1. How Sharpening WorksWhy every image needs sharpening| 00:00 |
Hello and welcome to Photoshop CS3 Sharpening Images.
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My 115 movie series devoted to the topics of image enhancement,
noise reduction, detail modification and sharpening workflow.
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If you are hoping to master Unsharp Mask, Smart Sharpen, High Pass,
Reduce Noise and a host of other filters, this series will do just that.
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But that's just the beginning.
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In the next few hours, I'll show you how to
approach sharpening one exacting step at a time.
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This series is about making each and every
image you produce look its absolute best.
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Simply put this is, unless I am very much
mistaken, the most comprehensive treaties
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on post-photography focus adjustment ever produced.
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I kNow I say things like that, but it's true.
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It isn't just so much as this is my sharpening tour deforce,
it is my sharpening tour deforce, but why should you care?
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What lies before you is an in-depth examination of exactly what sharpening
does, why you need it, how the filters work, my recommended best practices
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and the four distinct varieties of sharpening available to you.
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Each of which can be used independently or in combination with each other.
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Consider this place, Harrisburg, Pennsylvania, a
top secret alternative headquarters for lynda.com.
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Where you are, it maybe summer or fall, but where I am right now
it's January, one of the coldest months in the northern hemisphere.
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It's drab, everything is dead, and although it's
nice enough today, it's generally bitter cold.
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When you see a flock of birds, you know what direction south is.
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But Photoshop is a miracle worker; it can take this city dip it
in the dream, separate the dull stuff and produce a perfect scene.
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Oh, yeah, Photoshop can. Close-up or far away, drab and grey, or
bright and sunny, every image needs sharpening to bring out the detail
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that otherwise gets lost in the translation from the real
world to your camera, to your computer, to the printer.
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Sharpening is key to great looking imagery.
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Now this first Chapter is all about how
sharpening and it's companion, noise reduction, work.
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The effects they produce, whats going on in the background,
how you make use of them and accurately gauge results.
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Even if you think you know everything about sharpening and
you are just slumming, figuring out what the other guy knows.
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I think you'll find these first nine movies to be as
precision-guided as information smart bombs to the brain.
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We are talking sharp, as in sharply-organized,
sharply-produced, and you'll feel sharper when you are done.
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It's not nearly as painful as it sounds.
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Enjoy!
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| Understanding the effects of sharpening| 00:00 |
Before I show how sharpening works, I
want to give you a sense of what it is.
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So for those of you in the unlikely event that you've never witnessed
sharpening inside Photoshop before, you will now witness sharpening.
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For those of you who have seen sharpening,
which I assume is the vast majority of you,
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you'll get a sense of why sharpening is there, why we need it, even
with a sharply-focused image like this one. This image by the way,
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is called stunning 12x8.jpeg, its found
inside of the 01howitworks folder
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which itself is found inside the exercise files folder
that's available to those of you who are premium members.
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It's available for download at the lynda.com Online Training Library.
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You also have access to this folder if you have the DVD.
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This image comes to us from photographer Alexandra Alexis
of iStockphoto.com, one of my favorites, and we'll see,
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if I go ahead and zoom this image in a little bit, you'll see
that it is impeccably focused and bear in mind, that the purpose
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of the sharpening filters is to provide the illusion of focus.
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So why in the world will we apply sharpening filters to
an image that's already in great focus. And by great focus,
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I mean that the portions of the image that
are supposed to be in focus are in focus,
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and those portions that aren't supposed to be in focus aren't in focus.
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Notice for example in the case of this model, that her left eye- it's on out
right-hand side, but her left eye- is in sharp focus whereas her right eye
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on left-hand side here is slightly out of focus because its beyond
the depth of field and of course the background is very out of focus.
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Meanwhile, elements like her nostrils
and her lips are in sharp focus as well.
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Now I should mention that there is really nothing we can do
about any of this, I can't change the depth of field for example,
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I can stimulate soft focus in Photoshop, but I cant take something
that's out of focus like this background back here for example,
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and somehow make it miraculously in focus because Photoshop is incapable
of generating detail where there is no detail inside the image.
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Now I can fix soft focus slightly out of focus items, just a little bit
of softness that's either a function of the camera lens or its a function
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of the scanning element, that kind of thing,
but just like focus problems I can fix.
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Really however, the purpose of the sharpening filters is
to preserve the natI've focus of the image by anticipating
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and reversing even the softening effects of
capturing the image, re-sampling it, for example,
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changing the number of pixels inside the image
using the Image Size Command or printing the image.
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So lets say for example, in our case we're going to print this image
and in printing the image, it's going to get slightly out of focus,
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it's going to change in terms of its physical size, it's going to get
smaller on the page because we're going to print it at a high resolution,
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and during that translation, either to
halftoned dots or to little inkjet marks,
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we're going to end up with a softer image.
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So we're going to anticipate that by sharpening it, and I
am going to sharpen this image just to keep things simple,
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I am going to go up to the Filter menu, I am going to choose
Sharpen and I am going to choose this guy, Sharpen More.
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Normally, I would work with something more sophisticated like
Smart Sharpen or Unsharp Mask, but well see those tools later.
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Right now I am just going to apply the Sharpen More command, and
you might be able to see how the image got slightly sharper there.
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Now our movies get re-sampled down a little
bit so you might not see a difference.
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Lets go ahead and zoom in to the 200% zoom
size so you can really see the difference here.
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I am looking at the sharply-focused eye.
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This is the before version of the eye and this is the after version
of the eye, and you can see that the eye has become tactile almost.
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You sometimes hear this kind of over-sharpening effect called brittle
or crunchy, and this is definitely a very crunchy image by this point,
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and it might appear over-sharpened but its actually well-sharpened
for output. And Photoshop is able to create the sharpening effect
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by increasing the contrast of the edges, and well see how that works
in the next exercise, but just bear then in mind that's whats going on,
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its totally an I'llusion, its not actually doing any real sharpening,
but it will bring out information that you might not have noticed before.
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For example, this is the before version of the nose, this
is the after version of the nose which calls attention
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to all these tiny fine little hairs and the hairs inside the nose as well.
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So not always good details inside the image. We're also bringing out
the wrinkles in the lips, this is the before version of the lips,
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this is the after version right here, and we have some
hairs along the bottom of the lip that we're seeing,
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we're also calling attention to the hairs along the side of her face, but,
you'll notice that the out-of-focus area such as this background here,
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and to a certain extent this eye are changed dramatically.
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So this is the before version of the eye in the background, this
is the after version, and the only thing that we are bringing
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out in the background at this point, I'll
go ahead and zoom in here a little bit.
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The only thing that we're bringing out in the background
is the noise, and noise. By noise I mean random variations
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in pixels, information that wasnt really part of the scene.
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So this is before, the before version of the background, this is
the after version, you can see how the after version is more noisy.
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So that's something that sharpening brings out as well.
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Alright, so there you have it, that's what sharpening looks like, just
to give you a sense of what's up, right off the bat here I am going
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to show you how sharpening works starting in the next exercise.
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| Understanding the mechanics of sharpening| 00:00 | If you have the access to the sample files that are part of the
series, I would like you to go ahead and open this diagram right here,
| | 00:06 | it is called Sharp Shapes.PSD and it is
found inside of the O1howitworks folder.
| | 00:13 | That is available inside of that exercise files folder.
| | 00:16 | Now this is a multi-layered illustration that is going to help
us understand the mechanics of sharpening inside of Photoshop.
| | 00:23 | I am going to go ahead and zoom in a little bit here.
| | 00:25 | Now notice what we have is this serpentine, dark sort of line going
through the image, and sprinkled inside of the line are some white circles
| | 00:35 | at regular intervals and then the entire image
is subjected to something of a texture pattern.
| | 00:41 | Now so far, I have not sharpened this image at all and images
that have not been sharpened are sometimes know as unsharp
| | 00:48 | or unsharpened, you will sometime hear them called that.
| | 00:51 | And what I am going to do, because this is a multi-layered
file with all sorts of layered states saved inside of it,
| | 00:57 | I am going to go ahead and open up my Layer Comps
palette and I would like you to do that as well.
| | 01:01 | Layer Comps, as you may kNow allow you
to save layered states inside of a file.
| | 01:06 | If you are not familiar with the palate you can go up
to the Window menu and choose the Layers Comps command.
| | 01:11 | Now currently I have Layers Comps set to Standard, this is the
standard view of the image, the unsharpened version of the image,
| | 01:19 | compare that to the Sharpened view. I will go ahead and click in front
of the word Sharpened, on that little sort of page icon right there,
| | 01:27 | in order to invoke the Sharpened Layer Comp. I going
to go ahead and zoom in even closer on this image,
| | 01:33 | so that we can see it very close and personal at this point.
| | 01:37 | So this is the Standard version of the image,
this is the Sharpened version of the image.
| | 01:42 | Notice what is going on. Photoshop is going through the image and
increasing the contrast of the image right where it perceives edges.
| | 01:52 | So right at point of the edge it increases the contrast and it does
this by tracing along the dark side of an edge, it traces a dark halo.
| | 02:02 | This little tiny sort of blackish line here that is tracing
outside the circle is a dark halo and then on the inside,
| | 02:09 | on the bright side of this edge of this circle, we have a light halo.
| | 02:15 | In this rapid transition from dark halo to light halo,
is read by our eyes when we're zoomed out from the image.
| | 02:21 | It is read by our eyes as a sharp transition inside of the image.
| | 02:25 | Similarly, we have got dark halo along the dark edge of the big line, of
the big dark serpentine line and we have a light halo along the light edge
| | 02:35 | of the line as well and then we have these halos all over
inside the texture. They're are lot more difficult to make out
| | 02:41 | but there are halos inside of the texture and that is
whats responsible for bringing out that textures well.
| | 02:47 | So sharpening does bring out texture, it brings
out noise, it brings out film grain and so on.
| | 02:52 | It brigs out bad details along with the good details inside the image.
| | 02:56 | Sharpening inside of Photoshop enhances contrast along edges inside
of an image. Compare that to just general high-contrast effect.
| | 03:06 | So I were to click on the High Contrast Layer Comp inside the Layer
Comps palette, you would see a high contrast version of the image.
| | 03:13 | So this is the Standard view, this is the High cContrast view but this
generalized high contrast effect does not lead to more sharpness,
| | 03:21 | it has to be elevated contrast along the edges
in order to be read as heightened sharpness.
| | 03:28 | AlSo I would like you to also compare sharpness. I am going
to go ahead and zoom in even farther on the circle here.
| | 03:33 | I would like you to compare Sharpness to Jagged transitions.
| | 03:38 | So sharpness taken too far can result in jagged
transition, but it is ultimately a different effect.
| | 03:44 | Jagged edges by themselves do not impart a sense
of sharpness they just impart jagged transitions.
| | 03:51 | So as you can see, here is the standard view of
the image, it does have a little bit more softness
| | 03:55 | but it is really smoothness as apposed to jagged transitions here.
| | 04:00 | But notice how this sharpened transitions come out very differently.
| | 04:05 | So that is a first look at how sharpness works.
| | 04:08 | We have heightened contrast along the perceived edges inside of the image.
| | 04:13 | In the next exercise I am going to show you
how sharpness works with gradual transitions.
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| Understanding sharpening and gradual transitions| 00:00 |
In this exercise I am going to show you what happens to those dark and
light halos when we are tracing an image that contains gradual transitions.
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I am still working inside the Sharp Shapes.PSD file
that's found inside the 01howitworks folder.
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I've got my Layer Comps palette open and I am going to switch-
right now we are looking at the Standard Layer Comp-
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I am going to switch down to the Gradients Layer Comp, this one right here.
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So this is an alternate view of the image.
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It still contains the texture pattern but instead of having a dark
serpentine line set against a light background, we've got a gradient, a dark
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to light gradient serpentine line set
against a light to dark gradient background.
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So we've got some opposite gradients going on right here.
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That will allow us to see what happens to those halos as I was
saying, when we have gradual transitions. And you can see that.
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Let's go ahead and zoom in on this image so we can really take it
in close and personal once again, so it translates to the video,
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and I am going to switch over here to Sharp grads, this guy right here,
this Layer Comp. And notice that we Now toward the top of the image, notice
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that I am looking at the top region of the image where the serpentine line
is dark and the background is light, and we have a pretty familiar pattern
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of halos here. We have dark halos around the outside of the circles
for example and light halos around the inside of those circles.
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As I pan down, the farther that I pan down and the closer that
we get to this region where the gradients are pretty similar
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to each other, where we just have a bunch of midtones going on.
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Notice that the edges, those halos, drop out. So the halos actually get
thinner and thinner and decline here almost like calligraphic brush strokes,
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this one is happening here, its almost like lading
up off the pressure of a stylus, for example.
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So that the dark edge is just disappearing,
the dark halo is just disappearing.
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And then it switches places. Then we start seeing a light halo emerging
as the gradient serpentine line becomes lighter than its background.
| | 01:59 |
So what was formally a dark halo transitions to a light
halo and what was formally, in this case up here, a light halo
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on the outside transitions very slowly to a dark halo down toward
the bottom and so they gradually and automatically switch places.
| | 02:15 |
So Photoshop is intelligent enough not only to the detect the
edges inside the image and increase the contrast of those edges,
| | 02:21 |
but also to trace the light halos, always on the light side of the edge
and the dark halo along the dark side of the edge, and the lightness
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or darkness of those halos is commensurate with the degree of contrast.
| | 02:36 |
So down here toward the bottom of the image where we have the
highest degree of contrast between the white serpentine line
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and the dark background, we have very nearly a white halo on the
inside and that black halo on the outside, and those halos become less
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and less defined as the natural contrast
between the edges grows less defined as well,
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so that you can see that those halos just start becoming
not only more tapering but they also start growing darker,
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the light halo grows darker and the dark halo grows lighter as well.
| | 03:07 |
So there we have it to look at sharpened edges
inside of a gradually transitioning image.
| | 03:13 |
In the next exercise, I am going to show you the effects of
combining sharpening with noise reduction inside Photoshop.
| | 03:20 |
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| Understanding sharpening and noise reduction| 00:00 | In this exercise we are going to take a look
at combining sharpening with noise removal.
| | 00:04 | Inside the Photoshop I am looking at this Sharp Shapes.PSD
file, that's found inside of the 01howitworks folder.
| | 00:12 | The same file that we've been working with for the previous two exercises.
| | 00:16 | I have the Layer Comps palette set to the Standard Layer Comp, which
contains the texture, notice that. I'll go ahead and zoom-in on this image
| | 00:22 | and you can see that texture pattern in the background.
| | 00:25 | Imagine that this texture is something that we don't want to sharpen,
we want to defeat the texture, and this texture could be something
| | 00:33 | like noise captured by a digital camera, it could be noise captured by
scanner, it could be dust and scratches, it could be film grain associated
| | 00:42 | of course with film transparencies or color negatives,
something along those lines, and we want to get rid
| | 00:48 | of that noise before we begin sharpening, and that's the right
order to work incidentally. You want to apply Noise Removal first
| | 00:54 | and then apply your Sharpening, and so I've got
ahead and done that inside of this diagram here.
| | 01:00 | If you go down the Layer Comps palette, you'll see
that there is a Layer Comp called Noise Removal.
| | 01:04 | Go ahead and click on it in order to remove
some of the noise from the image.
| | 01:08 | Now notice that I am saying SOME of the noise/texture in
this case, because you are not going to get rid of all of it.
| | 01:14 | If you're trying to get rid of all of the noise
inside of an image or all of the film grain
| | 01:18 | or all of the texture then you're going
to get rid of your good detail as well.
| | 01:22 | In our case, we are pretty fortunate here;
I've managed to get rid of most
| | 01:25 | of the texture while preserving the good details,
the serpentine line and the circles and so on.
| | 01:32 | So this is the Standard view with the texture,
this is the Noise Removal view right here.
| | 01:37 | Now notice, if we apply Sharpening on top of
Noise Removal that we get a much cleaner result.
| | 01:43 | So we have these nice-sharpened edges without bringing out the texture.
This is a big difference here, compare that to sharpening with the texture.
| | 01:51 | So if we'd sharpened without applying any Noise Removal
we bring out a ton of texture inside the image.
| | 01:57 | If we apply Noise Removal first and then
apply our Sharpening we get very clean results.
| | 02:03 | I've also got a Layer Comp that shows the same thing where the Gradient
view of the image is concerned. I'll go ahead and zoom back out here
| | 02:10 | for a moment. You may recall, here's our gradient view from the
previous exercise. Here's the gradient version of the image subjected
| | 02:18 | to noise removal upfront, and its made only a small
difference, you may not even notice it at that zoom level,
| | 02:24 | so I'll go ahead and zoom back in,
so that we can see the difference.
| | 02:27 | It's just a little bit. Here's the gradients version of the image with
texture, here's the gradient version of the image without texture.
| | 02:34 | So there wasn't that much texture going on.
| | 02:36 | Once again though, it makes a big difference when we apply Sharpening.
So this is the sharpened version of the texture defeated image,
| | 02:44 | of the noise removal image, and this is the sharpened version
right here of the noise image, or the image with texture.
| | 02:52 | So you can see that the sharpened version has brought out a ton of texture.
| | 02:55 | If we hadn't taken the time to get rid of the texture in the
first place, we're going to bring that texture out with Sharpening,
| | 03:01 | whereas if we take the time to apply some noise removal,
| | 03:05 | even just a little bit, we're going to get much cleaner results as we
are seeing here. And again, you should bear in mind, this isn't perfect.
| | 03:12 | If I zoom in on this low-contrast area, you can see that we have
some pretty wonky edges in this Sharp Grad NR Layer Comp right here,
| | 03:22 | and that's because Photoshop is going in there and actually
finding some weird edges where the gradient is concerned,
| | 03:28 | where the combination of gradient and noise removal texture is concerned.
| | 03:34 | So we still do have some weird transitions.
| | 03:36 | It is an imperfect process, but if you're trying to get rid of
the texture, it's heck of a lot better than this version right here.
| | 03:43 | So remember that apply your Noise Removal first and then apply your
Sharpening when you are trying to fix your beautiful photographs.
| | 03:50 | In the next exercise, we're going to see how you
can control the degree of Sharpening that you apply
| | 03:55 | to an image, using the amount and Radius values. Stay tuned.
| | 04:00 |
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| Understanding amount and radius| 00:00 | In this exercise we are going to see how you can
adjust the degree of Sharpening that's applied
| | 00:05 | to the image using a couple of different numerical values.
| | 00:09 | Now there are a variety of different filters that are available to you
where sharpening is concerned, there is Unsharp Mask, Smart Sharpen,
| | 00:15 | High Pass, Emboss, even Gaussian Blur as it turns out.
| | 00:20 | Now every one of these filters works differently,
but most of them sharing in common ad Amount value
| | 00:25 | and all of them sharing common something analogous to a Radius value.
| | 00:30 | So we're going to see how those amount and Radius values work.
| | 00:33 | Well take a look at the specific filters and the
application of those filters in a later Chapter.
| | 00:38 | For now notice that I am still working inside of the Sharp
Shapes.PSD image, found inside the 01howitworks folder.
| | 00:45 | I've got my Standard Layer Comp active, I am going to go ahead hide
the Layer Comps palette and I am going to bring out my Layers palette.
| | 00:51 | I am going to expand my palette so I can see the Layers palette down here.
| | 00:55 | If you are looking at your Layers palette too, you should
see a series of four Smart Objects comp #1, comp #2,
| | 01:00 | comp #3 and comp #4, as well as this group called the ingredients.
| | 01:05 | We are most interested in these comps here, these Smart
Objects to which I have applied editable Smart Filters.
| | 01:11 | Now if you're not sure whats going on with Smart Objects and Smart
Filters or you have limited experience with them, don't worry.
| | 01:16 | I am going to show you how they work in detail in the later Chapter,
but for now I want you to notice that comp #1 is the sharpened version
| | 01:24 | of the standard image, whereas, I'll turn it off and turn on comp #2, which
is the sharpened version of the gradient image with texture, notice that.
| | 01:32 | Then comp #3 is a smooth version and sharpened
as well of the standard image, and then finally,
| | 01:39 | we've got comp #4, which is a smooth and
sharpened version of the gradient image.
| | 01:44 | The ones that we are going to work on, we are going
to be playing around with comps #1 and #2 here.
| | 01:48 | So go ahead and turn comp #1 on, and I am going to switch to
the full screen mode so that I have a little more room to work.
| | 01:54 | I am going to twirl open the comp #1 item here by clicking
this down pointing arrowhead over here in the right-hand side
| | 02:01 | of the Layers palette and that reveals my Smart Sharpen filter.
| | 02:05 | So I have sharpened this image using Smart Sharpen,. To adjust
its settings go ahead and double-click on Smart Sharpen
| | 02:11 | and you'll see right away the Amount and Radius values.
| | 02:14 | So several other options going on inside this dialog box. For now all
we are concerned about is Amount and Radius, and here's how they work.
| | 02:22 | Amount controls the amount of sharpening you apply. It's pretty easy to
understand, pretty easy to get a sense of whats going on. All you do,
| | 02:28 | if you need more sharpening, you increase the Amount value and that gives
you more of a tactile, more of a crunchy fact. And if that's too tactile
| | 02:37 | or crunchy, as it obviously is here, then lets go ahead and take
the Amount value down in order to create a more subtle effect.
| | 02:44 | For Now I am going to leave the Amount value set to 250% so we can focus
on the slightly more difficult to understand option, which is Radius.
| | 02:53 | It also happens to be the more important
option where sharpening is concerned.
| | 02:57 | Radius defines the size of the halos. Lets go ahead and zoom in on this
preview, this in dialog box preview right here, move it down a little bit.
| | 03:05 | You can see of course that we have a dark halo tracing the dark side
of the circle and a light halo tracing the light side of the circle.
| | 03:13 | The size of that halo is defined by the Radius value.
| | 03:16 | So right now we have one pixel on the outside and one pixel on the inside.
| | 03:21 | Now it's called Radius because Photoshop actually
goes through and scrubs around every single pixel,
| | 03:27 | so it's scrubbing in these tiny little circles all over the place
and the size of those circles is defined by the Radius value.
| | 03:33 | But where we are concerned, it ultimately defines the size of the halos.
| | 03:37 | So I am going to increase this Radius
value, lets say to 12 pixels and you'll see
| | 03:41 | that our halos grow in size to 12 pixels, they're all soft halos.
| | 03:46 | So notice that the halos are dissipating, or
dispersing really, over the course of these 12 pixels.
| | 03:52 | Now Photoshop tends to use a Gaussian
distribution curve for this softness,
| | 03:58 | and that means that the halos are actually
a little bigger than the Radius value.
| | 04:01 | So these halos are more like 14 pixels in size.
| | 04:04 | But it doesn't really matter that much exactly how big they are.
| | 04:07 | We are more interested in the visual effect.
| | 04:10 | Now in this case I'll go ahead and move my
dialog box so we can see this for a moment.
| | 04:14 | Its not really a sharpening effect at this point;
we are getting more of a high-contrast edge effect,
| | 04:20 | so we are definitely sharpening the heck
out of this texture in the background.
| | 04:25 | But where the big objects are concerned, they don't tend to look so
much sharp, just rounded, almost contoured, shaded if you will.
| | 04:33 | So basically how things work is this way, if you want a true
sharpening effect and you want to combine a high Amount value
| | 04:39 | with a low Radius value and you can go as low as 0.3 pixels.
| | 04:45 | You can go even lower than that; it's just that the
effect really drops off in the 0.1 and 0.2 range.
| | 04:50 | You really don't see anything until you
have this guy cranked up to about 0.3.
| | 04:55 | But it does make a difference. Notice there. I'll go ahead
and zoom in even farther so we can see this at work.
| | 04:59 | I'll go ahead and click and hold on the in dialog box preview.
This is what the effect looks like before, unsharpened,
| | 05:06 | and this is what the image looks like after this Amount
value of 250% and the Radius value of 0.3 pixels is applied.
| | 05:14 | So we do have a slightly sharp effect applied at this point.
| | 05:18 | You can also combine a very low Amount value.
| | 05:21 | Lets go to just like 25% with a very high Radius value, lets say 12
pixels, and that's going to give you more of a heightened contrast effect.
| | 05:31 | Allbeit, the contrast is going to be applied to the edges
but it's not going to look so much sharp as contrast-y.
| | 05:36 | So I'll go ahead and click OK in order to accept those
values, once again they are 25% and 12 pixels, I'll click OK,
| | 05:43 | and just to give you a sense of what kind of difference
this makes, lets go ahead and zoom in just little bit here
| | 05:48 | and I'll turn off this Smart Sharpen filter by clicking on its eyeball.
| | 05:51 | This is the unsharpened version of the image;
this is the sharpened version of the image.
| | 05:55 | So slight modification there.
| | 05:58 | Now lets take a look at combining Amount and
Radius with the gradient version of the image.
| | 06:03 | I am going to turn off the comp #1 Smart Object and turn on the comp
#2 Smart Object so that we can see the gradient version of here.
| | 06:11 | I'll go ahead and open it up as well, expand
it so that we can see the Smart Sharpen item.
| | 06:15 | Lets go ahead and zoom out just a little bit so that we can take in
more of the image at a time, and I'll double-click on the Smart Sharpen.
| | 06:22 | Lets not worry so much about the Amount value.
| | 06:24 | You notice that it's cranked through the roof right Now it's 500%.
| | 06:27 | Lets just go ahead and raise that Radius value once again to 12 pixels
and click OK order to accept that. And now you can see if we scroll
| | 06:34 | to the top we have a very, very dark black, thick halo
at the top on the inside edge of the serpentine line.
| | 06:42 | Up there toward the top of the image, we have a white halo on the outside
of course, and notice that they are growing slimmer and slimmer
| | 06:49 | as we work our way down to where we are almost
losing the Radius entirely at this point.
| | 06:55 | Of course, right there we have very little in a way of any halo
occurring at all because we have very little in a way of a difference
| | 07:02 | between the line and its background, and of course the light
halo is also dissipating over time and then they switch places
| | 07:10 | and they flair out once again toward the bottom area of the image.
| | 07:14 | So that's how it's working. And you might think of the Radius as being a
blur because that's what it really is, it's a blurred halo that's been drawn
| | 07:22 | around the image and that's the way Sharpening works inside a Photoshop.
| | 07:26 | Photoshop uses blur, specifically Gaussian Blur in most cases, in
order to create the effect of sharpening, as strange as that sounds.
| | 07:35 | So now that's the overview of how Sharpening works inside of Photoshop.
| | 07:40 | In the next exercises we're going to see how you
can gauge the sharpness of an image on screen.
| | 07:45 | I'll start things off by showing you how
you can measure your monitor's resolution.
| | 07:50 |
| | Collapse this transcript |
| Measuring your screen resolution| 00:00 | Over the course of next few exercises we are
going to be discussing how to gauge the sharpness
| | 00:05 | of an image on a computer monitor, which can be a tricky thing.
| | 00:08 | For example, consider this. Imagine that you are going to
be printing an image, which is not an uncommon scenario,
| | 00:14 | so you are going to printing the image through an inkjet printer or a laser
printer or sending it to a commercial print house for offset reproduction.
| | 00:22 | Presumably, you are going to be printing the image
at a high resolution, something like 267 or 300
| | 00:27 | or 360 pixels per inch, those just
being a few common print resolutions.
| | 00:32 | All of them are heck of a lot higher
than the resolution of your monitor.
| | 00:36 | Now the reason that makes a difference is because you are
going to be effectively shrinking your image when you print it
| | 00:43 | and that means you are going to be reducing the thickness of
your halos and so the halos are going to possibly disappear
| | 00:49 | and the image is not going to look to sharp when you print it, at all.
| | 00:52 | For example lets consider this guy right here, which is this by now
familiar Sharp Shapes.pst files found inside the O1HowitWorks folder
| | 01:02 | and I am currently looking at the Standard version of image.
| | 01:04 | Well compare to the Sharpened version of the image by
selecting this layer comp, inside the Layer Comps palette.
| | 01:10 | I am seeing the image at the 200% zoom ratio, the sharpness
is altogether visible on screen. Too much sharpness going on.
| | 01:17 | However, if I zoom out a little bit to the 100% zoom
ratio, the image doesn't look quite so over sharpened.
| | 01:23 | It's still over sharpened over on this screen; in
the video it may look actually pretty darn right
| | 01:27 | because our videos get resampled down
a little bit. But for what it's worth,
| | 01:31 | here's the difference between the sharpened
version and the standard version of the image,
| | 01:36 | so a more subtle change, not
altogether subtle, but more subtle.
| | 01:41 | Now lets zoom out to the 50% zoom ratio right here and compare
the standard version of the image to the sharpened version.
| | 01:48 | Now on my screen I can see the difference.
| | 01:49 | In the video possibly you'll see just the slightest difference
on earth, and then if I zoom out to the 25% zoom ratio,
| | 01:57 | this is the difference between Sharpened and Standard.
| | 02:00 | I dare say in the video you are not going to see
any difference whatsoever, and that's what happens,
| | 02:05 | an image that looks sharp on the computer monitor at the 100% view
size, does not end up looking sharp when it's shrunken down for print.
| | 02:14 | So what you have to do, before you can actually gauge the sharpness of
the image, you need to be able to compare the resolution of your output
| | 02:20 | to the resolution of your monitor and I am going
to show you how to do that right now. And of course
| | 02:24 | that depends on knowing what the resolution of your monitor is.
| | 02:28 | So I want to show how to measure your screen resolution.
| | 02:31 | Now contrary to the popular belief, it is not 72 pixel per inch.
| | 02:35 | That's an absolute myth, as it turns to
be based on very, very old information.
| | 02:40 | Lets go ahead and switch to this slide right here.
| | 02:42 | The name of this image if you care to open it up, it is available to you.
| | 02:46 | Its called Screen Resolution.tiff found
inside that same O1HowitWorks folder.
| | 02:51 | I am going to go and Shift+Tab away my palettes and notice
| | 02:54 | that its telling us the screen resolution measures
anywhere from a quarter to one-half the print resolution.
| | 03:00 | Now this is assuming that you are printing
somewhere between 267 - 360 pixels per inch.
| | 03:06 | So here's the deal, the days of the 72 pixels per inch, PPI Screens
are long gone, they are so long gone, people, they are dead, gone dead.
| | 03:14 | That's back in the days of 1984, that's based on old Macintosh computers.
| | 03:19 | The original Macs, your Mac 128k, your Plus, your Classic, your SE,
those guys, those little box computers that we kNow love and hate,
| | 03:27 | they used to be 72 pixels per inch, but that was the end of that.
| | 03:31 | They never were 72 pixels per inch again.
| | 03:34 | However a lot of applications out there still presume that's
a screen resolution iTunes. For example, if you are dragging
| | 03:41 | and dropping an album cover from Photoshop into
iTunes it has to be 72 pixels per inch in order
| | 03:46 | to look right, and that is based on that old screen resolution.
| | 03:50 | So its a little bit of a convenience, but its a total myth.
| | 03:53 | So its what I would call a convenient
myth, is basically what it comes down to.
| | 03:57 | But it has no bearing on today's monitors.
| | 03:59 | Assuming default settings, modern monitors have
resolutions of approximately 96 - 120 pixels per inch,
| | 04:06 | now that is approximately. They can be lower res or higher res than that
and certainly you can change the resolution of your monitor if you want to.
| | 04:14 | But let us take an example here.
| | 04:16 | This is a diagram of MacBook Pro Screen, a 17-inch MacBook Pro.
| | 04:20 | It has a native resolution of 1680X1050 pixels.
| | 04:25 | So even though, its a 17-inch screen that's a
diagonal measurement, that's how all monitor vendors
| | 04:30 | and computer vendors, that's how they measure the screens.
| | 04:33 | Presumably it's because the vendor would what are we supposed to
measure, are we supposed to measure the width or the height. You kNow
| | 04:38 | we spilt the difference when we pick the diagonal measurement.
| | 04:41 | In fact that makes the monitor sound bigger because that's
the biggest distance you can possibly measure on the screen.
| | 04:46 | What I want you to do is take a measuring tape or ruler
out and actually measure your screen. And in the case
| | 04:54 | of this screen, it is 14.4 inches wide and it is 9 inches tall.
| | 04:58 | Now you want to measure the image-able area, that is the portion
of the monitor that can actually display an image on screen.
| | 05:05 | There is always a little bit of blackness at on
the outer edges of monitor, don't measure that.
| | 05:10 | So this has a resolution of 1680, which is the width in
pixels, divided by the width of the screen, 14.4 inches.
| | 05:18 | So 1680 pixels divided by 14.4 inches gets you 116.7
actually, but I am rounding it up to 117 pixels per inch.
| | 05:28 | I want you to also to do the same measurement for your height.
| | 05:32 | So you would take 9 inches divided by 1050 pixels
in this case and you get the exact same value 116.7.
| | 05:39 | Now when you're measuring an LCD screen, you are probably
going to get the same measurement in both directions.
| | 05:44 | When you are measuring a CRT screen, which is a tube,
a big monitor with a tube, then its very possible
| | 05:52 | that your height and width measurements are going to be different.
| | 05:54 | So the resolutions, that is to say, are going
to be different for the height and width.
| | 05:57 | If that's the case, I want you to select the
smallest of the two resolutions and write it down.
| | 06:03 | So I actually want you to do that right now.
| | 06:05 | I will tell you what to do with
that information in a couple of exercises.
| | 06:09 | Do the measurement, write the information
down, then join me in the next exercise
| | 06:13 | when we will look at the wacky
world of zoom ratios inside Photoshop.
| | 06:19 |
| | Collapse this transcript |
| Using reliable zoom ratios| 00:00 | Now based on the previous exercise, those of you who watched it,
you might figure that given that your screen resolution is somewhere
| | 00:07 | in the neighborhood of one quarter to one half of the output
resolution, the resolution at which you're going to print an image,
| | 00:14 | then you could just zoom out in order to
gauge how your halos are going to look,
| | 00:19 | in order to gauge the sharpness of the
image. And that's true to an extent.
| | 00:23 | But you have to be careful when zooming an image,
and I am going to give you a sense of why you have
| | 00:28 | to be careful with the help of this whacky image right here.
| | 00:32 | I know it's a little bit unpleasant to look at and I wouldnt
stare it your image because its going to burn your retina,
| | 00:37 | but what we have is a series of parallel lines,
hence the name of the image, it's Parallel lines.PSD.
| | 00:42 | It's found inside the 01 How It Works folder, and its a
series of parallel lines that are formed by a combination
| | 00:49 | of four pixel wide black lines followed by two pixel
wide white lines, and they're alternating of course.
| | 00:56 | Now currently I am looking at the image at the 400% zoom ratio.
| | 00:59 | What were going to do though is were going to go ahead and
crop the movie so that we can see these lines nice and tight.
| | 01:07 | Alright. Now I'll just narrate where
we are in terms of zoom ratios.
| | 01:10 | Now anything above a 100% is perfectly fine.
| | 01:14 | Its not going to throw you off, as long
as its in the even multiple of 100%.
| | 01:18 | So 100%, 200%, 300%, etc. are going to work just fine for you.
| | 01:22 | You're going to have an accurate view of the image,
albeit you'll have a really big mass of pixels.
| | 01:28 | Its when you start going below 100% the things get problematic.
| | 01:31 | So here we are at 300%, the lines are
still very uniform as you can see.
| | 01:36 | Here is 200%.
| | 01:38 | Everything looks hunky-dory at this point right here.
| | 01:40 | I am going to go ahead and scroll the image over a little bit,
but the pixels look just fine, the lines look fine, that is to say.
| | 01:47 | Heres the 100% view, things are still holding up very nicely,
| | 01:50 | meaning that the widths of all the black lines is uniform
and the width of all the white lines is uniform.
| | 01:56 | OK. Now I am going to press, I am pressing by the way, Control +
minus or Command + minus on the Macintosh side in order to zoom out.
| | 02:03 | If I press Command + minus again, or Control + minus
here on the PC, here is the 66.7% zoom ratio.
| | 02:10 | It's a terrible zoom ratio, and the
reason is because it drops pixels.
| | 02:15 | Photoshop just goes ahead and abandons
pixels as it's rendering the screen.
| | 02:19 | So instead of trying to resolve the entire image to this new zoom
ratio, it just goes ahead and drops out pixels that it can't use.
| | 02:27 | As a result, in the case of this particular
image, we have a gigantic distortion midway
| | 02:33 | through the image over here on
the right hand side of the image.
| | 02:35 | It suddenly looks totally wrong.
| | 02:37 | We just have this weird disconnect between
the right side and left side here.
| | 02:42 | that's not really part of the image, but it's showing up. The way it's going
to resolve itself when you're looking at a continuous tone photograph,
| | 02:49 | as you're going to see sharp, sometimes jagged
transitions where sharp jagged transitions do not exist.
| | 02:56 | So if anything the image is going to look
sharper than it actually at 66.7%.
| | 03:02 | Alright. If I press Control + minus or Command + minus again to zoom
out to the 50% zoom ratio, everything is one again hunky-dory,
| | 03:10 | and the reason is that Photoshop is now performing an
interpolation, what's knows as the bicubic interpolation,
| | 03:17 | meaning that its averaging the pixels in the
real image in order to create this 50% view.
| | 03:23 | Now 66.7 isnt the only bad one,
everything between 50% and 100% is bad.
| | 03:30 | So everything from 50.1% to 99.9% has
problems and you should not believe it.
| | 03:37 | So you can believe 100%, you can believe
50%, you can't believe anything in between.
| | 03:42 | Now lets press Control + minus or Command + minus.
| | 03:44 | Again, this is 33%.
| | 03:46 | Can you believe it? I don't think so. Something has gone terribly
wrong with the right half of the image, it's turned solid black.
| | 03:53 | Meanwhile, Photoshop is doing a decent job
over here on the left hand side of the image.
| | 03:58 | Again, were going to see jag a transitions and sharp
edges where none exist inside the actual photograph.
| | 04:05 | Now zoom out another stop here, another increment to 25%,
its another good bicubic interpolation view of the image.
| | 04:13 | You cant trust anything between 25% and
50%, though you can trust those two.
| | 04:19 | So we got 100, that's good, we got 50 that's good, we got
25, that's good and anything in between those guys, is bad.
| | 04:27 | Heres the next zoom out.
| | 04:29 | This is 16.7%, also bad, and then zoom out again to 12.5%, that's
good, and then we start getting so small that is not very helpful.
| | 04:39 | So every other, if you're pressing Control + minus to zoom
out or Command + minus on the Mac to zoom out or Control + plus
| | 04:45 | or Command + plus to zoom in, then every other increment is good.
| | 04:50 | So starting at 12.5%, I'll press Control + plus or Command + plus to zoom in,
we've got bad, we've got good, we've got bad, we've good, we've got bad,
| | 05:00 | as witnessed over here on the right hand
side of the image, we have good at 100%.
| | 05:05 | So just something to bear in mind, some of the
zoom ratios, 12.5%, 25%, 50%, and 100%, are good,
| | 05:11 | and then even multiples of 100%, 200%,
300%, and 400%, those are good as well.
| | 05:17 | But anything in between 12.5, 25, 50, and 100, consider those absolutely
100% unreliable where gauging, sharpening in Photoshop is concerned.
| | 05:29 |
| | Collapse this transcript |
| Calculating the actual print size| 00:00 | So now that we know about the reliable zoom ratios
and we know what the resolution of our screen is,
| | 00:06 | what do we do with that information? Well, I am going to show you how
to use that information in order to gauge the sharpness of an image
| | 00:12 | and proper sharpening settings to apply, the best Amount and Radius
values for example. And we will see that inside of this image,
| | 00:19 | Stunning 12x8.JPG found inside the 01HowitWorks folder.
| | 00:23 | You may recall that, this is that wonderful image from
photographer Alexander Alexis that already looks sharp enough;
| | 00:30 | we just want to make sure that it weathers the storm for
commercial output and that it looks nice and sharp on the page.
| | 00:36 | So what I am going to do first, I am going to investigate what my print
resolution is. I am going to go up to the Image menu and I am going
| | 00:43 | to choose the Image Size Command or I can press Ctrl+Alt+I or Command+
Option+I on the Mac and we can see that if set this image to print
| | 00:50 | at 12" wide x 8" tall and I have enough pixels in order for the resolution
to be 267 pixels per inch, which is one of the standard print resolutions.
| | 01:02 | There are no magic numbers where print resolutions are concerned, but 267
is based on twice 133 LPI Halftone Screen, that's where this comes from.
| | 01:13 | It is not really necessary that you know that.
| | 01:15 | It is just that 267 and 300 and 360 are some common print resolutions
out there, but you can print at anything from about 220 PPI up
| | 01:25 | and get some very sharp imagery out of most printers.
| | 01:30 | So meanwhile let's say I am working on a 17 inch MacBook
Pro. It is fairly hilarious that I am doing that given
| | 01:36 | that I am running Windows Vista, but still it is a minor problem.
| | 01:40 | I am working on a 17" MacBook Pro and it has a resolution of a 117
pixels/inch. So what we would do is, we will whip on our calculators right,
| | 01:50 | you must have one sitting around some place, and you would
divide 267, so take the number 267, and divide it by 117
| | 01:58 | and you will get the number 2.28.
That is going to be our multiplier.
| | 02:02 | So 2.28. Just scribble that down, if you have already
figured out what the resolutions of your screen is,
| | 02:08 | it may be something entirely different. Why then, divide 267 by it.
| | 02:12 | so maybe your screen resolution is 102 pixels/inch, you divide 167 by
102, do the math, write down the multiplier number on a sheet of paper.
| | 02:21 | Then go ahead and cancel out. We do not want to change the resolution of
this image, this is what we want to do instead. Go up to the Image menu
| | 02:27 | and choose Duplicate, and I want
you to call this Actual print size
| | 02:33 | because this guy is really going to
represent the printed size of the image.
| | 02:36 | Go ahead and click on the OK button, then I want you to go up to the
Image Size command, so this is a separate version of the image,
| | 02:44 | go up to the Image Size command here and I want
you to make sure that Resample Image is turned on.
| | 02:49 | Make sure that Bicubic is selected (best for smooth
gradients), make sure that Constraint Proportions is turned on.
| | 02:55 | Scale Styles doesn't matter, but you might
as well turn on all of your check boxes.
| | 02:59 | Then I want you to change the Resolution value, in my case
to 117. Now you might change it to something else, like I said
| | 03:06 | if your screen resolution is 102, change it to that.
| | 03:09 | So go ahead and change the Resolution value to the resolution of
your monitor and then click OK. And then I want you to zoom the image
| | 03:17 | into the 100% zoom ratio. So press Ctrl + plus, or Command + plus
on the Mac, until you see a 100% up here inside of the title bar.
| | 03:25 | This is the size at which your image will actually print.
| | 03:29 | Now let us go back to the other image, the Stunning 12x8.JPG file. Go
ahead and select it, and I want you to go to the View menu and I want you
| | 03:37 | to choose this command right there, Print Size, and it will zoom the image
out to what Photoshop thinks is the size at which the image is really going
| | 03:45 | to print. But notice how these two images
here, they fairly differ from each other.
| | 03:50 | Your actual print size, which is the real deal my friends, is different
from Photoshop's version because Photoshop, in this case, is wrong.
| | 03:59 | Why is Photoshop wrong? Because Photoshop is assuming the resolution
of your screen is 72 pixels/inch. Now you could set Photoshop straight,
| | 04:07 | by going to the Units and Rulers section of the Preferences dialog box and
changing the Screen Resolution value. I could change that to 117 pixels/inch
| | 04:15 | and then Photoshop would get the size right. The problem
is that's not going to be a good zoom ratio for you.
| | 04:20 | So it's going to be of no use where sharpening is concerned.
The upshot is where gauging sharpening is concerned,
| | 04:26 | this Print Size command here is of no use to you whatsoever. Having
interpolated the image, we now have an accurate picture of the image.
| | 04:35 | I want you to go back to it, the actual print size version, and we're going
to use this version of the image to gauge the best Amount and Radius values,
| | 04:43 | and we're going to use those values to sharpen the
big version of the image, the Stunning 12x8.jpg file,
| | 04:50 | and we're going to do that in the very next exercise.
| | 04:55 |
| | Collapse this transcript |
| Gauging the ideal sharpening settings| 00:00 |
In this exercise we are going to gauge the ideal Amount and Radius values by
which to go ahead and sharpen our image for output at 267 pixels per inch.
| | 00:13 |
I have opened two images; one that I created in the
previous exercise. It is called actualprintsize.JPG.
| | 00:19 |
If you weren't with me in that exercise., you can go ahead
and open that image from the 01HowItWorks folder.
| | 00:24 |
I also have opened the Stunning 12x8.JPG file.
| | 00:29 |
We saw in the previous exercise how the command Print Size under the
View menu is a crock. This is the actual print size that we calculated
| | 00:38 |
by down sampling the image, using the Image Size command
we downsampled the image to the screen resolution,
| | 00:44 |
which I am saying is 117 pixels per inch,
that is what we are imagining for now.
| | 00:49 |
So Now let's go ahead and gauge using this actualprintsize.JPG file, we
can now gauge accurately what Amount and Radius values we want to use.
| | 00:59 |
So what I would like you to do, even though we
havent talked about this command in detail yet,
| | 01:03 |
go up to the Filter menu, choose the Sharpen command and
then choose Smart Sharpen and this got it right there
| | 01:09 |
and that brings up the Smart Sharpen dialog box.
| | 01:12 |
Now I am going to go ahead and zoom up the preview inside the
dialog box to 200%, so that we can see it up close and personal
| | 01:19 |
and so that it weathers the storm to video
here, so that you can see what I am doing.
| | 01:23 |
I am going to take this Radius value down to 0.7 pixels
let's say, and I think the Radius value looks really great.
| | 01:32 |
I think this Radius value looks nice and sharp and I
will also take the Amount value from 250 down to a 150%.
| | 01:40 |
So this is the before version of the image and this is the after
version of the image, a nice little bit of sharpening applied.
| | 01:48 |
Now it may seem like we are going a little bit
overboard like we are over-sharpening the image.
| | 01:53 |
Bear in mind that when you print an image, it
goes through a little bit of a softening process,
| | 01:58 |
so you do have to bump up that sharpening Amount value.
| | 02:02 |
So you want a Radius value that looks good on
screen, but then you want to take the Amount value
| | 02:06 |
up about 50% higher that you might normally want to do it.
| | 02:09 |
So if a 100% looks good, which it typically does, then you would
want to go ahead and take it to 150 is it what I am saying.
| | 02:17 |
0.7 looks pretty good to me.
| | 02:18 |
You can vary it anywhere from about
0.4 or 0.5 up to about 0.9, any value
| | 02:25 |
in that area would look pretty good, but
I want you to write these values down.
| | 02:28 |
So 150% and 0.7 and then click OK.
| | 02:33 |
Now you may recall our multiplier from the previous exercise we
took 267 pixels per inch, which is the resolution at which we want
| | 02:41 |
to output the image, and we divided it by 117 pixels per inch, which
is the resolution of our monitor, lets say our imagine monitor,
| | 02:50 |
which is 17 inch MacBook Pro screen and
we came up with a multiplier of 2.28.
| | 02:56 |
We would now take that multiplier and multiply it, not times the
Amount value, we will leave the Amount value alone, it will say 150%,
| | 03:03 |
but we will multiply the Radius value because we need the
halos to thicken up in order to weather the reduction,
| | 03:09 |
in order to look good when we reduce the image in print.
| | 03:13 |
So now lets switch over to this image right here, Stunning
12x8.JPG, which is the actual print version of the image,
| | 03:20 |
I will go ahead and zoom in to the 100% zoom ratio,
so that we can see the image nice and big on screen.
| | 03:25 |
I will press the F key to switch to the full screen
mode for a moment here and I will focus in on the eyes.
| | 03:31 |
Of course for those of you who are photographers already know this,
| | 03:34 |
but when you are sharpening portrait photographs,
you want to keep an eye on those eyes.
| | 03:38 |
The eyes are the most important things because that's
the portion of the image that has to remain in focus.
| | 03:44 |
We might as well check out things like the nostril and the eyebrows
as well and a little bit of the hair that will help us out.
| | 03:49 |
Now I am going to go up to the Filter menu, actually what I am going to do
is I am going to press Ctrl+Alt+F or Command+Option+F on the Mac in order
| | 03:56 |
to repeat the last filter that I
applied and I am going to do the math.
| | 04:01 |
The Amount value is set on 150%,
that's great, we want to leave it alone.
| | 04:05 |
We are going to take that 0.7 Radius value, get out to your
calculator once again, multiply it times the multiplier.
| | 04:12 |
So 0.7 times 2.28 in our case and of course that's based
on the math that you have done for your own monitor.
| | 04:20 |
If your screen has a different resolution, you would use a different
multiplier, you may recall that from the previous exercise.
| | 04:25 |
So in my case though, assuming 2.28, we have 0.7 times 2.28 and it us gives us
approximately 1.6 as a Radius value, 1.6 pixels and then we'll go ahead
| | 04:37 |
and click OK, in order to accept that value,
and this is the sharpened version of the image.
| | 04:44 |
Now if I go ahead and zoom in just another click here to
200% so that you can see the things nicely in the video.
| | 04:50 |
This is the before version of the image, which looked just fine, which is
really actually pretty much sharp enough, and then this is the after version
| | 04:58 |
of the image, which is over-sharpened, I would say.
It's a little bit too tactile, a little bit too brittle
| | 05:04 |
but actually it's going to look really good when we print the image.
| | 05:08 |
Just to give you a sense I will go ahead and zoom the image out, not to
the 66.7% zoom ratio because that is going to give you bad transitions,
| | 05:17 |
but rather you want to take it out to the 50%
zoom ratio in order to gauge that sharpness.
| | 05:22 |
This is the before version, this is the after version.
| | 05:26 |
Now on your video you are probably not
seeing much of a difference whatsoever.
| | 05:30 |
However, if you are working along with me on your screen you are
going to see a slight difference and its going to be just enough
| | 05:36 |
to make the image pop on the page and it's going to
weather that storm, it's going to look absolutely great,
| | 05:41 |
it's not going to look overly soft, the way it would normally.
| | 05:43 |
It's going to look nice and snappy, which is what you want.
| | 05:46 |
So what this is all about, this entire project has been about trying
to preserve the sharpness that you see on screen when you go to print.
| | 05:55 |
Alright. That's it for this Chapter. In the next Chapter we are going
to be talking about when you sharpen. Do you sharpen at the beginning
| | 06:02 |
of the process, do you sharpen in the middle some place, do you sharpen at
the end? And the answer to all of those questions as it turns out is yes.
| | 06:09 |
Join me in the next Chapter and find out why.
| | 06:13 |
| | 06:13 |
| | Collapse this transcript |
|
|
2. When to SharpenEveryone knows you sharpen last (and everyone is wrong)| 00:00 |
According to conventional wisdom, you sharpen
an image once and only once, at the end
| | 00:04 |
after an image is completely finished, right before
or possibly after, the conversion from RGB to CMYK.
| | 00:12 |
After all each pass of the Sharpening filter is
destructive and sharpening an image multiple times,
| | 00:18 |
which amounts to sharpening on top of sharpening, is madness.
| | 00:22 |
But as is so often in the case, the unconventional
approach is not only a bit more exciting, it also happens
| | 00:28 |
to be better. Much better. Much, much better.
| | 00:32 |
Sharpening at the end implies that you are merely sharpening
for the printer, but there are other reasons to sharpen,
| | 00:38 |
to compensate for the capture process, for
de-mosaicing, for anti-aliasing, for interpolation
| | 00:44 |
and if you are truly skilled, you'll sharpen the
highlight areas and direct your viewer's attention.
| | 00:49 |
Simply put, you sharpen for source, for detail, for effect
and for output, all in separate nondestructive passes.
| | 00:58 |
So if you were to ask me, should I sharpen at the beginning or in the
middle or at the end? My answer would be, 'Yes, here's how it works'.
| | 01:07 |
| | 01:07 |
| | Collapse this transcript |
| Understanding the conventional sharpening workflow| 00:00 | So I was saying in live action introduction,
I believe in a flexible sharpening workflow.
| | 00:05 | I believe you can sharpen at different phases in the development of an
image and you want to keep your sharpening non-destructive if possible.
| | 00:13 | But before we go down that, before we see the more flexible sharpening
approach, I want to explain the conventional approach that suggests
| | 00:20 | that you should sharpen once and only once at the end of the
cycle and that sharpening is usually applied as a flat effect.
| | 00:27 | So I'll walk through the conventional workflow inside of this exercise.
I'll demonstrate it in the next exercise and then look a sense
| | 00:35 | of what's wrong with it after that
and some better approaches as well.
| | 00:38 | So I am working inside of a slide called 'Conventional Workflow'
that's found inside of the 02WhentoSharpen folder and we are going
| | 00:47 | to examine the basically the four big broad steps here.
| | 00:52 | The first step, I'll reveal it, is to edit the image, to
apply whatever edits you are going to apply to an image.
| | 01:00 | So perform any and all edits in the image's
native colors space, which is most likely RGB.
| | 01:06 | So you are probably going to be starting
with a red, green, blue image as opposed CMYK
| | 01:10 | but you never know. Everybody's workflow
is a little different in that regard.
| | 01:13 | Assuming best practices, your composition will contain
non-destructive edits applied as independent layers.
| | 01:19 | So of course you want to keep your modifications as non-destructive as
possible, use adjustment layers, use Smart Objects, that sort of thing.
| | 01:27 | Next, you would flatten the image before you go to print it.
| | 01:31 | Now this assumes that you've already
saved all layers, alpha channels, paths,
| | 01:36 | Layer Comps, everything else in the PSD format,
the native Photoshop document format.
| | 01:41 | I suggest you turn off Maximize File Compatibility.
| | 01:45 | There is this check box that comes up as you'll see in the
next exercise, and what that does is that embeds a flat version
| | 01:51 | of the image inside the larger file, which can increase the size
of the document by a third or a half. It's a big waste of space,
| | 01:58 | especially if you are not going to be doing anything
with that file aside from just saving your modification.
| | 02:04 | You are not going to be directly importing that file into
Premiere or InDesign or one of the other Adobe products.
| | 02:10 | So just go ahead and turn it off in order to minimize
the file size, it's not going to hurt anything,
| | 02:14 | you can was always turn it on it later and
then go ahead choose Layer, Flatten Image.
| | 02:18 | So this again first thing you do before you flatten the image, as
you go ahead and save it in the PSD file format or update the file
| | 02:26 | by using the Save command, then you choose Layer, Flatten Image.
Then you turn right around, after you have flattened that image,
| | 02:33 | after you have no layers left, you turn right around and go ahead and
choose the Save As command and save the flat image as a separate TIFF file.
| | 02:40 | That way you don't overwrite any of the
stuff you did in the layered composition.
| | 02:44 | The next step is to resample the image. So this assumes by the way
that we are going to print, that we are going to printing the image.
| | 02:50 | So you want to resample it, you'd use the Image Size command
under the Image menu, with the Resample Image check box turned
| | 02:57 | on to adjust the dimensions and resolution of the printed image.
| | 03:01 | So you are trying to basically specify that you want to print the image
at 8x10, for example, at 300 pixels per inch, something long those lines.
| | 03:11 | Now I suggest you downsample, which is to
say you reduce the size of the image only.
| | 03:16 | There is no benefit to upsampling for print.
| | 03:18 | There is no sense in adding pixels and I will show you what I mean
in the next exercise, but if you want downsample, that's fine.
| | 03:25 | If you are thinking of upsampling, don't. Just go ahead and turn
off the Resample Image check box and then enter your new dimensions.
| | 03:32 | If it turns out to be a low resolution image,
fine, you didn't have the pixels to work
| | 03:36 | within the first place, don't make them up, it doesn't do you any good.
| | 03:39 | Then finally the next step would be to sharpen and convert the image.
| | 03:44 | So right at the end, after you have done all this other work,
| | 03:47 | and again this is the conventional sharpening workflow,
this is not the workflow I necessarily recommend.
| | 03:51 | It does work to a limited extent,
but it's not the best approach.
| | 03:55 | Now you would apply the desired amount of sharpening
to counteract the softness introduced by re-sampling.
| | 04:01 | When you downsample an image, you
typically soften the image a little bit.
| | 04:04 | There are ways around that inside the Image
Size dialog box. I don't recommend them though.
| | 04:07 | I just would stick with bicubic interpolation
and then apply your own sharpening after the fact
| | 04:13 | and you also want apply that sharpening
to anticipate the print resolution.
| | 04:16 | You need to anticipate the fact that the image is
going to become smaller when it's goes to print.
| | 04:20 | If the image is bound for commercial reproduction that is, process color
output, then you convert it to CMYK. That's the only time you convert it
| | 04:29 | to CMYK by the way. You do not convert to see CMYK if you having
Inkjet printer or a laser printer or any other local device,
| | 04:36 | only if you are handling it off to a commercial print house and of
course you are specifically outputting the process colors, cyan, magenta,
| | 04:43 | yellow and black. And even then some print houses will allow you
to submits RGB images and they'll take care of conversion of CMYK.
| | 04:51 | But when in doubt you'd want to convert
it to CMYK or talk to your print house.
| | 04:55 | So that's the conventional approach.
| | 04:57 | I am going to demonstrate the conventional
approach, have no fear, in the very next exercise.
| | Collapse this transcript |
| Flattening and saving to TIFF| 00:00 | So let's take a tour through the conventional sharpening workflow. I
am working with something of an unconventional image as it turns out,
| | 00:08 | which is begging for an unconventional
approach, but I have to tell you something,
| | 00:12 | I would argue that any image out there, any
composition, is an unconventional composition.
| | 00:18 | They all require different approaches, which
is why I think the one-size-fit-all approach,
| | 00:23 | the conventional approach, really doesn't work all that well.
| | 00:26 | But anyway, let's try it out here.
| | 00:27 | I am working with this holiday card and it's called Holiday
Card 2007.PSD found inside the 02_when_to_sharpen folder.
| | 00:37 | This is holiday card that I sent out, I made up and I sent out to celebrate
my children and how they might one day become presidents, don't you know.
| | 00:45 | So here it is.
| | 00:46 | It's a series of layers that are going on inside of the Layers palette.
| | 00:50 | So let's say I decide I want to print
it at 4x7, which is what I want to do,
| | 00:54 | and I am going to print it 2-up and I
am going to take it to an inkjet printer.
| | 00:57 | So I am not going to run a CMYK conversion on it but
I am going to do all of that other conventional stuff.
| | 01:02 | Let's see how it works.
| | 01:03 | Well, the first thing, after I've gone about
compiling all my layers and everything else,
| | 01:07 | I would make sure that I've saved all of my changes.
| | 01:11 | Now let's say, I haven't saved this image once for some reason
because I want to show you that Maximize Compatibility thing.
| | 01:17 | I'll go up to the File menu; I'll choose the Save As
command in order to demonstrate sort of a first save here.
| | 01:22 | I am in the 02_when_to_sharpen folder. You
won't see this file that I am about to create.
| | 01:28 | So I'll just call it 'First time save'
or something along those lines, .PSD.
| | 01:33 | I definitely want to save my Alpha Channels but of course,
make sure those checkboxes are on and also make sure,
| | 01:39 | by the way, that you don't see a little yellow warning.
| | 01:42 | That tells you that something is turned off.
| | 01:45 | So make sure you have all of the checkboxes that you need turned on. You
don't want As a Copy turned on, but you do want Alpha Channels, Layers,
| | 01:52 | Annotations, and Spot Colors if you got them. Your ICC Profile,
definitely. You probably want to work with the Lower Case Extension.
| | 02:00 | Then you click Save. Make sure that you are
saving to the native PSD format right there.
| | 02:05 | Click Save and then depending on your Preference settings, but most
likely, you'll get this Photoshop Format Options warning right there.
| | 02:13 | If you worked through some of my other series inside the lynda.com Online
Training Library and you don't get this warning, don't worry about it.
| | 02:19 | It just means that I've told you to turn it off in the past because
this Maximize Compatibility checkbox, I don't like it at all.
| | 02:26 | I want you to turn it off. It just blows up the size of the file and
again, unless you are going to be exporting this file for use
| | 02:33 | in another application, for example InDesign. Or Photoshop
Lightroom cannot see layers, so if you're using Lightroom
| | 02:40 | you need to have it turned on. But if you're not using Lightroom
or InDesign or Premiere or one of those other programs,
| | 02:46 | there's no reason to have it turned on. If you are
just using the layered composition inside Photoshop,
| | 02:52 | and the Bridge- the Bridge can see layers- save
yourself some hardrive space and expense, of course,
| | 02:57 | because if you are gobbling up hard drives, you'll need to buy more.
| | 03:00 | Then click OK in order to save that image to disk.
| | 03:04 | So now we've saved the changes.
Now let's go about flattening the file.
| | 03:09 | Now I could try to print the file as it is, with
all of its layers intact and at it's present size
| | 03:15 | and the whole thing, but I would be wasting a lot of time.
| | 03:17 | I would make Photoshop have to flatten image on the fly. I would
make the printer have to deal with too many pixels essentially
| | 03:25 | as it's downsampling and you might as well do it
manually and save all of your hardware a lot of work.
| | 03:31 | And normally you have your hardware do work but in this case,
let's go ahead and save some time and some complexity by going
| | 03:37 | up to the Layer menu and choosing the Flatten Image command.
| | 03:40 | Now the thing is this will flatten the image. I will go ahead and choose
the command and you see that it does flatten away all of the layers.
| | 03:46 | Now be very careful! Don't be going up to the File menu and
choosing the Save command because you'll ruin all of those layers.
| | 03:52 | You are not going to get rid of any
channels or paths that you have.
| | 03:56 | So if you go to the Channels palette, you'll still see that in the case
of this image, I've got some alpha channels set up and alpha channels,
| | 04:01 | you have to delete one at a time in order to get rid of them,
| | 04:04 | which is why I came up with this other thing here,
I'll go ahead and undo that modification there.
| | 04:10 | Let's switch back to the Layers palette. I press Control-Z
or Command-Z on Mac in in order to undo the flattening.
| | 04:15 | I've got this JavaScript and I'll go up to the File menu. I am going to
choose Scripts and I am going to choose this guy right there, Megaflatten.
| | 04:21 | Now you are probably not going to see Megaflatten in your Script menu
unless you actually work through my Photoshop CS2- it's an older title-
| | 04:29 | but it is Photoshop CS2 Actions and Automation,
which is part of the lynda.com Online Training Library.
| | 04:35 | It includes a bunch of scripts that are actually
really super helpful and one of them is Megaflatten.
| | 04:40 | So even if you don't want to watch the series, you can just go over
there if you are a premium member and you can download the files
| | 04:46 | and you can install all of the scripts according to my instructions.
| | 04:50 | This one, if you choose Megaflatten, it not only flattens out
the layers- notice that it tells you what it's going to do-
| | 04:55 | it's going to create a duplicate image with no
layers, Layer Comps, channels, paths or guides.
| | 05:00 | So there is a lot of advantages here; it get rids of all of the stuff
that you don't need but it also creates a duplicate image which is great.
| | 05:06 | Click Yes. There is no reason to click
No. It's not going to hurt you at all.
| | 05:09 | You create a duplicate image so now there is no way
that you can accidentally save over the original,
| | 05:14 | which I have to say, is a brilliant thing. Thank you very much.
| | 05:18 | So it should do you some good if you are going to work this way.
| | 05:21 | Then go up to the File menu, choose Save As- very
important step here to save your image of course.
| | 05:26 | Choose Save As and now we are going to go
and save this image to the TIFF file format
| | 05:30 | because that's the closest thing to a
lossless format that we have for flat images.
| | 05:35 | So go ahead and choose TIFF and I might as well
call this something like, I'll change the name
| | 05:41 | to Holiday 2007.TIFF. As a Copy
should be off. These guys should be on.
| | 05:48 | Click Save. You'll get this dialog box right here.
| | 05:51 | Make sure Image Compression is set to LZW.
| | 05:54 | That's actually a really good thing. It applies lossless compression
so it doesn't hurt the image. And then leave the Pixel Order alone,
| | 06:01 | it should be Interleaved and then Byte Order
is totally up to you. It does not matter.
| | 06:05 | If you are working on a PC and you set it to Macintosh,
or you working on a Mac and you set it to PC,
| | 06:09 | 99% of programs out there are going
to support the file no matter what.
| | 06:12 | Then go ahead and click OK and you've now gone
ahead and saved a flat version of that file.
| | 06:19 | So the next step is to resample the image to define the dimensions
and resolution at which you want to print this photograph here.
| | 06:27 | Because that's a little intricate and it involves the
downsample versus upsample thing that I was telling you about,
| | 06:33 | I am going to show you how to perform this step in the next exercise.
| | Collapse this transcript |
| Downsampling (and why you shouldn't upsample)| 00:00 | Alright, so here we are in the midst of
the conventional sharpening workflow.
| | 00:05 | The next step is to resample the image for print.
| | 00:08 | So I now in the case of this image right here and by the way,
| | 00:11 | I am working in a catch up document called Flattened
holiday.TIFF that's found inside the 02_when_to_sharpen folder.
| | 00:17 | If you are still working in your version of the
document, that's fine, just keep working along.
| | 00:22 | I just provide this so that people can catch up if
they want to and you may recall that this the 2007,
| | 00:27 | so last year version of my family holiday card right here.
| | 00:32 | I now need to sample it down so that it becomes four inches
wide by seven inches tall. That's what I am going for.
| | 00:39 | So I'll go up to the Image menu, and I'll choose the Image
Size command or I can press Ctrl+Alt+I or Command+Option+I
| | 00:45 | on the Mac in order to bring up the Image Size dialog box.
| | 00:49 | Now the first thing that I want to do is I
want to turn on the Resample Image checkbox.
| | 00:53 | So make sure that's turned on.
| | 00:54 | Also make sure that Constrain Proportions is turned on.
| | 00:57 | We don't care about Scale Styles because we are working with a
flattened version of the image so we don't have any layer styles
| | 01:04 | but might as well leave it turned on too since it's a best practice.
| | 01:08 | Now I want to change all of these values: Width, Height and Resolution.
| | 01:12 | So I am hard-pressed to know whether I am downsampling or upsampling.
| | 01:16 | I was telling you that downsampling is
good, contrary to what you might think.
| | 01:19 | Downsampling is good because getting rid of pixels froces Photoshop to smooth
away noise inside the image, to smooth away rough transitions. That ends
| | 01:29 | up creating a cleaner version of the image
whereas upsampling just adds unnecessary pixels.
| | 01:35 | That adds pixels that don't do you any good; they are just weird
transitional averaging pixels because Photoshop doesn't know any better;
| | 01:41 | it can't invent detail out of whole cloth and as a result
you get more complexity but you don't get more information.
| | 01:47 | So anyway, how do I know that I am going the right
route? Well, go ahead and enter your values for starter.
| | 01:52 | I know this one is to be four inches wide, seven inches tall and I
also know that I want to print at a resolution of 360 pixels per inch.
| | 01:59 | Now that's pretty high. The reason I am going a little
high is because I've got text inside of my document.
| | 02:05 | So any time you have high-contrast art work, whether it's graphic art
of text, you want to go on the high side of your Resolution value.
| | 02:14 | So I could even go higher than this
if I want to but I'll stick with 360.
| | 02:18 | Now how do I know that I've downsampled or
upsampled? I might have upsampled, never know.
| | 02:22 | Well, you go up here to your Pixel Dimensions and you note the values.
| | 02:26 | If the first value is lower than the second value, which it is
in our case, then you are downsampling and that's a good thing.
| | 02:32 | So it's 10.4 megabytes, that's what it's going to
be. It was, before I brought the dialog box up,
| | 02:37 | it was 18.5 megabytes, which is bigger, so I am downsampling.
| | 02:42 | What if you look at it and you notice you are upsampling?
| | 02:44 | For example, let's say I really want to print this at 12
inches wide and 21 inches tall, sort of almost a poster.
| | 02:50 | I still want to go with the resolution of
360 pixels per inch, that's my preference anyway.
| | 02:55 | Then I look at the Pixel Dimensions and I
see gosh, it's going to be 93.4 megabytes.
| | 03:00 | Now that's really big, it used to be 18.5
megabytes, I'd say that it's upsample.
| | 03:06 | Now you might think, wow!
| | 03:07 | Almost 100 megabytes. That's going to be
a great file, a super high resolution file.
| | 03:13 | Not really- you are just adding a bunch of pixels.
| | 03:15 | They are not doing you any good; they are
meaningless pixels, so you are just adding complexity.
| | 03:19 | If you see this happen, turned off the Resample
Image checkbox so that you are not re-sampling,
| | 03:25 | you are not changing the actual number of pixels inside the image.
| | 03:28 | Then enter your desired Width and Height values and it's
going to tell you 'Hey, your resolution is only going
| | 03:34 | to be 160 pixels per inch, buddy,
that's the best I can do for you.'
| | 03:38 | That's OK. That it is preferable to print low-resolution art work
than to add a bunch of pixels that don't do you any good whatsoever.
| | 03:47 | I have problems getting that across to
people; a lot of people don't believe me.
| | 03:50 | Do the work yourself. You are going to find out
that those new pixels that you would create,
| | 03:53 | if you raise that Resolution value are
meaningless; they are just junk pixels.
| | 03:58 | That's not what we want to do; we want
to go ahead and take this value down.
| | 04:00 | I am going to go and turn the Resample Image checkbox back on, I'll take
the Width value down to four inches, the Height value down to seven inches.
| | 04:07 | I am going to raise the Resolution about to 360 pixels per inch and then I
am going to click on OK in order to downsample the image and there it is.
| | 04:17 | Now there was one option that I skipped there.
| | 04:19 | I am going to undo that modification and bring
that dialog box back up by pressing Ctrl+Alt+I
| | 04:24 | or Command+Option+I on the a Mac.
