the papers that I print with my
inkjet, I like to have it around 6 or 7.
| | 06:51 | So you can be anywhere in the high
230s, low 240s, but don't go above 242
| | 06:56 | because then you're going to be getting
around into four, three, and two and we
| | 06:59 | may lose the detail in the highlights.
| | 07:00 | All right, Now let's work on the shadow.
| | 07:02 | I'm going to move this forward, and in
this case, I'm monitoring the darkest
| | 07:06 | point in the image, point number three.
| | 07:07 | And I want to make sure that the very darkest I
want to have this is 12 which is a 95% shadow.
| | 07:13 | But typically, in my shadow areas,
I don't like to go quite that low.
| | 07:16 | So I typically shoot for
around 17 to 19 for my Shadow value.
| | 07:20 | See I'm not judging this visually, I'm
doing it by the numbers. Absolutely!
| | 07:24 | And then we put this number four point
up here because this is an area that we
| | 07:28 | want to make sure we get detail in.
| | 07:30 | That's up at 43 which is
a nice three quarter-tone.
| | 07:32 | So we're going to maintain real
nice detail in that area right there.
| | 07:37 | Here we've set our highlights, our
shadows, and we're monitoring kind of a
| | 07:40 | three quarter-tone area, we want to make sure
that there's plenty of detail coming out there.
| | 07:44 | Click OK.
| | 07:45 | So that's our highlights and shadows
which addresses our overall brightness and
| | 07:49 | contrast, but most importantly, make
sure that it gives us as bright white as
| | 07:52 | we can go in the diffuse white highlight
where there's detail without losing detail.
| | 07:57 | And we've maintained shadow detail
here and in the three quarter-tone which
| | 08:01 | is where we have more detail in the three
quarter-tone, and we're doing it by the numbers.
| | 08:05 | Don't go above that is lighter than
242 and certainly never go below 12, but
| | 08:10 | up around between 15 and 20 is a good value
for a nice shadow that gets you about 90%.
| | 08:16 | And depending upon the paper and the
press and the stock and so forth that
| | 08:19 | you're printing on, you can vary these
numbers and I would encourage you to run
| | 08:23 | some tests to see exactly
where you want your numbers to go.
| | 08:26 | Now when we set highlights and shadows,
we're going to go to our Curves tool and
| | 08:30 | we're going to do overall
brightness and contrast.
| | 08:32 | And we do that by adjusting the
distribution of tonal gradations between the
| | 08:36 | highlight and shadow.
| | 08:37 | We've already set these two points.
| | 08:39 | The way the Curves tool works in
SilverFast is that you set these two points and
| | 08:43 | then you adjust things in between.
| | 08:45 | Now there's two ways to go
about doing this mechanically.
| | 08:47 | One is we can come down here and we
can adjust the overall Luminance value.
| | 08:51 | You can see how it moves the entire curve.
| | 08:53 | That's one way to do it and it's
fine, and sometimes I use that.
| | 08:56 | This adjusts overall contrast and
notice when you adjust contrast, it holds the
| | 09:01 | midpoint stable, and then you
increase contrast by creating a curve.
| | 09:06 | And notice how the contrast increases
here, by increasing the quarter-tone value
| | 09:10 | and decreasing the three quarter-tone values.
| | 09:12 | A little tip about doing portraits with
lots of skin tone in them, typically you
| | 09:16 | don't want to increase contrast of anything.
| | 09:18 | You might want to decrease contrast a
little bit which gives you nice flat,
| | 09:21 | lots of tonal variations right in
the midtones, gives you nice smooth
| | 09:24 | gradations in the skin tone.
| | 09:25 | So we can do this with these curves,
we can also address the quarter tones by
| | 09:30 | moving this and the three
quarter-tones by moving that.
| | 09:34 | Now there's this Overall
Brightness tool, just stay away from that.
| | 09:37 | Notice how it destroys the highlights
and shadow points when you move this tool.
| | 09:41 | Just stay away from that puppy,
just don't use that one at all.
| | 09:43 | The other way we can make our adjustment here
is we can just manually move the curve here.
| | 09:47 | Let me give you some keyboard
shortcuts that you might find helpful.
| | 09:51 | If I hold down my Command key and I
click, I can move my entire curve.
| | 09:56 | It's very much like moving this curve here.
| | 09:59 | But if I just want to primarily
focus on the midtone, I can move that up.
| | 10:02 | If I hold down my Option key, Alt
in Windows, I can deactivate a point.
| | 10:07 | And then I can hold down my
Shift key and drag just that three
| | 10:12 | quarter-tone point right there.
| | 10:13 | And what I'm doing here, I'm
going to do a couple of things.
| | 10:17 | Option key to activate that point
again, Command key, I'm going to move the
| | 10:21 | whole curve up, but I want to do two things.
| | 10:24 | One, I want to overall
lighten the image just a little bit.
| | 10:26 | You can see the visual impact on there.
| | 10:28 | Plus this kind of tends to flatten the
midtone just a little bit which smoothes
| | 10:33 | out the skin tones, which is a nice thing to do.
| | 10:36 | And then I'm looking at the contrast
between the hair and the background and I'm
| | 10:39 | thinking I'm going to Option+click
there and then Shift+click here just pull
| | 10:42 | that vertically, and see how that
just increases the contrast a little bit
| | 10:45 | between the hair and the
background because I'm lightening that three
| | 10:47 | quarter-tone background just a little bit.
| | 10:49 | I can also choose to move up
here and darken the quarter-tone.
| | 10:52 | Let's move things out just a little bit more.
| | 10:55 | Although I'm pretty happy with the way
things look right here, so I'm going to
| | 10:57 | leave that about where I left it.
| | 10:59 | So we can utilize these sliders right
here or we can come in and do manual
| | 11:03 | manipulation of our curve.
| | 11:06 | Notice, if you move your cursor over one
of those points and just let it sit for
| | 11:10 | a minute, the keyboard shortcuts that
I was just using will come up and then
| | 11:13 | remind you how to use those. There we go!
| | 11:16 | So that's addressing overall brightness
and contrast, and then what I like to do
| | 11:20 | at this point, and particularly that's a
critical image, I like to come back and
| | 11:24 | take a look at my points,
particularly in my highlights and shadow points.
| | 11:27 | And notice, we move from 237 to 240, 238 to
240 because we lightened the overall curve.
| | 11:33 | And that's okay, so long as we don't go
above 240, 242 in that range there, for
| | 11:38 | our shadow point we're at 28
because we really lightened that three
| | 11:41 | quarter-tone, and that's okay, that's good.
| | 11:44 | You can if you want to come back in
here and if you want to just back off on
| | 11:48 | that highlight just a little bit to
get it back down in the low 230s, you can
| | 11:51 | fine-tune the highlight and/
or the shadow if you want to.
| | 11:54 | If you decided, I'd like to just
darken the shadow just a little bit down to
| | 11:58 | about 20, you can do that.
| | 12:00 | So go back and forth between
those two. And there we go!
| | 12:03 | Now we've got a nice adjustment of
highlights, shadows, brightness, and contrast
| | 12:07 | and we've lowered the
contrast because of the skin tone.
| | 12:10 | And other images such as landscapes, a
lot of times I'll enhance the contrast,
| | 12:13 | get a little bit of an S-shaped curve.
| | 12:15 | So there we have setting highlights,
shadows, brightness, and contrast on a
| | 12:18 | continuous tone grayscale image.
| | 12:21 | Now that we have completed our tonal
adjustments, we're ready to complete the
| | 12:24 | scan, we'll just take a quick look
down here to make sure we have the proper
| | 12:27 | scan mode, and we're not going to
apply any sharpening at this point.
| | 12:31 | Make sure we have the proper name
assigned and scaling and our frame is correct
| | 12:35 | to make sure we have the proper
resolution at 300 pixels per inch for the
| | 12:38 | highest quality scan.
| | 12:39 | And then we'll just click the
Scan button to complete the scan.
| | 12:42 | And we'll save the file and notice
that we can choose the file format and of
| | 12:46 | course we're going to go with TIFF
because it's an uncompressed file format,
| | 12:50 | no quality reduction.
| | 12:55 | Then the scanner does its thing,
scans the image with all the settings that
| | 13:00 | we've applied, and there we go.
| | 13:01 | We open up this image in Photoshop and
here's the beautiful portrait of Kim, and
| | 13:06 | notice we'll just check our highlight
values here and notice we've got the low
| | 13:09 | 240, 237, 242 for our minimum value
and beautiful nice smooth skin tones.
| | 13:16 | Got nice shadow detail in the hair and
we've got nice separation between the
| | 13:20 | hair and the background.
| | Collapse this transcript |
| Scanning color contones| 00:00 | In this exercise, we're going to
discuss scanning a color portrait and
| | 00:04 | particularly about setting highlights
and shadows and brightness and contrast
| | 00:07 | and getting skin tone correct.
| | 00:09 | If you haven't already performed
the previous exercise on the grayscale
| | 00:12 | portrait, I would really encourage you
to go start there because a lot of the
| | 00:15 | fundamental techniques and concepts
that we use for scanning portraits apply to
| | 00:20 | grayscale and it's a great place to start.
| | 00:22 | An assumption here in this exercise we've
already selected our Scan Type 48 -> 24 Bit.
| | 00:27 | We're not going to be
doing any sharpening just yet.
| | 00:29 | We're going to name the
portrait Kim_Portrait_RGB.
| | 00:32 | We're going to go to the
highest quality output device.
| | 00:34 | we're going to have a resolution of 300.
| | 00:36 | Your resolution, of course, will change
based upon your output device and what
| | 00:39 | kind of scaling you have.
| | 00:41 | But we've already preset all of this
and if you have any questions about how
| | 00:43 | to set that please refer to the previous
videos on these topics of framing and resolution.
| | 00:48 | All right, So let's start
by evaluating our image.
| | 00:52 | Just like in any other image, we do
a visual evaluation and identify most
| | 00:56 | important points in the image.
| | 00:58 | The first one here is, of
course, the face and the skin tone.
| | 01:01 | We want to make sure we get the right
balance of colors and also we want to get
| | 01:05 | the right balance of skin tone.
| | 01:07 | And other important portions of this
image, of course, are white highlights,
| | 01:10 | particularly if we want to get the
white shirt in the right tonal value, but we
| | 01:13 | want to get the right color
balance, we want it to be neutral.
| | 01:15 | It should be neutral white, which
means the RGB values are going to be equal.
| | 01:18 | In terms of shadows, we probably have
the shadow values either back in here or
| | 01:22 | down here for critical shadows.
| | 01:23 | We'll look in the hair.
| | 01:24 | we want to make sure good tonal values
in the hair so it's not too dark so the
| | 01:28 | hair doesn't fill in.
| | 01:29 | So to start our evaluation of
highlights and shadows which is where we start,
| | 01:32 | where we do highlights and shadows first,
and then we address skin tones, we go
| | 01:37 | to portrait and then
overall brightness and contrast.
| | 01:40 | So the tool I love to use here is this
tool right here that allows me when I
| | 01:43 | click on the white, it shows me
the whitest portion of the image.
| | 01:46 | Notice that little red bull's-eye shows
up on the shirt and then the dark area
| | 01:51 | right down there in the jacket.
| | 01:52 | And the really cool thing is when I
hold down my Shift key, if I click on that
| | 01:56 | white highlight, boom!
| | 01:57 | I get a color sampler point in the
white highlight which brings up this Fixed
| | 02:01 | Pipette, which if you're used to working
in Photoshop, this occurs in the Info panel.
| | 02:05 | In SilverFast, the Info
panel is called the Densitometer.
| | 02:08 | Remember, a lot of these terminologies
come from prepress and they've kind of
| | 02:12 | made it into the SilverFast dialog box.
| | 02:15 | But it's the same thing we have in
Photoshop, just different name slightly.
| | 02:18 | And then we'll Shift+click on
the shadow to set the shadow point.
| | 02:21 | So now we've got our critical highlight
and shadow points and perhaps the most
| | 02:25 | critical point in this image is going
to be the skin tone and we're going to
| | 02:28 | Shift and click to set our third point there.
| | 02:30 | Sometimes I'll even set two points
in the skin tone if I've got kind of
| | 02:33 | like unequal lighting.
| | 02:35 | But here the lighting is pretty
good all the way across the face.
| | 02:38 | So I'm just going to set one here, and
then we can set one up in the dark hair
| | 02:41 | area just to check to make sure
those values don't get too dark.
| | 02:45 | So let's go after the highlights and
shadows first because that's kind of the
| | 02:48 | order in which we do things.
| | 02:49 | For color portraits, highlights, shadows,
skin tones, and then we'll do overall
| | 02:53 | brightness and contrast.
| | 02:55 | Once again, I'd like to emphasize
we're using manual tools, not automatic
| | 02:59 | tools, and you really learned how
the scanner works and how to do the
| | 03:01 | corrections manually.
| | 03:03 | And listen, once you learn how to do it
manually, you can take selective use of
| | 03:07 | automatic tools once you understand
what they're doing and you can properly
| | 03:10 | evaluate whether they're
working correctly or not.
| | 03:12 | Instead of doing everything in
curves like we often do in Photoshop, in
| | 03:16 | SilverFast, we kind of separate the
highlights and shadow adjustments using the
| | 03:19 | levels and then we do the
brightness and contrast using curves.
| | 03:22 | So let's just dive right in
and look at our histogram.
| | 03:25 | And if you've done the grayscale portrait,
you'll notice this looks quite a bit different.
| | 03:29 | Instead of having one histogram, we have
three because we knew that an RGB color
| | 03:34 | image is really a sandwich
of three grayscale images.
| | 03:36 | Now what's different about working
with a color portrait versus a grayscale
| | 03:40 | portrait is we now have
three channels to address.
| | 03:43 | And with white diffuse highlights like
in the shirt, and if we've got a black
| | 03:48 | jacket and we know that's neutral as well,
a white and black at both ends of the
| | 03:52 | tonal scale, then we know we want to get
this close to about 5%, maybe 6%, 7% if
| | 03:57 | you're using an inkjet like I do for
most of my final output these days.
| | 04:01 | We know that we want the
RGB values to be equal here.
| | 04:04 | When we look at the number one point in
the Info panel, the Fixed Pipette panel
| | 04:08 | that we have here, notice it says 221, 216, 215.
| | 04:12 | Just the way the raw scan is done here, we can
see there is a little bit of a red cast here.
| | 04:16 | All right, The Green and Blue are actually
almost equal, but the Red is a little bit high.
| | 04:21 | And interestingly, when we look at
this image on the screen, you can see the
| | 04:25 | skin looks a little red, doesn't it?
| | 04:27 | I mean just qualitatively.
| | 04:28 | It looks a little red.
| | 04:29 | So when I'm evaluating this, I'm not
just looking at my highlights right now,
| | 04:32 | but I'm thinking, boy, that red
might be a little bit too red to have a
| | 04:36 | natural looking skin tone.
| | 04:37 | So I'm going to keep that in mind as I
move forward when I start to take a look
| | 04:41 | at the skin tones, bit of a red flag for me.
| | 04:43 | What I want to do in this white
diffuse highlight is I want to have all
| | 04:47 | these RGB values equal and I want
them to be in between 5 and 7 in terms of
| | 04:52 | my highlight value.
| | 04:53 | You can choose where you want to be in
that range of 5-7 based upon what kind
| | 04:57 | of printing you use.
| | 04:58 | Most commercial printing companies can
hold a 5% white highlight, no problem.
| | 05:02 | Some inkjets may be you go up to 6 or
7 and you can decide, and we'll set our
| | 05:06 | goal here at about 240 which is
between 5 and 6% white highlight.
| | 05:11 | And the way we do this is instead of just
setting a master channel highlight and shadow.
| | 05:15 | we're going to work on the individual channels.
| | 05:16 | So I'm going to click up here on the
histogram on the Red Channel so we just
| | 05:20 | display the red channel.
| | 05:21 | And then watching these values right
here and these are the before and after
| | 05:24 | values, I'm going to click on here and
I'm going to move this up until we get to
| | 05:28 | just about 239 or 240.
| | 05:30 | All right, While we're in the Red
Channel, let's go ahead and do point
| | 05:35 | number two as well.
| | 05:36 | You know what, for this particular
image, because we've got so much shadow
| | 05:40 | area there, I want to make sure
whatever detail is there, I want to make sure
| | 05:43 | that it's maintained.
| | 05:44 | So I'm going to set this at about 20
which is between about 90-92% shadow point.
| | 05:49 | Then I'm going to do this
for each of the three channels.
| | 05:52 | Now we're going to watch this
value right here, the resultant green.
| | 05:55 | I'm going to slide the highlight until that's
at about 240 as well and bring the green up.
| | 06:01 | And we're assuming that this is neutral,
we can see we've got a neutral black
| | 06:05 | jacket here, we'll set that at about 20
and then we'll go the Blue Channel and
| | 06:08 | we'll do the same thing.
| | 06:09 | I'm watching this value right there.
| | 06:11 | I'm going to set that at 239, 240. Here we go!
| | 06:17 | See this here?
| | 06:18 | I'm pulling this up and we're
moving into the data a little bit.
| | 06:21 | Sometimes you don't know if the
histogram data right on this end is actually
| | 06:25 | part of the image or if it's a little
bit of noise in the image, that's one of
| | 06:29 | the reasons why we do this by the numbers.
| | 06:31 | And remember, we're going after
the critical parts of this image.
| | 06:34 | Skin tone, diffuse white highlights,
those are the two key portions of this image.
| | 06:38 | Unless this is a product shot for the
jacket, the jacket is kind of secondary in
| | 06:42 | terms of importance.
| | 06:43 | So we're really going to optimize skin
tone and white shirt because those are
| | 06:46 | going to pop to the eye.
| | 06:47 | So now we've set our highlights and
let's do our shadow and the blue, make sure
| | 06:51 | we've finished that up and
get that equal to about 20.
| | 06:53 | All right, There we go!
| | 06:56 | So we've set our highlights and shadows
and notice our image is overall brighter
| | 06:59 | now because we've done a
little bit of tone compression.
| | 07:01 | I'm going to click OK, and now we're
going to move into curves to discuss and
| | 07:06 | adjust our skin tone.
| | 07:08 | Why, because with curves, you have
much more control over the entire midtone
| | 07:13 | than you do with levels.
| | 07:15 | Yes, there's a midtone level
adjustment, but we can do a lot more here
| | 07:18 | because we have almost an infinite
number points along this curve that we can
| | 07:21 | use for adjustments.
| | 07:23 | So here's our highlight, here's our shadow.
| | 07:25 | we can just take a quick
look at point number four.
| | 07:27 | We've got plenty of detail back here.
| | 07:29 | All right, Notice the red is higher but it
should be because it's kind of auburn hair.
| | 07:32 | We're going to focus right here on
these values which are the skin tone values
| | 07:36 | and we want to make sure that we have
real natural values for our skin tones.
| | 07:41 | Now what we're looking for is not a neutral.
| | 07:43 | A neutral means pure gray,
like this white or this black.
| | 07:47 | But for human skin tones and of course,
you know we have a wide variety of skin
| | 07:50 | tones because of different
nationalities, from different parts of the world,
| | 07:55 | nobody has exactly the same skin tones.
| | 07:57 | So there is some variation but there's
something common to just about everybody.
| | 08:01 | Red is greater than Green is greater than
Blue when we're doing RGB values for skin tones.
| | 08:06 | It's another great reason to do our
color correction in RGB versus CMYK because
| | 08:11 | this is really easy to remember.
| | 08:12 | You just remember Red-Green-Blue.
| | 08:13 | Red is greater than Green is greater than Blue.
| | 08:17 | Now the question is, what are the ratios?
| | 08:19 | Well, look at the separation we have
here between the Blue and the Green.
| | 08:24 | And you remember, let's just take a
little side trip back to when we were
| | 08:27 | talking about the highlight here,
remember, we said that the Green and the Blue
| | 08:31 | were just about the same on the highlight?
| | 08:33 | That gave me some confidence.
| | 08:34 | The Green and Blue values were pretty
close to being right because they were
| | 08:37 | both neutral in the highlight.
| | 08:39 | I'm going to take look at this
separation here and make sure there's a
| | 08:43 | substantial separation. And there is.
| | 08:46 | Typically, you're on a midtone or
maybe a little bit lighter like we've got
| | 08:49 | here, I'm going to look for a
good 20 points of separation.
| | 08:52 | As we move towards darker areas of
the tonal ranges of skin tones, that
| | 08:56 | separation is going to decrease, but you
just have got a good 20 points of separation.
| | 08:59 | That's great.
| | 09:00 | And then what we want to look for here
is we want to have more than 20 points of
| | 09:04 | separation, and sure we do.
| | 09:06 | 180 to 220 is 20 points, 200 to 232 is about
two-and-a-half times of it, so that's great.
| | 09:12 | What range do we want to have here?
| | 09:14 | Well, this is actually not too bad.
| | 09:15 | I might want to lower the red just a little bit.
| | 09:17 | Here we've got 180 to 200, the maximum
we would ever want to have on any natural
| | 09:22 | skin tone I've better seen would maybe
do two times of the difference between
| | 09:25 | the Green and the Blue.
| | 09:26 | So we wouldn't want to have any
more than 40 points, like a 240 here.
| | 09:30 | So around at 230 is good, maybe a little
bit, maybe we'll lower this a little bit.
| | 09:35 | So I'm going to go to the Red channel
and I'm going to hold down my Command key
| | 09:39 | because I'm going to move all those
points down, maybe down to about 225.
| | 09:41 | 225, 226, 227, somewhere just lower
maybe about five points because we
| | 09:50 | started up about 231, 232.
| | 09:51 | So I'm going to take it down, I'm
just going to lower just a little bit.
| | 09:55 | And notice just visually, assuming
we're working on a calibrated monitor and
| | 09:58 | we're getting reasonable display
feedback here, I'm going to say I like this
| | 10:03 | 229, 228, we've taken a little bit of
that red hotness out of the red, the skin
| | 10:07 | tone, we back things off just a little bit.
| | 10:09 | But I'm using my numbers to
really drive my decisions here.
| | 10:12 | We've got 20 points of separation.
| | 10:14 | 180 to 200, and if we take another
20 points that would be 200 to 220.
| | 10:19 | And then if we add ten more points,
we're up to 230 so we're a little bit above
| | 10:24 | that two-and-a-half times.
| | 10:26 | So I'm backing off about five points
here and look at the difference, just watch
| | 10:30 | it on screen and you can see it.
| | 10:31 | When we're up here, we had 231, 232.
| | 10:36 | See the redness and then I just
back it off just a little bit.
| | 10:39 | And notice that it just takes
some of that hot value out of there.
| | 10:43 | It doesn't take much, sometimes
just a little bit of subtle change.
| | 10:47 | By the way, if you hold down the
Shift key as you do this, you won't be
| | 10:51 | moving left or right.
| | 10:52 | You would just be moving vertically and you
do this which is typically what you want to do.
| | 10:56 | So we'll move that down to thee, four,
five points, something like that so that
| | 10:59 | we're more than two times, but
not a lot more than two times.
| | 11:02 | And that's a good-looking natural skin tone.
| | 11:05 | Now if we want to do a little bit of
overall brightness and contrast adjustment,
| | 11:09 | we move out of the individual
channels and go to the master channel.
| | 11:13 | And if I want to move things up a
little bit on the master channel, I'm going
| | 11:17 | to hold down my Command key and I'm just
going to move the whole thing up a little bit.
| | 11:21 | I'm doing this with my curve, you can
also use the slider here, remember, to
| | 11:25 | move that up a few points just to
overall lighten my image, and you can see
| | 11:28 | the impact on screen.
| | 11:30 | And as we talked about, we typically
like to decrease contrast a little bit on
| | 11:35 | our grayscale contone portrait
images, the same thing for color.
| | 11:38 | You don't want to increase contrast.
| | 11:40 | you don't want to do something like
this, because here that makes the skin
| | 11:44 | tones kind of harsh.
| | 11:45 | If anything you might want to
just back off just a little bit.
| | 11:48 | If we just use the contrast adjustment
which darkens the highlights and lightens
| | 11:53 | the quarter tone, you can do it that way.
| | 11:55 | Although I would probably choose in
this case to use my Command key or my Three
| | 12:02 | Quarter-Tone tool here and I'm going
to put that up just about four points,
| | 12:06 | maybe take it from 0 to -5 just to
lighten the three-quarter tone area to create
| | 12:10 | a little bit more separation here.
| | 12:12 | And as far as the quarter tone is
concerned, I take my Highlights slider.
| | 12:17 | Notice when I move my Highlights
slider to the left, it darkens the highlight
| | 12:21 | just a little bit which
flattens out the skin tone.
| | 12:24 | You want to be very careful here.
| | 12:25 | No more than maybe just -2 and -3,
just to increase that overall softening of
| | 12:31 | the tonal values across the skin tone.
| | 12:34 | I'm always checking back here to make
sure we don't have a lot of movement.
| | 12:37 | All right, Notice we've
got 188 to 205, 205 to 230.
| | 12:40 | no real change in the highlight values here.
| | 12:43 | Our Shadow values, notice that
we've gone from 20 to 24 here.
| | 12:46 | Honestly, I'm not going to worry about
it because this is not a critical part
| | 12:50 | of the image so I'm not going to spend a lot
of time on that, and it's only a 1% change.
| | 12:54 | So it's unlike to be visible visually.
| | 12:57 | If it were a product shot and I was
trying to get the jacket just right, then
| | 13:00 | I'll be more anal about it.
| | 13:01 | But in this particular case, it's all
about the portraits, it's all about the
| | 13:04 | skin tones, and it's all about
the highlights. Well, there we go!
| | 13:06 | Now we've done our tonal correction,
color correction, we've gotten the skin
| | 13:10 | tone, the highlights and shadows,
we've done overall brightness and contrast.
| | 13:13 | But just do a quick check to
make sure we've got our Scan Type no
| | 13:17 | sharpening, got the name correct,
good the good frame, 300 pixels per inch,
| | 13:22 | ready to complete the scan.
| | 13:26 | And we'll save this image out with a
proper name and up comes our image in Photoshop.
| | 13:32 | I'm kind of anal about this, so I would
just come in here and do a quick check
| | 13:36 | and notice we've got the highlights and
the high 230s, low 240s, terrific skin
| | 13:42 | tones, Red greater than Green greater
than Blue, got nice shadow detail, the
| | 13:47 | three quarter-tone detail back up in here, get
everything in the low 20s in the black shadow.
| | 13:53 | Here we go!
| | Collapse this transcript |
| Sharpening| 00:00 | Here we're going to address the whole
topic of sharpening, and in fact in the
| | 00:03 | next two movies this one and the next one
on de-screening, and they're closely related.
| | 00:07 | I'll recommend that you
actually view and study both of them.
| | 00:10 | We're going to start with sharpening.
| | 00:12 | In our previous discussions of
sharpening we talked about establishing your
| | 00:15 | workflows to where you're
going to do your sharpening.
| | 00:17 | Honestly I typically don't do
my sharpening during the scan.
