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Accounting for camera shake

From: Photoshop CS4 One-on-One: Advanced

Video: Accounting for camera shake

All right, now I'm going to show you the final Remove setting inside of the Smart Sharpen dialog box which goes by the name Motion Blur and it actually uses Motion Blur in order to sharpen the image. Thereby permitting you to account for a small degree of camera shake. If you've got a ton that's a problem, but if you have just little bit, it's great or if you have just a tiny bit of motion inside the image, it can work as well. The name of this image is Great Expectations, and this image comes to us from photographer Rasmus Rasmussen of iStockPhoto.com and I'm going to go ahead and zoom in on this dude so that we can see that this image was shot under natural light and probably a little bit of a prolonged exposure there because there is no strobe or any artificial lighting going on. We are just taking advantage of natural lighting. So while the colorings are really beautiful, we do have a little bit of blur going on, a little bit of camera shake, and it's most important that we get the eyes resolved because you may have heard that the eyes are the window into the soul and we really want to take that very seriously when we are trying to sharpen portraiture here inside of Photoshop.

Accounting for camera shake

All right, now I'm going to show you the final Remove setting inside of the Smart Sharpen dialog box which goes by the name Motion Blur and it actually uses Motion Blur in order to sharpen the image. Thereby permitting you to account for a small degree of camera shake. If you've got a ton that's a problem, but if you have just little bit, it's great or if you have just a tiny bit of motion inside the image, it can work as well. The name of this image is Great Expectations, and this image comes to us from photographer Rasmus Rasmussen of iStockPhoto.com and I'm going to go ahead and zoom in on this dude so that we can see that this image was shot under natural light and probably a little bit of a prolonged exposure there because there is no strobe or any artificial lighting going on. We are just taking advantage of natural lighting. So while the colorings are really beautiful, we do have a little bit of blur going on, a little bit of camera shake, and it's most important that we get the eyes resolved because you may have heard that the eyes are the window into the soul and we really want to take that very seriously when we are trying to sharpen portraiture here inside of Photoshop.

The eyes are the parts that should be in the highest degree of focus, if possible, unless you've got some creative refectories for doing lights. But the best way to gauge the degree of camera shake is to look at these little hair right here. The hair in his unibrow, which are going to reveal the camera shake to its best. And I believe we've got to figure out an angle and a distance when trying to resolve camera shaking. It looks to me like the angles basically like this. If you are looking at the angle I'm moving my cursor back and forth here, and I don't know what that is. What is that, 75, 70 degrees? Something along those lines.

Also, it appears to be about three pixels worth of movement. I'll go ahead and bring up my Info dialog box, and I'll draw a tiny little selection outline that's about 3 pixels high, as you can see right there in Info that's all I needed to know, so it's now 3 pixels high. And I can move that over the hair and that looks like that's pretty good, that's about the amount of camera shake we have going on. It might be closer to 4 pixels what have you, but I think this is going to work out nicely. We'll see. All right, if you are working along with me, definitely, click off that selection in order to de-select the image because no surprises here but if you have a selection going, you are only going to sharpen the area inside the selection, you are not going to sharpen the entire image.

So if you want to sharpen the entire image, it needs to be deselected or entirely selected. All right, now zoom out to 100%, and notice that I'm not going to print size this time around because when you are accounting for camera shake you don't care the size at which the image is going to print. You are just trying to get rid of that camera shake. So all you need to do is press Ctr+Alt+F, Command+Option+F on the Mac to bring up the Smart Sharpen dialog box. Now, notice my Random settings have been saved in the previous exercise are at work here. Fine, it means we've got some fairly over the top settings for this particular image. Let's go ahead and change Remove from Lens Blur to Motion Blur, and then we want to get the angle of the Blur setup right. So I'm going to take this upward. I'm going to press Shift+Up Arrow, like so a couple of times until we get that angle where we want it. Something like 75 degrees is probably going to work out pretty nicely. Looks like it's having a nice effect.