Let's enter those values again.
| | 04:27 | 4, tab down here to 360, so we've got
4, 7, 360, we know we are downsampling.
| | 04:33 | What about our interpolation options? Should you be
working with Bicubic, you definitely don't want Bilinear
| | 04:40 | or Nearest Neighbor, those guys are bad for our purposes here.
| | 04:43 | But do you want Bicubic, which is best for smooth gradients supposedly?
| | 04:47 | Do you want to Bicubic Smoother, which is best for
enlargement- but I am telling you, you never want to do that.
| | 04:52 | You don't want to adjust enlarge for a print; you sometimes want
to enlarge in order to make layers match each other but that's all.
| | 04:57 | What do you want Bicubic Sharper, which is best for
reduction, which is what we are going to do here.
| | 05:02 | So naturally if you reading this and you believe
Adobe, you would think I want Bicubic Sharper.
| | 05:06 | Of course, I want to sharpen the image anyway because I need to account
for the downsampling, which introduce the softness, so this is the way to go.
| | 05:13 | No, it's not the way to go.
| | 05:14 | You want to work with best for smooth gradients.
| | 05:16 | This is nuts, this is just utter
and complete hogwash by the way.
| | 05:20 | Bicubic Smoother is great if you have a very
noisy image, and you want to get rid of the noise.
| | 05:24 | Bicubic Sharper is great if you don't have any noise inside the image
whatsoever and you don't anticipate applying any more sharpening
| | 05:31 | to the image, which we are going to do, and actually
sharpening the image manually is better way to work.
| | 05:36 | So let's just go away with what is the best option and what's the default
option as well, it has nothing do with gradients, which is Bicubic.
| | 05:43 | So those are the settings that I want you to apply, now go ahead
and click on the OK button in order to resample the image once again
| | 05:51 | and this is dramatically reduced version of the image actually.
| | 05:55 | It's quite a bit smaller; it is now ready to print.
| | 05:58 | The only thing that's left to do, given the conventional
sharpening workflow, the only thing that's left to do is
| | 06:03 | to apply some sharpening settings and we
are going to do that in the next exercise.
| | Collapse this transcript |
| Understanding last-step sharpening| 00:00 | The final stage of the conventional sharpening workflow is to actually
apply sharpening to the image and then convert it to CMYK if necessary.
| | 00:09 | I am working with the re-sampled version of that flattened
holiday.TIFF file that I opened in the previous exercise and then took
| | 00:15 | down to four inches wide, by seven
inches tall, by 360 pixels per inch.
| | 00:21 | In order to gauge the perfect sharpening settings, we are
going to resample the image down to our screen resolution,
| | 00:27 | which my screen resolution is 117 pixels
per inch, that's what I am pretending,
| | 00:31 | based on the information that I gave you in the previous Chapter.
| | 00:35 | So here's what we are going to do.
| | 00:36 | I am going to press Ctrl+Alt+I, or Command+Option+I
on the Mac, to bring up the Image Size dialog box
| | 00:42 | and you can see how this image is currently sized to
4x7x360 per my instructions in the previous exercise.
| | 00:50 | I have Resample Image turned on, I have Constrain Proportions turned on.
I am going to change that Resolution value to 117 to fit the resolution
| | 00:59 | of a 17 inch MacBook Pro, which is the kind of computer that
I actually have sitting next to me. That's why I am using
| | 01:05 | that even though I am working with, of course, Windows Vista here.
| | 01:08 | Then I'll click OK in order to make that modification.
| | 01:12 | I'll go ahead and zoom the image
into the 100% view size right here.
| | 01:15 | Actually, I'll take it up to 200% so that
we can see it in video quite nicely.
| | 01:20 | Shift-Tab away my palette so I have a
little more width to work with on screen.
| | 01:23 | Now I am going to go up to the Filter menu and by the way, it's not
necessary that every time you sharpen an image that you try to gauge it
| | 01:31 | for your screen resolution. It's just good to
know that you have that option available to you.
| | 01:36 | As you work more and more with sharpening, as
you become more and more familiar with it,
| | 01:40 | you'll be able to come up with settings
that work for you on a regular basis.
| | 01:43 | But for now as we are learning how this tools work, it's a good
habit to get into it and again, if you know your screen's resolution,
| | 01:49 | you know it to be 102 pixels per inch, for example, then
go ahead and enter that into the Image Size dialog box.
| | 01:55 | Now I am going to go up to the Filter menu, I am going to choose
Sharpen and I am going to choose Smart Sharpen since we have experience
| | 02:01 | with that command, and I am going to come up with some
settings that I think work really well for this image.
| | 02:07 | Where the screen is concerned, I would say something along the lines of the
value of 90% work pretty nicely for this image and maybe a radius of 0.6
| | 02:15 | and that ends up giving us something
that looks nice and sharp on screen.
| | 02:21 | So this is before, keep your eye out here
on Sammy on the far left side of the screen.
| | 02:26 | This is the before version of Sammy, the unsharpened version.
| | 02:28 | This is the after version of Sammy.
| | 02:30 | So it's just a little bit sharper, he is not
over-sharpened; it's something of a subtle effect.
| | 02:35 | I'll go ahead and zoom, I'm inside the dialog box.
| | 02:38 | Let's move it, zoom it on Max inside the dialog box.
| | 02:40 | This is the before version of Max, when I click
and hold, this is the after version of Max.
| | 02:45 | Now I was telling you that when you are sharpening for print, you want
to go about 50% higher than the Amount value that looks good to you.
| | 02:53 | So I would take this Amount value up to 140% for example.
| | 02:57 | And that is just a general rule of thumb. If you want to
take it higher or lower than that by 10 or 20% that's fine.
| | 03:02 | So let's say, I want to go with 140% and 0.6.
| | 03:06 | That looks good at the screen resolution.
| | 03:08 | So I'll go ahead and write down those settings; 140 and 0.6.
| | 03:12 | Obviously, I am going to have to run
the multiplier on the Radius value.
| | 03:15 | Let's go ahead and cancel out because we don't really want to
do anything with this version of the image; it's just the test.
| | 03:22 | I'll go ahead and undo the effects of the Image Size command by
choosing from the Edit menu, Undo Image Size or I can press Ctrl+Z,
| | 03:28 | Command+Z on a Mac to restore the 360
pixel per inch version of the image.
| | 03:34 | Now let's go ahead and run our multiplier.
| | 03:37 | Now I am going to have to do a little bit of a calculation here.
| | 03:39 | I'll get my calculator and I want to take 360, which is the
actual resolution of this image, and I want to divide by 117,
| | 03:50 | which is the monitor resolution, and I come up with 3.0769, blah,
blah, blah. And then I will multiply that times the Radius value.
| | 04:02 | So times .6, and that ends up giving us a radius of 1.8.
| | 04:07 | I am going to bring back my palettes actually and
switch over to the full screen mode for a second here
| | 04:12 | so that I have a little more latitude
where moving this image as concerned.
| | 04:16 | Then I'll go up to the Filter menu,
and again to Sharpen and Smart Sharpen.
| | 04:21 | This time I'll go ahead and enter the settings that
I know that work well for this particular image.
| | 04:26 | So let's go ahead and move Sammy on screen here.
| | 04:28 | I'll enter an Amount value of 140% and then I'll tab
down to Radius and raise it to 1.8 per my multiplier.
| | 04:35 | For Now I am going to leave Remove set to Gaussian Blur; we'll
worry about that stuff later when we take a look at the tools.
| | 04:41 | Just to give you a sense, this is the before version
of Sammy right there, this is the after version.
| | 04:46 | If I zoom in a little bit so that we can really see this inside of
the video; this is the before version, this is the after version.
| | 04:53 | You can see that he looks a little bit over-sharpened actually,
but again, bear in mind that we are sharpening for the printer.
| | 05:00 | So we need to go little bit farther than we normally would and we have to
have a higher Radius value because our haloes are going to get shrunken.
| | 05:08 | So now go ahead and click OK in order to accept that modification and
now Shift-Tab away my palettes once again move the image over little bit,
| | 05:16 | I might even go ahead and zoom in and we want to take this all
the way to... I gather this is the 100% view size, yes it is.
| | 05:25 | This is the before version of the image
and this is the after version right here.
| | 05:30 | So hopefully you can see that on screen OK and it'll probably look
nicely sharpened in the downsampled video that you are viewing right now.
| | 05:38 | So I've managed to sharpen the image at this point, if I want it to
convert it to CMYK because I am sending it off to a prepress device,
| | 05:45 | that's when I would go up to the Image menu, I would
choose Mode and I would choose CMYK Color in order to break
| | 05:53 | up the image into cyan, magenta, yellow and black channels.
| | 05:57 | In my case though, I am going to be
printing this to a local inkjet device.
| | 06:00 | I do not want to convert the image to CMYK, do not do that.
| | 06:04 | Any local inkjet device, any local laser printer relies on a
printer driver that's provided to you by your printer's vendor,
| | 06:10 | and that printer driver expects to find the
images in RGB, to convert the image from RGB.
| | 06:15 | If you convert the image to CMYK before you print
it, you'll mess things up and you'll get a bad print.
| | 06:21 | So there it is, we have worked through the conventional printing
process. It's pretty good, there is nothing terribly wrong with it
| | 06:28 | because we are trying to sharpen the image
for the printer which is a good thing.
| | 06:33 | But it's not the best way to work; this is what I am going to tell you.
| | 06:36 | We'll examine some of the problems that are inherent with
the conventional system starting in the next exercise.
| | Collapse this transcript |
| Recognizing problems with the conventional workflow| 00:00 | Alright, so we have seen how the conventional sharpening workflow
works and there is nothing terribly wrong with it necessarily.
| | 00:07 | I mean it does provide a benefit; you are sharpening
for the printer, which is an important thing to do.
| | 00:12 | It's just that I think most folks agree any more that it's an antiquated
approach and one of the things it doesn't account for is layers.
| | 00:20 | Layers have been with us, layers are a
big part of what we do inside Photoshop.
| | 00:23 | The whole conventional just sharpening for the printer
workflow doesn't take layers into account at all.
| | 00:29 | It doesn't take the source of the image into account either.
| | 00:32 | It doesn't take the content of the image into account, it doesn't take
the details into account, it doesn't take various layers into account,
| | 00:39 | and as it turns out, it's not the right approach for this image at all.
| | 00:43 | So let's see what went wrong where this image is concerned and we'll
also see a better approach and sort of take a look at what's going
| | 00:50 | on under the hood where this composition is concerned.
| | 00:52 | Then in the next exercise, we'll take a look at few
different kinds of workflows that are available to us and
| | 00:59 | of course different workflows suit different kinds of images.
| | 01:02 | Now where this image is concerned, currently I am looking at the sharpened
version, the last thing that we saw at the end of the previous exercise
| | 01:10 | and that was the sharpened version of the re-sampled image, the image
that measures four inches by seven inches by 360 pixels per inch.
| | 01:18 | In fact, I've gone ahead and save this version
of the image as Sharpened 4x7x360.TIFF.
| | 01:25 | So if you don't have your image up on screen, you can open
this one if you like from the 02_when_to_sharpen folder.
| | 01:31 | I'll tell out what's wrong here.
| | 01:33 | Now most portions of this image are sharpened just fine.
| | 01:37 | We've got Sammy's face, which is over-sharpened of course where the
screen is concerned, but it's going to suit the printer quite nicely.
| | 01:44 | We've got all of these details inside
of his coat that all looks pretty good.
| | 01:47 | We've got a little bit of patterning that's occurring in his coat. That's
starting to show up here. That's natural patterning I believe from the coat.
| | 01:54 | So that's OK.
| | 01:55 | His jeans are a little crunchy, a little too much so
I would argue, same with the rocks in the background.
| | 02:02 | Max's jeans also suffer from that.
| | 02:03 | Max has more of a problem going on inside of the
orange, that sort of middle portion of his orange coat.
| | 02:10 | You can see that things are breaking down a little bit, the shadows are
and it's partly because of the reflectivity of the fabric, but it's the kind
| | 02:19 | of thing that we might want to settle down
with the little selective adjustment.
| | 02:23 | Then his face is actually in very good shape given
that he is a kid with his finger stuck up his nose.
| | 02:30 | Generally speaking, I think most of the image looks pretty
good; the background is in pretty good shape as well.
| | 02:36 | The thing that doesn't look good, I'll go
ahead and zoom in on it here, is the text.
| | 02:40 | You do not want to be sharpening flatten text
because you are start getting jagged transitions.
| | 02:47 | Anything that's that graphic, in other
words, we have very rapid transitions
| | 02:52 | between different colors, between radically different luminance levels.
| | 02:55 | When that occurs, when you have these kinds of graphic transitions whether
you are working with text or with graphic art, then applying sharpening,
| | 03:03 | any of the sharpening filters, is going to result in jagged transitions.
| | 03:07 | Where the transitions used to look just fine
before, now they are turning jagged on us.
| | 03:11 | We've got all kinds of examples inside of this graphic.
| | 03:14 | AlSo note this weird little bit of halo on George Washington's head
right there following the Y, so the Y is creating this little weird halo,
| | 03:23 | thanks to of course the halo that's
applied by the Smart Sharpen function.
| | 03:27 | So all sorts of weird little stuff going on with the
text and it just breaks down in all kinds of ways.
| | 03:32 | Towards the bottom of the image, you'll also see some radical
transitions and some jagged edges around the tips of the arrows as well.
| | 03:40 | So what's a better approach where this composition is concerned?,
| | 03:44 | Well let's go ahead and switch over to the
layered composition, the original one.
| | 03:48 | Holiday Card 2007.PSD, once again found
inside of that 02_when_to_sharpen folder.
| | 03:55 | First of all, I want you to notice over here inside the
Layers palette that we already have some sharpening going on.
| | 04:02 | So this image already is sharpened
and it has some noise reduction as well.
| | 04:06 | If you go down to the boyz layer, the bottom of the Layers palette, and
you expand it, you'll notice that this boyz layer is the Smart Object
| | 04:14 | and as I say, I'll be telling you more about
how Smart Objects work later in this series.
| | 04:18 | Now I have a Smart Filter applied
and that's the Reduce Noise filter.
| | 04:21 | The great thing about that is I could now turn around and adjust
the settings if I want to, so this is totally non-destructive.
| | 04:28 | Whenever possible, you want to apply non-destructive modifications
inside the Photoshop and that goes for sharpening as well.
| | 04:34 | There's really no excuse for ever doing flat
sharpening inside the program if you can avoid it.
| | 04:39 | The only exception is at final sharpening for print
but even then you might want to go non-destructive.
| | 04:45 | Anyway, so I could modify the Reduce Noise setting
just by double-clicking on Reduce Noise to bring
| | 04:50 | up the Reduce Noise dialog box, and
then I would make a few modifications.
| | 04:54 | Now you can see if you look carefully
here, I'll go in and zoom in on Max's face,
| | 04:58 | you can see that we've got a heck of
a lot of noise reduction going on.
| | 05:02 | I am really smoothing over the skin, so I've got high
Strength setting, a low Preserve Details setting.
| | 05:08 | So when you are going back and forth like this, high for
Strength, high for Reduce Color Noise, low for Preserve Details,
| | 05:14 | low for Sharpen Details then you are going to have a
maximum effect, a maximum smoothing effect. It's mitigated,
| | 05:21 | I'll go and cancel out by a mask right there, by a filter
mask which is something that you can do when you are working
| | 05:27 | with Smart Filters and as I say I'll show you more about that later.
| | 05:30 | Just important to remember that you
can and should work non-destructively.
| | 05:34 | I have another non-destructive modification going on. This
guy right here, the HP 3.0 layer, that's a High Pass layer.
| | 05:41 | That's actually a static layer but it's being
applied non-destructively to the layer below.
| | 05:46 | That's another way to work inside Photoshop.
| | 05:49 | If I turn that layer off, you'll see, I'll go in and zoom in on
Max once again because he is such a delightful kid to look at here.
| | 05:57 | He is quite soft with HP 3.0 turned off and that's
High Pass with a radius of 3.0 by the way.
| | 06:04 | If I go ahead and turn that on, you can see that it does apply some
sharpening on the fly and I could change the degree of sharpening
| | 06:10 | on the fly if I wanted to either by adjusting the opacity of
this layer or by adjusting this inset levels adjustment layer.
| | 06:18 | Again, we'll see how all of those things work.
| | 06:21 | The question becomes how should we sharpen this image for print
at this point given all the things that are going into it?
| | 06:27 | Well, notice that I have allocated all of
the text elements to this group right here,
| | 06:33 | I'll go ahead and zoom out from the image
so that we can see that this is the case.
| | 06:36 | So here we are at the 25% zoom ratio.
| | 06:38 | If I turn off that text group, you can see that
all of the text elements go away. As so.
| | 06:44 | So that's great; they are already relegated to their own independent group.
| | 06:47 | So let's go and turn them back on.
| | 06:48 | I'll go and click on gradient and I'll shift click on boyz in order
to select this range of layers, so everything except the text group.
| | 06:56 | Then I'll go up to the Layer menu and I'll choose
Merge Layers or I can press Ctrl+E or Command+E
| | 07:02 | on the Mac in order to merge all of those layers together.
| | 07:04 | Now we have a flattened version of just the
continuous tone photographic image elements.
| | 07:10 | Now I will reduce the size of this graphic by pressing Ctrl+Alt+I,
you may recall that we need it to take it down to 4x7x360.
| | 07:19 | So I'll press Ctrl+Alt+I or Command+Option+I on
the Mac to bring up the image Size dialog box.
| | 07:24 | I'll make sure all three checkboxes are turned on.
| | 07:26 | Now that's very important because we have a live layer effect going on
at this point, a live style applied, not only to that '&' right there,
| | 07:35 | there is lot of stuff going on with it, but all of the other text elements,
many of the other text elements anyway, have drop shadows assigned to them.
| | 07:41 | So make sure all three of those checkboxes are turned on,
four for the Width, Height will automatically change to seven,
| | 07:48 | let's change Resolution value to 360 and then
I'll click OK in order to accept that modification
| | 07:54 | and I have resized this image. I've sampled it down.
| | 07:57 | Now let's go ahead and apply the filter.
| | 08:01 | So Smart Sharpen should be last filter I applied.
| | 08:03 | It's right up there at the top of the menu.
| | 08:05 | So if just want to reapply those same settings, I will just
choose the command again, or if I want to confirm the settings,
| | 08:10 | I'll press Ctrl+Alt+F or Command Option+F on the Mac.
| | 08:13 | Sure enough I have an Amount of 140% just as in the previous
exercise, a radius of 1.8, things are looking very good.
| | 08:20 | Let's take a look at Sammy.
| | 08:22 | You may very possibly be sick of looking at my son with his
finger up his nose. I mean shame on you for that but still.
| | 08:28 | I'll go ahead and click OK in order to accept that
modification and now let's take a look at what's going on here.
| | 08:33 | I'll zoom in on the image and you can see that
we have these wonderfully sharpened details.
| | 08:38 | There's Max again.
| | 08:39 | For those of who aren't sick of looking at him. And
there's, of course, a handful of famous presidents.
| | 08:45 | I'll go ahead and zoom in on Washington's head.
| | 08:46 | You can see that we no longer have that halo that's being cast
by the Y and notice that the text is not so brittle anymore.
| | 08:54 | It's not all jagged, I'll go ahead and zoom in
so that you can see it's nicely anti-aliased.
| | 08:59 | Nice, smooth, transitional edges going on there.
| | 09:03 | So things look much, much better indeed and now at this point, if
you would go up to the Layer menu and you would choose Flatten Image
| | 09:10 | to flatten everything together, to merge the entire
image together and now this image is ready for print.
| | 09:17 | Of course, you would go up to the File menu, you
would go ahead and choose the Save As command
| | 09:21 | so you don't overwrite your original PSD document
and save that out as a separate TIFF file.
| | 09:25 | So there you go a different approach where
this specific image is concerned.
| | 09:30 | In the next exercise, we'll talk about some other alternative
sharpening workflows that are available to us inside Photoshop.
| | Collapse this transcript |
| Erasing sharpening with the history brush| 00:00 | Alright. Now you may recall in the previous exercise at the end I told
we were going to take a look at some alternative sharpening workflows.
| | 00:06 | I lied. We are going to do that in the next exercise.
| | 00:09 | In this exercise this one thing I forgot to show you and I
want you to do that right now. I forgot to account for the fact
| | 00:15 | that Max's coat is a little too textural and it's kind of have
got a little bit of a pattern going on inside of it we don't that.
| | 00:23 | So we want to able to mitigate the sharpening effect inside of this area.
| | 00:27 | Now if I were working, what I would typically
do and what I'll show you in the future.
| | 00:31 | I would typically apply a non-destructive sharpening modification
| | 00:35 | and then I could mitigate the sharpening effect using a
layer mask or a filter mask something along those lines.
| | 00:41 | But, in this case, I applied the Smart
Sharpen filter it directly to the image.
| | 00:44 | So I'm going to have to brush away the sharpening effects that I
don't want using the History brush. It's a different way to work.
| | 00:52 | Now before, I can use the History brush, if I were to grab the
History brush here, this guy right there, inside the toolbox
| | 00:59 | and you can also get to it by pressing the Y key if you like.
| | 01:02 | You would notice, if you're working along with me
and you know this is on screen too, I imagine,
| | 01:06 | you would see that I get the little Ghostbusters's icon, which
is telling me that I can't do any brushing inside of the image.
| | 01:12 | So I go over here to the History palette, which you can get to by choosing
History from the Window menu as well and I would notice my problem is
| | 01:20 | that I flatten the image and that I'm trying
to source from the original layer composition
| | 01:25 | and Photoshop doesn't allow you to
do that, for two reasons actually.
| | 01:29 | One is because I don't have corresponding layers to work
with since I went ahead and flattened the darn thing
| | 01:34 | and the other problem is that I applied the Image Size command.
| | 01:37 | So I re-sampled the image and the
History brush doesn't like re-sampling.
| | 01:41 | So first time, we need to do is we need to move
our source to right after we applied Image Size
| | 01:48 | so that we are getting rid of the re-sampling problem.
| | 01:51 | That still does not take care of our problems, as you can see it.
| | 01:53 | I move my cursor out I still have the Ghostbusters's
icon and that's because I flattened the image.
| | 01:58 | So let's move back one step to the Smart Sharpen step and
you can see that now I've the gradient backdrop image set.
| | 02:05 | It's called ?the gradient' because gradient
was the top layer when I combined,
| | 02:09 | when I merged all those layers together and
then we have the text group, right there.
| | 02:13 | So we still have a layered document and
now I've got nice brush to work with here.
| | 02:18 | I'll go ahead and hide my History palette on screen, I'll make my
brush bigger, like So by pressing the right bracket key a few times.
| | 02:25 | So I now have a 175 pixel brush, it's nice
soft brush, that's good. I'm going to zoom in
| | 02:30 | on Max's jacket and I'll just brush away
the sharpening in this area right here.
| | 02:36 | So we don't have a problem with the patterning that's starting to form
there inside of his coat. And I'll just get rid of few areas of sharpness
| | 02:43 | that are going on and I might just do a little
bit of brush stroke in his arm as well, if I like.
| | 02:48 | And where the pants are concerned, they are little tactile as well.
I would say they are over-sharpened and you could brush those way.
| | 02:54 | Now if you find that you are getting strange transitions,
| | 02:57 | thanks to the fact that you are totally brushing away the effect
inside the pants, but you are ignoring the effects outside the pants-
| | 03:04 | I'm not brushing right Now I'm just pointing to this
region- and you want a more incredible transition,
| | 03:10 | then what you might want to do- I?ll go
ahead and undo that modification there.
| | 03:12 | You might want to reduce the Opacity value, so I'm going to press the 5
key to reduce the Opacity value to 50% and then brush over this region
| | 03:20 | and that way we are sort of splitting the difference and we are not
ending up with these completely radical transitions at this rate.
| | 03:27 | I'll go ahead and do the same thing inside of Sammy's pants as well.
| | 03:30 | So you get the idea. It's a subtle modification at this point,
probably inside the movie, it's only semi showing up,
| | 03:37 | but you would get the idea if you worked with the image
on your screen or any other image for that matter.
| | 03:42 | Now at this point having successfully mitigated the effects of
the sharpening in the areas where we wanted to mitigate the effect,
| | 03:49 | and we can even, by the way I should say, just interject one
more thing, I could even decide that back here in a rubble,
| | 03:54 | I don't want it to be quite so sharp either. This rubble that
is falling away from the majestic Presidents' huge faces there.
| | 04:01 | So I could brush that back as well.
| | 04:03 | Alright. Anyway, I will just take the image out to the 50% view size.
The final step of course, now that we're done brushing at the image.
| | 04:10 | So the final step would be to go back up to the Layer menu, choose
the Flatten Image command in order to merge the entire image,
| | 04:16 | in order to flatten all the layer and then of course go
ahead and save that image off as an independent TIFF file.
| | 04:22 | Alright, now we are ready to look at some
alternative sharpening workflows in the next exercise.
| | Collapse this transcript |
| Using alternative sharpening workflows| 00:00 | Now that you have a sense for how the conventional sharpening
workflow works and bear in mind, this is a wor flow that is held near
| | 00:07 | and dear by hundreds of thousands, if not
millions of print technicians in the world around.
| | 00:12 | There is all kinds of different variations on this workflow.
| | 00:15 | Some folks will tell you, you should convert to seem like a first
and then sharpen just a black channel. Other folks will swear to you
| | 00:22 | that the only way to go, is convert the image to the
LAB mode and then sharpen just the lightest channel.
| | 00:28 | You can also apply luminance blending,
via the Luminosity blend mode.
| | 00:33 | So there is a bunch of different ways
to approach the conventional workflow.
| | 00:38 | In this exercise, I am going to introduce you to three
| | 00:41 | out of what are probably several dozen different
alternative sharpening workflows out there.
| | 00:47 | Part of my reason for doing this is to suggest to you that there
might a different way to work. I certainly do believe that.
| | 00:53 | I do believe there are better ways to work and to
count the whole notion of a workflow into question.
| | 00:59 | I think you are better of arming yourself with
a variety of different sharpening techniques
| | 01:03 | and then apply those techniques as
warranted by a particular composition.
| | 01:08 | So here I am working inside of a document called Alternative
Sharpening Workflows found inside of the 02_when_to_sharpen folder
| | 01:16 | and it obviously is going to tour us through, as I was saying, I am going
to introduce you to three different alternative sharpening workflows,
| | 01:23 | and then we'll check those workflows out in a
little more detail in subsequent exercises.
| | 01:28 | This is another one of those documents
that is blessed with a ton of Layer Comps,
| | 01:32 | I think I have got 26 different layer
comps inside this file all together.
| | 01:36 | Let's check them out.
| | 01:37 | First of all different kinds of jobs require
different approaches, which is obvious I think,
| | 01:43 | but it's common sense as that sounds, it contradicts
the conventional one size fits all approach.
| | 01:49 | I'll offer three sample workflows
and feel free to develop your own.
| | 01:53 | Now here are the three samples workflows
that we are be taking a look at.
| | 01:56 | We are going to sharpen for film, we are going to see
a way to sharpen for film, that is scanned film images,
| | 02:02 | whether transparencies, color negatives, that kind of thing.
| | 02:06 | We are going to see how to sharpen for RAW images that are
captured with a digital camera and then we will see how
| | 02:12 | to sharpen an image selectively, according to kind of detail that you find
inside of the image. And these three different sample workforce may lead you
| | 02:21 | to develop others of your own and I
completely encourage that of course.
| | 02:26 | We are going to see how to sharpen for film in the
next exercise, then we will move on sharpening for RAW
| | 02:32 | and then we will move on to sharpening an image selectively.
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| Sharpening a scanned photograph shot on film| 00:00 | In this exercise, we are going to take a look at alternative
sharpening workflow number one right here, sharpening for film.
| | 00:07 | And I'm taking up where I left off
in the last exercise that is to say,
| | 00:10 | I'm looking at the Alternative Sharpening Workflow.PSD document that's
found inside of the 02_When_To_Sharpen folder. And if you were to bring
| | 00:19 | up your Layer Comps palette you would see that I'm looking
at this Layer Comp right there that's called 'and more'.
| | 00:25 | We are about to move on to the next one, Workflow # 1.
| | 00:29 | Let's go ahead and move on right now.
| | 00:30 | And I've set this up, by the way, I am going to
go ahead and Shift-Tab away my palettes there,
| | 00:34 | I set this up so I have a keyboard shortcut
to advance from one Layer Comp to another.
| | 00:39 | So I don't have to keep bringing up that palette.
| | 00:41 | Now you can see we are looking at a slide
called 'Sharpening a Scanned Film Photograph'.
| | 00:45 | We'll start by opening the scanned image.
| | 00:48 | All film media whether it's transparency or color
negative, print even, a print positive, exhibit 'grain'.
| | 00:55 | A grain is just a function of working with film and regardless of the
device, whether it's a desktop scanner or a drum scanner, what have you,
| | 01:04 | the scanning process introduces noise and it's often as not softness. And
by that I mean that many scanners, depending on your scanner frequency
| | 01:13 | or your scanner resolution, the scanner may end
up introducing interpolation and anti-aliasing,
| | 01:19 | all of which of course leads to a slight softening of detail.
| | 01:24 | Now your next step in that case would be the smooth and
sharpening the image as much as they may seem like opposites,
| | 01:28 | smoothing and sharpening are partners and
enhance the appearance and quality of an image.
| | 01:33 | One defeats grain. That is smoothing, of course.
| | 01:35 | And the other, sharpening, compensates for the
effects of interpolation, anti-aliasing and so on.
| | 01:40 | Next, you would want to edit your image having established
a foundation of solid detail, using the smoothing
| | 01:46 | and sharpening functions, you are now ready
to edit the image to suite your final needs,
| | 01:51 | always taking care to make your
edits non-destructive when possible.
| | 01:54 | And I'm going to be emphasizing that over and over throughout the
series, how to edit an image non-destructively so that your sharpening
| | 02:02 | and your color adjustments and everything else don't
conspire together to just ruin your photograph.
| | 02:08 | And then finally, of course, you would flatten the image,
re-sample it and sharpen it, save your edits to PSD,
| | 02:13 | if you intend to print flatten the layers,
re-sample to the desired size.
| | 02:18 | Sharpen for output, yes, sharpen again, so this would be second pass
for sharpening, and save the results as LZW compressed TIFF file.
| | 02:26 | So very much the same steps we went through
in the conventional sharpening workflow.
| | 02:30 | Alright. So that's one alternative. That's if you are working with an image
that you've scanned from film, whether transparency, negative or print.
| | 02:38 | In the next exercise, we'll see how to work with a
digital photograph that you've captured as a RAW image.
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| Sharpening a digital photograph| 00:00 |
In this exercise we are going to examine alternative sharpening
workflow number two, which is sharpening for a RAW photograph,
| | 00:08 |
for a RAW digital photograph,. And I am working once again inside of that
Alternative Sharpening Workflows.PSD document that is found inside the
| | 00:17 |
02_When_to_Sharpen folder, and I am looking at this and
more Layer Comp here inside the Layer Comps palette.
| | 00:23 |
We are going to switch for to this Layer Comp, Workflow # 2.
| | 00:27 |
So I am go and deselect the image and switch over to it,
and then I am going to Shift-Tab away the palettes of course.
| | 00:34 |
That takes us to the headline here, Sharpening A Digital Photograph. What
we are about look at actually applies not only to RAW digital photographs,
| | 00:41 |
but to any photo captured with a digital camera,
it whether captured as a JPEG or a TIFF File.
| | 00:47 |
And we'll start things off here by opening the RAW image.
| | 00:49 |
First and foremost, if your camera supports a RAW format,
whether it is Cannon CRW or CR2, Nikon's NEF, Olympus's ORF,
| | 00:58 |
Leica's RAW or one of may others, there's tons of other
manufacturers out there with their own RAW formats.
| | 01:05 |
Go ahead and use it.
| | 01:06 |
Definitely use your camera's RAW format,
if it gives you access to one.
| | 01:11 |
It will give you way better quality images in the long run.
| | 01:14 |
For best results, open that image in Adobe's Camera RAW, which ships
along with Photoshop, or inside Photoshop Lightroom if you have it.
| | 01:23 |
Then we are going to smooth and sharpen the image,
once again just as we did with the film photograph.
| | 01:28 |
But this time we are going to be sharpening
it inside of Camera RAW or Lightroom.
| | 01:32 |
Now it's important to note that most cameras capture just
one channel of information per pixel, strange as that sounds.
| | 01:39 |
You are either capturing green information or red information or blue
information, and I will show how that works in the later Chapter.
| | 01:46 |
ACR, that is Adobe's Camera RAW, or Lightroom calculates the
full color image by averaging each pixel with its neighbors.
| | 01:53 |
A process called demosaicing.
| | 01:55 |
This leads to softness, which you can counter
with sharpening and you typically apply
| | 02:00 |
that sharpening directly inside ACR
or Lightroom as you will see later.
| | 02:05 |
Next you go ahead edit the image of course, after conveying
the image to Photoshop, make any and all desired modifications,
| | 02:12 |
keep them nondestructive when you can, and save the layers,
masks and the other falderal in the native PSD format,
| | 02:18 |
so just a different way of saying something
that I have said several times now.
| | 02:22 |
Then we move on to the final phase here, flatten,
resample and sharpen, again we are in familiar territory,
| | 02:28 |
but this time I am telling you why it is we can
get away with the second pass of sharpening.
| | 02:33 |
Downsampling averages away much of the first sharpening pass,
| | 02:37 |
so it's really not that evident anymore,
which is in part why I advocate second pass.
| | 02:41 |
The other part is that the first pass and the second pass
serve totally different purposes and therefore are warranted.
| | 02:49 |
Alright. There you have and that's how you go
about sharpening a digital photograph, whether RAW
| | 02:54 |
or otherwise, as captured ofcourse by a digital camera.
| | 02:57 |
In the next exercise we are going to talk about alternative sharpening
workflow number three, which is selective sharpening, stay tuned.
| | 03:05 |
| | 03:05 |
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| Sharpening specific details| 00:00 | In this exercise we are going to examine alternative sharpening
Workflow #3 which is this guy right there 'Sharpening Selectively'.
| | 00:07 | I am once again looking at the document Alternative Sharpening
Workflows.PSD found inside the 02_when_to_sharpen folder.
| | 00:15 | I am currently looking at the 'and more' Layer Comp.
| | 00:18 | I am going to move ahead to the Workflow #3 Layer Comp here inside the
Layer Comps palette, and I am going to Shift-Tab those palettes away
| | 00:26 | and notice the title 'Accentuating Specific Details',
which is what selective sharpening is all about.
| | 00:32 | First of all, you want to sharpen for the source, and by the source
I mean, does it come from film? Does it come from a digital camera?
| | 00:40 | Where does the image hail from? So you want to open the
image, smooth and sharpen as warranted by the source- or don't.
| | 00:46 | Your standard 10-megapixel or larger digital photograph requires
slight or no attention except under special conditions.
| | 00:53 | So if you have a high-end digital SLR and you are shooting
10-megapixel, 12-megapixel even 21-megapixel images on a regular basis,
| | 01:01 | then you are probably not going to really have to spend too much time
smoothing and sharpening the image inside of Camera RAW or Lightroom.
| | 01:08 | You can almost give that phase a slip, assuming
that you are printing standard letter size images.
| | 01:14 | Let's say. If you are enlarging the images to very large sizes, poster
sizes or if you are working with high ISOs or you've got extreme sort
| | 01:22 | of noise conditions going on, then that's when you're going to
have to go in and apply smoothing and sharpening very deliberately.
| | 01:28 | And we'll look at that in a subsequent Chapter, but just for
now know that this is the least important stage in the process.
| | 01:35 | Next thing we're going to do is edit the image,
and notice that we've got two phases right here,
| | 01:39 | Edit followed by Sharpening Selectively here,
these two phases are largely interchangeable.
| | 01:44 | You can edit and then sharpen, you can sharpen
and then edit, you can go back and forth.
| | 01:48 | Order is less important than keeping your modifications
nondestructive, because if each one of your edits
| | 01:55 | and sharpening passes is nondestructive then they'll all interact
with each other regardless of the order in which you apply them.
| | 02:01 | Alright, next we move onto the big phase here, Sharpening
Selectively, that's what this workflow is all about after all.
| | 02:07 | Smart Filters, which are new to Photoshop CS3, permits you
to sharpen independent layers or whole groups of layers
| | 02:13 | without permanently committing to Amount, Radius or Blend settings.
| | 02:17 | Even when Smart Filters come up
short, as when High Pass sharpening
| | 02:21 | - when you are working with a High Pass filter you can't
really do everything I'd like you to do using Smart Filters-
| | 02:27 | you can still keep the effect nondestructive. And I should say this
term nondestructive right here, it's a little bit of a misnomer
| | 02:34 | because any time you start heaping edits on top of edits, on
top of edits you are going to "destroy" the fabric of the image.
| | 02:43 | What's more accurate is to say that these
modifications are temporary and editable.
| | 02:48 | You can go in there and change the
settings anytime you like, and hence,
| | 02:52 | that's why we use the term 'Nondestructive',
because it is nondestructive as it can be.
| | 02:56 | Alright, then finally we move on to the
Flatten, Resample and Sharpen phase,
| | 03:00 | again a very familiar phase, but this
is now our third pass of sharpening.
| | 03:04 | Again, downsampling plays a role.
| | 03:06 | So it helps to get rid of that first phase to a certain extent and
the second phase as well, but more to that point each effect is unique,
| | 03:13 | so each sharpening pass serves a different
purpose and again therefore it is warranted.
| | 03:19 | So there you have it. Three alternative
sharpening workflows laid bare before you.
| | 03:24 | I am sure that you could develop some
alternative sharpening workflows of your own.
| | 03:28 | In the next exercise I am going to explain what conclusions I think we
can draw from these many sharpening workflows that are available to us,
| | 03:36 | and then finally, I'll show you why I think
techniques are more important than workflows.
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| Finding broad workflow conclusions| 00:00 | Now that I've filled your head with three of what must be a couple of
dozen different alternative sharpening workflows that are out there,
| | 00:08 | what are you to make of it? Well, I want to make
it clear. What I am not suggesting is you'll pick
| | 00:13 | and choose your favorite alternative sharpening
workflow, one of these three must work for you my friend.
| | 00:18 | I don't actually hold with a kind of reasoning. I am a big
believer that different images require different approaches.
| | 00:24 | So what is my big conclusion? Now I am going to tell you. I am working
here inside of that same Alternative Sharpening Workflows.PSD document,
| | 00:31 | that's found inside of the 02_when_to_sharpen folder and
currently looking at the 'and more' Layer Comp right here,
| | 00:37 | I am going to switch down to the Conclusion Layer Comp.
| | 00:41 | Here's my conclusion; you need to do what needs to be done.
| | 00:45 | Now that may seem like ridiculous and
very obvious advice but just watch here.
| | 00:50 | At the risk of sounding a little cavalier,
image editing rules are at best guidelines.
| | 00:55 | There is no perfect recipe for sharpening, although,
there is undeniably more than one wrong approach.
| | 01:01 | In another words, if you were to grab an image and then apply the
Smart Sharpen filter flat, to a flat image like six times in a row
| | 01:08 | with different settings, that would be a bad approach
because you would be actively destroying that image.
| | 01:14 | So I don't recommend you work that way but if you keep your
modifications nondestructive and you try to rein them in as much
| | 01:22 | as possible, use them deliberately and conservatively,
then you're probably going to be in pretty good shape.
| | 01:27 | So here's my recommendations. First of all, take care, be watchful for
artifacts, pixels gone bad that is, so if you have random variations
| | 01:37 | between neighboring pixels and they aren't
contributing to the good in the picture,
| | 01:41 | the larger overall view of your image,
then they are considered to be artifacts.
| | 01:46 | So things like JPEG transitions, noise -- any of
that stuff you want to diffuse as much as possible.
| | 01:52 | When in doubt, make a new layer, that goes to applying nondestructive
modifications of course, and as always do as much as you dare
| | 02:01 | with as little as you can. And that's something
of an image editing mantra for me.
| | 02:06 | Now you may say well, that sounds really great Deke, but
what in the world does that mean? Well, here's what it means.
| | 02:11 | Be decisive, make your edits count, don't overwork it.
| | 02:15 | That's probably the biggest piece of advice because it's
very tempting to go into a composition and just clobber it
| | 02:22 | to the extent that there's nothing good left inside of it.
| | 02:25 | So you really want to take it easy and make your edits count as much as
possible. And the best way to do that in my opinion is to not think so much
| | 02:34 | in terms of workflow but to think about sharpening techniques.
| | 02:37 | I am going to show you the big four kinds of sharpening
techniques that are available to you in the very next exercise
| | 02:43 | and then we'll explore those techniques
in detail in the following Chapters.
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| Learning that technique trumps timing| 00:00 | We now return to the original question posed
by this Chapter is, when do you sharpen?
| | 00:05 | When in the editing cycle do you sharpen your image? What
I hope I have made clear with this ad nauseam discussion
| | 00:12 | of these various sharpening workflows is that
that's a very difficult question to answer.
| | 00:17 | There is no one answer to when you sharpen.
| | 00:21 | You can sharpen at various stages in the editing cycle.
| | 00:24 | In fact, I would go farther than that.
| | 00:26 | I would say that the technique, the sharpening techniques,
that are available to you are more important than the timing.
| | 00:32 | This is going to seem to some folks like a radical, even dangerous
proposition, but let me explain what I am talking about here.
| | 00:39 | Notice the title to this final slide of the Chapter, it says 'Technique
Comes Before Timing', which is true, and if you want to open this image,
| | 00:46 | it's called Technique Trumps Timing.PSD
found inside the O2_when_to_sharpen folder.
| | 00:52 | There are four broad categories of sharpening
techniques that are available to you.
| | 00:56 | Two of them are time specific, so you have to
apply them at specific stages in the editing cycle.
| | 01:02 | Now once you come to terms with that, the
other two you can apply at any time you like.
| | 01:07 | So let's go ahead and review these four broad techniques here.
| | 01:10 | The first one is pretty familiar, Sharpen for the Source.
| | 01:14 | So either immediately after or as you open an image, in other words at
the very outset of the editing cycle, you have the option of compensating
| | 01:22 | for the noise and softness introduced by the capture device,
whether that capture device is a scanner or a digital camera.
| | 01:28 | So for example, if you are working with a RAW image from a
digital camera, you would open it inside of say Adobe Camera RAW.
| | 01:35 | You would apply your sharpening settings
along with a variety of color adjustments.
| | 01:40 | Then you would send the image to Photoshop, most likely as a flat file.
| | 01:45 | You could open the image as a Camera RAW Smart Object, but more often than
not, you are just going to sharpen it and have it open as a flat file,
| | 01:51 | which is entirely acceptable, a very acceptable way to work.
| | 01:55 | The next technique that's available to us is Sharpen for Detail.
| | 01:58 | Now the idea here is that different images contain different sorts of
details, and you need to customize your sharpening to those details.
| | 02:06 | For example, if you are working with a portrait shot,
like a close-up, it would be characterized by gradual,
| | 02:12 | that is to say low frequency transitions, and that would require
different attention than a wide shot of a city scape, for example,
| | 02:18 | that comprises mostly rapid high frequency transitions.
| | 02:22 | So those two extreme images would require
very different sharpening treatments,
| | 02:27 | and as long as you keep your sharpening treatments nondestructive,
then you can apply them at any stage in the editing cycle,
| | 02:34 | and even treat different layers differently if you like.
| | 02:37 | Next we have Sharpening for Effect.
| | 02:40 | The idea here is that you should feel free to sharpen different
portions of an image to heighten the impact or effect.
| | 02:46 | Let's say you are working with a portrait shot. You might
sharpen the eyes, and then you might smooth the skin contours,
| | 02:52 | you might increase the contrast of the hair, and you
might blur the background, all inside of a single image.
| | 02:57 | On top are these other sharpening techniques that we have
applied, and that again, as long as you keep it nondestructive,
| | 03:03 | you can apply these changes at any stage
in the editing cycle that you like.
| | 03:09 | Then finally Sharpening for Output.
| | 03:11 | Again, this is the conventional workflow right here.
| | 03:14 | It has to happen at the end.
| | 03:16 | In fact, it has to happen in a very specific way at the end.
| | 03:19 | Whether your image is bound for page or for screen, you will
want to add a final pass of sharpening to account for the output.
| | 03:24 | Be sure to flatten first, that's important.
| | 03:27 | Then save the image under a different file name,
presumably as an LZW compressed TIFF image.
| | 03:33 | Resample it down, and then apply the sharpening pass; either before or
after converting it to CMYK, if you are going to convert it to CMYK.
| | 03:42 | So this happens at the end of the cycle.
| | 03:44 | So we have got four different techniques: one at
the beginning, one at the end, and two in between,
| | 03:49 | and this adds up to a multipass sharpening workflow, essentially.
| | 03:53 | You might say well, altogether we could have four different passes
of sharpening, but even more than that. Sharpening for Detail,
| | 03:59 | you might do different passes, apply different passes to different
layers, and Sharpening for Effect, you might apply different passes
| | 04:06 | to different areas, different regions, inside of an image.
| | 04:08 | So a single composition can contain seven or eight
or upward of a dozen different sharpening passes,
| | 04:15 | if you apply those passes with specific intentions, that you are trying to
accomplish specific goals, and you apply those passes nondestructively.
| | 04:24 | So technique trumps timing.
| | 04:27 | We will be looking at every single one of these techniques.
| | 04:30 | I devote an entire Chapter to every one of these four
techniques, but before we check out the techniques,
| | 04:35 | we are going to check out our tools starting in the very next Chapter.
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|
|
3. The Sharpening FiltersComparing and contrasting neighboring pixels| 00:00 | Most of Photoshop sharpening functions are
expressed as commands under the Filter menu.
| | 00:05 | The only exceptions are the Sharpen and
Blur tools, but how should I say this.
| | 00:09 | Ix-nay on the harpens-ay and lur-bay tools. They uck-say.
| | 00:09 | These filters, these very good filters, compare neighboring pixels
to create the illusion of sharpeness, as this Chapter explains.
| | 00:21 | But here is the weird thing, crazy as it sounds, the pixel comparison
operation, which is the operation that drives everything, is blurring.
| | 00:30 | I know it doesn't even sound possible, but by blurring
pixels Photoshop creates the illusion of sharpness,
| | 00:36 | which is why we will began our discussion of
the sharpening filters with Gaussian Blur.
| | 00:40 | Trust me, in just a few exercises it will all make sense.
| | 00:45 | Incidentally, well be wasting time on the single shot sharpeners,
you know the ones without the ellipses, the dot, dot, dots.
| | 00:51 | I am talking about Sharpen, Sharpen Edges and Sharpen More.
| | 00:55 | You cant control their behavior so their inflexible.
| | 00:58 | The good Commands have dots after them, Unsharp
Mask, Smart Sharpen, Emboss, High Pass. You'll see.
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| Using the Gaussian Blur filter| 00:00 | Now strange is that may sound, any discussion of focus altering
filters inside a Photoshop has to begin with Gaussian Blur.
| | 00:07 | And if you know anything about Photoshop and youve spent six seconds
using Gaussian Blur, you maybe thinking, "Give me a break, Deke!"
| | 00:14 | Not only do you not need to show me Gaussian Blur, you don't need
to show my grandmother Gaussian Blur, it is that easy to use.
| | 00:20 | It just has a Radius value, you raise the Radius value, you get more blur,
you lower the Radius value, you get less blur, that's all there is to it.
| | 00:26 | But heres the deal, it's responsible for the way Unsharp Mask works.
| | 00:31 | In fact, its so responsible for Unsharp Mask, I
can actually duplicate the effects of Unsharp Mask,
| | 00:37 | down to the last pixel, using
Gaussian Blur by itself and no other filter.
| | 00:42 | Out standing is that sounds, that incredibly boastful statement, I will
bear out in an upcoming exercise, I'll show you what I mean by that,
| | 00:50 | because it really is helpful to understand that sharpening
is really blurring, that they are one and the same.
| | 00:55 | But first, lets understand whats going on with sharpening
and I also want to show you whats meant by the term Gaussian.
| | 01:00 | We'll start off with this image called Happy family.jpg
that's found inside the 03_sharpen_filters folder.
| | 01:07 | And it comes to us from photographer Justin Horrocks of iStockphoto.com,
and I am going to go up to the Filter menu, I am going to choose Blur
| | 01:15 | and I am going to choose Gaussian Blur, the
most essential of these many blurring functions.
| | 01:20 | Notice that I decide to keep our shortcut to it of Shift+F7 for
my own purposes. You can likewise assign a keyboard shortcut
| | 01:27 | to this filter using the Keyboard Shortcuts command under the Edit menu.
| | 01:30 | Alright, I am going to go ahead and choose the command, brings up
the Gaussian Blur dialog box. Lets go ahead and center the zoom
| | 01:36 | on this baby's face here and I am going to click on the plus (+)
sign to zoom-in and increment here to 200% and if I click and hold,
| | 01:44 | you can see that this is the original
baby face, and when I release-
| | 01:48 | if you look closely, you can see the effects
of this default Radius value of one pixel.
| | 01:54 | The idea is that Photoshop is applying this series of scrubbing bubbles
to the image and each bubble is emanating from a single pixel at a time.
| | 02:03 | So at any given nanosecond, Photoshop is applying a bubble to one
of the pixels inside the image and the bubble currently has a Radius
| | 02:10 | of one pixel, that is to say, a diameter of two pixels.
| | 02:14 | But as well see in the next exercise,
that Radius actually gets distributed,
| | 02:18 | so that's larger than whatever
the Radius value we entered here.
| | 02:21 | But when it comes to just blurring the image, all you really care
about is if you raise the value you're going to get more blur.
| | 02:27 | For example at Radius value of 12 pixels, we're pretty much
obliterating the focus of this image and we can much farther with it.
| | 02:34 | If you take the value down, I'll go ahead and click on
that Radius value again and lower it to, lets say 0.6 pixel,
| | 02:41 | then you're going to reduce the amount of blur you
apply to the image, but you can still see the effects.
| | 02:46 | If you closely, I am going to zoom-in on the baby's face even
more, click and hold, this is the original baby eye, and release,
| | 02:53 | this is the blurred baby eye. So it's just a slight amount of blurring.
| | 02:56 | Now the minimum value that will produce
any effect whatsoever inside this dialog box,
| | 03:00 | and inside Unsharp Mask as well by
the way, is a Radius of 0.3 pixel.
| | 03:05 | If you go below that, I'll press the down arrow key to go down to 0.2
pixel and I'll click and hold, this is before, I'll release, this is after.
| | 03:13 | No difference. It's just a function of the way the math is
calculated inside a Photoshop, that you have to have a Radius value
| | 03:20 | of at least 0.3 pixel or higher to get any effect whatsoever.
| | 03:24 | So if you ever just want to assign just a tiny little bit of
sharpening to an image, something that verges on anti-aliasing,
| | 03:31 | it's so subtle then a 0.3 Radius is the smallest you can apply.
| | 03:36 | Just bear that in mind, of course you can raise the value by
pressing the Up arrow key, that will raise it in increments of 0.1.
| | 03:43 | You can lower it in increments of 0.1 by pressing the Down
arrow key, for whole number increment you press Shift+Up arrow
| | 03:48 | or Shift+Down arrow. It's just standard filtering stuff.
| | 03:53 | Many filters actually don't subscribe to that role. The bad ones will ignore
you when you press the arrow keys, but the good ones will pay attention.
| | 04:00 | So anyway, I don't really feel like blurring these
good people. They might as well remain nice and sharp,
| | 04:05 | we'll come back to them actually when its time to sharpen the image.
| | 04:08 | The image that I really want to blur here is this guy. It's a demonstration
image, in fact its called Gaussian demo.PSD and its going to allow us
| | 04:17 | to see the difference between a Gaussian luminance distribution
and a Linear luminance distribution in the next exercise.
| | Collapse this transcript |
| Using Gaussian luminance distribution| 00:00 | So those of you who watched the previous exercise and are sitting
there going, I knew was not going to learn anything from that,
| | 00:06 | what in the world? I mean, now I know that you can't drop
below 0.3 pixel and get in the effect out of Gaussian Blur.
| | 00:13 | Who cares? But yet you still are watching me.
| | 00:16 | In case you fall in to that demographic, let me
assure you its still highly theoretical information,
| | 00:21 | but it goes to the to the heart of how Photoshop works.
| | 00:24 | I cannot stress this enough.
| | 00:26 | Back in the old days programs with blur images, this was before Photoshop,
they would blur images by assigning a linear blur and then Photoshop came
| | 00:34 | around and offered the Gaussian Blur and
it made all the difference in the world.
| | 00:40 | I know that's hard to believe, but
let me show you, what's up here.
| | 00:42 | As I say its very important to understand this
whole Gaussian luminance distribution curve in order
| | 00:47 | to understand whats going on with
sharpening inside of Photoshop.
| | 00:51 | So here I am working inside image called Gaussian
demo.PSD found inside the 03 sharpen filters folder.
| | 00:57 | I'm going to go over to the Layers palette, just
to confirm that I've the Background layer selected.
| | 01:02 | So we have got the rectangular area black in
the left, a rectangular area of white on right.
| | 01:06 | How is that for narrating the obvious? Lets go
ahead and hide the Layers palette for a moment.
| | 01:11 | I'm going to go up to the Filter menu and I'm going
to choose Blur and I'm going to choose Box Blur.
| | 01:15 | A Box Blur even though it was only added like a few years
back inside a Photoshop its an old school blurring tool.
| | 01:22 | This is the way other programs used to work back in the old days.
| | 01:25 | It assigns a linear blur, so I'm going
to go ahead and choose the command.
| | 01:29 | And I'm going to take the Radius value- you notice
that it looks just like the Gaussian Blur dialog box-
| | 01:33 | I am going to take the Radius value up to a 140 pixels, so something really
large and the idea- by the way, this image measures 800 pixels wide.
| | 01:43 | So we are going to consume an area of about 280 pixels in the center
here because Radius value times two gets you to the diameter.
| | 01:50 | So about 280 pixels worth of drop off in the middle
of this image and I'll go ahead and click OK.
| | 01:57 | So its a zip we have converted what used to be a
black and white image into a black and white gradient.
| | 02:04 | Now with the slope right here in the center portion of the image.
| | 02:07 | So I'm going to bring up the Layers
palette, I hope this make sense.
| | 02:10 | I have got a couple of graphs going on,
all these other layers are graphs.
| | 02:14 | So I'magine that we are to graph the image and anywhere where the image is
black, we would graph those pixels to the bottom of the image and anywhere
| | 02:24 | where the image is white we'd graph it to the top and then any
gray values in between would be graphed in between as well.
| | 02:31 | So let me show you what I'm talking about.
| | 02:33 | I'll turn on original and this original version of this image.
| | 02:37 | So if I go ahead and undo the modification, black over here on the left,
white over here on the right, so I'll press Crtl+ Z or Command + Z again
| | 02:45 | to redo that Box Blur that I've applied, so here's my graph.
| | 02:49 | So all these pixels used to be black, hence this horizontal line along
the bottom of the image, all these pixels used to white, hence this line
| | 02:57 | across top of the image and there is our drop off in between.
| | 03:00 | So it's a cliff essentially between those two
extremes. That's the way the image used to be.
| | 03:05 | I'll go ahead and turn that off and I'll turn
on Linear slope, this is the way it is now.
| | 03:09 | So just these pixels over here are black. These pixels over here are
white. And I can confirm that by the way by getting my Magic Wand Tool.
| | 03:18 | I'm going to go and switch over to the Magic Wand,
make sure tolerance is set to zero, anti-alias is off.
| | 03:23 | These are not default settings by the way, so you
would have to change them if you are following along.
| | 03:27 | Contiguous is turned on, Sample All Layers
is turned off, so settings as you see them.
| | 03:32 | Background layer is selected. I'll click right there
and you can see that those are the black pixels.
| | 03:38 | So sure enough, my graph is accurate and these guys over here are the
white pixels and in between the white pixels and, Shift-click over here,
| | 03:46 | the black pixels, it's the area of grey pixels
that has the linear drop off, notice that.
| | 03:51 | There is a very clear point at which the
gradient begins and the gradient ends.
| | 03:57 | So I'll go ahead in back step to get rid of those selection outlines. And
the reason that this is important to know the fact that we have this point
| | 04:05 | of which the gradient begins ands ends here is because, I'll go ahead
and turn off the Linear slope, that means that we have a harsh transition
| | 04:12 | at the point at which the blur begins at the
point and the point at which the blur ends.
| | 04:16 | So this is not a good blur. If we were to use this blur as a drop
shadow for example, we would get a very sharp transition at edge,
| | 04:23 | at the outer edge of the drop shadow, which would defeat the purpose
since the drop shadow's supposed to look soft and it would no longer look soft,
| | 04:29 | it would look sharp thanks to that linear distribution.
| | 04:33 | Lets go ahead and undo the Box Blur.
And the solution is Gaussian Blur.
| | 04:38 | I'm going to go up to the Filter menu with the Background
layer still selected, go to Blur and I'll go ahead
| | 04:44 | and choose Gaussian Blur and I'm going
to apply that same value, 140 pixels.
| | 04:48 | Now notice something right off the bat, I think you can see this, as I was
saying this is an 800 pixel wide image and yet just about the entirety,
| | 04:56 | with just a few edge pixels intact, is taken up with this blur.
| | 05:01 | Even though if you multiply a 140x2, you still get 280 and yet we are
taking up the entire 800 pixels, almost just a few pixels on the side left
| | 05:10 | over. And that's the function of the spreading that is
occurring thanks to Gaussian Blur, the Gaussian distributions.
| | 05:18 | I'll go ahead and click OK to accept that modification and you can now see
that we have a much softer effect and that the colors are distributed not
| | 05:28 | like this any more, not like the Linear
slope, they are now distributed like this.
| | 05:33 | We now have a Gaussian slope and notice what happens is
that the colors transition very slowly at the beginning,
| | 05:40 | more rapidly in the middle and very slowly at the end one again.
| | 05:45 | If you want to confirm that, go ahead and bring up the Color palette
and you can see that my foreground color is currently a 100% black.
| | 05:51 | I'm going to grab my eyedropper and if I click over here on the far left
side of the image, watch this value right there, watch that 100% value,
| | 05:59 | what is currently 100%. If I click and hold on far left side of the image,
its still says the100%, but as I move, I'm moving my mouse very slowly,
| | 06:07 | notice that there is 99 and there, pretty soon, we'll
see 98, then well see 97, 96, 95, things are going more
| | 06:15 | and more rapidly and now notice its going very rapidly.
| | 06:19 | We have a very rapid transition between these colors and now notice it's
dropping off very, very slowly again and I'm still dragging my cursor
| | 06:28 | over to the right and then finally we go from one to zero.
| | 06:32 | So very slow transitions, that is at the edges, and the reason for that
is because you want to have a gradual drop off so that your drop shadow,
| | 06:40 | once again, just by way of example, doesn't look like it has a crisp,
clear edge to it, instead it appears to just gently fade away.
| | 06:50 | That gives you much more naturalistic effect and much more organic effect
and that is like what I'm calling the Gaussian luminance distribution is
| | 06:58 | so very important to the realism to the credibility
of images that you produce with Photoshop.
| | 07:05 | Alright. So I'm going go ahead and hide that Color palette and just
in case this graph isn't totally doing it for you, maybe this version will.
| | 07:13 | This is my Gaussian black and white version of the graph.
| | 07:16 | So basically the white is very slowly growing
to take up what used to be black space.
| | 07:22 | Another way, I don't know if that helps. Just another way of viewing
the image, and probably the best one is this guy that I came with here.
| | 07:29 | So there is the Gaussian slope with the Gaussian Blur in the background.
| | 07:33 | In the next exercise, we are going to look at Unsharp Mask and then after
that I'm going to show you how you can make Unsharp Mask all by yourself,
| | 07:40 | if you feeling like a boy or girl scout, you can make
Unsharp Mask using Gaussian Blur and nothing more.
| | Collapse this transcript |
| Using the Unsharp Mask filter| 00:00 | In this exercise, I am going to show you how to use the Unsharp Mask
function, an oldie but a goody sharpening filter inside of Photoshop.
| | 00:09 | Notice that I am working inside the Happy family.jpeg
image found inside the O3 Sharpen Filters Folder.
| | 00:14 | It comes to us from Justin Horrocks of iStockphoto.com.
| | 00:17 | We are going to sharpen the image by going to the
Filter menu, choosing Sharpen and choosing Unsharp Mask.
| | 00:23 | Two things to note: I have gone ahead and given
this filter a keyboard shortcut of Shift+F5.
| | 00:27 | You can do the same using the Keyboard
Shortcuts command under the Edit menu.
| | 00:31 | It is a pivotal filter, that's why I have given it a
keyboard shortcut, a very useful filter inside the program.
| | 00:38 | But what's with the name? If it sharpens, which it does, why is it called
Unsharp, which is the opposite of what it does and whats with the mask?
| | 00:45 | Well, it's basically masking an unsharpening effect. It's
masking actually Gaussian Blur in order to create the effect
| | 00:51 | of sharpening and if you don't believe me- well, you will.
| | 00:54 | Just check out the next exercise.
| | 00:56 | It's amazing; it's just utterly amazing,
that's what is going on under the hood.
| | 00:59 | It's that Photoshop is actually blurring the image
in order to create the effect of sharpening.
| | 01:04 | But that's what it is doing.
| | 01:05 | So I am going to go ahead and choose the command.
| | 01:07 | Here is the dialog box. We have three sliders in all, we have
already talked about how Amount and Radius work in Chapter 1,
| | 01:14 | but we are going to see these functions at work inside of this image
and I will explain how the Threshold function works right there.
| | 01:21 | Instead of focusing on the baby's face this
time, lets check out this gentlemen right here.
| | 01:26 | In fact, I want to take a look at his ear.
| | 01:29 | I am going to go ahead and zoom in on his ear a little bit
here, so that we can take in a little bit of the razor stubble
| | 01:34 | and he has got this piercing hole right
there that I want to focus in on.
| | 01:37 | And of course if we raise the Amount value, we are
going to get a heightened perception of sharpening.
| | 01:43 | So I am going to go ahead and crank this value
all the way up to its maximum, which is 500%.
| | 01:47 | I actually wish we could go higher with value,
I wish that Adobe would change this filter.
| | 01:52 | Since the beginning of time, we have been able to go as high as 500% for
the Amount value, but these days I wish we could go even higher than that.
| | 01:59 | And of course the Radius value is going to control the thickness of those
edges, so of course the filter is exaggerating the degree of difference
| | 02:09 | around the existing edges inside the image, around
the previous original edges inside the image.
| | 02:14 | It's drawing light halos on one side and dark halos on the other side
and the width of those halos is defined roughly by the Radius value.
| | 02:21 | Again, this is a Gaussian distribution, so its
distributed across a larger area than 3.2 pixels.
| | 02:28 | Then finally we have got this Threshold value.
| | 02:30 | Now notice right now that I am exaggerating the contrast of everything.
| | 02:34 | Of his pores, of his razor stubble,
just a little bit of it going on.
| | 02:39 | He is clean shaven.
| | 02:40 | Just all this granularity that's associated with the skin and with the
digital photography process and that's because I am currently saying,
| | 02:49 | with the Threshold of zero, I am saying that any two neighboring pixels,
you want to go ahead and sharpen them, Unsharp Mask, as long as they're
| | 02:55 | at least zero luminous levels different from each other.
| | 02:59 | Well of course any two pair, any pair of pixels, is
going to be at least zero different from each other.
| | 03:04 | It can't be less than zero different from each other.
| | 03:07 | So everything is getting sharpened. But if I raise this
value, then I am going to sharpen fewer and fewer details.
| | 03:13 | So if I take this value up to lets say 40 luminance levels,
then I am saying any two neighboring pixels have to be
| | 03:19 | at least 40 luminance level different from each
other in order to be sharpened and that's not much.
| | 03:24 | So you can see that this entire range right here of skin tones and this
area appears- well, its not getting sharpened. So if I click and hold,
| | 03:32 | that's the original- this is the sharpened version, so this area
is getting ignored, the piercing hole that's getting sharpened
| | 03:39 | and some of the highlights and the shadows are getting sharpened
as well and some of the razor stubble, just little bits
| | 03:43 | and pieces of the razor stubble. I will go ahead
and zoom in here, that's getting sharpened as well.
| | 03:47 | So we are getting this kind of pockmarked effect.
| | 03:49 | I don't like it.
| | 03:50 | Actually, I am not really fond of the Threshold
value because it is an on or off proposition.
| | 03:56 | Either the neighboring pixels don't get sharpened at all or they do get
sharpened according to the values I have specified for Amount and Radius,
| | 04:04 | but there is no gradual drop off between the two, which
means that you either want to leave the Threshold value set
| | 04:10 | to zero or you just want to take it up a little bit.
| | 04:14 | If you are trying to avoid noise inside of an image, random pixel
variations that are associated with digital photographs for example,
| | 04:21 | then you want to take this value up to two or three or even
four, maybe even five pixels, but not higher than that.
| | 04:28 | What you don't want to do is try to account for things like razor Stubble
and pores and little tiny variations and get rid of them using Threshold
| | 04:36 | because if you do that, you will end up with that
pockmark effect that I have showed you before.
| | 04:40 | So that's whats going on with Unsharp Mask.
| | 04:42 | I just want to introduce you to the filter.
| | 04:43 | In the next exercise, I am going to show you why this command is
called Unsharp Mask and we will see how we can mimic the effects
| | 04:49 | of the command using Gaussian Blur and nothing more.
| | Collapse this transcript |
| Understanding the history of Unsharp Mask| 00:00 | The all we have going here a two-parter. We've got two exercises in a row.
| | 00:04 | I am just basically trying to break things up a little bit to show
you whats going on under the hood with the Unsharp Mask Command,
| | 00:11 | because once you understand how Unsharp Mask is put together you're going
to understand a lot more about how sharpening works inside the program.
| | 00:17 | In the next exercise actually, I am going to show you how to build your
own Unsharp Mask using nothing more than Gaussian Blur and Apply image,
| | 00:24 | but first, I want to tell you this is going
to be a little bit of a talky exercise.
| | 00:28 | I am not really showing you too much at this point.
| | 00:30 | I want to tell you where Unsharp Mask came from just
so that you know that, in case you want to know that.
| | 00:35 | You know by now that Unsharp Mark uses blurring
hence the unsharp part, in order to create the effect
| | 00:41 | of sharpening and it's basically masking away the edges.
| | 00:44 | that's why we have the word Mask in there.
| | 00:47 | But still you might think this is very tenuous.
| | 00:49 | I mean what kind of engineer would come up with
this crazy name? And in fact, no engineer did.
| | 00:54 | Unsharp Mask is based on a traditional darkroom
technique that I believe began in the 1920s, 1930s,
| | 01:00 | somewhere in that range. So it's a very old technique.
| | 01:02 | It's actually a fairly obscure technique.
| | 01:05 | It wasnt very popular, it wasn't used very often, but
the idea was, youd be working with a photo enlarger
| | 01:10 | and you have a glass plate negative, just
give you a sense of how old this technique is.
| | 01:14 | You duplicate the glass plate negative onto a low contrast positive,
and then you would take that low contrast positive and you would put it
| | 01:22 | on the other side of the glass plate on
the non-emulsion side of the glass plate.
| | 01:26 | So on one side of the glass plate youve got the negative,
on the other side youve got this low contrast positive.
| | 01:30 | They are separated by the plate.
| | 01:32 | Then you would put the plate into the enlarger, you would focus the
enlarger on the negative, on the emulsion side of the glass plate,
| | 01:39 | and that way the positive was a little bit out of focus, so it is
little bit out of the focal range and that blurring effect would cancel
| | 01:46 | out the low detail information and you would
end up with this higher contrast effect.
| | 01:52 | Now unless you have traditional darkroom experience and
you've worked with an enlarger, I doubt that makes much sense.
| | 01:58 | It's hard to wrap your mind around whats going on there.
| | 02:01 | that's why I am going to show you how to do it with Gaussian
Blur because actually the Unsharp Mask command that's available
| | 02:06 | to us here inside Photoshop does a heck of a job
of simulating the traditional darkroom technique.
| | 02:13 | We can see that whole glass plate positive
negative thing going on using Gaussian Blur.
| | 02:18 | I am working inside of an image that's called Test shapes.PSD
and its found inside of the 03 sharpen filters folder
| | 02:25 | and notice that I've got this flat version of that familiar
serpentine line with light dots inside of it that we saw back
| | 02:32 | in Chapter 1, but I've gone ahead and flattened that image so
that we have a single background layer here and then in front
| | 02:38 | of that I've got this layer that's called USM which stands for Unsharp
Mask 100/12/0. Those are range settings, the Amount value of a 100%,
| | 02:46 | a Radius value of 12 and the Threshold of zero,
and this is the effect we get right there.
| | 02:51 | We can simulate this effect down to the last pixel
using Gaussian Blur and Apply Image, nothing more.
| | 02:55 | I am going to go ahead and turn off that layer just so
that we can confirm that these are the settings I applied.
| | 03:00 | I am going to go ahead and select the Background layer.
| | 03:02 | I am going up to the Filter menu.
| | 03:04 | I'll choose Sharpen and I will choose Unsharp
Mask, and there are my settings right there,
| | 03:08 | Amount of a 100%, Radius of 12 pixels, Threshold of zero.
| | 03:12 | Now we are going to set our Gaussian Blur filter to a
Radius of 12 pixels in order to exactly match this effect.
| | 03:19 | Its important to note, however, that we can't vary the Amount value.
| | 03:23 | We have to stick with a 100%.
| | 03:25 | We cant vary this Threshold value, it has to be zero.
| | 03:27 | This is the part that we can really simulate.
| | 03:29 | So it has to be a 100%, it has to be a Threshold of zero,
and then whatever for the Radius- we can change that.
| | 03:34 | I am going to cancel out.
| | 03:36 | In the next exercise I am going to show you how
this is done because it's multi-step technique,
| | 03:40 | this is really weird technique,
but I think it's pretty interesting.
| | 03:43 | It helps you understand whats going on under the hood.
| | 03:45 | If you're inclined to think that its going to help you
understand then please join me in the next exercise.
| | Collapse this transcript |
| Building your own USM with Gaussian Blur| 00:00 |
Alright gang, are you ready to build your own Unsharp Mask using
nothing more than Gaussian Blur, Apply Image and a booey knife?
| | 00:07 |
In this exercise we're going to see how.
| | 00:09 |
Now I do want to stress right upfront that there is
no earthly reason to do this, this is not a technique,
| | 00:15 |
I am not suggesting that you do this on
a regular basis for your own images.
| | 00:19 |
You'll see this is a very complicated technique that I am about to
share with you and you would not want to do this on a regular basis.
| | 00:24 |
Even if you actioned it, you'd be out of your mind to work this way.
| | 00:28 |
The Unsharp Mask ommand is much more convenient.
| | 00:30 |
I am just showing you this so that you have a sense of how Unsharp
Mask works and how it is that Photoshop uses blurring in order
| | 00:39 |
to create the effect of sharpening because
after all, Photoshop is utterly incapable
| | 00:43 |
of generating actual detail inside of an
image, so instead its just an illusion.
| | 00:48 |
So here I am working inside this Test shapes.PSD image,
which features this Background layer, this demo file here.
| | 00:54 |
The Background layer with this USM 100/12/0 layer sitting on top
of it that we'll use to compare the two effects once we are done.
| | 01:01 |
I am going to turn that layer back off, I've got the Background layer
selected, and now I don't necessarily expect you to follow along with me,
| | 01:08 |
I am going to work fairly quickly through this
because its not necessarily going to make a ton
| | 01:12 |
of sense, but I just want you to see this is how it works.
| | 01:15 |
So I am going to start by pressing Ctrl+Alt+J or
Command+Option+J on the Mac in order to jump this image
| | 01:20 |
to new layer, and I am going to call this layer Gblur 12.
| | 01:24 |
It's going to be Gaussian Blur with Radius of 12 pixels.
| | 01:27 |
I am going to click OK, then true to it's
name, I am going to go up to Filter menu,
| | 01:31 |
I am going to choose the Blur command
and I am going to choose Gaussian Blur.
| | 01:35 |
It's probably still set to that big whopping a 140 pixel value.
