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The Advanced options

From: Photoshop CS3 One-on-One: Beyond the Basics

Video: The Advanced options

Before we look at the third remove setting which is Motion Blur I want to introduce you to the advanced settings inside of the Smart Sharpen dialog box. To that end go ahead and open this image it's called notrespassing.jpeg. This is an image that I shot. It's a low resolution image it's kind of a cruddy image as well. And these advanced settings are useful for cruddy images as it turns out this image is so cruddy that's it's got a little of bird poop on the top of this on the top of this pole here, which I knew you would want to stare at for the entire exercise.

The Advanced options

Before we look at the third remove setting which is Motion Blur I want to introduce you to the advanced settings inside of the Smart Sharpen dialog box. To that end go ahead and open this image it's called notrespassing.jpeg. This is an image that I shot. It's a low resolution image it's kind of a cruddy image as well. And these advanced settings are useful for cruddy images as it turns out this image is so cruddy that's it's got a little of bird poop on the top of this on the top of this pole here, which I knew you would want to stare at for the entire exercise.

Actually I am going to move it up so I will make this image a little more discreet, cover it up buddy alright so now I am going to press Ctrl+Alt+F or Command+Option+F on the Mac in order to once again visit the Smart Sharpen dialog box here and these are the last settings I applied in the amount value of a 100% and a radius value of 3.0 pixels. We are going to stick with remove set to Lens Blur but we are going to change these other values a little bit specifically I am going to take the amount value up to 400% so that we are exaggerating the amount value when we can really see what's going on inside of this image.

And now I am going to move it down a little bit not that far down, no little farther up there so we can still see the fly though. It's a little fly sitting here on top of this sign. Now notice that we are clipping some highlights and shadows. One of the effects of exaggerating the edge contrast is that you will on occasion blur your highlights and clip your shadows but not in super big regions the way you can with a Levels command for example, let's say, rather you are going to just sort of blow these little edge pixels which isn't as big a deal but it might not be the effect that you are looking for.

So this is before notice that the edge was much more tampered in this area near the fly and this is after. So let's say you want to turn down the highlights and shadows well you would take advantage of the advanced options right here go ahead and click on this Advance radio button. And notice now you have got tabs you didn't have tabs before check that out now you have got tabs one that includes Sharpen all the sharpen controls that we have already looked at and the others are shadow and highlight. Now I am going to go ahead and turn More Accurate off for this image. We certainly don't want More Accurate turned on if anything we want for this image we want less accurate, fewer flies, less bird poop those kinds of controls.

Anyway 400% and a 3.0 radius will work for us. Remove set to Lens Blur, now let's start by checking out highlights since it's most obvious that we are blowing highlights inside of this image. Now this three values here the bottom two don't do anything until you adjust the fade amounts, so let's go ahead and crank the fade amount all the way up to a 100% and notice, did you see that we just faded out those highlights right there. And if you want to fade more highlights if you want to include more highlights into the highlights grouping there then go ahead and raise the tonal width value if you want to include fewer luminance levels in the highlight equation then reduce the tonal width value so in other words if you raise this all the way up to a 100% this is just like a tonal width setting inside of the shadow highlight dialog box, remember that way back when so in other words the idea is that we are starting with white as our absolute highlight and then tapering off over the course of the entire brightness range when we set this to a 100%.

If you don't want this shadows to be effected at all not even little bit then back off this option here. I am going to go ahead and take it fairly high so we can include a few midtones as well so I will take the tonal width value up to 75%. The radius value allows you to distribute the effect if you need to but in reality it barely does anything it has very little effect in the way of a visible effect inside of your image. I am going to go ahead and take it up to 10 pixels just so that radius value is bigger than the radius value that we have assigned for the sharpen effect, just so that we are not going to see edges inside of edges there.