| | 00:20 | I wait until much later in my workflow
process, because the scan is very rarely
| | 00:24 | the last thing I am going to do to my
image even with a program like SilverFast
| | 00:27 | which provide me so many controls.
| | 00:29 | There's still a lot of composition
work and editing and masking and so forth
| | 00:32 | that I tend to do to my images
might get them in the Photoshop.
| | 00:35 | If I'm going to be applying a lot
of editing I don't want to do more
| | 00:38 | sharpening until I'm all done with
my editing, because remember that
| | 00:41 | sharpening is an edge contrast
enhancement tool and it actually removes
| | 00:45 | grayscale values from your image.
| | 00:46 | However, there are some images that
you want to just scan, sharpen, and print
| | 00:49 | and let's say that I didn't want to do
anything to this image of my buddy Zip,
| | 00:53 | my constant companion, you know
I've hiked over 1000 miles together.
| | 00:56 | He is a wonderful
Cardigan Welsh Corgi, so sweet.
| | 00:59 | And let's say I just wanted to
scan and print, I'm ready to go.
| | 01:03 | So I've decided I'm going to apply
Sharpening during the actual scan process,
| | 01:07 | because I don't want to have anymore
work to do when I get into Photoshop and
| | 01:10 | I'm happy with the
results that I'm getting here.
| | 01:11 | First thing I'm going to do of course is
set my other scan parameters, I'm going
| | 01:15 | to go 16 to 8-bit, set my frame, and my
red frame appear at 7.9, I want an 8x8
| | 01:22 | image, so I've set that here, I've
assigned my Output Resolution of 240 pixels
| | 01:28 | per inch, because I've got a Q-Factor of
1 because I'm going to be printing this
| | 01:31 | on my high quality inkjet printer.
| | 01:33 | And notice when I hold down my Ctrl key
it shows me it's actually going to scan
| | 01:36 | at 266, because I'm going up from 7.9 to 8.0.
| | 01:39 | So I've established all that and I've
set my highlights and shadow points, my
| | 01:43 | critical highlights in the fur and
critical shadow in the fur using my Highlight
| | 01:48 | and Shadow tool holding down that Shift
key and we just talked about to set the
| | 01:51 | highlights and shadow points.
| | 01:52 | And then I've set my highlight values
at the high 230s, low 240s, because I've
| | 01:57 | got a lot of darks in
here and a lot of dark fur.
| | 02:00 | I've set my shadow at about 20,
little bit higher than I do want some
| | 02:03 | other images, because I know when I print
this I'm going to print it in black and white.
| | 02:06 | It's actually going to be a multi-tonal
image, so I'm using a lot of ink, so I
| | 02:10 | know my shadows tend to fill up.
| | 02:11 | Instead of around 95% I'm up to 85 to
90% for my shadows and I just know this
| | 02:16 | from long experience of printing with my
printer where I want that shadow value.
| | 02:20 | And you can do experiments with your
own printers and figure out where you like
| | 02:23 | your shadow values in certain types of images.
| | 02:26 | And I use my Histogram tool along
with my Pipette to set my highlights and
| | 02:30 | shadows and then I came in
on this particular image.
| | 02:33 | Notice I've got a reverse S curve here
when I took my Contrast tool and I backed
| | 02:37 | it off all the way to about -20.
| | 02:39 | Look at the difference on the image
on screen, see how you get that nice
| | 02:42 | softness in the fur when
you back off on that contrast.
| | 02:45 | A lot of images you really want to
reduce contrast and not increase it, so on
| | 02:50 | this particular image I took it to
about -20 to retain all that softness in the
| | 02:53 | fur and then click OK.
| | 02:55 | And now I'm ready to sharpen my image,
but all of this has to occur first before
| | 02:59 | we go and apply our sharpening,
because the look and feel of the fur for
| | 03:03 | instance is going to be different
depending upon how I set my highlights and
| | 03:06 | shadows and particularly my contrast,
and when we set our sharpening we want to
| | 03:09 | have all of that done so we can see
what the sharpening is going to add to what
| | 03:13 | we've already set in our image.
| | 03:14 | Notice that there's all sorts of autos
in here, Auto Sharpen, Auto Sharpen More,
| | 03:19 | and then even more, and then less
and even less, same thing with the
| | 03:23 | Descreening, here's Automatic
Descreening and then Automatic Descreening
| | 03:26 | (intensive), in text and
then just straight Descreening.
| | 03:29 | What we're going to be doing here
in these two movies is talking about
| | 03:32 | Sharpening and Descreening I'm going
to show how to use both of the dialog
| | 03:35 | boxes, so you can retain control.
| | 03:37 | Hey, I would encourage you to experiment
with these other ones, no doubt about it.
| | 03:41 | I want to show you what you can do with
manual control as you get more-and-more
| | 03:45 | comfortable setting some of these
values you're going to want to retain
| | 03:47 | more-and-more control.
| | 03:48 | Okay, the regular Unsharp
Mask dialog box looks like this.
| | 03:52 | So let's start there and then we'll
move into the Expert Mode, and I'll talk to
| | 03:56 | you a little bit about that.
| | 03:57 | First thing you want to do is choose a
critical area inside your image, maybe a
| | 04:02 | couple of them, when you click on
Prescan and nothing happens in your Prescan it
| | 04:05 | gives you this rectangular box which
you then go over and click on the portion
| | 04:09 | of the image that you would like to see.
| | 04:11 | For instance, let's click on the
whisker and fur area right over here, and what
| | 04:15 | it does is it does another Prescan, but
applies the controls that you have here.
| | 04:20 | Now with the basic controls you get an
Intensity and a Threshold control, as
| | 04:23 | well as a Matrix and then you can save
Presets like you can all over SilverFast,
| | 04:27 | which is really nice.
| | 04:28 | So notice this is a Monochrome
image so work in Monochrome Mode.
| | 04:32 | Intensity, the way this works is
sharpening works on percentage of increasing
| | 04:36 | contrast is that when a Sharpening
Filter looks at an image like this it finds
| | 04:41 | high contrast edges and then makes the
lighter, lighter and the darker, darker
| | 04:44 | when you compare this is
sharpened and this is unsharpened.
| | 04:47 | And then Threshold determines where or
which grayscale values in this image will
| | 04:51 | actually be sharpened.
| | 04:52 | A Threshold value of 0 means every single
pixel in the image is going to be sharpened.
| | 04:56 | And the reason why I clicked here is
I wanted to show you this background.
| | 04:59 | One of the things you have to be
careful of is if you just pay attention to
| | 05:03 | these high contrast areas like this you
can really end up over-sharpening your image.
| | 05:07 | Notice the whiskers look nice, but look at how
the pattern has been created in the background.
| | 05:11 | Notice if I raise my Threshold here
and you can go Intense and if I come up
| | 05:15 | here and I raise the Threshold to 2 or 3%
notice how the softening of the background occurs.
| | 05:21 | We're not getting quite as much
intensity of the sharpening on the background.
| | 05:24 | I typically set my Threshold to 2 or 3
%, what that means is there needs to be
| | 05:28 | a 2 to 3% difference in grayscale value
before the sharpening will be applied to the image.
| | 05:33 | Then the Matrix is called Radius, in
Photoshop if you're familiar with Radius
| | 05:37 | and it basically you're determining the
width over which the sharpening will be
| | 05:41 | applied, and typically if you're
scanning at 100% you'll want a 3x3 pixel radius
| | 05:46 | or Matrix, if you're enlarging images
say up over 300% you may want to go to a
| | 05:51 | 5x5 and you are up over 600% then you
may want to go to a 7x7, and you can
| | 05:56 | experiment and it's different
with various kinds of images.
| | 05:59 | For most of the images you'll be
scanning unless you're really going about 300%
| | 06:04 | or 3x3 radius of a Matrix is just fine.
| | 06:05 | So this is the basic controls
for controlling Unsharp Mask.
| | 06:09 | In Intensity, an increase in sharpness
of 50% is typically a good place to start.
| | 06:14 | In SilverFast, you can
experiment with various kinds of images.
| | 06:17 | Let me introduce you to the expert
version of this software a little bit because
| | 06:22 | there are some things that you can
really help to fine-tune your sharpening.
| | 06:25 | For instance this over-sharpening is
set at 100%, I'd like to use this along
| | 06:29 | with my Threshold to control the
softening of the background, as we see right here.
| | 06:35 | Notice if I push all the way down to 0
there is almost no sharpening occurring
| | 06:39 | here and there's very little
sharpening occurring there.
| | 06:41 | But if we raise this to about 20%
we're still going to get some decent
| | 06:45 | sharpening here but the background
is going to be softened quite a bit.
| | 06:49 | So I'll use the combination of
Threshold Intensity and Oversharpen, and
| | 06:53 | sometimes I'll start with 50% and then
I may go up to like 75% on the sharpen
| | 06:58 | after I've done a little bit of
Oversharpen adjustment, so I get more
| | 07:01 | sharpening on the high contrast edges
and the over-sharpening is helping me to
| | 07:04 | protect my soft background.
| | 07:06 | And this Sharpening up to
is a real important setting.
| | 07:09 | I will typically with an image like
this, because I've got lots of dark areas
| | 07:12 | and I want them sharpen but I don't
want sharpening to go all the way into the
| | 07:16 | complete dark area because what
sharpening does in solid black or really dark
| | 07:20 | areas like maybe on Zip's nose here
is it starts to add a pattern to it.
| | 07:24 | So I may sharpen up to maybe 90%, 85 or 90
%, and on some images I only go up to 80%.
| | 07:30 | So on this one I'm going to go up to
about 85%, 85 or 90% somewhere in there.
| | 07:35 | Then there's no sharpening after that
and then I don't have any problem with
| | 07:38 | creating patterns in my dark areas of my image.
| | 07:41 | At any point you can click on Prescan and
go into a different portion of your image.
| | 07:46 | And notice we're getting some
sharpening here in the eye, but we're not getting
| | 07:47 | any patterns in the black area, so that's good.
| | 07:51 | Now this light Contour and dark Contour
typically, for an image like this that
| | 07:55 | has an equal amount of
both black and white in it.
| | 07:57 | I'm going to leave it at 50%, but if I
want to get more sharpening in the light
| | 08:01 | area then I may raise the percentage
in the light Contour or raise percentage
| | 08:04 | in the dark Contour.
| | 08:05 | I'll raise the dark Contour percentage
for instance if I've got text in an image
| | 08:09 | and I want to get more
sharpening in the dark area.
| | 08:11 | And one thing I almost always turn on
is soft shadows, and what this does is
| | 08:16 | smooth the shadow area of the image.
| | 08:18 | Your eye doesn't see a lot of
sharpening in the shadow area anyway, so I'm all
| | 08:22 | about protecting the dark area of the
image, and particularly within image like
| | 08:26 | this where I have lots of dark areas
with some fine details of the fur and I
| | 08:29 | don't want to create patterns in there.
| | 08:31 | So these would be some good settings, at
least good starting settings on this image.
| | 08:34 | I know there is a lot of information
here, maybe you want to just start by
| | 08:38 | experimenting with some of the
automatic tools and then come with the basic
| | 08:41 | Unsharp Mask tool and then you can
experiment with these other values as
| | 08:44 | I've explained them.
| | 08:45 | And let's go ahead and just complete
the scan then applying this Unsharp Mask
| | 08:49 | and notice I'm indicating this as SH,
that's my indication for, hey, I've
| | 08:52 | already sharpened this image, so be
careful about sharpening it anymore, just my
| | 08:56 | kind of shorthand to myself, and there we go.
| | 09:00 | And let's take this all the way up to
100% and looking at 100% is where you
| | 09:04 | really get the best idea about what
the image is actually going to look
| | 09:08 | like when it print.
| | 09:09 | You'll notice you get some really nice
sharpening detail along the edges, but
| | 09:14 | there's no modeling in the black areas, the
nose looks very natural, beautiful, hi Zip!
| | 09:21 | So cute!
| | 09:21 | All right, but there we go, there is
the beginnings, intermediate, and export
| | 09:25 | portions of applying Unsharp Mask.
| | 09:27 | By the way all sharpening tools are
slightly different, but all the concepts
| | 09:31 | are basically the same so everything
that you've learned here and you can apply
| | 09:33 | it and use in other sharpening tools
even if the names of the values are
| | 09:37 | slightly different.
| | Collapse this transcript |
| Scanning printed/screened or patterned images | 00:00 | Here I'd like to address some of the
tools and processes for removing patterns
| | 00:05 | inside of images that we're about to
scan, and in particular, I'd like to
| | 00:08 | address the challenge of removing
halftone dot patterns from printed images.
| | 00:12 | Images like this, and this was from a book
from the 1920s, it's got all sorts of problems.
| | 00:16 | It's low contrast and there's lots of
shadow detail has been lost and high light
| | 00:20 | detail has been lost, but the most
significant problem here is if we magnify
| | 00:24 | this, we see what this image is made up of.
| | 00:26 | It's a previously printed image in
a relatively coarse lined screen,
| | 00:29 | somewhere between probably 80 and
100 line screen on this book and that's
| | 00:33 | what the image is really made up of,
is these black and white dots from which
| | 00:36 | the image was originally printed.
| | 00:37 | When you scan printed image like
this at standard continuous tone image
| | 00:41 | resolutions for a scanner like 200 to
300 pixels/inch, it definitely picks up
| | 00:45 | that halftone dot pattern.
| | 00:47 | So what we want to do is to try to
remove that pattern, not only because this
| | 00:50 | look bad, but if we try to reprint
this already printed image, it's creates
| | 00:54 | what's called a moray pattern, because
this dot pattern interferes with the dot
| | 00:57 | pattern that's being used in
the current printing device.
| | 01:00 | It gets ugly in a hurry, so we
need to remove this if we can.
| | 01:04 | Let's put this image away for a second.
| | 01:05 | Now let's go on over to the SilverFast
interface and see what we can do here.
| | 01:09 | First, I've done a preview scan and
I've set my frame on that image and first
| | 01:14 | thing we'll do is adjust the
brightness and contrast and set highlights and
| | 01:17 | shadows, but in images like this that
are nothing but dot pattern basically, I
| | 01:21 | don't try to do a numeric
setting of the highlights and shadows.
| | 01:24 | I still use this tool with the levels,
but basically I use the histogram as my
| | 01:29 | guide for setting highlights and
shadows in this image, and I just drag the
| | 01:33 | highlight over to just the beginning
and if you watch this image over here,
| | 01:36 | you see, dramatically improves the
overall brightness and contrast of the
| | 01:39 | image and I'll do the same thing on the shadow
end, just so that the data starts to bump up.
| | 01:44 | Be little careful in the shadow end on
these kind images, just move it over so
| | 01:47 | you start to get that data, because
most of the shadow data is filled in,
| | 01:50 | anyway, no sense making it worse, and
then we can click OK and it's perfectly
| | 01:54 | fine to come up here and add a little
bit of brightness to the overall image.
| | 01:58 | That's no problem, using
the Curve Gradation tool.
| | 02:00 | Then we're going to the Descreening
filter, which is underneath the Filter menu
| | 02:04 | here, and this de-screening
filter works in this fashion.
| | 02:08 | We are going to do a couple of things.
| | 02:09 | First of all if you know what the
screen pattern is, you can set that LPI, the
| | 02:13 | Lines Per Inch and I'm not
really sure what it is here.
| | 02:16 | I think it's between 85 and 100, so
I'm going to do a detect screen, and then
| | 02:21 | I'm going to click Prescan, and
you'll notice nothing happens, but don't be
| | 02:24 | frustrated and keep clicking Prescan.
| | 02:26 | What Prescan does is it produces this
little rectangle that you then move over
| | 02:30 | the image to select the area where
you would like the prescan to occur.
| | 02:34 | Now you could click up here, now let's
go ahead and do that and see the result
| | 02:37 | and you get an idea of
how this technology works.
| | 02:41 | And what SilverFast does is on the
left it shows you the not de-screened
| | 02:44 | image, that is the patterned image,
and on the right it shows you the
| | 02:47 | de-screened version.
| | 02:49 | It worked pretty darn well,
looks good, doesn't it?
| | 02:51 | But that's probably not the most
effective place to really click on the Prescan,
| | 02:55 | a better area to click is something
like this where you've got some detail, and
| | 02:58 | I'm going to click here, because not
only does it show some edge detail, but
| | 03:02 | there is also a pattern in the basket
that I want to monitor while I go through
| | 03:05 | this process as well.
| | 03:07 | Pretty good, and look at the line screen.
| | 03:09 | It tells us it's 106, and we're pretty close.
| | 03:11 | All right, we can just stop there if we
want to, but there are some other things
| | 03:14 | we can do here, that's going to
give you a pretty good quality image.
| | 03:18 | And we could go down here to
Adaptation and Sensitivity, but I've used this
| | 03:21 | dialog box enough that, what I tend
to do is this, and you can make up your
| | 03:25 | own method if you like.
| | 03:26 | you're fine, after you get some practice.
| | 03:28 | I like to turn on my use Unsharp Masking,
this is the Unsharp Masking tool that
| | 03:32 | we talked about in the previous movie.
| | 03:34 | Now watch this image as I
click on, Use Unsharp Mask.
| | 03:37 | Do you see how it sharpens up.
| | 03:39 | It actually shows you a preview of
what's about to happen. It's fairly cool.
| | 03:42 | What's important about using Unsharp
Mask is the danger of using too much of
| | 03:46 | it, because remember what sharpening does, is
increase edge contrast between adjacent pixels.
| | 03:50 | And remember this original
image was black-and-white pixels.
| | 03:53 | So if you would have sharpened for
instance, the not Descreen version, it would
| | 03:57 | just make matters worse.
| | 03:59 | If you apply to much sharpening, it
can maybe bring back that pattern, so I'm
| | 04:03 | very careful, but I would like it
to be a little bit sharper, if I can.
| | 04:07 | So typically with the images like this,
I'll keep this at about 50%, keep my
| | 04:11 | Threshold at 1, you can play with the
Oversharpen, you can drag this all the way
| | 04:16 | over if you want and you can see the
impact on the screen up here with no
| | 04:20 | sharpening and then over sharpening,
you can drag this all the way up to 100%.
| | 04:25 | And what's nice here is the
light and the dark contour.
| | 04:28 | I'd leave that at 50%, particularly
with images like this, because what it does
| | 04:32 | is it progressively decreases the amount
of sharpening as you get close to real,
| | 04:36 | real high contrast edges.
| | 04:38 | So it's a very sophisticated
tool and it works very well.
| | 04:41 | Rather than going directly to these tools,
I really try to use Unsharp Mask, and
| | 04:46 | let me just zoom in here.
| | 04:48 | I want to go up just a little bit,
because I want to show you something.
| | 04:51 | Notice if we go with Retain edges,
and Retain edges is another type of
| | 04:54 | edge sharpening tool.
| | 04:55 | If I turn this on notice what happens
to these edges, do you see how they start
| | 04:59 | to get a little bit to Oversharpened
and particularly if we drag these over
| | 05:04 | here, and particularly if we do the
Retain Text portion, which make it even
| | 05:08 | sharper, and notice that we could, in
this image we could take and include the
| | 05:12 | text here, and we could zoom in
on the text and take a look at it.
| | 05:15 | But my experience teaches me that I
generally don't use this as much as I use
| | 05:21 | the combination of the Descreening and
then the Unsharp Mask and I tend to get
| | 05:25 | pretty darn good results when I do that.
| | 05:27 | There are some other details you can
set here, you can set the matrix, I've had
| | 05:32 | very good luck using the 3x3 matrix you
can choose a 5x5 or x7, experiment with
| | 05:38 | various kinds of images, because
there' all sorts of different kinds of
| | 05:40 | screened in pattern images.
| | 05:42 | There is also an expert mode here that
you can get into and out of, we have been
| | 05:47 | in the expert mode that allows us to
control the light and dark contours and I
| | 05:51 | like to work with the Oversharpened
and then setting the light and dark and
| | 05:55 | contours, so that we don't get super
amount of sharpening along that real high
| | 05:58 | contrast light and dark edges, so there we go.
| | 06:01 | So we're going to do a combination of
Descreening and then Sharpening and it's
| | 06:04 | going to occur in that order, and that's
particularly important how you want to do that.
| | 06:08 | And then we're ready to scan our image
and we're going to call this -- we'll
| | 06:12 | just call this a DSS, which is
Descreened and Sharpened and then I'm going to
| | 06:16 | show you some variations on these
scans that I've already created.
| | 06:19 | All right so what SilverFast does now
is it captures the image and it kind of
| | 06:24 | shows you onscreen as it goes through it.
| | 06:26 | Scans it to the file and you can see
the halftone dot pattern very clearly, and
| | 06:29 | then it goes through it's
descreening process, and there we have it.
| | 06:33 | Let's bring this up and
compare it to our original image.
| | 06:37 | Not too bad, got rid of all that
halftone dot pattern, and image like this, a
| | 06:41 | descreened image, it's a very,
very poor quality to begin with.
| | 06:43 | It's never going to have the kind of
sharpness that you have in a regular scan
| | 06:47 | from continuous tone image, but you're
going to be able to print this and it's
| | 06:50 | not going to have that horrible moray
pattern that going to be created when you
| | 06:53 | try to print an image like you
can see in the background over here.
| | 06:56 | All right, so there is descreening
plus sharpening through SilverFast.
| | Collapse this transcript |
| Scanning positive transparency film| 00:00 | In this session let's discuss scanning slides.
| | 00:02 | Now, scanning slides is in many ways
very similar to scanning reflective work in
| | 00:07 | terms of the concepts of the image and
the tools that we are going to use, but
| | 00:10 | there are some differences in terms
of the amount of magnification and the
| | 00:13 | loading of the image.
| | 00:14 | First and foremost, one of the
fundamental differences or challenges we have
| | 00:18 | with scanning, particularly small
dimensional films like slides, is that we are
| | 00:22 | going to typically engage
in a lot of magnification.
| | 00:25 | Because you can imagine the
dimensions of a slide and say we are going to
| | 00:28 | magnify that up to 5x7 or 8x10,
where there is a lot of magnification.
| | 00:32 | And that means that if there is any dust
or dirt or any foreign object on there,
| | 00:36 | where they are going to be enlarged,
they are just going to pop and show up.
| | 00:38 | So the first thing you'll want to do is
don those lint free gloves, and when you
| | 00:42 | mount your slide inside your film holder,
you want to make sure that, that slide
| | 00:46 | is now nice and clean.
| | 00:47 | Start off with blowing it off with your
canned air or your hand pump, and then
| | 00:51 | I almost always clean up the slide with my
lint free Q-tip and the emulsion cleaner.
| | 00:56 | Make sure you use the proper
emulsion cleaners for hard film emulsion.
| | 01:00 | If you have an older slide, then you
have to have a different cleaner for that.
| | 01:03 | So make sure it's very, very clean,
because everything is going to show up.
| | 01:06 | Then the second thing that's a little
bit different working with slides is that
| | 01:10 | you're probably going to be loading
your slide into a specific film holder,
| | 01:13 | whether it's a dedicated film scanner,
which is what we are using here, a
| | 01:16 | Plustek, or if you are loading it
into a flatbed scanner, your slide is
| | 01:19 | typically going to go in a slide holder.
| | 01:21 | And what you want to pay
attention to is two things.
| | 01:23 | one, the orientation, the direction
in which you load your slide into your
| | 01:27 | film holder, and then how you insert that
film holder into the dedicated film scanner.
| | 01:32 | Typically with the flatbed scanners,
there is kind of a clicking position, so
| | 01:36 | you can't get that wrong, but with a dedicated
film scanner, you can put it in the wrong way.
| | 01:40 | And the reason why this is so important
is that when you are working with slides
| | 01:44 | or any kind of film, there is a
natural curve to it, because of the emulsion,
| | 01:47 | the difference between the emulsion side
and the backing side, and film scanners
| | 01:51 | are built in such a way that they
naturally can accommodate for that, and if you
| | 01:54 | put it in upside down, it won't focus properly.
| | 01:57 | So read about the mounting of the image
in your film holder for your particular
| | 02:02 | scanner, and if you don't have the
instructions, go to the website and download
| | 02:06 | it and read it, and if you're still
not sure, you can run a test and see.
| | 02:10 | Scan the film two different ways,
and here let me show you a demo.
| | 02:13 | Here we have an image that's scanned
with exactly the same settings, but one
| | 02:18 | right side up and the other right side down.
| | 02:20 | And the one on the left has the
proper focus, and this was scanned on the
| | 02:24 | Plustek with the emulsion
up and in proper direction.
| | 02:27 | And the one on the right was
scanned in the improper direction.
| | 02:30 | And just looking at these two images,
you can see that this one is overall
| | 02:33 | sharper than this one.
| | 02:35 | They were scanned at exactly the same way.
| | 02:37 | This has an overall softness to it,
where this has more sharpness.
| | 02:41 | And you can see this in detail if we Zoom in
here, and let's take this to about 450% or so.
| | 02:50 | There we go.
| | 02:50 | And we are going to put this right up here.
| | 02:52 | I am going to take this image and we'll
Zoom in to about the same amount, about 450.
| | 02:59 | And then we are going to
juxtapose these two images.
| | 03:02 | side by each is the French-
Canadian saying, I love that expression.
| | 03:06 | And let's look at the hair.
| | 03:10 | Look at the details of the hair here.
| | 03:12 | Notice how much sharper this hair is
and how much softer this hair is here, and
| | 03:16 | just kind of move your head back from
your monitor and look here, you can see
| | 03:20 | more detail, more
sharpness here than you see here.
| | 03:22 | These two works were scanned exactly
the same, but this one is slightly out of
| | 03:26 | focus, because the film is in upside down.
| | 03:29 | So it really does make a difference,
and you can't recover all of that
| | 03:32 | detail with just sharpening the image,
because you've lost it during the
| | 03:35 | actual scan process.
| | 03:37 | Back to SilverFast, really pay
attention to how you load your film.
| | 03:41 | Next, we are going to go to the
General tab, as you see here, and make sure
| | 03:44 | we have the proper device, which if you don't
SilverFast probably wouldn't be working anyway.
| | 03:48 | We are just going to scan one image
here rather than working in Batch Mode, and
| | 03:52 | make sure this is set on Positive.
| | 03:54 | Now, remember, I mentioned that one of
the issues with scanning small pieces of
| | 03:58 | film is we're going to have lots of
magnification, so one of the things I
| | 04:01 | typically always do is I'll go
into my Options, which is SilverFast
| | 04:05 | Preferences, as we've talked about, and I
always set a High resolution prescan of at least 4x.
| | 04:10 | And sometimes if I'm doing big
magnifications I'll go all the way up to 8x.
| | 04:13 | And the reason for this is so I can zoom
in and look at critical areas if I need
| | 04:18 | to without having to re-perform the
preview scan, as we've talked about.
| | 04:21 | Oh, one of the thing to mention is
sometimes with films I use a different
| | 04:25 | Gamma-Gradation, and a lot of times
with the flatbed scanner I use 1.8 to
| | 04:29 | 2.0, and sometimes I go up to 2.2, and it
really depends upon the film and the scanner.