I am going to change it to 12 pixels and I am going to click OK.
| | 01:42 |
Now believe it or not, this is going to create the effect of height
and contrast. I know its hard to believe but it is going to do it.
| | 01:49 |
That is the only filter we're going to be
applying is Gaussian Blur 12 right there.
| | 01:54 |
The next step is to go back to my Background layer, grab the
original version of the image, and I am going to jump it once again
| | 02:00 |
by pressing Ctrl+Alt+J or Command+Option+J on the Mac,
and I am going to call this layer, this may seem crazy,
| | 02:05 |
but I am going to call it Orig minus Gblur, because we're
going to actually take the original version of the image
| | 02:12 |
and subtract the Gaussian Blur version of the image from it.
| | 02:15 |
So I'll click OK and then I'll take this guy
and I'll drag it on top of Gaussian Blur.
| | 02:19 |
So we reinstate the original version of the image.
| | 02:22 |
Now I am going subtract the Gaussian Blur version
of the image using the Apply Image command.
| | 02:27 |
So I'll go up to the Image menu and I'll choose Apply image and I
will go ahead and set Layer, currently we're applying whatever it is
| | 02:35 |
we are applying. We're applying it to the
Original minus Gblur layer right here.
| | 02:40 |
The layer that I am going to apply to it is Gblur 12,
and then I am going to set the Blend mode to Subtract,
| | 02:47 |
in order to subtract that image, the Gblur image, from the original
image, and I am going to leave Scale and Offset set to their defaults.
| | 02:53 |
So 1 and 0, notice that Opacity is set to a 100%, that's
all I am going to do. I'm not going to Invert anything.
| | 02:59 |
I am going to click OK in order to accept that result.
| | 03:02 |
Now this may look crazy but you can see what we have
is we have the highlight edges set against blackness.
| | 03:09 |
So now lets mix these guys together.
| | 03:10 |
I am going back to the Background image, I am going to jump it
once again by pressing Ctrl+Alt+J or Command+Option+J on the Mac,
| | 03:21 |
and I am going to call this one Orig+(0-GB) and then click OK.
| | 03:28 |
So basically I am going to take this guy and add this guy to it.
| | 03:34 |
Let's go ahead and move it to the top of the stack so we can see
what we were doing, and I'll go back to the Apply Image command
| | 03:40 |
under the Image menu and I am going to set the layer this time to this
one, Orig minus Gblur, and instead of subtracting I am going to go ahead
| | 03:50 |
and Add it, and watch this. We get the
highlight edges right there. Isn't that cool?
| | 03:55 |
Check it out, I think that's awesome.
| | 03:57 |
These are highlight enforcers, the highlight
enhancements that are associated with Unsharp Mask.
| | 04:03 |
Then I'll go ahead and click OK.
| | 04:04 |
Now we still need the dark edge in here. We need the shadow
edge, and so we're going to have to build that manually as well.
| | 04:12 |
So I am going to go down here to the Background layer.
| | 04:15 |
Once again, go ahead and Ctrl+Alt+J, Command+Option+J to jump it.
This time I am going to call this one O, for Original, plus GBinv,
| | 04:25 |
which is Gaussian Blur Inverted (O+GBinv). So this time we are adding
by the way and still subtracting, and I could actually spell it
| | 04:31 |
out because last time I spelt out minus for this letter.
| | 04:34 |
So I'll spell it out O plus GBinv, click OK, drag it to the top of the
stack, go up here to the Image menu, choose the Apply Image command,
| | 04:43 |
so a pretty familiar stuff, even though its
mind-boggling at this point but still familiar.
| | 04:48 |
I am going to go to Layer and I am going to set this guy to Gaussian
Blur 12 once again and instead of subtracting it, we're going to go ahead
| | 04:55 |
and add it, but we need to add an inverted version of this. It's
way too highlighted, it's like we've got back-lightning going on.
| | 05:02 |
I am going to go ahead and click on the Invert
option in order to create this effect here.
| | 05:05 |
So we are getting rid of this white zone
and we're going to keep the shadow edges.
| | 05:11 |
Now click OK in order to accept that effect.
| | 05:14 |
Now I am going to go back to Orig+(O-GB), that layer, the
one that has, if I go and turn this layer Off for a moment,
| | 05:21 |
you can see this is the layer that has the highlights applied to it.
| | 05:24 |
So I want it to be selected, I'll go
ahead and turn on again 0 plus GBinv.
| | 05:28 |
I am going to jump that layer by pressing Ctrl+Alt+J or
Command+Option+J on the Mac, and I am to call this one Orig+(0-GB)
| | 05:38 |
just like we have, and then minus the
sum, which is (0+GBinv) for invert.
| | 05:44 |
It's not necessary that you name these layers anything;
you don't have to name them so scrupulously as I am doing,
| | 05:50 |
I am just doing so that I can keep
track of what the heck I am ought to.
| | 05:52 |
I'll click OK, drag the guy to the top
of the stack so that you can see it.
| | 05:57 |
We are actually going to subtract away those dark edges by going up to the
Image menu, choosing the Apply Image command and we're going to go ahead
| | 06:05 |
and set the layer to this guy right there, 0 plus
GBinv and were going to subtract it this time
| | 06:11 |
around by changing the Blend mode to
Subtract and look at those dark edges.
| | 06:14 |
So we have the highlighted edges, we have the shadow
edges, everything's there, I'll go ahead and click OK
| | 06:19 |
in order to accept that modification. Now I am going to zoom-in because
some of you might be thinking by this point, if you are thinking at all,
| | 06:26 |
if you have any semblance of a brain left, you might be
thinking this can't possibly be the exact same effect.
| | 06:33 |
Now I am going to scroll to the top of the Layers
palette, I am going to turn on USM 100/12/0.
| | 06:37 |
That is an authentic application of the Unsharp Mask command.
| | 06:41 |
Did you see anything change? Nothing changed. That's
because we exactly emulated, this is not even simulation.
| | 06:47 |
It's an exact emulation of Unsharp Mask set to a
100 with a Radius value of 12 and a Threshold of 0.
| | 06:53 |
You can build your own Unsharp Mask command using
nothing more than Gaussian Blur and Apply Image.
| | 07:00 |
So this is totally the effect
of sharpening created using blurring.
| | 07:04 |
Now at this point you might say, "Wow!
| | 07:05 |
that's really cool, Deke, where in the world did you
learn that one?'" If you are thinking it's cool of course.
| | 07:10 |
And the truth of the matter is, I came up with it myself.
| | 07:15 |
Alright, you should just kNow I
mean that's the kind of sick man I am.
| | 07:18 |
In the next exercise we will be shifting focus away from this totally
theoretical, ridiculous application of the Gaussian Blur function,
| | 07:25 |
we will be shifting to a much more practical
application of the Smart Sharpen filter in Photoshop CS3.
| | 07:33 |
| | 07:34 |
| | Collapse this transcript |
| Using the Smart Sharpen filter| 00:00 | In this exercise I am going to introduce you to what is essentially the
upgrade to the Unsharp Mask filter And that is the Smart Sharpen command.
| | 00:08 | Introduced a few years back inside Photoshop CS2, it allows you to do just
about everything you can do with the Unsharp Mask command and then some.
| | 00:16 | So I would go so far as to call it the
preeminent sharpening function inside Photoshop,\.
| | 00:21 | When in doubt, when you want to sharpen an image use Smart Sharpen.
That's what I would say anyway. And I am going to demonstrate this filter
| | 00:28 | on this Happy family.jpeg file, which of course
comes to us from photographer Justin Horrocks
| | 00:33 | of iStockphoto.com and its found
inside the 03 sharpen filters folder.
| | 00:38 | Lets go up to the Filter menu choose
Sharpen and then choose Smart Sharpen.
| | 00:42 | I've gone ahead and assigned this filter a keyboard shortcut of
Shift+F6 using the Keyboard Shortcuts Command under the Edit menu.
| | 00:49 | And that brings up this big old dialog box here, a much larger
dialog box and the one associated with the Unsharp Mask command,
| | 00:57 | but I am going to zoom-in. Lets go ahead and zoom-in,
not on the baby's face, lets look at Mpm this time around.
| | 01:02 | I am going to crank that Amount value up to 250% I think.
| | 01:06 | So you can see that basically we are outfitted
with the same Amount and Radius values
| | 01:10 | that we've seen before and that we saw inside of Unsharp Mask.
| | 01:13 | In fact, by default these Amount and Radius values behave just
| | 01:17 | like they do inside the Unsharp Mask dialog box;
they produce the same results and everything.
| | 01:21 | The only option we're missing as you can see here is the
Threshold value, and I was telling you I am not that fond
| | 01:26 | pf Threshold in the first place, so I am not missing it anyway.
| | 01:29 | I am going to ahead and raise the Radius value of 3 pixels, and by the way
for now I just want you to focus on these three options right here: Amount,
| | 01:37 | Radius and Remove. We'll come to More Accurate later and in a still
later exercise we'll talk about Basic and Advanced and Settings
| | 01:44 | which are kind of flawed options inside of this dialog box.
| | 01:48 | In fact, I would go so far as to call them sufficiently flawed as
to be broken essentially, but as I say, we'll come back to those.
| | 01:54 | But if all you ever do is mess around with Amount,
Radius and Remove, you're still ahead of the game.
| | 02:00 | You still having more flexible filter
than what you have with Unsharp Mask.
| | 02:03 | So you already understand Amount, you understand Radius,
it controls the thickness of the edges of course.
| | 02:08 | What about Remove? Notice that you have three different Remove
settings to choose from: Gaussian Blur, Lens Blur and Motion Blur.
| | 02:16 | For a moment I want you to think of this word,
not as being Remove, but rather as being Use.
| | 02:21 | Should Photoshop use Gaussian Blur in order to correct the perceived
focus of the image, in order to create the illusion of sharper focus?
| | 02:30 | As we saw on the previous exercise, and recall if you were with me,
that we used Gaussian Blur and nothing more than Gaussian Blur in order
| | 02:36 | to fix the image. Or should it use the Lens Blur function or should it
use the Motion Blur function? So its actually using these other filters,
| | 02:44 | Lens Blur and Motion Blur are filters under the Blur sub-menu, and it's
actually using these filters in order to correct the focus of the image.
| | 02:51 | And I will prove that to you because I am so fond of doing
that, I will prove that to you in a couple of exercises.
| | 02:57 | But at any rate for now what's more important than understanding what's going
under the hood, even though I love to show you what's going under the hood,
| | 03:03 | whats more important is to understand
when and why you would these functions.
| | 03:07 | So first of all, when you have Remove set to Gaussian Blur, this
command, assuming that More Accurate is turned off, and you are not messing
| | 03:14 | around with the basic and advanced functions up here.
| | 03:16 | Then the Amount and Radius values behave exactly
like they do inside the Unsharp Mask dialog box.
| | 03:22 | So if we were to choose Unsharp Mask and set the Amount
to 250% and set the Radius to 3 and set the Threshold to 0,
| | 03:28 | then you would see exactly the effect that's pictured here
inside of the preview when Remove is set to Gaussian Blur.
| | 03:34 | So why would you use Gaussian Blur though? I would suggest
here's my very simple take on these three functions.
| | 03:42 | When you're correcting for scanned artwork or a scanned film
photograph you're generally better off setting Remove to Gaussian Blur.
| | 03:49 | You can also experiment with Lens Blur if you
want to, the Gaussian Blur is your best bet.
| | 03:54 | Then if you want to compensate for a digital photograph
like this one right here, then you would work with Lens Blur
| | 04:00 | because Lens Blur better simulates
the effect of actual optical blurring,
| | 04:05 | and so it's better suited to compensating
for optical blurring inside of an image.
| | 04:10 | So use Gaussian Blur for your scanned artwork, use Lens Blur for your
digital photographs that come from a digital camera and use Motion Blur
| | 04:18 | for a camera shake. That is to say, when the camera
moves a little bit and you get a little bit of back
| | 04:23 | and forth blur, that's when you want to use Motion Blur.
| | 04:26 | So what would we use for this image? Well this image
happens to be a digital photograph. How do I know that? Well,
| | 04:32 | I'll show you. I am going to go ahead and cancel out of
here. Because I didnt shoot the photograph, right,
| | 04:36 | so how am I so confident that it's a digital photograph?
| | 04:39 | I'll go up to the File menu and I'll choose the File Info command
right here, or I could press that big keyboard shortcut Ctrl+Shift+Alt+I
| | 04:46 | or Command+Shift+Option+I on the Mac, and you'll see all this information
about the photographer, about Justin Horrocks, and that he lives
| | 04:54 | in Lake Stevens, Washington. Because I've gone ahead and included this
metadata for you to track this image, so you know where it comes from
| | 05:01 | and you could also checkout this guy's URL right
here, just by clicking on the Go To URL button,
| | 05:05 | but that still doesn't tell us that it's a digital photograph.
| | 05:08 | To see if its a digital photograph or not, you
go to Camera Data 1 right there, click on it.
| | 05:12 | If you don't see any information, any camera
data, that means it's most likely, it's either
| | 05:17 | a very old digital photographs or
more likely because of the high-resolution
| | 05:21 | of this image it came from a scanner- scanned artwork, but if you see
a bunch of photographic information it means it's a digital photograph
| | 05:29 | and then in this case, this image was shot with the
Canon EOS-1Ds Mark II and so on and so on and so on.
| | 05:35 | This is all the information about the aperture and about whether
the flash fired and about the focal length and all those other jobs.
| | 05:41 | So I am going to cancel out of here, but that's how you tell if something
is a digital photograph. If it is, and of course you might also recall
| | 05:48 | if you shot it yourself that its a digital photograph.
| | 05:50 | If it is, then you want to compensate for the focus by going
| | 05:53 | to the Filter menu, choosing Sharpen, by-passing
Unsharp Mask, of course by-passing these other guys.
| | 05:59 | These are just single-shot sharpeners that don't do that much
good actually, and you would choose the Smart Sharpen function,
| | 06:06 | you would change Remove to Lens Blur and then you
would set up the value set you want to work with.
| | 06:10 | For this image, I think I'll try out an
Amount value of 200% and a Radius value of 3.
| | 06:15 | Now I want to show you one more thing about this Radius value,
lets go ahead and zoom-in on the woman's face here for a moment,
| | 06:21 | and notice the difference in the Radius, look at the thickness of the edges
around her eyes and her nose and her mouth, all the edges inside the image.
| | 06:29 | I'll switch the Gaussian Blur for a moment and
did you notice how those edges just got thicker?
| | 06:34 | Lets actually increase this Radius value to 6 so you can really see them.
Look how thick and meaty those edges are. And recall one of the reasons
| | 06:41 | that they are so thick and edgy is because of the
Gaussian luminance distribution curve which ends
| | 06:46 | up exaggerating the radius, exaggerating the size of those halos.
| | 06:51 | Whereas- watch those halos there.
| | 06:53 | As soon as I switch the Lens Blur, they shrink,
they get tighter, they get more discrete.
| | 06:59 | This is why the setting right here of Lens Blur
is so much better suited to digital photography
| | 07:04 | because it does more discrete job of sharpening those edges.
| | 07:08 | So in our case I'd probably take this Radius value down, to
something like 3 pixels, lets say. So an Amount of 200%, Radius of 3,
| | 07:15 | Remove set to Lens Blur, click OK and just so we get a sense
of what kind of difference it makes in the happy family here;
| | 07:21 | this is the before-view of the image and this is the after-view.
| | 07:26 | In the next exercise, I'll show you an example of camera shake
which we can solve by setting the Remove function to Motion Blur.
| | Collapse this transcript |
| Compensating for camera shake| 00:00 | In this exercise we are going to talk about setting
the Smart Sharpen filter to Remove Motion Blur.
| | 00:06 | Now I want to stress here, we're not really removing Motion Blur, we're not
correcting a motion blurred photograph, we're merely compensating for it.
| | 00:14 | There is a big difference as you will see.
| | 00:16 | I am working inside of an image called Sammy shake.jpeg found inside the
03 sharpen filters folder and this is a photograph of my youngest son Sammy.
| | 00:26 | And it may be that Sammy is shaking, that Sammy is
in motion or it may be that my camera is in motion.
| | 00:32 | However, it worked out, and I suspected its a little bit of both actually,
| | 00:35 | this is the long exposure shot, and I shot
this photograph, it looks a little bizarre,
| | 00:40 | but I actually think it looks pretty nice generally speaking.
| | 00:43 | But it does have a lot of movement going on and that is something that we
can remedy to a limited extent using Smart Sharpen set to Motion Blur.
| | 00:53 | First thing I am going to do is press the F key to enter
the Full Screen mode and move Sammy over a little bit here,
| | 00:58 | cheat him over to the left-hand side of the screen
so we have some room for the filter down here.
| | 01:03 | Then I am going to go up to the Filter menu, choose
Sharpen and I am going to choose Smart Sharpen
| | 01:07 | or because it was the last command I applied,
you can see its up here at the top of the menu.
| | 01:12 | I could just press, and this what I am going to do,
I'll press Ctrl+Alt+F or Command+Option+F on the Mac,
| | 01:17 | to invoke that last filter using different settings and
I am going to zoom-in on his nose here for a moment.
| | 01:25 | You can see this is the effect of the last settings on this
particular photograph with Amount of 200%, a Radius of 3 pixels
| | 01:31 | and Remove set to Lens Blur, which is not right for this photo.
| | 01:35 | But it does create this kind of painterly effect on the nose
right here, this area around the nose because there is a bunch
| | 01:42 | of these interesting textures that are
being resolved inside of this photograph.
| | 01:47 | When you have blur going on inside of the photograph, either
an Optical Blur or a Motion Blur like were seeing here,
| | 01:54 | the camera tends to generate a higher amount of noise
and the digital noise can take on different patterns.
| | 02:02 | And in this case we have these almost brush strokes patterns going
on inside this image, which I think is actually pretty nifty.
| | 02:09 | But lets say that's not what I want.
| | 02:11 | Well, then I wouldn't leave Remove
set to Lens Blur, that's for sure.
| | 02:14 | Lets go and zoom-out from the nose a little bit.
| | 02:16 | I am going to leave that nose and some of the
lips in the center of the photograph there.
| | 02:20 | You really want to compensate for the eyes,
but I am going to start with the nose.
| | 02:23 | I am going to change that Remove
setting from Lens Blur to Motion Blur.
| | 02:28 | Now as soon as I do, a couple of things happen.
| | 02:30 | First of all the nature of my Radius totally
changes the nature of my Radius value,
| | 02:35 | and it's going to appear to have less of an
effect, even less of an effect in Lens Blur.
| | 02:39 | So your halos get yet smaller.
| | 02:42 | They're also directional halos.
| | 02:43 | So light halos are going to show up on one side of an edge on
the larger group of edges, and the dark halos are going to show
| | 02:50 | up on the other side of larger group edges as you'll see in a moment.
| | 02:54 | You also have this Angle value that you can work with, which is
specifically designed to determine the angle at which you move the camera,
| | 03:01 | but it's really the angle of the Motion Blur filter being applied.
| | 03:05 | I am going to change this to something like this angle right here,
now see if you can just drag this line inside the circle there.
| | 03:11 | And something around 20 degrees is where I am going to start with.
| | 03:15 | So I'll go ahead and actually take that down,
what I mean to say actually is -20 degrees.
| | 03:20 | I am also going to up the Radius value a little.
| | 03:24 | Now it's difficult to determine exactly what Radius value
you want to use when you are working with Motion Blur.
| | 03:30 | Here's what I suggest. First of all, you want to be
higher than the normal Radius values you would use.
| | 03:36 | In this time you want to think about how much movements occurring inside
of the photograph as opposed to how big you want your halos to be.
| | 03:43 | At this rate I am saying that I have about 8.7 pixels of
movement going on, and bear in mind that that's a Radius value,
| | 03:49 | so it would really be twice that, it'd really be like 17 or 18 pixels
of movement. And of course in the real world we don't move in pixels,
| | 03:57 | but we're trying to figure out how it
resolves in terms of this photograph.
| | 04:00 | Now I am going to switch over to one of the eyes so that we
can see how this Motion Blur setting is affecting the eye.
| | 04:06 | This is the before, you can see there is a
little bit of movement blur going on there;
| | 04:10 | this is after, and so the details actually kind of come together.
| | 04:14 | Now here's something else I am going to show you. I am going to zoom-in
on this side so it takes up the larger portion of the screen here,
| | 04:19 | and we're going to knock the Radius value back
down to 3 pixels and with the value selected,
| | 04:25 | you can see that its active because of the blinking insertion marker.
| | 04:27 | I am going to press Shift+Up arrow, I want you
to watch that eye and when I press Shift+Up arrow
| | 04:31 | of course I am raising the Radius value in whole pixel increments.
| | 04:35 | So we'll take it from 3 to 4 in this case.
| | 04:37 | So watch what happens, when I press Shift+Up arrow,
the eye seems to move, notice the details,
| | 04:41 | its kind of moved over a little bit to
the left, a little bit up and to the left.
| | 04:45 | Then I press Shift+Up arrow again and now they move down into
the right a little bit, so they move the opposite direction.
| | 04:51 | Even though I am going continuously upward here.
| | 04:53 | Shift+Up arrow again, the 6 pixels move a little bit the other direction,
Shift+Up arrow again and move the other direction again, so it's moving back
| | 05:00 | and forth, back and forth from one pixel to the next.
| | 05:03 | Shift+Up arrow again moves over to the left,
Shift+Up arrow again it doesn't move very much.
| | 05:07 | At the point where it doesn't move very much, notice now as I
go up again and its starting to move back and forth some more.
| | 05:13 | So the point which you don't see very much movement
inside the photograph, that's the right Radius value.
| | 05:18 | So for us, its in that 8 to 9 pixel range, between
8 and 9 were not seeing much movement going on.
| | 05:24 | In fact, were not seeing much difference and that's another
way to tag the proper value, but that's an approximation,
| | 05:30 | I have to tell you because sometimes you're
going to find a very large value works out well,
| | 05:34 | and sometimes you're going to find a very small value works out
well, regardless of what you see going on with the movement.
| | 05:39 | So this is just rule of thumb which you're going to feel free
to violate of course, just keep in the back of your mind.
| | 05:43 | If you have room, and then another thing is, what is the Angle
value? How do you figure out the angle of the movement? Well,
| | 05:49 | sometimes if its strict camera shake you will find that its almost exactly
horizontal because you are vibrating back and forth with the camera.
| | 05:57 | But in this case we've got some movement from our subject
mixing with the camera shake and so it could be anything.
| | 06:03 | What I would suggest is you just fool around with this
Angle value in order to see what works best for you.
| | 06:08 | So lets go ahead and zoom.
| | 06:12 | I am going to move the image over, notice that you can move and zoom
the image while you have these style dialog boxes up on the screen.
| | 06:22 | What it really meant to do is zoom back out from the preview right there,
| | 06:26 | and I am going to just play with the Angle
value, just by dragging this guy around.
| | 06:30 | So this currently were seeing an angle of -20.
| | 06:32 | Lets try out an angle of 58 degrees which is running perpendicular to that,
so this direction in other words, sort of up-and-downish a little bit,
| | 06:40 | this would be south-west to the north-east, so in that direction.
| | 06:44 | That looks pretty darn good and then if I try the opposite direction
what I had before, that sort of spreads the eye-lashes out a little bit.
| | 06:50 | So I don't like that nearly as much.
| | 06:51 | So lets try something around this region.
| | 06:53 | Lets try an Angle value, just so I can remember it, because I am
going to show you different approach in a couple of exercises.
| | 06:59 | Lets try an Angle value of 40 degrees for this image and I am
going to leave More Accurate turned off. I'll explain that later.
| | 07:05 | So we've got an Amount of 200, Radius of 9 pixels, Remove set to
Motion Blur and an Angle of 40 degrees. And just for laughs here,
| | 07:13 | I just want to show you big difference between Remove set to Motion
Blur and Remove set to Lens Blur particularly at this big Radius value.
| | 07:21 | So a very different effect indeed. And here's Gaussian Blur
just to give you yet another very, very different effect.
| | 07:27 | So we cant go with nearly those high Radius values for
Gaussian Blur and Lens Blur, but we can with the Motion Blur.
| | 07:33 | Alright, so it looks pretty darn good.
| | 07:35 | The other thing to bear in mind is we are drawing noise out of the
image, so we are exaggerating the noise, but not to the extent we were
| | 07:41 | with Lens Blur or if we'd tried Gaussian Blur we would
be exaggerating the noise that much more as well.
| | 07:46 | So you're going to have use more noise removal before you apply
this filter, or you can use a different route as I'll show you
| | 07:52 | in an upcoming exercise, but for now lets just
go ahead and click OK in order to take advantage
| | 07:57 | of these settings. And lets go ahead and zoom-in on Sammy.
| | 08:00 | So were taking a look at the child here at the 100% zoom level.
| | 08:04 | So this is the before-version of Sammy
and this is the after-version of Sammy,
| | 08:10 | thanks to the Motion Blur settings inside the Smart Sharpen dialog box.
It does not entirely cure the effects of Motion Blur inside the image,
| | 08:18 | and you can see, we have a little bit of radial rotation
going down here in the mouth that we can't compensate for,
| | 08:24 | but it does make a difference, it does help to compensate.
| | 08:29 | In the next exercise I am going to prove to you that Smart Sharpen does
indeed rely on Lens Blur and Motion Blur so if you like to geek out on
| | 08:37 | that kind of stuff, join me. If you hate to geek on that kind of
stuff then join me in a couple of exercises when we talk about how
| | 08:44 | to compensate for a Motion Blur using the Emboss filter instead.
| | Collapse this transcript |
| Building your own Smart Sharpen with Lens Blur| 00:00 |
Alright gang, in this exercise we are going to be Daniel Booning
it again. We are going to be doing it old style. This time
| | 00:06 |
around we are going to be building Smart Sharpen
using nothing more than the Lens Blur filter
| | 00:11 |
in one case and the Motion Blur filter in another case.
| | 00:13 |
So this is not a technique that I am suggesting
you use; this is complete and total theory.
| | 00:18 |
The only reason I offer it because it helped me understand how Smart
Sharpen is put together and it help me know how to use the filter.
| | 00:24 |
So presumably it is going to help some of
you as well if you think like me. God forbid.
| | 00:30 |
So what I have got here is this document called More
testing.PSD and that's found inside the 03 sharpen filters folder.
| | 00:38 |
Notice that it's got a flatten version of the serpentine
line with the texture background, blah, blah, blah.
| | 00:43 |
And in front of that we have two Smart Sharpen variations,
hence the ss, and then the x means either the Lens Blur variation
| | 00:52 |
or in the case of MB, we have got the Motion Blur variation.
| | 00:55 |
So with Lens Blur, I have applied- I'll go ahead
and zoom-in so we can really see the effect there.
| | 00:59 |
With Lens Blur, I have applied an Amount value of 100, as you
can see over here in the layer name, and a Radius value of 12.
| | 01:06 |
Note that by the way, 12, because we'll be approaching
this a little differently with Lens Blur.
| | 01:11 |
Then with Motion Blur, I will go ahead and turn it on
and notice that it will shift slightly on screen there.
| | 01:15 |
You can see that now we have a directional blur going on
so that its appearing just on the right and left side.
| | 01:21 |
So that is a directional effect as what should I say and
that's both with the dark halo and the light halo instead
| | 01:28 |
of omni-directional, that is surrounding the entire circle.
| | 01:31 |
So that is SSxMB 100 for the Amount value, 20
for the radius time and then 0 for the angle.
| | 01:39 |
So lets go ahead and build these ourselves using nothing more
than, in this case the Lens Blur filter and a nine volt battery.
| | 01:47 |
In another words, we are getting very rustic here.
| | 01:49 |
I am going to go ahead and select the Background
layer; the other two layers are turned off.
| | 01:52 |
Then I am going to press Ctrl+Alt+J or Command Option+J in
the Mac in order to jump this layer and name it of course.
| | 01:59 |
I will call this one Lens Blur and this time its
going to be a Lens Blur with a Radius value of 24.
| | 02:07 |
Now notice how that compares with the Smart Sharpen filter
set to Lens Blur, we are using the Radius value of 12.
| | 02:14 |
I was telling you how the Lens Blur radius
is more subtle than the Gaussian Blur radius.
| | 02:20 |
Well it's so subtle that you actually have to double the Lens Blur to even
get there. So Lens Blur is just a more subtle filter in the first place.
| | 02:27 |
So go ahead and click OK so its actually twice the Radius value.
| | 02:31 |
Then I am going to go up to the Filter menu, I am going
to choose Blur and I am going to choose Lens Blur.
| | 02:35 |
Now the whole idea behind Lens Blur is that its simulating actual
optical blur, the kind of blur you would get if you unfocused your camera;
| | 02:44 |
if you want to focus on, for example,
a background that would be a Lens Blur.
| | 02:48 |
So I'll go ahead and choose that very different from a
Gaussian Blur, much more complicated as you can see as well.
| | 02:53 |
These are the default values you are seeing here.
| | 02:55 |
I am just going to change one value.
| | 02:57 |
Assuming default settings, I am just going to change the Radius
value to 24, we are going to leave everything else set the way it is.
| | 03:03 |
So Shape is Hexagon, Blade Curvature is 0, Rotation is 0.
| | 03:07 |
Look at the values, make sure those are same as
yours then if you are following along with me,
| | 03:11 |
of course, then click OK in order to apply that Lens Blur.
| | 03:14 |
Now I am going to create another duplicate of the Background
layer by pressing Ctrl+Alt+J or Command Option+J on the Mac
| | 03:19 |
and we'll call this one Orig minus LBlur this time around and I'll drag
it to the top, we are going to go to Apply Image under the Image menu.
| | 03:31 |
And I am going to change the Layer from Merged, I certainly don't want;
I want it to be Lens Blur 24 and we are going to go ahead and subtract,
| | 03:39 |
the Blending should be set to Subtract, Invert should be turned off and
these are values you should be set the way you see them then click OK.
| | 03:45 |
Notice we get a very subtle effect this time around.
| | 03:48 |
I am going to go ahead and zoom-in so you can see
that a very subtle highlighting effect right there.
| | 03:53 |
Now we need to apply it to the original image so lets go back to the
original image, Ctrl+Alt+J, Command Option+J on a Mac, and I am going
| | 04:00 |
to go ahead and call this guy Orig+(O-LB) this time
around and then I'll click OK in order to accept that.
| | 04:08 |
Move it to the top of the stack, go up to the Image menu, choose the Apply
Image command. I am going to go ahead and change the layer this time
| | 04:15 |
around to this guy, Orig minus LBlur, and we are going to add it of
course in order to get a highlight effect as you are seeing there.
| | 04:22 |
Click OK in order to accept that.
| | 04:24 |
Now once again, we are going to go back to the
Background layer and going to press Ctrl+Alt+J,
| | 04:29 |
Command Option+J on the Mac to jump it, we
are going to call this one Orig plus LBlur.
| | 04:35 |
Click OK, go ahead and move that guy to the top of the stack.
| | 04:39 |
Go up to the Image menu, choose the Apply Image command and I
am going to change the layer this time around back to Lens Blur.
| | 04:47 |
We are going to turn on the Invert checkbox and we
are going to leave the Blending mode set to Add.
| | 04:51 |
You can see that we have these nice dark haloes this time around.
| | 04:55 |
I will click the OK button in order to accept that modification.
| | 04:57 |
Lets go to Orig+(O-LB), press Ctrl+Alt+J, Command Option+J on the Mac
and we'll change the name of this new layer to - and this will be O+ LB
| | 05:10 |
and then oopsactually, inv. We want invert. I didn't
add this time around, we do want to invert.
| | 05:16 |
That will be the name and click Ok and of course, layer names
aren't absolutely essential, you get the layer name, right?
| | 05:21 |
We are just going for a technique here-
not a technique, just some theory.
| | 05:25 |
So I move that guy to the top of the stack.
| | 05:26 |
Lets go up to the Image menu, well choose the Apply Image command.
| | 05:29 |
I am going to change the layer to Orig plus LBlur and I
am going to make sure that the Invert checkbox is turned
| | 05:37 |
on still and I am going to change this guy to Subtract.
| | 05:40 |
So the Blend mode is Subtract this time around.
| | 05:42 |
To invoke the dark halos, click OK and that is the finished effect.
| | 05:46 |
Now lets go ahead and compare it to Lens Blur to SSXLB 100/12.
| | 05:50 |
I'll go ahead and turn on that layer and you
can see its identical; exactly the same effect.
| | 05:56 |
The one weird thing that you have to do is
you have to double that Lens Blur value.
| | 06:00 |
So Smart Sharpen goes ahead and doubles the effect of the
Lens Blur as it applies it, that's the only difference.
| | 06:06 |
That's how you create the Smart Sharpen filters, the
Lens Blur variation using just the Lens Blur filter.
| | 06:12 |
It turns out you can do exactly the same if you have a mind to. You can
follow those exact steps and do the very same thing with Motion Blur
| | 06:20 |
with the Motion Blur filter. Abd I'll just
go ahead and show you under the Filter menu,
| | 06:23 |
you got to Blur and you got a Motion Blur, this guy right there.
| | 06:26 |
You run through the exact same steps and you will get
the Motion Blur variation of Smart Sharpen as well.
| | 06:31 |
So that's where those function come from,. So Smart Sharpen, just like
Unsharp Mask, is using Gaussian Blur in order to invoke a sharpening effect,
| | 06:40 |
Smart Sharpen is using either a Gaussian Blur or Lens Blur
or Motion Blur to invoke its sharpening effect as well.
| | 06:49 |
In the next exercise, I am going to show you yet another way to account for
Motion Blur inside of an image but this time we'll use the Emboss filter.
| | 06:58 |
| | 06:58 |
| | Collapse this transcript |
| Using directional sharpening with Emboss| 00:00 | Alright just because we didn't quite get through that whole
Lens Blur and Motion Blur thing in the last exercisem
| | 00:05 | I went ahead and built up a group of these objects,
inside of this file called lens&motionblurgroups.PSD
| | 00:12 | that's found inside the 03 sharpen filters folder. What it
contains is all of the layers- notice this Lens Blur 24 group-
| | 00:20 | it contains all of the layers that are necessary to make up
the Manual Lens Blur effect, the Lens Blur equivalent that is
| | 00:28 | of the Smart Sharpen effect set to Lens
Blur and that's this group right there,
| | 00:33 | go ahead and turn it on you can see, that we
now have a sharpened version of our image.
| | 00:39 | Above it I have a group that is all of
the various layers that were required
| | 00:44 | when I was putting them together using the Apply Image command and so on.
| | 00:48 | These are the layers that are required to create the manual
version of the Smart Sharpen filter set to the Motion Blur effect.
| | 00:57 | And just by way of an FYI, when you are applying Motion Blur that's
the Motion Blur Command under the Blur sub-menu in the Filter menu.
| | 01:06 | I've got an Angle value of zero in this case and a Distance value of
20, so you just go ahead and set the Distance value to whatever it is,
| | 01:13 | that you want to use as a Radius value, so notice the Distance and the
Radius values for Smart Sharpen they both match each other exactly.
| | 01:22 | Just a bit of FYI, something you can play with if you are so inclined,
because you did such a great job of sticking with that amazing amount
| | 01:30 | of theory right there, I am going to lay on
here right now a very practical technique.
| | 01:34 | So this one is not theory at all, this is total practicality here.
| | 01:38 | We are going to see how to compensate for Motion Blur and/or camera
shake, but this time we are going to use the Emboss filter instead,
| | 01:46 | which gives you quite a different effect that's better in one
way than the Smart Sharpen filter and it's worse in another way.
| | 01:53 | We are back inside the Sammy image, the one that's called
Sammyshake.jpeg, its found inside of the 03 sharpen filters folder.
| | 02:01 | What I am going to do just so that we can
compare these two effects to each other.
| | 02:06 | I am going to go up to the Filter menu, I am going to go ahead
and choose Sharpen and I am going to choose Smart Sharpen,
| | 02:12 | and with any luck we should see the last values we applied here, which
is Remove set to Motion Blur, that's good, an Angle value of 40 degrees,
| | 02:20 | More Accurate is turned off the Radius value is set
to 9-pixels and the Amount value is set to 200%.
| | 02:26 | Now I am going to go ahead and raise that Radius value to
10-pixels instead, so that we are comparing apples to oranges.
| | 02:34 | You will see why that's necessary in just a moment.
| | 02:36 | So I am just going raise that Radius value
to 10-pixels and then I am going to click OK.
| | 02:40 | Now I am going to go ahead and zoom-in so that
we can see this effect up close in personal.
| | 02:44 | We are working with the flat image as you can see here inside the Layers
palette and I want to go ahead and keep this Smart Sharpen version
| | 02:51 | of the image so we can back to it and I am going
to use History to accomplish this, by the way.
| | 02:55 | So I am going to collapse this right-hand column of
palette here I going to bring up my History palette
| | 03:00 | and you could see that I've got Smart Sharpen following Open.
| | 03:03 | As opposed to undoing this effect, which would get rid of it, I am
instead going to go over to the File menu and choose the Revert Command,
| | 03:10 | or I could press the F12 key, and notice what that
does. That adds another state called Revert.
| | 03:15 | So my Smart Sharpen state is still intact, but I have
restored the original version of the Sammy image here
| | 03:21 | and now I am going to hide the History palette for a moment.
| | 03:24 | Now we are working with a flat image so we're going to have to jump
through a couple of hoops in order to make this Emboss effect work out.
| | 03:31 | It works even better as it turns out if we are working with a
Smart Object, if we are applying a Smart Filter version of Emboss
| | 03:37 | to a Smart Object, well see how that works a little later.
| | 03:40 | I am going to go up to Filter menu, I am going to choose
Stylize and I am going to choose the Emboss command.
| | 03:45 | Now what you should know about Emboss
is it's a terrible embossing filter.
| | 03:48 | It produces this hideous effect but it's a
great alternate sharpening filter as we'll see.
| | 03:53 | So I am going to go ahead and choose Emboss and notice what it does
first of all, it makes the image look like its kind of engraved in lead
| | 04:01 | or something along those lines,. It turns all of the
non-edges to gray and then the edges get highlighted
| | 04:07 | with either shadows on one side or highlights on the other side.
| | 04:10 | It's a directional effect, and notice that I've gone ahead and
matched the values that I applied inside the Smart Sharpen filter.
| | 04:17 | So the Angle value is set to 40 degrees just as it was with Smart Sharpen,
and of course, we don't need to set the Remove function or anything.
| | 04:26 | There is no Remove function, so we don't have to set it to Motion
Blur, Emboss is automatically applying a directional effect here.
| | 04:33 | Now the Amount value is analogous to the Amount value inside
Smart Sharpen, so I went ahead and set it to the same thing 200%.
| | 04:39 | The Height value is analogous to half of the Radius value because the
Height value is approximately twice as strong as the Radius value.
| | 04:47 | So instead of setting it to 10, I set it to 5.
| | 04:49 | Now the whole reason we made Radius 10 is so that we could evenly divide
it by 2. Because you cant enter decimals into the Height value here.
| | 04:57 | It has to be an even number of pixels.
| | 04:59 | So 45 and 200% gives us something of an equal
treatment but as you'll see, its pretty different.
| | 05:06 | Go ahead and click OK, and of course, its very different
and that we have all these grays all over the place.
| | 05:10 | It doesn't look like a sharpening effect at all.
| | 05:13 | Well, heres what you do.
| | 05:14 | In order to get rid of those grays, you
have to invoke the Overlay blend mode.
| | 05:18 | You can't do it from the Layers palette since we have a flat image
here, so I am going up to the Edit menu and choose Fade Emboss
| | 05:24 | in order to fade that filter. You can also press
Ctrl+Shift+F or Command Shift+F on the Mac.
| | 05:29 | And now instead of changing the Opacity value I am going to change the
mode to Overlay and that's going to drop out all the grays and it's going
| | 05:37 | to screen the highlights and multiply the shadows so we
are going to get this very smooth effect right there,
| | 05:43 | where the Emboss effect is woven into the
fabric of the original image essentially.
| | 05:49 | Now if we felt like we've gone too far, you could go ahead and back off
the Opacity value a little, and I might take the Opacity value down to
| | 05:56 | about 80%, maybe even down to 75% for this effect and then
go ahead and click OK in order to accept that modification.
| | 06:04 | Now here's the thing.
| | 06:06 | This is a different effect than we saw with Smart Sharpen.
| | 06:08 | So lets go ahead and compare them from the History palette.
| | 06:12 | Here's my Smart Sharpen effect right there and there is the
Emboss effect faded of course using the Overlay Blend mode.
| | 06:18 | So heres Smart Sharpen, and I am going to go ahead and
zoom-in even farther, so we can see what's going on.
| | 06:23 | There is the sharpened version of the eye right there.
| | 06:26 | Now in addition to producing a more subtle effect
where edges are concerned, which you can barely see,
| | 06:32 | notice that even though we had a very high Radius value 10-pixels.
| | 06:36 | You cant really see any halos, you cant see those dark and light
halos around the edges the way you can when you are Smart Sharpening
| | 06:43 | with Lens Blur or Unsharp Masking or Smart Sharpening with Gaussian Blur.
| | 06:48 | However, we are bringing out a lot of noise.
| | 06:50 | So if you look at what ought to be smooth portions of
the skin tones for example and this is a child after all.
| | 06:55 | He doesn't have a wrinkly skin.
| | 06:56 | He doesn't have big pores, any of the things that we adults have and yet
we have a lot of weird articulation going on inside of the skin tones
| | 07:04 | and that's because of the digital noise that was captured
by the camera as a result of having so much blur associated
| | 07:09 | with this image and it really gets exaggerated by Smart Sharpen.
| | 07:13 | So lets go ahead and compare that to the Emboss
version of the image- not nearly as much noise.
| | 07:20 | So Emboss doesn't tend to bring out the noise
in the image the way that Smart Sharpen does.
| | 07:24 | However, it produces big thick halos inside the image.
| | 07:28 | So the halos are much more obvious.
| | 07:30 | You can see this weird light halo around the top
of the eye here and this dark halo underneath.
| | 07:35 | If we go down to the nose, it's even more noticeable.
| | 07:38 | You can see the nostril has this Neon strip across the top of it,
whereas with Smart Sharpen you don't see that pretty much at all.
| | 07:46 | Its got a little bit of lightness there, but some
of that lightness which is just brightness bounce
| | 07:50 | that was already associated with the
original image before we sharpened it.
| | 07:53 | I can show you that, if I go to the Open option here
which represents the original state of the image.
| | 07:57 | You can see that we have a little bit of brightness here and
that's a highlight that's reflected off of the top of his lip.
| | 08:04 | Anyway, I am going to go back to Smart Sharpen.
| | 08:06 | So that's the Smart Sharpened effect,
that's the embossed version of the effect.
| | 08:10 | Here's what I am going to tell you.
| | 08:11 | If you're trying to compensate for a Motion Blur or you are trying
to compensate for camera shake, that kind of thing, and you are going
| | 08:19 | to screen, then you are better off if your final output device
is a screen. Because you are going to the web for example
| | 08:23 | or like a presentation, then your best option is to go with Smart Sharpen.
| | 08:28 | However, if you are going to print, you want those nice thick halos,
because they are going to survive the printing process so you want to go
| | 08:35 | with Emboss instead. And of course the additional upside is that
Emboss is bringing out less of the noise inside of the image.
| | 08:42 | One more note about Emboss is that it
produces some very clearly-defined halos.
| | 08:48 | They aren't those soft drop off halos that you get with Gaussian Blur
| | 08:52 | or Lens Blur instead they are very sharply-defined
halos, so that's something to bear in mind as well.
| | 08:57 | So take it easy on that Height value, don't go too far with it.
| | 09:00 | A Height value of between 3 and 6-pixels
is generally going to serve you well.
| | 09:05 | In the next exercise we are going to see the remainder of the
Smart Sharpen options including More Accurate and the others.
| | 09:11 | Stay tuned!
| | Collapse this transcript |
| Using Smart Sharpen extras| 00:00 | In this exercise we are going to review the remaining functions inside
the Smart Sharpen dialog box, which include those Advanced shadow
| | 00:08 | and highlight adjustments and the fact that
you can ostenstebly save off your settings,
| | 00:12 | although that feature is essentially broken the way it is
right now. And then there is the More Accurate check box,
| | 00:18 | the one feature that I think is actually useful of the
functions we haven't discussed so far inside that dialog box.
| | 00:24 | Now I am working inside of Happy family.jpeg which is found inside
of the O3 Sharpen Filters folder and I am going to go to Filter menu
| | 00:33 | and choose Sharpen and choose the Smart Sharpen command
to bring up of course the Smart Sharpen dialog box.
| | 00:38 | Now for the sake of demonstration, I am going to max out some values, I
am going to change the Amount value to 500% and I am going to change Remove
| | 00:45 | from Motion Blur to Lens Blur and I am going to leave the Radius size
set to 10 pixels, which is insane if we are trying to correct the image,
| | 00:53 | but I am just trying to demonstrate a few features here.
| | 00:56 | So I am going to go ahead and zoom in on this woman's face and notice
if you will that thanks to this radical sharpening that I've applied
| | 01:03 | that we have some clips, highlights and shadows, meaning
that many of the highlights have gone to flat white,
| | 01:09 | so they are blown highlights, and many
of the shadows have gone to flat black.
| | 01:14 | That's not really acceptable. Now this happens all the time.
| | 01:17 | The fact that I have exaggerated the value makes it very obvious, but
this is happening on the less obvious basis anytime you apply Unsharp Mask
| | 01:25 | or Smart Sharpen or one of the other sharpening functions.
| | 01:29 | That's because Photoshop is going in there
and enhancing the edge contrast.
| | 01:33 | So you are bound to get black and white pixels out of it.
| | 01:36 | That's what this Advanced option right here is designed to avoid.
| | 01:39 | So if you turn on Advanced, you will get a couple
of additional panels, Shadow and Highlight.
| | 01:45 | Now they both work the same.
| | 01:46 | I am going to demonstrate Highlight because
it is more obvious in the case of this image.
| | 01:50 | First of all, you determine how much
you want to fade those highlights.
| | 01:53 | So I will go ahead and change that value to 50% to fade them back 50%
and notice they are still there, they are just not clipped anymore.
| | 02:00 | So we went ahead and dim those highlights.
| | 02:02 | Now the total Width value controls exactly
what falls into the range of highlights.
| | 02:08 | So currently with a value of 50% we are saying the
brightest 50% of the colors inside of this image.
| | 02:13 | So anything from medium gray or darker is ruled
out and anything medium gray or lighter is ruled in
| | 02:20 | and there is a nice soft transition between the two incidentally.
| | 02:23 | So that we don't have harsh transitions the way we did inside
the Unsharp Mask dialog box with the Threshold function.
| | 02:29 | But if you want to incorporate more luminance levels inside the image into
the brightness range, then you go ahead, increase that all the way to 100%
| | 02:38 | and you can see, now you get some very
smooth transitions at this point.
| | 02:42 | Now the Radius value determines how these highlights are
distributed because Basically this is another one in those filters,
| | 02:49 | this is a filter on top of the filter by the way that's going through
in scrubbing around the pixels in order to create it's effect.
| | 02:56 | Right Now the Radius value is very lo. If you want to distribute
the effect a little better and you want to bring back some
| | 03:02 | of the highlights, then you would crank that Radius value up.
| | 03:05 | Now the Radius value really has to be cranked; if you want to see any
difference, you are really going to have to crank the heck out of it.
| | 03:11 | So I want you to keep an eye on this region inside of the image along
the top of her nose and I am going to change Radius value from one,
| | 03:19 | the lowest value, to hundred, the highest value. Did you see that change?
That was all there is to it. It's just a little bit of difference there.
| | 03:27 | Keep an eye on it once again, I am going to now
change it back to one and notice how it drops back.
| | 03:33 | So we are going to recover some highlights, if I raise that value gets
a little brighter and the effect is more distributed and we are going
| | 03:39 | to lose those highlights, they are going to
flatten out if we reduce the Radius value.
| | 03:43 | It is such a subtle difference, however, that if we weren't operating
| | 03:48 | with this incredibly exaggerated effect you wouldn't
notice it all; it is very difficult to detect.
| | 03:53 | So usually you don't need to worry about this Radius value'
you are just change its something like 20 and call it a day,
| | 03:58 | I mean it really doesn't matter what
you set it to on a practical basis.
| | 04:01 | Now here is the big problem I have with Basic versus Advanced. I like the
idea and if Adobe would fix this dialog box, it could be really good,
| | 04:09 | but watch what happens if I switch back to Basic. What
should happen is the original values are restored,
| | 04:15 | because we do not want those Advanced settings anymore, but they aren't.
| | 04:18 | So the values persist, when you switch back and forth between
Basic and Advanced and that means three months from Now
| | 04:24 | you have decided that you do not even want to use those Advanced
settings anymore, but you did changed them once upon a time,
| | 04:28 | they are still operative and they are going to mess everything up.
| | 04:32 | So what I would suggest you do is not work this way, quite frankly.
| | 04:35 | I would go back to Highlight, I would change this value to zero for
the Dade amount, so that we are not doing anything and just go ahead
| | 04:43 | and switch these guys back to their defaults 15, 1, and then
I would turn on Basic again and not worry about Advanced.
| | 04:49 | Since it sticks, it gets in the way and it can
create a lot of problems incidentally.
| | 04:52 | Now ostensibly these Settings options right here should
take care of it because you could save off a bunch of settings.
| | 04:58 | For example, I could call this one, by clicking on my little floppy
disk icon, since God knows we all use floppy disk these days,
| | 05:04 | I will go ahead and call this effect,
something like Extreme and then click OK.
| | 05:09 | Now note that I still have my settings set to Default.
| | 05:12 | So if I were click OK, I would change my Default settings, which is bogus.
| | 05:16 | So I am going to switch this back to Extreme and that
should ostensibly say 500% and ten pixels, right.
| | 05:23 | So lets say I changed my Radius value to something like one and I
change my amount to something like a 100%, well that's no longer Extreme.
| | 05:30 | What should happen is settings should change to Custom now or
something so that it doesn't overwrite the Extreme settings.
| | 05:36 | This is what happens elsewhere inside Photoshop, but this feature
the way it is, it's broken because if I click OK right Now
| | 05:43 | I just saved over my Extreme settings,
they are no longer Extreme at all.
| | 05:46 | So I'll go ahead and undo that modification
to bring back my original image.
| | 05:49 | I will go ahead and press Ctrl+Alt+F, or Command+
Option+F on the Mac to bring back my previous settings
| | 05:54 | and notice that now Extreme is set to a 100 and radius of one.
| | 05:58 | If I go to Default, it's set to 200 and Radius of 10
and Motion Blur, which are not the default settings.
| | 06:03 | So unless you are incredibly vigilant about saving and then
selecting and then clicking OK and never overwriting your originals,
| | 06:11 | because it is very easy to do, you are going to mess up all of
your settings and they are going to be of no use to you whatsoever.
| | 06:18 | I say this from personal experience, as a
guy- I am the guy who just showed you how
| | 06:21 | to build your own Smart Sharpen using just the Lens Blur Filter.
| | 06:25 | That's how over the top I am, I am very careful about
this stuff and I have ruined everything I have done.
| | 06:31 | So that's not a challenge, I mean I am sure you can beat me, but I
am just saying on a regular basis, it doesn't tend to be very useful.
| | 06:37 | I'll tell you what's useful inside this
dialog box that we havent discussed yet.
| | 06:40 | So I am saying, give this is a slip, give this the slip, do not
worry about trying to save your settings. And More Accurate.
| | 06:46 | This can be useful, not for a portrait shot but it can be useful.
| | 06:49 | Now I am going to go ahead and set my Amount
Value to something relatively high like 250%.
| | 06:54 | Let us take this Radius value, let us say to 4 pixels, so we can
see what we are doing and I will change Remove to Lens Blur,
| | 07:00 | which would be a setting we could use for this image.
| | 07:02 | It's a little high, it's a little extreme, but it would work.
| | 07:06 | Now watch what happens, I'll go ahead and zoom in on the womans
face once again, watch what happens if I turn on More Accurate.
| | 07:11 | Now you might think More Accurate is
going to create a more accurate effect.
| | 07:14 | So why wouldnt you try More Accurate on? Well, that takes
a little bit of additional time, but not that much time.
| | 07:20 | Here's the deal. It has nothing to do with
accuracy. What its really doing is,
| | 07:23 | it's applying a second layer, a second
iteration of sharpening to the image.
| | 07:29 | So it's actually applying a Multipass sharpening
effect from the Smart Sharpen dialog box.
| | 07:34 | So you are sharpening it multiple times in one operation
and it's doing this using what's called a Convolution Kernel.
| | 07:40 | So I am going to go ahead and turn it on, which
means its a very detail orientated sharpening effect.
| | 07:44 | So I am going to go ahead and turn on More Accurate and
notice that its got a second level of sharpening applied,
| | 07:50 | so we've got addition halos going around inside of this image.
| | 07:54 | What it is good for is sharpening very minute details, which
is not what we want when we are sharpening a portrait shot.
| | 08:01 | We are taking a good looking woman for example here and we are
sharpening our pores and our freckles and we are making your face
| | 08:07 | like essentially a lunar landscape, right, that it is blasted.
| | 08:11 | That is not what we want.
| | 08:12 | Now if this was a still life or it was a high frequency image with a
cityscape or something along those lines, and we will see examples of that,
| | 08:19 | More Accurate would be good, it would be helpful to turn it on.
| | 08:22 | But where portrait shots, low frequency images are concerned, it's bad.
| | 08:26 | So in the case of this image, I would keep it the heck
off, do not turn on more accurate with your portrait shots,
| | 08:32 | because you would be doing terrible things
to the unfortunate people in your photograph.
| | 08:37 | Now I'll go ahead and click OK.
| | 08:38 | Now I did say something that may have confused you or
at least caused you to scratch your head a little bit.
| | 08:42 | I was telling you that More Accurate applies that second
pass of sharpening that's based on the Convolution Kernel.
| | 08:48 | So I am going to show you what I mean by Convolution Kernel, well
see what Convolution Sharpening looks like in the next exercise.
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| Using Convolution Kernels for more accuracy| 00:00 | Once again for those you who are fans of sharpening
theory, I've got another theory exercise here for you.
| | 00:06 | I was telling you at the end of the previous exercise how the More
Accurate checkbox is based on the notion of a Convolution Kernel.
| | 00:13 | A Convolution Kernel allows you to compare neighboring
pixels to each other and exaggerate their differences
| | 00:19 | or downplay their differences as well if you want it to.
| | 00:23 | It's a primitive sharpening effect. It does a great job
of bringing out noise inside of a digital photograph,
| | 00:28 | which is one of the reasons you don't really want to work this
way, but it also does a great job of sharpening the minutia
| | 00:34 | in the image, which is what the More Accurate checkbox does.
| | 00:36 | So I am to going to show you a Convolution Kernel.
| | 00:38 | I am not suggesting this is the way you work once again, just a
little bit of theory I am going to show you a Convolution Kernel
| | 00:44 | and then we'll see how it compares
to the better More Accurate checkbox.
| | 00:48 | I am working inside the test shapes.PSD image which is found
inside, once again, inside the 03 sharpen filters folder.
| | 00:56 | I am going to go up to the Filter menu and I am going to choose
Other and I am going to choose this guy right here, Custom.
| | 01:01 | The Custom filter allows you to multiply the luminance levels
of pixels inside of an image and then add them together
| | 01:08 | or subtract them from each other. Do all this wacky stuff.
| | 01:11 | Here's the idea. It's little hard to understand if you've
never seen it before' which 99% of Photoshop users havent.
| | 01:18 | Basically whats going on is, remember I was telling you that all
of the sharpening filters inside of Photoshop and Gaussian Blur,
| | 01:24 | the Blur filters as well and the Averaging
filters, are actually scrubbing through the image.
| | 01:28 | So you imagine all these little scrubbing bubbles
going through the image and at any nanosecond
| | 01:33 | of time you are evaluating a single pixel inside the image and trying to
decide how to change that pixel or at least that's what Photoshop is doing,
| | 01:41 | its making a decision based on the luminance
level of that pixel and the luminance level
| | 01:45 | of the neighboring pixels on a channel-by-channel basis incidentally.
| | 01:49 | So whats going on inside of this 5x5 grid
is were seeing a grid of 25 pixels.
| | 01:57 | So 5 pixels wide 5 pixels tall, right there in the center that's
that one pixel that's being evaluated at any given nanosecond in time,
| | 02:05 | and right now according to the default settings we are seeing, multiply the
luminance level of that one pixel by 5 and then look at the pixel directly
| | 02:13 | above it and multiply it times -1, so subtract its luminance level and
take the guy directly to the right and subtract him and take the guy below
| | 02:21 | and subtract him and take the guy immediately
to the left and subtract him.
| | 02:24 | So if you do the math here, which is pretty
simple: 5-1-1-1-1, that's 5 minus 4, so that's 1.
| | 02:32 | So in other words we are attempting to maintain a
consistent level of brightness inside of the image.
| | 02:40 | If I were to raise this value to six, so the math
is of, its now 6-1-1-1-1, so 6 minus 4, it gives you 2.
| | 02:48 | We're essentially doubling the brightness of the image.
| | 02:50 | If I were to take this value down to 4, so that the
sum is now 0 instead of 1, we are darkening the image.
| | 02:59 | Don't worry about Scale and Offset. This is just going to multiply the
overall effect and this one is going to add or subtract luminance levels,
| | 03:06 | you typically don't want to work with them, you want to leave them alone.
| | 03:09 | Actually you probably want to give this filter the path in general, but you
can't, there are things you can do with it, you can create these really cool
| | 03:16 | like sort of Color Emboss effects if you want to and you can do
some blurring and you can enter all kinds of values inside
| | 03:22 | of these various option boxes and play it to your hearts content.
| | 03:25 | All you want to make sure, those of you
who are comfortable with arithmetic,
| | 03:28 | you just want to make sure that all your numbers
whether positI've or negatI've they all add up to one.
| | 03:34 | So the end result is one, so I could enter 9 here for example
and then a -1 here and a -1 here and a -1 here and a -1 here
| | 03:44 | and now we have eight -1s, so we have 9
minus 8 and that's going to give us 1.
| | 03:48 | Once again, so we are maintaining a consistent level of brightness.
| | 03:52 | Now when you have a positive value in the middle and negative value
surrounding it, you get a sharpening effect and so the default value,
| | 03:59 | I'll go ahead and press the Alt key or Option key in order
to change the Cancel button to Reset and I'll click on it
| | 04:04 | and that will give us the original values which are 5
surrounded by -1 that gives you the most basic sharpening effect
| | 04:11 | that you can apply essentially inside of this
dialog box, so this is the lowest level sharpening
| | 04:16 | and you can see how Photoshop is going
in there on a really granular basis.
| | 04:21 | This is before and this is after, and applying the
sharpening on a pixel-by-pixel level essentially.
| | 04:26 | So theres no such thing as radius or halos or any
of that stuff, you don't have that kind of control.
| | 04:32 | You are just exaggerating pixel differences.
| | 04:35 | So I'll go ahead and click OK so that we have that saved up
and I'll go ahead and zoom-in, and when I say, "Its saved up,
| | 04:41 | its stored now inside the History palette, so we can come back to it.
| | 04:44 | Then I am going to go to the File menu and I am going to choose
the Revert command so I am bringing back the original version
| | 04:49 | of the image inside History so we can work with a flat file which is
important just because for demonstration proposes I am using a flat file.
| | 04:56 | Later we'll be using layers which is a better way to work.
| | 04:59 | So having reverted the image, now I am going to go up to the Filter menu,
I am going to choose Sharpen and then I am going to choose Smart Sharpen.
| | 05:05 | The idea is, we're going to compare the
effect of the More Accurate checkbox,
| | 05:10 | and this time I am going to change the Amount value
something like 200%. I think it would work better for us.
| | 05:15 | Lets take this Radius value down to 2 pixels, we've got Lens Blur,
now lets turn on More Accurate and you'll see the difference,
| | 05:24 | you might be able to see it there, lets go ahead and zoom-in
a little bit so that you can see it little more closely.
| | 05:29 | So this is what this image looks like without More
Accurate, this is what it looks like with More Accurate.
| | 05:35 | So it's bringing out even more information inside the texture detail.
| | 05:41 | So it's over-highlighting essentially the texture
and it's not doing much to the big details at all.
| | 05:47 | So its highlighting that high-frequency information and ignoring
the low-frequency information that's already been treated
| | 05:53 | by the other values here and as a result we are making this sort of
textury effect look almost leathery inside of this particular image.
| | 06:03 | So I would say with this image More Accurate could
be a good thing if you decide to go there out,
| | 06:08 | because this isn't a portrait shot, it's a
high frequency shot, so that's a good thing.
| | 06:11 | Whenever you want to exaggerate the high-frequency
details, that's when you turn on More Accurate.
| | 06:16 | And well see more examples of this when we take a look at sharpening
details in a later Chapter, but for now there it is, I am going to click OK
| | 06:25 | and just so that we can compare the two effects I am going to
move this guy over a little bit, bring up the History palette
| | 06:30 | and this is what the Custom Convolution Kernel looks like
and this is what the Smart Sharpen effect looks like.
| | 06:37 | So if you were to compare them very closely you would see that
the Custom effect is very detailed, but its also very choppy,
| | 06:45 | we have some razor like lines going on and we have some jagged
transitions as well, whereas Smart Sharpen is a little more rounded,
| | 06:54 | its a little more defused and its ultI'mately a better effect, but again,
More Accurate hails from days of Convolution Kernels because it gives us
| | 07:02 | that control over sharpening the high-frequency
details inside of the image.