And then I'm going to go ahead right now actually and take up the Amount value to 400% just so we can see what's going on nicely. And finally we want to adjust the Radius value so that we are accounting for the distance of the camera shake, that's what this is all about as measured in pixels as we saw it just a moment ago. So what I typically do is I reset this value to something like a Radius 1 pixel and then I press Shift+Up Arrow and see whether I've got it right. Notice the image kind of tends to move back and forth on you. Then I'll press Shift+Up Arrow again and it comes down the other direction and that's 3 pixels, press Shift+Up Arrow again for 4 pixels. That actually looks pretty good, but I might split the difference between 3 and 4 by taking this value down to 3.5 pixels which is entirely acceptable of course, when you are working with Radius value. Now don't turn on More Accurate. More Accurate is never your friend when you are working with Motion Blur because it starts bringing out a lot of noise.

Motion Blur already has a tendency to bring forward noise inside of an image and really exaggerate it, and More Accurate is going to even make it worse. In fact, why don't we try it just so you can see it happen? Look at that. Is that better? I don't think so. So I'll go ahead and zoom in and click so we can see the difference. Look at those hairs, for example. They are riddled with color noise, just terrible. So this is before and this is after turning on the More Accurate checkbox which is better before, so let's turn it off, leave it off, in fact. And then what we want to do is we want to make sure that we are getting that eye nicely focused and it's doing a brilliant job on that eye which is the most important part. So this is before, it appears to be a little fuzzy. This is after, nice and crisp. Now you are never going to get it exactly right. You are never going to completely eliminate the effects of camera shake, but Smart Sharpen combined with Motion Blur here does a very nice job of compensating.

All right, let's go ahead and back off the Amount value and I'm going to suggest we take this down to about 250%, which looks pretty good. So we are not over-sharpening the image, don't you know. Then finally, do we want to save it as something different? Most certainly, we do not want to save over Advanced settings and we don't want to save over our defaults because these are some weird settings we are applying here. Random settings I created as a bucket to accept whatever settings I was working on. If you want to setup something that's sort of the backbone of a future camera shake compensation, then you might want to go ahead and click on your floppy disk icon again, and let's call this one Camera shake or something along those lines and then click OK and then of course, make sure to select it. That's very important unless you want to save over your Random settings.

We would go ahead and select Camera shake and then click OK in order to apply our effect, and there it is, and just to give you sense of what we've managed to accomplish here, let's go ahead and press Ctrl+Z, Command+Z on the Mac to see the before version of the image and then Ctrl+Z again to see the after version of the image. Once again, that's Command+Z on the Mac. And then if you want to try to downplay some of the color noise that's appearing inside the image, I'll go ahead and zoom in, and you can see that there is a world of color noise in this region. And as you know, it's always a good idea to do this, to follow up Smart Sharpen by going up to the Edit menu and this works very well for Unsharp Mask by the way as well. Choose Fade Smart Sharpen and then set the mode from Normal to Luminosity and see if that doesn't help resolve the issue and it resolves it beautifully.

Notice we no longer have all that color noise inside the Shadow detail inside of this image and go ahead and click OK, and our eye is still very nice and sharp. So just to make sure, I'll press the F12 key in order to revert to the original camera-shaky version of the image. So this is before and this is after, this is uncorrected Rasmus Rasmussen and this is corrected said gentleman and we've got a darn nice image as a result. In the next exercise, I'm going to show you how to sharpen portrait photography using the High Pass command.

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This video is part of

Image for Photoshop CS4 One-on-One: Advanced
Photoshop CS4 One-on-One: Advanced

218 video lessons · 23867 viewers

Deke McClelland
Author

 
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  1. 22m 32s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 17s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 4s
  2. 2h 43m
    1. Highlights, shadows, and midtones
      49s
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 34s
    10. Previewing clipping
      7m 17s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 34s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 18s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 56s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 23s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 2s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 19s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 33s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 43s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
      58s
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
      56s
    2. Establishing default formatting attributes
      4m 5s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
      53s
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 51s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 42s
  12. 57s
    1. Until next time
      57s

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