| | 04:34 | If overall your images are coming out a
little bit darker, you're always having
| | 04:37 | to do a lot of lightening with your
Curves tool when you're working with films,
| | 04:41 | come in here and you can set
a different Gamma-Gradation.
| | 04:43 | you go to a little bit higher number and
overall your scans will be lighter. Okay.
| | 04:47 | Good!
| | 04:48 | Let's move over to the Frame section then
and let's talk about setting up the Frame.
| | 04:51 | And we'll choose our bit depth, and as
we've been typically doing, go 48 to 24,
| | 04:56 | so this is one of those things that's
no different, and use the same kind of
| | 04:59 | decision making for our properties here.
| | 05:01 | Absolutely going to go with no Sharpening here.
| | 05:04 | And the reason is two things.
| | 05:05 | one is, I have told you in my
workflow, I like to sharpen after the scan,
| | 05:09 | because I can see the entire image
and things go a little bit faster.
| | 05:12 | Plus, if I am going to do some image
editing, I don't want to apply Sharpening
| | 05:15 | until after I finish with that.
| | 05:16 | Also, for this particular image,
this is a soft focused images, isn't it.
| | 05:20 | It's the sunset image, and we
don't want a lot of Sharpening anyway.
| | 05:24 | And if I am going to apply Sharpening to
this image, I really want to do it when
| | 05:27 | I can see all the pixels. So no Sharpening.
| | 05:30 | And then we'll set the Name Sunset Portrait
_RGB, and then I am going to set my Scale.
| | 05:35 | And what I want to do is I am going to
do a square frame on this image, and then
| | 05:40 | I am going to take this up
to 8x8 here. Here we go.
| | 05:46 | And notice the Scale is 838%.
| | 05:48 | Yikes, wow, that's a lot, right?
| | 05:51 | And if we want maximum quality, say
we are going to go to a commercial
| | 05:54 | printing press and this is going to be
on a page and printed, so use a Quality
| | 05:57 | Factor of 2.0 times 150.
| | 05:58 | And notice this says 300 pixels per inch,
but the real optical scan resolution,
| | 06:04 | if we hold down our Ctrl
key, is going to be 3600.
| | 06:06 | This is another reason to
use dedicated film scanners.
| | 06:09 | They typically have very high optical
scan resolutions, because they expect to
| | 06:13 | be doing a lot of enlargements, because
we are starting with 1"x1" and going up
| | 06:17 | to an 8"x8", so it's over 800%.
| | 06:20 | So I may come back up here.
| | 06:22 | I am going to put in my scan resolution
post scale on this image, so I am going
| | 06:26 | to put in 300 pixels per inch to remind
me what the final output resolution this
| | 06:30 | file is going to be after
scaling, so Sunset Portrait_RGB_300.
| | 06:34 | So now we are ready to evaluate
and do an image adjustment here.
| | 06:37 | When I look at this image, first I do a
qualitative adjustment and I ask myself,
| | 06:41 | are there any neutrals in here?
| | 06:43 | And there really aren't.
| | 06:44 | I really think this is kind of a beige dress.
| | 06:46 | It's not a white one.
| | 06:47 | You might think it was white, but even
if it were, it's probably going to have a
| | 06:50 | colorcast because it's a sunset shot.
| | 06:52 | And this is one of the issues that
you always ask yourself is, does the
| | 06:55 | image have a colorcast?
| | 06:56 | Here the answer is obviously
yes, we can see that visually.
| | 06:59 | And then the second question is, do we want
to keep it or do we want to get rid of it?
| | 07:02 | Well, even if we had some neutrals in
this image, which we really don't, maybe
| | 07:05 | something back here is a neutral, but
it's not a critical portion of the image
| | 07:09 | so we wouldn't use it for evaluation
anyway, but even if we had neutrals, we
| | 07:12 | want to maintain the colorcast of this image.
| | 07:14 | It's a nice sunset shot, so it's going
to have the yellow reds in there, so we
| | 07:18 | would want to maintain it.
| | 07:19 | So the question becomes more of a
qualitative one or a creative one, how much of
| | 07:22 | that colorcast do we want to maintain, do we
want to modify it a little bit? Let's see.
| | 07:26 | Also, let's look for
Highlights and Shadows, as we always do.
| | 07:30 | Critical areas in this image, I'll
look right here and I wonder if this is a
| | 07:33 | blown out highlight area.
| | 07:35 | And let's use our Densitometer,
remember, this is Photoshop's Info tool
| | 07:38 | called the Densitometer.
| | 07:39 | I'll look through here and
look at the RGB values right here.
| | 07:42 | We're actually in luck.
| | 07:44 | When I looked at this, I thought,
ooh, it's blown out, too bad.
| | 07:46 | But no, there is detail in there.
| | 07:48 | Everything is in the 240s and 230s and 220s.
| | 07:50 | That's terrific, so that's good.
| | 07:53 | And of course we'd want to make sure we
maintain all the shadow detail here, but
| | 07:56 | really what the key part of
this image is the Skin Tones.
| | 07:59 | Most of the Skin Tones are really not
well lit, they're kind of in shadows, so
| | 08:03 | we might want to take two
different sample points.
| | 08:05 | one on her cheek and one down here and
kind of compare them and then split the
| | 08:09 | difference between them in
terms of what the RGB values are.
| | 08:12 | So let's set Highlights and Shadows
and then set some Skin Tones and go about
| | 08:16 | adjusting the image, and we are
going to use our wonderful tool here, the
| | 08:19 | Highlight and Shadow tool.
| | 08:21 | We click on that, and we
can see, oh boy, that's great!
| | 08:23 | The brightest portion of the image is
right in the hair, and if we hold down our
| | 08:26 | Shift key and click there, boom!
| | 08:28 | It places our first color
sampler point right there in the hair.
| | 08:31 | And then we decided we wanted to have
two Skin Tone sets right there, number
| | 08:36 | two and number three, and then we're
going to go set our Shadow Point and we'll
| | 08:41 | Shift and click right there, in this place
right down here in the darker area of the hair.
| | 08:45 | Perfect!
| | 08:46 | I mean, those are kind of the two areas
we'd want to maintain and evaluate and
| | 08:49 | make sure we get correct.
| | 08:50 | it's the highlight in the
hair and then the shadow area.
| | 08:53 | So now let's take a look at
our values and discuss them.
| | 08:57 | We expect there to be a colorcast
here, and it should be pretty large Red
| | 09:00 | colorcast in probably all these, but
particularly in the Highlights and the Skin
| | 09:04 | Tones, let's look at the
Highlight value. 239, 226, 245.
| | 09:08 | Well, the high number here, 245, is
just about at a 4 or 5% white Highlight, so
| | 09:13 | we don't want to go any lighter here,
because if we do, then we are going to be
| | 09:17 | blowing out the Blue portion
and then it won't print properly.
| | 09:21 | We could adjust the colorcast here, but
the colorcast adjustment we would make,
| | 09:25 | if we make one, it's probably going
to be more likely in the Skin Tone.
| | 09:27 | So we're going to leave the
Highlight pretty much the way it is.
| | 09:30 | Let's look at the Shadow,
move over there. 46, 32, 32.
| | 09:34 | If we want to increase contrast in
this image a little bit by darkening the
| | 09:37 | Shadow, we've got some
room to move here, don't we?
| | 09:39 | We can go all the way down
to about 15, if we want to.
| | 09:41 | We don't need to go all the way down to 15,
maybe down 20, so maybe we'll do that.
| | 09:45 | Now let's look at Skin Tones.
| | 09:46 | All right, 219, 188, 172, so here we've
got about a 16 point difference between
| | 09:53 | the Blue and the Green, and then the
Red is much higher, as we expected.
| | 09:56 | It's in point number two.
| | 09:57 | And point number three, we have about a
12 point difference here, and then, oh,
| | 10:01 | almost a 40 point difference in the Red here.
| | 10:04 | So it's pretty high in the Red.
| | 10:05 | Now, this certainly meets our criteria
for Red being greater than Green being
| | 10:09 | greater than Blue, doesn't it? You bet!
| | 10:11 | But the red is very high.
| | 10:12 | The question is, do we want to
maintain all that redness in the skin or do we
| | 10:15 | want to just back it off a little bit?
| | 10:17 | Well, let's see, so we have done our kind
of a qualitative and our numeric analysis.
| | 10:21 | We know where we are headed.
| | 10:23 | Look at the Highlight, when we go to our
Histogram tool, which is like Levels in
| | 10:26 | Photoshop, we're not going to touch the
Highlight, we've already decided that,
| | 10:29 | we don't want to blow it out anymore.
| | 10:31 | But the Shadow, we've
got some room to move here.
| | 10:33 | So let's move the Shadow up so the
lowest value is about 20, so I just monitor
| | 10:38 | that point number 4 as we come in here,
and then take a look at the image.
| | 10:42 | And this is when it's really super
helpful to have a calibrated monitor, so
| | 10:46 | that you really get a pretty good
representation of what that image is actually
| | 10:49 | going to look like.
| | 10:50 | And notice we have increased the Contrast,
but it's not a super increase in Contrast.
| | 10:54 | It just gives us a little
bit more punch to the image.
| | 10:56 | So I'm happy with that.
| | 10:57 | That's the only adjustment I am
going to make here in the Histogram.
| | 11:00 | I am going to click OK.
| | 11:01 | Let's go to our Curves tool now and take
a look, and let's start with working on
| | 11:06 | our Reds a little bit.
| | 11:07 | I think I'd like to maybe
reduce our Reds just slightly.
| | 11:11 | Still maintain that colorcast, but where
that 40 point spread down here is pretty high.
| | 11:16 | So maybe just lower this about 5 points
and let's take a look at the Skin Tone.
| | 11:20 | You can use this slider here remember,
do a raise and lower if you want to.
| | 11:23 | Or you can use the Command key and click to
drag the whole curve down, whatever you like.
| | 11:29 | And look what happens just on screen,
if we just lower this about 5 points, you
| | 11:33 | see how it softens that
overall Red just a little bit?
| | 11:35 | So let's just lower it, just a little
bit, maybe 5, 6, 7 points. There we go.
| | 11:40 | And then, because it's a nice soft
portrait, let's lower the Contrast just a
| | 11:44 | little bit and let's just lower this
to maybe 5 points in the Highlight, and
| | 11:49 | then go to the three-quarter tone and
maybe raise that about 5 points, just a
| | 11:52 | very subtle flattening of that curve to
give you even more softness to the Skin Tone.
| | 11:57 | Typically with portraits remember, we
don't increase Contrast on the quarter
| | 12:00 | tone to the three-quarter tone, we
lower the Contrast. Well, there we go.
| | 12:04 | So we've made a nice little fine-tune
adjustment to our image and we're ready
| | 12:08 | to go ahead and scan.
| | 12:09 | So just check the name, check to make
sure the output and resolution is properly
| | 12:12 | done, and boom, we're ready to scan.
| | 12:15 | And we'll save this as a TIFF of course, as
always, so that we don't get any compression.
| | 12:20 | You can see how valuable performing
a numeric analysis of our image is.
| | 12:24 | We use both our creative sense as well
as the numbers to produce an image so
| | 12:28 | it's pretty much exactly
what we would like to have.
| | 12:30 | And here is the image in Photoshop.
| | Collapse this transcript |
| Scanning negative transparency film | 00:00 | Here we are going to address scanning
negatives, and if you watched the previous
| | 00:03 | movie on scanning slides, I've got a
lot of the same things to say about
| | 00:06 | scanning negatives as far as
the basic setup is concerned.
| | 00:09 | When we scan, particularly small
dimension negatives, we are going to typically
| | 00:12 | be enlarging them a good deal, and
500, 600, 700, 800% enlargement is not
| | 00:17 | uncommon, going from small, like
120 film size, up to a 5x7 or 8x10.
| | 00:22 | That means that we want our images to
be super clean, because anything that is
| | 00:26 | on that negative is going to be enlarged.
| | 00:27 | And here, when we take this particular
negative and we look at it, look at all
| | 00:30 | the garbage on that film.
| | 00:31 | I could spend hours
trying to clean that puppy up.
| | 00:34 | And even if you could clean it up, you
lose so much quality, because so much of
| | 00:37 | the detail gets lost, so you really,
really want to clean up that negative once
| | 00:41 | you get it inside the film holder.
| | 00:42 | Just like our discussion of film
holders for slides, you have the same emulsion
| | 00:47 | side up or emulsion side down question,
and it really depends upon your scanner
| | 00:51 | and how it's set up in the
software or where the detection device is.
| | 00:54 | So be sure that you pay close attention,
because if you don't pay attention to
| | 00:57 | that, you'll end up with this.
| | 00:59 | On the left-hand side here we see an
image that was placed in the scanner
| | 01:02 | properly, and let's just Zoom in here and
take a look at the details here on the side.
| | 01:07 | And here's the exact same image, but
it's scanned improperly, with the improper
| | 01:12 | side up, and look at it,
about the same magnification.
| | 01:17 | And just compare the
details along the edges here.
| | 01:19 | See how much sharper this is.
| | 01:20 | That was the proper alignment and
orientation of the film in terms of the scanner.
| | 01:25 | Scanner just couldn't focus.
| | 01:27 | Even though a lot of the dedicated film
scanners have automatic focus, they can
| | 01:31 | only focus so far, and if the emulsion
is in the wrong direction, you're just
| | 01:34 | going to get a poor quality scan. Okay.
| | 01:37 | So back to SilverFast then, let's
talk about setting up our software
| | 01:41 | for scanning negatives.
| | 01:43 | And even if you are not using
SilverFast, if you are using some other
| | 01:45 | application, you'll have some
of the similar set up value.
| | 01:48 | SilverFast probably has a couple of
bells and whistles that others don't
| | 01:51 | for scanning negatives.
| | 01:52 | But the first thing you'll want to do
is go to the General Frame and choose
| | 01:56 | Negative, and what that does is invert
the image and create a positive out of it.
| | 02:01 | And assuming we've done our basic
Prescan, then we'll go back to Frame, and we
| | 02:07 | can decide whether we want to scan the
entire image or just part of the image,
| | 02:10 | and here I've done a little bit of manual crop.
| | 02:12 | And for this particular image, I am not
exactly sure what I want the final crop
| | 02:15 | to look like, so I'm just going to
do a quick manual crop here and I am
| | 02:19 | ultimately going to end up
with something like a 5x7.
| | 02:22 | So what I am going to do, in this
case I am going to get close, so I'll put
| | 02:27 | like 600% enlargement, so I get a 5.6 by 8.3,
and I'll complete the rest of the crop later on.
| | 02:33 | This means that I am not going to be
doing a lot of interpolation later on.
| | 02:36 | I am just going to be doing cropping.
| | 02:38 | If you know exactly the dimensions
that you want, go ahead and scan it, but I
| | 02:41 | don't know how much of these people I
want in the final image or whether I want
| | 02:44 | a little bit more sky, I just don't know.
| | 02:46 | We'd do a rough crop here.
| | 02:48 | make sure we have enough pixels to give
us the output dimension at which we want
| | 02:51 | to finally print it.
| | 02:52 | Remember, if you are going to output
this image to multiple dimensions, you have
| | 02:56 | 8x10 and 5x7, then always scan for
the largest dimension that you want.
| | 03:00 | Notice that we'll set 300 pixels
per inch as the final resolution after
| | 03:05 | the scaling is done.
| | 03:06 | And if you hold down that Ctrl key,
this number then becomes actual optical
| | 03:10 | resolution at which the scanner is
going to be working, which is 1800.
| | 03:13 | So SilverFast does the
math for you, which is nice.
| | 03:16 | We'll name it Fireworks_RGB_300 and then
we're ready to start setting our Exposure.
| | 03:20 | And in SilverFast, when you choose
Negative, this NegaFix dialog box comes up.
| | 03:25 | And one of the things that's a little
bit different about negatives compared to
| | 03:29 | slides which are positives is that
there's an enormous variety of film emulsions
| | 03:33 | available for negatives.
| | 03:35 | So what you typically need to do is
you'll come down here and set these three
| | 03:39 | basic features of the film.
| | 03:40 | it's called the film term, and
you'll want to choose the manufacturer, in
| | 03:43 | this case it was Kodak, and then
choose the Film Type, which was Gold, and
| | 03:48 | then the ASA, which was 100.
| | 03:50 | What this does is it tends to
neutralize the image, because every film emulsion
| | 03:54 | in negative film has a
different colorcast to it.
| | 03:57 | That may be the only controls that
you have on your scanning software.
| | 04:00 | In fact, some scanning software don't
even have that, they just kind of have a
| | 04:04 | negative, you choose
negative, and then go from there.
| | 04:06 | And you can still accomplish good scans.
| | 04:08 | It just may take you a little bit more work.
| | 04:09 | Now, what you also have here is an
Exposure correction, and it starts at 0, and
| | 04:14 | you can go up and down, up to three f-
stops, lighter and darker on your image.
| | 04:20 | So it's kind of like a Curves
adjustment, but it's really called Exposure
| | 04:24 | adjustment, so it's very similar.
| | 04:25 | If you are not happy with the way the
image looks you can say, oh, I'd like to
| | 04:28 | brighten it one f-stop.
| | 04:30 | It goes up by a 10th of an f-
stop, so we may take this one up.
| | 04:33 | And then this also has a Tolerance
adjustment here, and the Tolerance adjustment
| | 04:38 | is really about colorcast, and
these two actually work together.
| | 04:42 | If you've got one of the more recent
versions of SilverFast AI or Studio, it has
| | 04:47 | this CCC, which is the
Automatic Color Cast Correction.
| | 04:50 | Notice when I turn this on, the
image tends to neutralize a little bit.
| | 04:54 | If you look at the sparkles here without
it, there is a little bit of a red cast
| | 04:58 | to it, and you can turn it on and
it takes off some of that colorcast.
| | 05:02 | This is also a colorcast adjustment as well.
| | 05:04 | If you push this all the way to the
right, you can take out more colorcast.
| | 05:08 | So these are some automatic or
semiautomatic tools that you can bring to bear
| | 05:12 | for taking out colorcast in the film.
| | 05:14 | The reason why it's been added here
is that it's very common for negative
| | 05:17 | films to have colorcast.
| | 05:19 | By the way, if you're not sure what
your Film Type is, well, just try different
| | 05:24 | ones, because even though it's a
Kodak, you may not know it's Kodak.
| | 05:27 | But if you choose Ilford, the
world is not going to come to an end.
| | 05:30 | It's just going to put a little
bit different colorcast in the image.
| | 05:32 | Anyway, so that's the basic set up.
| | 05:35 | And from here, then we go to our standard
tools for evaluating and adjusting images.
| | 05:40 | And we'll Option+click on our
Highlight tool to set the lightest point of the
| | 05:45 | image, and it brings up our Fixed
Pipette with that value, and then we'll
| | 05:49 | Option+click on the Shadow area,
which puts the shadow portion.
| | 05:53 | And if there is some critical portions
of this image, like I might decide, all
| | 05:56 | right, I am going to put a third point
right up here at the top of the image,
| | 06:00 | because I want to make sure that I
maintain Shadow detail on this blend that is
| | 06:04 | lighter, lower in the sky and then goes darker.
| | 06:07 | All right, let's do a quick eval of
our values that we see here in our Fixed
| | 06:11 | Pipette, and this is one of the reasons
why it's so important to do these color
| | 06:14 | correction by the numbers, because
you actually see what the values are.
| | 06:17 | And notice that this is indeed blown out.
| | 06:19 | It's pure white, and you can decide
whether you want to leave it that way, or
| | 06:22 | you can tone it back a little bit.
| | 06:24 | Look at the shadow of value number 2,
notice that we're down to 9 and 7 and 10,
| | 06:29 | and down here, point number 3, which
is our sky, we see, well, the values are
| | 06:33 | pretty good, they are all up above 15,
so we are looking pretty good in terms of
| | 06:37 | the Shadow detail there.
| | 06:39 | There is no Shadow detail here when we
go to print, because it's below 12, so
| | 06:43 | that's going to be between 95 and 100%.
| | 06:45 | But notice that's not a
critical portion of the image.
| | 06:48 | If you want to move your hand over the
rest of the image, you can look at some
| | 06:51 | of the other values up here in the densitometer.
| | 06:54 | So then to complete this we might
do just a little bit of adjustment.
| | 06:57 | We'll select a Scan Type of 48 to 24 bit.
| | 06:59 | If you want to do a lot editing on this, of
course you can go to 48 bit color if you want to.
| | 07:04 | We'll stick with the standard 48 to 24.
| | 07:07 | Then let's go to our Histogram tool,
and notice we've got a full range of data
| | 07:11 | here, all the way from Highlight to Shadow.
| | 07:13 | Doesn't surprise us that we have got
our data bumped up against the right side,
| | 07:17 | because we have got
values in the high 250s here.
| | 07:20 | If we wanted to lower these
values a little bit, we can do that.
| | 07:22 | We can't do it here.
| | 07:24 | you can do it in the output
compression of the color space.
| | 07:27 | Watch this, if we wanted to lower
these down to the mid-240s, so we had some
| | 07:30 | data in that Highlight, there we go,
you can just move the Output slider until
| | 07:35 | these values move to the 240s.
| | 07:38 | Same thing with the Shadow.
| | 07:39 | Watch the Shadow values here.
| | 07:41 | If we wanted that to be at least 95%,
we can do a fine-tune adjustment there.
| | 07:46 | And just always monitoring that point
number 3, just to make sure that this
| | 07:49 | doesn't drop down too low to make sure
we've got plenty of Shadow detail there.
| | 07:52 | For my inkjet printer, if I've got
something above 15-20, I am typically pretty good.
| | 07:57 | I know everything above 20
is going to print just fine.
| | 07:59 | There we go, there is our basic
adjustment for Highlights and Shadows, not
| | 08:03 | too much to do here.
| | 08:05 | I might come in and go to our Curves
tool, and I might go to our Contrast tool
| | 08:09 | and just increase contrast
just a little bit on this image.
| | 08:12 | Remember, a little bit goes a long way
on this Contrast tool, and you can see if
| | 08:17 | you like a little bit more,
a little bit less contrast.
| | 08:19 | Monitor your values here.
| | 08:21 | notice how when we do this our
number 2 values drop down a little bit.
| | 08:24 | So if we increase Contrast, you want
to make sure those stay up above 12.
| | 08:27 | You can come here and just fine tune
that again to make sure they go up above 12.
| | 08:31 | There we go.
| | 08:32 | We set our film terms, we've removed
some colorcast, we've done a little bit
| | 08:36 | of Highlight and Shadow adjustment,
and pumped up the Contrast a little bit
| | 08:39 | using our Curves tool.
| | 08:41 | Let's go ahead and talk about Sharpening.
| | 08:42 | If I don't intend to edit this
image later, then I am going to go ahead
| | 08:45 | and apply Sharpening.
| | 08:46 | But if I am going to edit it, then I
am going to wait till later on in my
| | 08:49 | workflow, and as you know,
that's my typical ammo.
| | 08:52 | I like to apply Sharpening after the scan.
| | 08:54 | All right, Let's complete the scan.
| | 08:59 | You notice these scans when you go to
film a little bit slower than the flatbed
| | 09:03 | scanner, because we are scanning at such
high resolutions, it takes a little bit
| | 09:06 | long for the scanner to capture that data.
| | 09:08 | And there we go, there is
our fireworks on display.
| | Collapse this transcript |
| Capturing high dynamic range (HDR) scans | 00:00 | Here I'd like to show you how to
create an HDR or High Dynamic Range scan.
| | 00:04 | This is probably the simplest of all
scans, because the intention of creating a
| | 00:07 | High Dynamic Range scan is to just
capture as much data as you can and offload
| | 00:12 | the editing of that data to another
application, be it Photoshop or Lightroom or
| | 00:16 | the HDR program that LaserSoft makes.
| | 00:19 | Basically all that you need to do, in
fact, the only thing that's active in
| | 00:22 | this dialog box, if you go to HDR Scan,
is to set up your Frame here, set up
| | 00:27 | any Scaling that you might want to do,
and here we'll just take this image at
| | 00:31 | 100%, 8x9 frame, 240 pixels per inch,
for a resolution for printing on a high
| | 00:37 | quality inkjet printer.
| | 00:38 | And then normally we would set our
Scan Type at 48-24 bit or 48 bit color.
| | 00:43 | What we'd do here is 48 bit HDR,
or High Dynamic Range color.
| | 00:47 | And notice what happens to all
the tools when we select that.
| | 00:50 | All the tools up here just go away, you
have no way of actually editing your image.
| | 00:54 | All you can edit is down here with the
Scale and the Output and the Resolution,
| | 00:58 | and we'll just do it at 100%,
and that's all you need to do.
| | 01:01 | And then you are not adjusting any
Highlights or Shadows or Brightness or
| | 01:04 | Contrast, you are just trying to
collect all the data that's there, so the
| | 01:07 | scanner will capture as much as it
possibly can and then deliver that to your file.
| | 01:11 | Then all you need to do is click Scan.
| | 01:13 | And if I create HDR files like this
one, I'll always label them somehow as
| | 01:18 | an HDR file like this.
| | 01:21 | I use my standard editing scheme such
as Tina_KBay_RGB and then hyphen HDR to
| | 01:27 | let me know that this is an HDR scan and
then at what resolution I created this image.
| | 01:31 | Of course I save this as a TIFF, and
then the scanner just captures all the
| | 01:37 | data that's there, and makes no
attempt to adjust it whatsoever, and just
| | 01:40 | delivers it to the file.
| | 01:41 | And as far as your workflow is concerned,
you intend to open that up in another
| | 01:45 | application to edit it.
| | Collapse this transcript |
| Setting up wet scans | 00:00 | Here I'd like to introduce you to and
show you how to create a wet scan mount.
| | 00:04 | The concept of oil or fluid mounting
scan has been used for decades by high-end
| | 00:09 | drum scanner operators to create the
very highest quality scans from films.
| | 00:13 | The way this works is you have a more
simplified, more direct light path through
| | 00:17 | your film which reduces dispersion
and reflection of light, and therefore
| | 00:20 | reduces optical aberration such as Newton rings.
| | 00:23 | In addition putting in a wet scan mount
gives you a much flatter surface which
| | 00:27 | gives you more consistent focus, and
you'll get greater detail than you seek in
| | 00:31 | a dry scan, you get better color
saturation, superior sharpness, improved
| | 00:35 | contrast, much expanded dynamic ring,
and even you can minimize and even
| | 00:39 | visually remove scratches
because the oil fills in the scratches.
| | 00:42 | Let me show you a demo about how this works.
| | 00:46 | Here we have this beautiful micaceous
schist, this white mica-schist and this
| | 00:50 | represents a nice dry scan.
| | 00:53 | Notice everything looks very nice, but
when we add moisture to this, look what
| | 00:59 | happens, look how all the sharpness
goes up, the detail, better contrast,
| | 01:02 | better color saturation.