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| Using the High Pass filter| 00:00 | Now if you have'nt guessed this already I am fairly obsessed
| | 00:03 | with how the sharpening filters works inside
the Photoshop and this goes way back for me.
| | 00:07 | This obsession goes way back to when I first
start working on the Photoshop Bible back in 1993
| | 00:12 | and I came up with the edge masking back then
which has fairly caught fire over the years.
| | 00:17 | Actually, I will show you how to create an edge mask in the next chapter.
| | 00:20 | But fast forward several years, I had it in my head that Gaussian
Blur was the grand parent of Unsharp Mask and I am guessing that came
| | 00:29 | from some casual comment, an engineer at Adobe made one day.
| | 00:32 | But it lodged itself in my brain and I am sitting there, thinking,
well whats the parent? What is the missing link in between?
| | 00:38 | I came up with using the High Pass command in order to sharpen an image.
| | 00:43 | Wrote it up inside my Photoshop CS 101 book and it's
another one of those things that has become very popular.
| | 00:49 | I am not sure if everybody is getting
that from me because it's very possible
| | 00:52 | people will come up with identical techniques
and develop them independently.
| | 00:57 | I am just telling you the story to make myself
sound more important really, that's basically it.
| | 01:01 | So let me show you how the technique works.
| | 01:03 | Now I have open Happy family.jpeg which is
found inside the 03 Sharpen Filters folder.
| | 01:09 | I am going to go up to the Filter menu and choose
other this time around and choose High Pass.
| | 01:15 | I have assigned this Filter a keyboard shortcut
because I find it so very, very useful for this purpose
| | 01:20 | and of course you can do the same using the Keyboard Shortcuts command
under the Edit menu and that brings up this weird looking filter right here.
| | 01:27 | And it's lot like Emboss in that it takes all of
the non-edges in the image and turns them grey
| | 01:32 | and it only keeps any resemblance of luminance
differentiation in the edge areas.
| | 01:39 | But unlike Emboss, which is a directional effect and kind of
a bad directional effect frankly because of the sharp edges,
| | 01:45 | this one is a very good on the directional
effect, so a very subtle effect.
| | 01:49 | Now what's strange about it, as I said, it has one and only one option
and its the Radius value just like the Radius value that's included along
| | 01:57 | with Unsharp Mask and Gaussian Blur, its another
Gaussian distribution radius and notice though
| | 02:02 | that if I take this value higher that
it seems to produce less of an effect.
| | 02:07 | So we are sending few of the non-edges to grey.
| | 02:09 | Actually we are making the filter work harder, so it's
going to slow down as we increase the Radius value.
| | 02:15 | It just appears to produce a more subtle
effect if you reduce the Radius value,
| | 02:20 | it's going to operate much more quickly, but
it's also going to fairly decimate the image.
| | 02:24 | It's going to send just tons and tons of these non-edges to grey and
just going to keep the edges in a radius of 0.8 pixel in this case.
| | 02:33 | I am going to go ahead and take this Radius value up to 3
pixels for demonstrational purposes here because after all,
| | 02:39 | we know that radius of 3 pixels is a very good radius for
output, tends to be anyway because we know that a Radius value
| | 02:47 | of 3 pixels tends to be very good for high resolution output.
| | 02:50 | So I am going to go ahead and click OK in order to accept that value.
| | 02:54 | Now we need to fade away the grey non-edges and of course we can do that
using the Overlay Blend mode and we will access that blend mode by going
| | 03:02 | up to the Edit menu and choosing Fade High Pass or
pressing Ctrl+Shift+F or Command +Shift+F on the Mac.
| | 03:08 | I am going to change the mode now from Normal
to Overlay and that's all I am going to do.
| | 03:13 | I am not going to change the Opacity value at all at this point
and you can see that we have a nice higher contrast effect.
| | 03:19 | It's not super sharp, but it's slightly sharper than it was before.
| | 03:22 | Now you can choose one of the other contrast
effects if you want to anything
| | 03:27 | between Overlay and Hard Mix will give you an edge contrast effect.
| | 03:30 | So what I am going to do because I am working
here on the PC and the Mode option is sticky,
| | 03:34 | I just going to arrow through them so you can see each one of them.
| | 03:36 | This is Overlay. If you want something more subtle, you would
advance to Soft Light and you can how it drops off ever so slightly.
| | 03:43 | I will go ahead and zoom in so that we can see
this more up close in personal here in the video.
| | 03:47 | So this is the Overlay effect and this is the
Soft Light effect, so it is a subtle difference,
| | 03:52 | but you can see some of the highlights and shadows diminished there.
| | 03:55 | If you want an elevated effect that's slightly bigger than Overlay than you
would go to Hard Light, which is going to give you more sizzling highlights
| | 04:04 | and shadows essentially, but also you are going to have a
higher chance of those highlights and shadows getting clipped.
| | 04:10 | Then if you really want to elevate things you would go to Vivid Light.
| | 04:13 | For example, this is a Vivid Light effect and you
are going to get some crunchy edges going on in here.
| | 04:18 | You can see how this texture in his beard is really showing up
| | 04:22 | and we are having some other weird little details
show up inside of the image, some harsh transitions.
| | 04:28 | If you want to go even farther you go to Linear Light.
| | 04:30 | Now notice with Linear Light you get
an elevated effect over Vivid Light.
| | 04:34 | However, we don't get so much crunchiness,
so we don't get those harsh transitions.
| | 04:39 | They are more smooth, but of course like I say an elevated effect.
| | 04:44 | This is Pin Light which is going to be one of the lesser effects, we
are just keeping the darkest of the darks and lightest of the lights,
| | 04:51 | everything else is completely dropping out with pin light.
| | 04:54 | Then finally, we have got, and this is going
to look terrible, we have got Hard Mix,
| | 04:57 | which just leaves you with a total of eight
colors and that's it inside the document.
| | 05:01 | So a total horrible posterization, however, if you want to work
with it all you need to do is just take the Opacity value down.
| | 05:08 | So notice if I take the value down to about 20, we get a nice
heightened contrast effect that also happens to be very colorful.
| | 05:16 | So it's increasing the saturation of the colors as well.
| | 05:19 | However, what I am going to do for the sake of
demonstrational purpose, so we can see how this command works,
| | 05:24 | I am going to change it to Overlay, which is a when
in doubt contrast blend mode inside of Photoshop.
| | 05:29 | So an opacity of 100%, blend mode Overlay, click OK.
| | 05:33 | Now just to compare this, I want to show
you how it compares to Unsharp Mask,
| | 05:37 | which is its nearest relative because after all, Unsharp is its child.
| | 05:41 | So I going to go ahead and bring up the History
palate, so that we see what is going on.
| | 05:45 | I want to keep this Fade High Pass fade right there.
| | 05:47 | So I am going to once again go to the File menu and choose the
Revert command and again this is just for demonstrational purposes.
| | 05:53 | We will see better ways to work with layers and so on in future chapters.
| | 05:58 | So this is the original unsharpened version of the image.
| | 06:01 | Now I am going to go to the Filter menu
choose Sharpen and choose Unsharp Mask.
| | 06:05 | I am going to apply an Amount value of 100%,
Radius value of 3 pixels, Threshold 0, click OK.
| | 06:12 | So in other words we are matching the Radius value
to the Radius value that we assigned to High Pass.
| | 06:17 | High Pass is analogous just by itself without doing anything.
| | 06:20 | It is analogous to an amount of a 100%.
| | 06:22 | I will go ahead and click OK.
| | 06:24 | Just as we saw in the Gaussian Blur mimics an Amount value of a 100%.
| | 06:28 | So I'll go ahead and click OK.
| | 06:29 | Now lets go and compare this Unsharp Mask
effect with the High Pass effect right there.
| | 06:34 | I want you to keep a now eye on the details
inside of this gentleman eye here.
| | 06:38 | This is the High Pass effect.
| | 06:41 | Notice how the highlights inside of his eye diminished slightly
and the highlights along his teeth diminished slightly as well
| | 06:47 | and we have more detail inside the dark areas of his mouth.
| | 06:51 | Compare that to the elevated highlights
and shadows associated with Unsharp Mask.
| | 06:55 | Another words what we are getting from High Pass
is a more subtle application of Unsharp Mask.
| | 07:00 | The High Pass is very good when combined with Overlay.
| | 07:03 | Its very good about avoiding any clipping to the highlights and shadows.
| | 07:07 | So its actually a better effect, its a more sturdy effect anyway
than Unsharp Mask is and we will see how we can really exploit
| | 07:15 | that in future chapters, but for now I just want you to know that High Pass
is there and available to you, if you would like to take advantage of it.
| | 07:23 | In the next and final exercise we are going to take a look
| | 07:25 | at how can we avoid sharpening color information
inside of an image, using the Luminosity blend mode.
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| Using Luminance Sharpening| 00:00 | In this last exercise I am going to impart a fairly
straightforward technique. Actually, this is very useful.
| | 00:06 | Now you know that as you sharpen an image, you not only sharpen the
good detail, the things like the eyes and the nostrils and the mouth
| | 00:14 | and those sort of facial detail, you also sharpen bad cosmetic
details, such as pores and wrinkles and pimmples and all that stuff.
| | 00:22 | You end up sharpening noise, artifacts or JPEG Compression Artifacts as
well that are part and parcel of the conversion from the analog world
| | 00:31 | to the digital world and then you can also end up and you do actually
end up sharpening arbitrary color differentiation that maybe a function
| | 00:40 | of noise or maybe be a function of misalignment of
luminance information between the various color channels.
| | 00:47 | Now this last item is super easy to correct.
| | 00:50 | And you will hear people say that you should correct it by
converting an image into LAB mode, so I am working right now on RGB.
| | 00:56 | You can convert the image to LAB right here and then you could switch
to the Lightness Channel sharpen, just Lightness Channel independently
| | 01:03 | of all the color information and then convert the image back into RGB.
| | 01:07 | that's one way to work and a lot of people swear by it.
| | 01:09 | Like I have got an e-mail from people, they are just
mad at me, that I am not telling people to do this.
| | 01:13 | The fact of the matter is, its a silly way to work.
| | 01:16 | There is no sense, I love the LAB mode, its an
awesome mode for adjusting colors inside of an image,
| | 01:22 | however its silly to convert to LAB,
sharpen and then convert back to RGB.
| | 01:26 | It's mostly a waste of time, but you can also
introduce some color problems into the image.
| | 01:31 | It can potentially be a destructive conversion and to just
do it for the sake of sharpening is nuts in my opinion.
| | 01:38 | So I will show you a better way to work.
| | 01:39 | We will just stick inside RGB.
| | 01:42 | I am looking at this image.
| | 01:43 | Its called Sammy Shake.jpeg that's found of
course inside of the O3 Sharpen Filters folder.
| | 01:49 | And I bring this image up because its so rife with noise.
| | 01:52 | I am going to sharpen it, not the way I would really sharpen it.
| | 01:54 | I am just going to sharpen it using Unsharp
Mask just because it is the simplest approach.
| | 01:58 | So I'll go to the Filter menu, choose Sharpen and choose the Unsharp
Mask Command and I am going to do something else I wouldnt normally do.
| | 02:05 | I am going to take the Amount value up to the maximum 500%, so
we can see all the horribleness that this is going to create here.
| | 02:12 | And I will go ahead and click OK in order to accept these settings and
notice that the Radius value is set to 3-Pixels, Threshold to Zero.
| | 02:19 | So I'll go ahead and click OK to accept that.
| | 02:21 | Now I am going to zoom in and in addition notice that in addition
to sharpening things like Sammy's eye and all this good detail,
| | 02:29 | once again like his eyelashes and so on, we are just bringing
to life all these weird color problems that we didn't see before.
| | 02:35 | So this is the before version of the image.
| | 02:37 | Looks like his skin is fairly homogeneous and his eye is
fairly evenly white and then if I go ahead and redo the filter,
| | 02:45 | you will see that all these colors are coming to life.
| | 02:47 | We have got blues and pinks and yellows inside the eye.
| | 02:50 | We have got all the kinds of colors like lavender and a sort
of lilac I guess and these weird greens inside of the skin
| | 02:56 | and that's because the noise is not evenly
distributed inside of the various color channels.
| | 03:02 | So the noise might pop up in one place inside the red channel and
different place in the green channel, different place in the blue channel
| | 03:07 | and because sharpening like all filtering effects and basically its
just about every effect inside the Photoshop is applied on a channel
| | 03:13 | by channel basis, so each channel is sharpened independently.
| | 03:17 | We are basically exaggerating the differences
between neighboring pixels inside the color channels
| | 03:23 | and thereby were bringing out all these weird colors.
| | 03:27 | Well, the way you get rid of them, very simple is to go up
to the Edit menu and choose the Fade Unsharp Mask command.
| | 03:34 | Now if we are working with layers or we are working with say Smart Filters
then we could do this from the Layers palette but since we were flat
| | 03:42 | as we explore these filters in this chapter,
I am going to choose the Fade command.
| | 03:47 | Then all I need to do is switch the mode from Normal to
Luminosity, that's all there is to it and if I was working
| | 03:53 | with layers I would still switch the Blend Mode
to Luminosity and notice what happens is as soon
| | 03:58 | as I choose Luminosity all those weird colors go away just like that.
| | 04:04 | So this is before I have turned off the Preview
check box, so we can see the before version.
| | 04:07 | Lots of color weirdness, this is after all that stuff totally goes
away and to replace by the colors we saw when we first open this image.
| | 04:16 | So its another one of those perceptual items here.
| | 04:19 | Then because I have gone too far with this
sharpening effect as we can well see here.
| | 04:25 | I would go ahead and reduce the Opacity value to something like, lets
say 50%, its more sane. Its still a little bit of over sharpening,
| | 04:32 | but its more saying than a 100% and then I will go
ahead and click OK in order to accept that modification.
| | 04:38 | So this is the overly sharp version of the image with a bunch of
whacky colors inside of it and this is the after blending version
| | 04:47 | and all I did was applied the Luminosity blend
mode and of course rein in the Opacity value.
| | 04:52 | In the next chapter, we are going to look at
what I am calling the sharpening support staff,
| | 04:56 | which includes the smoothing filters the noise reduction
filters and Smart Objects and Smart Filters as well.
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|
|
4. The Sharpening Support StaffSmoothing filters, smart objects, and masks| 00:00 | Filters like Smart Sharpen and High Pass are just
one half of the sharpening equation; without them,
| | 00:05 | you would not be able to get much sharpening done, but with
only them you would not be able to do the job very well,
| | 00:11 | which is where the sharpening support staff comes in.
| | 00:14 | Filters like Median, Surface Blur and Reduce Noise which
allow you to smooth over digital noise, film grain,
| | 00:20 | and other non edges before you hit an image with a Sharpen filter.
| | 00:24 | Smart Objects, which lets you apply both Smoothing and Sharpening filters
non-destructively, and Filter Masks which allow you to isolate edges
| | 00:31 | and non edges to zero in on the exact
portion of the image you want to modify.
| | 00:36 | Of all these features, the one that's going to make the
biggest difference in terms of how you work is Smart Objects.
| | 00:42 | Thanks to Smart Objects you can apply one or more filters,
edit them, assign an edge mask, change the blend settings,
| | 00:49 | and even turn the filters on and off and
change the order in which they are applied.
| | 00:53 | But Smart Objects are a little strange; they prohibit you from
editing pixels directly, all the filters have to share a common mask,
| | 01:00 | you can't change the results of a filter, you can't desaturate
the effects of High Pass, for example, and then apply
| | 01:07 | that to the original image, and they can be tragically slow.
| | 01:10 | I will show you have to work around these issues and
you and Smart Objects will be best of buds in the end.
| | 01:16 | But like any friends, Smart Objects have their baggage.
| | 01:19 | The trick is to give back as good as you get.
| | 01:22 | Here, let me show you.
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| Using the Median filter and Dust and Scratches| 00:00 | In this exercise we are going to talk about some very
basic but useful functions that allow you to average
| | 00:06 | and smooth away noise and other bad details inside of an image.
| | 00:12 | Now these are the most primitive filters that you
can work with, but it turns out they can be useful.
| | 00:17 | So I want you to get a sense of what you have
available to you in your filtering arsenal.
| | 00:21 | So I am going to start things out, working in that same image that
we saw in the previous chapter; this one is called Sammy shake.jpeg.
| | 00:27 | It's a picture of my youngest, Sammy, and it has got a little
bit of camera shake going on and he is moving as well
| | 00:34 | and it's a long shutter speed of course with out a flash.
| | 00:37 | So that's why we have got some motion blur going on here.
| | 00:40 | And this image is found inside the 03_sharpen_filters folder.
| | 00:43 | So even though we are in Chapter 4,
go to the 03 folder to find this one.
| | 00:47 | I am going to go up to the Filter menu and I am going to choose this
command right there, Noise, which presents you with a series of filters
| | 00:56 | that either allow you to add Noise to
an image, which is what Add Noise does.
| | 01:00 | You can kind of get a little bit of a grunge effect if you
want to. Well that's kind of an old school way to use Add Noise.
| | 01:05 | These days people primarily use it to try to match digital noise.
| | 01:08 | So if you have two different images that you are
trying to merge together and one has more noise
| | 01:12 | than the other then you then use
Add Noise in order to match the noise.
| | 01:15 | You can also use Add Noise in areas that you've smoothed over with
the Smudge tool or the Blur tool or something along those lines.
| | 01:22 | You can add the noise back in if you use the Liquify filter.
| | 01:26 | That can end up getting rid of noise inside of
an image, including overly smooth transitions,
| | 01:31 | and you can re-invoke the noise
using the Add Noise command.
| | 01:34 | We are going to focus on the tools, however, that allow you
to get rid of noise, starting with the most essential tool
| | 01:42 | of them all, which is the Median command right here.
| | 01:44 | Notice that I have given it a keyboard shortcut, once again
using the Keyboard Shortcuts command under the Edit menu.
| | 01:49 | And this command strictly averages neighboring pixels.
| | 01:53 | So again it's going through and scrubbing with the scrubbing bubbles;
it's going through and scrubbing the image one pixel at a time,
| | 01:59 | nanoseconds by nanoseconds. It's averaging whole groups
of pixels inside that bubble according to your Radius values.
| | 02:07 | So the higher Radius values will give you more averaging inside the
image and more smoothing as well and more or of a porcelain effect.
| | 02:15 | So notice I am taking the Radius value up one pixel at a time
here by pressing the Up arrow key as I am talking to you,
| | 02:21 | and I have now got the Radius value up to 10
pixels and we get a very smooth effect indeed here.
| | 02:27 | I will go ahead and click OK in order to accept that modification.
| | 02:31 | And then just to give you a sense of how this command reacts with
something like sharpening, I'll go to the Filter menu, choose Sharpen
| | 02:38 | and choose the Smart Sharpen command and then we will
go ahead and apply a pretty heavy pass of sharpen.
| | 02:44 | Lets make no bones about it here.
| | 02:46 | I will raise the Amount value to 500% and the
Radius value, lets take it up to 4 pixels.
| | 02:51 | We are removing Lens Blur inside of this image, leave More
Accurate turned off for this specific effect right here.
| | 02:57 | And I will go ahead and click OK and you can see that we
now have this plastic wrapped boy effect at this point.
| | 03:05 | We do have a fair amount of color artifacting going on.
| | 03:08 | You can see these wild color rainbows going
along his ear and inside of his eyes as well.
| | 03:13 | And if you want to get rid of that, then you would just go up to the Edit
menu choose Fade Smart Sharpen; just like we saw in the previous chapter
| | 03:21 | and you would go ahead and change the blend mode to Luminosity in order
to blend the new sharpening effect with the old color information.
| | 03:29 | Then you would click OK, so in other words we are keeping
the sharpened luminance information and we're blending it
| | 03:35 | with the unsharpened color information
and we get this effect right here.
| | 03:39 | So it's not the least bit- I would not say
this is an effect for the sake of realism.
| | 03:44 | It is not a realistic effect at all, but it just gives
you a sense how the tools work and I will show you how
| | 03:50 | to make realistic use of the Median
function in a future exercise.
| | 03:54 | Alright so that is Median.
| | 03:56 | I want to compare it to another function very
briefly here, that's under that same submenu.
| | 04:02 | So lets go ahead here inside the History palette and lets restore
the original version of Sammy by clicking on Open and then I am going
| | 04:11 | to go ahead and close History for a moment, so
that we can see that what we are doing again.
| | 04:14 | I am going to go to the Filter menu.
| | 04:16 | I am going to choose Noise and I am going to choose the command that
is almost exactly the same as Median, which is Dust & Scratches.
| | 04:22 | Now as I would like to say Dust & Scratches is useful for neither.
| | 04:26 | It's no good for removing dust, it's no good for removing scratches;
in fact it's really good at leaving behind dust and scratches
| | 04:33 | because what it does is it medians, it applies to the Median
command, so it averages pixels that are very different
| | 04:40 | from each other while leaving pixels that are very close to each
other, in terms of luminance information, the same as they were before.
| | 04:47 | So it averages the image, it averages most of the
information in the image while leaving the noise behind.
| | 04:52 | So let me show you what I am talking about.
| | 04:54 | I am going to go ahead and choose the command and lets go ahead and
take that Radius value, which is just right out of the Median Ccommand.
| | 05:00 | We will take it up to 10 pixels just like before.
| | 05:03 | If I was to compare that with the effects of
applying Median with 10 pixels, it would be identical.
| | 05:08 | You would see the exact same effect on the screen here.
| | 05:11 | The difference is when we start raising the Threshold value.
| | 05:14 | So I am going to take this Threshold value up and
again I am raising it by pressing the Up arrow key
| | 05:19 | and as I raise this Threshold value we are starting
to bring back the noise inside of the image.
| | 05:25 | Do you see that? I am going to go ahead
and zoom in on this image a little bit,
| | 05:28 | o that we can see it in more detail here
on screen, inside the video that is.
| | 05:34 | And the higher I take this Threshold value
the more of the noise I bring back.
| | 05:38 | So with a Threshold of 17 luminance levels, I am
saying go ahead and average any pixels that are
| | 05:46 | at least 15 luminance levels different
from their immediate neighbors.
| | 05:50 | If they are not at least 15 luminance
levels different, don't average them.
| | 05:55 | So in another words average the big differences inside the image,
but don't average the small differences; leave the noise behind.
| | 06:02 | Now that may seem like a really strange thing to do.
| | 06:05 | Certainly for sharpening purposes it's not the effect
we want, it is the opposite of the effect we want.
| | 06:10 | The reason Dust & Scratches exists and the reason it can be useful
is because it allows you to basically smooth over image details inside
| | 06:18 | of an image, especially if you want to paint them back in.
| | 06:21 | If I was to take this on to an independent layer and then
paint some of these details away so that they become smoother.
| | 06:29 | But if I wanted to leave that natural organic digital noise behind, the noise
that was captured by the digital camera, then I would use this command.
| | 06:35 | And I actually have an example of this
inside of my Photoshop CS3 One-on-One series.
| | 06:41 | You can check out a way to make great
use of the Dust & Scratches function.
| | 06:45 | I am not going to show you that here though, instead we are going to
focus on things that help us sharpen and Dust & Scratches ain't it.
| | 06:50 | What we need is something that allows you to blur away either average away
or blur away the noise inside of the image and leave the good detail behind
| | 07:00 | and we are going to see examples of such
functions in the very next exercise.
| | Collapse this transcript |
| Using Smart Blur and Surface Blur| 00:00 | OK, so as you may recall the Median filter averages pixels inside of
an image in order to create a heightened smoothing effect essentially
| | 00:09 | and it is little bit of overkill, but
you can mitigate that as you will see.
| | 00:12 | Then the Dust & Scratches filter will go ahead and average the
high contrast areas while leaving the low contrast areas alone.
| | 00:21 | So it leaves the film grain and the digital noise, it leaves that
stuff alone, while it gets rid of the details inside the image.
| | 00:26 | We need something that is the opposite of Dust & Scratches where
sharpening is concerned. If we are preparing the image for sharpening,
| | 00:33 | we need to get rid of the low contract stuff, smooth
it away, and leave the high contrast stuff intact.
| | 00:40 | And there are examples of filters like that, it is just not obvious.
| | 00:42 | I am going to go ahead and cancel out of Dust & Scratches
here. I am still working inside the Sammy shake.jpeg image.
| | 00:48 | That is found inside the 03 Sharpen Filters Folder, because it
is an image that we worked with in the last chapter as well.
| | 00:54 | I am going to go up to the Filter menu and I am
going to choose Blur and I am going to choose one
| | 00:59 | of my least favorite commands in Photoshop, which is Smart Blur.
| | 01:03 | The reason I do not like it- Now it does do what I just told you,
OK. It smoothes away the low contrast details such as film grain
| | 01:10 | and such as digital noise and it leaves the high contrast
details, the really good details inside the image alone.
| | 01:16 | So that is good. The way it works is just nuts.
| | 01:20 | So I am going to go ahead and choose the command.
| | 01:22 | First of all, you can not preview the effect in a larger image
window, which basically reduces its utility by a factor of twenty.
| | 01:30 | I swear, because it is just not very helpful.
| | 01:32 | You have to look at this tiny preview, this
reduced size preview inside the dialog box.
| | 01:36 | So I am going to drag it over a little bit.
| | 01:38 | So that we can see Sammy's eye right there and you can see what it is
doing. With a Radius value of 12 and a Threshold of 12, it is going through
| | 01:45 | and averaging the information inside of the image and it is
leaving- basically what it is doing, with this Threshold value,
| | 01:53 | it is saying that any 2 pixels that are 12 luminance levels or
less different from each other, go ahead and smooth those away
| | 02:01 | and any 2 neighboring pixels that are 12 luminance levels or
more different from each other, leave those differences intact.
| | 02:09 | So that is what we want and this is an averaging filter, by the way,
even though it is located under the Blur menu, it is an averaging filter.
| | 02:16 | So it really belongs under the Noise menu.
| | 02:18 | Now you can fool around with those if you want
to, but for this image, I am going to go ahead
| | 02:22 | and use 12 and 12, which are the last settings that I applied.
| | 02:25 | They are not the default settings.
| | 02:26 | You can switch this mode to these other bizarre
settings here; like Edge Only will do that
| | 02:31 | and then you have Overlay Edge which mixes the two together.
| | 02:34 | I will go ahead and set this back to Normal.
| | 02:36 | Now High Quality, which is not the default
setting, Low Quality is the default setting,
| | 02:40 | my tests show that High Quality actually delivers the least
desirable results and it takes the most time to pull off.
| | 02:47 | Low Quality is faster and gives you smoother results.
| | 02:49 | So I am going to stick with Low Quality
and then I am going to click OK.
| | 02:53 | So now you can get good results out of that
filter; it is not that the filter is inherently bad.
| | 02:58 | What it does is not necessarily bad, just
the way it is implemented is crazy.
| | 03:02 | But notice it did a good thing to our image. It went ahead smoothed away
all of the noise inside of the image and it left behind the good details.
| | 03:12 | So if I were to follow this up with a Smart Sharpen by going up to the
Filter menu and choosing Sharpen and choosing Smart Sharpen right here,
| | 03:19 | we would actually get potentially a half way decent result.
| | 03:22 | Now right now I have the Amount value cranked way too high.
| | 03:25 | So I am going to go ahead and take that value down to lets say 200%,
things are going to look better and then I will click OK in order to accept
| | 03:32 | that modification and then I might follow it up once again.
| | 03:36 | I will press Ctrl+Shift+F or Command+Shift+F on the Mac to bring up the
Fade command. I will change the mode to Luminosity in order to get rid
| | 03:43 | of any of the weird color stuff that I was bringing out and I probably
reduce the Opacity value as well to something like 50% and then click OK.
| | 03:51 | So given that I really have not done anything selective
to this image, I just went ahead and accepted the results
| | 03:56 | of the Smart Blur Filter, which is
not really so smart as we just saw.
| | 04:01 | Then I accepted the result of the Smart Sharpen Filter,
this is not a bad effect. It's not great, but it is not bad.
| | 04:06 | Alright so let us go back, let me show you
a better command I think for this purpose.
| | 04:10 | I am going to go back to History and click on Open to restore the original
version of this image and then I am going to go to the Filter menu,
| | 04:17 | I am going to choose Blur and
I am going to choose Surface Blur.
| | 04:20 | Now the reason I am showing you this filter
second, because it is the better of the two.
| | 04:24 | It previews the image in the background, it
does all the stuff we would expect from it,
| | 04:29 | but it is a blurring function,
it is not an averaging function.
| | 04:32 | So it is actually based on Gaussian Blur once again.
| | 04:35 | Instead of averaging neighboring pixels, it is blurring them.
| | 04:38 | So I will go ahead and choose Surface Blur and once again, it is
saying, go ahead and apply Gaussian Blur with this Radius value here,
| | 04:45 | ten pixels in my case because that is what
I have entered, to any transitions that are
| | 04:51 | in this case 8 luminance levels or less different from each other.
| | 04:54 | If they are 8 luminance levels or more
different from each other then do not blur.
| | 04:59 | So once again it is the opposite of Dust & Scratches,
except it is applying Gaussian Blur instead of Median.
| | 05:04 | If you still feel like it is doing too much damage, you
might take that Threshold value down a couple of clicks
| | 05:10 | and I am going to take it down to about 5 luminance levels here.
| | 05:13 | So a Radius value of 10, Threshold of 5; that is still some pretty major
blurring for this image, but I think it is going to work out pretty well.
| | 05:20 | I can preview the effect in the background and it is a simple filter
and it has got a bigger preview. It is a much better function in general.
| | 05:26 | I will go ahead and click OK and then I might as well
go ahead and follow it up with some Smart Sharpen.
| | 05:31 | Go to the Sharpen Menu, choose the Smart Sharpen command
and I will apply those exact same settings as we saw before.
| | 05:38 | So an Amount value of 200, Radius value of 4, Remove Lens Blur. Lets
go ahead and click OK in order to accept that modification and this,
| | 05:45 | of all the effects I have shown you so
far, I think this is the most successful.
| | 05:49 | So just for the sake of comparison, I will go ahead and press the
F12 key, which reverts the image to its original appearance on disk.
| | 05:55 | So this is the unsharpened version of Sammy, with all of its noise and
blurry details intact and this, if I press Ctrl+Z or Command+Z on the Mac,
| | 06:04 | this is the sharpened version, thanks to a combination
of Surface Blur and Smart Sharpen here inside Photoshop.
| | Collapse this transcript |
| Using the Despeckle filter| 00:00 | Alright gang, in this exercise, I am going to show you the Despeckle
filter and it is here under the Filter menu. You go to Noise submenu
| | 00:08 | and it is this guy right there, Despeckle. And notice
that it does not have a dot, dot, dot afterward.
| | 00:13 | So it's not going to bring up a dialog box, it's not going to ask you
to adjust any settings, it is just going to do its thing and move on.
| | 00:18 | It is what I call a single shot filter.
| | 00:21 | And the thing that it does is it looks for and
locates single pixel variations inside of an image
| | 00:26 | and it effectively eradicates them, it
averages those single pixel variations away.
| | 00:31 | Now back in old days, you would see people demonstrate
Despeckle as being useful for getting rid of say razor stubble,
| | 00:38 | but that was back in the days when
an average image measured 640x480.
| | 00:43 | So something like razor stubble would actually
only take up a single pixel inside an image.
| | 00:48 | These days something as tiny as razor stubble will take
up multiple pixels and so Despeckle is no good for it.
| | 00:55 | What Despeckle is good for is removing digital noise, once again. And
that's because digital noise comprises random single pixel variations.
| | 01:05 | So lets check it out, here I am working
still inside the Sammy shake.jpg file,
| | 01:09 | found inside you may recall the 03_Sharpen_
Filters folder even though we are in Chapter 4.
| | 01:14 | And I am going to zoom way in on one of the details inside of this image.
| | 01:18 | Lets take in the iris and with any luck you are going to be able to make
out here inside the video, in addition to what looked like these sort
| | 01:25 | of Japanese characters, these really cool, sort
of hieroglyphics in his eyes here, which are made
| | 01:30 | up of these motion trails basically, these highlight motion trails.
| | 01:34 | You can hopefully see in the video
barring severe compression artifacts,
| | 01:38 | you should be able to make out that we have a lot
of pixel roughness going on inside of the iris.
| | 01:45 | If we go up to the Filter menu and choose Noise and choose Despeckle,
you are going to see a lot of those pixel variations go away
| | 01:53 | and get averaged away. But notice right here, we are still ending up with
some pretty jarring transitions right along the edge because these details,
| | 02:02 | which are sensibly part of the eyelashes and so
on, these details are made up of multiple pixels.
| | 02:08 | So anytime you have got two or more pixels combining to make up the
detail inside the image, Despeckle will bypass those variations.
| | 02:15 | So let us just to get rid of single pixel variations. This
is before, and you can see how a lot of these teeny-tiny ends
| | 02:23 | of these hieroglyphic characters in his eyes how they are
made up of single pixels. This is after they get blurred away.
| | 02:29 | Now what you typically want to do, if you are trying to get rid
of digital noise in the file and usually I only whip out Despeckle
| | 02:37 | if I have got some severe noise going, then you
probably want to run the Despeckle filter more than once.
| | 02:43 | You might want to run it twice, three times,
even four times. What we are going to do inside
| | 02:47 | of this image is we are going to run it four times in a row.
| | 02:49 | So I already ran it one time, we can repeat
the filter, you may know this, by pressing Ctrl+F
| | 02:54 | or Command+F on the Mac for Filter, three times in a row.
| | 02:58 | One, two, three and each time we are blurring
away more and more of the single pixel variations
| | 03:05 | and things are getting very blurry indeed wherever we had
groups of pixels clustered together to make up the detail,
| | 03:11 | then the Despeckle filter gave it the
slip and allowed that detail to stand.
| | 03:16 | So lets go ahead and zoom out. That means the sharpest details, the
most focused details inside the image remain intact and as we zoom
| | 03:25 | out you are not going to see too much difference
between the original Sammy and despeckled Sammy.
| | 03:31 | For example, I am going to go up to the History palette here
and this is the way - I'll go ahead and click on the Open state
| | 03:36 | so we can see the original version of the image. It looks slightly
sharper on-screen. Let me go and zoom the image into the 100% zoom size.
| | 03:43 | So this is the original image, this is
the four times, the 4X despeckled image.
| | 03:49 | So slightly different but not nearly as different as it would be if
we were to apply the Median command with say a Radius value of 2.
| | 03:57 | So its a very slight modifier, the Despeckle command is.
| | 04:01 | Alright, so here is what I am going to do.
| | 04:03 | I am going to go ahead and lets say we want to sharpen
this image and I want to do a comparative sharpening.
| | 04:10 | So I am going to show you something. Since we are working with the flat
file here, this is a little trick I can do, I am going to press Ctrl+A,
| | 04:16 | Ctrl+C in order to select the entire image and then copy it to the
clipboard. That's Command+A, Command+C on the Mac and then I am going
| | 04:25 | to go back to the original state of the image, the Open state,
so that I have the despeckled state copied to the clipboard.
| | 04:31 | Notice that History did not keep track of the Copy command.
| | 04:35 | It kept track at the fact that I did a Ctrl+A or Command+A to select the
entire canvas but it did not keep track of copy. That means when I go back
| | 04:43 | into the original Open state, I did not undo the
copy, the copy is still sitting in the clipboard.
| | 04:48 | So Photoshop behaves differently than other applications. If
I were to pull that undo trick inside of a different program,
| | 04:53 | it would undo the copying to the clipboard but Photoshop
doesn't. So that's a cool thing actually because watch.
| | 04:58 | I am going to go ahead for the sake of comparison,
I want to show you the sharpened version
| | 05:02 | and the original image compared to a sharpened
version of the despeckled image.
| | 05:05 | So I am going to go up the Filter menu, choose Sharpen, this is
the original image we are looking at, and choose Smart Sharpen
| | 05:11 | and we'll just go with the same settings we have been applying.
| | 05:14 | An Amount value of 200%, a Radius value of 4
pixels, and Lens Blur, Remove set to Lens Blur.
| | 05:18 | Notice that More Accurate is turned off.
| | 05:20 | I want you to know because I am going to
turn it on in just a moment. So click OK.
| | 05:24 | So that's a sharpened version of the original.
| | 05:27 | Now then I am going to press Ctrl+V or Command+V on the
Mac to paste the despeckled version on an independent layer.
| | 05:35 | Notice that if I go to the Layers palette, there he is on an
independent layer. Lets call him despeckled because that's what he is
| | 05:41 | and he is not wearing spectacles either- so he is also despectacled.
| | 05:45 | Now I will go ahead and hide the Layers palette. Moving right
along, of course, I will hide the Layers palette, press Ctrl+Alt+F
| | 05:51 | or Command+Option+F in order to bring up the Smart
Sharpen dialog box. I like the settings with one exception.
| | 05:56 | Because I did so much despeckling, he is just coated
in this protective layer, think of it that way,
| | 06:03 | that will survive the application of More Accurate.
| | 06:06 | So when I am sharpening on top of Despeckle, especially this many
Despeckle's in a row, I will sometimes go ahead and apply More Accurate.
| | 06:15 | Even though I told you don't do that with
portrait shots, well this is an exception.
| | 06:18 | So I am going to go ahead and turn on More Accurate and notice now I am
going to go ahead and click and hold- this is before and this is after.
| | 06:25 | If I zoom in, click on it- this is before and this is after- notice
we have these little tiny bumps. It's almost like those little bumps
| | 06:33 | on a basketball. That's kind of what we have woven in to the fabric of the
image right now and I'll click OK in order to accept that modification.
| | 06:42 | Now I just want to show you the difference between a sharpened version
of the original, which is this right here, this is the sharpened original.
| | 06:49 | Lets go and zoom in a little bit, so that we can see, actually
the nose is one of my favorite parts of this image.
| | 06:54 | Notice how painterly it looks. Once again, when we
sharpen the original image and this is what it looks
| | 06:59 | like when we have sharpened the despeckled version of the image.
| | 07:02 | So we have little more rounding going on, a little more smoothing,
also these interesting bumps that are being created by the interaction
| | 07:11 | of Despeckle along with More Accurate and
it gets even better, I am going to show you.
| | 07:15 | Watch what happens if you press Ctrl+F or Command+F on the
Mac to reapply Smart Sharpen with More Accurate turned on.
| | 07:22 | We are going to get this kind of
halftone effect right here. Pretty nifty.
| | 07:26 | If you are going for a special effect of course.
This would not be just standard photographic print,
| | 07:31 | but if you wanted to have this little bit pointilization actually
then you could go with this effect right here and it's different.
| | 07:39 | There is a Pointilize filter inside of Photoshop but
this is a different effect that we are seeing right now.
| | 07:44 | So anyway pretty interesting stuff I think.
| | 07:46 | Now we have seen a lot of interesting ways to work with this image.
| | 07:50 | I am going to just go ahead and undo that pointilization effect, so that we
back to a more reasonable sharpening effect, where this image is concerned.
| | 07:58 | We've seen a lot of different ways to approach this image
to get rid of some of the noise inside of the image.
| | 08:04 | In the next exercise, I am going to show
you how I would really approach this image.
| | 08:08 | We have done so many different things to it.
| | 08:09 | I will show you the best way to fix the focus problems
that are associated with this image. Coming right up.
| | Collapse this transcript |
| Softening flesh tones selectively| 00:00 | In this exercise, as promised, I am going to show you how I would
really approach this image. What I think is the best approach
| | 00:06 | to this specific photograph in terms of both smoothing and sharpening,
and we are going to see a few different techniques along the way.
| | 00:12 | We are going to actually use Motion Blur to correct some of the
skin stuff that is going on because he is in motion after all.
| | 00:20 | Because we have a motion blur going on inside the photograph, we can
use Motion Blur to correct the image to serve as a smoothing agent
| | 00:27 | and we are going to see a few other tricks along the way as well.
| | 00:30 | So the first thing that I am going to do, of course, I am going to
make sure that I have Sammy shake.jpg open. That is found, of course,
| | 00:35 | inside the 03_sharpen_filters folder and I am going to select
the skin tones inside of the face using the Color Range command.
| | 00:43 | So I am going to go up to the Select menu
and I am going to choose Color Range.
| | 00:47 | If you are not familiar with Color Range, its basically an enhanced
version of the Magic Wand; I would like to call the Magic Wand on steroids.
| | 00:54 | If you would like to learn more about it,
if you have never seen the command before,
| | 00:56 | you can check out my Photoshop CS3 Channels & Mask series.
| | 01:00 | There is a chapter called Color Range and Quick
Mask that tells you how to use this useful command.
| | 01:05 | I am just going to click inside of the face somewhere with this
eye-dropper. Notice that and then I am just going to kind of Shift-drag
| | 01:12 | around a little bit inside of the skin tones and I am going to
Shift-click inside of this little preview here to select this little bit
| | 01:19 | of gray that's going along the right side of his
eye- actually this would be his left eye of course.
| | 01:25 | That's basically the mask you want to be looking at.
| | 01:28 | So that all of the white areas, by the
way, inside of this mask representation
| | 01:32 | of the image represent areas that
will be selected in just a moment.
| | 01:36 | I have my Fuzziness value set to 40 and I am going
to go ahead and click OK to accept that selection.
| | 01:42 | And then I am going to press Ctrl+H or Command+H on the Mac in order to
hide the selection outline so that the image is still selected of course.
| | 01:48 | Now then, as I say, because he is in motion and he has got all of
these little sort of motion trails inside of his skin and if you zoom
| | 01:57 | in like check out this area above what is his right eye, you can see
the repetition of these lines right here, as if he has got some sort
| | 02:06 | of proto-gills built into his flesh that will allow
him to breathe under water through his eye flesh.
| | 02:13 | That's what that looks like to me.
| | 02:14 | What it really is, I believe, is the repetition of these weird
artifacts inside of his flesh tones and they are getting repeated
| | 02:23 | because the camera is basically catching this
information multiple times as he and I are in motion.
| | 02:31 | Alright, so I am going to go ahead and
smoothen it out using a Motion Blur.
| | 02:34 | So I am going to go up to this Filter
menu, choose Blur and choose Motion Blur.
| | 02:39 | These are the settings that I am
going to apply: an Angle of 40 degrees.
| | 02:43 | You may recall from the previous chapter, we are using 40 degrees
in order to correct this image with Smart Sharpen and with Emboss.
| | 02:49 | So I am going to stick with that 40 degree value and a Distance
of ten pixels worked pretty well for this image actually.
| | 02:56 | You can fool around with that if you like. I could go higher actually.
| | 02:59 | I'll take it to 12 this time around.
| | 03:00 | What the heck, as this is not really going
to make all of that much difference.
| | 03:03 | Then I'll click OK in order to accept that modification.
| | 03:06 | Now we need to reverse the effect.
| | 03:08 | If we were just to sit here and sharpen what we have now, we
would end up accentuating the difference between the smooth area
| | 03:16 | that doesn't have any film grain inside of it whatsoever anymore
| | 03:19 | and these areas here, that we're not
smoothing, that still have film grain.
| | 03:24 | By film grain, of course, I mean noise.
| | 03:26 | This is not a film image; that would be digital noise.
| | 03:29 | So anyway, we need to reconcile that noise
inside the de-selected portions of the image.
| | 03:32 | So we are going to go up to the Select menu and
choose Inverse in order to reverse the selections.
| | 03:38 | So we are selecting the de-selected areas,
and de-selecting the selected areas.
| | 03:41 | So there we go.
| | 03:42 | Press Ctrl+H or Command+H, again, to hide the selection
outline just because they kind of get in your face.
| | 03:47 | I am going to go to Filter menu, choose Blur
and choose Surface Blur this time around.
| | 03:53 | And these are the settings I want to use:
Radius of ten and- actually you know what?
| | 03:57 | We just raised Motion Blur so lets raise
this guy, so we have a Radius of 12.
| | 04:01 | Even though the Gaussian Blur that's used by Surface Blur and the Motion
Blur, their Radius values are not really identical to each other.
| | 04:07 | They are completely different operations but what the heck, might
as well match them. And then I have got a Threshold of 12 in order
| | 04:14 | to protect the actual good detail inside of the selection,
in the eyes and the nostril and the mouth and so on.
| | 04:19 | Then I am going to go ahead and click OK in order to accept that
modification and now I am going to press Ctrl+D or Command+D on the Mac
| | 04:27 | to de-select the image so nothing is selected at this point. And I
might as well, just to make sure we have some halfway decent transitions
| | 04:34 | because we are beginning to get a little
choppy inside of this image as you can see.
| | 04:38 | So to settle down the transitions a little bit, I am going to go
up to the Filter menu and I am going to select Noise and I am going
| | 04:46 | to select this guy right there, Despeckle, and it's just to add a little bit
of despeckling, just one hit of despeckling to the image and that's it.
| | 04:54 | Alright, now it looks like we've over-blurred the image and were I going to
screen, I probably would have over-blurred the image by this point in time.
| | 05:02 | I am assuming that I am going to print with this image.
| | 05:04 | You will see if you press Ctrl+Alt+I or Command
Option+I to bring up the Image Size command,
| | 05:09 | you will see that the document size is
5 by 7 by a resolution of 300 pixels per inch.
| | 05:14 | So this is a high resolution print.
| | 05:16 | So I am going to go ahead and cancel out.
| | 05:18 | So in another words, a lot of this stuff is
going to resolve itself away as you'll see.
| | 05:22 | Alright, now lets go ahead and bring up the Layers palette here and I am
going to press Ctrl+Alt+J or Command+Option+J in order to jump this layer
| | 05:31 | and lets call this one Emboss because that's what its going to be.
| | 05:33 | We are going to use the Emboss filter to sharpen this image.
| | 05:36 | Now I am going to go up to the Filter menu, choose Stylize and choose
Emboss and I have already got the last settings loaded that I have applied
| | 05:45 | in the previous chapter, which were an aAngle value of 40
degrees, a Height value of 5 and an Amount value of 200%.
| | 05:51 | I am going to stick with those values, click OK
to accept that version of the Emboss setting.
| | 05:56 | Then I am going to go up to this Blend Mode option here in the
Layers palette, in the upper left corner of the Layers palette,
| | 06:03 | and because we are working with layers, we do not have
to resort to the Fade command as we have in the past.
| | 06:07 | So I am going to go up here and apply the Overlay blend mode.
| | 06:11 | Now that's going to get rid of the grey but it's going
to leave all these weird color transitions behind.
| | 06:17 | So we need to get rid of those with an
application of the Luminosity blend mode.
| | 06:20 | But we can't heap two blend modes on to a single layer.
| | 06:23 | So heres what we have to do instead.
| | 06:24 | I am going to combine these layers, these two layers right here, into
a third layer by pressing- and this is really the best way to do it.
| | 06:31 | You can go up to the Layer menu.
| | 06:34 | You can press and hold the Alt key or the Option key in the
Mac, and go to the Layer menu and then choose Merge Visible.
| | 06:42 | That will work. And that will deliver a third layer,
notice that. But the best way to work, I swear to you,
| | 06:47 | if you can just remember this keyboard shortcut because we are
going to come back to it multiple times here throughout this series,
| | 06:52 | Ctrl+Shift+Alt+E, that's Command Shift+Option+E on the Mac.
| | 06:57 | So its just mash your fist down on the E key
and the E key is the second letter in merge.
| | 07:02 | So its E for merge. That's sort of a standard keyboard shortcut
inside of Photoshop. But you just mash your whole fist down with E
| | 07:09 | and you get this layer that is a copy of
the visible merge stuff inside of the image.
| | 07:16 | Now lets turn off Emboss. Very important that you have turned
off the Emboss layer; you can even throw it away if you want to.
| | 07:21 | I am going to call this new layer Sharpened like so and
then I am going to change its blend mode to Luminosity.
| | 07:28 | Watch the weird little color stuff that is going inside the image.
| | 07:32 | As soon as I choose Luminosity, it goes away.
| | 07:34 | So we will go ahead and zoom in on that nose once again.
| | 07:37 | This was before with the weird color artifacting and this is after
applying the Luminosity blend mode that color artifacting goes away.
| | 07:45 | Alright, lets zoom out just a little bit.
| | 07:47 | Now it looks a little weird, it looks a little
bit too porcelain as you may notice here. And to me,
| | 07:52 | it looks a little too sharp like I have gone a
little over board with the sharpening effect.
| | 07:56 | So I am going to reduce the Opacity value
to something like, lets say about 70%.
| | 08:02 | I could do that just by pressing the 7 key as well if I
wanted to, but I am going to go ahead do it with the slider.
| | 08:07 | Alright, so that looks a little better to me. And lets go ahead and
flatten this image just that we are merging all of the layers together.
| | 08:12 | I would naturally, of course, go ahead and save off my layers as a PSD file
because I wouldn't want to just throw away all of the work that I have done.
| | 08:20 | But for the sake of demonstration here, I am just going
to flatten the image and it's going to ask me if I want
| | 08:24 | to discard hidden layers, which would be the Emboss layer.
| | 08:27 | Do I just want to get rid of that one? Yes, click
OK and so we have just sandwiched the entire thing.
| | 08:31 | I am going to Shift+Tab away those palettes
and I am going to zoom out a little bit.
| | 08:36 | Now in order to really get a sense of what this image is
going to look like when we print it, we need to downsample it
| | 08:41 | and this is just a preview of what the image
is going to look like when we print it.
| | 08:44 | And of course, you could also print it if you want
to. You could print a copy to see what it looks like
| | 08:47 | but here is how to soft proof it as it were on screen.
| | 08:50 | I am going to go up to the Image menu, choose the
Image Size command, we saw this few chapters ago.
| | 08:55 | I am going to go ahead and make sure Resample image is turned
on, set to Bicubic (best for smooth gradients), which is
| | 09:00 | of course not true at all; its best for just about all images.
| | 09:03 | I am going to change the Resolution to 117 pixels per inch.
| | 09:07 | Remember that's my little conceit here that I am working
| | 09:10 | on a 17 inch MacBook Pro screen, even though I most
obviously am not since I am working with Windows Vista.
| | 09:15 | So resolution of a 117 pixels per inch, click OK and now lets
zoom in on the image so we are seeing it at the 100% zoom ratio.
| | 09:23 | It looks pretty darn good.
| | 09:25 | Now I might do a little bit of work on the mouth,
I might have actually erased away the sharpening
| | 09:29 | where the mouth is concerned because the
mouth is kind of in strange shape here.
| | 09:33 | So the most motion is happening around this area right here.
| | 09:36 | I suspect there is a little bit of a
radial movement between Sammy and I.
| | 09:40 | It helps to think, where my son is concerned here, think of him as
a combination between Michael Cera, that actor who was in Superbad
| | 09:48 | and Arrested Development, and imagine him
mixed with Alfred E. Neuman of Mad magazine.
| | 09:53 | that's what we have here. I think it helps to
make more sense of this particular pose of Sammy,
| | 09:57 | he doesn't normally look like that but in this picture he does.
| | 10:00 | You will be glad to know in the next exercise,
we are shifting away from this image.
| | 10:04 | We are going to take a look at a totally
different image and I am going to show you the best
| | 10:08 | of the noise removal functions inside of
Photoshop, which is the Reduce Noise command.
| | 10:13 | Stay tuned!
| | Collapse this transcript |
| Using the Reduce Noise filter| 00:00 | In this exercise, we are going to take a look at the best and the newest
of the noise reduction functions inside the Photoshop, known appropriately
| | 00:07 | as the Reduce Noise Filter and we're going to be trying
this filter out on a more moderately-noised photograph.
| | 00:15 | This image exhibits the kind of noise that
you are likely to run into on a regular basis.
| | 00:19 | So it also happens to be a professional quality
image shot by a professional photographer,
| | 00:24 | the Quebec-based Pascal Genest, once again of iStockphoto.com.
| | 00:29 | I am calling this image Unguarded moment.jpg because she
seems to be regarding us in an unguarded moment here.
| | 00:36 | I am not sure exactly what she is saying, whether she loves us or
she is breaking up with us. Something very deep is going on here.
| | 00:42 | This image is found inside of the 04 Support Staff folder.
| | 00:45 | Now as I say, it does exhibit noise.
There is noise inside of this photograph.
| | 00:50 | When we are zoomed up this far up to 25%,
we are not going to really see it.
| | 00:54 | If I start zooming-in we will begin to see more of the skin details
inside of this image, which could use a little bit of retouching here
| | 01:02 | and there, although this woman is obviously fairly beautiful.
| | 01:05 | But where we have the noise is down here in the shadow detail.
| | 01:09 | We are not going to really see it very well here inside the video, but I am
going to zoom-in on the right side of her neck next to her collarbone here,
| | 01:17 | and this is where a lot of the noise is
residing down here in this particular shadow.
| | 01:22 | The reason that you typically see noise in shadows or
at least you are more likely to see noise in shadows
| | 01:28 | than anywhere else inside of a digital photograph in particular.
| | 01:31 | It's because the shadow region is compressed inside of a digital
photograph, and as soon as you start drawing out this shadow,
| | 01:38 | as soon as you start lightning the image,
you are increasing the natural discrepancies
| | 01:43 | between the neighboring pixels and
you are drawing forth that noise.
| | 01:47 | You are exaggerating it effectively.
| | 01:49 | Now because we are not seeing the noise
very well on screen here inside the video,
| | 01:53 | I am going to exaggerate it even further
by applying the Smart Sharpen filter.
| | 01:57 | So I am going to go up to the Filter menu, choose
Sharpen and choose Smart Sharpen right here,
| | 02:02 | and I am going to go ahead and apply some crazy settings.
| | 02:05 | Lets raise the Amount value to 500%, I am going to leave the
Radius set to 4 pixels, Remove set to Lens Blur, this is all good.
| | 02:12 | I am going to leave More Accurate turned off; I am not that
crazy. We're not going to turn that on for a portrait shot.
| | 02:17 | Then I am going to click OK in order to accept this modification,
and you should now be able to see lots of noise inside
| | 02:25 | of this shadow region here, including a lot of color noise as well.
| | 02:29 | You can see how that's percolating to the top.
| | 02:31 | Alright, so lets go ahead and zoom-out just a little
bit here so that we can take in more of the image.
| | 02:36 | You can also see how this sharpening effect is
fairly detrimental to the image in general.
| | 02:40 | We are drawing out all kinds of weird surface details inside of the
image, we are drawing out a lot of weird color artifacting as well.
| | 02:48 | We are going to take care of that in advance, by first applying the
Reduce Noise filter and then coming in with Smart Sharpen afterward.
| | 02:56 | Alright, so I am going to go up here to the History palette, and I
just want you to see that were going to keep that Smart Sharpen state,
| | 03:01 | so we can go back and compare it later to the
better version of the image that's in store for us.
| | 03:07 | So I am going to press F12 in order to invoke the Revert function
and then Revert is added as a history state to the History palette
| | 03:14 | so that we can come back to Smart Sharpen as I say.
| | 03:16 | Alright, so I just want you to see that
once again, so there is no confusion.
| | 03:19 | Now lets go ahead and apply Reduce Noise.
| | 03:21 | Now you get to Reduce Noise by going up to Filter menu,
choosing Noise and choosing the Reduce Noise command.
| | 03:27 | I have once again given this command a keyboard shortcut
via the Keyboard Shortcut command under the Edit menu.
| | 03:33 | The keyboard shortcut that I use for what its worth is Shift+F9, and
that brings up the fairly whopping Reduce Noise dialog box right here.
| | 03:40 | Now were seeing the default settings inside of this dialog box.
| | 03:43 | Notice that we have four numerical options and then we also have Remove
JPEG Artifact and we have the Basic and Advanced options right here
| | 03:50 | which aren't quite as bad as they are with Smart Sharpen.
| | 03:53 | They still do abide if you switch from Advanced back to Basic.
| | 03:57 | The reason that I don't consider them to be quite as
bad is because you are rarely going to go to Advanced.
| | 04:01 | The only reason to go to Advanced is if you want independent
control of your smoothing on a channel-by-channel basis.
| | 04:07 | So you want to apply additional smoothing to one of
the channels inside the image, one or more channels.
| | 04:13 | You can choose the channels right here, Red,
Green, Blue, and then apply a Strength setting
| | 04:16 | and you'll also have the Preserve Details option
available to you which is currently dimmed.
| | 04:20 | You have to have some sort of Strength assigned
before Preserve Details will become available.
| | 04:25 | Anywa, we are not going to apply that right
now. We are just going to go back to Basic.
| | 04:28 | We also have the ability to save off the settings, but as I told you with
Smart Sharpen, the way that this is implemented right now is just crazy.
| | 04:35 | Basically, even though you have saved up your settings, every time you'll
apply new settings, those old settings get overwritten and it's just pure
| | 04:42 | and total chaos. It doesn't do me any good whatsoever.
| | 04:44 | So I suggest you just ignore the top portion of the dialog
box with the exception of the OK and Cancel buttons,
| | 04:49 | and you pay attention to these numerical values write down here.
| | 04:52 | Now Strength determines the degree to which you are
smoothing over the luminance values inside the image.
| | 04:59 | So that is the lightness values as opposed to the color values.
| | 05:04 | You can crank this guy as high as ten, and that
will give you the maximum amount of noise removal,
| | 05:10 | or you can also take it down. If you want less
noise removal, you can it down to a lower setting.
| | 05:15 | I am going to suggest that most of the time you want to accept
the default setting of six or you want to go higher with it.
| | 05:21 | I frequently max out this filter in order to get rid of
the noise and I am going to go ahead and scroll down to
| | 05:26 | that shadow region here just so that we can keep an eye on it.
| | 05:29 | Again, its going to be a little hard
to keep track of inside the video.
| | 05:32 | But I'll just tell you what's going on.
| | 05:34 | So far Photoshop has pretty much nailed it. By applying a Strength value
of 10, I pretty much smoothed over all of the noise inside of the shadows.
| | 05:44 | Now Preserve Details tries to bring back the edges, that is the
areas of highest contrast, tries to protect them from the Strength value.
| | 05:54 | So the higher you go with Preserved Details, the more edges you are going
to protec. The lower you go, the fewer edges you are going to protect
| | 06:00 | and the more you are going to reduce noise inside the image.
| | 06:03 | Reduce Color Noise allows you to specifically address
color variations between neighboring pixels as opposed
| | 06:10 | to luminance variations that are addressed by Strength.
| | 06:13 | So that takes care of the color right there.
| | 06:15 | Then Sharpen Details will apply sharpening inside
of this dialog box after these values are finished.
| | 06:22 | Now I am going to tell you that I want you to reduce this
value right here to 0% on a regular basis. When in doubt,
| | 06:28 | set it to 0 because you are better off following up the
application of Reduce Noise with a sharpening filter
| | 06:35 | that gives you a lot more control than
a single sharpening slider right here.
| | 06:39 | If you were to follow this up and you already had some
sharpening that you'd applied down here with this option,
| | 06:45 | then you would basically apply two sharpens in a row which is
definitely not something I am going to recommend in this case.
| | 06:51 | Then finally you have this Remove JPEG Artifact checkbox.
| | 06:55 | If your image was saved with a heavy amount of JPEG compression, that is a
low-quality setting, then you might start seeing little squares forming,
| | 07:05 | 8x8 pixel squares forming inside the image or you might
see some vertical lines or some horizontal lines at work.
| | 07:12 | If so, you can get rid of those to a certain extent
by turning on the Remove JPEG Artifact checkbox.
| | 07:18 | Now we don't need that for this image, we just need to
focus on Strength, Preserve Details and Reduce Color Noise
| | 07:23 | and we're going to do exactly that in the next exercise.
| | Collapse this transcript |
| Combining smoothing and sharpening| 00:00 | Alright kids, we are taking up where we left off in last exercise,
so I am still at work inside the Unguarded moment.jpg file
| | 00:07 | and all I have really done so far in a way of actual practical
application of the tools is to go ahead and choose the Reduce Noise command
| | 00:14 | under the Noise submenu, which is under the Filter menu, and
I have brought up the Reduce Noise dialog box of course.
| | 00:20 | Now I have gone ahead and reduced the Sharpen Details value to 0%, which
is what I recommend you do for any and all images that you encounter.
| | 00:28 | Because I prefer to apply my sharpening using Smart Sharpen or
one of the other tools after I apply the Reduce Noise command
| | 00:35 | because it gives me more control and
I suggest you do the same, of course.
| | 00:39 | Now in this case, it's hard to see inside of the video and it's even
subtle on screen but we have managed to get rid of the noise inside
| | 00:48 | of the shadow detail and currently we are looking at the
right side of this woman's neck, right above her collarbone.
| | 00:54 | So right in this area would be her jugular presumably. Just to
give you a sense of where we are geographically inside the image.
| | 01:01 | Alright, so just in case you can see this,
let's go and zoom in just little bit more,
| | 01:06 | we are going to have less context but
we will be able to see whats going on.
| | 01:08 | If I click and drag this image, you can see the original noise.
| | 01:11 | If I release, you can see the noise dissipate.
| | 01:13 | It's very subtle but given that we need to
sharpen the image and we saw how bad it gets
| | 01:18 | after we sharpen the image, we do need to first reduce the noise.
| | 01:22 | Alright, so I am going to go ahead and
take the Strength value down a little bit.
| | 01:27 | What I typically do, by the way, is I go ahead and reduce
Preserve Details down to 0% just while I am working,
| | 01:33 | while I am trying to figure out what the best settings are.
| | 01:34 | I take down the Reduce Color Noise value to 0% as well
and then I fool around with the Strength value until I see
| | 01:42 | that noise more or less go away inside of the image.
| | 01:44 | It's about at a Strength value of eight that I
see this noise go away and get smoothed over.
| | 01:50 | Now if you look closely, you can still see color noise
inside the image that is random variations and color values.
| | 01:57 | So I am going to have to increase
the Reduce Color Noise value as well.
| | 02:01 | And this one is measured as a percentage. So it goes
from 0% to 100% whereas Strength just goes from 0 to 10.
| | 02:08 | And I am going to go ahead and take this Reduce Color Noise
value up to 45% where this image is concerned and of course,
| | 02:14 | this is a subjective, a purely subjective evaluation.
| | 02:17 | I am just looking at what I can see on screen
and trying to make a decision based on it.
| | 02:22 | But I tend to actually keep the Reduce Color Noise
value some place between 25% and 60%, but that's just kind
| | 02:28 | of this vague guideline that I found for myself over time here.
| | 02:32 | I am also going to take this Preserve Details
value up to about 20% for this particular image.
| | 02:38 | Now I tend to go low on Preserve Details because I would rather go a
little too strong with this filter than too weak with it. Because really,
| | 02:47 | if you start raising this value up too high and you take the Strength value
too low, you are not going to do much in a way of any good for your image.
| | 02:54 | It might be good enough for screen work but
for print, it's barely even going to resolve.
| | 02:57 | So I tend to go little strong with these values.
| | 03:00 | So as I say, I am taking Strength up to 8 and I
am taking Preserve Detail down to 20 and that's it.
| | 03:06 | 8, 20, 45, and 0, leave Remove JPEG Artifact
turned off for this particular image
| | 03:12 | because it doesn't have a problem with
JPEG compression and I will click OK.
| | 03:16 | Even though it a JPEG image, by the way,
it's a high quality JPEG image.
| | 03:19 | So there is not much in the way
of JPEG artifacts at work here.
| | 03:22 | I'll go ahead and click OK in order to accept that modification and the
filter is not a super fast filter so it does take a few moments to apply.
| | 03:32 | So you just have to wait have for this spinning beach ball on the Mac
or that's spinning blue thing on Windows Vista anyway to disappear.
| | 03:38 | It's not going to look all that different;
this is the before view of the image.
| | 03:41 | So lets go and zoom in on her eye. That's where
we are likely to see the biggest difference.
| | 03:45 | This is the before version of the image
and this is the after version of the image.
| | 03:49 | So a little bit of softening going on, but not nearly as big
of an effect as we saw with the Median command, for example,
| | 03:56 | and a more likely degree of effect that we'd see
with Despeckle but its a very different effect.
| | 04:02 | It is a much more disciplined effect that's being applied.
| | 04:05 | Alright, so now that we have done that you may
recall in the previous exercise in History palette,
| | 04:09 | we made sure that we kept the Smart Sharpen state, which is the
sharpened version of the original image without any noise reduction.
| | 04:16 | Now lets go ahead and apply Smart Sharpen
to the reduced noise version of the image.
| | 04:20 | I am going to go up to the Filter menu
and choose the Smart Sharpen command.
| | 04:23 | I am going to go ahead and accept those exact
same settings that we have applied before.
| | 04:27 | So there is over the top Amount value of 500%, a Radius
of 4.0 and so on, click OK in order to accept that.
| | 04:33 | The reason I am doing this over the top version of the Smart
Sharpen filter, it's just so that we are comparing apples
| | 04:39 | to apples. Just so that you can see the difference here.
| | 04:41 | This is Smart Sharpen after reduce noise and
this is Smart Sharpen by itself, right there.
| | 04:46 | Big difference as you can see. Tons more color artifacts going on
and more artifacts in general, a lot of luminance artifacts as well.
| | 04:54 | So this is the much smoother Smart Sharpen version.
| | 04:58 | Lets go ahead and zoom out here so
that we can take in more of her face.
| | 05:01 | Now she is over-sharpened at this point. I would
not really apply this much sharpening to this image.
| | 05:06 | But just so you can see it, it's downright subtle compared to the previous
effect, to Smart Sharpen by itself. So this is Smart Sharpen by itself.
| | 05:13 | We have got all of these almost like flakes of snow on her at this point
and we have all of these purple artifacts that are showing up in her hair.
| | 05:21 | We could get rid of those, of course, by applying the
Luminosity blend mode in order to settle that stuff down
| | 05:26 | but we would still have way too much sharpening
going on and way too many artifacts being drawn out.
| | 05:31 | And especially, check out this shadow detail, this is different.
| | 05:35 | This is the Smart Sharpened shadow detail by itself and this is the shadow
detail subject to noise reduction and then Smart Sharpen on top of it.
| | 05:44 | Now we are still seeing too many noise artifacts
and that's because we went crazy with Smart Sharpen.
| | 05:49 | Now that I have gone ahead and compared the two variations on
Smart Sharpen, let's apply a more normal amount of sharpening.
| | 05:57 | I am going to go ahead and click
on Reduce Noise to back up to it.
| | 06:00 | Then I am going to press Ctrl+Alt+F or Command+Option+F on
the Mac in order to re-invoke the Smart Sharpen filter here.
| | 06:06 | I am going to reduce that Amount value to 200%, which is still a
high value, but it's a more normal value for this image and actually
| | 06:14 | would be well suited if we are going to output with this image.
| | 06:17 | It's a good amount of sharpening.
| | 06:19 | She is going to look a little crunchy on screen here.
| | 06:21 | Lets actually even take her higher, 250%.
| | 06:24 | So that's going to keep her good and crunchy on screen
but its going to look great in print as I'll show you.
| | 06:28 | So anyway, an Amount value 250%, a Radius of 4.0, click OK.
| | 06:33 | Of course, we would go ahead follow that up with
an application of the Luminosity blend mode.
| | 06:37 | So lets go ahead and hide the History
palette, so we can see what we are doing.
| | 06:40 | Even though we are not necessarily noticing an awful lot of color
artifacting that's happening inside the image, it is still there.
| | 06:47 | And it's always worth, if we are working with a flat effect, going up to
the Edit menu and choosing the Fade Command or if we're working with a layer,
| | 06:54 | go ahead and apply the Luminosity blend mode directly to the layer.
| | 06:57 | But either way you need to apply that Luminosity blend mode.
| | 07:00 | So I am going to go ahead and choose the Fade command.
| | 07:02 | Go to Mode, set it to Luminosity.
| | 07:04 | It's going to settle down the effect and then click OK. And you are
probably going to notice the most in the eyes and her hair as well.
| | 07:12 | This is the final sharpened version of this image and just to
test it out, to make sure that its going to look good in print,
| | 07:18 | what I would suggest you do is go ahead and image size it down,
just temporarily, of course, just to soft proof it on screen
| | 07:24 | to your screen resolution which you measured back in Chapter 1.
| | 07:27 | So I am going to press Ctrl+Alt+I or Command+Option+I on the Mac.
| | 07:30 | Notice that I have got it set to 8 inches wide by 12 inches tall.
| | 07:34 | This is the native resolution, by the way, for
the digital camera that captured this image.
| | 07:38 | The resolution happens to be 292 when the
width is 8 and the height is 12 inches.
| | 07:43 | I am going to go ahead and click on Resample Image and I am going
to reduce that resolution down to 117, which is my conceit, right?
| | 07:50 | That's what I am pretending my screen resolution is for the purposes
of this series. And then I am going to click OK in order to accept
| | 07:57 | that modification and now lets just go ahead and zoom in on the image and
this is the final version of the image. It's going to pop off the page.
| | 08:04 | We could have probably stood to apply even
a little more sharpening than this frankly.
| | 08:08 | We do have a little bit of noise that's surviving down here
in the shadow detail but its going to resolve out very,
| | 08:14 | very nicely in print. A beautifully sharpened image.
| | 08:17 | Thanks to the combination of Reduce Noise
and Smart Sharpen here inside Photoshop.
| | Collapse this transcript |
| Making an image into a smart object| 00:00 | Now that we have seen the first half of the sharpening support
staff, namely the smoothing filters such as Median and Surface Blur
| | 00:07 | and Reduce Noise and the rest, we are going to visit the second half of the
support staff which includes things like Smart Objects and Smart Filters
| | 00:13 | and other non destructive ways to apply filters as well as ways
to apply filter selectively including edge mask and non-edge masks.
| | 00:21 | We are going to start things off with Smart Objects and we are
going to use this guy right here as our guinea pig, as it were,
| | 00:29 | even though he is a very large guinea pig, of course,
| | 00:32 | The name of this image Shaggy behemoth.jpg found inside
04_support_staff folder, and this image comes to us from me.
| | 00:39 | I actually shot it out of the window of my car as we
were driving through the Black Hills of South Dakota.
| | 00:45 | We were surrounded by these animals, must have been a
couple of hundred of them and they were on the road as well.
| | 00:50 | These are all very exciting because couple
of the bulls were fighting each other.
| | 00:53 | I could have reached down and touched them, if I
was like Mr. Fantastic, if I had really long arms,
| | 00:57 | but instead I decided to capture a few
photographs and this is one of them.
| | 01:01 | Now this image is cropped and I shot it with a Leica Deluxe 3, which is
a 7 mega pixel camera, something like that, but I cropped this down to
| | 01:09 | about a 5 mega pixel image, and if I press Ctrl+Alt+I or
Command+Option+I in a Mac, I can bring up the Image Size command.
| | 01:15 | You can see that the image measures 11 inches wide,
8.5 inches tall, and 240 pixels per inch.
| | 01:20 | Obviously, I spent a fair amount of time getting those
exact measurements there, but I did not resample the images.
| | 01:25 | Strictly cropping. I did a little bit of fixing
to the luminance levels but that's about it.
| | 01:31 | Very little work done to this image.
| | 01:32 | So I will go ahead and cancel out here.
