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Brushing away blur and sharpening

From: Photoshop CS6 One-on-One: Advanced

Video: Brushing away blur and sharpening

In this movie I'll show you how to convert this sort of ghostly effect that we've achieved so far into this final corrected version of the photograph by masking the contents of both lens blur and high pass layers. So I'll go ahead and switch to my image in progress here and turn-off the High Pass effect so that we can focus our attention just on Lens Blur. Now I am going to want to mask most of this effect away, so I will dropdown to the Add Layer mask icon at the bottom of the panel, and I will press the Alt key or the Option key on the Mac and click on it, and that will create a black layer mask.

Brushing away blur and sharpening

In this movie I'll show you how to convert this sort of ghostly effect that we've achieved so far into this final corrected version of the photograph by masking the contents of both lens blur and high pass layers. So I'll go ahead and switch to my image in progress here and turn-off the High Pass effect so that we can focus our attention just on Lens Blur. Now I am going to want to mask most of this effect away, so I will dropdown to the Add Layer mask icon at the bottom of the panel, and I will press the Alt key or the Option key on the Mac and click on it, and that will create a black layer mask.

Now I will go ahead and switch to the Brush tool, which you can get by pressing the B key. Right-click inside the Image window and make sure the Hardness is set to 0% because we want some very soft transitions. Then press the D key to instate the default colors, which when masking is white for the foreground and black for the background, and then I am going to reduce the size of my cursor a little bit and paint inside of this high noise area right there in order to paint it back in, so that we are getting rid of the noise inside of this area.

Then I will increase the size of my cursor a little bit and paint away this stuff as well, so you can completely for now paint over that rear leg, because after all it's already out of focus. And then I will go ahead and increase the size of my cursor a little more and paint around this region. All right, let's go ahead and zoom out so that we can apply some big modifications quickly. Press the Right Bracket key several times in order to increase the size of my cursor and paint along this region right here, and you want to take care that you don't paint over the feelers too much or too far into the wings.

Although I'm going to violate that rule and paint way into the wing like so, and then I will press the X key to switch my foreground color to black and reduce the size of my cursor a little bit and paint some of those wing details back into place like so. You also want to make sure to paint the face back in probably the top of the head and I am reducing the size of my cursor by the way by pressing the Left Bracket key and you want to paint back in the tops of the feelers as well, so I will do that for both of those guys there. And that takes care of most of it just to check your work.

Go ahead and press the Alt key or the Option key on the Mac and click the layer mask icon there in the Layers panel. And we've got some problems here and there, so I will increase the size of my cursor, press the X key to switch the foreground color back to white and then I will paint some of these regions in, like so, so that I am not leaving any gaps in the background there, and I've also got a little bit of a gap down here in the lower left corner, so I will increase the size of my cursor and paint that away, and I might paint right along here too. All right, then Alt+Click or Opt+Click on layer mask icon in order to bring back the full color composite image and go ahead and zoom in on the critter and I want to take in that rear leg, it probably shouldn't be that blurry.

So I will reduce the size of my cursor to about this thick, which if I right-click inside the Image window appears to be 35 pixels and I'm going to press the 5 key to reduce the Opacity of my brush to 50% and then I will press the X key to make the foreground color black and I will click right about there and then I will Shift+Click, Shift+Click like so and then Shift+Click down into this region in order to reinstate some of the original information from that leg, and I am painting a little more freehand now and then I will Shift+Click again and Shift+Click my way back.

And then I will press the 0 key in order to reinstate an Opacity of a 100% and I will paint back in some of the face just because I want to make sure I am not getting rid of any of that good detail. I'd rather have too much noise and too little detail inside of this photograph. All right, that ends up looking pretty darn good. Now we can bring back the high pass layer and as soon as we do, this unfortunate thing is going to happen, we are going to bring back a ton of the noise, and the reason is, because that high pass layer was based on the noisy version of the image as opposed to the version of the image after we applied Lens Blur.

And this is particularly significant down here in this lower left region. You can see it's just riddled with noise right here below the wing. We are almost getting this kind of sculpted glass effect that is to say, it looks like we are seeing the image through a shower door or something along those lines. So here's the solution. We don't have to regenerate the layer thankfully. All you need to do is load this layer mask as a selection by pressing the Ctrl key or the Command key on the Mac and clicking on the layer mask thumbnail there inside the Layers panel, then switch to the high pass layer.