| | 01:03 | This is the difference
between the dry scan and a wet scan.
| | 01:06 | It's really worthwhile when you
want the highest of qualities.
| | 01:08 | If you'd like to see a little bit more
detail about how that light path works
| | 01:12 | and you get the reduction of the reflection.
| | 01:14 | Look at page 11 in the ScanScience
book that comes with your course.
| | 01:17 | A really great news is that wet
scanning is now available for desktop scanners,
| | 01:22 | you don't have to be a high-end drum
scanner operator, you don't have to pay a
| | 01:24 | $100,000 or more for a scanner, you can do
it with the scanners you've got right now.
| | 01:29 | Now to make the wet scanning
technique work, we need to make a wet scanning
| | 01:32 | sandwich and the way this sandwich
works is we take a piece of optically pure
| | 01:36 | glass, we add some scanning fluid, and
then the film, more scanning fluid, and
| | 01:41 | then optically pure plastic overlay and
we make a scan sandwich and that's what
| | 01:46 | creates that beautiful
light path through the film.
| | 01:48 | If you'd like to see a little bit more
detail about that, look on page 13 in
| | 01:52 | the ScanScience book.
| | 01:54 | I want to note that there is a PDF of
the entire fluid science book provided
| | 01:57 | by ScanScience for everyone who takes
this course, please read it, enjoy it,
| | 02:01 | learn from it, there is enormous
amount of information, but please don't copy
| | 02:04 | it and redistribute it.
| | 02:05 | All right, so if hopefully I have
convinced you that the beauty that you can get
| | 02:10 | from a wet scan mount, let's
talk about how to accomplish this.
| | 02:13 | First let's talk about
the tools for wet scanning.
| | 02:15 | Talk about the work setup space.
| | 02:17 | First thing we want to have is a
really, really clean environment, right?
| | 02:21 | Dust-free, and earlier we talked about
the fact of covering up your scanning
| | 02:25 | environment when you're not using it,
it goes two to three times when you are
| | 02:28 | talking about wet scanning, because
any time you add moisture to this whole
| | 02:31 | environment, where it's just going to collect
dust and it's going to go right to your film.
| | 02:34 | All right, so assuming this is all dust-
free now, we are going to keep it that
| | 02:38 | way, you have a nice big table, nice
solid table to work with and then we are
| | 02:43 | going to have a glass workspace like this.
| | 02:45 | There is a couple of ways you can get this.
| | 02:46 | I like to use frosted glass like I have here
because it creates a little bit of opacity.
| | 02:50 | It allows me to see things a little
bit easier, particularly since it's
| | 02:53 | glass-on-glass sometimes you can lose that.
| | 02:56 | And then get some bounty, bounty quicker
picker, amazingly the stuff you can get
| | 03:00 | in almost any grocery store is almost lint-free.
| | 03:02 | It's not as good as pec pads, all
right, but it' good enough to use as a
| | 03:08 | surrounding border here, and the reason
why we put it on here and tape it down
| | 03:12 | is so that any fluid gets off to the
edges is just absorbed by the bounty.
| | 03:16 | So we have a nice glass working surface,
what else you can use is the kitchen
| | 03:20 | cutting boards, the glass cutting boards you
have in kitchens, those works very well too.
| | 03:24 | All right, in addition to that we are
going to have some tape that we can use
| | 03:27 | for taping down our edges and even
taping our scanner if we get done.
| | 03:30 | I have some canned air and I use this quite
a bit in this process for cleaning things.
| | 03:35 | And then we are going to have a lens
cleaning fluid, for cleaning of our glasses.
| | 03:39 | And then we are going to have the pec
pads that we see here for cleaning things.
| | 03:44 | And then we also need some fluid
scanning solution of course to actually put
| | 03:47 | in our sandwich, and then we are going to need
a magnifying glass for looking at our sandwich.
| | 03:52 | It's a nice pair of
tweezers for lifting things up.
| | 03:55 | And we want a real high quality squeegee,
nice soft rubber, make sure that edge
| | 03:58 | is very consistent and not damaged and
I suggest you get a new one and just use
| | 04:02 | it for this purpose, don't
use it for anything else.
| | 04:05 | And then I also like to have these real
high quality cotton swabs, the once that
| | 04:10 | are pretty lint-free for using this
process, and then finally a nice razor
| | 04:15 | blade, you can hold it in your hand
and use that for lifting up some of these
| | 04:18 | pieces to just make that
process quite a bit easier.
| | 04:21 | Now in addition over here, we've got
a few other things you can use, a nice
| | 04:24 | light table, a portable light table is
good, and you can use a hair-dryer to
| | 04:28 | help with the drying process, a
little bit more on that later.
| | 04:31 | All right, so there are all the
tools and supplies that we need.
| | 04:35 | Let's go ahead and
actually make us a wet scan mount.
| | 04:38 | All right, the way this process works,
and the pieces that we put in here, so I
| | 04:43 | mentioned is we have some optically
pure glass and then we have the film, and
| | 04:48 | notice how I've got the film set
over here and it's curved side up.
| | 04:51 | If you remember our discussion to film,
almost all film has its natural curve to
| | 04:55 | it, because the emulsion side which is
on the concave upside, when it dries, it
| | 04:59 | kind of puts a little bit
of natural curl in that film.
| | 05:01 | That's the one you want to protect.
| | 05:03 | And I am actually putting this down on a
piece of bounty, which is fine but it's
| | 05:05 | got to be plastic side down,
not emulsion side down.
| | 05:09 | So we are going to arrange all the
pieces here in the order in which we are
| | 05:12 | going to construct them.
| | 05:13 | So the glass plate goes on the bottom,
that forms the bottom of the sandwich,
| | 05:17 | then the meat of the sandwich is the
actual film, and then we have our first
| | 05:22 | plastic overlay which is piece of
optical plastic, nice and clear.
| | 05:26 | And then we have a second overlay that
we are going to use for the throw-away if
| | 05:32 | you will, or the part that we are going
to use for flattening out the film, but
| | 05:37 | we are not going to keep it on
there for the final sandwich.
| | 05:40 | Okay, so those are all the pieces
to the pie, and let's go ahead and
| | 05:43 | construct our sandwich here.
| | 05:45 | All right, we begin by taking the fluid
and moving everything into place, I put
| | 05:50 | them about half-an-inch or an inch
apart so they are easy to get at, and then
| | 05:53 | take the optical fluid and we are
going to just spray it right on that glass
| | 05:57 | plate that goes on the bottom.
| | 05:59 | And don't be afraid for being generous.
| | 06:01 | It's fine, it's better to have a
little bit too much than not enough and we
| | 06:04 | are also going to spray it on the piece of
film, remember that this has emulsion side up.
| | 06:10 | It's very important, and then we are
going to spray it on the first overlay that
| | 06:14 | we are going to put down.
| | 06:15 | Next we are going to construct the
sandwich, and to do that we're going to use
| | 06:19 | the tweezers to pick up this edge,
just the edge like this, then use your
| | 06:24 | other hand to grab the edges of the
film and then we are going to rotate the
| | 06:28 | film over, and this is important, you
can actually put the film down either
| | 06:31 | way, but my experience is that it's best to
always put the emulsion down on the glass itself.
| | 06:37 | With some scanners, if you do it this
way, you have to end up inverting the
| | 06:41 | image in Photoshop after
the scan, but that's okay.
| | 06:44 | You will end up with a better
contact and a better light path if you put
| | 06:47 | the emulsion side down.
| | 06:48 | And when you put it down like I have
done here, if you do it progressively so
| | 06:52 | that one end to the other rather than
just dropping it all the way down there,
| | 06:55 | you are more likely to get the air
bubbles out of there, you may not get
| | 06:57 | involved but you at least
reduce the number of them.
| | 07:00 | Okay, so now we've got the bottom of
the sandwich, we've got the meat with the
| | 07:03 | film in the middle and then we just
need to put down the next piece which is
| | 07:09 | our plastic overlay, make sure that
there is a plenty of fluid on there, there
| | 07:12 | we go, there we go.
| | 07:16 |
| | 07:22 | And you will notice what I am using
throughout this entire process, these
| | 07:28 | lint-free gloves, always, always,
throughout the entire process, never have your
| | 07:32 | lint-free gloves off.
| | 07:35 | There we go, we've created our sandwich.
| | 07:37 | Now what we need to do is make sure we
get all those air bubbles out of there.
| | 07:41 | In order to do that, this is what we
are going to use our second overlay.
| | 07:48 | Spray plenty of fluid on there and then
flip it over and put it on top, there we
| | 07:54 | go, this is called the Sacrificial
Overlay because we don't actually use it in
| | 08:00 | the final sandwich, there we go, and
then just spray a little more luminal
| | 08:04 | fluid, mounting fluid on top,
and now we to go our squeegee.
| | 08:11 | Now with hand I am using my left hand
here, I am going to hold the left side
| | 08:15 | of the sandwich, just on the edge
of the film there and then let's move
| | 08:19 | everything over into the middle,
there we go, and then we are going to take
| | 08:25 | the squeegee, start in the middle and
move out to the edges like this, don't
| | 08:29 | start it on one end and drag it all
the way across because you are likely to
| | 08:32 | have some air bubbles in the far end
and trying to get them all the way across
| | 08:35 | is just not going to happen.
| | 08:36 | So you don't have to press too hard,
you get a feel for it after a while, all
| | 08:42 | right, and then swap ends.
| | 08:45 | If you are not ambidextrous enough to
swap ends you can always rotate this so
| | 08:49 | you can move to the other
side of the table, there we go.
| | 08:54 | And throughout this entire process from
beginning to end, I am always worrying
| | 08:59 | about dust, I cleaned everything off
from the beginning to the end, and of
| | 09:04 | course I am talking throughout
this process, aren't I? Bad idea.
| | 09:09 | Notice I am leaning over all this and
while I am talking spit is constantly, and
| | 09:14 | this is small I know, but it's enough
that you can damage this whole process if
| | 09:17 | it gets on the film.
| | 09:18 | You know and the other thing that you
might consider particularly you've got
| | 09:21 | long hair there is a sense of leaning
over this film all the time, when you lean
| | 09:24 | over, you are not aware of it, but
debris, little tiny debris is constantly
| | 09:27 | falling off your head, you don't
realize but then you see it on the film.
| | 09:31 | So having a hair in it, if you do this
very much and particularly if you have
| | 09:33 | long hair, good idea to silence and
wear your hair-net when you do this.
| | 09:39 | Then we will go to our razor to help
pick us up and there we've got our sandwich.
| | 09:45 | Now at this point we are going to move
our sandwich over here and we are going
| | 09:49 | to take a look at it over our light table.
| | 09:51 | All right, what I am looking for is air bubbles.
| | 09:59 | And this one looks good, some days I
am just better than others, all right.
| | 10:03 | And if it don't quite get all the air
bubbles out, you can put it back and
| | 10:06 | run the squeegee again.
| | 10:07 | All right, this time we've got it right.
| | 10:09 | And then of course we are going to
want to take that, we get done with the
| | 10:15 | squeegee, you want to take that top
layer of the sacrificial overlay off, so we
| | 10:19 | just have the sandwich itself.
| | 10:23 | Now the process is just kind of little
bit of drying out and cleaning up and
| | 10:26 | this is when we can use little
cotton swabs to help us dry the edges.
| | 10:31 | All right, the scanning solution is
fairly volatile, so it's going to evaporate
| | 10:36 | pretty quickly, which is
what you want to happen.
| | 10:38 | So I can just take the cotton swabs
along the edges, and it will take about ten
| | 10:44 | minutes or so, depending upon the
atmospheric temperature and moisture, all
| | 10:48 | right, for it to dry out.
| | 10:49 | And if you want to, want to speed
things up a little bit, first we can take our
| | 10:56 | sandwich over to here and use our hairdryer,
and this is a perfect hairdryer for this.
| | 11:02 | It's a Revlon 1875, and it's got a low
setting which is what, what you want and
| | 11:07 | then it's got a Hot, a Warm,
and a Cool. Put this on Cool.
| | 11:10 | Hot and Warm is not good, you don't want
to even go with the Warm you want to go
| | 11:13 | with the Cool setting and just very
light, and don't put it right up close to
| | 11:17 | it, keep it back at a distance, just
that air circulating passed it like that.
| | 11:21 | It will dry in a real hurry, no problem.
| | 11:23 | And again 10 or 15 minutes and if
you've got a large enough space, you can have
| | 11:31 | two or three of these going at a time,
you can let one dry and you can get
| | 11:34 | another one going if you want to, okay.
| | 11:36 | And then after the drying occurs,
then we are going to be ready to take our
| | 11:44 | sandwich, our wet sandwich and put it
inside when one of the mounts that we
| | 11:48 | are going to be using.
| | 11:48 | Now after you create your sandwich,
you've got about, probably about two hours
| | 11:54 | of shelf time that you can use for
that sandwich, after about two hours the
| | 11:59 | edges start to dry out too much and
as the fluid kind of evaporates in the
| | 12:03 | edges and spreads out and you may not end up
with a complete fluid sandwich around the edges.
| | 12:08 | But you've got about two hours of time.
| | 12:10 | So my suggestion is, make sure you don't
mount this until you are really ready to scan it.
| | 12:14 | Don't mount it and then go to lunch
and forget and did you get your sandwich
| | 12:18 | ready to scan there.
| | 12:19 | All right, so after this sandwich is
dried out, now you're ready to put it
| | 12:23 | inside of your mount for your
scanner, and you'll notice that in this
| | 12:28 | particular case I'm using a film-
holder and this just fits right inside the
| | 12:33 | film-holder and these last plates are
designed to be at exact length to go
| | 12:38 | inside the standard film-holder.
| | 12:40 | Couple of things I want to say about various
kinds of scanners that you could work with.
| | 12:44 | You can do this fluid mounting
system with a flatbed scanner or with a
| | 12:47 | dedicated film scanner.
| | 12:49 | But if you are going to do much of
this I really recommend you do it with a
| | 12:52 | dedicated film scanner.
| | 12:53 | Here is the reason, most of the
dedicated film scanners have automatic focus
| | 12:57 | and obviously since we've put the film
in the sandwich, it's at a little bit
| | 13:01 | different focal plane and an automatic focus
of scanner will automatically adjust for that.
| | 13:06 | A lot of the flatbed scanners are
single focus or may be dual focus and
| | 13:10 | sometimes you have to shim the entire
sandwich to get ready in the proper focal plane.
| | 13:16 | So you can do it with the flatbed
scanner, but if you do much of it, you can
| | 13:19 | have a much easier time, much more
efficient workflow just working with the
| | 13:22 | dedicated film scanner,
there is no doubt about it.
| | 13:25 | Remember earlier we talked about the
flatbed scanners are really made for
| | 13:27 | reflective scanning and
everything else is kind of an add-on.
| | 13:31 | Well it applies here as well.
| | 13:32 | so nice dedicated film scanner will work great.
| | 13:36 | Oh, by the way I should mention that in
this particular scanner and this is true
| | 13:39 | for all other film scanners, sometimes
when you have the closing top like this,
| | 13:43 | after you put it in this sandwich, like
this sometimes you can close these tops
| | 13:46 | sometimes you can't, in this particular
case with the Plustek you actually have
| | 13:49 | to take this top off before you can put it in.
| | 13:51 | All right, so if you refer to the
scan book that you have, the PDF version,
| | 13:56 | it's got lots of details about working
with various kinds of scanners and how
| | 13:59 | to handle them for the fine-tuning process
of actually putting them inside the scanner.
| | 14:03 | So it's going to depend
upon the scanner that you have.
| | 14:06 | Are you going to do this for
every single image that you have?
| | 14:08 | Probably not, you are going to do
it for the highest quality ones, the
| | 14:11 | artwork that you had a picture of,
that you want to get the best quality scan
| | 14:16 | in order to reproduce that.
| | 14:18 | The ones where you want to have the
best focus, the best detail, the best
| | 14:21 | saturation, superior sharpness, improved
contrast and that expanded dynamic range.
| | 14:26 | Well there is the wet scanning technique.
| | Collapse this transcript |
|
|
6. Scanning Projects: Start to FinishScanning, converting, and using simple line art | 00:00 | In this chapter we're going to be
doing start to finish projects, which means
| | 00:04 | we're not only going to be setting up
the scan but when we are going to see what
| | 00:07 | we can do with those images after the
scan and by doing that it will give us
| | 00:11 | even more insight as to why we make some
of the decisions that we've been making
| | 00:14 | during the actual scanning process.
| | 00:16 | Let's start this chapter by doing a
scan of the simple Line Art image.
| | 00:20 | And just remember back to our previous
discussions, when we scan simple line
| | 00:24 | art, it's all about reproducing the edge.
| | 00:26 | This feather for instance
that we're going to scan here.
| | 00:29 | It's not about what's going on in
the interior it's about the edge that's
| | 00:32 | what creates this image.
| | 00:33 | So the decision that we want to make
during the scan a sharp and smooth and
| | 00:38 | consistent edge as possible.
| | 00:40 | Not only for the pixel-based image that
we end up with but also you want to take
| | 00:45 | this pixel-based image
and convert it into vectors.
| | 00:47 | Why, because this image is a simple
line art, if you want to scale, skew and
| | 00:52 | rotate it so that we don't get
degradation of our edge we convert it into
| | 00:55 | vectors then we can scale and skew and
rotate it to our heart's delight plus as
| | 01:00 | you're going to see it makes
it very easy to add colors.
| | 01:03 | And even if this image were a
colored image, I'm going to scan it one bit
| | 01:07 | black-and-white and then we're going
to apply the colors later and that's an
| | 01:10 | important point to make.
| | 01:11 | If you start with simple line art even
if it has colors assigned to it, if you
| | 01:15 | know what those colors are either CMYK
values or spot color values we don't try
| | 01:21 | to reproduce these colors during the
scan, we try to do that when we're working
| | 01:24 | in something like Illustrator.
| | 01:26 | In order to get our high-quality edge,
we're going to come over here and we're
| | 01:29 | going to choose our scan type and for
working with Line Art typically we're
| | 01:34 | going to go with 8-bit grayscale
for detailed line-art and one-bit
| | 01:37 | black-and-white for a Scan
Type for simple line-art.
| | 01:40 | This will give us more
editability to 8-bit but we're not about
| | 01:43 | editability we're all about
reproducing our edge, so we're going to choose
| | 01:46 | one-bit black-and-white.
| | 01:48 | And that's how we're going to name our
image, Feather, numerological name, a bit
| | 01:52 | depth black-and-white, and
now let's decide on resolution.
| | 01:56 | There are two characteristics if we want
to pay attention to in our scan to give
| | 02:00 | us the best quality most
consistent edge possible.
| | 02:03 | One, is when we want to use the optical
resolution of the scanner, and two, we
| | 02:07 | want to make sure we scan
this at 100%, no scaling.
| | 02:11 | Both of those will minimize the amount of
interpolation that occurs along that edge.
| | 02:15 | The optical resolution of this
scanner is 1200 pixels per inch, but as you
| | 02:20 | demonstrated in Chapter 5 we can
choose 600 which doesn't involve any
| | 02:25 | interpolation, the placement of the
pixels is the same the pixels are just
| | 02:29 | a little bit larger.
| | 02:31 | And typically with simple line art that
takes us to vectors, 600 is going to be fine.
| | 02:36 | If you're not quite sure you can scan it at
both 6 and 12 and then compare the results.
| | 02:41 | Here I think we're going to do
very well at 600 pixels per inch.
| | 02:43 | So we're going to choose 600 pixels
per inch, no scaling, black-and-white
| | 02:48 | one-bit, and then I'm going to take it to
vectors so I'm going to go ahead and Scan and Save.
| | 02:55 | All right here's our feather black-
and-white 600.tif in Bridge and I love
| | 03:04 | working on a Bridge because Bridge is kind
of the nexus of a creative suite if you will.
| | 03:08 | You can save an image out of one
application like in this case a scanning
| | 03:12 | program and take it right into another
application and use one of those tools.
| | 03:16 | In this case, we're going
to be going to Illustrator.
| | 03:18 | Illustrator is a vector
drawing and editing program.
| | 03:21 | In order to take this pixel-based image
and take it into Illustrator we're going
| | 03:26 | to go tools>Illustrator and go to
Live Trace, and we're going to choose
| | 03:33 | Vectorize layers into a single document
and we'll choose the basic CMYK, so we
| | 03:39 | can assign spot colors to this, cyan,
magenta, yellow and black process colors
| | 03:43 | or if you wanted to go RGB
you can go that way as well.
| | 03:46 | We'll take it to the print version
in this case, all right and then over
| | 03:50 | to Illustrator we go.
| | 03:51 | By the way if Illustrator wasn't launch
you'll automatically launch Illustrator.
| | 03:55 | We'll just take the default settings here.
| | 03:57 | Well, we just click on Expand and
let's go and take a look at that edge, look
| | 04:04 | at that, beautiful.
| | 04:06 | The reason why we're getting that
high-quality edge let's just go back to
| | 04:08 | Bridge for a second.
| | 04:09 | Let's go ahead and open this image
and look at it in Photoshop, see those
| | 04:14 | beautiful pixels and the
nice smooth consistent edge.
| | 04:17 | That's because we use the optical
resolution of the scanner and no scaling.
| | 04:22 | So we take that pixel-based image,
we convert to vectors and we get this
| | 04:27 | really smooth slick edge.
| | 04:29 | Now as for as editing and assigning
colors are concerned, you can just come in
| | 04:33 | here in the Direct Selection tool,
we'll assign the Green, we'll take the stem,
| | 04:42 | and assign may be a Yellow, and we can
assign a dark green to these, beautiful.
| | 04:50 | So you know, in this way this workflow
makes an enormous amount of sense because
| | 04:54 | instead of trying to reproduce these
colors on a scan, if there are spot or
| | 04:59 | process colors, it's almost
impossible to reproduce them exactly.
| | 05:03 | But this way, you scan in Black and
White, you create the vector and then you
| | 05:06 | assign the colors and
they are going to be perfect.
| | 05:08 | They will be spot on, if you will.
| | 05:09 | So there you go, they're scanning
simple black-and-white, Line Art converting
| | 05:13 | to Vectors and then editing them in
Illustrator and now so you know we can
| | 05:18 | scale, skew and rotate this to a
heart's delight and those vector paths will
| | 05:21 | remain very high-quality.
| | 05:23 | I mentioned if you've got some stuff
on the actual scan that you don't want,
| | 05:28 | you'd select them and they become
vectors and just edit, and they're gone.
| | Collapse this transcript |
| Scanning and using detailed line art | 00:00 | In this exercise, we're going to scan
a piece of complex line art and then we
| | 00:04 | compare this image of the octopus
with a feather image that we did in the
| | 00:07 | previous movie, we see there is a
world of difference between them.
| | 00:10 | With a feather, that image is
all about reproduction of edges.
| | 00:14 | This image is all about reproduction of the
detail that's on the inside of the octopus.
| | 00:19 | Unlike the feather where it really
didn't make too much difference as to what
| | 00:22 | the outline of that image was in terms
of the dimension because we intended to
| | 00:26 | convert it to vectors anyway, here with
a complex image, we may indeed want to
| | 00:30 | pay better attention or more
attention to our actual output dimensions.
| | 00:35 | If you had a very small image, and
you intend to use it at a much larger
| | 00:38 | dimension, this is the place to scale
it because you're working with original
| | 00:42 | raw data and particularly if you're
capturing more than 8 bits per pixel on your image.
| | 00:47 | So this original image is about 5x7
and we are going to reproduce it at 5x7.
| | 00:51 | But if we wanted to go to 10x14, we
can certainly do that, and the scanner is
| | 00:56 | the best place to do it rather than
in Photoshop, because this image is not
| | 01:00 | going to go to vectors.
| | 01:01 | It's going to stay in pixels, and
because pixel-based images are all about the
| | 01:04 | detail, whereas vector-based
images are all about the edges.
| | 01:07 | So we'll create a 7x5 outline of our frame
and then we're going to choose our scan type.
| | 01:14 | Unlike the simple line art image in
which we use 1-bit black and white, for this
| | 01:18 | one, to get our detail, we are going
to go with an 8-bit grayscale image.
| | 01:21 | True enough, you can choose 16-bit
and deliver 16-bit from the scanner.
| | 01:25 | I think we are going to be
just fine going 16-bit to 8-bit.
| | 01:29 | And again, you can test those two with
your editing and your output devices to
| | 01:33 | see if there's a difference.
| | 01:34 | We are not going to do any filtering,
no sharpening, we could sharpen it
| | 01:39 | here, but this is absolutely one of
those images where if I am going to apply
| | 01:41 | Sharpening, I am going to do it later,
I am going to do it in Photoshop, and
| | 01:44 | I will show you why.
| | 01:45 | Now, we could just do a scan, and we'd
probably be okay, but we might actually
| | 01:49 | want to just use the image the way it's scanned,
so we might as well optimize it a little bit.
| | 01:54 | So let's go up to our Histogram tool
as it's called in SilverFast similar to
| | 01:58 | what we have in Levels in Photoshop.
| | 02:00 | Notice that we've got some blank space
on the highlight, and on the shadow end.
| | 02:04 | Watch the background over here, this
is a great way to remove background like
| | 02:08 | if you've got a little bit of a gray
background, or a light-colored background,
| | 02:11 | you can knock that background completely out
of it, so you just end up with the line art.
| | 02:15 | Boom!
| | 02:15 | Get rid of the paper, get rid of, or if
it's a dirty image, or it's on a piece
| | 02:19 | of low-quality paper, you can just
completely take the paper out of the
| | 02:21 | picture, which is great.
| | 02:23 | With that one simple move right there, you
can make your life a whole heck of lot easier.
| | 02:27 | This works great on faxes, on low-
quality paper, you can get rid of background
| | 02:31 | just by moving that highlight in.
| | 02:33 | On the shadow, just increase
the contrast of this a little bit.
| | 02:37 | We don't want to move way up in to the
data, and I will show you why in just a
| | 02:40 | moment when we get into Photoshop.
| | 02:41 | We'll just move up kind of to the
beginning of the data, and there we go!
| | 02:44 | Notice the contrast of
that is much improved now.
| | 02:47 | So with just a little bit of an
adjustment, just a little touch up of the
| | 02:50 | histogram, we've knocked out the
background and improved the contrast of the image.
| | 02:54 | All right, now let's discuss Resolution.
| | 02:57 | With a simple line art image that we
take the vectors, if the scanner has an
| | 03:00 | optical resolution of say 1200 pixels
per inch, we've demonstrated I think
| | 03:04 | conclusively that 600 is just fine.
| | 03:06 | But in images like this where we have
got lots of detail, then we're going to
| | 03:09 | go with the full 1200.
| | 03:10 | We're going to take this all the way
up, but we don't need more than that.
| | 03:14 | We really don't.I haven't scanned a
line art image that ever needed more than
| | 03:17 | 1200 pixels per inch.
| | 03:19 | They may exist, but I haven't found them.
| | 03:20 | Notice that already we are
going to have a 48 MB file here.