It's very unlikely we would by I am just running a precaution and then I would go ahead and take that fade value down to something that makes a little more sense. And I am just sort of going to keep an eye on my preview in order to gauge how much fading I really want and then about 35% I think it looks pretty good so this is the unsharpened version of the image and this is the sharpened version of the image without any blown highlights thanks to these values right here and working on this same rational I figure I have probably got some clip shadows inside this hideous little photograph here so I might as well apply the same settings 35, 75, 10 so let's go ahead and enter the same values of 35% 75 tonal width and of course 10 for the radius value just to keep things moderately distributed there.

And this actually looks pretty good now. This is a before version of the shot and this is an after version and you see how much we have reined in the sharpening effect even though we still have this relatively large amount value actually I would say not even relatively this is just a large amount value but because we have tampered the shadows and highlights we backed off the effect considerably. Now there is one more option inside this dialog box that I want to show you the fact that you can save out settings and it sufficiently bizarre that I am going to explain how you work this option in the next exercise.

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This video is part of

Image for Photoshop CS3 One-on-One: Beyond the Basics
Photoshop CS3 One-on-One: Beyond the Basics

129 video lessons · 39058 viewers

Deke McClelland
Author

 
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  1. 1h 15m
    1. Welcome to Photoshop CS3 One-on-One: Beyond the Basics
      2m 5s
    2. Selecting glass and water
      5m 23s
    3. Establishing a base layer
      4m 0s
    4. The Color Range command
      6m 45s
    5. Selecting sparkles
      3m 19s
    6. Setting sparkles to Screen
      4m 19s
    7. Selecting and compositing hair
      2m 59s
    8. When Color Range falls short
      7m 25s
    9. Selecting a base channel
      4m 25s
    10. Enhancing the channel's contrast
      4m 4s
    11. Dodging the highlights
      5m 55s
    12. Putting the mask in play
      3m 20s
    13. Reducing the edge fringes
      4m 21s
    14. Adding a layer mask
      4m 53s
    15. Creating a gradient quick mask
      5m 26s
    16. Blurring the layer mask
      5m 51s
    17. And that's just the beginning...
      1m 15s
  2. 1h 13m
    1. Edge-enhancement parlor tricks
      1m 30s
    2. The subterfuge of sharpness
      3m 14s
    3. The single-shot sharpness
      3m 47s
    4. Unsharp Mask
      5m 17s
    5. Understanding the Radius value
      4m 31s
    6. Gauging the best settings
      7m 14s
    7. Sharpening the luminance data
      8m 25s
    8. USM vs. Smart Sharpen
      6m 0s
    9. Smart Sharpen's Remove settings
      6m 23s
    10. High-resolution sharpening
      6m 4s
    11. Leave More Accurate off!
      2m 29s
    12. Turn More Accurate on
      2m 58s
    13. The Advanced options
      5m 17s
    14. Saving Smart Sharpen settings
      4m 18s
    15. Accounting for camera shake
      6m 0s
  3. 1h 24m
    1. Why the heck would you blur?
      1m 20s
    2. The "bell-shaped" Gaussian Blur
      7m 16s
    3. The Linear Box Blur
      2m 58s
    4. Median and its badly named progeny
      6m 3s
    5. Surface Blur and the rest
      5m 36s
    6. The Motion Blur filter
      3m 2s
    7. The Radial Blur variations: Spin and Zoom
      5m 55s
    8. The Captain Kirk-in-love effect
      6m 50s
    9. Averaging skin tones
      6m 2s
    10. Addressing the stubborn patches
      6m 0s
    11. Combining Gaussian Blur and Average
      4m 8s
    12. Blurring surface details
      7m 2s
    13. Smoothing blemishes while matching noise
      7m 52s
    14. Reducing digital noise
      8m 22s
    15. Smoothing out JPEG artifacts
      6m 1s
  4. 45m 28s