And yeah, the image is actually in poor shape.
| | 01:38 | Now you will see what I mean in just a
moment, but we will start with the focus.
| | 01:41 | Notice that the foreground grass down here at the bottom of
the image, that's in focus and the background grass over here,
| | 01:47 | that's in focus as well, but somehow
the animal seems to be a little soft.
| | 01:50 | Well, he can't be, obviously if the foreground and background
are in focus, he is in the middle of that depth of field.
| | 01:55 | This is a flat depth of field.
| | 01:56 | So he is by definition in focus as well.
| | 01:59 | It just that it's fur does not render out very well
inside of this photograph, and we will bring it out.
| | 02:04 | We are going to make to this guy look
super sharp by the time we are done.
| | 02:06 | But in the mean time, he is in kind of rough shape. You
are going to see it better, if I go ahead and sharpen it.
| | 02:12 | So lets go up to the Filter menu and notice that
Smart Sharpen, that's the last command, I applied.
| | 02:16 | So I might as well just go ahead and press
Ctrl+Alt+F or Command+Option+F on the Mac.
| | 02:20 | And each of the settings, I am going to
apply for demonstrational purposes.
| | 02:23 | I am going to turn around and undo it in just a moment.
| | 02:25 | So we are going work with an Amount value of 350%, a very high Amount
value, and a Radius of 4.0 of pixels. Lens Blur is our Remove setting.
| | 02:32 | More Accurate is turned off, because he is essentially
a portrait shot. Even though he is an animal,
| | 02:36 | this is essentially a portrait shot,
because it's a low frequency image.
| | 02:39 | We have smooth contours that work inside the image, not a
lot of rapid transitions from one luminance level to another.
| | 02:46 | So we want to keep More Accurate off.
| | 02:48 | I will go ahead and click OK in order to accept that modification but
even though we have given a fairly reasonable sharpening settings, I mean,
| | 02:55 | high because the Amount value is 350% but 4.0 pixels and Lens Blur, that
works out pretty well for print purposes, especially given our resolution.
| | 03:03 | And check it out, it's done some pretty big damage to this creature. If I
zoom in here, actually I'll zoom in a click farther, this is the animal's eye
| | 03:13 | and you can see over here to the left of the eye, the
horizontal lines sort of running through that are coursing
| | 03:18 | through the shadow detail inside the image. And this is not JPEG
compression artifacts or anything like that, this is camera artifacting.
| | 03:25 | This is something that the camera has delivered to us, for
whatever reason. Could be the function of the camera model,
| | 03:31 | it could be the function of my camera, it could be a function
of the shot, that it did not have a lot of detail to work with,
| | 03:36 | it did not have a lot of detail inside the shadows to work with.
| | 03:39 | It could be for a variety of reasons, but whatever the reason, it is
showing up inside of this image and it is something we have to deal with.
| | 03:45 | I will go ahead and zoom out and you can see that
there are some color blotching going on as well.
| | 03:49 | If you look closely, right around this area here, there is a
sort of burgundy pattern going on whereas out in this region
| | 03:56 | we have some fairly continuous orange and brown details going.
| | 04:01 | We do see smattering of green color artifacting that
showing up as the result of a Smart Sharpen filter
| | 04:07 | but this burgundy is in the image even when it's not sharp.
| | 04:10 | You can see it, you can make it out on screen, on your screen, if
you open up the image, even if you have not sharpened the details.
| | 04:16 | We have got some issues to deal with,
is basically where it comes down to.
| | 04:19 | What I am going to do, just to clear the slate here, I am going press
the F12 key or I could choose the Revert command under the File menu,
| | 04:25 | in order to restore the original version,
the saved version of the image.
| | 04:29 | So far, we have been applying filters destructively, that is to flat
versions of the image, and I have only been doing that because I wanted
| | 04:37 | to just focus in on, pardon the pun, I wanted to focus in on the
filters without a lot of other falderal to sort of confuse the issue.
| | 04:44 | Now that we know the filters, we need to begin to work
non-destructively because that's by far the better way to work.
| | 04:49 | There are a couple of different ways to work non-destructively.
| | 04:52 | One is to pop the image on to a new layer, to jump it to
a new layer, apply your settings to that duplicate image
| | 04:57 | and then you have got the underlying original to blend
with, if you so desire. But it is also a safety measure
| | 05:03 | so that underlying original is there,
in case you need to go back to it.
| | 05:07 | In a case of the flat file like this one, that ends up doubling the size of
the image in memory and it increases the size of the file on disk as well.
| | 05:14 | The better way to work, if you can work this way, is to put the
onus on Photoshop to do the work for you without a lot of overhead
| | 05:22 | and that means converting the image to a Smart
Object and then applying Smart Filters to it.
| | 05:27 | You can convert multilayered image to a Smart Object or
you can convert a flat image to a Smart Object, either way.
| | 05:33 | A Smart Object is basically a file inside of a file
and you will see what that means in just a moment.
| | 05:39 | Alright, so I have got the layer selected, the
Background layer selected here inside the Layers palette,
| | 05:43 | I will go ahead and make the palette a little
wider, so we can see the work background there.
| | 05:46 | Then I going to go up to the Filter menu.
There are two ways to make a Smart Object.
| | 05:49 | One is to go the Filter menu and choose Convert for Smart
Filters, and that will bring up a little warning message
| | 05:54 | and it will tell you you are about to make a Smart Object.
| | 05:56 | The other way to work, and I think the better way to work long term here,
especially if you have got multiple layers that you are trying to combine
| | 06:03 | into a single Smart Object, the better to work is to grab your layers
and that means clicking on one, Shift-clicking on the other one,
| | 06:09 | in order to select a range of layers, for example. In our case,
we have just got one and then you go to the Layers palette menu,
| | 06:15 | and you would choose Convert to Smart Object. I have got the keyboard
short cut assigned, Ctrl+, or Command+, on the Mac and you can do
| | 06:21 | that as well by going to the Keyboard Shortcuts command under the Edit
menu, locating the Palette menus and then locating in that long list
| | 06:28 | of Palette menus, you have to find the Layers palette, and then you
will find Convert to Smart Object and give it a keyboard shortcut.
| | 06:33 | I am going to go ahead and choose this command in order to convert the
background into a independent floating layer. That is now a Smart Object
| | 06:39 | and you can tell the Smart Object through the link icon in the bottom of
the thumbnail, that shows you that the image is basically embedded inside
| | 06:47 | of itself which is kind of strange concept but that's what going on.
| | 06:50 | What that means is- lets go ahead and name this guy, lets call it Bison. And
what that means is you do not have direct access to the pixels anymore,
| | 06:58 | so if you go to your editing and painting tools right
here, like you want to heal the image, for example,
| | 07:03 | you want to get the Healing Brush
and start working on it, you cannot.
| | 07:05 | You will get a little ghostbusters icon, because
you do not have direct access to the pixels.
| | 07:09 | If you want to get direct access to the pixels, you have to
double click on the thumbnail, like so. I'll go and double click,
| | 07:15 | you will get this warning that will tell you,
"hey, here is how to work with the Smart Object".
| | 07:20 | But I am going to show you that, so you can ignore
it and actually you can safely go ahead and click on
| | 07:23 | Do not show again so you are not bothered
by this dialog box over and over again.
| | 07:27 | Then click OK and then you will be inside of the original version
of the image. Notice it has a background layer, once again,
| | 07:34 | so its a flat file that, as I am telling you,
is embedded in the larger composition now.
| | 07:40 | You can see right here that I can use
the Healing Brush on it if I want to.
| | 07:43 | So I am just increasing my brush size so we can see what I am
talking about. There it is, I could paint all I want to.
| | 07:48 | Once I get done, I would just go ahead and close the
image. So you can close the image, any way you want to,
| | 07:53 | and go up to the File menu and chose the Close command.
| | 07:56 | If I had any changes, Photoshop would ask me if I
would like to save those changes, by which if I were
| | 08:02 | to click the Save button, I would be saving the image to memory.
| | 08:05 | I would be saving this version of the image into the larger composition.
| | 08:09 | I would not be saving it to the disk.
| | 08:11 | But I did not make any changes, so I am just going to go
ahead and chose Close and it is not going to give me warning,
| | 08:16 | it is just going to return me to what
I am calling the larger composition.
| | 08:19 | Now at this point, lets say I want to save whatever I have done so far. I
would press Ctrl+S or Command+S on the Mac and Photoshop is going to say,
| | 08:27 | "Hey buddy boy," Photoshop likes to call me buddy boy.
| | 08:30 | "By the way, you cannot save. This is now a layer
composition with a Smart Object in it, smart guy.'
| | 08:36 | 'You cannot save it to the JPEG format,
you have got to save it to the PSD format."
| | 08:39 | So I am going to go ahead and call this one Shaggy Smart Object.
| | 08:44 | I will save it along for you so that you can open up in the next
exercise if you want to, and then I will click on the Save button.
| | 08:49 | I make sure that the Layers check box is on and these guys are turned
on as well. As a copy should be turned off and then you click
| | 08:55 | on the Save button in order to save your layer composition.
| | 08:58 | I am going to turn off Maximize compatibility, because I am only using
this image inside of Photoshop, otherwise it is going grow unnecessarily.
| | 09:05 | And then I would click OK in order to save that Smart Object
version of the bovine creature right here, of the bison.
| | 09:13 | Alright, that's it.
| | 09:14 | We have now made a Smart Object. That is a first step
to gaining access to the non-destructive Smart Filters,
| | 09:19 | which is what we will begin to apply in the next exercise.
| | Collapse this transcript |
| Applying editable smart filters| 00:00 | If you were with me in the precious exercise then
you witnessed me turn a bison into a Smart Object
| | 00:06 | and if you are working along with me, you did the very same.
| | 00:08 | If you like to catch up by the way with where I am at, then you can open
this image, its called the Shaggy smart object.PSD and its found inside
| | 00:16 | of the 04_support staff folder. And we have this Smart
Object thumbnail here inside the Layers palette.
| | 00:23 | Now I am going to go ahead and sharpen the creature. That's
how we are going to start things off and we are going
| | 00:27 | to apply a non destructive Smart Filter. The way
you do that, you just make sure that you are working
| | 00:33 | with a Smart Object, that's step 1, we already did that.
| | 00:36 | Now you go up to the Filter menu and you just choose the filter.
| | 00:39 | Now you will notice that most of these top filters are not
available to you, just the Filter Fallery is available to you
| | 00:45 | if you are working in a RGB image. Not available in CMYK or any
other modes and then we have all these filters are available, again
| | 00:53 | assuming that you are working in the RGB mode, except for, if you go
the blur menu, you will see Lens Blur is mysteriously not available
| | 01:01 | to you because it is too complicated, as I understand.
| | 01:04 | There's a couple of other filters that are misplaced in another submenu
that are also available to you and I will go ahead and show you them.
| | 01:10 | They are under the Image menu, you go to Adjustments and you can
see Shadow/Highlight is available as a non-destructive Smart Filter
| | 01:17 | and so is the Variations command, also available to you.
| | 01:20 | Well anyway, what we are going to apply, of course, we want to
apply a sharpening function and it is going to be Smart Sharpen,
| | 01:26 | so we can just run Control+Alt+F, so that's what I am going to do here.
| | 01:29 | I will press Control+Alt+F or Command+Option+F on the Mac. Brings up the
Smart Sharpen dialog box and these are the settings I want to apply.
| | 01:37 | Amount value 350%, a Radius value of 4.0 pixels, Remove
set to Lens Blur, More Accurate turned off, end of story.
| | 01:44 | Really that's it.
| | 01:45 | You can check out the preview if you want to. Otherwise
just go ahead and click OK, and that's all it is to it,
| | 01:50 | because I am working with a Smart Object, Photoshop knows that
I want to apply a non-destructive Smart Filter and there it is.
| | 01:56 | Also we have a couple of things going on. If you take a close look at
the Layers palette here, we have got this item that says Smart Filter,
| | 02:02 | so this is sort of the heading for all of your Smart Filters
that are contained underneath, they are inset underneath.
| | 02:08 | And then we have got what's called the filter mask
that affects all of the Smart Filters in kind.
| | 02:14 | So you can't assign different mask for different filters.
| | 02:16 | If you want to do that, you have to create a nested Smart Object.
| | 02:20 | I will show you how to do that actually in a future exercise,
but for now just notice that you have got this filter mask.
| | 02:26 | Now if you don't intend to use the filter mask, you
can just go ahead and throw it away because it kind
| | 02:30 | of clutters up the palette, and that's what I am going to do.
| | 02:32 | I am going to grab it and I am going to drag it
down to the trash can and that throws it away.
| | 02:36 | Now you can always bring it back later. Notice how things
are much tidier now inside the Layers palette and sometimes
| | 02:41 | it is useful to be tidy because otherwise when you start working
in big layer compositions, you start taking up the entire height
| | 02:46 | to the Layers palette, and it's is nice to be able to
see more than the just a handful layers at a time.
| | 02:51 | If you want to bring that filter mask back at any point
in time, you don't click on here on this little guy.
| | 02:56 | That creates a layer mask, you can make
it create a filter mask for you.
| | 03:00 | So instead what you have to do is you right-click on
the word Smart Filters and you choose Add Filter Mask.
| | 03:06 | Now we will go ahead and bring that filter mask back.
| | 03:08 | Alright, I am going to go ahead and do that though.
| | 03:10 | I want the filter mask gone for now and
I just want to focus on Smart Sharpen.
| | 03:14 | Now this inset here tells me that I have applied this sharpening effect
and it's non-destructive and if I want to modify it, I can just double click
| | 03:23 | and that will bring up the Smart Sharpen dialog
box and I can change the settings, if I wanted to.
| | 03:28 | I am happy with the settings the way they are though.
| | 03:30 | Now I click OK, presumably to go ahead and
update the settings, and I will do that right now.
| | 03:34 | Now you will notice a lot of delays associated with Smart Filters.
| | 03:39 | Smart Filters are not the fastest features on earth and once
you start combining multiple smart features together, which is
| | 03:46 | where the real power comes in, that's when
you really start to get some major slowdowns.
| | 03:51 | So when you start combining your sharpening options with your
smoothing options, which is something you need to do inside Photoshop.
| | 03:58 | So anyway, we have got this very sharp buffalo, just like that one
sharpened versions of the bison I was showing you in the previous exercise.
| | 04:05 | I was telling you it wasn't very good because its bringing out all these
artifacts, so we need to down play the artifacts to the degree that we can,
| | 04:12 | and we will do that by changing the blend settings associated
with this Smart Sharpen effect right here. And you do that
| | 04:18 | by going to this little icon, the slider
icon, and you double click on it.
| | 04:22 | That brings up the blend settings.
| | 04:24 | Now you need to be prepared to wait. You are going to get
delays, like I was telling you, just slight delays at this point,
| | 04:29 | they are going to grow to be bigger delays shortly here.
| | 04:32 | I am going to go ahead and click on the eye, so we can keep an
eye on it, here inside of the Blending Options dialog box.
| | 04:40 | Notice that I can change the Mode or the Opacity. I am going to
change the Mode of course to Luminosity and I can do this on the fly,
| | 04:47 | live, non destructively. And you could see, if you look closely
there, I will go and zoom in so that you can see that this is before,
| | 04:54 | if I am clicking and holding, you can see that the eye has sort of blue
halos around it and as soon as I release, all that blueness goes away
| | 05:01 | because we are no longer sharpening the color
discrepancies between the various color channels,
| | 05:07 | and we are just focusing on the luminance information.
| | 05:10 | Alright, I will go ahead and click OK
in order to accept that modification.
| | 05:13 | Now this is good but its by no means good enough. We do need to
smooth this creature to some extent before we sharpen it and I really want
| | 05:23 | to smooth away this weird color patterns that are showing
up. For example we are still seeing that burgundy pattern.
| | 05:31 | Notice this area of sort of burgundy stuff that's going on inside the animal,
as if we threw some wine on him. Which we didn't, we had the wine later
| | 05:39 | in the day actually. But we did not do anything to
this animal. It's just part of the photographic process.
| | 05:43 | I have no idea why the camera captured the
data this way because its really not there.
| | 05:48 | So we need to downplay this color anomalies.
| | 05:51 | We did our best where Smart Sharpen was concerned,
we set it to Luminosity but that didn't do the trick.
| | 05:56 | So what we are going to have to do is apply a pass of the Median
filter just to the color information and we are going to apply Median
| | 06:03 | as a non destructive Smart Filter in the very next exercise.
| | Collapse this transcript |
| Combining two smart filters| 00:00 |
In this exercise we are going to get rid of the weird color
anomalies that are showing up inside of this Bison photograph.
| | 00:08 |
I am working by the way, in a catch-up
document, if you are just joining me.
| | 00:12 |
If you have been working along with me, stick
with the document that you have been creating,
| | 00:16 |
but if you are just joining me you can open this image called Nondestructove sharpening.PSD, found inside the 04_support_staff folder.
| | 00:23 |
You can see that there is this area of sort of burgundy stuff that's showing
up to the left of the creatures jaw, but also we have some other colors
| | 00:32 |
that are showing up down here in its muzzle,
so we have some more burgundy at work here
| | 00:37 |
in various different areas actually.
Also over here on the creature's nose.
| | 00:41 |
Then we have some sort of greens and blues that are showing
up in this sort of, what is it, a mustache? I don't know.
| | 00:48 |
We have got a lot of weird stuff.
| | 00:49 |
Then of course the creature is just covered in these seeds,
but that's his business, we are not getting rid of that.
| | 00:56 |
We are not grooming him. We are just trying to make him look the way he
really looks, and of course emphasize the details with some sharpening.
| | 01:03 |
So what I am going to do is I am going to apply a pass of the
Median filter to just the color information inside of this image.
| | 01:10 |
So with the Bison Smart Object selected, I am going to go up to
the Filter menu and I am going to choose this guy right there,
| | 01:17 |
Noise, and then I am going to choose the Median command.
| | 01:19 |
I am going to apply a big heaping amount of Median here.
| | 01:23 |
I am going to raise the Radius value to 50 pixels, which does fairly
average the appearance of the bison at this point, but that's OK.
| | 01:31 |
We are going to turn around and apply it to just the color information.
| | 01:35 |
So I will click OK in order to accept this modification.
| | 01:39 |
It's going to take a few moments to apply
Median at this point, for two reasons.
| | 01:44 |
First of all, this is a big amount of Median that we are applying.
| | 01:47 |
A high Radius value takes longer to render, but the other thing is that
we have Median and Smart Sharpen working together nondestructively,
| | 01:54 |
and that takes a lot of computational effort on the part of Photoshop.
| | 01:58 |
Meanwhile though, if you take a look at the file size information
down here in the lower left-hand corner of the image window,
| | 02:04 |
you can see that the file size is not growing
despite this layering stuff that we are doing here.
| | 02:09 |
Despite that we have an image embedded inside the larger
composition, the image size has not grown, its still 15.4 megabytes,
| | 02:17 |
which was the original size of the file when we first opened it.
| | 02:20 |
So we are not going to get a big file on disk.
| | 02:22 |
Alright, so anyway the Median filter should only be applied to the
color information inside the image, not the luminance information.
| | 02:30 |
So we are going to have to double click
on this little Blend Mode guy right there.
| | 02:33 |
Now two things about this Median item right there, this Median
Smart Filter that's included inside my Smart Filters list,
| | 02:41 |
because it's at the top of the list,
it's being applied after Smart Sharpen.
| | 02:45 |
So the bottom item is applied first and
then the top item, so you read up the list.
| | 02:51 |
We really want Median to be applied before Smart Sharpen, because I
told you, you always apply- this is the universal rule by the way,
| | 02:59 |
when you are doing sharpening, you always apply your
smoothing first and then your sharpening afterward.
| | 03:05 |
So I need Median to be applied before Smart Sharpen.
| | 03:08 |
So I need to grab it and drag it underneath Smart Sharpen, like so.
| | 03:12 |
Now this isn't true on the Mac, but under Windows Vista you are going to
see this little preview of the icon right there, the Smart Filter Icon,
| | 03:19 |
and you are also going to see, on both platforms you
are going to see this horizontal bar that's showing you
| | 03:23 |
that you are moving it below Smart Sharpen, then release.
| | 03:26 |
It is going to take a moment to reapply the filters.
| | 03:29 |
Notice you get this progress bar that's
saying it's rendering the Smart Filters;
| | 03:33 |
it means both of the filters, it's having
to reapply both of them to the image.
| | 03:37 |
This is where you start getting into the big
delays where Smart Filters are concerned,
| | 03:42 |
and this is not something I am very
pleased about. I wish it didn't occur.
| | 03:46 |
I will tell you that Photoshop CS3, which is the
version I am using, that's the first version of Photoshop
| | 03:51 |
to support Smart Filters, so this is
essentially 1.0 feature right now.
| | 03:55 |
So hopefully we will see it get quicker in future incarnations.
| | 03:59 |
Alright, so I just moved Median
below Smart Sharpen. That's good.
| | 04:02 |
Now I need to change the Blend Mode assigned to Median to Color,
so that Median is only averaging the colors inside the image
| | 04:09 |
and it's leaving the luminance information untouched.
| | 04:12 |
I will do that by double-clicking on this
little Blend Mode icon right there.
| | 04:15 |
But when I do that, when I double-click on the Blending
icon, I am going to get an alert message that's telling me-
| | 04:20 |
now this one is really important, it's telling me a Smart Filter stacked
on top of this filter will not preview while this filter is being edited.
| | 04:27 |
So in other words, we will be able to preview Median by
itself in a vacuum without Smart Sharpen on top of it.
| | 04:34 |
That's another bad version 1.0 implementation of Smart Filters.
| | 04:38 |
Hopefully they will fix that one too because
that's not acceptable on my opinion, but anyway,
| | 04:42 |
they will be applied after committing
the Filter Parameters dialog box.
| | 04:47 |
OK, so don't show again because there is nothing you
can do about it, just remember it or leave it unchecked
| | 04:52 |
if you want to see this every single time. I don't think you do.
| | 04:54 |
But click OK in any event, and then you will get the little
Blending Options dialog box after yet another progress bar.
| | 05:02 |
Now this is making this feature look very bad indeed.
| | 05:05 |
The thing is it does invoke delays, but it is a great way to apply
parametric effects, to apply nondestructive filters, and it does put,
| | 05:15 |
like I said, it puts the onus on
Photoshop to keep the file size down.
| | 05:19 |
If you are more concerned about time than file
size, and you are willing to accept the big files,
| | 05:24 |
then there is another way to working, and
I will show you that in a later exercise.
| | 05:27 |
But for now we are going to just suffer through it.
| | 05:29 |
I am going to change the Mode now from Normal to
Color, and that will preview very quickly, notice that.
| | 05:36 |
So Photoshop is armed and ready to preview this
effect as soon as it gets done with its progress bar.
| | 05:41 |
This did go ahead and do a pretty darn great job actually of
just making the colors inside of the image more homogenous.
| | 05:50 |
You can see most of that burgundy junk it has gotten rid of, and
the weird blues and greens inside the muzzle are gone as well.
| | 05:57 |
But we are left with a very boring beige background as well.
| | 06:03 |
We got rid of some of the greens that work inside the background, the
good greens that we need in order to give the image a little variety.
| | 06:09 |
So we are going to need to apply a mask, but for now we
will just go ahead and accept this modification. Click OK.
| | 06:15 |
Now quite surprisingly, we don't get a progress bar. So
sometimes you wait, sometimes you don't. That's a good thing.
| | 06:20 |
Anyway, now we are seeing the effects
of Median and Smart Sharpen mixed.
| | 06:24 |
Median has the Color Blend Mode assigned to it, so
it's just affecting the color, not the luminance,
| | 06:29 |
whereas Smart Sharpen has the Luminosity Blend Mode assigned to it,
so it's just affecting the luminance information and not the colors.
| | 06:36 |
These guys are affecting different parts
of the image, opposite parts of the image.
| | 06:41 |
Alright, in the next exercise we need to take care of the
fact that we just wiped out all the colors in the field,
| | 06:48 |
and the best way to see that you wiped out the colors in
the field, because you could turn on and off these eyeballs,
| | 06:53 |
but I don't recommend you do that
because that invokes new progress bars.
| | 06:56 |
If all you were trying to do is just see it before and after, don't
turn the eyeballs on and off. That's going to waste a lot of your time.
| | 07:03 |
This is a big tip, by the way, huge.
| | 07:06 |
Instead, make sure you got your History powered up and go back to
a history state before you applied it, for example, Median.
| | 07:12 |
So I am going to go back to Deselect, and I will close History,
| | 07:17 |
and now you can see that we have got these
great colors that work inside of our background.
| | 07:20 |
So this is the way the colors used to work. Now I will press
Ctrl+Z or Command+Z on the Mac, this is the way they look now.
| | 07:26 |
Did you see the difference there? I am going to go
ahead and zoom in on these grasslands in the background.
| | 07:31 |
This is the before version with more color of work.
| | 07:33 |
Notice the green right there, and there is some green here,
a little patch of green, some greens around this area.
| | 07:39 |
These are good color anomalies, because
they were actually in the original theme.
| | 07:45 |
This is the way the colors look now. Strictly
homogeneous, very flattened, very dead, boring.
| | 07:51 |
We don't need that in this image.
| | 07:53 |
We want to keep those colors where we can.
| | 07:55 |
So what we are going to have to do is we
are going to have to apply a Filter Mask,
| | 08:01 |
and we are going to make that Filter Mask in the very next exercise.
| | 08:05 |
| | 08:05 |
| | Collapse this transcript |
| Assigning a filter mask| 00:00 | I am working, by the way, if you are
just joining me, I am working inside
| | 00:04 | of a document called Two Smart Filters.PSD,
that's found inside the 04_Support_Staff folder.
| | 00:10 | I am going to go ahead so we can see what the
grasslands in the background originally looked like.
| | 00:14 | I am going to turn off the Smart Filters eyeball right there.
| | 00:18 | I was telling you that you are going to waste a lot of time
if you turn on and off eyeballs in order to preview before
| | 00:24 | and after effects, I was telling you that in a previous exercise.
| | 00:27 | That's true if you turn off one of these two eyeballs
right here that's associated with a single Smart Filter,
| | 00:33 | but if you turn off all of the Smart Filters,
that typically goes pretty fast.
| | 00:37 | So I am just going to go and turn off the
eyeball for all the Smart Filters right there.
| | 00:41 | Right away, it goes back to the original version of the
animal, and you can see all the wacky colors that are going
| | 00:46 | on inside of its eyes and its muzzle and inside of its coat.
| | 00:50 | But you can also see the good colors that
are going on inside the background;
| | 00:53 | those greens that work inside of the background, and the yellows.
| | 00:56 | We have got some oranges almost showing up, but we do have a little bit of
greenery left, and I would like to go ahead and save that green if I can.
| | 01:03 | So that's why we are going to restrict our Smart Filters to the
bison itself, which needs all this color editing that's going on,
| | 01:10 | thanks to the application of the Median Filter to
just the color information inside of the photograph.
| | 01:16 | So in order to create this Mask,
I want you to leave the Smart Filters off,
| | 01:20 | and I want you to go to the Channels palette.
So go ahead and click on the word Channels.
| | 01:23 | Now I tell you all about masking inside of
my Photoshop CS3 Channels & Masks series.
| | 01:29 | It's broken into two pieces: Essentials and Advanced Techniques.
| | 01:33 | It's a part of the Online Training Library, so if you subscribe
to lynda.com's Online Training Library, you have access to it.
| | 01:39 | In all there are 32 hours worth
of information; 300 different movies.
| | 01:44 | I cannot begin to convey to you everything
about masking right now in this one exercise,
| | 01:49 | so I am just going to run through it as
if you know basically how masking works.
| | 01:53 | We are going to start off with the red channel because it has the
highest degree of contrast between the animal and the grasslands.
| | 02:00 | We want the animal to be white so he is affected, and we want
the grasslands, the background, to be black, so it's not affected.
| | 02:06 | So we are looking for contrast for starters.
| | 02:09 | We will grab red. I am going to drag it to the bottom here on this
little page icon at the bottom of Channels palette and release.
| | 02:16 | Now we have got the colors inverted;
he is dark and the background is light.
| | 02:20 | I need the opposite, so I am going to press Ctrl+I or
Command+I in the Mac in order to invert those colors.
| | 02:26 | I am going to zoom out a little bit here to the 50%
zoom size, just so I can take in more information.
| | 02:31 | I am going to go ahead and call this guy Mask.
| | 02:33 | I am just going to rename this Mask by
double clicking and changing its name.
| | 02:38 | Now I am going to increase the contrast a little bit
inside of this channel, by going up to the Image menu,
| | 02:45 | choosing Adjustments and choosing the Levels command.
| | 02:47 | that's the easiest thing to do here.
| | 02:49 | You could also press Ctrl+L or Command+L on the Mac.
| | 02:52 | I am going to change this first Input Level value to 70.
| | 02:55 | So I am saying anything that has a luminance
level of 70 or darker is going to become black.
| | 03:00 | So that's going to make a lot of colors inside that
background black, as well as the seeds on this animal's head.
| | 03:05 | Then I am going to change the white
point to 190, by which I am saying,
| | 03:11 | anything that has a luminance level of
190 or brighter, should be made white.
| | 03:15 | So much of the interior of the animal is now becoming white.
| | 03:18 | Some of its coat is remaining sort of grayish, that's OK.
| | 03:21 | I am going to go ahead and click OK in order to accept these settings;
so 70 for the first value, 190 for the third value, right here.
| | 03:29 | You can leave that middle value alone.
| | 03:31 | I will click OK in order to accept that modification.
| | 03:33 | Now I need to convert this mask to a selection outline, and
you do that by pressing and holding the Ctrl key on the PC
| | 03:41 | or the Command key on the Mac, and clicking on that thumbnail.
| | 03:44 | So Ctrl-click or Command-click on the thumbnail for the Mask
Channel, and you will see that you load a selection outline.
| | 03:51 | Now lets go back to the RGB image by clicking
on it at the top of the Channels palette.
| | 03:56 | I want you to go to the Layers palette now.
| | 03:58 | Turn the Smart Filters back on by clicking on the eyeball in front of Smart
Filters, and then I am going to right -click on Smart Filters and I am going
| | 04:07 | to choose Add Filter Mask, and that will go ahead and convert
the selection outline to a Filter Mask, just like that.
| | 04:14 | So you can see the thumbnail view of this Filter Mask right there.
| | 04:17 | By the way, if you are seeing itty-bitty icons inside the
Layers palette here, you can right click in an empty area,
| | 04:22 | the empty area at the bottom of the palette, and you can
choose Large Thumbnails, which is a lot more helpful.
| | 04:26 | Then you can see what's going on.
| | 04:28 | So there is the Mask, and what it's doing is it's constraining
the effects below it in the interior of the Mask,
| | 04:34 | in the white area, and it's excluding
the filters from the black area.
| | 04:38 | So white reveals and black conceals in
the case of this Filter Mask right there.
| | 04:43 | As a result, we are sharpening and also applying
the Median function to the interior of the buffalo,
| | 04:49 | and we are not affecting the grasslands at all around the outside.
| | 04:54 | You can verify that by turning this eyeball on and off.
| | 04:56 | Once again, this should be fairly quick.
| | 04:58 | So turn that eyeball off and you can see that the grasslands
are not affected but the animal is very much affected.
| | 05:04 | Then turn it back on, and you can see that the sharpening effect comes back
into play, and so does the smoothing effect, the color smoothing effect,
| | 05:11 | as a function of this Median Smart Filter right there.
| | 05:14 | There is a problem however, I do want to sharpen the
grasslands; I don't want to average the colors of the grasslands.
| | 05:22 | So I am glad I have this Filter Mask here, but I do
want to sharpen those grasslands in the background,
| | 05:26 | and the problem is that this Filter Mask
affects all of the Smart Filters in kind.
| | 05:32 | There is no way to say, don't affect Smart Sharpen, just affect Median.
| | 05:36 | That's actually OK to a certain extent, but
somehow we need to sharpen that background.
| | 05:41 | We are going to have to do that by embedding a
Smart Object inside of this Bison Smart Object.
| | 05:47 | So we are going to have to have one Smart Object inside of another,
| | 05:50 | so that we have another Smart Object that
has some sharpening functions applied to it.
| | 05:54 | You will see what I mean if you join me in the very next exercise.
| | Collapse this transcript |
| Nesting one smart object inside another| 00:00 | Alright gang, in this exercise, we are going to
embed a Smart Object inside another Smart Object.
| | 00:05 | We are doing this So that we can apply a series of unmasked filters to
the image independently of the mask filters that we have already applied.
| | 00:15 | So the logic starts to get a little twisted here.
| | 00:17 | I am working inside of an image called Filter mask.PSD
which is found inside the 04_support_staff folder.
| | 00:24 | This is just a catch-up document, in case you are just joining me
or for some reason something is going wrong inside your file.
| | 00:30 | If you are humming right along, stick
with the image you are working on.
| | 00:33 | Please, by all means I want you to work this
through from beginning to end if you can.
| | 00:37 | I was telling you one of the great things about
Smart Objects is that they are super efficient.
| | 00:41 | Your file size doesn't grow, like it does if you are creating duplicate
layers and you are applying effects to those duplicate layers
| | 00:48 | and all that jazz as we used to have
to do before Smart Filters came along.
| | 00:52 | Well, the size of the file might imply that I am lying to
you because now the file size has grown from 15.4 megabytes,
| | 00:59 | as you can see down here on lower
left corner of the image window.
| | 01:02 | The value after the slash tells you the size of the image
with layers and masks and everything else that's going on.
| | 01:07 | The reason it's 25.7 megabytes now, which is fairly considerably larger,
almost twice as large, is because we have two masks inside of this image
| | 01:17 | and each one of the masks takes up another channel's
worth of information, so another third again.
| | 01:22 | We don't really need two versions of this mask
because they are identical to each other.
| | 01:27 | We need the filter mask that we are seeing right
here, this is sort of silhouette white buffalo here,
| | 01:32 | the ghost buffalo that's next to the word Smart Filters.
| | 01:34 | We need that in order to mask the Smart Filters below it.
| | 01:37 | But if you go to Channels palette, you don't
need this one that's just called mask right here.
| | 01:41 | That says upright, that has upright character saying mask.
| | 01:44 | This guy right there, that's the Bison Filter Mask,
| | 01:46 | that's the one that's assigned to the Smart Filters..
| | 01:49 | But this guy is the one that we created originally in order
to make the mask in the first place in the previous exercise.
| | 01:54 | These are the same darned things.
| | 01:56 | I'll throw the mask away, make sure you are throwing the one that's the Roman
word, not the italic words, and you'll see that your file size goes down.
| | 02:03 | Look in the lower left hand corner of the image window once again.
| | 02:05 | Now its 15.4 megabytes, before the slash. That'll stay the same of course.
| | 02:09 | So that's a flat size of the image.
| | 02:11 | But the after slash file size, which is the more meaningful one,
that's how much a room it's taking in memory and that will also
| | 02:17 | contribute to the file size of the image
on your hard drive. That's 20.5 megabytes.
| | 02:22 | So it just went down precipitately, I mean, we just lost 5 megs.
| | 02:25 | So that's good.
| | 02:26 | Anyway, lets go back to the Layers palette.
| | 02:29 | What I want to do basically, lets take a close look at the buffalo.
| | 02:33 | You'll see that it still has this pattern of horizontal lines.
| | 02:36 | We got rid of that splash of burgundy that's on the animal and all
that have the weird sort of color anomalies that were going on.
| | 02:42 | But we have these horizontal lines that are still at work.
| | 02:45 | We also have some weird patterns that
are going on in the grasslands as well.
| | 02:49 | So we need to apply the Reduce Noise filter.
| | 02:51 | We are going to do that without the mask.
| | 02:54 | That means we need to apply it to the image inside of the Smart Object.
| | 02:59 | So we are going to have to enter the Smart Object and we want
| | 03:01 | to apply Reduce Noise non-destructively, so
we need to create an embedded Smart Object.
| | 03:05 | Does that make sense? I hope so.
| | 03:07 | The logic is twisted.
| | 03:08 | Some of you are going to totally understand
this; other people are going to be going, what!?
| | 03:12 | Anyway, what can I do? It's like the seeds on the buffalo.
| | 03:14 | I can't do anything about that. I am going to go ahead and double
click on that Bison thumbnail and that takes us in o the Smart Object.
| | 03:23 | I turned off the warning.
| | 03:24 | I said Don't show again so I didn't get a warning this time.
| | 03:27 | I am just seeing that it is a Background layer that
tells me that I am working on the Smart Object.
| | 03:31 | I can also tell because I can look up here in
the title bar and its telling me Layer 01.PSD.
| | 03:37 | It may tell you some other file name; it may tell you Layer, just,
0.PSD because this is actually a temporary file that is embedded
| | 03:47 | in larger composition and as soon as you open
it, Photoshop creates a temporary file on disc.
| | 03:53 | Actually, its just a temporary file that's in the system folder.
| | 03:55 | Don't worry about it.
| | 03:56 | But that's why it changes names every once in a while.
| | 03:59 | Because I want to apply Reduce Noise non-destructively, we need to
convert this image into its own Smart Object and I am going to do
| | 04:05 | that, same way I did it before, by going to Layers palette menu and choosing
Convert to Smart Object or I can press my keyboard shortcut which happens
| | 04:11 | to be Ctrl+comma or Command+comma for me. And that's
not the default keyboard shortcut in other words.
| | 04:16 | I am going to call him Bison 2 or something along those lines, just to tell
me that in case I accidentally enter the Smart Object and this name changes,
| | 04:24 | that would give me a signal. Or I can say You're in the So just so
that I know that I have accidentally double clicked on something
| | 04:34 | and I just entered the Smart Object, I'll know I am inside of it.
| | 04:37 | Does that make sense? Again, I hope so.
| | 04:39 | I'll click on the thumbnail in order to make it active.
| | 04:42 | Now we can apply Smart Filters to it and the first
Smart Filter I am going to apply is Reduce Noise.
| | 04:48 | I got up to the Filter menu, choose Noise and choose Reduce
Noise and that's going to bring up the last applied settings.
| | 04:55 | The ones that I applied to that image of the woman by Pascal Genest.
| | 04:59 | This time around, I am just going to take my Reduce Noise value
down to 15 and the reason is because I have already reduced the heck
| | 05:07 | out of the noise using that Median filter
that's applied to the parent Smart Object.
| | 05:13 | So I don't really need to do much to
the Color Noise at this point of time.
| | 05:16 | So I am going to take that value down just to
save a little bit of effort on Photoshop's part.
| | 05:20 | Strength of eight is great, Preserve Details 20% is great, Sharpen
Details zero is great, Remove JPEG Artifact does not need to be on;
| | 05:27 | we don't have JPEG artifacts at work inside of this image.
| | 05:29 | So that's good.
| | 05:31 | I can take a look just to see if I got rid
of some of those horizontal lines and I did.
| | 05:35 | This worked wonders actually on those horizontal lines there.
| | 05:38 | So, I am in good shape. I'll click OK in order to accept that
modification and I will see that I have Reduce Noise applied.
| | 05:44 | Now I don't need this filter mask. So I am going
to throw it away because I don't like clutter.
| | 05:49 | Then I want to apply a little bit of sharpening
on top of this Reduce Noise pass.
| | 05:55 | But I am just going to apply a little bit of edge contrast enhancement,
not really sharpening strictly speaking, and just a little bit of it.
| | 06:02 | So I am going to do this using the High Pass command.
| | 06:06 | So lets go ahead and zoom in on the image and with the
Smart Object still selected, I'll go ahead and drag,
| | 06:10 | open the palette a little bit so we can see the full name.
| | 06:12 | I'll go up to the Filter menu and I will
choose Other and then I will choose High Pass.
| | 06:18 | Now I'll bring up, of course, the High Pass filter right there and
I am going to apply a Radius value of 20 pixels. That sounds great
| | 06:24 | for this particular image. Because like as I said, I am not really trying
to sharpen it at this point; I am just trying to enhance the edges
| | 06:29 | to keep it nice and tactile essentially and to defeat some
of the effects of the Reduce Noise filter right there.
| | 06:37 | I will click OK and then I am going to change the blend
mode because obviously the blending is not right at all.
| | 06:42 | We need to drop out those grays.
| | 06:44 | So I am going to double click
on this blend mode icon right there.
| | 06:47 | Now things are going a little faster because
I am working on the top layer in the stack.
| | 06:51 | They're not going super fast but a little bit faster
than they were if we are trying to work on one
| | 06:55 | of the earlier filters like Reduce Noise at this point.
| | 06:57 | Then I am going to change the blend mode this
time too Soft Light because Overlay is too much.
| | 07:02 | If I choose Overlay, we are going to
get a very emphatic contrast effect.
| | 07:07 | So I'd rather work with Soft Light, something that's a little
more subtle. So that's going to take the edge off a little bit.
| | 07:13 | And then I am going to reduce the Opacity to
50% in order to take the edge off quite a bit
| | 07:17 | and then I will click OK in order to accept that modification.
| | 07:21 | These are the filters that I want to apply.
| | 07:23 | Click on this eyeball, this should go
pretty quickly for the entire filter stack.
| | 07:27 | This is the before version of the buffalo and
this is the modified version of the buffalo.
| | 07:33 | Thanks to the High Pass and Reduce Noise filters.
| | 07:36 | Now note something.
| | 07:37 | When you are trying to turn on and off the entire
Smart Filter stack, you need to click over to the left.
| | 07:43 | Notice that underline right there;
you need to click to the left of it.
| | 07:45 | If you try to click right there where you think the
eyeball should be, you are not clicking on anything.
| | 07:50 | Photoshop is very sensitive; you have
to click over here to get the eyeball.
| | 07:54 | That's nuts of course.
| | 07:56 | I mean what else would you be trying to do? But anyway I guess
that it's a very sensitive, very sensitive program sometimes.
| | 08:01 | Lets go ahead now and update the entire composition and I am
going to do that by going up to the File menu and choosing Close.
| | 08:08 | Don't choose Close All.
| | 08:09 | Just chose Close to close this Smart Object,
this particular Smart Object.
| | 08:13 | Photoshop will ask you if you want to save the changes
to this document and you want to go ahead and say Yes.
| | 08:19 | Now you are not saving the document to disc;
you are saving the image that's embedded inside
| | 08:24 | of the larger composition, like I was saying, in memory.
| | 08:27 | But go ahead and click Yes in order to update. That's
essential to getting any work done at this point.
| | 08:32 | Then you should see, notice we've got the original bison Smart
Object with the filter mask assigned to it and of course,
| | 08:38 | Smart Sharpen and Median as a subset of that filter mask.
| | 08:42 | It will take a moment though for Photoshop to reconcile
these four filters being mixed together on the flight.
| | 08:48 | It is actually trying to do a fair amount
of work with juggling four filters at once.
| | 08:51 | So the more filters you heap on as single Smart Object or a single group
of Smart Objects in this case, the slower Photoshop is going to perform.
| | 09:00 | I still encourage you to go ahead and
put the program through its paces.
| | 09:05 | It is better to have a slow program than not to take full
advantage of the features that are available to you, I think.
| | 09:11 | Anyway, this looks a heck of a lot better and you can check
out the difference if you want to from the History palette.
| | 09:17 | I am going to bring up the History palette and I would go back here.
Basically all that work is represented by a single history state.
| | 09:24 | Just Update Smart Objects.
| | 09:25 | If I just click on Delete Channel, it goes back to the version
of the image before I had assigned Reduce Noise and High Pass.
| | 09:34 | So you can see that there is more of a pattern of horizontal lines
going on and this is the before version; this is the after version.
| | 09:41 | A lot of those horizontal lines are going away.
| | 09:43 | It is a much better effect and you can see that on screen.
| | 09:46 | I am actually going to zoom in, so we can see
it up close and personal inside the video.
| | 09:50 | This is before we did the work inside of this
exercise, lots of horizontal lines going on.
| | 09:55 | This is after we did the work.
| | 09:57 | So much more solid detail, those lines are almost
completely gone at this point, not entirely but almost gone.
| | 10:04 | They will certainly disappear in print and this is the final version.
| | 10:08 | I am just going to go and press the F key
in order to switch to the full screen mode.
| | 10:12 | Press the F key a couple of times, tab away my palettes and then I'll go
ahead and zoom in and this is the final sharpened version of the bison.
| | 10:21 | Thanks to a combination of four filters, four Smart Filters, two
different Smart Objects and a filter mask here inside Photoshop CS3.
| | Collapse this transcript |
| Employing a static High Pass layer| 00:00 | In this and the next exercise we are going to talk about a couple of
scenarios that aren't well suited to Smart Filters and we are going
| | 00:06 | to see how we can still achieve non destructive
effect albeit using old school technique essentially.
| | 00:13 | I am looking at this image that is called Trade runner.jpeg that's
found inside of the 04_Support_Stuff folder and this image comes to us
| | 00:22 | from photographer Nick Roberts of iStockphoto.com once again.
| | 00:26 | I am going to sharpen this image using the High Pass filter.
| | 00:32 | Now High Pass. You can combine High Pass along with a Smart
Object if you want to, so you can apply it as a Smart Filter,
| | 00:39 | however its a rather limited utility as you will see.
| | 00:44 | So lets run through the Smart Filter approach.
| | 00:46 | I am going to take this image here inside the Layers palette, I am going
to click on the Layers palette menu and choose Convert to Smart Object,
| | 00:54 | in order to convert it to Smart Object. We will just go ahead and
rename it something like Model or something along those lines.
| | 00:59 | Then I am going to go up to the Filter menu and I will choose Other and
I will choose High Pass, and I want to apply a radius of- 3 pixels ought
| | 01:09 | to work pretty well for this image because
I am going to output with this image.
| | 01:12 | I am actually going to print this image at 240 pixels per inch.
| | 01:16 | So the radius of 3 pixel, a little on high
side, but it will work out nicely I think.
| | 01:20 | Then I will go ahead and click OK in order to accept that modification.
| | 01:24 | Then I need to change the blend mode of course, so I'll double click on
this little slider icon right there, the blend mode icon in order to bring
| | 01:32 | up the Blending Options dialog box and I
will change the Mode from Normal to Overlay.
| | 01:37 | Now I was telling you can exaggerate the effect if this
effect is not enough for you, which it is not enough for me,
| | 01:43 | then you can elevate slightly by going with Hard Light.
| | 01:47 | That's just a slight improvement, however, that's just a little tiny
bit more sharpening and after that you have got to resort to things
| | 01:55 | like Linear Light that are really pretty much over the top effects,
| | 01:59 | although they do in this cases it does deliver
something along the line to what I want it to.
| | 02:03 | I can back off the Opacity values as well if I want to, something
like lets say 70% in order to give this effect right here.
| | 02:11 | Alright that's one way to work, however, what I would really
like to have is independent control over the Amount value.
| | 02:18 | So you may recall the High Pass filter gives the Radius value, so you
have control over radius, but it doesn't give you any control over Amount.
| | 02:26 | In order to control the Amount, if you really want specific
control over the Amount, then you have to add a Levels adjustment
| | 02:34 | to that High Pass result and you can't really do that.
| | 02:38 | If I were to apply a Levels adjustment to this image
right now as an adjustment layer for example,
| | 02:45 | it would effect the entire image, not strictly the High Pass effect.
I want to gain control over the High Pass effect independently
| | 02:52 | and that's not something I cant do with Smart Filter.
| | 02:55 | If you are not sure exactly what I am talking
about, you will know in just a moment.
| | 02:59 | Lets go ahead and back up here by pressing the F12 key
or I can choose the Revert command from the File menu.
| | 03:05 | Here is a different way to work.
| | 03:07 | This is like I said, this is old school, it's going to increase
the size of the file on disk, but its a good technique.
| | 03:13 | It's an old school technique that just
doesn't have a Smart Object equivalent.
| | 03:16 | So here we go.
| | 03:17 | I am going to start by pressing Ctrl+Alt+J or Command+Option+J on a
Mac and I will call this layer High Pass and then I will click OK in order
| | 03:25 | to make that layer. So I have got a new
version of the image on an independent layer.
| | 03:29 | You can see down here on lower left corner of the window that the
size of my image has grown from and 7.91 megabytes to 15.8 megabytes.
| | 03:37 | Now I am going to go up to the Filter menu and apply
that same High Pass treatment, so a Radius of 3 pixels.
| | 03:43 | There it is. Looks terrible of course. That's why we are
going to change the blend mode from Normal to Overlay.
| | 03:49 | Now I want to gain some independent control over
the Amount setting, so that I can elevate this effect
| | 03:55 | and you do that using a Levels adjustment layer,
which will be applied strictly to a High Pass layer.
| | 04:00 | Now how do we make that happen? Well you press and hold the
Alt key or the Option key in the Mac and then you click here
| | 04:07 | on this little black white icon and with Alt
or Option down you choose the Levels command.
| | 04:12 | I am going to call this- that should by the way, having Alt or
Option down, should force the display of the New Layer dialog box.
| | 04:18 | I am going to call this guy Amount because he will be my
Amount control and then I am going to turn on this check box.
| | 04:24 | Use previous layer to create clipping mask. Very important so
that the Levels adjustment effects the High Pass layer by itself
| | 04:31 | and then both the Levels adjustment and the High Pass
layer are applied as a group to the background layer.
| | 04:38 | Alright. Now I'll click OK in order to accept that
modification and you can see we are going to end
| | 04:42 | up with an indented adjustment layer right
there because its clipped to High Pass.
| | 04:47 | Now we have got this sort of cone right here.
| | 04:49 | This cone of brightness values, luminance levels
inside the High Pass layers. So not much left.
| | 04:55 | They are all shoved towards the center,
that's why so much of the image is grey.
| | 04:58 | We are going to spread it apart by grabbing the first Input Levels
value and I am going to press Shift+Up Arrow as many times as required
| | 05:06 | to get it close, to get this black slider triangle close to the
beginning of the cone, the point at which it starts going up.
| | 05:12 | So 80. So I just need to remember that I am going to subtract now 80
from the maximum brightness side right here and I am going to that
| | 05:21 | by pressing Shift+Down arrow 8 times. 1, 2, 3, 4, 5, 6, 7, 8 like so.
Because if you don't modify both of these values by identical amounts,
| | 05:32 | so adding 80 on this side, subtracting 80 on this side.
| | 05:35 | If you don't do that then you are going to end up
affecting the overall brightness of the image,
| | 05:40 | and we don't want that. We want brightness
to stay the same as this is right now.
| | 05:43 | So I am, however, increasing the heck out of the sharpening
effect. I'll click OK in order to accept that modification.
| | 05:50 | So this is what the image looks like without that Amount adjustment.
| | 05:53 | This is what it looks like with the Amount adjustment.
| | 05:56 | So I am going to go and zoom in so we can see that again.
| | 05:58 | I will go ahead and turn the Levels adjustment
off and I will go ahead and turn it back on.
| | 06:03 | So it makes a huge a difference to the
overall sharpening effect of the image.
| | 06:09 | Now there is a couple of things that are
troubling me about this effect so far.
| | 06:13 | I think it is too over the top and
I can back it off. That's no problem.
| | 06:16 | I can back it off by selecting this High Pass layer and
then lets say I want to take it down to 80% opacity.
| | 06:23 | So I press the 8 key to reduce the Opacity value to 80% right there;
you can see that in the upper right corner of the Layers palette.
| | 06:30 | Secondly, I am going to go ahead and scroll around here and we
will see, especially in this coat, that I have brought out all kinds
| | 06:37 | of weird color artifact. So this is what the original image
looks like without High Pass, we will turn it off for a moment.
| | 06:44 | So reasonably homogenous colors. That is, mostly in the orange
range, but there are some blues and purples that are showing up.
| | 06:51 | They are just very tenuous at this point, but as soon
as I sharpen the purple comes right to the surface,
| | 06:57 | we also have this weird lilac strains inside of the hair.
| | 07:00 | So to get rid of that, we need to get rid of all the colors that
are occurring in the High Pass layer. We can't change the blend mode
| | 07:08 | to Luminosity because it is already Overlay, but we can extract the
color from the High Pass Layer and we are going to do that by going
| | 07:15 | up to the Image menu and this again, this is not something you could do
if you were working with a Smart Filter. You couldn't extract the color
| | 07:23 | out of the High Pass layer because you
don't have that kind of access to it.
| | 07:27 | So I am going to go up here because I do have access.
| | 07:30 | Now I am going to go up here to the Adjustment submenu under
the Image menu and I am going to choose this guy right there,
| | 07:35 | Desaturate or I can press Ctrl+Shift+U Command+Shift+U on
the Mac and keep an eye on the fur right there whether it is real fur
| | 07:41 | or fake fur, don't know. I am just going to go ahead and choose the
command and notice all of that color goes away. So this is before,
| | 07:48 | lots of lilac in there; this is after. I de-saturate. It
looks great and it looks exactly the way I want it to.
| | 07:54 | This now is the final sharpened effect. It looks a little over the
top. This is before, this is the unsharpened image that is to say.
| | 08:02 | This is after I appllied the High Pass sharpening, but bear
in mind, we are printing it so it's probably going to look
| | 08:09 | about the way it looks at 50% or 25%'s another way to gauge it.
| | 08:14 | So here we are at 25% zoom level.
| | 08:16 | This is without High Pass, this is with High Pass.
| | 08:20 | I could of course go ahead and flatten the image and
image size it down to the resolution of my screen in order
| | 08:26 | to get an even more accurate view if I
wanted to, but this is good enough for now.
| | 08:30 | So that's something that you canst do with Smart Filters. This whole exercise
I just showed you, we couldn't pull that off with the Smart Filter.
| | 08:37 | We can pull it off the old school way using an independent
layer and of course we keep the file size down by relying
| | 08:43 | on an adjustment layer right there, the
adjustment layer didn't add any size to the image.
| | 08:47 | In the next exercise I am going to show you yet another
thing that we can only do if we are working old school
| | 08:53 | and that is adjust luminance blending as we will do very shortly indeed.
| | Collapse this transcript |
| Matching static pixel-level edits| 00:00 | At the end of the last exercise I promised we
are going to look at luminance nlending. We are,
| | 00:04 | but in just a moment. In the next
exercise actually, to be more specific.
| | 00:08 | In the mean time, I want to show you a little bit of a
problem associated with working with this High Pass layer
| | 00:13 | and I was telling you this independent High Pass layer, this old
school technique, provides two advantages over Smart Filters.
| | 00:19 | One, we are able to adjust the amount of the High Pass independently using
a clipped Levels adjustment layer and we are able to take the saturation
| | 00:28 | out of the High Pass layer, so that we don't exaggerate any color
discrepancies inside the image. But here is the downside, check it out.
| | 00:36 | I am going to go ahead and zoom in on this model's
eye here and it looks like she is over-sharpened,
| | 00:41 | but bear in mind we are printing this image,
so I want it look extra crunchy on screen.
| | 00:46 | But I am not sure that I want this. I am
not sure what this thing is. First of all,
| | 00:50 | it might be a lump of makeup because she
has some makeup stuff going on over here.
| | 00:54 | But if I was on the set or wherever this is, I would have recommended
against this particular bit of makeup if indeed that's what it is.
| | 01:02 | I think we should get rid of it, in fact.
| | 01:05 | That's a little tricky.
| | 01:06 | If we were working with a Smart Object then I
could just double-click on the Smart Object,
| | 01:12 | edit this item inside of the independent
image, inside of the Smart Object image.
| | 01:17 | Then go ahead and save the changes and the
Smart Filter would update automatically.
| | 01:21 | But that's not the case. We have easier access to this image right here, we
can edit the pixels directly without having to open up the Smart Object.
| | 01:29 | That's a good thing, but the filtered version of
the image is not going to update automatically.
| | 01:34 | So here is what I am talking about.
| | 01:35 | I am going to go ahead and deselect the image.
| | 01:37 | I am going to grab my Healing Brush right here, and this is the standard
Healing Brush by the way, not the Spot Healing Brush, and I am going
| | 01:44 | to Alt+Option+click in order to set a source point right about there.
Then I am going to paint over this boogie here in order to get rid
| | 01:52 | of it, then I'll release and I will hope that the thing goes way.
| | 01:56 | Now it doesn't really appear to have totally gone away.
| | 01:59 | We have a little bit of a remnant left behind right there
and the reason that we have that remnant left behind is
| | 02:06 | because the eye booger is still extent on
the High Pass layer. It is still there.
| | 02:13 | So if I were to go to the High Pass layer for example, and I were to
change this Blend Mode from Overlay to Normal, which I will go ahead
| | 02:19 | and do right now, you can see there it is. Showing up
right at that location, so we need to get rid of it.
| | 02:23 | So I am going to have to get rid of it independently.
| | 02:26 | I am going to have to heal twice essentially. And of course
each one of my healing strokes is going to be slightly different,
| | 02:32 | so I may end up getting a different effect,
but it should be good enough and if you are
| | 02:36 | at all worried, you could recreate this High
Pass layer as we did in the previous exercise.
| | 02:41 | But I am just going to go ahead and do a separate Healing Pass. I am
going to Alt+Option+click on this layer, because you need to make sure
| | 02:47 | that you are healing from the proper layer
in this case. Otherwise you would be healing
| | 02:50 | from the background layer and that would make a mess of things.
| | 02:52 | And then I am going to paint over this area.
| | 02:55 | Hopefully, that will heal things well pretty
nicely. It doesn't. I don't like that at all actually.
| | 02:59 | Let me try Alt-clicking or Option-clicking
over here instead and painting that away.
| | 03:03 | I think we will get a better effect that way.
| | 03:04 | That looks better to me. And it doesn't look perfect, we have
got some weird pattern right at the allocation but that's OK,
| | 03:11 | I mean this High Pass layer doesn't
contribute all that much information,
| | 03:15 | it doesn't contribute so much information that
we are going to notice this repeat pattern.
| | 03:19 | So here's what we going to do.
| | 03:20 | We are going to go back to the Layers palette
and change this Blend Mode back to Overlay
| | 03:26 | from Normal to Overlay and now things look pretty darn good.
| | 03:29 | It looks like its more or less gone. And this is the unsharpened version
of the image and this is the sharpened version of the image. And I lied!
| | 03:36 | Look at that. We can see that patterning, it is getting repeated.
| | 03:40 | So let's go ahead and reduce the size of the cursor a little bit by
pressing the left bracket key a few times and I'll Alt+Option-click
| | 03:47 | down here lets say, and then I will just click right
there and see if that takes care of the problem.
| | 03:51 | It works out pretty nicely. I don't want
to do that, I don't think. Maybe this.
| | 03:55 | Anyway, you could heal like a crazy person if you wanted to.
| | 03:58 | Actually I am going to undo that last modification there.
| | 04:00 | This looks good to me; I am going to leave it alone.
| | 04:02 | That's what I think is the best bet at this
point, leave it the heck alone; looks much better.
| | 04:07 | The main point here is not whether and I should be healing these various
details, but the fact that if you do make a pixel-level modification
| | 04:16 | to a layer that's affected by a static High
Pass layer, you then need to turn around
| | 04:20 | and apply that same pixel-level modification
to the High Pass layer as well.
| | 04:25 | Alright then, in the next exercise we will be taking a look
at luminance blending, which is something we can only do
| | 04:32 | if we have an independent layer. Doesn't
work with Smart Filters. Coming right up.
| | Collapse this transcript |
| Avoiding clipping with luminance blending| 00:00 |
Alright this time around, as promised, I am going to show you
how to resolve clipped highlights and shadows that are a function
| | 00:07 |
of a sharpening effect that are created by a sharpening effect. We will
get rid of those clipped highlights and shadows using luminance blending,
| | 00:13 |
which is only applicable to static layers;
you can't apply it to a Smart Filter.
| | 00:17 |
Of course I'll show you what I mean, but first I am working
inside of this image here called High Pass layers.PSD,
| | 00:23 |
its available inside of the 04_support_staff
folder, for those of you who are just joining me.
| | 00:30 |
It includes the High Pass layer and
the clipped Levels adjustment layer.
| | 00:33 |
I want you to see something about High
Pass and this amount elevation right there.
| | 00:38 |
If I zoom in on the fur and I want to show you before and after
view, so if I click on the eyeball to turn off this layer,
| | 00:45 |
this is what it looked like before. This is the unsharpened version
of the image, that is to say, and this is the sharpened version.
| | 00:52 |
Now the highlights and shadows are a lot more
noticeable, so we have created these hot highlights inside
| | 00:58 |
of the fur, thanks to High Pass, and these dark shadows.
| | 01:01 |
But we are not clipping at this point.
| | 01:03 |
High Pass is very good about avoiding clipping; the
clipping of highlights and shadows, it does a great job,
| | 01:10 |
which is why its such a splendid
sharpening effect in my opinion.
| | 01:13 |
But you do get clipping when you work with Unsharp Mask and Smart Sharpen,
more often than not anyway. Not all of the time but very often you do.
| | 01:22 |
I'll show you what I mean. So I am going to go ahead
and Alt+click or Option+click on the eyeball in front
| | 01:26 |
of the background layer in order
to hide the other layers for now.
| | 01:29 |
Lets go ahead and apply Smart Sharpen by
the Smart Filter route very quickly here.
| | 01:36 |
I'll go to the Layers palette menu;
I'll choose Convert to Smart Object.
| | 01:39 |
I am not going to worry that's called Layer 2. I don't care about
that for now because we are going to get rid of it in just a moment.
| | 01:43 |
I am going to go up to the Filter menu and I am going to
choose Sharpen and I am going to choose Smart Sharpen.
| | 01:48 |
Now we'll bring up the last settings I applied.
| | 01:51 |
Now these are the settings I applied to the Bison, you may recall, an
Amount of 350%, the Radius of 4.0 pixels, Lens Blur, that's just fine.
| | 01:58 |
You can see, you may be able to see that we are definitely
clipping highlights and shadows this time around.
| | 02:03 |
We have some very light information here. This is white, white information
that's clipped inside of the hairs and some very black clipped shadows
| | 02:13 |
around the hairs, around the outside of the hairs and
underneath her chin, just all kinds of clipped shadows as well.
| | 02:18 |
That's no good.
| | 02:20 |
Now you could resolve it using Advanced. If you clicked
on the Advanced radio button right there and you go to Shadow,
| | 02:27 |
you could back off your shadows if you want to. You could
fade those shadows like so and that helps a little bit.
| | 02:33 |
We get a lot of fading if we go with-
if we decide to fade the highlights,
| | 02:38 |
we are going to have a nice faded effect to
those highlights there. It works out pretty nicely.
| | 02:42 |
The only problem is that same old problem I was telling you about before.