| | 03:23 | But 1200 is good given lots of detail,
and lots of grayscale values to work with.
| | 03:28 | So 16 to 8-bit, 1200 pixels per inch,
get the frame set, name the file, logical
| | 03:34 | name, bit depth and resolution and click Scan.
| | 03:38 | Save this out as a TIFF of course, no
compression and we could save it out as a
| | 03:42 | JPEG, but I never do, because remember,
the TIFF is completely uncompressed.
| | 03:45 | There is no sub-sampling or down-
sampling, or compression of your data at all.
| | 03:50 | This scan is going to take a lot longer
than the simple line art scan that we did.
| | 03:55 | Why?
| | 03:55 | Because with a simple line art scan, one,
we're at 600 pixels per inch, so it's
| | 03:59 | going to be one-quarter of the amount
of data just in terms of resolution and
| | 04:03 | here we've gone from 1-bit to
16-bit in terms of the capture.
| | 04:07 | So that's 16 times as long.
| | 04:09 | So it really is going to take a
lot longer to create the scan.
| | 04:12 | It will be worth in terms of the
detail that we have inside this image.
| | 04:16 | So the scanner is going through two processes.
| | 04:18 | one is scanning at 1200, and then the
second one is capturing at 16-bit and then
| | 04:22 | it's going to convert it to 8-bit
when it gets all done with the scan, and
| | 04:26 | that's why we end up with such a high-
quality 8 bits per pixel in terms of the
| | 04:29 | grayscale value on our images.
| | 04:31 | All right, So here we have our octopus,
our 8-bit octopus delivered to us and
| | 04:41 | just one more comparison, and notice
the difference between these two pieces of
| | 04:45 | line art, we have the edge-based line
art which is simple and then the detailed
| | 04:48 | line art which has all this complexity in it.
| | 04:50 | All right, So let's toss our feather
and just focus on the octopus for now.
| | 04:55 | What I'd like to do is I'd like to zoom in,
so you can take a look and see what's here.
| | 05:00 | When we zoom way in there, compared to
looking at like this where everything
| | 05:03 | looks like a small hard dot, in fact,
they're really not small hard dots at all,
| | 05:08 | there is good continuous toned grayscale,
and gradational edges in this image.
| | 05:12 | And because we did that little bit of
adjustment in the histogram, we end up
| | 05:17 | with really nice high contrast image
with a nice white background, and if we
| | 05:21 | bring up our Info tool for instance
and we look at the background, it's very,
| | 05:25 | very little grayscale value there at all.
| | 05:28 | If we send this to print, it won't
reproduce as a grayscale value at all, and
| | 05:31 | then if we zoom in on the image, we
see we get lots of gradational pixels,
| | 05:35 | gradational values to work with.
| | 05:38 | This is the beauty, one of the beauties
of working in capturing an 8-bit grayscale.
| | 05:42 | Now first, a word about print.
| | 05:44 | if we don't do anything else to this
image, the advantages of having it an 8-bit
| | 05:48 | grayscale versus 1-bit black and white
is this image is going to print and look
| | 05:53 | much better as a grayscale image than
it will as a 1-bit black and white image.
| | 05:57 | Some people will be tempted to scan
this in 1200 and 1-bit black and white to
| | 06:01 | get all those hard edges.
| | 06:03 | But when you print those hard edges with
just black and white pixels, it looks rough.
| | 06:07 | It doesn't have the same quality,
and texture to it that this does.
| | 06:10 | So I rarely if ever will take an
image like this, and convert it in a
| | 06:13 | 1-bit black and white.
| | 06:15 | Some cases like if I just want to
use it for a fax, I can do that.
| | 06:18 | So let's go through a couple of
adjustments here inside of Photoshop now that
| | 06:23 | we've got this data, and I am
just going to do some duplicates.
| | 06:27 | The first thing that I might do is just
go ahead and just take this to black and
| | 06:31 | white, and notice that this is a 1-
bit grayscale image, so it's 8-bits per
| | 06:37 | pixel, and I will just put the channels
out there just so you can keep track of
| | 06:41 | what's going on here.
| | 06:42 | Then let's go Image>Mode and go to Bitmap.
| | 06:45 | There is a couple of ways we can do this.
| | 06:46 | So we can go, I hate the word Bitmap.
| | 06:48 | It's 1-bit black and white.
| | 06:50 | We can take this image and just use a 50
% Threshold and then just click, boom!
| | 06:56 | And notice how much harder that is.
| | 06:58 | Let me back up, there is the
grayscale, there's the black and white.
| | 07:02 | Now, let's go back to the grayscale, zoom in
a little bit, and go 1-bit black and white.
| | 07:07 | See you end up with those hard edges,
and on screen it looks sharper and then
| | 07:10 | actually, if I were going to send
this as a fax, this is a perfect image to
| | 07:14 | re-create this as a fax because on a fax,
you don't want any grayscale, you want
| | 07:18 | black, you want white.
| | 07:19 | So if I were to use this for my
fax logo, that's how I would go.
| | 07:23 | There are some other things we can do here.
| | 07:28 | We're going to keep this one as
grayscale for now, and I am going to zoom up
| | 07:34 | just a little bit, and I am going to
bring up my Layers panel, and I am going
| | 07:39 | to get rid of the Channels panel
just for now, so we don't have too much
| | 07:42 | complexity up here.
| | 07:45 | Let's go to Curves and
notice what we can do with Curves.
| | 07:50 | We can do this in Levels as well, but I
like to do it in Curves because we have
| | 07:53 | control of all the mid tones.
| | 07:55 | I can take and I can control how much
of this is black and how much of this is
| | 07:59 | white by moving the
Highlight & Shadow sliders like this.
| | 08:02 | So that's one thing you can do.
| | 08:05 | So we can make it darker, and then
make it darker still, and lighter.
| | 08:10 | We are treating it like it's a
continuous toned grayscale image. Why?
| | 08:14 | Well, basically because it is.
| | 08:16 | So we can make adjustments
like with curves and levels.
| | 08:19 | Typically, you'll want to look at
this at 100%, all zoomed in, you can see
| | 08:23 | exactly what's going on, and see
how you are increasing, decreasing the
| | 08:26 | thickness of those edges.
| | 08:28 | This is what the grayscale values
allow you to do inside your image.
| | 08:31 | So we could even not even adjust the
highlights and shadows, and just come in
| | 08:35 | here and we can increase and decrease the
thickness of those edges by just doing this.
| | 08:39 | See all the editability you get.
| | 08:41 | If you scan this in 1-bit black and
white, you will never have that capability.
| | 08:45 | So I am going to just lighten it just a
little bit, so it gives us a lighter version.
| | 08:50 | Notice that I'm using an adjustment layer,
so that we have full editability of our file.
| | 08:54 | Notice we have lighten this a little bit,
taken out some of the darkness of the
| | 08:57 | image, so it will print on a low
-quality device. There we go!
| | 09:02 | It's another version.
| | 09:04 | The adjustment layer gives us full
editability as nondestructive editing.
| | 09:08 | One of our choice here and these are
just some among many, and we are going to
| | 09:13 | call this one the Sharpen Version.
| | 09:16 | I am sure you say, really cool!
| | 09:17 | Watch what we can do with a
continuous toned grayscale image like this with
| | 09:21 | a Sharpening Filter.
| | 09:23 | All right, Come up here, go to Sharpen,
go to Unsharp Mask, and I can take this
| | 09:30 | to 500% and notice what that
does to the sharpness of the image.
| | 09:35 | See this is why we didn't want to do the
sharpness, and we go to 100% so you can
| | 09:38 | see what's going on.
| | 09:39 | This is why we didn't want to sharpen
during the scan because we have full
| | 09:44 | control of this here.
| | 09:45 | Now, I am going to back out, so you
can see the whole image and watch.
| | 09:49 | With the Radius, I am going to go from
2 to 10, from 10 to 25, from 25 to 50.
| | 09:59 | I can get full creative control
over what this puppy looks like.
| | 10:03 | Again, let's zoom in, and take it
through that same process. 10, 25, 50.
| | 10:07 | That would be another great fax image,
and it would also print very well,
| | 10:20 | because although it looks like pure
black and white, notice you still have a
| | 10:23 | little bit of a grayscale value on the edge.
| | 10:25 | So when it prints, you're going to end
up with basically what is an anti-alias
| | 10:28 | print version and it's
going to look really nice.
| | 10:31 | You are going to have that nice
softness, just a tiny little bit of softness,
| | 10:33 | but with a really high detailed image.
| | 10:36 | Point being is that when you scan an 8
-bit grayscale or the detail line art
| | 10:40 | images, you can bring it into Photoshop
and just basically have your way with it.
| | 10:44 | So there is working with detail line
art, and just a few tips and tricks on
| | 10:48 | how you can work with it in Photoshop
and I am sure you will come up with your
| | 10:51 | own as well.
| | Collapse this transcript |
| Scanning landscapes | 00:00 | In this movie we are going to use these two
photographs of the beautiful Surfers Beach.
| | 00:04 | That's along the Southwest
coast of Kodiak Island, Alaska.
| | 00:08 | In this exercise we are going to do a
start to finish project working on landscapes.
| | 00:12 | And here I thought we'd scan
two versions of the same image.
| | 00:15 | a grayscale version that we have
up on top, and a color version.
| | 00:19 | The nice thing about SilverFast
is it's easy to scan two images.
| | 00:23 | they don't even have to be the same
kind of images and you can apply completely
| | 00:27 | different settings to each one.
| | 00:28 | For instance, here I've got my frame
set in a 7x3 inch frame, set around the
| | 00:33 | grayscale image, and we are going
to choose 16 to 8 Bit for Grayscale.
| | 00:37 | This is the kind of image where there
is a lot of dynamic range, where I might
| | 00:41 | be inclined to scan this as a 16-bit
image and then work in it in Photoshop.
| | 00:46 | For the purposes of this class we are
still going to stick 16 to 8 bit, but
| | 00:49 | this is the kind of image where I will
in some cases actually capture 16 bit
| | 00:53 | and then receive 16-bit from the
scanner and then edit it in Photoshop, because
| | 00:58 | sometimes I get a little bit better results in
my final print when I have such dynamic range.
| | 01:03 | Or if you wanted to you can just go
with a 16 bit HDR grayscale, but you would
| | 01:08 | do all the editing somewhere else.
| | 01:09 | But here we want to perform most of the
functions during the scan, so we'll go
| | 01:13 | with 16 bit to 8 bit, and we'll
start with our grayscale image.
| | 01:17 | We look at it and evaluate what are
the most important areas of this image.
| | 01:21 | Well, obviously the surf is huge, as
we can see that, and that's really what
| | 01:24 | this image is all about.
| | 01:26 | But the background mountains, which are
very high contrast here, form a really
| | 01:30 | nice high contrast buffer, antipode, if
you will, to the beautiful bright white
| | 01:34 | surf, the way I have
constructed the grayscale image.
| | 01:37 | So we are going to want to get the
surf correct, no doubt about that.
| | 01:40 | We are also going to want to make sure
that we maintain detail in these dark
| | 01:44 | mountains back here.
| | 01:46 | Another place that we are probably
going to pay some attention to, because we
| | 01:48 | can't tell just by looking at it if the
mountains are darker, or if this area is
| | 01:52 | darker in here, I mean, we can look at
it with our Densitometer, with our Info
| | 01:56 | tools to see what we've got, 60s down in
there, and 40s, and then 20s and 30s. Okay.
| | 02:00 | So the mountain is
definitely going to be darker.
| | 02:02 | Go ahead and start by setting our
Highlights and Shadows, and by the way, I
| | 02:06 | should just mention before we go any
further, I am not Sharpening here, no way
| | 02:09 | am I going to do that, because I am
going to really want to see all of the high
| | 02:14 | full pixel value detail when I go
about Sharpening this spray foam here, and
| | 02:17 | that's what we'll go ahead and do
in Photoshop is some Sharpening.
| | 02:20 | So no Sharpening, 16 bit to 8 bit, and
let's go ahead and set our Highlights and
| | 02:24 | Shadows for our grayscale in bits.
| | 02:26 | We move down to one of our favorite
tools here that's Set Highlights and Shadow.
| | 02:29 | Hold down our Shift key, click there,
and it finds the lightest portion of the
| | 02:33 | spray here, and then we'll do the same
thing with the Shadow, boom, and it finds
| | 02:38 | the shadow back here in
this portion of the mountains.
| | 02:41 | When we look at those two values, and
here we have our Fixed Pipette, which
| | 02:46 | shows us the Highlights and Shadow points.
| | 02:48 | We are at 226, and it's all grayscale, so
it's all going to be the same, and then 25.
| | 02:54 | That's actually not a bad value.
| | 02:56 | I can take this down to 20 and still
be comfortable with how it's going to
| | 02:59 | print on my inkjet.
| | 03:00 | So we can make that a little bit darker, and we
can certainly make this lighter. we're at 226.
| | 03:05 | We can take this up to 239,
240, no question about it.
| | 03:09 | Let's go do that then.
| | 03:10 | Let's come in here, go to our
Histogram tool, which is similar to Levels in
| | 03:14 | Photoshop, and while we monitor the
Highlight, we are going to pull the
| | 03:17 | Highlight value in here, and we'll take that up.
| | 03:21 | And I know I am going to be sharpening
this image a little bit later, so you
| | 03:25 | know what, I'm not going
to go all the way to 240.
| | 03:26 | I am going to take this to about 237.
| | 03:29 | But even notice that, watch the image
just visually over here as we take it
| | 03:33 | from here, do you see how we are
increasing the Brightness because we are
| | 03:37 | bringing that Highlight in?
| | 03:38 | But I am not going to take
it all the way, 239, 240.
| | 03:40 | I am going to take it 236,
237, somewhere in there.
| | 03:44 | And the Shadow, just lower it to about 20.
| | 03:46 | I really don't want to go below 20,
because I am afraid of that filling in when
| | 03:50 | I print this as a multi-
tonal image. There we go!
| | 03:53 | So that's setting Highlights and
Shadows, and with an image like this, I am
| | 03:57 | going to want to pump the Contrast just
a little bit, although the basic image
| | 04:00 | has such good Contrast, we
certainly could get by with doing absolutely
| | 04:04 | nothing if we want to.
| | 04:06 | If I were going to apply this in
Photoshop, then I'd probably want to have this
| | 04:09 | as a 16 bit image, but just for grins,
in case we wanted to just scan and print
| | 04:13 | this, and give it a little bit of a
boost, maybe 2%, 3%, maybe take this up to
| | 04:17 | 10, no more than that.
| | 04:19 | And when you watch the image on screen,
you see just a little bit of a change.
| | 04:23 | A little bit goes a long way with that Curve
tool, and then we will click OK. Good to go.
| | 04:28 | Let's do the same thing,
but do it on this image here.
| | 04:31 | Now, watch this, Shift key, click,
and notice that the highlight went to
| | 04:35 | exactly the same place. No surprise there.
| | 04:38 | And then Shift and then click,
notice where the shadow point went here.
| | 04:44 | Because look at the difference in the
contrast in the black and white image
| | 04:48 | versus the color image.
| | 04:50 | See, this is a much higher contrast
image, so now the detail is actually in the
| | 04:54 | wave, which is why you always want to
do that Highlights and Shadow Points on
| | 04:58 | each image, just to make sure
that you know what you've got.
| | 05:00 | So we are going to do a similar kind
of adjustment on this image, but we can
| | 05:04 | probably apply a little bit more
Contrast on this one, because the original
| | 05:07 | image doesn't have as much Contrast.
| | 05:09 | When we look at the Highlight,
we're almost down to 200.
| | 05:12 | So we've got quite a bit of
lightening that we can do on this image.
| | 05:15 | And notice that the Shadow Point though,
the darkest value here is 27, so we
| | 05:20 | are not going to want to darken that too much
more, but we can certainly bring up the Highlights.
| | 05:25 | The other thing that we will want to pay
attention to here, since this is an RGB
| | 05:29 | image is, if we want this to look and
print white, then we're going to want to
| | 05:33 | neutralize that water.
| | 05:34 | Notice right now, if we evaluate the
wave RGB values numerically, 27, 37, 43,
| | 05:38 | there is a little bit of Blue-Green
cast in this image, which by the way, if
| | 05:44 | you've looked very much at the numeric
values of landscapes shot during the day,
| | 05:48 | Blue-Green Cast are very, very common.
| | 05:50 | When the human eye looks at this, it
interprets that water as white, but as
| | 05:54 | you'll see, we're going to increase the
Brightness and overall Contrast in this image.
| | 05:58 | We're really going to make that
water pop, much like it pops up here.
| | 06:02 | So to do this, we are going to go to
our Histogram tool, but instead of working
| | 06:06 | on the Master Histogram, we are going
to work on the individual histograms, and
| | 06:10 | watching the Highlight value, Highlight
point number 3 and 4 here, 203, on the
| | 06:17 | Red Channel, and we've got
Red, Green, and Blue Channel.
| | 06:24 | We're going to move this to the left,
watching the Red value at point number 3.
| | 06:31 | And again, we are going
to take that to about 237.
| | 06:33 | Go to the Green, do the same thing,
and we're doing the individual channels
| | 06:38 | because we want to neutralize the Highlight.
| | 06:42 | Take that to 237, and then the
Blue, I'll take that to 237 as well.
| | 06:50 | All ready, I think you can see how
much brighter this image is, how the
| | 06:54 | waves are really starting to pop more and
the overall Contrast of the image has improved.
| | 06:58 | In terms of the Shadow, we can come
in and we can compress the Shadow a
| | 07:01 | little bit if we want to.
| | 07:02 | We can neutralize this
water if we cared to, or not.
| | 07:06 | And honestly with 31, 43, 49, we can
take that Shadow and move it in just a
| | 07:11 | little bit, but I am not
going to change it a whole lot.
| | 07:14 | I don't want to go anything below about 20.
| | 07:16 | Notice I'm working on the
Master Histogram here. Why?
| | 07:20 | Because I don't really care about
neutralizing the water down in here.
| | 07:23 | In fact, whatever colorcast is there I
am happy to maintain, but I did want to
| | 07:27 | neutralize the top, the white spray foam.
| | 07:30 | So we've maintained the colorcast down
here by working on the Master Channel
| | 07:33 | and the Shadow, but we did individual
histogram manipulations to neutralize the white spray.
| | 07:40 | Then we will click OK on this tool and
we will go up to our Curve tool, and we
| | 07:45 | will go to the Master Histogram here,
and using either the slider right here.
| | 07:53 | By the way, you can use
this as a logarithmic slider.
| | 07:56 | Notice, it says L for logarithmic.
| | 07:58 | Notice that the slope changes on here,
or when you click here, it's more of a
| | 08:02 | linear tool, if you move it up and down.
| | 08:05 | You can do it either way.
| | 08:06 | As a logarithmic tool it makes
more of an adjustment in the Shadow.
| | 08:09 | For an image such as this, it
doesn't make too much difference.
| | 08:12 | For images that are a little bit higher
contrast, such as this one, it makes a
| | 08:14 | little bit more difference if
you're doing overall brightness.
| | 08:17 | I am pretty happy with the brightness
of this image, we are just going to do a
| | 08:20 | little bit of a Contrast enhancement.
| | 08:22 | So we are going to put that right back
at 0 and just a little bit of Contrast
| | 08:27 | punch, and a little bit
of nice shape curve there.
| | 08:29 | Maybe to take that to 10, just like
we did the first image here. Okay.
| | 08:33 | There we go.
| | 08:35 | This is an RGB image and we've set our frame.
| | 08:38 | Both of these images we are going to a
set at 240 for outputting on an inkjet.
| | 08:44 | So 240 for that one.
| | 08:46 | And when I'm setting resolution based
upon an inkjet as opposed to prepress,
| | 08:51 | instead of using the Q-Factor of like 1.
5 or 2 and then the line Screen, I just
| | 08:55 | put the Q-Factor at 1 and then
just put the pixels per inch here.
| | 08:58 | And just to check, to make sure, I
just hold down that Ctrl key to make sure
| | 09:03 | that, that value is going
to be right at around 240.
| | 09:05 | Now, we've got a little bit of scaling
going on here, from 7.9 by 3.9 to 8 by
| | 09:10 | 3.9, so we are going to end up with 240
pixels per inch, but it's going to scan
| | 09:15 | at 266, to accommodate that 1
.5% of scaling of the image.
| | 09:20 | All right, There we go.
| | 09:21 | We've got both images set up and we
just hit the Scan key, and then SilverFast
| | 09:25 | is going to allow us to save each
image out as a TIFF, and there we are.
| | 09:29 | And we can dissolve back into here to
Photoshop and there is our two images.
| | 09:34 | the black and white grayscale
image and the RGB color image.
| | 09:37 | At the end of this chapter I will show
you how you can set up using Job Manager
| | 09:41 | so you can cue as many images as you
want to, and then it will automatically
| | 09:45 | just go from one image to the other.
| | 09:47 | So there's scanning our landscapes.
| | 09:48 | Now, once we have brought them into
Photoshop, then we want to apply some
| | 09:52 | Sharpening to these images, and as I
mentioned, I like to do my Sharpening in Photoshop.
| | 09:56 | I'll just sharpen one of these.
| | 09:58 | To complete this job in Photoshop
before we use it in print or in the web,
| | 10:02 | particularly going to print, we're going to
want to apply some Sharpening to this image.
| | 10:06 | And I'm just going to sharpen the
color image to show you what my thought
| | 10:10 | patterns are about it and we are going
to use a standard tool called Unsharp
| | 10:13 | Mask in order to accomplish this.
| | 10:15 | And then I'll just mention how I would
change it differently, and it's not much,
| | 10:19 | using the Sharpening tool
for the grayscale image.
| | 10:23 | First of all, what I'd like to do is
I'd like to keep an original image in
| | 10:27 | an unsharpened form, and I will actually
designate this is as a sharpened image, like this.
| | 10:33 | So when I'm looking at it in my file
list, I can see that it's sharpened.
| | 10:36 | And I am going to bring up
my Layers panel right here.
| | 10:40 | And then I do this.
| | 10:42 | I go underneath Filter and I do Convert
for Smart Filters, and I will click OK.
| | 10:47 | What this allows me to do now is, I can
go underneath Filter, and then Sharpen,
| | 10:53 | and then I use either
Unsharp Mask or Smart Sharpen.
| | 10:56 | I am going to use Unsharp Mask here,
because it's a little more intuitive than
| | 11:00 | Smart Sharpen is, but all the same
thought patterns will go into it.
| | 11:03 | 500 is a little high.
| | 11:04 | That's cool though. Wow!
| | 11:05 | All right, That's a little
more like it for a landscape.
| | 11:10 | That 500 gave us an interesting result.
| | 11:13 | The reason why I'm doing this, I
converted my image to Smart Object, was now
| | 11:18 | when I apply a filter like Smart
Sharpen, I can apply that filter and edit
| | 11:22 | it nondestructively.
| | 11:23 | So I can apply one value, maybe
do a print if I don't like it.
| | 11:27 | I can come right back in here and I
can go right into my Unsharp Mask or my
| | 11:31 | Smart Sharpen filter, and I can change
the values without actually affecting the
| | 11:35 | pixels in the image until
I actually go to output.
| | 11:38 | So it's a great way to sharpen your
images, but again, I always like to leave an
| | 11:41 | original image in an unsharpened form.
| | 11:43 | All right, Let's discuss Sharpening for
an image like this, and by the way, the
| | 11:48 | best percentage to look
at Sharpening is at 100%.
| | 11:50 | Notice I've got 100% down here
in the lower left-hand corner.
| | 11:54 | That gives you the best overall
visual impression of what the impact of the
| | 11:59 | Sharpening is going to be.
| | 12:00 | Although often I will do, as I'm
doing here, I will Zoom in just to get a
| | 12:05 | look-see at what it's doing to the
pixels, and luckily the Unsharp Mask Filter
| | 12:10 | here in Photoshop allows me to see
what the Sharpening does to the image.
| | 12:14 | Here's an Amount of 100, and what
that 100 means is, if you recall from our
| | 12:18 | discussion earlier, is it increases the
Contrast along the high contrast edges by 100%.
| | 12:24 | The Radius of 1, which is what we
use for all images that are 100%.
| | 12:29 | only if we are applying Unsharp Mask
during a scanning process, where we are
| | 12:34 | doing a lot of scaling would
we have a Radius greater than 1.
| | 12:37 | Then importantly, in an image like this in
particular, is using the Threshold value.
| | 12:41 | On a lot of landscapes I will
have the Threshold value of 0.
| | 12:45 | What that means is, it sharpens the
whole image completely consistently.
| | 12:49 | I might be able to do that here, but I
want to sharpen this area of the image
| | 12:54 | more than this area down in here.
| | 12:57 | So I might put in a Threshold value of
2, which means it needs to be at least
| | 13:01 | two differences in grayscale value
between two adjacent pixels before the
| | 13:04 | Sharpening will be applied.
| | 13:06 | How much Unsharp Mask do I want to apply?
| | 13:08 | Well, it kind of depends on the image.
| | 13:10 | For this image, if we go up to 200
%, and then we look at that 100%, I
| | 13:16 | think that's too much.
| | 13:18 | My creative judgment is that looks unnatural.
| | 13:21 | And notice that viewing it at 100
% gives me the best view of what's
| | 13:25 | actually going to occur.
| | 13:26 | When I go back down to 100, I'm getting
some nice Sharpening of that spray, but
| | 13:31 | it doesn't look oversharpened to me.
| | 13:33 | So an Amount of 100, a Radius of 1, and a
Threshold of 2 for Sharpening this image.
| | 13:38 | And in point of fact, in some cases I
won't do it here, because it's really not
| | 13:42 | a Photoshop class, but for images like
this, I'll very often selectively sharpen
| | 13:47 | the foreground over the background.
| | 13:49 | I might make a mask of this portion
of the image, a nice feathered mask,
| | 13:52 | and sharpen just the waves, or sharpen the
waves more than I'd sharpen the backgrounds.
| | 13:56 | There are lots of things
you can do in Photoshop.
| | 13:58 | Hence, this is the reason why I don't
want to sharpen during the scan, to get a
| | 14:01 | lot more creative control of
how I want to sharpen my images.
| | 14:04 | Now, one thing to mention here when
you're Sharpening RGB images is that
| | 14:09 | sometimes when you sharpen RGB images
you will get colorcast shifts along the
| | 14:13 | high contrast edges.
| | 14:14 | There are a couple of solutions to
addressing this, and one of them is this.
| | 14:18 | I am going to take this image.
| | 14:20 | I am going to back it down here.
| | 14:22 | I am going to make a copy of this.
| | 14:23 | And we are going to make a
Lab version of this image.
| | 14:28 | And we are just going to bring up
Channels, and I am going to go Image>Mode, and
| | 14:33 | go to Lab Color Mode.
| | 14:35 | What this does is it takes my RGB
images and it separates them into three
| | 14:39 | other channels, but most importantly
what it does is it puts the grayscale
| | 14:42 | values on one channel.