    1. Behold, the layered composition
      1m 13s
    2. The Layers palette
      5m 8s
    3. Enlarging the hand
      4m 40s
    4. Erasing with a layer mask
      6m 28s
    5. Moving a layer
      4m 3s
    6. Combining layers into a clipping mask
      4m 42s
    7. Hair and stacking order
      6m 12s
    8. Adding a frame and expanding the canvas
      6m 2s
    9. Adding a vignette
      7m 0s
  5. 42m 27s
    1. Organization: It sounds dull, but it rocks
      1m 8s
    2. The terrible battle
      3m 3s
    3. Assembling the base composition
      5m 46s
    4. Adding adjustment layers
      4m 55s
    5. Creating a layer group
      2m 24s
    6. Grouping selected layers
      3m 13s
    7. Making the TV lines
      4m 17s
    8. Introducing layer comps
      5m 52s
    9. Saving your own layer comps
      6m 40s
    10. Final footnotes
      5m 9s
  6. 1h 23m
    1. Parametric operations
      1m 4s
    2. The power of blend modes
      6m 44s
    3. Changing the Opacity value
      5m 35s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      5m 38s
    6. Blend mode shortcuts
      5m 52s
    7. The darkening modes
      6m 12s
    8. Tempering a Burn effect with the Fill value
      3m 53s
    9. Saving a blended state
      2m 54s
    10. The lightening modes
      4m 55s
    11. The contrast modes
      7m 13s
    12. The comparative modes
      7m 25s
    13. The composite (HSL) modes
      6m 2s
    14. The brush-only modes
      8m 11s
    15. Blending groups
      7m 10s
  7. 1h 27m
    1. At this point, there is a great shift...
      59s
    2. Messing with the masters
      2m 28s
    3. Scaling a layer to fit a composition
      6m 39s
    4. Merging clock face and cardinal
      2m 2s
    5. Rotating the minute hand
      7m 42s
    6. Replaying the last transformation
      3m 50s
    7. Second hand and shadows
      5m 0s
    8. Series duplication
      3m 23s
    9. Skews and perspective-style distortions
      6m 43s
    10. The envelope-style Warp function
      7m 32s
    11. Introducing the Liquify command
      5m 9s
    12. Adjusting the brush settings
      4m 2s
    13. Viewing layers and the mesh
      4m 18s
    14. Incrementally undoing undesirable effects
      4m 5s
    15. Twirl, pucker, and bloat
      2m 2s
    16. Push, mirror, and turbulence
      4m 37s
    17. Protecting regions with a mask
      3m 41s
    18. Applying a digital facelift
      10m 53s
    19. Saving and loading mesh settings
      2m 31s
  8. 1h 18m
    1. Planes and perspective
      1m 7s
    2. The Blue Gallery
      2m 47s
    3. Introducing Vanishing Point 2.0
      5m 30s
    4. Drawing out perpendicular planes
      6m 54s
    5. Exporting the gridlines to a layer
      4m 45s
    6. Cloning an image from one plane to another
      7m 58s
    7. Blending the image into its new home
      6m 31s
    8. Healing away the sockets
      7m 48s
    9. Importing a new image
      6m 20s
    10. Masking and shading the image
      7m 27s
    11. Flat in, perspective out
      5m 57s
    12. Adding perspective type
      4m 50s
    13. Swinging planes to custom angles
      6m 2s
    14. Wrapping art around multiple surfaces
      4m 35s
  9. 1h 15m
    1. Type: The great imaging exception
      54s
    2. Creating an independent text layer
      6m 39s
    3. Editing vector-based text
      6m 38s
    4. Working with area text
      6m 15s
    5. Resizing the text frame
      6m 4s
    6. Obscure but important formatting options
      7m 25s
    7. Text editing tricks and shortcuts
      9m 38s
    8. Adding a ghostly cast shadow
      6m 19s
    9. Backlighting the text
      2m 48s
    10. Creating type on a path
      7m 37s
    11. Pasting text along the bottom of a circle
      3m 50s
    12. Flip and baseline shift
      3m 15s
    13. Warping text
      3m 58s
    14. Scaling the warped text to taste
      4m 18s
  10. 1m 11s
    1. See ya for now
      1m 11s

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