If I now switch back to Basic that doesn't undo those modifications.
| | 02:51 |
So those changes that I made will persist throughout my use of the
Smart Sharpen filter in the future. You may want that to happen.
| | 02:58 |
If we find that desirable, that's great and you can go ahead
and work it out with those advanced settings if you like.
| | 03:04 |
I don't like the fact that they persist; I think
they should retract as soon as we go back to Basic.
| | 03:08 |
So anyway, I am going to go back to Advanced here and I am going to
unfade these amounts like so and then I am going to switch back to Basic
| | 03:16 |
and I am going to leave those controls alone, so
that we can focus on luminance blending instead.
| | 03:20 |
Click OK in order to apply that Smart Filter.
| | 03:23 |
Now lets change the blending options. Luminance
blending is part of the blending options, right?
| | 03:27 |
We also need to get rid, of course, the
color artifacts that are showing up here.
| | 03:31 |
So I'll double click on these little slider guys right there, next
to the word Smart Sharpen and I will change the Mode to Luminosity
| | 03:38 |
and that will get rid of the color weirdnesses. But otherwise we just
have an Opacity value. We don't have independent luminance blending control
| | 03:47 |
and if you are not sure what I am talking about, you will be
in just a moment. But it ain't here inside the Smart Filter.
| | 03:52 |
I am going to cancel out. This is not doing me any good and I am
going to press Ctrl+Alt+C, Ctrl+Alt+C a couple of times in a row.
| | 03:58 |
That would be Command+Option+C twice in a row on the Mac.
| | 04:01 |
Here is the better way to work if your goal is
to get rid of the clipped highlights and shadows.
| | 04:06 |
You want to press Ctrl+Alt+J or Command+Option+J in order to jump
that Background layer, which is no longer Smart Object as you can see.
| | 04:14 |
And I'll go ahead and call it Smart Sharpen because
that's what its going to be and I'll click OK.
| | 04:19 |
Now with this independent layer available to us and you can see that my
file size is going quite a bit down here in the lower left hand corner
| | 04:25 |
of the window that is a function of
working with pixel based layers.
| | 04:28 |
I am now going to go up to the Filter menu and choose that
first command Smart Sharpen in order to repeat those settings
| | 04:34 |
and we are going to get exactly the same effect of course.
| | 04:37 |
Now I definitely want to change the blend mode right here from Normal
to Luminosity to get rid of those aberrant colors and then I am going
| | 04:45 |
to double click on the thumbnail for the layer to
bring up the Layer Style dialog box and I am going
| | 04:50 |
to direct your attention to these slider bars down here.
| | 04:53 |
Now you'll sometimes hear people refer to
these as the Blend If Sliders, but they are not.
| | 04:58 |
Blend If refers to this popup menu right here and that's it.
| | 05:01 |
I call these the Luminance Blending sliders because they
give you selective control over the luminance levels inside
| | 05:08 |
of the active layer and the composite view of the layers below.
| | 05:12 |
So what I want to do is I want to drop out these highlights and I
can do that by dragging this white slider triangle over to the left.
| | 05:19 |
And notice if I drag it to 230, I am saying anything with a luminance level
of 230 or higher becomes invisible, anything 230 or darker remains visible.
| | 05:27 |
Now I am going to zoom in here, so you can see what a cruddy
mess this has become, we have all of these jagged transitions.
| | 05:33 |
Normally, what you can do is you can Alt+drag or Option+drag the two halves
of this triangle apart from each other and that creates a smooth transition
| | 05:42 |
between the invisible pixels and the visible pixels. And if this is news to
you, check out the first chapter in my Photoshop CS3 Channels & Masks:
| | 05:54 |
Advanced Techniques series and it goes into
all kinds of detail about luminance blending.
| | 05:59 |
Its' a part of the lynda.com Online Training
Library for those of you who are subscribers.
| | 06:05 |
But in any case, this is not working for us, so for this specific image.
| | 06:08 |
Normally for another image, it might workout
fine, but this image, it's not working at all.
| | 06:12 |
So lets just go ahead and take these guys and drag them
back over to the right to make the whites visible once again.
| | 06:18 |
Instead, what I am going to do is I am going to Alt+drag or Option+drag
the left half of this white slider triangle at the bottom in order to force
| | 06:27 |
through the more moderate highlights
from the underlying background layer.
| | 06:34 |
So this looks a heck of lot better, you
can see that I just got rid of my white.
| | 06:37 |
So this is how the effect looked before with hot
whites, this is how it looks now with the duller whites.
| | 06:43 |
That's actually- the duller whites- are a good thing;
we don't want those highlights popping to that extent.
| | 06:48 |
So in this case, what I am saying is
anywhere where the luminance levels
| | 06:52 |
on the background layer are 135 or darker,
let them be covered up by Smart Sharpen.
| | 06:58 |
Anywhere where they are 135 or lighter, they are going
to gradually force through the Smart Sharpen layer.
| | 07:03 |
So we are going to be able to see those
highlights as we are seeing them right now.
| | 07:07 |
Now lets move the image over a little bit so that we can go
ahead and get rid of some of the shadows and I am doing this
| | 07:14 |
by dragging the black slider triangle over to the right.
| | 07:16 |
I don't want to go too far with it. I'll take it to about 30, lets say,
so a luminance level of 30 or darker is becoming invisible at this point.
| | 07:23 |
You can see a bunch of jagged transitions right here around the hairs.
| | 07:27 |
So I'll go ahead and Alt+drag or Option+drag the right half of this
triangle over to the right and I might actually drag this guy down over
| | 07:36 |
to the left a little bit as well so that we have nice
group of transitional pixels between 16 and 60 here.
| | 07:42 |
If that's not enough for you, you could also force through a
few of the original colors using the Underlying Layer slider.
| | 07:49 |
In my case, though, I am going to just move it over a
little like so to 20 and then I am going to Alt+drag
| | 07:53 |
or Option+drag the left half of that black triangle back over to zero.
| | 07:58 |
I end up getting some moderate values instead of those clipped highlights
and shadows this time around, so it looks much better than before.
| | 08:07 |
I'll go ahead and click OK in order to accept
that modification and then finally what I am going
| | 08:11 |
to do, because this effect is little bit over the top.
| | 08:14 |
It's much more severe, it's a much more severe
sharpening affect than what we created using High Pass.
| | 08:18 |
So I am going to press the 5 key in
order to back off the opacity to 50%.
| | 08:24 |
So this is what the image looked like before we sharpened
it and this is what it looks like after we have sharpened it.
| | 08:30 |
So basically what we are doing is we are focusing in
on the midtones; we are just sharpening the midtones.
| | 08:35 |
You know what, I am going to take that Opacity value up to 70%
so that I can make sure that you see the effect inside the video.
| | 08:43 |
So once again, this is before; the unsharpened image that is to say
and this is the sharpened version of the image with Smart Sharpen honed
| | 08:52 |
in on those midtones inside the image and thereby, we
are avoiding clipping the highlights and the shadows.
| | 08:58 |
In the next exercise, we are going to take a look at how we
can apply our sharpening selectively using an Edge Mask.
| | 09:05 |
Stay tuned.
| | 09:06 |
| | 09:07 |
| | Collapse this transcript |
| Sharpening and smoothing| 00:00 | In this exercise we are going to talk about how to use an edge mask,
in order to limit the portions of the image that we want to sharpen.
| | 00:08 | So use an edge mask with sharpening and then as well see in
another exercise, you use a non-edge mask to identify the non-edges
| | 00:16 | of course inside the image and you use that to smooth the image, in
order to reduce the noise and we will be performing both of these feeds
| | 00:23 | on that Unguarded moment.jpeg file that's
found inside 04_Support_Stuff folder,
| | 00:29 | that comes to us from photographer Pascal Genest of iStockphoto.com.
| | 00:32 | Now you may recall that we have already been through this image, we use
the Reduce Noise command combined along with the Smart Sharpen filter,
| | 00:40 | in order to create a fairly smooth version of the image.
| | 00:46 | But it does have some noise, right now I am looking at her neck, so this
region right here and I am looking at it magnified and you maybe able
| | 00:53 | to make out, especially if I zoom in some more
that I have brought out some noise in this image.
| | 00:58 | Even though I went ahead and downplayed the noise using Reduce
Noise then when I turned around and applied Smart Sharpen,
| | 01:04 | I brought the noise back out and I compared this with the original
version of the image right here, this is that same area of the neck,
| | 01:13 | it is definitely lower noise before we go and sharpen it.
| | 01:16 | So that worked out pretty well I thought. This
time around we are going to make it work out better.
| | 01:21 | So basically, edge mask and non-edge mask, they are
your tools when just combining things like smoothing
| | 01:27 | and sharpening together just doesn't
cut it for you. It's not good enough.
| | 01:31 | But they do involve some extra work,
I will warn you about that.
| | 01:34 | Alright. So I am going to go and switch to the full screen mode for this
Unguarded Moment image and I am going to go ahead and press Shift+Tab
| | 01:42 | to bring back my palette here and lets go ahead and convert her
to a Smart Object because that's going to be the best way to work
| | 01:49 | where this image is concerned. Then we are going use
the edge mask to mask of course the sharpening effect.
| | 01:54 | So I am going to go over to the Layers palette and I am going to click
at the Layers palette menu icon and choose Convert to Smart Object
| | 02:01 | and lets go ahead and call her once again Model
and now I am going to apply Smart Sharpen.
| | 02:07 | I am going to up to the Filter menu, choose Sharpen and then choose Smart
Sharpen and I am going to enter some pretty high values this time around.
| | 02:15 | Actually lets just max it out so we can really see what's going on
because the edge mask is going to serve to greatly limit this effect.
| | 02:22 | So we'll start with an Amount value of 500%, I frequently do that just
in order to gauge what kind of Radius value I want to use and in order
| | 02:29 | to make sure that I am seeing the effect as I am making the edge mask,
because we can always come back and change it later. That's the idea.
| | 02:36 | Alright. So Radius value of 4.0 pixels, Remove
is set to Lens Blur, More Accurate is turned off,
| | 02:40 | go ahead and click OK in order to accept that effect.
| | 02:44 | And then you probably going to want to turn around and go ahead and double
click on little blending icon right there. And lets change the Blend Mode
| | 02:52 | of course to Luminosity because we just want to focus
in on the luminance information inside the image,
| | 02:58 | we don't want to be sharpening the color stuff.
| | 03:00 | Looks like we are looking at her lips right now. This
is before and this is after I switch to Luminosity.
| | 03:05 | So right here we are seeing the color artifacts inside of her lips,
you can see a little bit of some purples around the bottom of her lip
| | 03:11 | and some greens on the top lip and so on and
they will disappear as soon as I release.
| | 03:15 | So it's a good thing. I'll click OK in
order to accept that modification.
| | 03:19 | I am going to go ahead and get rid of this mask by dragging it
to the trash can right there because its easier to create the mask
| | 03:27 | by invoking your selection outline and then just
converting it to a mask as opposed to doing anything else.
| | 03:32 | So it's just easier to start the mask over again.
| | 03:34 | It's basically what I am saying.
| | 03:36 | Before I go to the Channels palette, I
want to turn off the Smart Filters effect.
| | 03:40 | So we are looking at the original version of the image.
| | 03:43 | Alright. Now I am going over to the Channels palette and the reason I
am going to Channels palette is I need to select a channel from which
| | 03:49 | to derive an edge mask and I am going to ahead
and zoom in on her just a little bit here.
| | 03:56 | Lets check out the channels that are available to us.
| | 03:59 | Ctrl+1 would take us to the red channel, that'd be Command+1 on
the Mac. Command or Ctrl+2 is going to take us to the green channel
| | 04:05 | and Command or Ctrl+3 is going to take us to the blue channel.
| | 04:08 | Now the blue channel is in absolute mess.
| | 04:10 | We have got all kinds of harsh choppy transitions going on inside the blue
channel and also we have some lightning occurring inside the shadows.
| | 04:20 | This is the kind of stuff that frequently happens with the blue channels
and it's because our eyes react less to blue light than red or green light.
| | 04:29 | So bad information can hang out. It can hide out in the blue channel
and also the blue filter in digital cameras is sufficiently dark
| | 04:37 | that it leaves very little wiggle room
in terms of generating image data.
| | 04:43 | So your blue channel is typically going to be your least satisfactory
channel inside of an image and it's quite bad inside of this photograph.
| | 04:50 | This is the green channel, it's in much
better shape but it still has some roughness
| | 04:54 | and also it doesn't really have enough
contrast. It's a low contrast channel.
| | 04:58 | I want a higher contrast channel and for portrait
shots, that's going to be your red channel.
| | 05:03 | You are going to want to start from your red channel most
of the time when you are working with portrait shots.
| | 05:07 | So lets go ahead and grab that red channel and we are going to load it
as a selection outline by Ctrl or Command-clicking on its thumbnail.
| | 05:16 | So Ctrl-click on the thumbnail on the PC, Command-click on the
thumbnail on the Mac, then I am going to switch back to the RGB image
| | 05:23 | and notice that we have loaded the light areas as the selection outline.
| | 05:27 | So we selected light areas of that channel, we have deselected the
dark areas essentially and this marching ant selection indicates
| | 05:34 | that we have either selected or deselected areas,
it actually just represents the 50% Threshold.
| | 05:39 | It is a very gradual selection outline.
| | 05:42 | I am now going to move over to the Layers palette.
| | 05:44 | Lets turn the Smart Filters item back on, recall that you need to
click outside of the underline right there, in order to turn it on.
| | 05:52 | Then I am going to right click on Smart Filter and
choose Add Filter Mask and that's just going to go ahead
| | 05:56 | and convert the selection outline back to a channel essentially.
| | 06:01 | And this is what it looks like.
| | 06:02 | I'll Alt-click or Option-click on this layer mask right here
and we can see this mask and its exactly it is identical
| | 06:11 | to the red channel we were just looking at a moment ago.
| | 06:13 | So converting from a channel to a selection outline and back
to a mask is a non-destructive conversion every single time.
| | 06:20 | So all that pixel data is still intact which is really great.
| | 06:23 | Now we need to take this information right here, this mask in progress,
which is just a red channel so far, we need to take it and convert it
| | 06:30 | into an edge mask and we are going to do that in the next exercise.
| | Collapse this transcript |
| Making an edge mask| 00:00 | In this exercise we are going to the mask that I have assigned to the Smart
Sharpen, Smart Filter and we are going to convert it into an edge mask.
| | 00:08 | It just traces along the edges inside of the image and protects
the non-edges so that we don't sharpen a bunch of noise.
| | 00:14 | I am working inside of a catch-up document, those of you who may
just be joining me called Sharpened moment.PSD and it's found inside
| | 00:22 | of the 04_Support_Stuff folder. I am going to Alt-click
or Option-click on this Filter Mask icon right there in front
| | 00:31 | of the words Smart Filters in order to view the mask by itself.
| | 00:35 | Now currently it's just a copy of the red channel nothing more and the
sharpening effect is going to show through the white and light areas
| | 00:43 | of the mask and its going to be hidden by the dark
and black areas of the Mmask and then we are going
| | 00:48 | to have sort of soft transitions provided by the gray areas.
| | 00:53 | Alright. So lets make an edge mask.
| | 00:55 | Lets convert this guy to an edge mask.
| | 00:56 | Now if you have watched my Photoshop CS3 Channels & Masks Series,
you know how to create an edge mask for sharpening archival photographs.
| | 01:04 | This edge mask is going to be slightly different.
| | 01:06 | Its basically the same idea, just a little different spin here.
| | 01:10 | So the first thing that I am going to do is I am going to apply the
Median filter because I want to get rid of as much noise inside this image
| | 01:18 | as possible right upfront. I am going to go onto the Filter
menu and I am going to go to Noise and then I will chose Median
| | 01:25 | and I am going to apply a pretty high value Radius of 10 pixels.
| | 01:29 | Now this recipe that I am about to share with you is going to
work for just about any image as long as you follow the steps.
| | 01:35 | So the steps will always remain the same. You will choose Median and then
you will choose another filter and another filter and so on. However,
| | 01:40 | the exact Radius values you enter is kind of up to you.
| | 01:44 | Basically you need to enter a high enough Radius value.
| | 01:47 | It's totally OK to go over the top here a little bit.
| | 01:50 | A high enough Radius value that you get rid of the noise inside the
image is as much as possible. If you ruin a little bit of image detail,
| | 01:57 | if you are gumming up a little bit that's OK. But high resolution
images you might want to go even higher, although this is a big image.
| | 02:03 | Alright. So Radius value of 10 pixels is
what I am going to apply and I will click OK
| | 02:07 | and you can see that we have a pretty gummy image going on here.
| | 02:11 | Now I am going to go up to the Filter menu.
| | 02:13 | This is the key step to creating an edge mask.
| | 02:16 | You go to Stylize and you choose this command right there,
Find Edges, and it locates the edges inside the image,
| | 02:21 | which is a terrific thing. Without Find Edges we wouldn't be
able to create an edge mask and you get this effect here.
| | 02:27 | Now I want the edges to show up this white and the non-edges
to show up as black; so I need to reverse this mask,
| | 02:34 | and I am going to do that by pressing Ctrl+I
or Command+I on the Mac to invert it.
| | 02:39 | Next, I want to increase the brightness of this mask, because right now
we wouldn't be able to see much at all in the way of sharpening going
| | 02:48 | on inside of this image and if you want to check it out
you can just Alt-click or Option-click on that mask icon
| | 02:54 | and you will see now we have pretty
much obliterated the sharpening effect.
| | 02:58 | Alright. So I am going to Alt-click or Option-click on the filter mask
once again and I am going to press Ctrl+L or Command+L on the Mac in order
| | 03:06 | to bring up the Levels dialog box and you can
see we just have a little bit of a Histogram here.
| | 03:11 | I am going to increase the brightness by dragging this white
slider triangle right there over until I get a value of about 40;
| | 03:19 | so notice that its starting to cut into the slope of
that Histogram, and we are bringing out a lot of whites,
| | 03:25 | a pretty cool effect, that we are seeing right here.
| | 03:28 | Even though we are just using as amask,
it looks pretty darn cool actually.
| | 03:31 | So I went ahead and applied the white point value 40.
| | 03:34 | So that I am saying anything with a brightness
value of 40 or lighter is going to become white.
| | 03:38 | So that's an awful lot of luminance levels.
| | 03:40 | Then I will click OK in order to accept that modification.
| | 03:45 | Alright. Now lets take a look at what we have brought so far.
| | 03:48 | I am going to Alt-click or Option-click on the filter mask once again or I
can just click on the layer thumbnail right there in order to switch back
| | 03:56 | to the full color image and you can see that this has limited
the sharpening filter to a great extent here actually.
| | 04:03 | I am going to bring up the History palette so that we can compare
this last step that we just applied to the original filter mask.
| | 04:11 | So I will go ahead and choose Add Filter Mask right there
and you can see that we have a lot more sharpening going
| | 04:16 | on before we converted this right
channel right here to an edge mask.
| | 04:20 | So its a much more subtle sharpening effect, though by no means subtle
because I still have this very high Amount value assigned to Smart Sharpen.
| | 04:28 | Alright. So this is pretty good, I would
just like to expand the edges a little bit.
| | 04:33 | They're still a little thin for my taste.
| | 04:35 | So I am going to go ahead and click on the filter mask icon
and from this point on we are going to work on the filter mask
| | 04:41 | but we are going to preview the effects in the full color image.
| | 04:44 | So here's how we make the edges thicker inside the Mask.
| | 04:46 | The first step is to go up to the Filter menu and choose Other and choose
Maximum. Maximum increases the maximum brightness value, which is white.
| | 04:56 | So it expands the white areas of the mask and I am going
to go ahead and expand those edges by a radius of 4 pixels.
| | 05:04 | Now again this is going to vary exactly which values you apply are
up to you so you might want to experIiment with this a little bit.
| | 05:10 | But I will go ahead and click on the eye
here so we can see that eye; this is before.
| | 05:14 | And bear in mind, we are looking at the mask here
inside the preview inside the Maximum dialog box.
| | 05:20 | This is the before view of those
edges and this is the after view.
| | 05:24 | So that greatly expands those edges so that
we are sharpening a wider swath of edge there.
| | 05:29 | And then I will go ahead and click OK to accept that modification.
| | 05:32 | Now the one thing before we click OK I want you
to notice that Maximum ends up blowing up pixels,
| | 05:36 | it ends up expanding pixel so you get
these big squares, you may notice here.
| | 05:40 | So I will click OK. We need to round up those squares and the ticket where
rounding squares is concerned is the Median filter. Once again, the Median
| | 05:48 | filter will go ahead and round off corners inside of an image.
| | 05:52 | So I am going to go to the Filter menu,
choose Noise and choose Median.
| | 05:56 | It's a part of the averaging process as it
turns out. I am going to enter a Radius value
| | 06:00 | that matches the radius inside the Maximum dialog box, which was 4.
| | 06:05 | Alright. So whatever you enter in Maximum, enter the same value here
into Radius and that will round off those edges as you can see there.
| | 06:12 | So this is before with all the little squares; this
is after with all the little circles essentially.
| | 06:17 | Now I will go and click OK. Then finally we want
to go ahead and blur the edges a bit and I am going
| | 06:23 | to apply a Blur value of twice
the Maximum and the Median values.
| | 06:27 | So I am going to go to the Filter menu, choose Blur
and choose Gaussian Blur the best blur for our purposes
| | 06:33 | because we need a nice Gaussian distribution and I
am going to go with the Radius value of 8 pixels.
| | 06:37 | Just as I have here, lets look at the eye again. So this
is it before, this is it after. It looks very blurry,
| | 06:43 | doesn't look as cool as it looked before the mask. Doesn't looks nearly as
cool as it did before, but it's going to serve our purposes much better.
| | 06:49 | Now I will click OK in order to accept that modification.
| | 06:53 | You can see that we now have a pretty subtle sharpening effect
considering how high the Amount value is and we have managed
| | 07:01 | to avoid sharpening much in the way of the noise inside the image.
| | 07:06 | So if I turned off, I will go ahead and turn off the Smart Filter here.
| | 07:09 | This is a before view of this noisy area
in the image and this is the after view
| | 07:14 | and if you are not seeing much happened inside the
video that's no surprise, not much is happening.
| | 07:19 | There is not much difference.
| | 07:20 | We have successfully avoided that noise.
| | 07:22 | We are doing a little bit of sharpening, but mostly
we are avoiding it, thanks to this edge mask.
| | 07:27 | So an edge mask is ideal for sharpening.
| | 07:29 | Now one more thing I am going to do here
is change my Smart Sharpen settings
| | 07:33 | because I don't really want to work
with an amount of value of 500%.
| | 07:36 | I'm going to go ahead and double click on the
word Smart Sharpen right there and I am going
| | 07:39 | to take the value down to lets say
about 250% or it may go higher.
| | 07:44 | Why don't we take it up to about 300%? And
then click OK to accept that modification.
| | 07:50 | The dialog box preview here does not take the mask into account,
so you are going to see the amount applied across the entire image.
| | 07:57 | When you click OK though, you are going to see
the effect applied inside of the mask region.
| | 08:03 | So this is perfect.
| | 08:04 | In the next exercise I am going to show you how to use a non-rdge
mask in order to smooth away the noisy portions of the image.
| | Collapse this transcript |
| Making a non-edge mask| 00:00 |
In this exercise I am going to show you how to make a non-edge
mask that allows us to smooth away the noise inside the image
| | 00:06 |
and the other non-edges inside the image while leaving the edges
more of less intact so that the Sharpen filter can operate upon them.
| | 00:14 |
Now I am working on a catch-up document and I am calling edge mask.PSD, if
you are just joining me, you can open it inside the 04_Support_Stuff folder.
| | 00:23 |
Notice that it includes a Smart Object along with the Smart
Sharpen Smart Filter that's mitigated by this Filter Mask right there.
| | 00:31 |
A non-edge mask is in many ways the opposite of an edge mask.
| | 00:35 |
It allows us to select the non-edges inside the image.
| | 00:39 |
As you may recall, Smart Filters, a group of Smart
Filters can only be modified by a single layer mask.
| | 00:44 |
So we can't actually add the Reduce Noise filter to the
same Smart Object here and apply a different Mask to it.
| | 00:50 |
Instead what we have to do is, we have to create a nested
Smart Object, the way we did for the buffalo image.
| | 00:56 |
So I am going to double-click on the model thumbnail right
here in order to open her up as a standard static image.
| | 01:05 |
Notice that it says Background layer right there.
| | 01:07 |
We are then going to turn around to convert this into a Smart Object.
| | 01:11 |
So we have a nested Smart Object to work with.
| | 01:13 |
To this end I will go ahead and bring up the Layers palette menu
and I will choose Convert to Smart Object and I will go ahead
| | 01:19 |
and call this one Noise or something along those lines.
| | 01:23 |
Now I am going to approach this Smart Filter differently
and its mask as well, before we assign the Smart Filter.
| | 01:29 |
Lets go ahead and load the red channel as a selection outline.
| | 01:32 |
So I am going to the Channels palette and I am going to Ctrl-click
or Command-click on the Mac on the red channel right there,
| | 01:38 |
on the red channel thumbnail, in order
to load it up as a selection outline.
| | 01:43 |
Now I am going to return to the Layers palette and I am
going to go up to the Filter menu, choose the Noise command,
| | 01:49 |
and I am going to choose this guy right here, Reduce
Noise, and I am going to apply the same settings I applied
| | 01:56 |
to this image several exercises ago now, which are these settings right
here: Strength of 8, Preserve Details set to 20%, Reduce Color Noise 45%,
| | 02:04 |
Sharpen Details 0%. And if you want to see how that effects that area
of noise in her neck you can go ahead and drag down to that location.
| | 02:12 |
You will see that it smoothes it out very
nicely and it does this by the way
| | 02:15 |
without ruining the detail inside the image,
just ruins it over a little bit but not too much.
| | 02:20 |
So I will go ahead and click OK in order to accept that modification and
notice what happens, Photoshop goes ahead and assigns the Smart Filter
| | 02:26 |
and applies the selection outline as the filter
mask in one operation and there it is right there.
| | 02:34 |
So that's kind of handy I think.
| | 02:35 |
Now lets go about modifying that mask and we are going to click
on the mask in order select it and I am actually going to Alt-click
| | 02:42 |
or Option-click on the mask so we can view the mask by itself.
| | 02:45 |
Step number one is still that same step we applied with the edge mask.
| | 02:48 |
You want to go up to the Filter menu, choose the Noise command and
then choose Median. I will say that some folks use Gaussian Blur
| | 02:55 |
at this state instead of Median but I find Median to
be the better filter for smoothing over digital noise.
| | 03:01 |
So I am going to go ahead and choose the Median command and
I am going to apply that same Radius value that I applied
| | 03:06 |
in the previous exercise, which is 10
pixels and then I am going to click OK.
| | 03:11 |
The second step is exactly the same as well. You
go up to the Filter menu, you choose Stylize,
| | 03:16 |
and you choose Find Edges, which gives you
those black edges against a white background.
| | 03:21 |
Now we want to select the non-edges
inside the image and protect the edges.
| | 03:25 |
So we are not going to invert the mask this time around, we
are going to leave it Not Inverted, but I am going to go ahead
| | 03:31 |
and increase the levels so that we have more contrast going on here.
| | 03:34 |
I am going to go ahead and zoom in on her face a little bit so that we can
see her neck as well and I am going to press Ctrl+L or Command+L on the Mac
| | 03:41 |
and I am going to drag this black triangle over to
the right until it hits the beginning of the slope.
| | 03:47 |
Notice our Histogram is kind of the opposite of what we
were seeing before, which figures because we didn't invert.
| | 03:53 |
So if we had inverted the image, this histogram would
be flipped over to the left side of the dialog box.
| | 03:58 |
I am going to go ahead and move that black slider triangle over to
the value of 210 there so that its hitting the beginning of the slope,
| | 04:05 |
but now that leaves sort of this topographical
map effects behind on her cheeks and so on.
| | 04:10 |
I am going to get rid of that topography by moving the white
slider triangle over to the left, just a 10 luminance level,
| | 04:18 |
so that we get a value of 245 in the right hand position here
and then I am going to click OK to accept that modification.
| | 04:26 |
Finally, notice we are not protecting much inside this image
at this point and the reason that we are not protecting much is
| | 04:33 |
because as I was saying Reduce Noise function
is a more subtle command than Smart Sharpen,
| | 04:38 |
so we don't need to protect that much information
inside the file, just the most obvious edges.
| | 04:43 |
But I do want to avoid having this sort of
scalloped relief sort of effect going on here.
| | 04:49 |
So I am going to blur this mask.
| | 04:50 |
Actually let me zoom in to 50% so we can view this mask accurately.
| | 04:54 |
I am going to go to the Filter menu and I will choose Blur and Gaussian
Blur, and I am going to go ahead and match the Median value this time,
| | 05:02 |
so I will enter a Radius value of 10 pixels and I will click OK in order
to accept that modification and now lets see what we have done here.
| | 05:09 |
I will Alt-click or Option-click on that Filter Mask in
order to check out the full-colored version of the image.
| | 05:16 |
Lets go ahead and zoom in on her eyes so
that we can see them very closely here.
| | 05:21 |
So if I was to turn off the Mask, which
I will do by Shift-clicking on it.
| | 05:26 |
So Shift-clicking on a filter mask turns it
off, puts a big X to it as you can see there.
| | 05:31 |
So this is the smooth version of the eye and then I will
Shift-click again to reveal the protected version of the eye.
| | 05:36 |
So it's not that much difference. In fact, you would have to
have a very keen eye indeed in order to see that difference,
| | 05:42 |
but while you can't see it very much, Photoshop can and it is
going to make it difference in terms of the sharpening operation.
| | 05:49 |
Alright. So that's the non-edge mask and we have used non-edge
mask to mitigate to a slight extent the Reduce Noise filter.
| | 05:56 |
We are now done working with the nested Smart Object.
| | 05:59 |
I am going to go up to the File menu and choose the Close command.
| | 06:03 |
Photoshop is going to ask me if I want to save my changes. Yes,
I do, that will save my changes into the larger composition,
| | 06:09 |
which is that edge mask.PSD composition as
you may recall, and here it is, edge mask.PSD.
| | 06:14 |
We can see the original model Smart Object with the Smart Sharpen,
Smart Filter applied as mitigated by the edge mask of course.
| | 06:24 |
Lets go ahead and move up from her bodice there so that we can check
out her face and her neck and if I were to zoom in you can see
| | 06:31 |
that we're not bringing out much in the way of noise in the neck still.
In fact we have defeated a lot of that noise using the Reduce Noise Filter.
| | 06:38 |
So this is a perfect sharpening of this image.
| | 06:41 |
It does take a little bit of extra time, but
it's going to deliver some amazing results.
| | 06:46 |
So if you have noisy but beautiful image like this one here and you want
to treat it with tender loving care, remember that you will sharpen
| | 06:53 |
with an edge mask and smooth with a non-edge mask and you
will create a smooth effect inside of a nested Smart Object
| | 07:01 |
and the sharpen effect inside the consuming Smart Object.
| | 07:04 |
Then go ahead and save this image out as
a layered PSD file and you are good to go.
| | 07:08 |
In the next chapter, in Chapter 5 we are
going to take a look at sharpening for the source
| | 07:13 |
and we are going to focus much of our attention on Camera RAW.
| | 07:17 |
| | 07:17 |
| | Collapse this transcript |
|
|
5. Sharpening for SourceSharpening with Adobe Camera Raw| 00:00 |
Remember the Technique Trumps Timing
slide from the final exercise in Chapter 2?
| | 00:05 |
That was just a photograph but here is the real thing.
| | 00:08 |
Like so many of my slides, this one occurs naturally on a poster
board backing in the hills above Harrisburg, Pennsylvania.
| | 00:15 |
As you may recall, these four headlines identify the main
categories of sharpening in the general order that you apply them.
| | 00:23 |
First identify by the late Bruce Fraser
in his book "Real World Image Sharpening,"
| | 00:27 |
Source, Details, Effects and Output will serve as your guide posts
as you attempt to create an optimally focused image in Photoshop.
| | 00:35 |
The second half of the series is all about
making the most of each of these categories.
| | 00:40 |
Starting at the top with Sharpening for Source.
| | 00:43 |
Digital image capture devices, whether cameras or scanners,
use softening algorithms to resolve banding, harsh transitions
| | 00:51 |
and the creation of colors that the image sensor missed.
| | 00:54 |
In this chapter, we will focus our attention
on ways to sharpen digital photographs,
| | 00:59 |
specifically those captured by your camera's RAW
format inside the Adobes Camera RAW or ACR for short.
| | 01:06 |
Well, sharpening for source ACR 4.1 and later let you smooth over
noise, cranked chromatic aberrations and generate edge masks on the fly.
| | 01:15 |
It is amazing.
| | 01:17 |
Fortunately ACR lets you open JPEG and TIFF files as
well, as you will see me doing in subsequent chapters.
| | 01:25 |
It does get thirsty.
| | 01:27 |
| | 01:28 |
| | Collapse this transcript |
| Introducing Camera Raw (4.1 or later)| 00:01 | In this chapter, we are going to be taking a look at some
sharpening controls that not available inside of Photoshop proper.
| | 00:07 | To get to these sharpening controls, you'll either have to open an
image inside of Adobe Camera RAW, which is a plug-in that ships along
| | 00:14 | with Photoshop, or you have to use this separate program that ships separately,
cost more money that's called the Adobe Photoshop Lightroom also known
| | 00:22 | to most folks just as Lightroom.
| | 00:24 | Now the controls that we are going to be looking at
are available inside of Adobe Camera RAW 4.1 or later.
| | 00:31 | In Camera RAW 4 ships along with Photoshop CS3, but in order
to get 4.1 or later you have to run your Updater utility.
| | 00:39 | As I am filming this, most recent version of Camera RAW is
Camera RAW 4.3.1 that anything after 4.1 will do just fine.
| | 00:47 | If you are using Lightroom, you need the Lightroom
1.1 or later. Just you know a little bit of an FYI.
| | 00:54 | Now both Camera RAW and Lightroom are specifically
designed to accommodate digital images or images captured
| | 01:01 | with a digital camera in that camera's RAW file format.
| | 01:05 | So we will be looking at RAW images throughout this chapter, however,
these options are also applicable to images that you capture as JPEG files
| | 01:15 | or TIFF files or images that you scan from film, from film
transparencies, lets say or color negative and save as JPEG or TIFF files.
| | 01:24 | You can also use Camera RAW on those files.
| | 01:27 | So before we go any farther in this exercise, I just want to show
you how you open an image inside of Camera RAW and how you get
| | 01:35 | to the sharpening controls, regardless of
what kind of image you are working with.
| | 01:38 | Now I am looking at Adobe Bridge that ships along with Photoshop
and with CS3 and I have the Bridge trained on the contents
| | 01:47 | of the 05_for_source folder, which is found inside the
exercise_files folder, and I am looking at a modified version
| | 01:53 | of a horizontal film strip view here inside the Bridge and you should see
these images, if not several more images as well, inside of this folder.
| | 02:03 | And you may notice that they are all DNG files. DNG is the Adobe's RAW
file format and it is meant to serve as a unifying file format, sort
| | 02:12 | of the TIFF essentially of RAW digital images, because
every single camera has its own RAW file format.
| | 02:18 | These images were captured by a variety of different cameras
from vendors such as Canon and Nikon and Leica and each one
| | 02:27 | of those vendors havs their own preparatory format,
whether its CRW or CR2 in the case of the Canon image.
| | 02:33 | Nikon, it would be NEF. This Leica photograph right here to
be RAW, but I went ahead and converted them all to DNG files,
| | 02:40 | using Adobes free DNG Cnverter utility, which you can get to-
by the way, you do not need for the purposes of this exercise,
| | 02:47 | but you can get to it if you need it in the future
for whatever reasons, by going to www.adobe.com/dng.
| | 02:56 | As I say that's a free converter utility.
| | 02:59 | And by the way, if you are a member of the lynda.com Online Training
Library, then you can check out why DNG is so great by talking a look
| | 03:08 | at my Photoshop Camera RAW Series, which goes into quite a bit of details
about Camera RAW and the basic sort of makeup of the utility and so on.
| | 03:18 | Lets go ahead and see how you open an image inside of Camera RAW.
| | 03:21 | I am going to go down here to Festive Ornaments.dng and all I am going
to do is double click on it and that now only shifts you to Photoshop,
| | 03:29 | you may have seen how we shifted from the Bridge into Photoshop for a
moment there, and then it opens the Camera RAW plug-in inside of Photoshop.
| | 03:36 | So Photoshop is hosting the plug-in at this point.
| | 03:39 | Then to get the sharpening controls, you would
go over here to this guy, Detail, and that looks
| | 03:44 | like a couple of cones, one in focus and one out of focus.
| | 03:47 | They might be not mountain peaks, what have you, and there
are sharpening controls and are noise reduction controls.
| | 03:53 | We will also be looking at this guy right here, which
is the Lens Correction functions and the first group
| | 03:58 | of Lens Correction functions are the Chromatic Aberration options
and they come in very handy when adjusting sharpening as well.
| | 04:05 | Now then, after you make your modifications to those and other options
inside of Camera RAW, you would go ahead and click on the Open Image button
| | 04:12 | down here if you wanted to open the image inside the Photoshop and
further modify it, or you could just click on this Done button in order
| | 04:18 | to save your changes as non-destructive metadata
instructions that are applied to the image
| | 04:25 | as you open it, but aren't ever applied to the original photograph.
| | 04:29 | So the original photograph remains intact, which is really great.
| | 04:33 | We will see more about how these options work shortly.
| | 04:36 | But for Now I am just going to click on the Cancel
button in order to cancel out of the Camera RAW.
| | 04:40 | Now that dumps me inside of Photoshop. I am going to have to switch
back to the Bridge by pressing Alt+Tab or Command+Tab on the Mac.
| | 04:48 | And I should say very briefly- I will go back for a moment.
| | 04:50 | I should show you that you can get to the Bridge from Photoshop
by going to the File menu and choosing the Browse command
| | 04:56 | or there is also this little Bridge folder
icon right up here in the Options bar.
| | 05:00 | So either of those options will take you back to the Bridge.
| | 05:03 | Alright. So here I am inside of the Bridge and we saw how we can just
double click on a DNG file for example or any other RAW Digital camera file
| | 05:12 | in order to open it inside of Photoshop inside Camera RAW.
| | 05:15 | What if we want to run Camera RAW directly inside the
Bridge? Well we would go up here to the File menu.
| | 05:20 | Instead of choosing the Open command up here, we would choose Open
in Camera RAW or you can press Ctrl+R or Command+R on the make.
| | 05:27 | The advantage to this way is that you are
hosting Camera RAW inside of the Bridge.
| | 05:31 | So notice we didn't switch to Photoshop that time,
we are just working directly inside of the Bridge,
| | 05:35 | which means that I can still use Photoshop for other activities.
| | 05:39 | If I Alt+Tab or Command+Tab over here to Photoshop, I can
open a different image, work inside of it and it is free.
| | 05:45 | In another words I am not occupying Photoshop with the
Camera RAW plug-in, which is actually a really nice thing.
| | 05:51 | Alright. So I can still make the exact same modifications. I can
switch over to here there is a sharpening control, make my modifications
| | 05:57 | and click on Done button in order to
update the image inside of the Bridge.
| | 06:01 | I will go and click on Done and we can
see by the way that all of these images
| | 06:05 | that we are seeing here along the bottom
area here inside of the Content panel.
| | 06:10 | Your Content panel may be arranged differently, but
all the thumbnails feature these settings options,
| | 06:15 | there is little sort of settings icon right there in the
upper right hand corner and that shows you that some form
| | 06:22 | of Camera RAW modifications have been applied to all these
images. And had these images been modified in Lightroom,
| | 06:29 | they would also have these little settings since both Camera RAW
| | 06:32 | and Lightroom will support each others
modifications, which is a really great thing.
| | 06:36 | So as I say all these modifications are applied
non-destructively just as metadata instructions
| | 06:41 | that you can see over here in the Metadata panel if you want to.
| | 06:44 | There is the Camera Data, if I go ahead and scroll
down I will see the Camera RAW Data right here,
| | 06:49 | which is telling me the setting set have been
applied for example to Festive Ornaments.dng.
| | 06:54 | Those are the ways that you get to the Camera RAW
when you are working with the RAW digital photograph.
| | 06:57 | What if you are working with a JPEG file or
a TIFF file? I am going to switch over here
| | 07:01 | to this 04_support_staff folder that we
worked with in the previous chapter.
| | 07:05 | I am going to scroll until I find this guy Shaggy behemoth.jpeg.
| | 07:10 | He is a standard JPEG file as you all know from the previous chapter.
| | 07:14 | Now if I double click on this file, if I double click on the
thumbnail here, I will just open the file normally inside of Photoshop.
| | 07:20 | If you want to open the image in Camera RAW instead in order to sharpen
with the source in mind, that is either the digital camera or the scanner
| | 07:29 | in mind, then you would go up to the File
menu and you would choose Open in Camera RAW
| | 07:34 | that way you are forcing the image to
open inside the Camera RAW utility.
| | 07:38 | Once again you can press Ctrl+R or Command+R in the Mac as
a shortcut and that will bring up the Camera RAW utility.
| | 07:45 | You have got your sharpening controls, you make
your modifications, you click on the Done button.
| | 07:50 | I am going to go ahead and click on Cancel because I am not doing anything.
Had I done something then I would see a little settings modifier up here
| | 07:56 | in the upper right hand corner of the thumbnail and I would also be
able to see my Camera RAW modifications over here in the Metadata panel.
| | 08:03 | So that's how you get the Camera RAW.
| | 08:06 | In the next exercise, I am going to introduce
you to Camera RAW specialized sharpening controls.
| | Collapse this transcript |
| Understanding why to sharpen for source| 00:00 | Now before I explain how Camera RAW Sharpening functions work, I
want to give you a sense of why they exist in the first place.
| | 00:07 | They are not designed to sharpen the perceived focus of the image;
they are not designed to make the image pop on the printed page.
| | 00:13 | They are rather designed to compensate for the photographic process,
specifically for the conversion of the analog world to the digital world.
| | 00:22 | When you convert an analog image or the real world, which is analog after
all, to a massive digital pixels, you are introducing anti-alias thing,
| | 00:31 | and interpolation and all sorts of varieties of softening.
| | 00:35 | So I am just going to give you a sense of one
conversion that introduces softness to the image,
| | 00:41 | so you just have a sense of what is going
on and than we'll dive into the functions.
| | 00:45 | Now I am looking at this image its called Sensor grid.PSD, that's found
if you want to open it up, it's found inside the 05_For_Source folder
| | 00:55 | and this is a diagram,. Obviously it's not a
real photograph. This is a diagram of a detail
| | 01:01 | from an image sensor, that chip that's inside of a digital camera.
| | 01:05 | And the image sensor, this would be a really super magnified version.
| | 01:08 | The image sensor contains a bunch of little
sensors. So the word sensor has double meaning here.
| | 01:14 | In the case of a 10 mega pixel camera for example there would be 10
million sensors on the chip, each of which is capturing a pixel of data.
| | 01:24 | The problem is that each of the sensors can only in a typical camera,
each one of the sensors can only record luminance information,
| | 01:33 | just the lightness information. It can't
record their over all color information.
| | 01:37 | So there needs to be some kind of filtering applied over it, in order to
capture just the color and if I go over here to the Layer Comps palette
| | 01:45 | and I switch over to Color Filter Array,
we can see the striping that is applied.
| | 01:50 | This is called striping, where each one of the sensors gets a little
drop of colored resin on it essentially, that acts as a light filter.
| | 02:00 | So this way, even though we are just recording the luminance
information, we have this common Bayer pattern and what I mean by that is,
| | 02:07 | what we are seeing here is a Bayer pattern and that is the
most common solutions where digital cameras are concerned,
| | 02:13 | just like something like 99% of the
cameras out there use a Bayer pattern.
| | 02:18 | This Bayer pattern favors green.
| | 02:20 | So what we are seeing is in any block of 2x2 sensors and
bear in mind, this is just a detail of the overall chip.
| | 02:27 | The overall chip would have 10 million sensors
on it, lets say, this one just has a handful.
| | 02:32 | We are in any group of four of these sensors, two wide by
two tall, we have two sensors that are filtered with green
| | 02:41 | and than one is filtered with red and one is filtered with blue.
| | 02:44 | And there is two reasons for this. One is that our eyes naturally
respond to green light more than red light and way more than blue light.
| | 02:51 | And the other reason is that the green resin does less
to filter the light than the red or the blue resin.
| | 02:58 | So we are doing less light filtering and that way we are
capturing more light information, more detail information.
| | 03:03 | So that is why we are doubling up on the
green, half as many reds and blues.
| | 03:08 | Now the problem is of course is that all we are getting, all the digital
camera is capturing and this is the case with the RAW image by the way,
| | 03:15 | this is what is coughed up with the RAW file format image.
| | 03:18 | Although, we are getting is a pixel that's a green pixel followed by
a pixel that's a blue pixel and then a row of those and then next row
| | 03:25 | of red pixel followed by a green pixel and a row of those.
| | 03:27 | Then we are back to green and blue.
| | 03:29 | So we never have a full color pixel anywhere inside the RAW image.
| | 03:33 | What Camera RAW is responsible for doing is
de-mosaicing this image so it is converting it
| | 03:39 | from this mosaic sensor pattern that we are seeing right here.
| | 03:42 | It's de-mosaicing, which is to say, it is averaging; it is applying the
weighted average in order to find out what the exact color of the pixel is.
| | 03:51 | So for the example in the case of, lets say this pixel right there, Camera
RAW has to figure out what the real color of that pixel is. So it weighs
| | 04:00 | in the fact that this happens to be a green pixel on the
first place and then it surrounded by eight other pixels,
| | 04:06 | it goes ahead and creates an average of these nine pixels together,
taking into consideration what each of the original colors
| | 04:14 | of the pixels is, and then it manufactures the correct color.
| | 04:19 | I say correct in big quote fingers because it's not after
all exactly the correct color, it's an averaged pixel.
| | 04:25 | But this averaging is known generally as interpolation
and so it introduces softening into the image.
| | 04:32 | Imagine for example that you have a detail inside your photograph that
really only measures one pixel wide. What happens? It ends up sloughing
| | 04:41 | over into the other pixel shifts a little bit
and that creates the appearance of softness.
| | 04:45 | It's a very slight appearance of softness and that's why you have to
take it easy with your sharpening inside of Camera RAW as we'll see.
| | 04:53 | You are also applying a little bit of noise reduction,
a few other adjustments as well and that is all designed
| | 05:00 | in order to compensate for the photographic experience.
| | 05:02 | So once again don't try to sharpen the over all condition
of the photograph, just try to sharpen for the source
| | 05:09 | and that's what we will be doing in subsequent exercises.
| | Collapse this transcript |
| Using Camera Raw’s sharpening control| 00:01 |
In this exercise I am going to introduce you
to the sharpening controls that are available
| | 00:04 |
to you inside of Camera RAW as well as inside of Llightroom.
| | 00:08 |
Now I have got the Bridge trained on the 05_for_source
folder that's available to you inside the exercise files folder
| | 00:14 |
and I have selected the Festive ornaments.dng file.
| | 00:18 |
I'd like you select it as well and then you can open this file
inside the Camera RAW either by going up to the File menu
| | 00:23 |
and choosing opening Camera RAW or pressing Ctrl+R or Command+R on
the Mac or you can right click on the image's thumbnail there inside
| | 00:31 |
of the Content panel and you can choose
Open in Camera RAW from the shortcut menu.
| | 00:36 |
Any of those techniques is going to work.
| | 00:38 |
That's going to open the Camera RAW inside of the Bridge,
so the Bridge is hosting Camera RAW at this point.
| | 00:43 |
Now I am going to go ahead and enlarge the Camera
RAW window so that fills up the entire screen,
| | 00:47 |
which I can do by clicking on this icon here or pressing the F key.
| | 00:51 |
F cycles you back and forth, in that way
I am maximizing my space on screen here.
| | 00:57 |
Now as you may know if you have any experience
with Camera RAW, you know that it's mostly-
| | 01:01 |
most of it's controls are dedicated to the
task of adjusting colors inside of an image.
| | 01:07 |
So you may very well wonder while you are sharpening the image for
the source, should you also go ahead and accommodate its colors?
| | 01:13 |
Should you also go ahead and apply color adjustments and color
corrections that kind of thing? And the answer is definitely yes.
| | 01:21 |
This a general rule of thumb when working
inside of any Photoshop dialog box.
| | 01:25 |
As long as you have that dialog box upon screen, try to
get as much work done inside the dialog box as you can.
| | 01:30 |
That's the way that you are going to apply the
most nondestructive modifications possible.
| | 01:36 |
In fact when working with sharpening you want to go ahead and apply
your color adjustments first, not because it effects the order
| | 01:42 |
in which Camera RAW applied its adjustments, but because of
the fact your ability to gauge your sharpening adjustments.
| | 01:49 |
So in the case of this image I have applied a
variety of settings here inside of the Basic panel.
| | 01:53 |
I will just go ahead, just to give you a
sense of what kind of changes I have applied.
| | 01:57 |
I am going to click on this little menu icon to the right of
that word Basic and I am going to choose Camera RAW Defaults.
| | 02:03 |
This is the way the image looks when I have
first opened it up inside of Camera RAW.
| | 02:07 |
I am going to go ahead and zoom in a little
bit by pressing Ctrl+plus or Command+plus on the Mac.
| | 02:12 |
So this is the original version, the colors that are a
little bit muted and they are also a little bit too cool.
| | 02:18 |
So I went ahead warmed things up and increased the Vibrance
and Saturation values and I will just go ahead and show you
| | 02:24 |
by choosing Image Settings so I can bring those settings back.
| | 02:28 |
The settings, the metadata instructions
that are saved along with this file.
| | 02:32 |
So these are all nondestructive modifications,
as I was saying in the previous exercise.
| | 02:36 |
And a variety of these values change when I chose that command.
| | 02:39 |
The exact settings aren't important. I just want to make the case
that you want to go ahead and apply your color adjustments first.
| | 02:45 |
Then you'll want to switch over to this guy right here, Detail.
| | 02:48 |
Notice, its called Detail, not Focus, which is rightly so. These are
not really focus adjustments. You can only adjust the focus technically
| | 02:56 |
speaking, when you are taking the shot.
| | 02:59 |
But I don't want you to be thinking that
we're sharpening for detail at this point.
| | 03:03 |
We'll be sharpening for detail in the next Chapter.
| | 03:05 |
Right now we are sharpening for source.
| | 03:07 |
We are sharpening in order to adjust for the anti-aliasing
and noise and other artifacts of the photography process.
| | 03:15 |
So anyway I am going to go ahead and switch
over to this Ddetail tab right here,
| | 03:19 |
or I could press the keyboard shortcut
Ctrl+Alt+3 or Command+Option+3 on the Mac.
| | 03:24 |
Notice that we have a total of four different Sharpening
options and two Noise Reduction options available to us.
| | 03:30 |
The order in which you apply these is not important because Camera
RAW goes ahead and applies them in a most sensible order possible.
| | 03:38 |
So even though you apply your Sharpening first and then
your Noise Reduction and then your color adjustments,
| | 03:43 |
Cameral RAW is going to apply the color adjustments
and then the Noise Reduction and then the Sharpening.
| | 03:47 |
So it does its own thing in own order, no matter what.
| | 03:50 |
So you go feel free to work in whether of the order you want.
| | 03:53 |
Just make sure its a best order in which to gauge your changes.
| | 03:56 |
Now briefly I am just going to run through this very fast.
| | 03:59 |
Then we will spend more time with them in future exercises.
| | 04:01 |
The Amount value changes the amount of sharpening you apply.
| | 04:04 |
Radius value affects the size of your halo, so that's very much
the same as it is with Unsharp Mask, Smart Sharpen and so on.
| | 04:11 |
But the way that these values are calculated is very different.
| | 04:15 |
This amount setting and the amount setting goes as high as a 150.
| | 04:18 |
I will tell you right now.
| | 04:19 |
I am not going to change it right now but it goes as high as a 150.
| | 04:23 |
A 150% amount is very, very high inside of Camera RAW.
| | 04:29 |
It makes a big modification, much bigger than
what you get with Unsharp Mask and Smart Sharpen.
| | 04:33 |
Next, we have a Detail option, which is going to smooth or sharpen the
contours and then we have masking, which is going to apply edge masking
| | 04:42 |
and as I say we will come to each one
of these options in our future exercise.
| | 04:46 |
We have got Noise Reduction. Luminance affects the luminance noise that
is the arbitrary changes in brightness values, and then we have Color
| | 04:55 |
which effects the arbitrary variation in hue and saturation values.
| | 04:59 |
In addition to these Detail options right here we have a couple
of other sharpening controls that are available to us inside
| | 05:05 |
of this tab. Lens Corrections. And you can get to this tab either by
clicking on it or by pressing Ctrl+Alt+6 or Command+Option+6 on the Mac.
| | 05:15 |
Now the settings that we are concerned with are these
Chromatic Aberration settings toward the top of the panel here.
| | 05:20 |
We have got these two slider bars, which allow us to align
colors with each other around the edges of the image.
| | 05:27 |
We will see how those work and then we
have this Defringe setting as well.
| | 05:31 |
These all contribute to the overall sharpening,
the appearance of sharpening inside the image.
| | 05:37 |
That's it for this exercise.
| | 05:38 |
Just an overall, just to give you a sense of what's going
on here with the sharpening controls inside of Camera RAW.
| | 05:43 |
In the next exercise I will show you how to preview the results
of your sharpening accurately so you can gauge the ideal settings.
| | 05:51 |
| | 05:51 |
| | Collapse this transcript |
| Previewing limitations and tricks| 00:00 | In this exercise, I am going to show you how to
preview your sharpening settings inside of Camera RAW.
| | 00:06 | Now this may seem like a pretty straightforward topic.
| | 00:08 | You would think, you turn on the Preview check
box and there you go, you start to preview things.
| | 00:12 | Actually, it doesn't work that way. It's not quite that simple.
| | 00:14 | There are some limitations that are thrown up in your way and then there
are some cool previewing tricks that you might want to take advantage of.
| | 00:21 | Now I have opened up this image Festive Ornaments.dng
that was shot, by the way, with a Nikon D80.
| | 00:29 | It's found inside the 05_For_Source folder
that is inside your exercise files folder.
| | 00:33 | I have gone ahead and opened it up inside of Camera RAW.
| | 00:35 | Lets go ahead and switch over to the Detail tab, which I was telling you,
you can get to it by pressing Ctrl+Alt+3 or Command+Option+3 if you like.
| | 00:44 | Now I am looking at the 33.3% zoom ratio, you might be seeing the image
larger or smaller on screen and I do have the Preview check box turned on,
| | 00:54 | so I should be able to preview the settings
that were applied inside of this panel.
| | 00:59 | Note, by the way that the Preview check box turns off the
previewing of the settings inside the visible panel only,
| | 01:06 | so other modifications that you have applied are not affected.
| | 01:09 | Notice what I am going to do is, I am going to go ahead and crank
the Amount value all the way up to 150 and you would think based
| | 01:17 | especially on what I told you in the previous exercise that
the Amount value is very strong modifier inside of Camera RAW.
| | 01:23 | Much more pronounced than the Amount values inside
the Unsharp Mask and Smart Sharpen dialog boxes.
| | 01:28 | You would think that you would see a big difference here on screen.
You don't, you should see out absolutely no difference whatsoever.
| | 01:34 | The reason is explained by this warning down here in the bottom
right corner of the dialog box, notice that it says that you have
| | 01:39 | to zoom the preview to a 100% or larger to see
the effect of the controls from this panel.
| | 01:44 | Now that is just bizarre. It really is. And the Camera RAW has come under a
lot of criticism, rightly so I believe, for this limitation because it means
| | 01:54 | that you cant preview how your sharpening settings
are going to affect the printed version of the image.
| | 02:00 | So you cant anti-alias the sharpening settings down.
| | 02:03 | In defense, and its hard to defend this limitation, but in its defense
I will say this, the good news is that it makes a big case for the fact,
| | 02:13 | it highlights the fact that we're only sharpening for the source.
| | 02:16 | How these modifications affect a final
printed image is not important at this point.
| | 02:21 | We are just sharpening for the effects of the photographic process.
| | 02:24 | So I am going to go ahead and zoom the image just by clicking in it
with this Zoom tool right here, you can press Ctrl+plus or Command +plus,
| | 02:31 | to zoom in or if you just want to go straight
for a 100%, you can press Ctrl+Alt+0
| | 02:36 | or Command+Option+0 on the Mac and that does takes me to 100%.
| | 02:41 | Notice, my little warning disappears because
I am now accurately previewing the setting.
| | 02:45 | So if I were to turn the Preview check box off, you would see that this is
the way the image looks unsharpened without any sharpening modifications.
| | 02:52 | This is the way it looks with sharpening modifications.
| | 02:55 | I am going to go ahead and zoom in another click here and
by the way, the reason I am clicking on the center of this
| | 03:02 | a ball right here that we are zoomed it on, is that
shows me. It's actually kind of a self portrait there,
| | 03:08 | it's me shooting the photo from a million miles away there.
| | 03:11 | I have got the focal length set to a 135mm sort of thing.
| | 03:14 | So I have got this tele-photoed way to heck in.
| | 03:16 | Alright, so just for the sake of the comparison once again, I will turn
on and off the Preview check box, but I will do it from the keyboard just
| | 03:22 | by pressing the P key. P for preview. So this is
before and this is after the amount modifications.
| | 03:29 | So that's one way to preview. You have to be zoomed in to a
100% and that goes, by the way, for the lens correction options
| | 03:36 | as well, the Chromatic Aberrations setting right here.
| | 03:39 | You don't get a warning for these settings, but they only
display properly at the 100% or higher zoom ratio as well.
| | 03:46 | Lets go back to Detail then, that's a limitation
that's not good in my opinion.
| | 03:51 | These guys and I am about to show you these
preview tricks are really, really wonderful.
| | 03:56 | You can Alt or Option-drag the slider triangles that are
associated with any of the four sharpening slider bars right here
| | 04:03 | and if you do, you will get a special kind of preview.
| | 04:06 | So notice if I Alt or Option-drag the Amount slider, I
am seeing a grayscale version of the sharpened image.
| | 04:14 | Why is that useful? because that is all
your sharpening inside of Camera RAW.
| | 04:18 | You are only sharpening the luminance information always.
| | 04:21 | So you don't have to apply a Luminosity blend mode or you
don't have to go to LAB color mode or any of that stuff.
| | 04:28 | You are always sharpening only the luminance
information when you are applying this Amount value.
| | 04:33 | You can also Alt-drag or Option-drag the Radius value and
notice as you do, you will see the size of the halos grow.
| | 04:41 | So I have got the Alt key down here on the PC and as I
drag it higher, as I drag that Radius value higher that is.
| | 04:47 | You will see that the halos grow and imagine that we are working
with the High Pass Filter so that all non-edges appear as gray
| | 04:55 | and the edges are going to appear white or black, depending on
whether they are on the highlight or shadow side of the edge.
| | 05:01 | So this give us a really great preview of Radius.
| | 05:04 | I will go ahead and max it out so that we can also gauge detail.
| | 05:07 | This gives us if I am Alt-dragging or
Option-dragging this detail slider triangle,
| | 05:12 | I am seeing grayscale version of the detail modifications to the image.
| | 05:17 | So you can see if max out detail, I am basically second
pass sharpening the contours, we will come to that later.
| | 05:24 | If I take it all the way down with the Alt or Option key
down, you will see that we are smoothing out our contour.
| | 05:30 | So its almost as if we have applied a pass of the median
filter, although a little more sophisticated than that.
| | 05:37 | Then finally, if I alter option drag on the
masking slider triangle, I will see the edge mask.
| | 05:43 | So wherever I am white, wherever the mask appear white, that's going to
be an edge that gets modified where its black that is protected areas.
| | 05:52 | You can see how it does a heck of a job of tracing around me right there,
especially if I go ahead and increase that detail value a little bit
| | 06:00 | and I will take the Radius value down, so my edges aren't quite so thick
and now I will alter option drag the masking value and you can see how
| | 06:06 | that edge trances very nicely around me and
around the other contours inside the image.
| | 06:12 | So remember those two things when you are trying to preview your sharpening
settings. Remember that you have to be looking at the image at a 100%
| | 06:19 | or larger and you also have the ability to Alt or
Option-drag the slider triangles that are associated
| | 06:25 | with the four sharpening values at the top of the Detail panel.
| | 06:30 | In the next exercise, I am going to pass along one additional, little meta
tip. It's a little just sort of dinky bit of information you should bear
| | 06:36 | in mind and then after that we will move into how to put the
sharpening modifiers to work inside of this particular image.
| | Collapse this transcript |
| Why downsampling doesn’t work| 00:01 | In this exercise I am going to pass along something
about meta tip, in other words a tip inside of a tip,
| | 00:05 | but this is actually an anti-tip, meaning
that I don't recommend your work this way.
| | 00:09 | I have seen this tip offered a few times, it doesn't really work.
| | 00:13 | So I am going to show you the tip.
| | 00:14 | I am going to show you why it doesn't work, and
I am going to show you the better way to work.
| | 00:17 | If you are not interested in all that malarkey of
course, by all means move onto the next exercise.
| | 00:22 | Now I am working inside of the Camera RAW plug-in and I have gone ahead
and opened up the image called Festive ornaments.dng that's found inside
| | 00:32 | of the 05_For_Source folder. I am looking at the Detail panel,
and I have gone ahead maxed out the Amount and Detail values.
| | 00:39 | I am going to take the Radius value up to its maximum
as well, just for the sake of the demonstration here.
| | 00:43 | I am going to take the Masking value
down to it's minimum value, zero.
| | 00:48 | So by maxing out Amount, Radius and Detail and minimizing
Masking, we get the most dramatic sharpening effect.
| | 00:54 | Now this is a completely over-the-top effect. It is very
unlikely you are going to apply these settings to any
| | 00:59 | of your own images, as I say, this
is just for demonstrational purposes.
| | 01:03 | Now you may recall that if I zoom out further than a 100%, right
now I am looking at a 100% view size, if I zoom farther out,
| | 01:09 | I lose my sharpening preview and I get this little warning here.
| | 01:13 | So here is the trick, as it goes.
| | 01:15 | If I zoom back into 100%, great. Now I can see the sharpening
effect again. The trick is you can downsample the image
| | 01:23 | on the fly by clicking on this little hint down here.
| | 01:26 | Notice right Now its telling me that this image measures
3872x2592 pixels, which adds up to a 10 megapixel image.
| | 01:35 | If I click on this link to bring up the Workflow Options
dialog box and I say, I want to downsample this image
| | 01:41 | to say a 2.8 megapixel image, which
would be very roughly a 28% zoom ratio.
| | 01:49 | So I'll go ahead and choose that option and click OK and notice
that Camera RAW goes ahead and downsamples the image on the fly
| | 01:56 | and sharpens it, so that I get a downsampled preview of my image at
a reduced size, very much as if I had zoomed out inside of Photoshop.
| | 02:06 | I keep my preview, it's a wonderful thing, right.
| | 02:08 | Well, here is the problem.
| | 02:09 | The downsampling is applied before the sharpening settings, so I
am not actually downsampling the sharpened version of the image,
| | 02:17 | I am downsampling the unsharpened original version
of the image and then applying sharpening to it,
| | 02:22 | so this is not indicative of a reduced
version of the larger original image.
| | 02:28 | So here's what I suggest you do. First of all, click here on this link,
make sure that the size value does not have a minus or a plus next to it,
| | 02:38 | it should just be the standard native resolution of the image and
then go ahead and click OK and stick with that native resolution
| | 02:45 | and don't take advantage of any downsampling
or upsampling here inside Camera RAW,
| | 02:49 | leave that to when you actually open the image inside Photoshop.
| | 02:53 | So I just pass that along, it just as an FYI just in case you come across
that tip, just know that it really doesn't work the way it suppose to.
| | 03:00 | In the next exercise, we are going to began to
take a look at how to sharpen this specific image.
| | 03:05 | We are going to actually start things off
with some adjustments to chromatic aberration.
| | 03:09 | Stay tuned.
| | Collapse this transcript |
| Reducing chromatic aberration| 00:00 | In this exercise we are going to begin the real world task of
sharpening for source and specifically, we are going to be compensating
| | 00:08 | for the anti-aliasing and interpolation that our function of
the demosaicing process that I explained a few exercises back.
| | 00:15 | We are also going to be adjusting for the softness that's a
natural phenomenon under the photographic process, especially
| | 00:22 | when we are converting the analog world into the digital
realm of pixels and specifically, inside of this exercise,
| | 00:29 | I am going to show you how to adjust for chromatic
aberrations, which are misalignment of colors
| | 00:34 | as a function of the light refracting through the lens element.
| | 00:38 | Now we are starting fresh here.
| | 00:39 | I am looking at the Bridge and I have got the Bridge strained on
this Festive ornaments.dng file inside of the 05_For_Source folder,
| | 00:47 | which you will find inside the exercise files folder.
| | 00:49 | I am going to go ahead and press Ctrl+R, or Command+R on the Mac in
order to open that image inside of Camera RAW hosted by the Bridge.
| | 00:57 | Now I could just go ahead and press Ctrl+Alt+0 or Command+
Option+0, which would zoom in on the center of the image,
| | 01:03 | which happens to be me reflected on this silver ball.
| | 01:07 | But that's not a very representative detail of this image.
| | 01:10 | I want something that shows off the best and the worst of the image.
| | 01:14 | Now the focus happens to be locked more or less on this red ball down here
in the lower left corner and bear in mind that I was working with an 18/
| | 01:23 | 135 millimeter lengths and I have got it zoomed all the way.
| | 01:27 | So the focal length is a 135 millimeters.
| | 01:30 | So this is quite the telephoto shot and I let auto-focus be in charge
and the auto-focus happen to lock on best to this red ball down here
| | 01:37 | at the bottom portion of the image and if I was to scroll up here
you would see that this gold ornament that is poking out on us.
| | 01:44 | The mid-area of this image, the sort of
mid-ring right there is in sharp focus.
| | 01:51 | The point is in front, it's forward of the focal plane and the
rest of the ornament is a little bit in back of the plane.
| | 01:58 | But the portion in the image that I think is most representative, I
will go ahead and zoom out here and scroll down by spacebar-dragging,
| | 02:05 | the portion that I think is most representative is this gold
ball right here with the texture and the reflections and so on.
| | 02:12 | It's basically the best.
| | 02:13 | As I say the best and the worst of all
possible worlds where this image is concerned.
| | 02:17 | So I am going to go ahead and click a couple of times with my Zoom tool
to zoom in and I will zoom in until I see that my zoom level down here
| | 02:24 | in the lower left corner is 100%, which of course
allows me to preview the sharpening settings.
| | 02:29 | Now I will go over to this Detail tab right there
or I could press Ctrl+Alt+3 or Command option 3
| | 02:35 | on the Mac and I am going to max out my Amount value.
| | 02:38 | I am going to set it to its maximum which happens to be a 150%, which
is lower than what you get inside Unsharp Mask and Smart Sharpen.
| | 02:45 | They both allow you to go as high as 500%, bang in is
the Amount value is much stronger here inside Camera RAW
| | 02:51 | than it is inside Unsharp Mask or Smart Sharpen.
| | 02:54 | So 150% is more than a 150% inside of those dialog boxes.
| | 02:59 | I am not going to tell you there is like a 150% equals
350% in the others because that is not actually true.
| | 03:04 | It's a different algorithm.
| | 03:06 | But it is a very strong amount.
| | 03:07 | Now I am going to go ahead and max it out.
| | 03:09 | The reason being, I want to be able to
gauge what to set the other settings to.
| | 03:14 | So setting the Amount value to it's maximum as a temporary measure,
| | 03:18 | because obviously this is going too far,
it's a great way to gauge the other settings.
| | 03:22 | Now I am going to go ahead and zoom in on this highlight right
there and I am going to zoom as far as I can, which is 400%.
| | 03:29 | Now as my magnifying glass gets empty at this
point showing that I cannot go any farther.
| | 03:32 | Known as these weird colors that are surrounding the highlight,
they are actually, surrounding all of the highlights on this ball.
| | 03:39 | They are most noticeable on this ball incidentally and we are seeing that
we have a green edge along the right side of the highlight and a red,
| | 03:49 | crimson, magenta edge over here on the left side of the highlight.
| | 03:53 | This is a function of chromatic aberration.
| | 03:56 | Now chromatic aberration is a function of the
light refracting differently around the edges
| | 04:03 | of the lens element than it does at the center of the lens element.
| | 04:06 | So all camera lens elements are calibrated so that the light refracts
its absolute best right through the center of the lens element,
| | 04:13 | but around the edges depending on your focal length, you are going to end
up getting different sorts of chromatic aberrations to different degrees.
| | 04:20 | So that's again another reason to crank up that amount
value so you can see those chromatic aberrations.
| | 04:25 | They contribute to dim focus inside of an image because we
have a misregistration of detail and we can clear that up
| | 04:33 | by going over here to the lens corrections functions.
| | 04:37 | So I'll go ahead and click on that tab or you can
press Ctrl+Alt+6 or Command+Option+6 on the Mac.
| | 04:42 | Here are two sliders that are available
to us to fix the chromatic aberrations.
| | 04:46 | We can either adjust the degree of Red/Cyan Fringe
or we can adjust the degree of Blue/Yellow Fringe.
| | 04:52 | Now in our case, its really neither of those.
| | 04:54 | It is more like a red/green fringe, which makes me think
we have got some cyan and yellow mixing up on one side
| | 05:01 | and probably, some red and blue mixing up on the other side.
| | 05:04 | Now what you do, notice that both values are zeroed out and
zero means that the slider triangles are set right in the center.
| | 05:11 | No correction is being applied.
| | 05:13 | In order to apply a correction you can drag this slider either way.
| | 05:17 | I am going to take it over just for the
sake of figuring out what I should be doing.
| | 05:21 | I am going to take it over to the left and by the way,
I should say that you do have to be zoomed in to a 100%
| | 05:27 | or larger to see the effects of chromatic aberration.
| | 05:30 | If I were to take this out, I am just going
to zoom out until we get to 66.7% notice
| | 05:36 | that any signs of what we are doing have disappeared from view.
| | 05:39 | Even though there is no warning, we do have to be zoomed in
to a 100% or better in order to see chromatic aberration.
| | 05:45 | Alright, so I am going to press Ctrl+plus a few times in a row, or
Command+plus on the Mac until I am zoomed into a 400% once again.
| | 05:52 | You can see that I am going in the wrong direction.
| | 05:55 | Basically, I am making the problem much worse
by dragging the slider triangle to the left.
| | 05:59 | What does that mean? I need to drag it the right.
| | 06:01 | Is basically what it comes down to and notice how
it fixes the problem on the fly. So it is really great.
| | 06:07 | You can really keep tabs on what is going on on screen here.
| | 06:10 | I will take this value to something like
25%, lets say, which does seem to get rid
| | 06:16 | of the colors we had before, that
red-green scheme that we have before.
| | 06:20 | Now we have something of a violet-yellow scheme
going on. So lets try adjusting the other slider
| | 06:27 | and if we take it positive we make the problem worse as you can see.
| | 06:30 | So lets take it negative instead.
| | 06:31 | Notice those details as we move around.
| | 06:33 | Basically, what Camera RAW is doing, it's a wonderful thing.
| | 06:36 | Camera RAW is effectively rotating the color channels independently of
each other and its doing it as it figures out what those colors should be.
| | 06:46 | So its both manufacturing the channels and rotating them
on the fly, very sophisticated technology at work here.
| | 06:53 | Now those values +25 and -10, just do
wonders in order to get rid of this problem.
| | 06:59 | Lets go ahead and turn off the Preview checkbox.
| | 07:02 | So this is before and this is after.
| | 07:04 | So obviously, we have done a great deal of good.
| | 07:08 | There is still a little bit, if you look very closely there you can see
that we still have a little bit of violet over here on the left hand edge
| | 07:15 | and a little bit of weird saturation at any rate
going on on the right hand edge of this highlight
| | 07:22 | and I will show you how to fix that, very subtle, but it is fixable.
| | 07:26 | Now I will show you how to do that in the next exercise.
| | Collapse this transcript |
| Using the Defringe option| 00:00 | I am still working on the Festive ornaments.dng
file, all here inside of Camera RAW.
| | 00:06 | Now you may recall in the previous exercise I took the Amount value up
to a 150% and then I switched over to these Lens Correction sliders
| | 00:13 | and I set Red/Cyan Fringe value to +25
and the Blue/Yellow Fringe value to -10.
| | 00:20 | Now we still have a little bit of color fringing
going on around the highlights inside of this gold ball
| | 00:28 | and just so that you can see where I am inside of this ornament.
| | 00:32 | I am working on the right hand edge of this gold
ornament that stand in a lower right corner of the image.
| | 00:39 | So this guy is the most indicative, is basically what it comes down to.
| | 00:42 | I am going to go ahead and zoom in as far as I can to a
400% and we have a little bit of purple going on here,
| | 00:49 | a little bit of sort of a purplish-violet sort of
weirdness. A little bit of leftover chromatic aberration
| | 00:55 | and then we have some yellowness going over on the right-hand side.
| | 00:59 | I am not able to compensate for that using
the Chromatic Aberration sliders.
| | 01:04 | No matter what I do basically this problem
remains intact. And if you run
| | 01:09 | into something similar, then your friend
in order to fix this problem is Defringe.
| | 01:13 | Now the Defringe setting its very, very subtle.
| | 01:17 | I am just warning you about this up front, you're not going to
see a ton of change going on, which in a way is a good thing
| | 01:23 | because we don't want to mess up the integrity of the file.
| | 01:27 | The other bit of good news is that even though it doesn't appear
to be doing much to the image, it is correcting the photograph.
| | 01:33 | It is correcting the structure of the
photograph, so that our future modifications
| | 01:37 | to the photo inside of Photoshop will be that much more successful.
| | 01:42 | Alright. So I am going to go ahead.
| | 01:43 | I want you to keep a very close eye on these edges
here, because you are going to have to look at them
| | 01:47 | very, very carefully in order to see the difference.
| | 01:50 | I am going to switch from Off. So right now
I am not applying any defringing at all.
| | 01:55 | Your options are to fix just the Highlight Edges, so those
edges that are around the brightest highlights inside the image.
| | 02:02 | The highlights that are completely blown is basically what
it comes down to and this highlight is a good example,
| | 02:07 | it's ultra white or, and that's highlight edges
there, or you can change the setting to All Edges,
| | 02:14 | which is going to fix both the highlight
and shadow edges inside the image.
| | 02:18 | So keep an eye on that edge right there both
the purple and the sort of hyper-saturated edge.
| | 02:23 | Watch what happens when I choose Highlighted Edges.
| | 02:25 | Notice that the saturation drops out of that purple
line right there and the saturation also drops
| | 02:31 | out of the yellow edge over here in the right-hand side.
| | 02:34 | So not a terribly big difference,
but there is a difference going on.