| | 14:44 | Then if I know how much Unsharp Mask
that I want to apply to this image, I can
| | 14:49 | bring up my Unsharp Mask tool,
apply it to just to the L Channel.
| | 14:53 | Therefore, there's no color shifts
along high contrast edges, because there is
| | 14:57 | no Sharpening being assigned to
either the A or the B Channel.
| | 15:00 | This is perhaps the safest way to apply
Sharpening to a color image, if you end
| | 15:05 | up having some color shifts
along high contrast edges.
| | 15:08 | It looks exactly the same.
| | 15:09 | It's going to be the same values that you had.
| | 15:11 | In fact, you can convert this back to
RGB again if you want to, or you can take
| | 15:14 | it onto CMYK for printing right from here.
| | 15:17 | So if you do notice some color shifts
in your printer and your web images, it
| | 15:21 | doesn't always happen, but sometimes it
does, you can apply Sharpening to a Lab
| | 15:26 | version of this image.
| | 15:27 | Again, another reason to
apply Sharpening in Photoshop.
| | 15:31 | it gives you much more control.
| | 15:32 | Now, all the Sharpening evaluation and
the values that I applied to the color
| | 15:36 | image, I would apply to
the grayscale image as well.
| | 15:39 | I just don't have to worry about
color shifts along high contrast edges.
| | 15:42 | All right, So there's scanning
grayscale landscapes, color landscapes, and then
| | 15:46 | applying some Sharpening in
the post-scan in Photoshop.
| | Collapse this transcript |
| Scanning product shots| 00:00 | In this movie we are going to address
scanning photographs of product shots.
| | 00:03 | We are going to do a
continuous tone color image.
| | 00:06 | Products not always but very often
represent some unique challenges in terms
| | 00:10 | of scanning and particularly in terms of
highlights and shadows and sharpening issues.
| | 00:15 | So let's just dive right in.
| | 00:16 | I've already set our Frame here.
| | 00:18 | The original image was 5x7 so we are
going to put out Output at 5x7 because
| | 00:21 | maybe that's how we want this to
go in the catalog as a 5x7 image.
| | 00:25 | And while we are here let's go ahead and set.
| | 00:28 | We are going to go to print.
| | 00:29 | Let's set our Quality Factor at 2 and
we will set our Line Screen say at 150 so
| | 00:35 | we will get a 300 pixel per inch
scan and hold down the Ctrl key.
| | 00:39 | We will actually scan at 320 because we've
got a little bit of a scale of about 101.4%.
| | 00:44 | And we will name it Martinelli's Bottle_RGB_300.
| | 00:50 | So that's all squared around.
| | 00:51 | We will go up to our Scan Type. Go 48->24.
| | 00:53 | Again if you want to do a bunch of
editing afterwards in Photoshop or if you
| | 00:59 | wanted to print high bit depth
images then you could scan in 48-bit.
| | 01:01 | But we are going to go 48->24 and I think
these results will be just fine. Thank you.
| | 01:05 | All right, So let's look at our
image and do a visual eval first.
| | 01:10 | Since it's a product shot one of the
key things about product shots is there is
| | 01:13 | usually logo and/or type and here we have both.
| | 01:17 | We have Logos and we have Type.
| | 01:18 | We want to make sure that's sharp and
just as a side note as far as photography
| | 01:22 | is concerned if you are in-charge to
the whole process and you are doing film
| | 01:26 | based photography and then you are
scanning that make sure that you have got
| | 01:29 | enough bit depth so that you get good
sharpness of the logo all the way around a
| | 01:33 | bottle, a three-dimensional object
like this and make sure that you capture
| | 01:37 | plenty of data all the way
from the highlights to shadows.
| | 01:40 | So the highlights aren't blown out
and the shadows aren't filled in.
| | 01:43 | And this is an example of
a very good product shot.
| | 01:45 | One of the things we run into quite
frequently in product shots is reflection
| | 01:49 | such as we see here and very often
these are what we call specular highlights.
| | 01:53 | There are two kinds of Specular, which
tend to be blown out pure white with not
| | 01:56 | much detail in them and then Diffused
highlight which is the lightest portion of
| | 02:00 | image that still has detail.
| | 02:01 | To this point in the course we have
been primarily dealing with diffuse
| | 02:04 | highlights, first of all I want to
do this product shot to discuss it.
| | 02:08 | The other thing that we often have in
product shots is attention to shadow
| | 02:11 | detail where in some other kinds of
images it may not be all that important but
| | 02:16 | in these kinds of images is it and
with a bottle like this where we have got
| | 02:19 | shadows and highlights and specular
highlight it's kind of get the whole package
| | 02:24 | in here for us to worry about.
| | 02:25 | We've got reflective surfaces like
the foil and this is all about getting
| | 02:29 | the proper lighting.
| | 02:30 | These reflections are fine.
| | 02:31 | If you get too much of
reflection off the foil that's not good.
| | 02:35 | So, good photography needs to be done.
| | 02:37 | And this is a nice product shot
that was done by Lucas Deming the
| | 02:40 | photographer at Lynda.com.
| | 02:41 | So thank you Lucas. Good job.
| | 02:42 | All right, So we've done our visual
evaluation, our qualitative evaluation so we
| | 02:46 | know what's important.
| | 02:47 | Let's go ahead and start setting our
sampler points and let's do our Shift+Click
| | 02:52 | on our favorite tool right
the Highlight Shadow tool here.
| | 02:55 | Click and it's not unexpected that the
highlight is going to go right there in the reflection.
| | 02:59 | Before I go any further though I know
one of the key portions of this image I
| | 03:03 | can do it usually is this white area on
the label right and I know I've got some
| | 03:07 | light coming from this side because
well, I can see the reflection here.
| | 03:11 | So I'm going to go ahead and put a
color sampler point right here as well
| | 03:14 | because that's the one I
really want to pay attention to.
| | 03:16 | When we look at these two values
notice this one is at 228, 227, 225 and this
| | 03:23 | one is at 233, 228, 223. Interesting!
| | 03:26 | They are almost identical.
| | 03:27 | We have just kind of switch to couple of
values here like there, they are identical.
| | 03:30 | Well, good enough but we are
going to monitor number two. Why?
| | 03:34 | Because that's the diffuse highlight.
| | 03:36 | In an image like this we
have specular and diffuse.
| | 03:38 | If you take care of the diffuse properly the
specular will normally take care of itself.
| | 03:43 | We will see what happens.
| | 03:44 | All right, Then of course we want to
get a Shadow Point in here and we will
| | 03:48 | Shift+Click on that Shadow Point
because we want to make sure we maintain
| | 03:51 | shadow detail there.
| | 03:52 | Let's look at the value. 27, 24, 26.
| | 03:53 | All right, We've got a little bit of room.
| | 03:57 | We can darken up a little bit but
don't want to go below 15 on that one, most
| | 04:01 | likely that's about 96% shadow.
| | 04:04 | How low we go once again
depends upon the output device.
| | 04:07 | If I am going to my Inkjet printer I am
probably not going to go below 20 there.
| | 04:10 | If I am going to a process color press
with just cyan, magenta, yellow and black
| | 04:13 | I can take it little bit lower.
| | 04:15 | My Inkjet are now pinched to fill in
those shadows little bit more than a
| | 04:18 | commercial printing press does.
| | 04:19 | So it's all based upon the
output device we are going to.
| | 04:22 | So we are going to prepress with this one.
| | 04:24 | So let's go ahead over to our tools
and start fine-tuning our settings and
| | 04:28 | these aren't bad settings all the way they
are because the photography is so well-done.
| | 04:31 | So what would do here?
| | 04:33 | First of all this is a white label. Isn't it?
| | 04:35 | Maybe that's the point that we
are going to pay attention to.
| | 04:37 | 233, 228, 223, little bit of a red
cast here and you know what probably
| | 04:42 | because of the reflection of the light
of the apple is casting a little bit of
| | 04:46 | a red cast right there.
| | 04:48 | So difficult to see that
visually but we can see it numerically.
| | 04:51 | So to make sure that label pops, what we
are going to do is we are going to take
| | 04:54 | out that little bit of a red color cast here.
| | 04:56 | So we are going to go and work on
these individual channels and the
| | 04:59 | highlight separately.
| | 05:00 | If you go to the red channel and we
are going to punch this up to 238, 239
| | 05:03 | because I am thinking ahead a little
bit I think I am going to be lightning
| | 05:07 | this image a little bit.
| | 05:08 | It's not bad but I would like to
lighten it and add a little bit more contrast.
| | 05:11 | So I think I am going to just take this
to 239 thinking that we'll get the rest
| | 05:15 | of the way to 242 when we
go into our Curves tool.
| | 05:18 | And then we go to the Green.
| | 05:19 | We will take that to 239 as
well and the Blue take that to 239.
| | 05:25 | And see by getting these three numbers
to equal this is called neutralization of
| | 05:28 | course we take out any color cast, any
red color cast because we don't really
| | 05:31 | care about the apple what we care
about is that white bottle. There we go.
| | 05:35 | Now let's look at the shadow and to do
the shadow, point number three, we don't
| | 05:39 | want to neutralize that.
| | 05:41 | It's got some color to it.
| | 05:42 | We want to maintain that color.
| | 05:43 | So we are going to do the shadow
adjustment on the Master RGB channel.
| | 05:47 | Now let's say we can drop that down to maybe 15.
| | 05:49 | So I will drop this down to the lowest
values at 15 which is going to be the green.
| | 05:53 | There we go.
| | 05:54 | So none of these we have increased the
contrast here a little bit by lightening
| | 05:57 | up the highlight, darkening up
the shadow looking pretty good.
| | 05:59 | Let's look at these three
values here 233, 237, 241.
| | 06:04 | They have hardly changed although the
Blue came up a bit and these came up
| | 06:08 | a little bit but notice they are all still
actually printing as a diffuse highlight.
| | 06:12 | But we don't really care if that one's neutral
what we care about is this one being neutral.
| | 06:17 | Our eye doesn't expect that to be neutral gray,
the eye does expect this to be neutral gray.
| | 06:22 | All right, There we go.
| | 06:23 | And then we will go to our Curves tool.
| | 06:25 | And in a case like this where we've
got lots of darkness in here instead of
| | 06:29 | going with just the normal I am going to go
with a logarithmic curve to lighten my image.
| | 06:35 | So I am just going to move this up
maybe about 5 points here and notice we've
| | 06:39 | gone from 239 to 240 over here.
| | 06:42 | See the brightness of the image just a
little bit and it brightens the shadow a
| | 06:46 | little more than it does the highlight.
| | 06:48 | Then we'll go to our Contrast tool
and I am just going to add little bit of
| | 06:51 | contrast between 5 and 10 and
notice that boom, they are all perfect.
| | 06:55 | Our white highlight is right at 241, 242.
| | 06:58 | Perfect 5% white highlight.
| | 07:00 | And we will just check our shadow here.
| | 07:02 | Make sure we are around 15.
| | 07:03 | All right, It's bumped up
a little bit. We are fine.
| | 07:05 | Yeah, we are good to go there.
| | 07:07 | So we've got a nice neutral label.
| | 07:10 | We've got good brightness,
good contrast. We will click OK.
| | 07:13 | Now since we are going to scan this
and go right to press, we are going to go
| | 07:16 | ahead and do some sharpening here.
| | 07:18 | I know shock and surprise, I am
actually going to sharpen during my scan.
| | 07:20 | Now you could use some of these built-
in sharpening and honestly SilverFast
| | 07:25 | sharpening algorithms are pretty darn
good but no matter how good they are
| | 07:28 | I never trust them.
| | 07:29 | So up comes the Unsharp Mask
tool which is SilverFast's very
| | 07:33 | sophisticated sharpening tool.
| | 07:34 | Let's call Unsharp Mask because it
comes from prepress and remember all the
| | 07:37 | knowledge and wisdom that goes into its
program comes from the prepress world.
| | 07:40 | So the first thing we want to do is
check off Monochrome because we really want
| | 07:43 | to see the impact of the Unsharp Mask on
the color portion of the image and then
| | 07:47 | if you have watched some of the earlier
videos on sharpening in this course you
| | 07:50 | know that when you click
Prescan nothing happens.
| | 07:52 | It waits for you take that little rectangle
and click on where you want to see the preview.
| | 07:57 | And I am going to click on a critical
area here and also show this reflective
| | 08:02 | gold band which we want to make
sure is not too overly affected by some
| | 08:06 | sharpening we might apply.
| | 08:08 | The left side shows the unsharpened
version of the image and the right side
| | 08:12 | shows the sharpened version of the image.
| | 08:15 | What we are going to want to set first
is some starting values of Intensity and
| | 08:18 | typically that would be between 50 and
100% particularly for a product shot.
| | 08:22 | Remember we are emphasizing,
making the type pop because it's a logo.
| | 08:26 | So right and this is one of the things
that product shots tend to have and very
| | 08:29 | often the logos have line art and
sometimes we both like we have here.
| | 08:32 | So we want to make sure we end up with
nice sharp edges and notice at 75% look
| | 08:36 | at the difference in
sharpness between these two.
| | 08:38 | That's pretty significant.
| | 08:39 | But we want to be careful of is
applying too much sharpening so that we start
| | 08:44 | getting modeling in areas like this and see
there is a little bit in here. We don't see here.
| | 08:48 | All right, And then this is one of
the values we can adjust here and that
| | 08:52 | is Threshold with the Intensity of 75%
increase in contrast along high contrast edges.
| | 08:59 | So it's going to increase the
contrast between adjacent pixels.
| | 09:02 | Then Threshold says and we are going to
set this at about 3 and what this means
| | 09:06 | is there needs to be at least 3%
difference in grayscale value before the
| | 09:10 | sharpening will be applied.
| | 09:11 | And in some cases I will go as high as
5 on an image like this in particular.
| | 09:15 | So we can go all the way up to 5 if you want to.
| | 09:18 | So that soft areas are like this and the white
background will not be modeled by the sharpening.
| | 09:23 | Notice by putting 5% this now appears
very smooth whereas the high contrast type
| | 09:28 | edge is still sharpened.
| | 09:30 | The other adjustment you can make
here is this Over Sharpening slider.
| | 09:33 | You won't find this in a
lot of scanning programs.
| | 09:36 | Its kind of unique to SilverFast but if
you have SilverFast and you are using it
| | 09:40 | notice you can take this all the way up
to 100% and then you can back it off and
| | 09:44 | you can watch those smooth areas.
| | 09:46 | By putting this at 5% that's
pretty much taken care of it.
| | 09:50 | If I put this back down at 2% notice at
34 see the modeling if I go higher and
| | 09:56 | higher we get more and more modeling.
| | 09:57 | By reducing the Over Sharpening
I remove some of that modeling
| | 10:02 | My experience teaches me I would rather
do with little bit higher Threshold and
| | 10:06 | then move the over sharpening up until I
just start to see some of that modeling up here.
| | 10:11 | Here we go.
| | 10:11 | So 75, Threshold to 5.
| | 10:13 | I can maybe even take this
up to 100% after a while.
| | 10:17 | So I start between 50 and 100, maybe move
up to 100 and get some nice sharp type here.
| | 10:21 | Threshold to 5, Oversharpen.
| | 10:23 | Now this is very important, the
Sharpen and the Dark Contour. Why?
| | 10:26 | Because we've got important shadow area
here that we want to make sure is not modeled.
| | 10:31 | So if you recall our shadow
point here was down at about 95%.
| | 10:38 | So I am going to say let's sharpen
up to about 80 or 85% and after that
| | 10:43 | don't sharpen at all.
| | 10:44 | That way the very dark portions
of the bottle will be left alone.
| | 10:48 | And on the dark and light Contour I am
pretty much going to leave those just the
| | 10:52 | way they are set at 50% equalize them
because there aren't any light areas that
| | 10:55 | I want to emphasize and certainly no
dark areas that I want to emphasize, which
| | 10:58 | I would raise them about 50% on one
of the other if I wanted to do that.
| | 11:02 | I'm going to click on soft shadows
particularly on an image like this.
| | 11:05 | What that does is create smooth
gradations on any of the dark shadow areas in
| | 11:10 | the image and which in this case
there is lots of in this bottle.
| | 11:13 | All right and keep the Matrix at 3x3.
| | 11:14 | and if I use this a couple of times,
and I am doing a lot of these kinds of
| | 11:18 | shots and I like this and I can save
this is a preset and label it and call it
| | 11:23 | bottles whatever I like. There we go.
| | 11:25 | So I am going to click OK
and we are ready to scan.
| | 11:28 | So we are just going to check our values here.
| | 11:30 | These one needs your one more check
as sometimes when you apply sharpening,
| | 11:33 | sometimes the highlights move up and
the shadows move down a little bit.
| | 11:36 | In this case, we are good to go
because remember we put that threshold which
| | 11:40 | protected the white area in particular
and we would make sure that not too much
| | 11:43 | sharpening was applied to the shadow area.
| | 11:45 | So this tells us that we've accomplished our
task and then we will go ahead and click Scan.
| | 11:49 | And there we go and well, look at this
at 100% and notice we end up with some
| | 11:55 | real nice sharpening of our image.
| | Collapse this transcript |
| Scanning combo/complex images | 00:00 | In this exercise we're going to work
with a complex image, and by complex I mean
| | 00:04 | kind of an image that has it all.
| | 00:06 | We have Highlights and
Diffused Highlights as you see here.
| | 00:09 | We have Specular Highlights,
reflections off the glass.
| | 00:13 | We have some product shots here,
like we've got a light area here, we've
| | 00:16 | got type down here, we've got Skin Tones,
we've got lots of Shadow detail in the jacket.
| | 00:22 | You name it, it's in this image.
| | 00:24 | Let's see how we would evaluate this
image and measure it and then go about
| | 00:28 | adjusting it and then finish up with the scan.
| | 00:30 | And once again, let's assume that we
are going to go to prepress with this.
| | 00:34 | All right, So we'll start with, again,
our favorite tool, and that is the
| | 00:37 | Highlight and Shadow tool, Shift+click,
boom, sets the lightest area in the
| | 00:42 | image, and it sets our Fixed Pipette here.
| | 00:45 | Look at the RGB value, just to kind of
get a start here, 228, 226, 227, not bad,
| | 00:51 | right, pretty darn
neutral right from the get-go.
| | 00:54 | And let's do the Shadow.
| | 00:55 | 24, 24, 27, and also we've
get those two points set.
| | 01:02 | Now, what else did we want to have for
color sampler points if get up to 4 here?
| | 01:05 | Well, certainly we are going to want the
Skin Tone, aren't we, no doubt about that.
| | 01:09 | And what else might we want here?
| | 01:10 | Well, we would like the white wrap on
the top of this bottle to be neutral as
| | 01:15 | well, just like the shirt.
| | 01:16 | So why don't we put one control point
there, and I am clicking there first
| | 01:21 | rather than on the face, strictly for
organizational purposes here, is so that
| | 01:26 | I've got the two Highlights one on
top of the other in the Fixed Pipette.
| | 01:30 | By the way, I should mention that I
always put my Diffused Highlight as point
| | 01:34 | number 1, and then I typically will put my
Shadow as point number 2, so I can go back and forth.
| | 01:38 | I usually set those two points
first and then do everything in between.
| | 01:42 | All of my images are corrected that way,
whether I do it in scanning or Photoshop.
| | 01:46 | If I am working in adjustment layers in
Photoshop, for instance, any one of my
| | 01:50 | .psd layered files, so I've got
adjustment layers, I go in, I know when I bring
| | 01:53 | up the Info panel, number 1 is always
the Diffused Highlight and number 2 is
| | 01:57 | always the Shadow Point.
| | 01:59 | So Shift key again and let's put a
color sampler point right on his cheek.
| | 02:03 | Just to remind you about setting color
sampler points on Skin Tones, we want
| | 02:08 | to make sure that we have a position
that's kind of average for the whole face
| | 02:12 | in terms of lighting, and we want to avoid
any reflections or any deep cast shadow area.
| | 02:17 | So for instance, we would want to
avoid this area right here, because there's
| | 02:20 | a bit of reflection there, and we'd want to
avoid the cast shadow on the side of his nose.
| | 02:24 | So anywhere around in here is a
pretty good place to take a look.
| | 02:27 | So let's evaluate our numbers here.
| | 02:30 | 228, 226, 227, that's pretty close to
neutral, but it's a little dull, isn't it?
| | 02:35 | We can brighten that up for sure.
| | 02:37 | 24, 24, 27, pretty neutral, which is fine.
| | 02:42 | Again, it's a little light.
| | 02:43 | Overall the contrast of this image is
lower than it can be, and we'll fix that.
| | 02:48 | Color sampler point number 3, which
is certainly not a Highlight, but it's
| | 02:51 | around a quarter tone.
| | 02:52 | 203, 200, 199, a little bit of a
Red cast here, which is why it's good
| | 02:59 | we clicked on that.
| | 03:00 | And then let's look at the Skin Tone.
| | 03:02 | Remember for Skin Tone, Red should be
greater than Green should be greater than Blue.
| | 03:05 | Well, certainly we have that, Red is
greater than Green, greater than Blue.
| | 03:08 | Notice from Blue to Green, 139 to 157,
that's about a 20 point spread, isn't it?
| | 03:14 | We go from 157 to 200.
| | 03:17 | That's a little over a 40 point spread.
| | 03:19 | And we don't want the ratio of Red to
Green to be any more than double that of
| | 03:24 | Green to Blue, except for in the case
of when you are scanning photographs of
| | 03:29 | Irishmen with red hair, who have
been out in the sun for too long.
| | 03:32 | Other than that, we don't want to
have that much Red in an image, although
| | 03:37 | Roberto's skin certainly looked human,
I think it's probably a little bit
| | 03:41 | too Red by the numbers.
| | 03:42 | Remember back here in this kind of
quarter tone, neutral area, the Red was a
| | 03:46 | little bit high, well, both the Skin
Tones and this confirm that, don't they?
| | 03:51 | One kind of supports the other.
| | 03:52 | So I think we can go ahead and adjust
our Highlights and Shadows and then come
| | 03:55 | in and maybe do a little bit of the
Midtone adjustment on the Red Channel before
| | 03:59 | we finish up with Brightness,
Contrast, and Sharpening.
| | 04:02 | So let's go to our Tone Compression tool,
the Histogram, a.k.a., Levels in Photoshop.
| | 04:07 | Honestly, look at that, they are so
close to each other, but I am going to be
| | 04:10 | anal, you could use the Master Histogram here.
| | 04:13 | I am going to pull this up to around 238, 239.
| | 04:15 | And then I am going to
pull this up, 238, 239, 240.
| | 04:19 | In fact, let's take this
one to 240, why don't we?
| | 04:23 | 240, 241, and we'll go back to Red.
| | 04:29 | And then Blue, we'll come up here, go
right to 240, because we are going to
| | 04:34 | prepress remember, so we can
hold that 5% white highlight at 242.
| | 04:37 | I am just giving it a little bit of
room to move when we go to curve, still
| | 04:42 | lighting a little bit, otherwise it
will print just fine, 240 is 5.5% white
| | 04:47 | highlight, so it will be good to go.
| | 04:49 | And then Shadow, and we might take this
Shadow Point down into the jacket if we
| | 04:53 | wanted to, but since it is right on the
edge of the product shot, we'll leave it there.
| | 04:58 | But I will go to the Master Histogram
here to lower that, and we are watching
| | 05:03 | these values right here at this point.
| | 05:06 | We can take those down, so that the
lowest one is right around 15. Good!
| | 05:11 | Recheck the Highlight.
| | 05:12 | 239, 240, okay, so we'll click OK here,
and let's go to our Curve tool now, hold
| | 05:21 | the Gradation-curves, so we are fast.
| | 05:24 | We're going to go to our Red Curve,
hold down the Command key, or we can use
| | 05:30 | the slider down here.
| | 05:32 | One of the nice things about using the
slider, particularly in the logarithmic
| | 05:35 | mode, is that it does tend to adjust
the Shadow more than the Highlight, as we
| | 05:40 | lighten and darken, or as we
move a curve one way or the other.
| | 05:44 | That's particularly important for
doing overall Brightness and Contrast.
| | 05:47 | If we're just doing a color curve,
we'll just Command+click and pull this down.
| | 05:52 | Don't have to lower it too much, but just a
little bit to take some of that Red off of there.
| | 05:57 | And I am watching this right here.
| | 05:59 | we are over 212, bring it down to about 207,
we have brought from the 209, down to 203.
| | 06:05 | So we have taken a little bit of that
Red out of the skin, and you could take
| | 06:07 | more if you wanted to, but I
think we'll leave it right there.
| | 06:10 | And then let's go back to the Master
Curve and I will use the L Curve here to
| | 06:15 | lighten overall just a little bit.
| | 06:19 | Notice by lightening just a little
bit here, we are creating some contrast
| | 06:22 | between the jacket and the
background, which is nice, gives the overall
| | 06:26 | impression of the image a bit more contrast.
| | 06:28 | And notice what happened to our Highlight
values, we've moved up to 241, almost 242 there.
| | 06:34 | Shadow, we may want to fine tune
that a little bit when we get done here.
| | 06:37 | Do we want to increase Contrast? No.
| | 06:40 | Why?
| | 06:41 | Well, we have a push/pull
here, don't we, in this image?
| | 06:44 | We'd like maybe a little bit more
Contrast because of the bottle, the product
| | 06:47 | shot, but we don't want more
Contrast because of the Skin Tone.
| | 06:50 | Which one is going to win out here?
| | 06:52 | I am going to say we are going to just
go with the Skin Tone, because this image
| | 06:55 | has good contrast in it already.
| | 06:57 | And we've taken care of improving the
contrast with overall Brightness, and we
| | 07:01 | are setting our Highlights and Shadows,
but I will go back here and fine tune
| | 07:05 | the Shadow a little bit, and we are
watching these values right here, and I am
| | 07:09 | going to take that back down to around 15,
16, something like that. There we go.
| | 07:14 | So sometimes I'll go back and forth a
couple of times with these two dialog
| | 07:18 | boxes, doing overall Brightness of an
image and then fine tuning the Shadow
| | 07:23 | Point, get it just the way I want it.
| | 07:25 | But I am not going to give me an S shape
curve, because I want to protect the Skin Tones.
| | 07:29 | Okay, there we go.
| | 07:31 | And final, as we are going to apply
Sharpening, the Sharpening we talked about
| | 07:36 | earlier on the bottle right down here,
I am going to use pretty much those same
| | 07:40 | values in this image, and I am going
to use about 100% increase in Sharpness,
| | 07:45 | but I am going to use that 5%
Threshold, and that 5% Threshold is going to
| | 07:49 | protect the shirt and certainly going
to protect the Skin Tone and also the
| | 07:53 | wrapper on the bottle. It goes to 100%.
| | 07:58 | Threshold of somewhere between 3
and 5 would be nice for this image.
| | 08:02 | And we'll come and we'll
look at the Oversharpening here.
| | 08:05 | 5% has really taken out most of the
impact of the Oversharpening, so not
| | 08:11 | much impact from that.
| | 08:13 | But notice we are getting some nice
increase in focus and Sharpening here on
| | 08:16 | the type, so we have it a little bit soft here,
and that's really what we are looking for.
| | 08:20 | And if you want, we can do just a check,
we can take a look at the Skin Tone.
| | 08:26 | We can click on that area.
| | 08:27 | Make sure we are not getting any modeling.
| | 08:32 | We might want to do some retouching
on some of these pores and stuff later
| | 08:35 | on, afterwards in Photoshop, but no
modeling in the Skin Tone, things are just sharp.
| | 08:40 | Good to go!
| | 08:41 | And off to the scan races we go.
| | 08:45 | Remember, if you get a set up like this,
and you like it, and you've got similar
| | 08:49 | kinds of images you want to scan with
the same settings, use the Save Setting
| | 08:53 | menu right here to save them and recall
them at any time that you like. Here we go.
| | 09:00 | And there is Roberto in all his glory.
| | Collapse this transcript |
| Adjusting distressed images| 00:00 | Let's investigate scanning images that
are distressed or damaged and maybe even
| | 00:05 | in a need of a lot of photo restoration.
| | 00:07 | In fact, the image that we're going
to use here that you see in the Preview
| | 00:10 | screen is an image that Janine Smith
sent to me, and Janine Smith teaches a
| | 00:14 | class at Lynda.com called
Photo Restoration with Photoshop.
| | 00:18 | And this is one of the images
that she works with in her class.
| | 00:21 | So we're kind of combining efforts here.
| | 00:23 | She sent me this image do a high-
quality scan and then, I'm going to send it
| | 00:27 | back to her and she is going to use
it into her Photo Restoration class.
| | 00:30 | So when you get done with the scanning
course, be sure to go check out Janine
| | 00:34 | Smith's Photo Restoration with Photoshop
course to see how far you can take this
| | 00:37 | image with a good quality scan.
| | 00:39 | So we better do a good job
here, Janine will not be happy.
| | 00:43 | I'm actually going to do two scans.
| | 00:45 | One scan is I'm going to do is good a
job as we kind of get ready to just take
| | 00:49 | it, scan it, and go to print.
| | 00:51 | And then we're going to evaluate
that image in Photoshop a little bit and
| | 00:54 | maybe see what we can do to fine-tune
that to make it even a little bit better
| | 00:58 | for photo restoration.
| | 01:00 | So let's evaluate this
image and see what we've got.
| | 01:03 | Obviously, very, very low contrast, the
image is very faded, like it has a color
| | 01:07 | cast as we saw because almost all
faded images have color cast to them.
| | 01:12 | And you can really see this on color
images that tend to get very green and blue
| | 01:16 | as they age a lot of times.
| | 01:18 | Others get very, very red.
| | 01:20 | This one has got a real red color cast to it.
| | 01:22 | It's hard to tell how this
one actually started out.
| | 01:25 | It might have actually started out as a
single ink or as a sepia image, it's hard to tell.
| | 01:29 | And of course, this poor gal is
turned right now through her head, but
| | 01:32 | Janine will fix that.
| | 01:34 | We can do similar types of analysis
with this image that we do without this.
| | 01:38 | We can go check out what the highlight
and shadow values are, so let's go do
| | 01:42 | that and see what we get.
| | 01:43 | There's the highlight, of course,
we gave it to us on the tare.
| | 01:46 | All right, And then shadow, so we
get a shadow value here on the dress.
| | 01:54 | Sometimes on images like this when you
go to look for the shadow value, if it's
| | 01:58 | got type on it like this,
it'll actually choose the type.
| | 02:01 | If it does that, you can do this, set
your highlights and shadows and the pull
| | 02:05 | this back down if you want
that to be part of the scan.
| | 02:07 | So you can always eliminate some
portion of the image before you set
| | 02:10 | highlights and shadows if you're
getting a highlight and a shadow in the area
| | 02:13 | that you don't want it.
| | 02:14 | Now I could do that here, for instance,
where I can get rid of all of these, if
| | 02:18 | I wanted to see well, what's the
lightest portion of this image, outside of that
| | 02:22 | area right there so I could pull that
or maybe what we'll do is pull this in
| | 02:26 | here, there we go and then do a highlight check.
| | 02:31 | When we see that
highlight goes right down there.
| | 02:34 | And then we'll do the shadow
up right there, here we go.
| | 02:40 | We're not concerned so much
about that value right there.
| | 02:43 | And if we set that, we can always use
it later, but we're going to do put our
| | 02:47 | number one value down here in this
portion of the image which is part of the
| | 02:51 | paper that surrounds it but
it's not part of the tear.
| | 02:53 | All right, So is there any other portion
of this image that's important, well, I
| | 02:56 | would probably put one right on this
gal's face, maybe on the light portion of
| | 03:01 | her face just to make sure,
we've got grayscale values there.
| | 03:04 | When all is said and done, there we go.
| | 03:08 | So there's our highlight, there's our
shadow, and we've got one in the tear.
| | 03:11 | It'd be nice if we had some data
to work with there, but we'll see.
| | 03:15 | And then we have the type at the bottom.
| | 03:17 | Where do we go from here?
| | 03:18 | Well, let's go over to our Histogram tool.
| | 03:22 | You can really see the color cast in
here because of the offset of the red in
| | 03:26 | relationship to the green and the blue.
| | 03:27 | This is a very yellow image and of
course you combine red and green together to
| | 03:31 | make yellow and these are
offset way to the right of the blue.
| | 03:35 | So the histograms agree with our visual
evaluation of having a strong red, green
| | 03:39 | or yellow color cast.
| | 03:40 | The first adjustment we're going to
make here and understand there is really no
| | 03:44 | highlight in this image.
| | 03:46 | It's just kind of the lightest portion
of the image which is down that's not
| | 03:49 | really a highlight in the image.
| | 03:50 | This is a shadow portion of the image
but it looks to me like it's really kind
| | 03:54 | of the damaged portion of the image
which is likely going to be taken away.
| | 03:57 | So that's not super-helpful to us, is it?
| | 04:00 | We might move that in just a minute.
| | 04:02 | What we do have is histograms and very
often with images where we don't really
| | 04:06 | have highlights and shadows or we don't
have neutrals, boy, the histograms come
| | 04:10 | in super-handy to help us
evaluate and then adjust images.
| | 04:15 | Well, since these are so offset, we're
not going to just do a master histogram.
| | 04:19 | That doesn't help us very much
because it keeps the color cast.
| | 04:21 | We're going to go into the individual channels.
| | 04:24 | And on our first correction,
remember I told you we're going to do two.
| | 04:26 | In the first one, I'm going to take this
highlight, I'm going to pull it all the way in.
| | 04:30 | A lot of times these flat areas here
is noise in the image, you're not quite
| | 04:35 | sure where the data starts and where it
doesn't, but I'm going to bring this in
| | 04:39 | right to the start of where the significant
data is in this image where it boom, jumps up.
| | 04:43 | Remember, this first one is scan and take it
to print, not intending to do much in Photoshop.
| | 04:48 | And then I'm going to take the shadow
and again, move it in and particularly
| | 04:52 | where you've got the broken data that's
very often noise, but I'm going to going
| | 04:55 | to bring it into where the
significant data jumps up under the red.
| | 04:59 | I'm going to do the same
thing on all three channels.
| | 05:03 | Red, Green, and then Blue.
| | 05:11 | What this basically does is it lines
up all the highlights and shadow points
| | 05:14 | in the three images.
| | 05:15 | And notice it takes out a lot of that
color cast of that image just by doing that.
| | 05:19 | I'm putting all the way up to the
beginning, and then I'm going to click OK.
| | 05:24 | Huge improvement in this image already!
| | 05:26 | Notice that we have our number two point
over there and we look at in some detail.
| | 05:30 | It does look like a damaged point, so
we might move it over here, maybe in the
| | 05:33 | shadow portion of the dress to see where we are.
| | 05:35 | There is our highlight
which is down there in the fold.
| | 05:40 | Point number four is probably one of the most
important points we've got here. 242, 241, 235.
| | 05:46 | That's a very light portion of
the image that we want to look at.
| | 05:49 | We want to make sure there's plenty of
data there to print and to work with.
| | 05:53 | So we wouldn't want this to go any
higher than this 242, 241 because that's
| | 05:57 | about 5% white highlight.
| | 05:59 | If we're any lighter than that, well,
we probably want to go back and make a
| | 06:02 | fine-tune adjustment with our histogram.
| | 06:05 | Could we improve this image a little bit more?
| | 06:07 | Well, we could come in here into our
curves and we could lighten the overall
| | 06:12 | image and we could improve contrast.
| | 06:15 | That might do a little bit
of a contrast improvement.
| | 06:18 | Little bit goes on right there.
| | 06:19 | Am I going to sharpen this image? Probably not.
| | 06:23 | In fact, the images that have this much
damage and repair, sharpening them just
| | 06:27 | brings out the damaged
areas more than anything else.
| | 06:29 | So I'm not going to
apply any sharpening to this.
| | 06:32 | I might do some descreening if
there were any patterns in here.
| | 06:36 | I'm not exactly sure what Janine is
going to do as far as repairing this image.
| | 06:40 | So I'm going to leave this the way it is.
| | 06:42 | But remember, this one
actually is going to go to print.
| | 06:44 | So I'm not going to anything else.
| | 06:46 | I'm just going to do a basic tonal adjustment
in this image and we're going to go to scan.
| | 06:50 | And let's see, we've got a 2 inch x 3
inch image and we'll do 300 pixels per inch.
| | 06:55 | I do a full scan and with an image
like this we're just going to go to print,
| | 07:00 | we'll do 48 -> 24 Bit Color.
| | 07:02 | So I'm going to click Scan and we're
going to call this one Torn Woman_RGB, take
| | 07:12 | out the 16, all right, we're
going to 24 bit, and then click Save.
| | 07:19 | So vastly improved, still need
lots of work in terms of retouching.
| | 07:22 | But what I want to do now is I want to
bring up the Layers panel and I want to
| | 07:27 | add a curves adjustment layer.
| | 07:30 | Coming up, tick over the image just a
little bit, but most importantly what I
| | 07:34 | want to do is take a look at the histogram.
| | 07:36 | The other thing that you can view in
Photoshop is just go into and choose Histogram.
| | 07:44 | Both of these are useful.
| | 07:46 | This one useful for kind of tweaking, and this
one for just looking at the data in the image.
| | 07:50 | Notice that we've got a little spike here
in the highlight, little spike in the shadow.
| | 07:55 | What that means is we've pulled the
highlights and shadow values and just a
| | 07:59 | little bit too far by looking at the histogram.
| | 08:01 | This is why the Histogram is such a
valuable tool, because rather than kind of
| | 08:05 | measuring these values all over the
image, we can look at the Histogram and see
| | 08:08 | the distribution of data
across the entire image.
| | 08:11 | If we print this image like this, it's a dramatic
improvement from what we had. No doubt about it.
| | 08:16 | The image that I want to send to Janine, I
want it to be as good as it can possibly be.
| | 08:20 | So I'm going to back in and I'm
going to back off in those Highlights and
| | 08:23 | Shadows just a little bit
on these three channels.
| | 08:25 | But notice how these three channels
now line up, all right, because we did
| | 08:29 | a Histogram adjustment on the individual
channels, took out the horrible color cast.
| | 08:34 | So let's go back and redo the scan
just a little bit different this time.
| | 08:38 | And in fact, what I want to
deliver is a 48 bit color image.
| | 08:44 | So I'm going to give Janine lots
of grayscale values to work with.
| | 08:48 | We won't see much impact on screen here,
but we are going to give Janine far
| | 08:52 | more grayscale values to work with.
| | 08:54 | Then let's go back into our histogram
here and I'm just going to back this off,
| | 09:01 | our histogram, just a little bit in
the highlights and shadows, just a tad.
| | 09:08 | We said we're not quite sure what's
data and what's noise in here, and red and
| | 09:13 | green, same thing, just back off a little bit.
| | 09:16 | I want to do as much tone compression
as I can get away with, so I'm stuffing
| | 09:20 | lots of grayscale values
where the image data actually is.
| | 09:23 | I don't need a lot of
grayscale values out here in the flats.
| | 09:26 | But I don't want to do
too much tone compression.
| | 09:28 | So I'm going to click OK, and in fact,
I'm going to come in here and I'm just
| | 09:34 | going to take out all the Contrast
Correction because I'm going to leave that
| | 09:38 | for the final analysis after Janine
finishes her editing. There we go!
| | 09:44 | We're going to save this out as a 48
bit image, so we're going to call this RGB
| | 09:50 | and then Hyphen, either 48 or 16 bit
per channel or total 48 if you want.
| | 09:56 | And that tells you that you've scanned
this as 48 bit, so that you know that
| | 10:00 | it's ready for editing and I'm
going to click Save here. There we go!
| | 10:08 | And let's look at this image
now, this is the 48 bit one.
| | 10:11 | And when we look at the histogram,
there's still just a little bit of tick
| | 10:15 | up, little bit less.
| | 10:16 | So one more and after you get used to
this, after a while you get real good at
| | 10:21 | choosing in how much you want to back
off, so we just go a little bit more.
| | 10:25 | And we're doing it progressively so you
can see the difference and with just a
| | 10:29 | little bit of adjustment and a little bit more.
| | 10:31 | Okay, and then scan. There we go!
| | 10:44 | That's just about right.
| | 10:46 | It's just a tiny little tick up here
and a tiny little one in the Shadow, but
| | 10:50 | you can see what happens as we move
those highlights and shadows out a little
| | 10:53 | bit more and little bit more.
| | 10:54 | So I'll probably perform the scan
one more time and take out those ticks
| | 10:58 | completely, but you get the idea about
how to get as much tonal data as you can
| | 11:01 | in your image without the tick ups on the end.
| | 11:04 | And then we're going to send this to
Janine and she is going to use it in her
| | 11:06 | course and she is going to
make it look really good.
| | 11:09 | So there's scanning distressed images.
| | Collapse this transcript |
| Scanning images with no neutrals| 00:00 | Here I'd like to investigate in
the image that offers a challenge.
| | 00:03 | in fact, a couple of challenges.
| | 00:04 | This is a kind of image that has
really no neutrals in it and really doesn't
| | 00:07 | have a usable highlight in it.
| | 00:09 | In most images of vast majority and we
can usually find a highlight, we can find
| | 00:12 | something that's neutral to
help us with our color correction.
| | 00:15 | But there are images like this
that really don't offer much help.
| | 00:19 | Luckily, we've got a really
important tool to help us.
| | 00:22 | First, image evaluation is always first.
| | 00:25 | And this is a slide, by the way, just to
let you know, so we've set this on film
| | 00:29 | and a Positive slide back to Frame.
| | 00:32 | And we've set our frame here and we'll
scan this for print, so 300 pixels per
| | 00:38 | inch at a 150 line screen.
| | 00:40 | And then let's go ahead and
change the name to Dark Woman.
| | 00:44 | All right, And then we can rename
her to maybe Light Woman later on.
| | 00:48 | So we've renamed it Woman, we've put
down the logical name, a color space of
| | 00:52 | RGB, and then the final resolution
which would be 300 pixels per inch.
| | 00:56 | And what's the key portion of this image?
| | 00:58 | Well, clearly, it's the skin tone.
| | 01:00 | There's no doubt about it, and the hair.
| | 01:02 | We're not quite sure how much detail is
in this image, but we're going to find
| | 01:06 | out exactly how much we have
to work with in just a moment.
| | 01:09 | But this image is all about the skin tone.
| | 01:11 | So the one portion of the image that we
have to help guide us is the skin tones,
| | 01:15 | and we want to get that right.
| | 01:16 | It would also be nice to improve the
overall brightness and contrast of this
| | 01:20 | image, no doubt about it.
| | 01:21 | Well, let's begin as we always do
by at least looking for the lightest
| | 01:24 | portion of the image.
| | 01:25 | I'm going to Shift and click there and
sure enough, it's in the background here,
| | 01:29 | so that's not going to be super-helpful to us.
| | 01:32 | And then let's find the shadow, Shift
+click there in the foreground, and
| | 01:36 | we've got 18, 29, 31.
| | 01:38 | pretty dark, but still the shadow detail,
and then watch the Densitometer, let's
| | 01:43 | move this down just a little bit.
| | 01:45 | What I always like to do is move my
cursor over the image and see if I get much
| | 01:50 | change in the Densitometer or Info
readings, right, the tonal range readings.
| | 01:55 | And I'm not getting huge variation,
but at least it's not just flat line.
| | 01:59 | What that means is there is some
detail there that can be brought out.
| | 02:02 | So that's a valuable tool and we can go in
the background and look at the same thing.
| | 02:06 | We're not getting as much
variation back there as we are here. Okay.
| | 02:11 | So we know we've got some shadow detail
to bring out here and as we move towards
| | 02:14 | the head, we see even more detail.
| | 02:16 | So that's good news.
| | 02:18 | We don't really need this point back here, we
can go ahead and leave it at 1 if we want to.
| | 02:22 | We'll come back and chat
about that in just a second.
| | 02:24 | But we certainly want to set a couple
of skin tone points here and here to make
| | 02:30 | sure that we get the skin tone correctly.
| | 02:32 | Well, let's look at the skin tone even
before we've done anything else to this
| | 02:35 | just to see what we've got for starting point.
| | 02:37 | All right, Red is greater
than Blue is greater than Green.
| | 02:40 | So that's good news.
| | 02:41 | At least, we're working with humans here,
and notice that the Red is right about
| | 02:46 | 50 points higher than the Green, and
the Green is about 50 points higher than
| | 02:51 | the Blue, at least right now.
| | 02:53 | So there's about equal separation there.
| | 02:55 | And here, we've got about 40, 35, or 40
points of separation, and big separation
| | 03:01 | over 50 points here.
| | 03:02 | It's actually the ratios, and
particularly in point number 4, it's
| | 03:05 | actually pretty good.
| | 03:07 | The Red to Green to Blue ratio is pretty good.
| | 03:09 | So let's attack the overall brightness
and contrast in the tone compression.
| | 03:13 | We can do this with just a master
histogram if we want, or we can do it with
| | 03:17 | individual histograms.
| | 03:18 | Either way will work.
| | 03:20 | I'm going to be inclined to go take
a look at the individual histograms.
| | 03:23 | Red and Green and Blue.
| | 03:26 | And what this tells when I look at these
histograms is so much information here.
| | 03:30 | See all this Red here in the histogram?
| | 03:33 | Not nearly as much Green and even less Blue.
| | 03:36 | Well, of course, we have all
this Red in the histogram here.
| | 03:38 | Why, because that matches up
with the skin that we've got here.
| | 03:41 | And just visually, this looks fairly Red to
me, although it's hard because it's so dark.
| | 03:46 | I'm going to go ahead and do a
correction on the individual histograms.
| | 03:49 | And I'm going to move this and we've
got this long flat line area right here.
| | 03:53 | And I know from experience that probably
the first half of this is likely to be noise.
| | 03:57 | So I'm going to move it halfway in
here and then we'll look at the values
| | 04:01 | that we're going to get.
| | 04:02 | Shadow, no, we're not going to move
that at all because we've already got a
| | 04:05 | spike in the shadow there.
| | 04:07 | Let's move to Green.
| | 04:07 | I'm going to do the same thing
about halfway through that data.
| | 04:11 | We're going to assume this is mostly noise.
| | 04:13 | We do have some shadow adjustment here.
| | 04:15 | We've got a pretty sharp change from
flat line to data, so we'll move that
| | 04:19 | right up to the data.
| | 04:20 | And Blue, we'll do the same thing as well.
| | 04:22 | The reason why this works here, we
don't have to worry too much about the
| | 04:27 | highlights, is that we don't have any
critical neutral diffuse highlights to
| | 04:31 | worry about blowing out.
| | 04:33 | If we just quickly refer back to this
here and we look at our value, we are
| | 04:36 | blowing it out to 255.
| | 04:38 | But I'm not going to worry about it
because I'm really much more concerned about
| | 04:41 | what's happening here.
| | 04:43 | We can fix something like that in
Photoshop, we're just filling that in using
| | 04:46 | the Stamp tool to get rid of that later on.
| | 04:48 | So I'm really focused on the skin tones.
| | 04:50 | All right, So I'm pretty confident
that we've set our highlights and shadows
| | 04:55 | where most of the data is in the image.
| | 04:58 | Let's go back and take a
look at our values again.
| | 05:00 | Look at our Shadow value first.
| | 05:02 | 23, 15, 27, all right.
| | 05:02 | Well, we don't want to go any darker than
that, do we, because we've one at 15 here.
| | 05:08 | So that's good, that's fine.
| | 05:09 | We'd lightened that up.
| | 05:11 | And let's look at skin tones.
| | 05:12 | 86 to 133 to 202, 87 that's almost 90.
| | 05:17 | 90 to 130, so that's 40 points there.
| | 05:22 | And then we've got 30 to almost 200,
so that's about 70 points there.
| | 05:27 | That's more than double.
| | 05:29 | So notice by the correction that we've
done so far, this image does have a fair
| | 05:33 | amount of Red in it.
| | 05:34 | When we move those skin values into
the midtones or at least get in there, to
| | 05:38 | the midtones, the Red is very, very
high, particularly on point number 3
| | 05:42 | which is on her forehead.
| | 05:43 | It is not quite as bad on point number 4.
| | 05:44 | So I'm going to click OK.
| | 05:46 | I'm going to be pretty happy with
that as far as setting the upper and
| | 05:51 | lower tonal ranges.
| | 05:52 | And then I'm going to go to Curves and
let's click on the Master Channel, and
| | 05:57 | normally, I would work on the individual
channels and work on the skin tone, but
| | 06:02 | this time, I'm going to make an exception.
| | 06:04 | Why, because this image was so dark,
just moving the Reds from like the
| | 06:09 | three quarter-tone into the midtone
has already changed the RGB ratios
| | 06:13 | pretty significantly.
| | 06:14 | It's raised the Reds, and I'm thinking
as we move this up, as we lighten the
| | 06:18 | image, it's going to happen again.
| | 06:20 | So to prevent us from having multiple
rounds of back and forth, I'm going to go
| | 06:23 | ahead and first do a master channel
lightening of this image and then we'll take
| | 06:27 | another look at the skin tone values
and then make our skin tone adjustments.
| | 06:31 | And this is a great image to
demonstrate the difference between a linear and a
| | 06:34 | logarithmic adjustment of the master curve.
| | 06:37 | Let's start with the Linear and
I'll just click here and drag this.
| | 06:42 | And remember, you can do the same
thing by just holding down your Command
| | 06:44 | key and just dragging.
| | 06:47 | But here I'll use the slider because I want
to show you the difference in the curve shape.
| | 06:51 | And that clearly lightens our image,
no doubt about it. But watch this.
| | 06:54 | When I go to Logarithmic, watch the shadow area.
| | 06:57 | Do you see how the shadows
lightens more with the Logarithmic curve?
| | 07:02 | And that's what, that's the difference.
| | 07:04 | Typically, scanner's response to
grayscale is faster and better and more
| | 07:08 | response from highlight to quarter to
the midtone and it tends to be less from
| | 07:13 | midtone down to shadow.
| | 07:14 | So we make these Logarithmic Curve
adjustments and it's a great tool.
| | 07:18 | We get preferentially more lightning in
the shadows and it's perfect for images
| | 07:22 | like this where it's a low key image,
where we need more lightening in the
| | 07:25 | shadows and less in the midtone and
even less in the highlight. Okay.
| | 07:29 | So good!
| | 07:29 | So let's go ahead and drag this over
until we get an overall brightness that
| | 07:33 | kind of suits us and let's
revisit our sample points.
| | 07:37 | Notice in sample point number 2, now that
we've lightened it, we're up to 44, 31, 55.
| | 07:42 | So we could darken that
some more if we wanted to.
| | 07:44 | It's at about a three-quarter
tone now which is fine with me.
| | 07:47 | And now let's look at the skin
tones and see what we've got. Okay.
| | 07:52 | Point number 3, 118, that's
about 120 and 156, that's about 155.
| | 07:57 | So that's about 25-30 points of
movement there, and then from 156 up to 211,
| | 08:04 | that's 45-55, about 60 points.
| | 08:08 | So that's about double and we look here,
117 to 157, so that's going to be 40
| | 08:14 | points of change, and 157 to 213,
it's 50-60 points of change.
| | 08:22 | So particularly, in point number 4, the
Red values are a bit high on the Red values.
| | 08:28 | And that means I'm going to go to my Red
channel here and normally, I would just
| | 08:32 | drag this down manually, but because
we've already placed a Logarithmic curve
| | 08:38 | using the Master Channel, I'm going to
use the Logarithmic curve to lower the
| | 08:41 | Red channel a little bit.
| | 08:43 | And I'm just going to lower
it at about 5 or 6 points.
| | 08:46 | They tick out some of the real
obvious Red color cast on her skin.
| | 08:51 | So if we just make a real fine-tune
adjustment, but when you've got that much
| | 08:53 | Red in the image, it doesn't take an awful lot.
| | 08:56 | And this is a creative adjustment at this point.
| | 08:58 | When making it by the numbers, there's
no real target value necessarily because
| | 09:02 | the Red is greater than Green is greater
than Blue and the separation of the Red
| | 09:06 | is greater than separation
of the Green and the Blue.
| | 09:08 | So that's all good.
| | 09:09 | But I see that the Red is a little
bit higher than I would like it to be.
| | 09:12 | Now even though this woman has
definitely got red hair or auburn red hair, so
| | 09:16 | she is likely to have a little bit
redder skin, but I'm going to back it off
| | 09:20 | just a little bit so it doesn't appear so red.
| | 09:22 | So what we've done now is we've
used both our histograms and then some
| | 09:27 | specific RGB values.
| | 09:29 | Without these specific values, we'd be
just shooting in the dark in terms of how
| | 09:33 | we should be adjusting this image.
| | 09:35 | And sometimes I go back and forth, I'll
come back to the Master Channel on this,
| | 09:39 | I might lighten it just a little bit
more, and then go back to the Red channel
| | 09:43 | and I might bring the Red channel down
just a little bit more because it kind of
| | 09:46 | depends on, I might go back and forth
a little bit till I get what I like.
| | 09:49 | I'm constantly referring to my values here.
| | 09:52 | I'm looking to point number 2 here, I'm
just checking out the Shadow value once
| | 09:55 | more and I'm going to leave
that at a three quarter-tone.
| | 09:57 | There's so much darkness back here.
| | 09:59 | I don't want to make it any darker.
| | 10:01 | I'm going to leave it a three quarter-tone.
| | 10:03 | And as far as this little white area
back here which is 255, I'm not going
| | 10:08 | to worry about that either if my scanning
software gives me the ability to edit that.
| | 10:12 | And SilverFast actually does,
we're not going to go there.
| | 10:15 | But that can be taken care of in Photoshop.
| | 10:17 | I can just use the Stamp tool and
take that right out if I want to, if
| | 10:20 | that's distracting. So there we go!