| | 02:37 | If that's not enough, basically what I am going to tell you, so if
that doesn't go far enough for you, then switch over to All Edges,
| | 02:44 | which in the case of our photograph is going to apply a
little bit more correction and even subtle correction really,
| | 02:51 | but what I'd say is for this image what we want is Highlight Edges.
| | 02:55 | You want to apply as little defringing as you can because
it does soften the image a little as it turns out.
| | 03:02 | Alright that's it.
| | 03:02 | Lets go ahead and zoom out a little bit here.
| | 03:05 | Maybe a couple of clicks and I am looking
at the image at the 200% zoom level.
| | 03:09 | This is what the image would like before I have started
to apply the Lens Corrections functions here.
| | 03:15 | So you can see there is some obvious Chromatic Aberration going on.
| | 03:18 | This is what it looks like after.
| | 03:20 | In the next exercise we are going to switch back over to
a Detail options might. We will do that right now in fact
| | 03:26 | and then we are going to set about adjusting the other sharpening values.
| | 03:30 | Stick with me.
| | Collapse this transcript |
| Understanding high frequency, low radius| 00:00 | In this exercise, we are going to experiment with the ideal settings. We
are going to try to find the ideal settings for this particular photograph,
| | 00:07 | the telephoto shot of the ornaments that I shot with a
focal length of 135 mm, so I assume pretty far in here.
| | 00:14 | By the way, if you werent with me for the last couple of exercises,
| | 00:17 | you can catch right up by opening the Ornaments defringed.dng
file, that's found inside the 05_for_source folder.
| | 00:25 | Note, by the way, that this Ornaments defringed.dng
file is identical to the Festive ornaments.dng file
| | 00:32 | that you may have open before you, the original version of this image.
| | 00:36 | The only difference is the metadata instructions, which amount to the
Camera RAW settings, so the numerical Camera RAW settings; all parametric,
| | 00:45 | meaning that they are just numerical parameters
that are being applied on the fly to the image.
| | 00:49 | The original pixels are still intact inside of both
files are identical, meaning that of course Camera RAW,
| | 00:55 | everything you do inside Camera RAW,
is absolutely, totally nondestructive.
| | 00:59 | Alright, so I have maxed out the Amount
value here inside of the Detail panel,
| | 01:04 | inside the Camera RAW dialog box, just
so that we can gauge what we are doing.
| | 01:07 | This is way too much sharpening at this point, but I
want to be able to experiment with the Radius setting.
| | 01:12 | So I am going to go ahead and zoom in a click
here, like So and drag this ball over a little bit
| | 01:18 | so that we can take in the texture and reflective detail.
| | 01:21 | Now this image incidentally- actually, let me
zoom out for a moment so that we can take in more
| | 01:26 | of the image while I tell you sort of a
little bit of a story about this image.
| | 01:29 | This is what's known as a Medium Frequency Shot, meaning that
it combines areas of gradual luminance transition with areas
| | 01:39 | of rapid luminance transition, like inside of the texture and inside
of the pine needles in the background, but these reflective areas,
| | 01:46 | these smooth reflective areas, are low
frequency areas, gradual transitions.
| | 01:51 | So we have Low Frequency detail and High Frequency detail,
combined together that gives you a Medium Frequency Shot.
| | 01:57 | Also by the way, this is a still life, this is not a portrait,
| | 02:00 | so we are not worried about surface imperfections
the way we are with portrait shots.
| | 02:04 | We are really interested in bringing out as
much detail as we can inside of this image.
| | 02:09 | That typically means while we are working with the Medium or High
Frequency Shot, we are typically going to combine a high Amount value
| | 02:17 | with a low Radius value, and a high Detail value and a low Masking value.
| | 02:22 | So did you get that? Basically it goes high, low, high, low, with
a High Frequency to Medium Frequency Shot like this one here.
| | 02:29 | If we were working with the Low Frequency or Portrait Shot, we would go low
Amount, high Radius, low Detail, and high Masking, so exactly the opposite;
| | 02:39 | low, high, low, high, and we will see that in an upcoming exercise.
| | 02:43 | Alright, but in this exercise we are going to
focus in, hone in, on the Radius value here.
| | 02:48 | So I am going to go ahead and zoom in on this detail once again,
just because its by far the most reflective area of the good
| | 02:56 | and bad stuff that's going on inside of this photograph.
| | 02:59 | Now notice what happens when I increase the Radius value.
| | 03:02 | First of all, we don't see the Preview update until after
I release the slider triangle, that's important to note.
| | 03:09 | If you want to see a live preview, you have to press and hold that Alt
key or the Option key on the Mac as you drag that slider triangle around.
| | 03:17 | That does give you real time preview, but at the same time it also
gives you that High Pass preview, meaning that we are seeing gray
| | 03:23 | in the non-edge areas, and we are seeing
highlights and shadows in the edge areas,
| | 03:27 | which isn't necessarily the most useful way to
work in my opinion where Radius is concerned.
| | 03:32 | I am going to go ahead and release my mouse
button so that we can see the full color preview,
| | 03:36 | which really helps I think to illustrate whats going on with Radius.
| | 03:40 | Notice when I am working with a high Radius value that I end up
getting very gummy transitions, these overly smooth transitions.
| | 03:48 | So as I am expanding those halos, which I am doing as I am
raising the Radius value, I am also smoothing over the corners,
| | 03:55 | and that just happens to be a function of the
way this particular sharpening algorithm works.
| | 03:59 | that's not something you see with Unsharp Mask and Smart Sharpen.
| | 04:03 | Now sometimes folks point at the Detail value as being the culprit. It's
not really the Detail value that's at work here, it's the Radius value too;
| | 04:10 | both Radius and Detail help us smooth out some
of the corner detail inside of the textures.
| | 04:17 | Anyway, that's great if I am working, once again,
with a Low Frequency Shot or a Portrait Shot,
| | 04:22 | but when I am working with rapidly transitioning luminance levels
inside of this texture, for example, it's not something I want.
| | 04:28 | So I would want to take this Radius value down.
| | 04:31 | I am going to start by taking it all the way
down to its minimum value, which is 0.5.
| | 04:36 | Now at this point we get some pretty choppy detail.
| | 04:39 | You can see these kind of vertical lines that are showing
up here, that's because this area of the image is not
| | 04:45 | in tight focus; this is slightly out of focus, this region here.
| | 04:49 | So we are bringing out some artifacts, some weird edges that werent
really there, but that's OK, and actually it works out well for this image,
| | 04:57 | and we are bringing out other very good details inside of the image.
| | 05:00 | I am going to go ahead and take that Radius
value and just raise it one click.
| | 05:03 | So I press the Up Arrow key to take it up to 0.6, which is a
very good Radius value, albeit we are combining with too high
| | 05:09 | of an Amount value, but its a very good Radius value for this image.
| | 05:13 | Now we are going to compensate for Radius by adjusting Detail and
Masking, and we are going to begin to do that in the next exercise.
| | Collapse this transcript |
| Raising the Detail value| 00:00 | In this exercise we are going to take a look at how the Detail option
looks here inside the Detail panel of the Camera RAW dialog box.
| | 00:07 | Now you may recall I am working in this catch up document, which is
called Ornaments defringed.dng that's found inside the 05_For_Source folder
| | 00:16 | and the only change I have made to these
files to lower the Radius value to 0.6 pixels.
| | 00:23 | Now the Detail value is designed to mitigate the halos, the effects
of the halos that show up when you apply a sharpening to an image.
| | 00:33 | But the way that the sharpening algorithm is organized in
the first place, you don't have much in the way of halos.
| | 00:39 | You don't nearly have the pronounced halos that you get with
Unsharp Mask and Smart Sharpen and High Pass and the rest.
| | 00:45 | So the way I prefer to think of detail
is that when you lower the detail value,
| | 00:50 | you are going to smooth over some of the
rougher transitions inside the image.
| | 00:54 | If you want to extenuate those rough transitions
then you want to raise the detail value in order
| | 01:00 | to apply a something resembling a second pass sharpening effect.
| | 01:03 | Alright. So here we are viewing this lower right region of the image,
that gold ball with the texture across it at the 200% zoom ratio.
| | 01:12 | I am going to go ahead and lower the detail value from 25 to
its lowest value zero and you can see what I am talking about,
| | 01:19 | I'll go ahead and zoom in, you can see that the Camera
RAW is going through and smoothing over these details,
| | 01:26 | it's almost as if it's applying a pass of the
Median filter with a very low Radius value.
| | 01:32 | Now it's a more sophisticated algorithm once again but it's analogous and
this is just a ticket when you are working with a low frequency image
| | 01:40 | or a portrait shot, or when you are working
with a high frequency image like this one,
| | 01:44 | again we were gumming up those details, just
like we are when we apply a high Radius value.
| | 01:48 | So instead I want to go with a high detail value and notice if
I crank this guy up to a 100, which is its maximum setting,
| | 01:55 | we are now applying a second pass sharpening
that resembles a convolution kernel
| | 01:59 | or that More Accurate check box that we
saw on inside the Smart Sharpen dialog box.
| | 02:03 | The difference is that its not just a check box.
| | 02:06 | You don't just turn it on or off, you can
vary the degree of sharpening incrementally.
| | 02:12 | So what I am going to do for purposes of this
image, I am going to take this fairly high.
| | 02:16 | I am going to take it to about 80 and remember that you have the option,
if you want to, of Alt-dragging the slider triangle or Option-dragging
| | 02:24 | on the Mac, in order to get that real time preview and to see that high
pass version of the preview, so that the non-edges are turning grey
| | 02:32 | and this would be the areas that aren't getting
sharpened inside the image were turning grey.
| | 02:36 | The areas that are getting sharpened are appearing either
as highlights or shadow and these would be the highlight
| | 02:42 | or shadowed edges of the details inside of the image.
| | 02:47 | So again, we are working a medium frequency shot, so wed want to
combine a high Amount value not this high, but a high Amount value,
| | 02:54 | a low Radius value as we have, a high Detail value and then I
was also telling you that we want a relatively low Masking value
| | 03:01 | and we will be applying that masking value in the next exercise.
| | Collapse this transcript |
| Using on-the-fly edge masking| 00:00 | In this exercise I am going to demonstrate how to use the Masking
value here inside the Detail panel of the Camera RAW dialog box.
| | 00:07 | I am still working inside of that Ornaments defringed.dng file.
| | 00:11 | The only changes I've made to it are to reduce the Radius
value to 0.6 and to increase the Detail value to 80.
| | 00:18 | Now you might look at the sharpened result
and say "Deke, this is way too far.
| | 00:24 | We're making these edges super-crunchy here, really crispy
and we're applying too much sharpening especially given
| | 00:31 | that we're just sharpening for the source.
| | 00:33 | We're not trying to sharpen for output; we don't want the
image to look in anyway shape or form over-sharpened
| | 00:38 | because that will harm our ability to edit the image in the future.
| | 00:42 | So we just want to sure up the details
inside the image, not over-emphasize them."
| | 00:46 | Well, bear in mind that we've got this Amount
value through the roof right Now set way too high,
| | 00:51 | I have it set to its maximum value so we can gauge the other values.
| | 00:55 | Once were done in just a moment in fact, well reduce this Amount value.
| | 00:58 | We can also constrain the effects of our
sharpening by raising the Masking value.
| | 01:04 | Now the Masking value applies an Edge Mask on the fly so that you
don't have to build an Edge Mask yourself, it makes one for you.
| | 01:11 | Its a really great function, it doesn't- you know,
building your own Edge Mask is actually more versatile
| | 01:16 | because you are in control of how the edges shake down.
| | 01:19 | But, this is definitely much more convenient.
| | 01:21 | It does help in the case of this particular slider bar.
| | 01:24 | I think it helps a lot to go ahead and
Alt-drag or Option-drag that slider triangle
| | 01:29 | so that you can see the Edge Mask generated live before you on the fly.
| | 01:33 | You can see if we take that Masking value higher, were
masking away more of the details inside the image.
| | 01:40 | So bear I mind, black is going to conceal and white is going to reveal.
| | 01:44 | So in other words, any place that were seen black inside of the mask
right now that's an area that were not going to sharpen inside the image.
| | 01:50 | We're only going to sharpen the white edges.
| | 01:53 | So we want to bring out more edges than that I think, but we don't
want to just leave all the edges open for interpretation here.
| | 01:59 | We do want to protect some areas of the image to
avoid bringing out noise inside of the photograph.
| | 02:05 | So I am going to take this Masking value up to something
like 40; actually I think it works very well for this image.
| | 02:12 | You can check out other regions of the image if you want to, I'll go
ahead and drag over to this area that shows me because its an area
| | 02:19 | of very high-contrast layer, me as a reflection
of course, and very tiny inside this silver ball.
| | 02:24 | If I alter option drag on the masking slider triangle, you can see
how there is a wide edge on this neon as they're tracing around me
| | 02:33 | like I am this little stick figure there,
and that's exactly what we want.
| | 02:36 | So as soon as I release, you can see that its protecting
what were the formerly those black regions inside the mask
| | 02:43 | and its revealing the white edges,
it's doing a very nice job indeed.
| | 02:47 | Then it helps to keep the noise from being drawn
out inside of the non-edge detail of course.
| | 02:54 | Alright, so as I was saying, this is a medium-frequency
shot, I mean its high Amount, low Radius,
| | 02:58 | high Detail and low Masking, relatively low Masking.
| | 03:02 | So were staying on the south side of 50% right there.
| | 03:06 | Now we've taken Amount too high, just because we want to go high with
Amount, it doesn't mean we want to go this high with the Amount value.
| | 03:13 | Now when I would recommend for the shot,
its something in the 70-80% region.
| | 03:18 | So this is 70% just to give you sense of what that's
going to look like and its going to look much more subtle.
| | 03:23 | Notice a lot of those edges drop out and we get a
much more subtle effect than what we had before.
| | 03:28 | Or 80, if you wanted to go on high side,
you could take the Amount value up to 80%.
| | 03:32 | that's a little subtle for our screen purposes here
though because I want to demonstrate what's going on.
| | 03:36 | So I am going to take the value up to 100% for this shot.
| | 03:41 | Then as for the sake of comparison here,
were going to switch over to Photoshop.
| | 03:45 | I would like to be able to just
turn on and off the Preview checkbox.
| | 03:49 | But, because I am working inside of the Ornaments defringed.dng file;
if I turn off Preview, then were going to see the image as it appeared
| | 03:57 | when I had the Amount value set to 150% and Radius default,
and Masking set to their defaults of 1.025 and 0 respectively.
| | 04:06 | That doesn't do us much good.
| | 04:07 | So lets go and turn Preview back on.
| | 04:09 | I'll just go ahead and show you what the image would
look like, were we to open them inside Photoshop.
| | 04:13 | So I'll go ahead and switch over to Photoshop here.
| | 04:15 | This is the original festive ornaments.dng file over here
on the left-hand side, and this is the sharpened version.
| | 04:23 | According to our settings of 100%, 0.6 Radius, 80 for
Detail and 40 for Masking over here on the right-hand side.
| | 04:33 | If you like, you can go and zoom-in.
| | 04:35 | I'll go ahead and zoom-in on the shot on the
right so that we can see the details here at 200%.
| | 04:42 | So you can get a very good sense of the comparison between the two.
| | 04:47 | But, I think even more telling, if you are doing
this on screen with me is to compare them at 50%.
| | 04:52 | So I am going to go ahead and zoom-out for the 50% zoom
ratio for both shots, both on the left and right-hand sides.
| | 05:00 | You should be able to see the difference here if you look closely.
| | 05:02 | This is the unsharpened version over on the left-hand side.
| | 05:05 | This is the sharpened version over here on the right-hand side.
| | 05:07 | Its a little too sharp as I say because I said I crank the Amount value
up to a 100%, I recommend something like 70-80 for this specific shot.
| | 05:16 | But it will now hold up well.
| | 05:18 | We have compensated for the photographic process, we have sharpened
for this source very successfully indeed and this image will hold
| | 05:25 | up to future edits, including sharpening for detail, sharpening for
effect and sharpening for output as well examine in future chapters.
| | 05:34 | In the next exercise, we'll see how to
sharpen a portrait shot inside Camera RAW.
| | Collapse this transcript |
| Sharpening a low-frequency portrait| 00:00 |
In this exercise we are going to take a look at how to
sharpen a low frequency portrait shot with the source in mind.
| | 00:07 |
I want you to go ahead and navigate to the 05_for_source
folder, here inside the Bridge, find Dangerous gentleman.dng.
| | 00:15 |
This image comes to us from photographer, Nick Monu of iStockphoto.com.
| | 00:20 |
I am going to go ahead and open it on up by pressing Ctrl+R or Command+R
in the Mac, in order to invoke Camera RAW here inside the Bridge.
| | 00:27 |
Lets go ahead and press crtl+alt+0, or Command option
0 on the Mac in order to switch to the 100% zoom level.
| | 00:34 |
I am going to go ahead and keep his eye on screen, that's the part of the
image I want to see, that's the portion of the image you want to keep an eye
| | 00:43 |
on whenever you are working with a portrait
shot, because the eye is the detail that needs
| | 00:47 |
to stay most sharply focused, most of the time, generally speaking.
| | 00:51 |
Alright, lets go ahead and switch over to the Detail panel, which of
course you can do by pressing ctrl+alt+3 or Command option 3 on the Mac.
| | 00:58 |
I am going to again raise the Amount value, you know that its set to 14
for this image, I am going to raise the Amount value to 150%, once again,
| | 01:06 |
maxing it out, so that we can see the effects of the other options.
| | 01:10 |
Now you may recall that when we are working with a high frequency
or medium frequency shots, you want to go high with amount,
| | 01:16 |
low with radius, high with detail and low with masking.
| | 01:19 |
Its just the opposite when you are working with a low frequency
image or a portrait shot, and recall that low frequency means
| | 01:27 |
that we have gradual transitions between luminous levels,
and opposite would mean a low Amount value combined
| | 01:33 |
with a high Radius value, low detail and high masking.
| | 01:36 |
Once again, this is all relative, I am not suggesting you go way low
with the Amount value or that you crank the radius through the roof.
| | 01:43 |
In fact, lets see what happens to this image
when we crank the radius through the roof.
| | 01:46 |
I will take it up to 3.0 pixels, and you can see
that we end up rounding up the contours again,
| | 01:52 |
we are applying something resembling median to this image.
| | 01:55 |
So we are gooping up the details.
| | 01:57 |
I don't like that at all, I don't think it does the
image any degree of good to go this high with radius.
| | 02:02 |
Most images suffer for it.
| | 02:04 |
So I am going to take the Radius value to about half that,
which is 1.5, and then I am going to press the Tab key.
| | 02:09 |
1.5 is actually a very high Radius value, when you are sharpening
for the source, and where you are sharpening inside of Camera RAW.
| | 02:18 |
So you want to keep your Radius values low in general.
| | 02:21 |
With a portrait shot, we are talking about 1.5, maybe
as high as two, but that's pushing, in my opinion 2.0.
| | 02:28 |
When we are talking about a medium frequency
or a high frequency shot at still life,
| | 02:32 |
then we want to go low with the radius
value and as low as the minimum value, 0.5.
| | 02:37 |
Alright, anyway, what works well for this image is a Radius value of 1.5.
| | 02:42 |
I am now going to go ahead and take the detail value up just
so that we can see what happens if we raise that detail value.
| | 02:49 |
You can see that we are getting very, very crunchy details, we are
sharpening the pores, and all the other surface imperfections inside
| | 02:57 |
of this image, not something we want to do when we are
working with a portrait shot, so its just like we don't want
| | 03:02 |
to apply the More Accurate check box when we are working with portraits.
| | 03:05 |
Similarly, we don't want to go high with the detail value.
| | 03:07 |
So lets go ahead and take it down.
| | 03:09 |
Now if we take it all the way down to a value
of zero, we are again rounding off the details,
| | 03:15 |
we are smoothing off the details, smoothing
off the corners, inside of the image.
| | 03:20 |
Again, I feel like we are going too far, so I
would take the detail value to something around 20.
| | 03:25 |
20 is actually a really great value, something in the
20-30 range, it really works well with portraiture.
| | 03:31 |
Then I am going to raise that masking value as well.
| | 03:34 |
I encourage you to go ahead and alt+drag or option+drag on this
slider triangle here, in order to see the mask generate on the fly,
| | 03:42 |
so that you can keep track of exactly which portions of the
image are being concealed or being protected with the black,
| | 03:49 |
and which portions are being revealed or affected with the white.
| | 03:54 |
Masking value for this image, a masking
value of about 70 works very nicely.
| | 03:58 |
Now because we started with the original shot, we can do a before and
after preview here, just by turning on and off the preview check box.
| | 04:04 |
So this is the image as we originally found it, a little bit soft, and this
is the image as it appears Now little bit over-sharpened as you can see,
| | 04:13 |
and that's because we have the Amount value set way too high.
| | 04:16 |
Now for this shot I would probably take the Amount value
down to about 50%, which is a fairly subtle modification.
| | 04:24 |
I have seen people go even lower where portraits are concerned.
| | 04:28 |
But you are not getting much done if you go below
50%, you are applying a pretty darn subtle effect,
| | 04:34 |
and I am not sure its going to serve you very well.
| | 04:36 |
So in an image like this I would probably take it to about 50%, but
again, for the sake of detail here in this video, I am going to go ahead
| | 04:43 |
and raise the Amount value to 80% for this particular image.
| | 04:47 |
Alright, so again, here is what the image looked like originally,
if I press the P key, I will turn off the preview check box,
| | 04:53 |
and if I press P again, you got to keep your eye on the image here,
if I press P again, you will see the effect of the sharpening.
| | 05:00 |
So its already quite a subtle effect as it turns out, but we can
begin to make out of this wonderful details, such as the hairs on --
| | 05:08 |
his sideburn here, and the small growth of beard that
he has going, so this is before and this is after.
| | 05:16 |
You can also see that he has a little bit of a thread
or a long hair or something hanging off of his ear.
| | 05:21 |
You can make out a few sort of weird little things going on; the guys
skin is incredibly smooth, he is absolutely a deadly handsome man,
| | 05:29 |
but he does have a little green thread hanging
off his chin down here, so you can make that out.
| | 05:34 |
We can also make out, this is the bottom of his chin incidentally,
we can also make out a ton of noise that's going on inside of his tie,
| | 05:41 |
and if we were looking at the background, you
could see the noise in the background as well.
| | 05:45 |
So that's something we will have to take care of.
| | 05:46 |
I will show you how to address this noise in a future
exercise, but these are just some things to bear in mind;
| | 05:53 |
this sharpening is bringing out the noise detail inside
the image, as well as the good detail, of course.
| | 05:59 |
Alright, so just to give you a sense, here is the lips, by the way,
this is the before and this is the after version of those lips.
| | 06:06 |
So we are doing a dynamite job I think of sharpening this particular image.
| | 06:10 |
So again, I have got 81.5, 20, 70, low, relatively low, relatively
high, low for detail, high for masking, I wouldn't go really this high
| | 06:21 |
for the Amount value, I would probably take it down to more like 50%.
| | 06:24 |
These are the sharpening settings I would
go for, for this particular image.
| | 06:27 |
In the next exercise, we are going to take a look at how to
work with the noise reduction functions; luminance and color.
| | 06:35 |
| | 06:35 |
| | Collapse this transcript |
| Eliminating color noise| 00:00 |
In this exercise we are going to take a look at
the noise reduction functions inside Camera RAW.
| | 00:06 |
I want you to navigate the Bridge to the
05_for_source folder, same place that we have been here,
| | 00:11 |
and find an image called Subterranean ventilation.dng.
| | 00:17 |
Then go ahead and press Ctrl+R, Command+R in the Mac,
in order to open it inside of the Camera RAW dialog box.
| | 00:23 |
Notice what we have here is this strange sort
of ventilation silo going to the underworld.
| | 00:30 |
I am not sure what's happening here, but I
found it near the foothills in Colorado.
| | 00:36 |
You can see these jagged rocks sticking up here, these great flat irons.
| | 00:40 |
This is a pretty interesting image I think, I am going to go ahead and zoom
in on it, not only because it has a lot of depth of field going on here,
| | 00:48 |
but also because we have a ton of noise at work inside this image.
| | 00:53 |
This image qualifies as a high frequency shot,
because there is a lot of little details going on,
| | 00:59 |
a lot of rapid transition between neighboring luminance levels.
| | 01:03 |
But even so I have applied some pretty pepped sharpening
values, if you switch over here to the Detail panel,
| | 01:11 |
you can see that I have got a relatively high Amount value I suppose, a
very low Radius value, but the detail and masking values are not to high
| | 01:20 |
or too low actually, they are fairly even steven, as you can see here.
| | 01:25 |
I am doing a lot to protect the details,
the small details inside the image.
| | 01:28 |
I am going to go ahead and zoom in here to the 100% zoom ratio, so that
we can see that if I Alt-drag or Option-drag this Masking slider triangle,
| | 01:39 |
I am protecting huge areas of non-edges inside the image.
| | 01:43 |
But when I go ahead and release, you will see a lot of noise that's showing
up, and noise of course are arbitrary variations between neighboring pixels;
| | 01:54 |
whether they are color variations or luminance variations.
| | 01:57 |
So I am going to go ahead and zoom in a little more closely
here, on the side of this ventilation silo or whatever it is.
| | 02:04 |
You can see that we have quite a bit of color noise going on.
| | 02:08 |
Now the color noise in this image is exaggerated by the fact, if I go
over to the Basic panel, by the fact that I have raised the vibrance
| | 02:16 |
and saturation values; they are both set to fairly high values, 40 and 40.
| | 02:21 |
What that's doing is its bringing out the vibrancy of
the colors, its bringing out the saturation values,
| | 02:27 |
but its also bringing out any noise that's
inside the image, any color noise.
| | 02:33 |
Also I have applied a little bit of clarity.
| | 02:34 |
The clarity value is a way of expanding the edge
contrast without effecting the sharpness of the image.
| | 02:42 |
So its analogous to applying a high radius
value, something like 20 pixels or higher,
| | 02:48 |
and a very low Amount value with Unsharp
Mask, that's what you get with clarity.
| | 02:52 |
So you can see, if I raise that clarity value, I am magnifying the
shadow and highlight detail around the edges, inside the image.
| | 03:01 |
Alright, so I am going to set that clarity back to 20, but that ends up
magnifying the luminance noise inside the image as well, just a little bit,
| | 03:08 |
not so much as the color noise is getting exaggerated, but a little bit.
| | 03:12 |
Alright, now lets switch back over to detail, because that's
where we can compensate using these noise reduction sliders here.
| | 03:18 |
The most important of the two is color.
| | 03:20 |
You are almost always going to want to apply some color noise
reduction, which is why this value is set to 25 by default,
| | 03:28 |
and notice that that value of 25 does a heck of a job
of getting rid of that color noise inside the image.
| | 03:34 |
I am going to go and zoom in to 300% so that
we can take this up close and personal here.
| | 03:39 |
This is before, turn off the preview check box, you can see
a lot of wandering color inside of what should be just kind
| | 03:47 |
of a neutral brown silo here, this is drab paint that's going on.
| | 03:52 |
This is after I have gone ahead and replaced the
colors with their drab brown, which is what I want.
| | 03:59 |
Now you don't want to go too high with this color value, because if you do
you will start getting a lot of color bleeding between neighboring details,
| | 04:05 |
something along the lines of what we are seeing right here.
| | 04:08 |
The value of 25 is a really great value, for most
images I recommend anything between 20 and 30.
| | 04:15 |
Actually, even for this image which has some radical noise
variations as you can see, a color value of 20 does quite nicely.
| | 04:21 |
So you want this value to be as low as it
can be and still get good results out of it.
| | 04:26 |
So you want this value to be as low as it
can be while still getting results out of it.
| | 04:30 |
Now this image still suffers from a lot of luminance noise, which is
random variations between luminous levels, between neighboring pixels,
| | 04:38 |
and I will show you how to fix that, not only using
a luminance slider, but also a few other options,
| | 04:43 |
and we will fix the chromatic aberrations in the next exercise.
| | 04:47 |
| | 04:47 |
| | Collapse this transcript |
| Reducing luminance noise| 00:01 | In the previous exercise we saw that it's pretty
easy to eliminate color noise inside of an image.
| | 00:06 | For example, in the case of the Subterranean
ventilation.dng file, found inside the 05_for_source folder,
| | 00:13 | all we had to do in order to fix a considerable amount
of color noise, this was the before version of the image,
| | 00:19 | all we had to do was raise this color value, here inside the Detail panel
to 20, and that took care of everything, it took care of that problem.
| | 00:27 | Luminance noise is trickier.
| | 00:30 | Its not just the matter of adjusting the luminance slider,
| | 00:33 | you also have to fiddle around with a few other
options, but it does center on the luminance slider.
| | 00:37 | Now notice what I am talking about where luminance noise is concerned,
we have all this variation going on between these neighboring pixels,
| | 00:46 | where the luminance levels are concerned, and this isn't because this is
actual detail, this is magnified noise essentially that we are looking at,
| | 00:53 | detail that was invented out of whole cloth by the
camera and Camera RAW conspiring together here.
| | 00:59 | To get rid of it, what we need to do is, for
starters, we will raise the Luminance slider.
| | 01:03 | Now I could take this, I could crank it through the roof here, I
could raise that value to a 100 and that would definitely smooth
| | 01:10 | over the details, but that's going to be at the expense of, of course
the sharpening of those details, I would have to raise the Amount value
| | 01:17 | to compensate, and even then I am still going
to be left with some weird edge stuff going on.
| | 01:23 | Notice right here the edges of the silo with the cone.
| | 01:27 | I will go ahead and zoom out here so we can see what I am talking
about; this cone at the top meets this cylindrical structure right here.
| | 01:34 | We have a band of halo essentially, a sharpened halo,
| | 01:38 | but that's not entirely because of the sharpening,
its just the function of the image itself.
| | 01:42 | If I take that Amount value down to zero, you can see that
its still there, and its a certain amount of color wandering,
| | 01:48 | and a certain amount of luminance wandering as well.
| | 01:51 | Alright, so I will take that value back up to 70%.
| | 01:54 | So there is a couple of ways to address this.
| | 01:56 | First of all, we don't want to go this high with luminance, so lets
temper this value a little bit, lets take it down to lets say about 65,
| | 02:02 | which is pretty darn high, but happens to work well for this image.
| | 02:06 | You can see that we are smoothing over
the luminance transitions pretty nicely.
| | 02:09 | Another thing you want to do is you want
to check out the lens corrections options.
| | 02:14 | So lets go ahead and switch over to lens corrections.
| | 02:16 | Now of course the first option affect chromatic aberration,
we do have chromatic aberration inside this image.
| | 02:21 | If you scroll to the top of the silo, to this cone at the top
right here, you can see that its got a ton of chromatic aberration.
| | 02:30 | We have all the cyan edges and this magenta edges, and
that falls totally in the cyan red territory right here.
| | 02:37 | I will go ahead and drag to value negative,
and you see this time it actually ends
| | 02:40 | up working quite nicely, we end up getting rid of that fringing quite well.
| | 02:45 | So I am going to this value down to lets say negative 45,
| | 02:49 | and I am just keeping the values fairly around,
you can of course enter any value you like.
| | 02:54 | We don't need to adjust the blue-yellow fringe for this particular image.
| | 02:58 | So if we don't need to adjust if, don't adjust it, leave it the way it is.
| | 03:01 | Lets go ahead and see if that has any effect whatsoever.
| | 03:04 | Notice that we are smoothing out a lot of stuff inside of this
rust colored and maybe rust covered for that matter, cylinder,
| | 03:11 | that's leading up to the top of the ventilation shaft there.
| | 03:14 | I am going to go ahead and wander my way down to this edge.
| | 03:16 | This edge still is very much in effect.
| | 03:19 | We are seeing this weird sort of transitional pixels going on here.
| | 03:24 | I might try defringe, and in this case I would
just try all edges to see if it does any good.
| | 03:29 | This is just the test to see if its going to help us or not, in some
cases you may see the edge sort of trim up, it may look better.
| | 03:36 | In our case it doesn't seem to make any difference
where this edge is concerned, so don't apply it.
| | 03:41 | If you try defringe and it doesn't work, turn it off, there is no
sense de-fringing the image if its not going to serve any purpose.
| | 03:48 | Its just going to gum up the details.
| | 03:49 | It might be very, very slight, it might be the
kind of thing that comes back to haunt you later.
| | 03:54 | Alright, I am going to switch back to the Detail panel.
| | 03:57 | What I would do in the case of this image is, I would
back of the amount of sharpening that I have applied.
| | 04:02 | So I am going to take that Amount value down to 50%, and
then I am going to take the luminance value down to 40%,
| | 04:10 | because as I back off amount, I can also
afford to back off the luminance value.
| | 04:14 | This is probably the effect that I would stick with.
| | 04:17 | Just so that you can see the difference here, this is
the before version of the image; lots of noise going on.
| | 04:23 | I will even zoom in so that we can see the difference here, lets go ahead
and switch down to this region right there, we have a lot of luminance
| | 04:29 | and color noise going on, and this is the after version.
| | 04:32 | Thanks to the noise reduction functions combined with
chromatic aberration correction here inside of Camera RAW.
| | Collapse this transcript |
| Correcting “false sharpening”| 00:00 | In this exercise we are going to take a look at false
sharpening, which is a sharpening like effect that results
| | 00:06 | from extreme color modifications inside of
Camera RAW and elsewhere inside of Photoshop.
| | 00:12 | As we will see, the way to address the false sharpening
effect is not to use your sharpening controls,
| | 00:18 | but rather to back off of your extreme color modifications.
| | 00:21 | Let me show you what I mean.
| | 00:23 | I have the bridge trained once again on the 05_for_source
folder here inside the exercise files folder,
| | 00:28 | and I have selected an image called Limestone outcropping.dng.
| | 00:31 | Its very possible that this outcropping right here,
this rock, comprises sandstone as opposed to limestone.
| | 00:38 | I thing it's a mix, I am no geologist,
but anyway it's very, very cool.
| | 00:41 | I would like you to go ahead and press Ctrl+R or
Command+R on the Mac in order to open this image.
| | 00:46 | I captured this image using a LEICA D-LUX 3, which is essentially
a point-and-shoot camera, but its great because it allows you
| | 00:54 | to capture RAW images, and it offers a panoramic lens so that you can
shoot very wide images, or in the case of this one here, very tall images.
| | 01:03 | I captured this image right next door to the Red Rocks Amphitheatre in
Colorado, and this is of course another high frequency still life shot.
| | 01:13 | What I would like to do, I would like to up
the drama of this image by darkening the sky.
| | 01:18 | So I am going to zoom into the image a little bit, I not going to take
it all the way to 100%, I am looking at the image at the 33% zoom ratio.
| | 01:27 | I am going to switch over to this panel, the HSL/Grayscale panel,
| | 01:30 | which I can get to by pressing Ctrl+Alt+4 or
Command+oOption+4 in the Mac, if I wanted to.
| | 01:35 | Then I am going to switch to the Luminance subpanel right here,
| | 01:38 | I am going to click on the Luminance tab,
and I am going to drag the blues down to -50.
| | 01:43 | You see how that ends up resulting in a deep
dark sky, which is a lovely thing I think.
| | 01:50 | Then I might take some of the saturation out of the sky, so its
not such a brilliant blue, by switching over to Saturation.
| | 01:56 | Similarly taking the blues value down to -50 once
again, which ends up deepening the luminance of the sky,
| | 02:03 | independently of all the other details inside of the image, but also
because I have applied a big modification to one portion of an image,
| | 02:12 | one group of hues inside the image, independently of all the other hues.
| | 02:17 | What ends up happening as a result, if I zoom in here, you can
see that's got a ton of noise that's showing up inside of the sky.
| | 02:24 | Now that's the least of my problems, because
its not really there, as it turns out.
| | 02:28 | This noise is popping up because Camera RAW adamantly
refuses to show you the results of any of the options
| | 02:35 | that are found inside the Detail panel when
you are at any zoom ratio other that 100%.
| | 02:40 | So this information, all this noise that we are seeing here, it's already
smoothed away, it's not really there to the extent that we are seeing it.
| | 02:46 | I will verify that by zooming in.
| | 02:49 | I will go ahead and zoom in to the 100% zoom ratio.
| | 02:51 | As soon as I get there, you can see
that the noise more or less disappears,
| | 02:55 | there is still some luminance noise going on,
but there isnt a terrible amount of color noise.
| | 03:00 | I will show you what I mean.
| | 03:00 | Lets go ahead and switch over to Detail.
| | 03:03 | Notice that I have very little in the way of sharpening going on.
| | 03:05 | These are the default sharpening settings incidentally.
| | 03:07 | An Amount of 25, a Radius of 1 and a Detail of 25, those values
are designed to get rid of the anti-aliasing and interpolation,
| | 03:16 | that's a function of the demosaicing process, and nothing more.
| | 03:20 | that's what those values are intended for,
so I will just leave them alone.
| | 03:23 | Notice that I have modified my luminance and
color values, if I were to zero those values out,
| | 03:27 | especially the color value, I will set
the color value to zero and press Tab.
| | 03:30 | You can see that a ton of noise is showing up here, and
that was the noise that we saw at the 50% zoom ratio.
| | 03:36 | So no matter what Camera RAW is just bound and
determined not to show you the results of these options,
| | 03:42 | quite irritating actually, especially
in the case of this particular image.
| | 03:46 | Alright, lets go ahead and take this values back
up to 30, which serve this image very nicely.
| | 03:49 | Now I was telling you about false sharpening,
that's the real problem in this image.
| | 03:54 | What do I mean' Well, check out that light
halo that surrounds the mountain.
| | 03:58 | Lets go ahead and zoom in so we can see it even more closely.
| | 04:01 | You can see that sharp light halo that's surrounding the
mountaintop there, if I switch back over to HSL/Grayscale,
| | 04:08 | and I can see the luminance levels right there, if I switch this blues
value back to 0, you can see that that light halo pretty well disappears,
| | 04:16 | and that's because we are brightening the
sky, essentially to match the halo.
| | 04:21 | The problem with the halo is that
it's a different hue value than the sky.
| | 04:26 | It comprises of some reds, some oranges, and some
yellows, and all kinds of other hues, as it turns out.
| | 04:31 | Alright, so lets go ahead and set this value back to -50.
| | 04:34 | What in the world do we do? If we want this kind of
radical difference between the sky and the foreground here,
| | 04:40 | if we want the sky to appear much moodier, but we don't
want to have this halo, what do we do about it? Well,
| | 04:45 | you are not going to get anywhere by changing your Detail settings.
| | 04:48 | Certainly, at this point we can only raise the Amount
value, we are not applying much sharpening at all.
| | 04:53 | Lowering the value, much as we hope that it would help us out, it
doesn't really do any good, so might as well leave that value set
| | 04:59 | at 25% in order to correct for the demosaicing process.
| | 05:04 | We are not going to really get anything
out of Lens Corrections either,
| | 05:08 | this isn't a function of chromatic aberrations,
so you are wasting your time there.
| | 05:11 | You can experiment with defringing, and actually in the
case of this image, all edges doesn't really do us any good.
| | 05:17 | You can see that it actually ends up exaggerating
that halo, so it does us a fair amount of bad.
| | 05:22 | Highlight edges does smooth out the contours in the sky a little
bit, gets rid of the noise inside the sky ever so slightly,
| | 05:29 | but not enough to really justify turning
it on, so I would just leave defringe off.
| | 05:34 | So whats the solution is the question? Well, the
solution is to go back to HSL/Grayscale and see if one
| | 05:40 | of the neighboring slider bars is going to help you out.
| | 05:43 | I am going to go ahead and zoom out a
bit so that we can take in the sky.
| | 05:46 | Again, the sky is going to look noisy at this zoom ratio,
because we are no longer seeing the effects of our smoothing.
| | 05:52 | So its going to look more noisy than it actually is.
| | 05:55 | Now what I am going to do is, I am going to take down the Purples
to -50 as well and see if that helps us out, and sure enough,
| | 06:02 | it does deepen the sky dramatically, and it
helps to deepen those halos just a little bit.
| | 06:08 | What it shows me, is not so much its doing the halos
any good, but its darkening the sky considerably,
| | 06:14 | so maybe we don't need so much darkening of the blue value.
| | 06:18 | In fact, maybe we can have both these values; -25 and -25, and still get a
deep sky without the halos, and sure enough, that's what we have got here.
| | 06:29 | If I zoom in on this rock top right here, on the top of
this rock structure; whether its limestone or sandstone,
| | 06:35 | you can see that the halos have diminished considerably
from where they were before, and if I zoom back out,
| | 06:41 | so that I can take in more of the image but I am also seeing
the noise and all the other artifact that's not really there,
| | 06:47 | and I turn off the Preview check box, this is what the bright
sky looked like, this is what the dark sky looked like.
| | 06:53 | So if you get that kind of false sharpening effect, don't look to the
sharpening controls to fix it, because it is false sharpening after all,
| | 07:01 | try to fix it using those same controls that you messed it up with.
| | 07:05 | So the adjustment, these color adjustment options, they created the false
sharpening effect, they can get rid of the false sharpening effect as well.
| | Collapse this transcript |
| Reducing shadow noise| 00:00 | Now at this point you maybe wondering, OK, this is great. All these
different ways to reduce noise, address fall sharpening, and so on,
| | 00:08 | but what about that original guy, that Dangerous gentleman.dng image
that we saw a few exercises back? How do we get rid of the noise
| | 00:17 | that was showing up in the dark shadow details inside the image?
Well, it actually turns out to require yet a different approach.
| | 00:24 | In order to catch up with this image, lets go ahead
and scroll over here, inside the 05_for_source folder.
| | 00:31 | You will see that there is this image called Sharp on sharp.dng,
meaning that we have sharp focus combined with a sharp fellow.
| | 00:38 | I am going to go ahead and press Ctrl+R,
Command+R in the Mac, in order to open this image.
| | 00:43 | This is the sharpened version of the image, so this is the after version.
| | 00:47 | If you go over here to the Sharpening controls, you can see that
I have applied an Amount value of 80, that was on the high side,
| | 00:52 | that was for demonstrational purpose. I really
recommend something more in the 50 range.
| | 00:56 | Then my other recommended values, Radius of 1.5,
the Detail value of 20, and a Masking value of 70%.
| | 01:02 | So again, because this a low frequency portrait shot,
we are going low, high, low, high with these values.
| | 01:08 | I am going to go ahead and zoom in to the 100% zoom ratio
so that we can see the results of our modifications.
| | 01:14 | You can see that we do indeed have these very
sharp details going on inside the fellows face,
| | 01:19 | and we are bringing out that thread
that's hanging from his chin and so on.
| | 01:23 | The problem is that we would have to presumably
either clone that away inside of Photoshop
| | 01:28 | or we could perhaps spot retouch the image using
the Retouch tool here inside of Camera RAW.
| | 01:34 | But the larger problem is this noise that's
showing up inside the shadow detail.
| | 01:39 | Now the shadows are where you are most likely to bring out noise inside
of a digital photograph, the reason being that when you are working
| | 01:47 | with a linear image, there is less luminance data
inside the shadows than there is inside the highlights.
| | 01:54 | There is just tons of luminance information dedicated to highlights, and
very little dedicated to the shadows, just a fraction as it turns out.
| | 02:01 | When you start brightening the shadow region,
then you bring out a ton of noise as a result.
| | 02:07 | Well, what I would suggest we do in the case of this particular
photograph- and notice by the way, if we go the background,
| | 02:13 | you can see that what should be a nice black
background is showing up as noisy as well.
| | 02:18 | We will go ahead and zoom out here.
| | 02:20 | If you look closely you can see the fabric, the black fabric,
in the background, which really ought to be entirely black.
| | 02:28 | We can get rid of the noise by making it entirely black.
| | 02:31 | So once again, I am going to have to zoom into 100%, because
I cant see the results of my modifications if I am not looking
| | 02:39 | at the 100% view size, and so we wouldnt see the noise accurately.
| | 02:43 | Now lets switch over to the Basic panel, by clicking on the Basic tab here,
or you can press Ctrl+Alt+1 or Command+Option+1 since it's the first panel.
| | 02:52 | I am going to go ahead and increase the Blacks value.
| | 02:55 | Now you don't have to increase it very high.
| | 02:57 | If I just press the up arrow key I will take
it up to 1, at which point I am saying anything
| | 03:01 | that has a luminance level of 1 or darker, becomes black.
| | 03:04 | I will keep raising that value until my
noise goes away, which happens at about 5,
| | 03:10 | that noise goes entirely away and
my background becomes completely black.
| | 03:14 | So those folds in the fabric go away, and it looks like
we just have a void of black space in the background,
| | 03:20 | which is exactly what we want in the case of this image of course.
| | 03:23 | Now I am going to scroll over to the tie, it still
has a bunch of color noise going on inside of it.
| | 03:29 | So naturally we are going to switch over to the
Detail options here, and then we are going to raise
| | 03:34 | that color value to something in the neighborhood of 30, lets say.
| | 03:38 | By doing that, I go ahead and elominate the color noise inside
of the tie, and also inside of the jacket, as you can see here.
| | 03:46 | So this is the before view of the jacket, if I turn
the Preview checkbox off, lots of color noise going on.
| | 03:52 | This is the after view, which is nice and
homogenous, so we have a uniform color going
| | 03:57 | on to this fellows jacket, which is in the way it should be of course.
| | 04:01 | Finally, I am going to go ahead and zoom out to take in the entire image.
| | 04:06 | By virtue of the fact that I raised the black
value, I have darkened the image all over the place.
| | 04:11 | I have darkened all portions of the image, not
only the shadows, but the mid tones as well.
| | 04:16 | So lets go back to the Basic panel here, and I am going
to have to change a few other values to accommodate.
| | 04:22 | First of all, I am going to have to brighten the image.
| | 04:24 | I am going to do that by selecting the Brightness value and
pressing Shift+Up arrow in order to raise it from 35 to 45,
| | 04:31 | and that goes ahead and restores some of the brightness.
| | 04:33 | Now I don't need as much color saturation, because I have
raised the black value, because I have darkened the shadows,
| | 04:40 | I have also intensified the colors inside the image, so these
high vibrance and saturation values are no longer warranted.
| | 04:47 | I am going to go ahead and select the Vibrance value by clicking
on the word Vibrance there, and I am going to press Shift+
| | 04:52 | Down arrow three times to reduce that Vibrance value to 20.
| | 04:56 | Then I am going to tab to saturation, and I am going to
press Shift+Down arrow once to reduce that value to 5.
| | 05:02 | So now we have a very nice image, much
better than it was before, I think.
| | 05:07 | This is the before version of the colors, and this is the after version
of the colors, I think we have a much more striking dynamic image,
| | 05:16 | not to mention we have a lot less noise inside this image as well.
| | Collapse this transcript |
| Approximating ACR sharpening in Photoshop| 00:00 | Alright, finally for those of you who maybe thinking, hey Deke,
| | 00:04 | is there anyway to simulate the Camera RAW sharpening controls
using the sharpening functions that we have seen thus far inside
| | 00:13 | of Photoshop? The answer is not really, but you
can come close, and by examining how we come close,
| | 00:21 | we can get a sense of how the Camera RAW sharpening controls work.
| | 00:24 | So here is what I would like you to do.
| | 00:25 | If you care for this kind of theory, what I would
like you to do is to train the Bridge once again
| | 00:30 | on the 05_for_source folder, inside the exercise files folder.
| | 00:35 | Therein you well see an image called RAW shapes.dng.
| | 00:37 | Go ahead and select the file and press Ctrl+R or Command+R
in the Mac in order to open it inside of Camera RAW.
| | 00:45 | Now I was able- even though this is not a digital photograph,
it was not originally rendered inside of a digital camera,
| | 00:51 | I did not hold the digital camera up to the screen and shoot
a picture of this diagram or anything along those lines,
| | 00:56 | I was still able to convert this diagram into a DNG file.
| | 01:00 | You can't do that from Photoshop. You can't save an image
out as a DNG file, but you can do it from Camera RAW.
| | 01:06 | So I open the image as a TIFF image here inside
Camera RAW by pressing Ctrl+R, Command+R in the Mac.
| | 01:12 | Then I click on the Save Image button, and I
chose Digital Negative as my output format.
| | 01:18 | Just so you know how you can do that
kind of thing, if you are interested.
| | 01:21 | Anyway that has nothing to do with my
demonstration here. I am going to go ahead
| | 01:24 | and zoom in on this image so we can take it in at the 100% zoom ratio.
| | 01:30 | Lets also switch over to the Detail options here.
| | 01:33 | Notice that in Advanced, I have applied an Amount value of
a 100%, a Radius of 1.0, and a Detail value of a 100%.
| | 01:40 | So I have gone very high with the Amount and Detail values, fairly
low to medium with the Radius value, and very low with Masking;
| | 01:48 | I have it turned off essentially, I have it set to zero.
| | 01:51 | Then I am not applying any noise reduction, because this isn't
a digital photograph, it doesn't really have any noise inside
| | 01:57 | of it. It just has texture, which I added on purpose.
| | 02:01 | Alright, so now I am going to go ahead
and click on the Open Image button now.
| | 02:04 | I should say, by the way, that you can either click
on Open Image to open the image inside Photoshop,
| | 02:10 | or if you still want access to your Camera RAW settings so that you can
modify them later on down the line, then you press and hold the Shift key,
| | 02:19 | and notice that the Open Image button changes to Open
Object, that will open the image as a Smart Object.
| | 02:25 | I will go ahead and click.
| | 02:26 | Now that I have got the Shift key done,
I will click on that Open Object button,
| | 02:30 | and now if I bring up my Layers palette, you
can see that this is indeed a Smart Object.
| | 02:37 | If I double click on that thumbnail, I am not going to open
the image that's embedded inside of the larger composition,
| | 02:43 | instead I am going to open the Camera RAW dialog box and
I am going to gain access to those settings once again.
| | 02:50 | Alright, anyway, whether its a Smart Object
or not, its showing us what we need to see,
| | 02:54 | its showing us the sharpened version
of the image according to Camera RAW.
| | 02:57 | I am going to go ahead and zoom the image into a 100%, and I am going
to match this window size here, there is easier ways to do this,
| | 03:04 | and I am going to do Shift+Tab away my Layers palette, and
move this guy over, I want to get things exactly right,
| | 03:11 | don't you know for whatever reason -- oh look, its a pixel too high.
| | 03:14 | So I am going to go ahead and move this down a little bit, like so.
| | 03:18 | Alright, so there is the sharpened version
of the image according to Camera RAW.
| | 03:22 | Now lets move over to the original version of
the image, this one is called Test shapes.jpeg,
| | 03:26 | and it is once again included inside of that 05_for_source folder.
| | 03:32 | Here is what I am going to do- and again, this
just an approximation, this is not an exact match,
| | 03:37 | like we have seen in the past, this is an approximate match.
| | 03:39 | First thing I am going to do is I am going to press Ctrl+Alt+J or
Command+Option+J in the Mac in order to jump the image to a new layer.
| | 03:45 | Lets just go ahead and call it sharpening effect
or something like that, because that's all it is.
| | 03:50 | I will click OK in order to accept that new layer.
| | 03:53 | Now I am going to go up to the Filter menu, I am going
to choose Other, and I am going to choose High Pass.
| | 03:58 | I am going to apply a Radius value of 3 pixels, so about 3 times
the Radius value that we saw inside of the Camera RAW dialog box.
| | 04:07 | So basically everything; all those sharpening controls inside
of Camera RAW are magnified through the roof, as you will see.
| | 04:14 | Alright, so I am going to go ahead and
click OK to accept that modification.
| | 04:18 | Then I want to get rid of the color variation inside of the image.
| | 04:21 | Camera RAW is very careful about sharpening just the luminance data and
not the color data, so we need to get rid of any color shifting inside
| | 04:31 | of this layer by going up to the Image menu, choosing
Adjustments, and choosing this command right there, Desaturate.
| | 04:38 | Now we have a gray scale only version of this High Pass image.
| | 04:42 | I am going to change the blend mode now from Normal to Overlay,
standard stuff, when we are working with High Pass of course.
| | 04:48 | We have a standard High Pass sharpened version of the image,
| | 04:53 | doesn't look anything like the Camera RAW version
of the sharpened image over here on the right.
| | 04:58 | I am going to go ahead and get rid of my palettes for a moment, so we are
done with the Layers palette, we are just working on the High Pass layer
| | 05:05 | after this point, so that we can keep track
of both images at once on screen here.
| | 05:09 | Now I am going to go up to the Filter menu, I am going
to choose Noise and I am going to choose Reduce Noise.
| | 05:14 | The idea being that Camera RAW, no matter what, even if you don't have the
noise reduction functions turned on at all, as we didn't you may recall,
| | 05:22 | both luminance and color were set to zero,
so we weren't applying any noise reduction.
| | 05:27 | The sharpening controls actually go through
and smooth out contours no matter what.
| | 05:32 | So I am going to go ahead and choose Reduce Noise, and I am going
| | 05:36 | to apply the settings you see right here,
Strength of 3, so a pretty low Strength value.
| | 05:40 | Turn Preserve Details and Reduce Color Noise
off, because they are not going to help us
| | 05:44 | in this case, and then raise that sharpen details value to 100%.
| | 05:48 | We are going to max out the sharpen details value.
| | 05:51 | don't turn on this check box, leave it off, and then click OK.
| | 05:55 | We are starting to get more of a match as you can see here between
these two images, still not enough, thanks to the fact that I raised
| | 06:01 | that Detail value, you may recall, inside
the Camera RAW dialog box to a 100%.
| | 06:07 | We need to go ahead and apply the More Accurate check box
inside the Smart Sharpen dialog box, we need to apply it.
| | 06:13 | So we are going to do that by going up to the Filter menu again, choosing
Sharpen and choosing Smart Sharpen, and these are the settings I am going
| | 06:22 | to apply: an Amount value of a 100%, a Radius value of
2.0, Remove set to Lens Blur, and More Accurate turned on,
| | 06:29 | that gives us the closest equivalent. Again,
it's not an exact match, but it's close.
| | 06:34 | Then I will click OK in order to accept that modification.
| | 06:37 | Notice we are closing in on the effect. The biggest difference I
am seeing at this point, there is some difference in the texture,
| | 06:43 | an overall difference, to the quality of the texture, and I am not going
to do anything to match that, that's beyond my control at this point.
| | 06:51 | But I am noticing something I can control is the fact that I have
very bright highlights and very dark shadows, so I am clipping shadows
| | 06:59 | and clipping highlights inside the image on the left, whereas Camera
RAW is working very hard to make sure it does not clip either.
| | 07:06 | So what we are going to do back here inside the Test
shapes.jpg image, bring back up my Layers palette,
| | 07:11 | I am going to double click on that Layer in
order to bring up the Layer Style dialog box.
| | 07:16 | I am going to Alt-drag the halves of these triangles apart, both
in the This Layer slider and the Underlying Layer slider, like so.
| | 07:25 | Try to say that three times fast.
| | 07:27 | I am being fairly arbitrary in terms of my modifications here.
| | 07:31 | Here are the values I am applying, it doesn't really
matter, I am just making sure that I have a big amount
| | 07:36 | of space between both the black halves and the white halves.
| | 07:40 | Then I will click OK in order to accept that modification, but Shift+Tab
that palette away once again, and here is my closest match between the two.
| | 07:51 | That's how much work it takes in
order to match what happened so quickly
| | 07:56 | and so effortlessly inside the Camera RAW dialogue
box, but it means there are some tradeoffs too.
| | 08:00 | That sharpening smoothing action that occurs inside of
Camera RAW, I am not the biggest fan of that actually,
| | 08:05 | and there is really no way to turn it off, its at work all the
time, so you really have the kind of noise reduction going on,
| | 08:11 | no matter what you do, when you are sharpening an image.
| | 08:14 | On the plus side, it's always very careful to
apply its sharpening just at the luminance data,
| | 08:20 | and its careful to clip neither the shadow
or highlight information inside of the image.
| | 08:27 | Alright, so there you have it.
| | 08:28 | In the next chapter we are going to take a look
at how to sharpen for detail inside of an image.
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|
|
6. Sharpening for DetailGauging and exploiting luminance frequency| 00:00 |
Now that you have finished sharpening
for the source- or not, up to you.
| | 00:03 |
It's time to move on to the second and I think more important
phase of the sharpening process, sharpening for detail. Rather
| | 00:10 |
than compensating for anti-aliasing
or interpolation or the like,
| | 00:13 |
we are interested in bolstering the most essential
and pervasive detail inside the image all in the name
| | 00:19 |
of increasing the impact of a photograph or composition.
| | 00:22 |
The character of that detail is measured in terms of frequency. In a
low frequency image, highlights transition gradually into mid-tones
| | 00:30 |
and then shadows. Think of a smooth sphere or a person's face.
| | 00:34 |
In a high frequency image, highlights change the shadows frequently
and abruptly. Imagine a thicket of branches, a crowded street scene
| | 00:41 |
or any wide angle shot that contains multiple points of interest.
| | 00:45 |
If an image falls somewhere in the middle, as most
do, then it probably has a predominant frequency
| | 00:50 |
that determines the kind of sharpening that you should apply.
| | 00:53 |
Like me, against this rock wall. I'm low frequency, the
wall is high, but I'm more important than a bunch of rocks.
| | 00:59 |
So we sharpen for low frequency.
| | 01:01 |
Incidentally, do you like this rock wall? I
hope you do because if you are a premium member,
| | 01:06 |
you have this rock wall. It's included in your sample files.
| | 01:10 |
I know. You are welcome. It's a gift from
me to you. Yes you're welcome, I said that.
| | 01:15 |
Low frequency, high frequency, medium frequency. What is the frequency,
Kenneth? that's what you have to ask yourself when you are sharpening
| | 01:22 |
for detail, and your name is Kenneth, inside Photoshop.
| | 01:26 |
| | 01:26 |
| | Collapse this transcript |
| Using low-frequency source sharpening| 00:00 | Lets start things up by taking a look
at how to sharpen a low frequency image.
| | 00:04 | By low frequency, I mean gradual transitions between luminance levels,
between highlights and mid-tones and shadows inside of the image.
| | 00:14 | Now you typically want to treat any portrait shot as a low frequency
image, even if it has a busy background with a lot of rapid transitions.
| | 00:22 | Lot of rapid luminance transitions in it or if the person is
wearing busy clothing with a lot of tight fabric patterns and so on.
| | 00:30 | Even So you want to go ahead and treat it as a low frequency image
because that is the most forgiving kind of sharpening that you can apply
| | 00:37 | and after all we do want to be forgiving even
with beautiful people like this one, right here.
| | 00:42 | Now I should tell you that we are going
to start things up from the very beginning.
| | 00:45 | So we are going to sharpen for the source.
| | 00:48 | Bring the image in the Photoshop as a Smart Object and then we are
going to sharpen for detail inside of Photoshop and sort of mix
| | 00:57 | and match our source sharpening and our detail sharpening.
| | 01:00 | You will see, it's a fairly elaborate process when done properly.
| | 01:04 | Now I have the Bridge showing down the 06_for_detail folder,
that's inside the exercise files folder and I have gone ahead
| | 01:11 | and selected this image right here, that's called Coffee to go.jpg.
| | 01:14 | Don't fret about the fact we are only seeing
couple of thumbnails on screen right now.
| | 01:18 | You are going to see more thumbnails inside of your folder
because I am building the images up still as I am talking to you.
| | 01:24 | Anyway, this image, this wonderful image here
comes to us from photographer Quavondo Nguyen.
| | 01:30 | I just love that first name, Quavondo, of iStockphoto.com once again and lets
go ahead and start by sharpening the image for the source, as I was saying.
| | 01:40 | So I am going to bring the image in Camera RAW.
| | 01:42 | It's my favorite way to work, not necessarily the only way to
work but I think its the best and most effective way to work
| | 01:48 | and so I go up to the File menu and choose Open in Camera RAW,
and I do want to mention something to you at the outset here.
| | 01:54 | I have noticed in this particular version of the bridge just
may it be fixed by time you are working inside the bridge
| | 02:00 | but every so often this command will appear inexplicably dimmed as
if you can't apply it to JPEG images or TIFF images which you can.
| | 02:09 | You should be able to do that on a regular
basis, no matter what and the only kinds
| | 02:13 | of files you really cant effect are layered
files like, made of PSD documents.
| | 02:17 | You cant open that inside Camera RAW but JPEGs and TIFFs, are just fine.
| | 02:22 | If the Open in Camera RAW Command
appears dimmed, here is a little trick.
| | 02:27 | You go to the Tools menu.
| | 02:28 | This is mostly works 95% of the time.
| | 02:32 | I have had it failed couple of times but it mostly works.
| | 02:34 | Go up to the Tools menu choose Cache and
choose Purge Cache or Folder, blah, blah, blah.
| | 02:39 | Essentially purge the thumbnails, that's what you are doing for
this particular folder, and that should take care of your problem.
| | 02:46 | Then you should be able to click on this file and all should be well.
| | 02:48 | If not you may need to sort of click between
folders and just fool around a little bit.
| | 02:52 | It's weird.
| | 02:53 | I don't know why the bridge does this.
| | 02:54 | But anyway, probably a bug.
| | 02:56 | I am going to go up to the File menu choose Open in Camera RAW,
Ctrl+R or Command+R in Mac in order to Open the Camera RAW dialog box.
| | 03:05 | Lets go ahead and zoom in on her eyes here and I am going to
make sure that I am seeing the image at the 100% zoom ratio.
| | 03:10 | Right now it's a 117 or whatever, that's what I am saying.
| | 03:13 | I will go ahead and press Ctrl+minus or Command+minus
on the Mac in order to zoom out a little bit.
| | 03:18 | Now lets switch over to the Detail panel right here.
| | 03:22 | Now I should warn you just because we are seeing
the Amount value of zero for sharpening doesn't mean
| | 03:28 | that some sharpening hasn't been applied before to this image.
| | 03:31 | It's very possible that the original photographer
sharpened this image to some extent.
| | 03:36 | Either when they originally opened the image in Camera RAW
and saved it out as a JPEG or during the editing cycle.
| | 03:42 | It's very possible this image is already been sharpened in advance.
| | 03:45 | It doesn't look like it to me, that's why I am going
ahead and treating it as a completely unsharpened image.
| | 03:52 | Alright. So I am going to go ahead and take this amount
value up to 150% just so that I can gauge the proper values.
| | 03:58 | Obviously this is way too much and then I might take the
Radius value up to 1.5 since this is a low frequency image.
| | 04:05 | We saw on the previous chapter that when you are
working with a low frequency inside of Camera RAW,
| | 04:09 | you want a low amount which we don't have so far but we will.
| | 04:12 | A low amount, a high radius, a low detail value and a high masking value.
| | 04:16 | So lets leave the detail value where it is, at 25 and then I am going
| | 04:20 | to Alt or Option-drag the masking value over
here to about 17, looks pretty good to me.
| | 04:25 | That's going to protect most of the skin and reveal the real edges
around the eyes and the mouth and the nose and the ears and so on.
| | 04:32 | Now that we have done that, lets go ahead and backup the Amount value,
and I am going to take it down to lets say something along lines of 50%,
| | 04:39 | maybe a little higher just so that we can see the
effects of our sharpening very easily on screen.
| | 04:44 | Lets go and take it a 60% here.
| | 04:46 | So just so that you can see the difference.
| | 04:48 | This is before and this is after and just in
case that isnt reading super well on the video,
| | 04:53 | lets go ahead and zoom in and click here to the 200% view size.
| | 04:57 | This is the before view and this is the after view.
| | 05:00 | So a fair amount of sharpening that we are applying.
| | 05:02 | Next what I want you do, I want you to press and hold the Shift key,
then I want you to click on this button down here, that says, Open Object.
| | 05:09 | Go ahead and click, while the Shift key
is down, then you can release Shift.
| | 05:12 | So you just want to Shift+click on that button.
| | 05:15 | In order to open the image in Photoshop as we have done and of course,
we have also gone ahead and opened the image as the Smart Object,
| | 05:22 | as you can see over here, inside the Layers palette, we gave little
Smart Object icon down in lower right hand corner of the thumbnail.
| | 05:30 | Alright, so this is good.
| | 05:31 | We have now sharpened for source and we have taken the detail into account.
| | 05:36 | In the next exercise, we are going to apply a second pass of sharpening.
| | 05:40 | Sounds a little dangerous but it works beautifully actually.
| | 05:43 | We are going to apply a second pass of sharpening in
order to take into account just the detail not the source.
| | 05:49 | Just the detail inside this image.
| | Collapse this transcript |
| Using High Pass for portraits| 00:00 | In this exercise we are going to sharpen the detail
inside the image, this is low frequency image,
| | 00:05 | so we are going to sharpen accordingly, here inside Photoshop.
| | 00:08 | Now bear in mind, we just gone through sharpening
the image in the previous exercises inside Camera RAW
| | 00:13 | for the source, for the digital photography process.
| | 00:17 | Now we are about to heap more sharpening
on top of this image, here inside Photoshop.
| | 00:22 | Now conventional wisdom says that you are not supposed to do that,
| | 00:25 | you are not supposed to sharpen an image
multiple times, sequentially let alone in a row.
| | 00:30 | I am going to tell you that done properly it produces fantastic
effects, as you will see over the course of next few exercises.
| | 00:38 | Alright. So if you just joining me, you can catch right
up by opening this image called Base Smart Object.PSD,
| | 00:44 | that's found inside the 06_For_Detail folder and it contains a
Smart Object notice that in this is a Camera RAW Smart Object,
| | 00:51 | so if you were to double click on this Smart Object thumbnail here inside
the Layers palette, you would bring up the Camera RAW dialog box,
| | 00:57 | then you can switch over to your Detail panel
and you could adjust to settings to taste.
| | 01:02 | I am going to go ahead and cancel out off this
dialog box, so I can return to Photoshop here.
| | 01:08 | Now since I have already got this Smart Object, I can apply
a filter to it and it automatically becomes a Smart Filter,
| | 01:13 | but before I do that I want to make that I have a
filter mask ready to go to convert in to an edge mask,
| | 01:22 | so I am going to go over to the Channels palette
and lets take a look at our channels here.
| | 01:26 | This is the red channel very, very bright inside of
this portrait shot, as portrait shots are wanted to all
| | 01:32 | of us resonate most brightly inside the red channel.
| | 01:35 | The green channel contains the widest variety of luminance levels,
so it contains a lot of detail and then the blue channel is going
| | 01:44 | to be your darkest channel, often times
it's your noisiest channel as well.
| | 01:47 | So what I am going to recommend, where standard portraits are
concerned, is that you want to go ahead low the green channel
| | 01:53 | as a selection and convert that into your base filter mask.
| | 01:58 | So heres how we will do it.
| | 01:59 | go ahead and press in order to Control key or the Command key and the Mac
and click on that green thumbnail there to load it as a selection outline,
| | 02:07 | then go ahead and switch back to the RGB view of the image.
| | 02:11 | Go to the Layers palette and now lets go up to
the Filter menu choose other and choose High Pass.
| | 02:17 | Now the reason I like High Pass, it's two reasons I use High Pass
for sharpening, for detail where low frequency images are concerned.
| | 02:25 | First of all its a very simple filter to use, very straightforward, just
has one value that you have to worry about and that's the Radius value.
| | 02:31 | Also its good at protecting the highlights
and shadows, it doesn't clip highlights
| | 02:36 | and shadows inside of the image unlike Unsharp Mask and Smart Sharpen.
| | 02:40 | So I am going to go ahead and choose the High Pass Command.
| | 02:43 | I will tell you that you want to keep the radius fairly high, something
in the neighborhood, depending on the resolution of the image,
| | 02:50 | something in the neighborhood of three to six pixels.
| | 02:54 | So if you are working on a very high resolution image such as 10
or 12 megapixel image, you probably want to bump this guy up to
| | 03:00 | about 6 pixels possibly that high, that's the high end.
| | 03:04 | But in our cases, this is just a 5 megapixel image, I am going
to take this value down to 4.5, which is still pretty darn high,
| | 03:10 | you might want to take it down to 3, but
for now we will go with 4.5 pixels.
| | 03:15 | I'll click ok in order to accept that modification.
| | 03:18 | Now I have a quite High Pass, which grays out the non-edges
inside the image, so we need to drop out those non-edges,
| | 03:26 | so that we have a sharpening effect, not a
weird gray effect going on inside the flesh.
| | 03:31 | So you want to double click on the blending options. And
by the way, notice very briefly, that Photoshop went ahead
| | 03:36 | and automatically converted the selection from
the green channel to a filter mask right there,
| | 03:42 | that looks exactly like the green channel of course.
| | 03:44 | Alright. So we have got the green channel filter mask intact.
| | 03:47 | Now lets go over to the little settings icon right there.