| | 10:22 | I'm going to click OK.
| | 10:23 | Am I going to sharpen this? Not on your life.
| | 10:27 | One is this image is very soft to begin
with and I don't want to lose that soft feel.
| | 10:31 | This is a low-key soft image.
| | 10:33 | If I'm going to apply any sharpening at
all, I'm likely to apply it on a mask.
| | 10:37 | Then I'm going to make in Photoshop the woman.
| | 10:39 | I'm not going to be sharpening the background
at all and it's going to be very, very slight.
| | 10:43 | So no sharpening here, so None,
48 Bit -> 20 Bit, named it.
| | 10:48 | Okay, we're going to keep it.
| | 10:49 | Let's see at the same dimension, but
why don't we scale this up centered to
| | 10:53 | slide probably to let's take it at 500%.
| | 10:56 | So it's about a 5x7, maybe take it up 550.
| | 11:00 | And here's where you can use scaling
percentage to help you determine if you
| | 11:04 | don't want to use output.
| | 11:05 | So if you know you want to print this
at a 5x7, so take it up and take the
| | 11:08 | scaling up until this moves up
above the 5x7 that you see here.
| | 11:12 | And then we'll do it at 300 pixels per inch
for printing and then we'll hit the Scan button.
| | 11:18 | And there we go!
| | 11:18 | There is our finished image.
| | 11:20 | And just to review, we used our
histogram to help us evaluate, we used our
| | 11:24 | Info tool, our Densitometer, and
SilverFast speak to see that we have data
| | 11:29 | back here so we knew we could some of
it out, and then we used Logarithmic
| | 11:32 | curves to help lighten the image.
| | 11:34 | And then we used an individual Red
channel curve to pull the Red down a little
| | 11:37 | bit to just take some of
that hot red out of the skin.
| | 11:41 | We didn't apply any
sharpening to keep it nice and soft.
| | 11:43 | Again, I mentioned if this was
distracting to you, we can take the Rubber Stamp
| | 11:47 | tool and we can just take that puppy right out.
| | 11:52 | And then we've gotten rid of that
distracting white highlight afterwards
| | 11:56 | in Photoshop.
| | Collapse this transcript |
| Post-scan touch-ups| 00:00 | Even though this is not a Photoshop
class and it's not really an image editing
| | 00:03 | class, I would be remiss if I didn't
cover just some basic touchups for touching
| | 00:08 | up images in the post-scan.
| | 00:09 | Throughout this course I've been harping
on cleanliness is next to godliness and
| | 00:13 | wear your lint free gloves and clean
your images and clean your scanner to the
| | 00:17 | point that is probably sickening to you.
| | 00:19 | But the fact is it really is important.
| | 00:21 | But the other real world fact is that,
no matter what you do, unless you work
| | 00:25 | in a really, really clean environment,
you are likely to end up getting some
| | 00:28 | dust in your images.
| | 00:29 | Heck, even I forget sometimes to change
my gloves enough, or I forget to clean
| | 00:33 | the scanner one last time, or I am
putting the image down and a piece of dust
| | 00:37 | floats in, so you end up with.
| | 00:38 | And here's that picture of Roberto that
we scanned, and sure enough, we've got
| | 00:43 | some dust and scratches
here that need to be fixed.
| | 00:45 | So I am just going to show you the
quick and dirty ways to take these out, and
| | 00:48 | it's really effective.
| | 00:50 | First thing I want to encourage you to
do however is make a duplicate layer and
| | 00:53 | we're going to call it as Background-
touchup, so that you don't injure the
| | 00:58 | original image, and you can always go
back to the background if you want to.
| | 01:01 | And basically the tool that you are
going to use here is a Spot Healing Brush.
| | 01:04 | I am going to go ahead
and close the Layers panel.
| | 01:06 | we know which layer we are working on.
| | 01:08 | And this works really, really well.
| | 01:10 | And basically just take this tool and
make it a little bit larger than the dings
| | 01:13 | that you're working on.
| | 01:14 | And this tool honors the current
underlying tone, and in a lot of cases, like on
| | 01:21 | this jacket, that underlying tone
is what creates the fabric itself.
| | 01:25 | So you don't end up ruining the fabric,
unlike using the Rubber Stamp tool.
| | 01:29 | So I typically don't use the Rubber
Stamp tool, I'll use this tool here.
| | 01:34 | And notice, the more dust there is,
the more time it's going to take.
| | 01:37 | So hopefully this makes the point
about why we really do want to get as much
| | 01:41 | dust off of our images as possible.
| | 01:44 | And notice when you apply Sharpening,
it just makes them worse, as we saw here,
| | 01:49 | as we see in this image.
| | 01:50 | So use that Spot Healing Brush
tool, and it's very, very effective.
| | 01:57 | And after you've done this a couple of
times like this, then you'll more likely
| | 02:01 | remember to clean your scanner
and wear those lint free gloves.
| | 02:04 | All right, So there's touching up.
| | Collapse this transcript |
| Scanning images for multiple uses | 00:00 | In this exercise, I like to address the
whole concept of multiple use of images,
| | 00:04 | but first let's go ahead and get this
image ready for scan and then we'll talk
| | 00:08 | about using it on multiple devices.
| | 00:10 | I would be remiss if in my own scanning
course I didn't actually scan a picture of my GF.
| | 00:15 | So here she is Tina in her Santa hat,
very cute and when we evaluate this image
| | 00:21 | obviously we've some nice diffused
white highlight here, and it looks like we
| | 00:25 | might have a little of a reflection right there.
| | 00:28 | All right, this image is all
about the skin tone, isn't it?
| | 00:31 | I'm looking at this and just on
screen it looks a little red to me.
| | 00:35 | When I use my densitometer I
look at it, it varies 125 to 139.
| | 00:39 | That's about 10 and then
boom, all the way up to 184.
| | 00:42 | So red is greater than green is greater
than blue, but it's a little bit too red.
| | 00:46 | So we'll probably going to be doing
some adjustment there, but let's go
| | 00:49 | ahead and say highlights and shadows
as we want to do, and Shift+Click on
| | 00:53 | the highlight and ooh! What's that?
| | 00:55 | Oh, look at that, there is
a reflection of the tooth.
| | 00:58 | Well, that's not very useful.
| | 00:59 | First of all, teeth are not white,
contrary to probably your opinion. So what we do?
| | 01:03 | Well, let's get rid of that and then
a little trick I showed you earlier.
| | 01:07 | We can move the selection area up like that.
| | 01:10 | I'm wondering about that right there though.
| | 01:13 | We click again, yeah, sure enough.
| | 01:15 | What I really want to do, I know that
this is a white highlight, so I'm just
| | 01:19 | going to keep moving this up or move it
in until I can finally find the lightest
| | 01:23 | portion of the Santa hat. There it is.
| | 01:26 | All right, so I'm going to use that
as my target diffused white highlight.
| | 01:30 | We'll set that in the high 230s
and then we'll do a skin tone.
| | 01:34 | This is one of those images where
you're going to be careful where you click,
| | 01:37 | because notice this is well lit and this is not.
| | 01:41 | And be sure you click on the well lit
portion because you get different ratios
| | 01:46 | when you are working in a cast
shadow area versus a well lit area.
| | 01:50 | If you ever have a choice unless it's
just a real small part of the image,
| | 01:54 | always choose the well lit area to
basically do your measurement and adjustment
| | 01:57 | for your skin tones.
| | 01:58 | All right, then let's do the shadow,
right down in there and let's see we're in
| | 02:02 | the 30s so we've got some room to move there.
| | 02:04 | The Highlight point number one,
remember always do the diffuse highlight
| | 02:07 | at point number one. 226, 225, 226.
| | 02:08 | Wow! That's neutral.
| | 02:11 | But it's a little low, so let's go in
and make our adjustments and since they
| | 02:17 | are somewhat the same, we'll just do a
master histogram adjustment and take that
| | 02:21 | right up to high 230s. 237, 236, 237.
| | 02:25 | Is that good enough?
| | 02:25 | Yes, a one-point move and the scale is
only 4/10th of a percent, so not a big deal.
| | 02:31 | And do we care about the
neutrality of the shadow?
| | 02:33 | No, so we'll just do a Master
Histogram movement right here, and we'll
| | 02:38 | bring that to the 220s.
| | 02:39 | Let's say that we're going to print
this on Prepress but I want to just get to
| | 02:43 | the three quarter tone,
so low 20s. There we go.
| | 02:46 | All right, so improve the Brightness
and Contrast and click OK, and let's look
| | 02:51 | at these skin tone values.
| | 02:53 | Now that we've done Highlights and
Shadows, always do it in that order
| | 02:56 | of course, 181-195.
| | 02:59 | We're going to use point number two,
remember that's the well-lit point.
| | 03:02 | So that's about 15 and then we've got
30, so that's about a little over twice
| | 03:07 | which is not too bad, but we
could lower it a little bit.
| | 03:09 | Let's take a look at this, 116-131.
| | 03:13 | It's about 15, right, and
then look at this huge jump.
| | 03:16 | There is over 50 points of jump here.
| | 03:18 | So when we look at the well lit it's
pretty good but this area is super red in here.
| | 03:23 | So when we compare these two,
we kind of average them.
| | 03:25 | I think we can take out a
little bit of red from this image.
| | 03:28 | So let's go to our Curve tool here.
| | 03:31 | We're going to use the Linear one here and we
are just going to lower this, just a little bit.
| | 03:37 | And look at the difference just on screen.
| | 03:38 | I mean the numbers lower as well,
but just that little bit from there.
| | 03:42 | See how hot it is to red, if we lower
just about 10 points, now it's a much more
| | 03:47 | natural looking skin tone.
| | 03:48 | So five to ten points is all we need to
move that, and then if we want to come
| | 03:52 | in, if we want to do a little bit of
brightening on the image we can do that.
| | 03:56 | And since this is mostly midtone, I'm
not going to preferentially lighten the
| | 04:00 | shadow, in fact, I don't want to
preferentially lighten the shadow, so we're
| | 04:03 | going to use the normal.
| | 04:05 | All right, we're going to take
this up a little bit. There we go.
| | 04:07 | Just do overall brighten.
| | 04:08 | Do I want to increase contrast, not on
your life, no, because remember this is
| | 04:12 | all about the skin tone, we
want that to be nice and smooth.
| | 04:14 | If anything I would lower,
the Contrast just a little bit.
| | 04:18 | Although the contrast pretty good on this image,
but I'll just, just tap it down a little bit.
| | 04:22 | There we go and then click OK.
| | 04:24 | This image is now ready to scan
and what if we want to use this image
| | 04:28 | in multiple places.
| | 04:29 | Well, historically if you were to ask a
professional scanner operator from the
| | 04:33 | 90s or 70s or 80s, when you say to
them, oh I want to use image at four
| | 04:37 | different sizes, guess what, they would
tell, you need to scan it four different
| | 04:40 | times and use the exact resolution
that you need for each particular size.
| | 04:44 | In fact, most of them would refuse to
scan it and then downsample it, because
| | 04:48 | they know that interpolation
leads to lower quality of the image.
| | 04:51 | But most of us don't live in that
world of I need to use it four times or I'm
| | 04:55 | going to scan it four times because why?
| | 04:57 | Well, because it impedes too much
on our time for kayaking, that's why.
| | 05:01 | But what we can do is make some
judgments and make some workflow choices that
| | 05:07 | gives us the best quality images that we
possibly can get without having to scan
| | 05:11 | something four or five times.
| | 05:12 | Although, I will tell you that if
you've very, very, very high-quality work
| | 05:16 | requirements like you're scanning
artwork and you're trying to reproduce it in
| | 05:19 | the very best quality, then
absolutely do scan it four or five times.
| | 05:22 | It may be worth it for the job and it
may actually be worthwhile financially to
| | 05:25 | do that if you've got someone paying you.
| | 05:27 | But in the world of most of us
live we can't afford to do that both
| | 05:31 | time-wise and money-wise. So what we do?
| | 05:32 | The rule is scan at the largest
dimension and the highest resolution at which
| | 05:36 | you're going to use that image.
| | 05:38 | So typically the highest resolution
is 300 pixels per inch and for some
| | 05:42 | people, it's actually 400.
| | 05:43 | If your Prepress Department, your
printing committee says, we wanted to use 400
| | 05:46 | pixels per inch, then use 400 pixels
per inch, but the default is, is 300.
| | 05:51 | If you're printing on your high-quality
Inkjet device like an Epson or an HP 240
| | 05:56 | pixels per inch is really a good
resolution for you to shoot for.
| | 05:59 | But let's say we're going to print this
on inkjets and on Prepress, well we're
| | 06:03 | going to go for 300 pixels/inch and
we're going to print this at 5x7, 8x10 and
| | 06:09 | you obviously going to have to be cropped,
because this format of this image is in 5x7 format.
| | 06:14 | And we're also going to use this
webpages and a wide variety of things.
| | 06:19 | So what we're going to do here is this
is a 5x7 image but we know we need to get
| | 06:23 | it larger and since it's a 5x7, even
though we intend to print this in the 8x10
| | 06:28 | size, I'm going to use the scaling figure here.
| | 06:30 | It's 101.4 and we're going to double that,
so we're going to go to 203, and look.
| | 06:38 | That's going to take us up to 10x14
and then we'll have to crop it at 8x10.
| | 06:41 | But that's fine, that's okay.
| | 06:43 | Then what we can then do when we get
into Photoshop is we can downsample this
| | 06:47 | to exactly one-half the size to get to 5x7,
which will incur very little damage to the image.
| | 06:53 | We always want to work down rather than up.
| | 06:55 | Sampling up creates far more
problems than sampling down.
| | 06:59 | Of course, we're going to want to come
in here and rename this image, and I'm
| | 07:03 | going to call this, Tina_RGB_300. There we go.
| | 07:10 | And Q-Factor 2, times 150 gives us
300 pixels per inch on the final image.
| | 07:15 | You hold down your Ctrl key it tells
you it's going to actually scan it to 720
| | 07:19 | Pixels per inch, because it's
going to scale the image up to 10x14.
| | 07:22 | All right, we're going to scan
this image then and there we go.
| | 07:29 | Okay, so now we're in Photoshop and
assuming we're not going to do multiple
| | 07:32 | scans, although honestly, if you know
beforehand you're going to have multiple
| | 07:35 | sizes, as you can see using this kind
of software it's going to be pretty fast
| | 07:39 | to do multiple scans.
| | 07:40 | Go ahead and do it, but to me you
can't do that, you've already got the
| | 07:43 | image and you're going to send it to somebody
else or you're going to make multiple copies.
| | 07:48 | Fine, good enough.
| | 07:49 | I want to just make one
important point about interpolation.
| | 07:52 | I'm going to use Photoshop's
Interpolation to work on this.
| | 07:55 | For those of you who do a lot of
sampling up and sampling down there is a
| | 07:58 | program that used to be called Genuine Fractal.
| | 08:00 | It's now called Perfect Resize.
| | 08:02 | It's from onOne Software.
| | 08:04 | Its algorithms are much more
sophisticated than Photoshop's.
| | 08:07 | But I'm going to make the
assumption that you don't have that.
| | 08:09 | First, we're going to protect our
original image and I should put this down.
| | 08:13 | I forgot to name it, 10x14_300.
| | 08:15 | All right, so, I'm going to
treat that as our original image.
| | 08:21 | Very good, and then we are going
to take this one and go down to 5x7.
| | 08:26 | So we'll call this a 5x7 image.
| | 08:30 | And I'm just doing Image Duplicate.
| | 08:33 | What you want to pay attention to is
when you go to the Image Resize dialog box
| | 08:38 | in Photoshop and you're going to click
on Resample because we're going to take
| | 08:41 | this down from basic the
10x14 and end up with 5x7.
| | 08:47 | Constrain Proportions, it
would be nice. There we go.
| | 08:49 | And we put the 5x7 image at 300.
| | 08:53 | Pay attention to this right down here.
| | 08:55 | It's easy to ignore this.
| | 08:57 | It's set on best for smooth gradients,
but if you're going to be going for
| | 09:00 | reduction, go Bicubic Sharper.
| | 09:03 | And the reason for this is that the
algorithm is slightly different and it tends
| | 09:06 | to retain the focus or sharpness of the image.
| | 09:09 | If you're moving up which I don't you
to do at all, because I want you to scan
| | 09:13 | to the largest dimension and highest
resolution at which you're going to be
| | 09:15 | using it, but use that
Bicubic Sharper for best reduction.
| | 09:19 | Then when you click OK Photoshop
is going to do a darn good job of
| | 09:22 | down-sampling, not the
best job, not a perfect job.
| | 09:24 | It's going to be a little bit softer.
| | 09:26 | Not as good as Perfect Resize, but
it's going to do a pretty darn good job.
| | 09:30 | Now if we were to go down say to our web image,
what you don't want to do is use this image.
| | 09:35 | You've already downsampled that
one, so you put that one aside.
| | 09:38 | If you want to 4x5 or some other
dimension, go back to your original image and
| | 09:43 | then for instance, if we use the dialog
box Save for Web & Devices and you were
| | 09:49 | to choose something like JPEG for going out.
| | 09:52 | I'm not going to go over all these dialog boxes.
| | 09:54 | That's for someone else to do.
| | 09:56 | But what I want to point out to is
that same choices right down here
| | 10:00 | underneath Quality.
| | 10:01 | And talking about Quality you
maybe thinking like it's JPEG quality.
| | 10:04 | No, that's up here.
| | 10:06 | High, Very High, Maximum.
| | 10:07 | Generally I go High or Very High for
this value, but choose your Bicubic
| | 10:12 | Sharper, the same one we used in that
Image Size dialog box, and then Photoshop
| | 10:16 | will do a decent job of downsampling
your image or a better job than just using
| | 10:20 | the default that comes in Photoshop.
| | 10:22 | So scan to the largest dimension, the
highest resolution and then make copies
| | 10:27 | your images to downsample them and then
use the best quality for the direction
| | 10:32 | that you're moving, which is
Bicubic Sharper for sampling down.
| | 10:34 | All right, so these are some tips for
working in Photoshop, getting the best
| | 10:39 | results for sampling your images down
if you don't perform multiple scans.
| | Collapse this transcript |
| Automatic scanning| 00:00 | Throughout this entire scanning course,
I've really emphasized the use of manual
| | 00:04 | adjustment tools working through
SilverFast, and there are two reasons for this.
| | 00:08 | the first one is, indeed when you
adjust your image manually using the tools,
| | 00:13 | you end up with more control.
| | 00:14 | Secondly, when you're trying to learn
how to actually use these tools, and
| | 00:17 | what they do and how they work, using them
manually is really the only way to learn them.
| | 00:21 | Well, it's also true that
SilverFast has some very powerful and fairly
| | 00:24 | sophisticated automatic adjustment tools,
and I've been using them from time to time.
| | 00:29 | I use them judiciously when they help
save me time and I know exactly what
| | 00:33 | they're going to do.
| | 00:34 | Let me show you what some of these tools
are and make some recommendations about
| | 00:37 | when you might want to use them.
| | 00:39 | There is this tool here which is the basic,
the fundamental Image Adjustment tool.
| | 00:43 | It's an Automatic Image Adjustment tool
that adjusts highlights and shadows and
| | 00:47 | also optimizes the midtone based
upon what it views in the image.
| | 00:50 | I'm going to click on this and notice
what happens to this picture of Zip.
| | 00:54 | It adjusts highlights and
shadows and increases contrast.
| | 00:57 | As I mentioned earlier when we talked
about scanning this picture of Zip, the
| | 01:00 | automatic adjustment in my view
increases the contrast too much.
| | 01:03 | some images, it works very well.
| | 01:04 | This image, it doesn't work
so well, at least for my taste.
| | 01:07 | What it does is, and watch this.
| | 01:10 | Anytime you want to take out any
adjustments working in SilverFast, anytime you
| | 01:14 | see one of these little return arrows,
that means redo, and just click it a
| | 01:18 | couple of times and it'll
undo whatever you've just done.
| | 01:21 | So you see these are the two adjustment
tools that we've used throughout the course.
| | 01:25 | the Histogram and then the Curves,
and we've used it in ways for master
| | 01:29 | histograms, master curves, and
individual channels, and histograms.
| | 01:33 | When you click on this tool, it makes
adjustments into levels and curves and
| | 01:37 | when you go in and check and see, and
let's undo this so we can see what it
| | 01:40 | looks like to begin with.
| | 01:43 | So this is what it looks like here,
and this is what it looks like here.
| | 01:47 | Nothing has been adjusted.
| | 01:49 | When you click here and then you go in,
you see the highlights and the shadows
| | 01:53 | have been moved in, and there's a bit
of an S-shape curve which is the reverse
| | 01:59 | of what I would apply to this
image as we've used earlier.
| | 02:02 | But you can see what the adjustments
are and it's actually interesting to see
| | 02:05 | how the Automatic tool adjusted various images.
| | 02:08 | You can go in, and check and see it's
actually kind of a good learning tool.
| | 02:11 | That's the fundamental tool.
| | 02:13 | In a moment, I'm going to show you
how you can control at least partially
| | 02:17 | what that tool does.
| | 02:18 | The second area of automatic
adjustments and they are kind of semi-automatic
| | 02:22 | adjustments is in the Frame
set when we choose Image Type.
| | 02:26 | There is a wide variety of presets in here.
| | 02:28 | For instance, if we choose Skin
tones, watch what happens to the image.
| | 02:32 | You see how the image softens
out and the contrast is reduced.
| | 02:36 | Then that's actually closer to what I'd
like to use in terms of scanning this image.
| | 02:40 | When we go up into Curves, notice instead
of the S-shape, it's the reverse S-shape.
| | 02:45 | It's softening or reducing the
contrast just as we've done on a number
| | 02:49 | of different images.
| | 02:50 | So you can actually learn a little bit
about scanning techniques by applying
| | 02:55 | these various adjustments and then
going into Curves and Levels and actually
| | 02:59 | see what's been done.
| | 03:00 | And sometimes you can use
these as starting points.
| | 03:03 | So you may have a image that has a lot
of skin tone in it, so you may click Auto
| | 03:07 | Adjustment and then choose Skin tones
and use that as a starting point, and then
| | 03:11 | go into your Curves and Levels and tweak.
| | 03:13 | This tool can be useful that way.
| | 03:15 | There's also an integrated color
correction tool here called Color Cast
| | 03:21 | Removal and notice when I clicked
on the Adjustment tool, it didn't
| | 03:25 | automatically apply this.
| | 03:27 | There is the way that you can get Color
Cast Correction automatically applied.
| | 03:31 | And what Color Cast Correction does
basically is line up the highlights and line
| | 03:34 | up the shadows as best as it can.
| | 03:36 | You see how when I move this left or
right, it's moving the highlights and
| | 03:40 | shadows and then trying to line them
all up, and that's what removes color
| | 03:43 | cast, when all the data in the image
and the histograms line up underneath each
| | 03:47 | other, then there is no preference for one
color over the other and the color cast is removed.
| | 03:52 | So when you're working in this
Histogram dialog box, you can just drag that
| | 03:55 | over there and remove all of it, or part of it,
or some of it, or none of it, whatever you like.
| | 03:59 | So it's kind of an automatic Color Cast
Removal tool that you have some control over.
| | 04:04 | And then finally, there is this
tool right here which is the Automatic
| | 04:09 | Highlight, and Shadow, and Mid Pip
tool and the pip stands for Pipette tool.
| | 04:13 | When I click on the Highlight tool,
and then come over here and then click on
| | 04:18 | this Highlight point here, and
remember this is of course the Fixed Pipette
| | 04:22 | point number one and this is
number two which is the shadow.
| | 04:26 | Look at the values.
| | 04:27 | 230, 233, 233, and then when I click
there, it automatically adjusts the
| | 04:31 | highlight values in the image.
| | 04:33 | Now, it's up in the high 240s.
| | 04:35 | When I click on the Shadow, it
will automatically adjust the shadow.
| | 04:39 | All right, notice it goes down to 5, 5 and 6.
| | 04:42 | I would consider these values a bit too
high and a bit too low for most printing needs.
| | 04:47 | Then there's a Midtone which when you
click on that and then come over here and
| | 04:51 | click on a Midtone area, it applies
that to the Midtone area of the image.
| | 04:56 | So those are automatic Highlight,
Shadow, and Midtone adjustments.
| | 05:00 | All of these automated tools with the
exception of the Image Type which is kind
| | 05:04 | of preset can be controlled through the
General frame and going to Options, and
| | 05:10 | then going to Auto tab here.
| | 05:13 | Let's just tab through here and take a
look at what some of these adjustments are.
| | 05:16 | The Auto Threshold for Highlights and
Shadows, this is not a percentage value.
| | 05:21 | It's actually set up to look at the
number of pixels that are in the highlight
| | 05:24 | and shadows ends and you're
determining how many pixels need to be recognized
| | 05:28 | before the automatic adjustment will be applied.
| | 05:31 | If you click on Levels, it will
actually use the level values of highlights and
| | 05:35 | shadows to determine when the
automatic adjustment will be applied.
| | 05:39 | You can check those on if you're for
instance trying to remove solid backgrounds
| | 05:43 | of black or white, but the default is set on 2.
| | 05:47 | I recommend that you don't really adjust
that until you become far more familiar
| | 05:52 | with what you're actually adjusting there.
| | 05:54 | But these next two, you can adjust,
and I would recommend that you do.
| | 05:57 | This is Highlight and Shadow Offset.
| | 05:59 | This is set at 2% and 98%.
| | 06:01 | That's why things were getting a little
bit too light and a little bit too dark here.
| | 06:05 | I would recommend that you put
these closer to this. 5 and 95.
| | 06:08 | When we set that on 5 and 95, and
then click OK, and then we come back to
| | 06:14 | this tool, and then we click here, remember
we were up in the high 240s, we click there.
| | 06:20 | Now, it registers at 242, 243,
242 which is a 5% white highlight.
| | 06:25 | When I click here, instead of being in
6 and 5s, it will register at 12 and 13.
| | 06:31 | So now we have a 5 and a 95% highlight
which I consider to be really a better
| | 06:35 | choice in terms of highlights
and shadow values for printing.
| | 06:39 | All right, so that's
Highlight and Shadow Offset.
| | 06:42 | See this Color Cast Removal.
| | 06:44 | Remember, when we used the automatic
tool here, and then we looked in here,
| | 06:49 | there was no color cast
removal. It was set on 0.
| | 06:51 | Well, watch this.
| | 06:52 | if we click on Option, and then put the
color cast on 100, and click on Active,
| | 06:57 | and Apply, and OK, and then when we
click this, and we go back in here, notice
| | 07:03 | now the Color Cast Removal
has been applied at 100%.
| | 07:05 | So you can get automatic color cast
removal and you can control that through
| | 07:10 | your automatic options or preferences.
| | 07:14 | You just put the percentage that you
want correction and then click on Active.
| | 07:18 | These next two, the Auto Frame Inset
and then the Find Frame-- If you're using |
|
|