| | 03:50 | Double click on it, in order to bring up the blending
options and we'll change the mode from Normal to Overlay.
| | 03:58 | Then I'm going to go ahead and accept that by clicking OK.
| | 04:01 | Now we have successfully applied the High Pass filter.
| | 04:04 | We have a filter mask intact.
| | 04:06 | We need to modify that mask, of course, so that its not merely a
luminance mask, which is what it is now a green luminance mask,
| | 04:13 | but rather an edge mask and well do that in the very next exercise.
| | Collapse this transcript |
| Actioning a low-frequency edge mask| 00:00 | In this exercise we are going to take that filter mask
| | 00:02 | that we lifted from the green channel that's currently
limiting the effect of the High Pass filter
| | 00:07 | and we are going to convert that mask into a proper edge mask.
| | 00:10 | Now there are a lot of steps involved here.
| | 00:12 | We saw how to create an edge mask a couple of chapters back.
| | 00:15 | At this point, I figure we might as well go ahead and
record the creation of this edge mask as an action.
| | 00:22 | So lets go ahead and do that together.
| | 00:24 | I have got an entire series by the way.
| | 00:26 | If you are a subscriber to the lynda.com
Online Training Library you can gain access
| | 00:33 | to my Photoshop CS2, it actually goes by the
name Photoshop CS2 Actions and Automation.
| | 00:39 | It's just that Actions and Automation hasn't changes that terribly much
inside Photoshop CS3 and you can learn everything you ever wanted to know
| | 00:47 | about recording actions. But right now lets just go ahead and bring
up the Actions palette, which you can get to by the way by going
| | 00:53 | to the Window menu and choosing Actions if you like.
| | 00:56 | We are going to create a new folder, a New Action
Set as it's known, by clicking on the little folder icon.
| | 01:02 | So go ahead and click on the folder icon at the bottom of
the applet and we will call this one Sharpening actions
| | 01:07 | or something along those lines then click OK and next, I
want you to start off a new action and to make a new action,
| | 01:15 | record a new action inside Photoshop, you click on this page icon at
the bottom of the Action palette and it allows you to name the action.
| | 01:23 | Lets call this one edge mask and I will
go ahead and click on the Record button.
| | 01:28 | Now you may recall, a couple of chapters ago when I told you back,
creating image mask in the first place that this steps are always the same.
| | 01:34 | We always run through the basic same steps especially where a
portraits edge mask is concern, but the values may end up varying.
| | 01:41 | I am just going to show you the values that I use in the when in doubt.
| | 01:46 | So these are when in doubt values you can changes here values
if you want to do for the specific resolution of images
| | 01:51 | that you are using on the regular basis, but here we go.
| | 01:53 | The first thing is we are going to go ahead and click on the
Smart Filter mask and that goes ahead and records that operation.
| | 01:59 | I am not sure that's an operation that you want recorded, we'll
go ahead and delete that just in moment, but I will go ahead
| | 02:05 | and click on the filter mask in order to make it active, and
I am going to even Alt+Click or Option+Click on the filter mask
| | 02:11 | so that we can see the mask here inside the image window.
| | 02:14 | That added another step to the action.
| | 02:17 | Again, we will comeback and we will delete those in the moment.
| | 02:19 | Now here are the real steps that we want to record.
| | 02:21 | Go up to the Filter menu choose Noise and choose Median.
| | 02:26 | Now the value that you are going to enter will depend.
| | 02:29 | It depends on the resolution of the image typically, but
again a good sort of when in doubt values about 10 pixels.
| | 02:35 | You could go higher with the high resolution image,
you could go lower with the lower resolution image.
| | 02:40 | I will go ahead and click OK to accept that modification.
| | 02:43 | Now I am going to go up to the Filter menu.
| | 02:45 | I am going to go choose Stylize and I am going to choose Find Edges and
that's going to find the edges inside the image and tracing with black.
| | 02:53 | Now I want to invert that of course because I want the edges to be white.
| | 02:56 | So I will press Ctrl+I or Command+I on
the Mac in order to invert the image.
| | 03:01 | You can see that step right there.
| | 03:03 | Then I want to go ahead and bolster those
light edges using Levels command.
| | 03:06 | So I will press Ctrl+L or Command+L on the
Mac to bring up the Levels dialog box.
| | 03:12 | I will go ahead and drag this white slider triangle over to about 60.
| | 03:17 | Now this might end up varying from one image to another.
| | 03:21 | The other image I showed to you a couple of
chapters ago, when I was introducing the edge mask.
| | 03:25 | We ended up dragging this white point value down to 40.
| | 03:29 | So we were more aggressI've with our modification.
| | 03:31 | This image would be harmed, if we went down the 40.
| | 03:34 | We would end up getting too many edges.
| | 03:36 | So I am going to leave its set to something that's a
little more moderate about 60 and go ahead and click OK
| | 03:43 | at this point and that records Levels operation of course.
| | 03:47 | Now we want to thicken our edges up a little
bit, so I am going to go the Filter menu.
| | 03:53 | I am going to choose Other and I am going to choose Maximum,
| | 03:56 | which expands the maximum brightness value, which
of course is white and I want to radius of 4.
| | 04:02 | Again this is a value you might want to vary depending on the
resolution of your image, 4 is a good when in doubt in my experience.
| | 04:08 | I will go ahead and click OK to accept that modification.
| | 04:12 | Now we want to round off those squares that
have been formed by the Maximum filters.
| | 04:16 | So I will go up to the Filter menu.
| | 04:18 | I will choose Noise and I will choose Median and I
will enter the exact same value I entered for Maximum.
| | 04:24 | We definitely want to match the maximum value.
| | 04:27 | So on the radius of 4, click OK and then I want to blur
the edges inside the mask and I want all these harsh edges.
| | 04:34 | So I will go to the Filter menu and I will choose
Blur and I will choose Gaussian Blur and I am going
| | 04:40 | to double the value that I applied for both Median and Maximum.
| | 04:45 | So instead of 4, I will do 8 and then I will click OK
in order to accept that modification and now we are done.
| | 04:50 | We have now created the edge mask.
| | 04:52 | So you stop recoding the action by clicking on the square
Stop button right there and that stops the recoding.
| | 04:58 | Now I was telling you we have a couple of cluttered steps up front here.
| | 05:01 | So lets go ahead and drag those down throw them
in the trashcan here and that's all it takes.
| | 05:07 | Now we want to leave Median through Gaussian Blur and that's Edge
Mask and I am actually get to rename this action a little bit I am going
| | 05:14 | to call this LF edge mask meaning that's its
a Low Frequency edge mask because this kind
| | 05:19 | of edge mask does work very well for low frequency images.
| | 05:22 | We would change the steps up a little
bit, if we are working high frequency.
| | 05:26 | We now have an action that will go ahead and
automatically convert our luminance mask into an edge mask.
| | 05:32 | To test it out, lets go back to the History palette here
and notice this point at which we applied the Median filter,
| | 05:39 | the first time around that's what we want to get rid of.
| | 05:42 | Lets go ahead and click on Edit Filter
Blending Options which takes us back
| | 05:46 | to the original luminance mask, it is right there so that you can see it.
| | 05:50 | Now go ahead and switch back over to the Actions palette, make
sure that your mask is active that it has a double outline around it
| | 05:58 | and you may also want to go ahead and Alt+Click or Option+Click
on that thumbnail so that you are viewing the mask on screen.
| | 06:04 | Then click on the LF edge mask action and press the Play button there.
| | 06:08 | Go ahead and click on the Play button and it will go ahead and convert
that luminous mask into an edge mask look at the spit, very quickly indeed.
| | 06:15 | Lets go ahead and Alt+Click or Option+Click once again
on the filter mask in order to view the affected image.
| | 06:22 | So this is what the image looks like without the application of the
High Pass filter, subject of course to its filter mask to the edge mask
| | 06:31 | and this is what it looks like with the High Pass filter.
| | 06:33 | Let me go ahead and zoom in so that we can see this a little
more closely inside the video, this is without and this is with.
| | 06:40 | So we have a double pass sharpening effect going on here.
| | 06:44 | We sharpened inside of Camera RAW for the source and of course taking
into account that this was a low frequency image and then we brought it
| | 06:51 | into Photoshop and sharpened again for detail taking
into account that this is a low frequency image,
| | 06:57 | but I will tell you what, doesn't really add up to well at this point.
| | 07:01 | It looks pretty good its over-sharpened actually I have to say,
| | 07:04 | but what we are doing is we are basically double sharpening the exact
same stuff inside the image and what I am going to suggest you is,
| | 07:12 | if you are going to do multi-pass sharpening like what we have
seen here then you want to switch out your source sharpening.
| | 07:18 | You don't want to take the low frequency content into a effect.
| | 07:22 | You just want to go ahead and do a standard source sharpen and then
take a low frequency details into account here inside Photoshop.
| | 07:29 | I will show you exactly what I mean by that, because
we have set this up as a very flexible image.
| | 07:35 | We can modify our sharpening settings to our harsh content.
| | 07:38 | I will show you how in the next exercise.
| | Collapse this transcript |
| Modifying the source sharpening| 00:00 | Alright, just to recap, we have taken this image from photographer,
Quavondo Nguyen of iStockphoto.com, and we have sharpened it inside
| | 00:08 | of Camera RAW, and then we have applied a
second pass of sharpening inside of Photoshop.
| | 00:13 | Now the image looks pretty darn good. It looks a little
over sharpened on screen, but if we were to flatten the image
| | 00:18 | and downsample it using the Image Size
command, our edits would hold up quite nicely.
| | 00:23 | Thing is, we have attacked the same detail twice.
| | 00:27 | So when we sharpen the image with a source in mind inside of Camera
RAW, we took into account that this was a low frequency portrait image,
| | 00:33 | and then when we sharpened for detail here inside Photoshop, we
took into account that this was a low frequency image as well.
| | 00:40 | I don't really recommend you work that way.
| | 00:43 | Again, its not a bad way to work, but it's not the ideal approach.
| | 00:46 | The ideal approach is if, and just bear with me here, but if you are going
to apply second pass of sharpening for detail here inside of Photoshop,
| | 00:56 | then you want to make sure that your first pass of sharpening inside of
Camera RAW is strictly sharpening for the digital photography process;
| | 01:04 | you are not taking into account whether its
high frequency, low frequency, or any frequency.
| | 01:10 | So thanks to the fact that we have kept
our modifications 100% nondestructive,
| | 01:16 | we can go back and change the sharpening
that we applied inside Camera RAW.
| | 01:21 | Now if you want to catch up with me, I have got a document here called
High Pass portrait.PSD, its found inside of the O6_for_detail folder.
| | 01:31 | You can see that we have got a Smart Object, that's a Camera RAW
object, that has a Smart Filter applied to it, subject to an edge mask.
| | 01:39 | I am going to go ahead now and double click on the
Smart Object thumbnail in order to return to Camera RAW.
| | 01:46 | I will go and drag around her eyes in order to zoom in on her face there.
| | 01:49 | I will go ahead and actually step back to the 100% zoom
ratio, so that I can see the results of my sharpening here.
| | 01:56 | Then I am going to switch over to the Detail panel, and I am going
to reduce the Radius value; this is the key thing you need to do,
| | 02:04 | is reduce the Radius value to something in the
neighborhood of 0.5, 0.6, 0.7, so some low value.
| | 02:11 | I am going to go with 0.6.
| | 02:13 | I am also going to take the Detail down as low as it will go, so we
are avoiding any potential for over sharpening inside of this image,
| | 02:22 | since we do have that second pass of
High Pass sharpening eagerly awaiting.
| | 02:27 | I am going to go ahead and take the Masking value down too.
| | 02:30 | I am going to Alt drag or Option drag this slider triangle,
and of course, you don't have to Alt or Option-drag,
| | 02:36 | I am just doing that so I can see the mask on the fly here.
| | 02:40 | I am going to take the Masking value down to 30; not a pretty mask
as you can see, but its a very functional mask for our purposes here.
| | 02:47 | So I am going to take that down to 30.
| | 02:49 | Then I am going to increase the Amount value to a 100%.
| | 02:53 | Now that's pretty high, but I want to make sure
that we can see the results of our sharpening.
| | 02:58 | If you were really applying this, and all you were trying do is correct for
the digital photography process, you would probably want an Amount value
| | 03:05 | around 50%, but I am going to double it just so that we can see the
effects of our sharpening very easily once we go back into Photoshop.
| | 03:13 | So just to give you a sense, this is how sharp the image used to
be sharpened with the fact that its a low frequency image in mind,
| | 03:20 | and this is how sharp the image is Now so crisper
sharpening, less sharpening, going on as well.
| | 03:26 | Lets go ahead and zoom in a click here, so that we
can see her eye and a little bit of her hair as well,
| | 03:32 | so this is before lots of diffuse sharpening going on here,
meaning that we have a high Radius value at this point.
| | 03:40 | This is after less sharpening, tighter sharpening, as well,
so we are sharpening in on the finer details inside the image.
| | 03:46 | Then I will go ahead and click OK in order to accept that modification, and
Photoshop will go ahead and reapply all of the sharpening, sequentially;
| | 03:55 | so it recalculated the Camera RAW sharpening and then
it reapplied the High Pass sharpening on top of it.
| | 04:02 | Lets go ahead and zoom in actually a click so we
can see those same details that we saw before.
| | 04:07 | This is before and this is after, so its a subtle difference
that we are seeing, but its a very meaningful difference.
| | 04:14 | Now we have two passes of sharpening that
are taking different things into account.
| | 04:19 | With the first pass we are exclusI'vely taking the source
into account, the digital photography process into account,
| | 04:26 | and with the second pass of sharpening, we are
exclusively taking the low frequency detail into account.
| | 04:32 | This is what I consider to be a very successful and very flexible.
By the way, I will go ahead and zoom out here to 50%, a very successful
| | 04:39 | and very flexible two pass sharpening effect here inside Photoshop.
| | 04:44 | Just to give you a sense, this is what the image looks like
without the High Pass layer, and this is what the image looks
| | 04:50 | like with the High Pass layer, so a subtle effect of 50%, but again,
| | 04:55 | an effect that's going to serve us well when
we finally go to print with this image.
| | 05:00 | Now when we go to print, I should warn you, there will be one more
pass of sharpening I would apply, and that's sharpening for Output,
| | 05:06 | as we will see in a couple of chapters, but so
far so good, and everything is flexible as can be.
| | 05:12 | In the next exercise, I will show you how to approach a high frequency
image, where sharpening for detail is concerned inside Photoshop.
| | Collapse this transcript |
| Using high-frequency source sharpening| 00:00 | Alright, now lets talk about sharpening a high frequency image, and
once again we are going to take the image into Camera RAW to sharpen
| | 00:07 | for the source, and then we are going to take
it into Photoshop to sharpen for the detail.
| | 00:12 | Now I have got the Bridge once again trained on the
06_for_detail folder, that's inside the exercise files folder.
| | 00:17 | I would like you to go ahead and select the Cabs and buildings.jpg image.
| | 00:22 | This image comes to us from Damir Spanic, once again of iStockphoto.com.
| | 00:27 | By the way, if you scroll down your list a little bit here, you will see
the original Coffee to go.jpg image that we opened a few exercises back,
| | 00:36 | notice it has a little settings icon in the upper right hand corner
of the thumbnail. That indicates that now the Bridge considers this
| | 00:43 | to be a Camera RAW file, and it has some
Camera RAW settings saved along with it.
| | 00:48 | If you don't want those Camera RAW settings to be assigned
to the JPEG file anymore, which I suggest you don't,
| | 00:54 | then go ahead and right click on the thumbnail, choose Develop Settings.
| | 00:59 | Then choose Clear Settings, like so and that will get rid of those
settings, and now that will open as a normal JPEG file in the future,
| | 01:07 | because after all you have already got some PSD versions of
the file, if you want to revisit those Camera RAW settings.
| | 01:13 | Aright, I am going to go ahead and select Cabs and buildings.jpg once
again, and I am going to go to the File menu and choose Open in Camera RAW
| | 01:20 | or press Crtl+R, Command+R in the Mac, in
order to open up the Camera RAW interface here.
| | 01:26 | I will go ahead and fill the screen with the interface once again.
| | 01:30 | Now this is a high frequency image, meaning that there
are a lot of rapid luminance variations inside the image.
| | 01:38 | So we are switching from highlights to shadows,
back to highlights very quickly, all over the place.
| | 01:43 | There are all kinds of fine details inside of the image as well,
and a cityscape is a very typical kind of high frequency image,
| | 01:51 | just as things likes trees and plants and landscapes
end up being high frequency images as well;
| | 01:56 | basically distant shots which are taking in a lot of objects at once.
| | 02:00 | Now I am going to go ahead and switch over to the Detail panel.
| | 02:04 | I want to be able to see the grill of
this taxi cab here at the 100% zoom ratio.
| | 02:09 | I am going to crank up that Amount value once
again, so I can keep track of what's going on.
| | 02:14 | Now I know in advance this time, I know that in a second pass I am
going to be sharpening the detail inside the image inside Photoshop,
| | 02:22 | so as long as I am in Camera RAW, I just want to sharpen
for the digital photography process and nothing more.
| | 02:28 | So I am going to enter those same settings I showed you
in a previous exercise, which are 0.6 for the Radius,
| | 02:34 | lets go ahead and take the Detail value down to 0, so
that we are not bringing up much noise inside the image.
| | 02:40 | I am going to take the Masking value up to 30 once again.
| | 02:45 | Now this image does actually have some weird stuff going on inside of it.
| | 02:49 | If I zoom in very closely on the windshield, for example, you can see
that we have some weird colors that are showing up around the edges
| | 02:58 | of the windshield, and this is happening in
other places inside of the image as well.
| | 03:03 | Part of what I think might have happened here is that when this image
was originally either converted from the RAW file format to JPEG,
| | 03:10 | or when it was photographed as a JPEG file, the converter
didnt end up running any kind of color noise reductions.
| | 03:17 | So I am going ahead and apply the standard
25 value here, the standard 25 color value.
| | 03:22 | That does take some of the color out of that windshield.
| | 03:26 | Now I am going to go ahead and scroll
upward towards the top of the image.
| | 03:32 | You can see in the top right corner of the image, let me go ahead
and move up here, we don't have scrollbars inside of Camera RAW,
| | 03:39 | so it does takes some time to get to different
locations when we are working at the 400% zoom ratio.
| | 03:45 | You might be able to make out that we have a little bit of
magenta going along the top of these windows, and once again,
| | 03:50 | we are in the upper right hand corner of the image, and we have
some cyan that's outlining the other portion of the windows as well.
| | 03:57 | We can get rid of that by switching over to the Lens Corrections panel,
and I could fool around with the Chromatic Aberrations slider bars,
| | 04:04 | they don't turn out to do that much good where this
image is concerned. What does a fair amount of good,
| | 04:10 | it's subtle once again, but it does work,
| | 04:12 | is to switch Defringe from Off to All Edges. And did you see that? We
just got rid of a lot of coloring that's going on inside of those windows.
| | 04:21 | If we zoom out a little bit, I think that's a better idea to zoom out
and then scroll down here to the cab, and then of course zoom back in,
| | 04:28 | you will see that we have taken some of the color
out of the edges of that windshield as well.
| | 04:32 | Its not completely remedied, we still have a few color
artifacts going on, but its much better than it was before.
| | 04:38 | Alright, so those are the settings I am going to apply.
| | 04:40 | Once again, set defringe to all edges, and then inside of the
Detail panel we have got Radius-0.6, Detail-0, Masking-30, Color-25.
| | 04:51 | One change that I do suggest you make, I think the Amount value is a
little too high here, lets go ahead and knock that down to about 60,
| | 04:58 | its going to do better where this image is concerned.
| | 05:00 | Then I want you to press the Shift key and click on the Open
Object button, down there at the bottom of the dialog box,
| | 05:07 | in order to open the image as a Camera RAW Smart Object inside Photoshop.
| | 05:13 | Alright, so we have now successfully sharpened for the source,
I believe anyway, and we are now going to move on to sharpening
| | 05:21 | for the detail inside of this high frequency image in the next exercise.
| | Collapse this transcript |
| Using Smart Sharpen for cityscapes| 00:00 | In this exercise I am going to show how to sharpen a
high frequency image using the Smart Sharpen filter.
| | 00:05 | So whereas High Pass is best for low frequency portraits,
| | 00:09 | Smart Sharpen is best for your high frequency
cityscapes and your high frequency landscapes and so on.
| | 00:16 | Now if you want to catch up with me, I am working
inside of a document called High freq cityscape.PSD,
| | 00:21 | that's found inside of the 06_For_Detail folder and
I have zoomed the image in to the 100% zoom ratio,
| | 00:28 | so that we are not seeing any weird jagged edges, which
we would see at 66.7 and 33.3 and so on and you can see
| | 00:35 | that I have got a Smart Object here inside of the Layers palette.
| | 00:39 | Lets go ahead and start things up.
| | 00:41 | Before we apply the Smart Sharpen filter as a Smart Filter, lets go ahead
and load a selection outline that will serve as the base filter mask.
| | 00:49 | I am going to go over to Channels palette here and I am just going to
load the green channels, without looking at these channels I am just going
| | 00:55 | to go ahead and load the green channel because
that is going to be our detail channel.
| | 00:58 | So Ctrl+click or Command+click on that green
thumbnail there inside the Channels palette.
| | 01:04 | Now switch back to the Layers palette and I want you to go up to the Filter
menu, choose Sharpen and then choose Smart Sharpen and you will bring
| | 01:13 | up the Smart Sharpen dialog box. And these are the settings that I
want you to apply, believe it or not, they seem like they are completely
| | 01:20 | over the top settings, but I want you to apply
an Amount value of 250%. That is a good setting.
| | 01:26 | All these settings are in fact are good settings
for high frequency images across the board.
| | 01:31 | So you may want to vary them to taste, but
these are some good day settings for you.
| | 01:35 | An Amount value of 250%, a radius of 1.0 pixel,
Remove set to Lens Blur and More Accurate turned On.
| | 01:43 | So that we are basically double sharpening
the image right here inside of Smart Sharpen.
| | 01:50 | Alright. Then go ahead and click OK. Don't worry about switching over to
Advanced and don't save your settings, no sense in doing any of that stuff,
| | 01:56 | just go ahead and click OK, in order to accept those
modifications and bear in mind that we are going
| | 02:02 | to be subjecting these Smart Sharpen
settings to a filter mask right there.
| | 02:08 | So this is what the image looks like
without that Smart Sharpen filter.
| | 02:14 | This is what the image looks like with the application of
the Smart Sharpen filter, so a lot of stuff going on here.
| | 02:19 | I am going to go ahead and zoom in, now notice that we
are sharpening the heck out the noise inside the image.
| | 02:26 | We are bringing out a ton of noise inside, what ought to be the
super smooth areas, for example, along the sides of the cabs.
| | 02:33 | We should not see detail, popping out of those areas and that is the
function of this aggressive application of the Smart Sharpen filter.
| | 02:41 | It is bringing out this noise.
| | 02:43 | What we need to do now is convert our mask, our green luminance mask, we
need to convert it into an edge mask, so we are protecting these regions
| | 02:51 | and I am going to show you, how to create such a
mask and how to action the creation of the mask,
| | 02:56 | so that you can apply it very easily in the future, in the next exercise.
| | Collapse this transcript |
| Actioning a high-frequency edge mask| 00:00 | In this exercise I am going to show you how to create a high
frequency edge mask here inside Photoshop and we are going
| | 00:06 | to save the creation the edge mask is in action so
that you can play it back very easily in the future.
| | 00:12 | Now I am still working inside that same High freq cityscape.PSD image that
I opened and modified using the Smart Sharpen filter in a previous exercise
| | 00:21 | and in this exercise what we are going to do is, we are going
to Alt+click or Option+click on the filter mask in order
| | 00:28 | to display the filter mask on screen here, so
that we can keep track about modifications.
| | 00:33 | Notice that I am way zoomed in on this left hand cab, I will
go ahead and zoom out a little bit to the 100% zoom ratio.
| | 00:40 | Lets go over to the actions palette once again you
should still be working, if you have been working along
| | 00:44 | with me you should have a sharpening actions
folders and action set that you created
| | 00:49 | and you should have an action already made that's called LF
edge mask, I am actually going to call that LoF edge mask
| | 00:56 | so that I can keep track of it a little bit more easily.
| | 00:59 | Alright. Lets create another action this time by clicking on the
sharpening action set to make sure that were adding this new action
| | 01:06 | to the sharpening action set, then I will click on a little
new page icon, and I will call this one HiF edge mask,
| | 01:13 | so that I know its a high frequency edge mask and I will
click record in order to begin the recording of this action.
| | 01:19 | Now we've already got the filter mask selected and
displayed on screen, so I am not going to have a problem
| | 01:23 | with recording the selection of that mask as a step.
| | 01:28 | I am just going to I'mmediately set about modifying it
now because this is a high frequency image we don't need
| | 01:35 | to apply the median filter first in order
to thicken up or goo up those edges.
| | 01:40 | We are just going to dig right in with the Find Edges functions.
| | 01:44 | So go up to the Filter menu, choose Stylize and choose Find Edges and
the reason by the way that we are not applying the median filter is
| | 01:51 | because we have so many tiny details nested right next to
each other median would end up destroying those transitions.
| | 01:58 | Alright. So lets go ahead and apply Find Edges and that's
going to of course find all the edges inside of the image.
| | 02:04 | We need to invert our mask, so that the edges are white and non-edges
are black you do that by pressing Ctrl+I or Command+I on the Mac.
| | 02:14 | Now again we do not have to visit the levels Command because if you were
to bring up levels, so I'll go ahead and press Ctrl+L or Command+L
| | 02:21 | on the Mac, you'll see that you have tapering group of colors
here inside this histogram that goes all the way to white
| | 02:28 | and we have some very strong whites over here
on the right hand side of the histogram as well.
| | 02:33 | So theres no reason to modify the histogram at this point
because we didnt apply the median filter in advance.
| | 02:39 | So just go and cancel out it there and because you clicked the
cancel button, levels is not reordered as a step inside the action.
| | 02:46 | The only other modification we need to apply is a little bit of
blur, I just want to slightly blur our edge mask at this point.
| | 02:54 | We don't thicken up the edges, because again
we have very tight details inside this image.
| | 02:58 | So lets go up to the Filter menu, choose Blur and then choose Gaussian
Blur and I want you to apply a low Radius value just one pixel,
| | 03:06 | will do the trick and then click OK and that's all there is to it.
| | 03:10 | Now just go ahead and click on the stop
button so these far fewer steps involved
| | 03:14 | in creating a high frequency edge mask than a
low frequency edge mask and we are now done.
| | 03:21 | There is our high frequency edge mask action.
| | 03:23 | Now you can go ahead and back step, if you want to bring to, lets
bring up the History palette and we'll back step to before Find Edges
| | 03:29 | to this step that says, Enable all Smart Filters right there.
| | 03:32 | Now lets switch back to actions and lets go ahead and apply our HiF
Edge mask action by Alt+clicking. First of all we need to make sure
| | 03:41 | that we are editing the right portion of the document.
| | 03:43 | So Alt+Click or Option+Click on the filter mask here inside the
Layers palette and then select your action and click on the Play button
| | 03:52 | in order to play it and you should
have this nice filter mask right there.
| | 03:56 | Alright. Lets go ahead and hide the action palette Alt+Click
or Option+Click once again on this filter mask in order
| | 04:03 | to display the full color RGB image and you can see that we have smooth
the way much of the noise that were bringing out using Smart Sharpen.
| | 04:12 | So this is what the Smart Sharpen effect looks like. Before I
Shift+click on that edge mask, I'll turn it off and you can see
| | 04:19 | that were bringing out all kinds of noise inside the image.
| | 04:21 | So lets zoom in even farther so you can see how much
noise is brought out, its just terrible actually
| | 04:27 | and I'll Shift+click again it turned the
layer mask on and all that the noise goes away,
| | 04:31 | as a function of that the high frequency
edge mask, its a wonderful thing.
| | 04:34 | Now lets see what the image looks like with and without
the Smart Sharpen Filter, this is without and this is with.
| | 04:41 | So you can see you are not harming the smooth edges of the
cab at all, we are just bringing out the actual edge detail.
| | 04:48 | Now we are bringing in out too much because we have bunch of clipped
highlights and shadows that were also bringing out a lot of color noise.
| | 04:55 | Now we are going to take care of both of those problems with
a very simple blending modification in the next exercise.
| | Collapse this transcript |
| Downplaying color artifacts and clipping| 00:00 | Alright. So here we are looking at the obnoxiously
sharpened image at this point and in case you want
| | 00:05 | to bring that obnoxiously sharpened image up on your screen.
| | 00:09 | I've saved a catch up document called Smart Sharpen and edge
mask.PSD which is found inside of the 06_For_Detail folder.
| | 00:17 | Now it's an over the top sharpening effect.
| | 00:20 | It looks pretty nasty on screen at this point.
| | 00:23 | Despite the fact that we have this wonderful edge mask in play.
| | 00:27 | Some of the reasons are, if we zoom in on the cab here, you
can see that we have got some pretty nasty edges going on.
| | 00:34 | For one thing, we have a lot of color artifacts showing up.
| | 00:37 | For example, along the side of this shadow that's
being cast by the mirror, the rear view mirror here.
| | 00:44 | It's got a very harsh edge, as you can see, and we've red
going along one side of the edge and sort of blue going on,
| | 00:51 | a little bit of blue going on the left side of the edge.
| | 00:54 | So we have that color artifact.
| | 00:56 | We also have some clipped highlights and some clipped shadows
so some very nasty halos going on inside of the image.
| | 01:04 | We can temper both of those problems to a certain extent. We don't want
to completely get rid off our halos, we just want to down play them
| | 01:11 | and we will do that by changing the blending options.
| | 01:14 | So go over to the Layers palette and you'll see that you have in the
case this image anyway, I've got the cabs and the city Smart Object,
| | 01:22 | then I've the Smart Sharpen filter applied to it as the
Smart Filter of course, and I've got the Filter Mask.
| | 01:28 | Next to the word Smart Sharpen, it's a little blending icon, go ahead
and double click on it to bring up the Blending Options dialog box
| | 01:35 | and it may take a moment and you may get this progress
bar because there's a lot going on inside of this image,
| | 01:40 | aggressive application of the Smart Sharpen filter with the
More Accurate check box on, which takes more time to apply.
| | 01:47 | Now I want you to change mode from Normal to, of course, Luminosity.
Right, that's the first step in order to get rid of the color artifacting
| | 01:56 | and notice how that just went away. We got rid of that weird
red edge there and we down played the blue edge as well.
| | 02:02 | So we still have a little bit of coloring
going on but not nearly what we've before.
| | 02:06 | Next, I want you to change the Opacity value to 66%.
| | 02:10 | This is going to workout beautifully for us and you can see
how those clipped wide edges, go back into the visual range.
| | 02:17 | So they are no longer cliped, they are no longer absolute white.
| | 02:20 | They are now obvious highlights, but they are visible highlights.
| | 02:23 | Alright. AlSo by the way, we have down played the shadows, so
that helps and I'll click OK in order to accept that modification.
| | 02:30 | So just to give you a sense of what a big difference that very simple
change made, this is before- see how we have got those edges going on.
| | 02:38 | I'll zoom in even farther so you can really check it out there.
| | 02:41 | You can see those brightly colored edges and you can see those
blown highlights as well and this is after much more tempered,
| | 02:49 | I shouldn't say much because it is a fairly
subtle effect, but it makes a big difference.
| | 02:53 | I'm going to press Ctrl+Alt+0 or Command+Option+0 to zoom out to the 100%
view size and just so we have a sense of what we have accomplished here,
| | 03:01 | this is the image as it appears without all of the Smart Sharpen
stuff going on and this is the image after applying Smart Sharpen.
| | 03:10 | So even though we've applied these very aggressive
settings its a fairly subtle modification even at a 100%
| | 03:18 | and if you zoom out a 50% its a subtle modification indeed.
| | 03:22 | This is before and this is after, but it does make a difference.
| | 03:26 | It does sharpen up those tiny little details inside of the image.
| | 03:30 | I'm going to go ahead and Shift+Tab away my palettes and zoom out to
25% so we can take in the entire sharpened cityscape and you can see
| | 03:38 | at this sides here, this is not an over-sharpened image
at all and in fact, it will print very well, especially
| | 03:45 | after we add an application of output
sharpening in a couple of chapters.
| | 03:49 | In the next exercise, we are going to take a quick look at
a medium frequency image and then after that we are going
| | 03:55 | to see how we can balance multiple images sharpened for details
and multiple images on multiple layers at the same time.
| | Collapse this transcript |
| Sharpening a medium-frequency image| 00:00 | In this exercise, we are going to take a quick look at how you go about
sharpening a medium-frequency image which can mean one or two things.
| | 00:07 | Either you have an image that contains a lot of high-frequency details
and a lot of low-frequency details, and you are trying to strike a balance
| | 00:14 | between the two; or the image contains really neither rapidly
transitioning luminance levels nor gradually transitioning luminance levels
| | 00:23 | but something in between.
| | 00:26 | Now before we venture into our medium-frequency image,
I want you to go back to the bridge and find that cabs
| | 00:32 | and buildings.jpg file that's inside the 06 for detail folder and
notice that it now has some Camera RAW settings associated with it.
| | 00:39 | That's not necessarily a bad thing but if you want to clear them out,
because after all you ostensibly went ahead and saved your modifications
| | 00:46 | as a native .PSD document and you have access to those
Camera RAW settings inside of the Camera RAW Smart Object.
| | 00:53 | Then you can go ahead and clear out these settings, and I am going to go
ahead and do that by right-clicking on the cabs and buildings.jpg thumbnail
| | 01:01 | and choosing Develop Settings and then choosing the
Clear Settings command, and those settings go away.
| | 01:07 | Now if I were to double-click on this jpeg file, I would open
it normally inside Photoshop without going through Camera RAW.
| | 01:14 | Alright, I am going to scroll down the list here until
I come to this image right here called Mars machine.jpg.
| | 01:20 | Now this image does have some high-frequency details such as the
gravel in the foreground there and it has some low-frequency details
| | 01:29 | such as these rocks; these gradually transitioning rocks
and of course, this gradient sort of fog in the background,
| | 01:36 | but most of whats going on here inside
this image is medium-frequency details.
| | 01:41 | So we have neither rapidly transitioning luminance levels nor
gradually transitioning luminance levels, but something in between.
| | 01:48 | Now I am going to tell you two things about this image;
first of all, it comes to us from this guy named Andre Volodin
| | 01:54 | with iStockphoto.com. It's an amazing image as you can see here.
| | 01:58 | Now I am going to make no attempt to sharpen for source where
this image is concerned because I have no idea what the source is.
| | 02:06 | Presumably, this image was not shot with a digital
camera, although I don't know that for sure;
| | 02:11 | it could be a model setup, it could be
a 3D rendering; I really don't know.
| | 02:15 | Alright, so what I am going to do is just go ahead and
double-click on Mars machine.jpg to open it up inside Photoshop.
| | 02:21 | The next thing I am going to do is I am going to bring up my Layers
palette and I am going to convert this layer to a Smart Object.
| | 02:28 | Because I didn't bring it through Camera RAW, it's not a Smart Object
to begin with, so lets go and convert it to a Smart Object by clicking
| | 02:34 | on little palette menu icon and choosing Convert to Smart Object,
and then I am going to go ahead and name it something along the lines
| | 02:41 | of vehicle, something like that, then press the Enter key.
| | 02:44 | Alright, next, I am going to go to the Channels
palette and I am going to Ctrl+Click or Command+Click
| | 02:50 | on the green channel in order to load it as a selection outline.
| | 02:54 | Now lets move back to the Layers palette,
I'll go on to the Filter menu and I am going
| | 02:59 | to choose Sharpen and once again I am going to choose Smart Sharpen.
| | 03:02 | Smart Sharpen is the better Command for not only
high-frequency images, but medium-frequency images as well.
| | 03:09 | The reason is because I want to leave that More Accurate checkbox on; in
fact, I am only going to making a couple of minor modifications I am going
| | 03:15 | to take the Amount value down from 250% down to 200% and I
am going to raise the Radius value from 1.0 to 1.5 pixels.
| | 03:24 | I am going to leave Remove set to Lens Blur; otherwise, no
other modifications, so just those two values slightly altered.
| | 03:31 | Then I am going to go ahead and click on OK in order
to accept that application of the Smart Sharpen filter.
| | 03:38 | Now I am going to Alt+Click or Option+Click on the filter mask
right there, and I am going to bring up my Actions palette.
| | 03:47 | Now I have gone ahead and created a HiF edge mask, a high-frequency
edge mask action, and I did that a couple of exercises back.
| | 03:55 | If you also created such an action, then all you
need to do is go ahead and select it and play it,
| | 04:00 | because that high-frequency edge mask action is going
to work very well for a medium-frequency action as well.
| | 04:05 | So go ahead and play that action and
you'll see this edge mask right there.
| | 04:09 | Alright, now Alt+Click or Option+Click on the Filter Mask
thumbnail again in order to return to the full color RGB image.
| | 04:17 | Now lets zoom-in on the image, so that
we're seeing it at the 100% zoom ratio.
| | 04:21 | I am going to double-click on the little blend icon to the right of the
word "Smart Sharpen" in order to display the Blending Options dialog box.
| | 04:30 | I am going to change Mode to Luminosity and I am going to change
the Opacity value to 66%, just like we saw with high-frequency.
| | 04:38 | So almost all the steps are exactly the same as they were before;
| | 04:41 | the only modification is we're to take the Amount
value down and bring the Radius value up.
| | 04:47 | Now I'll go ahead and click OK to accept that change
and this is the sharpened version of this Mars vehicle.
| | 04:55 | So this is what it looked like before, the unsharpened version of the
vehicle as you can see here, I'll go ahead and zoom-in a little bit
| | 05:01 | so we can see it more clearly, and this is the
sharpened version of the vehicle right there.
| | 05:06 | So an examination of how to sharpen a
medium-frequency image inside a Photoshop.
| | 05:13 | In the next exercise, we will take a look at how
to sharpen an image that contains multiple layers
| | 05:19 | with both low-frequency and high-frequency elements.
| | 05:22 | Stay tuned!
| | Collapse this transcript |
| Sharpening a layered composition| 00:00 | In this exercise, I am going to show you
how to sharpen a layered composition
| | 00:03 | that contains both low-frequency and
high-frequency imagery mixed together.
| | 00:09 | One such file as this one right here.
It's called Album cover.PSD.
| | 00:12 | Its found inside of the 06 for detail folder and i'ts the cover
art for an imaginary album from an imaginary group called
| | 00:21 | "Outrage by June" right here, and notice what we've got.
| | 00:26 | We have a handful of layers as well
as these vector objects up top.
| | 00:30 | So if you were to turn off this top group, you could see that it
contains the bar that's sort of greenish yellowish bar down the center,
| | 00:38 | and it also contains all the text elements
and incidentally, you might get a warning.
| | 00:42 | You might get a warning that's telling you that you don't
have the fonts required to work with this document.
| | 00:46 | Don't worry about that.
| | 00:47 | As long as you are not editing the text,
it won't make any difference.
| | 00:50 | So just go ahead and click OK or Ignore
or whatever it wants you to click.
| | 00:54 | Anyway, I am going to go ahead and turn those objects back on.
| | 00:56 | Obviously, were not going to be sharpening the
objects inside of that vector objects group.
| | 01:00 | Because you don't want to sharpen highly-graphic objects such
as rectangles for example nor do you want to sharpen text.
| | 01:06 | You just want to stick with the imagery
itself -- the photographic imagery.
| | 01:10 | In that case, the photographic imagery includes these guys right
here - yowo, which is short for young woman of course, and then rock
| | 01:19 | and the rock image is colorized using
a gradient map layer right there.
| | 01:25 | Both of these layers are Smart Objects
that are processed inside of Camera RAW.
| | 01:30 | Now it might be tempting to go ahead and sharpen each
one of these Smart Objects independently of each other.
| | 01:37 | For example, you could sharpen the portrait using the High-Pass
filter and you could sharpen the rocks using the Smart Sharpen filter.
| | 01:44 | The reason I am not going to recommend you work that way is because
I have already accounted for the fact that one image is low-frequency
| | 01:51 | and one image is high-frequency inside of Camera RAW.
| | 01:54 | The old school way that I showed you in the previous chapter.
| | 01:57 | That is to say, I'll go ahead and double-click on yowo here in
order to open Camera RAW and we'll switch over to the Detail panel.
| | 02:05 | By the way, I should tell you this beautiful image here comes
to us from photographer, Gabriel Estey, iStockphoto.com.
| | 02:13 | Notice I followed my advice from the previous chapter which is when
sharpening low-frequency images you want to combine a low Amount value 40
| | 02:21 | in this case with a relatively high Radius value 1.5, a low
Detail value, in this case 25 and a relatively high masking value.
| | 02:30 | Actually its kind of a medium-masking value of 35.
| | 02:33 | So I have already accounted for the fact that this is
a portrait shot, that it's a low-frequency portrait shot.
| | 02:40 | If you want to see what that means, I'll go
ahead and zoom-in at the image so we can see it
| | 02:44 | at the 100% zoom size and we can see the sharpening that's applied.
| | 02:48 | So if I were to crank the Amount value down to 0, this
is what the unsharpened version of the image looks like.
| | 02:53 | Take it back up to 40%, this is
the sharpened version of the portrait.
| | 02:59 | Alright, I am just going to cancel out because I
didn't make any changes inside of this dialog box.
| | 03:04 | Meanwhile, the rock image, if you double-click on it in order to bring
up the Camera RAW dialog box here; lets go ahead and press Ctrl+Alt+0
| | 03:11 | or Command+Option+0 on the Mac in order
to zoom the image to the 100% zoom ratio.
| | 03:15 | I'll switch over to my Detail panel, and you notice
again I am following my advice, I am combining --
| | 03:21 | well with one exception, I am combining a fairly low Amount value,
| | 03:24 | I'll come back to that in a moment,
| | 03:25 | with a low Radius value, a high Detail
value and a low Masking value.
| | 03:30 | So we are doing the opposite number that
we do with the low-frequency image.
| | 03:33 | Now the reason I am keeping the Amount value
pretty low is because of that gradient map layer.
| | 03:38 | That gradient map layer has a penchant for
actually increasing the sharpness of the image.
| | 03:45 | So you'll notice- lets go ahead and find a detail
actually that's visible inside of the layered composition.
| | 03:51 | This rock right here once its embedded in your memory
for just a moment; remember what it looks like.
| | 03:56 | Oh, and by the way, I want to show you
one other thing about this image.
| | 03:59 | I do have some chromatic aberration modifications going on, that make
a big difference in terms of the perceived sharpness of the image.
| | 04:07 | So lets go ahead scroll over to the upper left image for a moment.
| | 04:12 | Notice what happens if I change this value to
0 and press Tab, we get a fuzzier looking rock,
| | 04:19 | and especially after I apply the colorization using the gradient
map layer, it ends up just translating to a little bit of fuzziness.
| | 04:26 | Here of course were seeing separate colors, but once
we colorize it, we wont see those colors anymore.
| | 04:31 | So it does a world of good to adjust your chromatic aberration settings.
| | 04:36 | Make sure that you have all your colors in alignment, I
want to make sure that you do that on a regular basis.
| | 04:42 | Alright, anyway I am going to go ahead and scroll over to the
right, once again to find out one rock, where is it? Oh heck,
| | 04:49 | lets go ahead and zoom at, forgive
me here, every once in a while.
| | 04:51 | There it is.
| | 04:52 | Alright, that's the rock that I am thinking of because this is the
rock that were going to be able to see over inside the layered image.
| | 05:00 | Alright So kind of burn this in your mind, it's
a little bit sharp looking, not super-shape.
| | 05:05 | Lets go back to my Detail settings.
| | 05:07 | If I take this value down to 0, you can see
that is definitely softer than this right here.
| | 05:12 | But normally, I would sharpen it to
about this level, to about a 100%.
| | 05:16 | So we get that kind of sharpening with her high-frequency
details, right? But in this case, I am not going to go that high.
| | 05:21 | As I say, well kind of keep it medium, just a little bit
tempered and when I click Cancel to go back to the layered image,
| | 05:28 | take a look at how sharp that rock appears on screen here.
| | 05:32 | It's a much sharper looking rock than what we saw before.
| | 05:35 | Again, that's a function of this gradient map layer because we are squishing
the luminance levels essentially and I am modifying them fairly radically.
| | 05:42 | That ends up creating the perception of sharpness as well.
| | 05:46 | Alright, so anyway we've got these two different styles of
images that we need to accommodate in one sharpening operation.
| | 05:54 | I've already taken care of sharpening her as a
low-frequency image and the rocks as a high-frequency image.
| | 05:59 | So the detail sharpening that we are applying here inside
Photoshop can be applied to all of these images at once.
| | 06:05 | So I am going to click on one, I am going to Shift+click on
gradmap in order to select this entire group of objects right there.
| | 06:13 | Do not select the vector objects group.
| | 06:15 | Leave it out but select everything else.
| | 06:17 | Then go ahead and convert this to a Smart Object.
| | 06:21 | So group them all into one-layer Smart Object, and you can of course do
that by choosing the command from the Layers palette menu and I am going
| | 06:27 | to go ahead and rename this Smart Object Frequencies here like so.
| | 06:31 | Notice if I go ahead and double-click on this frequencies
Smart Object here, on that Smart Object thumbnail,
| | 06:37 | I will see the actual images that are involved in the Smart Object,
all of the layers and they are appearing un-cropped as well.
| | 06:45 | So this is the un-cropped original version of these layers.
| | 06:48 | So a Smart Object- the point I am trying to make here is that Smart
Object can contain multiple layers including adjustment layers and so on.
| | 06:54 | Alright, I am going to go ahead and close out of this
Smart Object so that we are looking at the album cover.
| | 07:01 | In the next exercise, now that we've created
the Smart Object and I've shown you the settings
| | 07:05 | that are going on in the background inside of Camera RAW.
| | 07:08 | In the next exercise, we are going to set about
sharpening the detail inside of these layers.
| | Collapse this transcript |
| Sharpening for multiple frequencies| 00:00 |
In this final exercise of the chapter I am going to show you how to sharpen
for multiple frequencies in a single operation here inside Photoshop.
| | 00:10 |
Now you may recall on the previous exercise we went
ahead and opened this image its called Album cover.PSD.
| | 00:14 |
Its found inside the 06 for detail folder, and
I selected the bottom three layers in the stack,
| | 00:20 |
combined them into a single Smart Object that I renamed "frequencies".
| | 00:23 |
Now the image on the left is already been sharpened
inside of Camera RAW as a low-frequency image,
| | 00:29 |
and the image on right has been sharpened
inside of Camera RAW as a high-frequency image.
| | 00:34 |
We're now going to sharpen both of these
images inside of a single Smart Object
| | 00:37 |
with a single Smart Filter, and that
Smart Filter is going to be High-Pass.
| | 00:42 |
Here is the reason. I am not going to apply Smart Sharpen.
| | 00:45 |
I am definitely not going to apply the More Accurate
checkbox. Why? Because we have a portrait shot here.
| | 00:51 |
Anytime you have a face shot you do not
want to use the More Accurate checkbox.
| | 00:56 |
You better bet is to use high-frequency.
| | 00:58 |
So regardless of the fact that a low-frequency image plus
a high-frequency image really gives you medium-frequency,
| | 01:04 |
because we have a head shot in here because we have
a portrait, we are going to stick with High Pass.
| | 01:10 |
But before I apply any filter, I am going to go ahead and load a
channel as a selection outline so that we have a base filter mask.
| | 01:18 |
I am going to go over to the Channels palette and I am going to
go ahead and load green actually, but before I do that - whoops!
| | 01:24 |
One thing I need to get rid of is the text.
| | 01:26 |
Because notice that all of the channels show up is composite.
| | 01:30 |
If I switch over to green channel it is a
composite of all of the layers mixed together.
| | 01:34 |
So what I need to do is show only those layers I want to see.
| | 01:37 |
So I am going to turn off the vector objects for the meantime here,
| | 01:41 |
that vector objects groups so that were not seeing the
text or the bar through the center of the album cover.
| | 01:47 |
Then I am going to go over to the Channels palette
and I am going to Control+click or Command+click
| | 01:52 |
on that green channel in order to load it as a selection outline.
| | 01:56 |
Now lets go back to Layers, make sure that frequencies object is
selected, go up to the Filter menu, choose Other and choose High-Pass.
| | 02:05 |
This time around I am going to go ahead and take the
Radius value down to 3 pixels because we are trying
| | 02:10 |
to sharpen not only portrait shot but
also these high-frequency rocks here.
| | 02:14 |
I need something of a medium, sort of a middle-ground
Radius value, 3, will suit my needs quite nicely.
| | 02:21 |
Now I'll go ahead and click OK.
| | 02:23 |
I will of course at this point go ahead and double-click on the
Blending option right there and I'll change the Mode from Normal
| | 02:29 |
to Overlay, in order to get this effect right there.
| | 02:33 |
Alright, now I am going to click OK
in order accept that modification.
| | 02:37 |
Now go to the filter mask, you might as well go ahead and
Alt+click or Option+click on that filter mask in order
| | 02:42 |
to view the filter mask independently of the rest of the image.
| | 02:45 |
I am going to bring up my Actions palette; you may have recorded a few
actions in advance according to my instructions in the previous exercises.
| | 02:52 |
If you have your low-frequency edge mask action ready and waiting
there then go ahead and select it and click on the play button.
| | 03:00 |
Now you might well wonder, why are we using
the low-frequency edge mask instead
| | 03:04 |
of the high-frequency edge mask?
Once again because we have the portrait.
| | 03:08 |
We're going to favor the low-frequency portrait.
| | 03:10 |
I always tend to favor the portrait over the
high-frequency details if there is a portrait in the shot.
| | 03:16 |
Alright, now I'll go ahead and close the Actions palette, lets
go ahead and alt+click or option+click on that filter mask
| | 03:23 |
in order to restore the full color version of the image.
| | 03:26 |
Lets go ahead and zoom-in actually to the 100% of the zoom ratio.
| | 03:31 |
This is what the image looks like without the High Pass filter,
and this is what it looks like with the High Pass filter.
| | 03:38 |
So it does make a difference, it is going in there and sharpening both the
low frequency and high-frequency details inside of this album cover art.
| | 03:46 |
I am going to go ahead and zoom-out in order to take in the entire
image, so lets go ahead and turn back on the vector objects group.
| | 03:52 |
Here is the final album cover, the final sharpened album cover.
| | 03:56 |
Thanks to the combination of sharpening the images, the independent images
inside of Camera RAW, combining the layers into a single Smart Object
| | 04:04 |
and then sharpening those Smart Objects
together using the High-Pass filter.
| | 04:09 |
| | 04:10 |
| | Collapse this transcript |
|
|
7. Sharpening for EffectWho needs dull when you have sharp?| 00:00 | Quick true story. On the way over here to this location, we
don't live here, so we have to drive over, we got rear-ended.
| | 00:07 | This guy hit us pretty hard, and I got a sharp pain in
my neck. Seriously, which seems only fitting really.
| | 00:14 | I mean if I am going to have pain, it ought to
be sharp. I mean what's the point of dull pain.
| | 00:19 | It is like a dull photograph.
| | 00:20 | It's too easy to ignore.
| | 00:23 | See how I did that, I brought it back
to the topic at hand: sharpening images.
| | 00:27 | Don't try like kind of tricky stuff on
your own. It's too dangerous and I should know.
| | 00:32 | I was just in an automobile accident
with a real policeman and everything.
| | 00:36 | Play it safe.
| | 00:37 | Try the following creative techniques, designed to accentuate the details
in your photos that need accentuating most, and you should be just fine.
| | 00:45 | I have got a sharp pain in my neck.
| | 00:48 | The following exercises are my chance to return
a favor and be a sharp pain in your neck.
| | 00:53 | Enjoy.
| | Collapse this transcript |
| Focusing in on a person’s eyes| 00:00 | We are going to start things off with one of the most common effects
that you can create using the sharpening filters inside Photoshop
| | 00:08 | and that is focusing in on the eyes inside of a portrait shot.
| | 00:13 | For example, consider this image right here.
| | 00:15 | We are going to start with the photograph that
you see before you, here inside the video,
| | 00:19 | and we are going to end up with this effect,
in which we are highlighting the eyes.
| | 00:23 | Let me go ahead and zoom in a little bit more so
that we can see this effect a little more clearly.
| | 00:29 | So this is the original version of the image right
here and this is the effect that we are going for.
| | 00:34 | You can see not only are we are focusing on those eyes, but
we are also blurring away much of the detail around the eyes
| | 00:41 | and it's a pretty significant blur, but my guess is
most folks are not going to see that blur very much.
| | 00:47 | They are mostly going to be seeing the focus that you have applied to
the eyes and the advantage here is that you are steering the viewer.
| | 00:55 | You are showing the viewer exactly what you want them to look at.
| | 00:58 | You are forcing them to look at those eyes and this
piercing gaze that we are getting from this image.
| | 01:03 | So you are in charge of the photographic
experience, which of course, is very important.
| | 01:08 | Alright! So I am going to go ahead and return to the original here and by
the way, the original version of this image is known as Piercing gaze.PSD.
| | 01:15 | Its found inside of the 07 For Effect folder and it comes to us from Redondo
Beach, California-based photographer, Tom Young of iStockphoto.com.
| | 01:26 | And I am going to bring up my Layers palette so we can take a
look at what's going on. Notice here inside the Layers palette,
| | 01:31 | I have a layer called gypsy and this happens to be a Smart Object and
as you might guess, it's a Camera RAW Smart Object. And I should admit
| | 01:38 | to you something. As I am working on this image, I have only been
taking this very disciplined approach to opening my jpeg files inside
| | 01:46 | of Camera RAW and then transferring them to Photoshop as Smart Objects
for about, I say about, six months now I have been doing this.
| | 01:54 | I cannot tell you what a difference that
has made in my creative experience.
| | 01:58 | I have to tell you something I very,
very much recommend and let me show you why.
| | 02:02 | Not only am I making some sharpening modifications to
this image, I am making some color modifications as well.
| | 02:08 | So I am going to go ahead and double click on this Smart Object here
inside the Layers palette, so bring up the Camera RAW dialog box
| | 02:13 | and you can see she has got this old Star Trek-type quality to
her, doesn't she? I think she does. And you can see that in addition
| | 02:21 | to the detail modifications that I have applied, now go
ahead and zoom in on her eyes here at the 100% zoom level,
| | 02:27 | and we are just applying some slight sharpening modifications.
| | 02:31 | This is the original version of the image, just
slightly softer and this is the sharpened version,
| | 02:36 | just 25% sharpening, a Radius of 0.6, Detail 25, Masking 0.
| | 02:41 | It is just enough to accommodate the digital photography
experience, that demosaicing process. And then I also went ahead
| | 02:47 | and applied Color noise reduction of 25 right here, but the larger
thing that I did to this image, the larger modification was to the color.
| | 02:56 | I am going to go and switch back to the Basic panel.
| | 02:58 | Now when you opening JPEG image inside Camera RAW for
the first time, you are going to see, for any JPEG image,
| | 03:03 | you are going to see all of these values here inside the
Basic panels, zero-d out; they are all going to say zero.
| | 03:08 | So you can see, I have made several modifications here.
| | 03:11 | I am going to go ahead and zoom my way back
out so that we can take in the entire image.
| | 03:15 | The reason I did this was because the original image looked like
this; let me show you, that was the original version of the image.
| | 03:22 | More or less, there are some other modifications going on that I am
leaving in place here, but the temperature and the tint were just way off.
| | 03:29 | The image is too yellow, its too greenish. It's a very powerful image
but the colors were kind of a mess actually and Camera RAW allowed me
| | 03:37 | to modify those colors more easily than
any other functions inside Photoshop.
| | 03:41 | In fact, I have to say, there really aren't any
temperature and tint controls inside Photoshop other
| | 03:46 | than those have become available to you inside the LAB mode.
| | 03:49 | Otherwise, you are pretty much out of luck, except
here inside Camera RAW. It does a brilliant job.
| | 03:54 | So just to give you sense of what a difference is
made, this is the change I was able to make just
| | 03:59 | by modifying a couple of values here at the top of the Basic panel.
| | 04:02 | Alright! Anyway I am going to go ahead and
cancel out of the Camera RAW dialog box.
| | 04:06 | In the next exercise, I am going to show you how to
apply the Gaussian Blur effect and then after that,
| | 04:12 | I am going to show you how to sharpen the
eyes using a combination of a High Pass filter
| | 04:16 | and believe or not, a Brightness/Contrast adjustment layer.
| | 04:20 | Stay tuned.
| | Collapse this transcript |
| Blurring the area outside the eyes| 00:00 | Alright, gang this is what we've got.
| | 00:02 | This is what we are going for.
| | 00:04 | So lets get started here.
| | 00:05 | We are going to start things off by applying the Gaussian Blur filter
to a limited portion of the image to the area around the eyes.
| | 00:12 | So I am going to restore the original version of the image
which is called Piercing gaze.PSD from photographer, Tom Young,
| | 00:19 | and you will find this image inside the 07 for_effect folder.
| | 00:23 | I have a Smart Object already waiting for me here.
| | 00:26 | So I am bound to create a nondestructive modification using a Smart
Filter and the Smart Filter that I am going to apply is Gaussian Blur.
| | 00:33 | I am going to up to the Filter menu, choose Blur and by
the way note that only one filter, only one Blur filter,
| | 00:40 | is not available to you and that is the Lens Blur filter.
| | 00:43 | You cannot apply Lens Blur as a Smart Filter.
| | 00:46 | So our next best bet for blurring is Gaussian Blur.
| | 00:50 | I am going to go ahead and choose that command and I
am going to raise the Gaussian Blur value to 8 pixels,
| | 00:55 | so I am applying quite a bit of Gaussian Blur as you can see here.
| | 00:59 | Then I am going to go ahead and click OK and Photoshop
automatically assigns Gaussian Blur as a Smart Filter and provides me
| | 01:06 | with the Filter Mask, so that I can limit the
effect if I want to and of course, I do want to.
| | 01:10 | I am going to go ahead and switch to the Elliptical Marquee tool right
here, and then I am going to draw a general ellipse around pretty much
| | 01:19 | to this portion of the image here, almost as if I were giving
her something like a snorkel mask or scuba mask if you will.
| | 01:26 | So this area is the portion of the area that I am going to select.
| | 01:29 | It is more or less centered on the eyes as you can see and lets
go ahead and switch over to the Filter Mask by clicking on it,
| | 01:36 | here inside the Layers palette, and then I am
going to check my foreground and background colors.
| | 01:41 | My background color is currently set to black that is just fine by me.
| | 01:44 | So I'll press Ctrl+Backspace or Command+Delete in order to fill
my selection with black like so and that rules out Gaussian Blur
| | 01:53 | from the area inside of the ellipse and you can see
that I now have a black ellipse inside of my Filter Mask
| | 01:59 | over here in the thumbnail inside the Layers palette.
| | 02:02 | Alright, now press Ctrl+D or Command+D in the Mac in order to deselect
the image, and we have something of a naturally sharp transition
| | 02:10 | between the blurry and unblurry portions of the image.
| | 02:14 | We need to go ahead and fuzz that up, create a gradual
transition and we are going to do that using Gaussian Blur,
| | 02:19 | but this time we are applying Gaussian Blur
as a static adjustment to the Filter Mask.
| | 02:24 | So what I want you to do is press Ctrl+Alt+F or
Command+Option+F on the Mac to bring up the Gaussian Blur filter,
| | 02:29 | and I am going to enter a Radius value
of 120, so a very high Radius value.
| | 02:34 | Now you should know at this point just a little bit of an aside
here, notice how it a gradual transition between the blurry
| | 02:41 | and unblurry portions of the image; that's a good thing.
| | 02:44 | You may wonder why didn't I create the selection before I
applied Gaussian Blur? Why didn't I select the elliptical area
| | 02:51 | and then apply Gaussian Blur, so that Photoshop would
automatically generate a black on white mask for me in advance?
| | 02:58 | The reason I didn't work that way is because if I did, then the area outside
of the canvass would have been treated as black and now would be blurring
| | 03:06 | in on the edges and you would know what I mean, if you would gone
ahead and applied things in a wrong order; it is a big mask actually.
| | 03:13 | So this way we avoid that problem.
| | 03:15 | I will go ahead and click OK in order to accept that
modification and here is the blur outside of the blurry mask,
| | 03:24 | applied very nicely; the eyes are still in very nice shape.
| | 03:27 | Now I don't want all of her details out
here to be completely blurry like this.
| | 03:32 | I just want a heavy duty coating of blur, but I want the original
unblurry details to show through just a little bit in the background.
| | 03:40 | So I am going to double click on this little blending icon
right there next to the where is Gaussian Blur in order to bring
| | 03:45 | up the Blending Options dialog box, and I am
going to change the Opacity to 70%; nothing more,
| | 03:50 | I don't want you to apply a special blend mode, leave Mode set as Normal.
| | 03:53 | We are just going to reduce the Opacity to
70% that allows some details to show through.
| | 03:58 | So we just have a little bit of balance to the
details just a little bit of blurry balance going
| | 04:02 | on here, then click OK in order to accept that modification.
| | 04:06 | Now just to give you a sense of what we have managed to accomplish
inside of this exercise, this is the original version of the image
| | 04:12 | and this is the modified Gaussian Blur version of the image.
| | 04:16 | In the next exercise, we are going to go in and
sharpen the eyes using the High Pass filter.
| | Collapse this transcript |
| Sharpening eyes and other details| 00:00 | Now that we have blurred the general area around
the eyes, we're going to focus in on the eyes.
| | 00:05 | We're going to use the High Pass filter in order to improve the focus
of the eyes and make them sizzle a little more inside the image.
| | 00:12 | We are also going to sharpen the eyebrows and the lips, as it
just so happens and recall this is the effect we are going for.
| | 00:19 | By the way, this is the final version of the image, and you can
see that the lips and the eyes and the eyebrows are lot stronger,
| | 00:27 | but notice that we are just affecting the eyebrows, the eyes,
and the lips, we're not affecting any of the other details.
| | 00:32 | We're not going into the hair or any of the other stuffs.
| | 00:34 | We're not going to use that generalized mask that we
used for blur; that's not going to be good enough.
| | 00:39 | We're going to have to create a different mask for this effect.
| | 00:42 | Alright! So lets go ahead and reinstate the blurry
parameter image right here, which happens to go by that name,
| | 00:49 | if you are just joining me and you want to catch up.
| | 00:51 | I've got an image called blurry parameter.PSD
that's found inside of the 07 for effect folder.
| | 00:57 | Alright! I am going to bring back my Layera palette here and what I want to
do is I want to apply the High Pass filter, but if I am applying HighPass,
| | 01:05 | it's going to become another Smart Filter that
uses the exact same Filter Mask and that's no good.
| | 01:10 | I cant use that Filter Mask for this next effect,
so I need to create a nested Smart Object.
| | 01:14 | So that this current Smart Object resides inside of another one,
and I am going to do that by going over to the Layers palette,
| | 01:20 | making sure that the Gypsy layer is active, which it is.
| | 01:23 | Then, I'll go the Palette menu and I'll choose Convert to Smart Object.
| | 01:26 | Now it already is a Smart Object, but when I choose Convert to Smart
Object rather than getting mad at me, it'll just put this image inside
| | 01:33 | of another Smart Object. And it might take a few moments to do
it, but there we go, and its still going to be called "Gypsy".
| | 01:39 | I am going to go ahead and call this one "gypsy 2" or something,
just so that I know that there is another Smart Object inside of it.
| | 01:45 | Now lets go up to the Filter menu and I want you to choose
the Other command and I want you to choose High Pass.
| | 01:52 | I am going to apply a fairly high Radius value, not this high. I
am going to apply Radius value of 6-pixels, which is pretty high
| | 02:01 | for this particular image because this
image is something like a 4-megapixel image,
| | 02:05 | I believe, four to five, something in that neighborhood.
| | 02:07 | So it's not super high res, but its big enough that I'll go
ahead and apply a fairly high Radius value because I really want
| | 02:14 | to strengthen the detail inside of those eyes and eyebrows and so on.
| | 02:18 | Then I'll click OK, and of course I am using High Pass because this
is a portrait shot and High Pass is going to do the best work for me.
| | 02:25 | Now obviously, I am going to go ahead and double-click on the little
Blend icon in order to bring up the Blending Options dialog box
| | 02:31 | and then I am going to change the Mode option from Normal to
Overlay, as it is our want when we are using the High Pass filter,
| | 02:38 | so that we're strengthening the details and blending the
gray non-edges into the original flesh tones and so on.
| | 02:45 | Then I'll click OK in order to accept that
modification, so just you can see what we've done here.
| | 02:50 | This is the before version of the image, this is the after version.
| | 02:54 | So a fairly slight effect at this point,
but this is pretty good looking I think.
| | 02:59 | Now we are sharpening the entire image not just the eyes,
you can see that if I turn it off and then back on again.
| | 03:06 | So everything is getting sharpened including her pores, and her nose,
and the nose hairs, and all that other junk that I don't want to sharpen.
| | 03:12 | The various slight wrinkles under her eyes and over her
eyes, as well the creases, I guess I would call them.
| | 03:18 | So I just want to brush in the eyes.
| | 03:20 | I am actually going to use the Paint Brush to pull this off, but for
starters, I am going to click inside of the Filter Mask to make it active
| | 03:26 | and then I am going to fill that Filter Mask
with black, so that everything is hidden.
| | 03:30 | So the entire effect is hidden for starters because most
of the image should not be affected by the High Pass filter.
| | 03:36 | Black is currently my background color, so I'll press
Ctrl+Backspace or Command+Delete on the Mac in order
| | 03:42 | to fill the Filter Mask with black, as you can see right here.
| | 03:45 | Now lets go ahead and grab the Brush tool, which you can get by pressing
the B key if you like, and I want a fairly large very soft brush.
| | 03:53 | I'll go ahead and click to show you.
| | 03:55 | I've got a master diameter currently of 150
pixels, that may not be a big enough actually,
| | 03:59 | but the hardness, very important that the hardness is set to 0% right now.
| | 04:02 | We want very soft transitions.
| | 04:04 | Your mode should be set to Normal, Opacity should be a 100%, Flow is a 100%
as well, and your Foreground color should be set to White, as it is for me.
| | 04:12 | Now I am just going to set about painting over the eyes, just like that.
| | 04:17 | That is all there is to it really and then, I might
reduce the size of the paintbrush a little bit
| | 04:21 | by pressing the left bracket key a couple of
times and then I'll brush over the eyebrow.
| | 04:26 | You really need to only brush over it
once because the Opacity is set to a 100%.
| | 04:31 | Now if you wanted to gradually paint in the details, you would
lower the Opacity value and paint multiple times, but in our case,
| | 04:37 | we might as well get the work done quickly with a single
pass here of the Paint Brush and that takes care of that.
| | 04:43 | Now if you go too far in any point in time, you can press the X key to
swap the foreground and background colors and I might reduce the size
| | 04:50 | of my brush a little bit, and then paint a way the effect
like so by painting in black to paint over this crease here,
| | 04:56 | so that I am not sharpening the crease, and then I'll also go down to lips.
| | 04:59 | I will press the X key again in order to paint with
white of course, to switch the foreground color to white,
| | 05:04 | and then I'll just go ahead and paint over the lips and that's about it.
| | 05:08 | If you want to emphasize this little sort of beauty mark right
there, you could give it a click, whatever you want to do,
| | 05:13 | and these are the sharpened versions of
the eyes and the eyebrows and the mouth.
| | 05:18 | Now I want to take this effect just a little bit farther.
| | 05:21 | I want to really punch up the details here, particularly where
the eyelashes and the eyebrows and the pupils area concerned here,
| | 05:28 | and I am going to do that by darkening
those details using a special application
| | 05:33 | of an adjustment layer and well see how that works in the next exercise.
| | Collapse this transcript |
| Darkening the lashes and eyebrows| 00:00 |
Alright gang, by now we have gone ahead and blurred the area
outside of this womans eyes using the Gaussian Blur filter.
| | 00:07 |
Then we went ahead and created another Smart Object, so that we that we
had a Smart Object inside of a Smart Object, and we focused in on her eyes.
| | 00:15 |
We went ahead sharpened her eyes and her eyebrows and her
lips using the high pass filter, but that's not quite enough.
| | 00:22 |
I want to really sell this effect by punching up the contrast that
is associated with the eyelashes and the pupils and the eyebrows,
| | 00:30 |
so that they become the darkest portion of the image.
| | 00:33 |
Here's what I am talking about.
| | 00:34</ |
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