As you know from our discussion of sharpening back in Chapter 13 of the intermediate course, the darken light edges associated with a high pass effect end up creating the halos that afford us to see appearance of sharper details and anything that's gray just disappears on the layer. So let's go ahead and fill the selection with gray. So I will press the D key to make my foreground color black just so that we are working together. You can see that I've got the HSB values that work inside the Color panel and you get those sliders by going to the Color panel flyout menu and choosing HSB sliders and all you need to do is change the Brightness value to 50% like so, and then press Alt+Backspace or Opt+Delete on the Mac in order to fill that area with gray, and as a result we end up getting rid of that noise.

Now press Ctrl+D or Cmd+D on the Mac to deselect the image. Also notice by the way here that we've got some very pronounced halos around those feelers, and quite frankly that's too much sharpening. So I am going to increase the size my brush cursor a little bit here and I ended up with a size value of 125 pixels. Make sure your Opacity value is set to a 100% and then just go ahead and paint up the feelers like so in order to get rid of those halos. Finally I want you to press the M key to switch to the Rectangular Marquee tool and we want to downplay a little bit, the effects of that lens blur layer, so go ahead and click on it to make it active and then press the 5 key to reduce the Opacity of that layer to 50% and the effect frankly is pretty subtle.

But that will help to eliminate the haloing around some of the blurry details. All right, and just to give you a sense of what we have been able to achieve here, I am going to press Shift+F in order to switch to the Full Screen mode and I am going to go ahead press Ctrl+0 or Cmd+0 on the Mac to center my image on screen. And now I've got this other version of the image open here, we'll go ahead and switch to it, and the name of this image is Sharpened noise and the idea is this is what the image would have looked like, if we sharpened it with high pass and we never did anything about the noise, in other words we have color and luminance noise, popping out from this image all over the place.

But thanks to the fact that we've mitigated the noise using a combination of reduce noise, dust and scratches and edge mask and lens blur before we apply the high pass layer we end up getting this much more desirable effect.

Show transcript

This video is part of

Image for Photoshop CS6 One-on-One: Advanced
Photoshop CS6 One-on-One: Advanced

124 video lessons · 19100 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 30m 4s
    1. Welcome to One-on-One
      2m 19s
    2. Loading the dekeKeys keyboard shortcuts
      6m 5s
    3. Remapping your Macintosh OS shortcuts
      3m 4s
    4. Adjusting a few general preferences
      4m 3s
    5. Using the visual HUD color picker
      2m 2s
    6. The interface and performance settings
      5m 31s
    7. Adjusting the color settings in Photoshop
      7m 0s
  2. 47m 0s
    1. Smart Objects
      1m 36s
    2. Three ways to place a Smart Object
      3m 6s
    3. Copying and pasting from Adobe Illustrator
      4m 11s
    4. Transforming and warping a vector object
      4m 48s
    5. Blending a Smart Object into a photograph
      3m 10s
    6. Blurring with a nested Smart Filter
      4m 57s
    7. Editing a Smart Object in Illustrator
      3m 20s
    8. Creating "true clones"
      3m 50s
    9. Duplicating a group of clones
      2m 53s
    10. Breaking the Smart Object link
      2m 53s
    11. Styling and blending Smart Objects
      2m 44s
    12. Editing originals; updating clones
      3m 41s
    13. Removing people from a scene with Median
      5m 51s
  3. 29m 59s
    1. Luminance meets sharpening
      1m 2s
    2. Correcting for lens distortion
      4m 39s
    3. Introducing Shadows/Highlights
      3m 54s
    4. Mitigating halos with Radius values
      4m 19s
    5. Enhancing the effects of Midtone Contrast
      3m 18s
    6. Creating a "bounce" with Gaussian Blur
      3m 29s
    7. Sharpening on top of blur
      2m 47s
    8. Masking a group of Smart Filters
      2m 53s
    9. Reducing the density of a layer mask
      3m 38s
  4. 49m 10s
    1. Using Curves
      2m 40s
    2. Introducing the Curves adjustment
      7m 36s
    3. Adding and editing points on a curve
      6m 27s
    4. Winning Curves tips and tricks
      8m 12s
    5. Correcting a challenging image
      6m 33s
    6. Selecting and darkening highlights
      4m 39s
    7. Neutralizing colors and smoothing transitions
      6m 6s
    8. The new automatic Curves function
      6m 57s
  5. 1h 31m
    1. Camera Raw
      2m 11s
    2. Opening and editing multiple images
      8m 1s
    3. Correcting white balance
      4m 8s
    4. The revamped Exposure controls
      8m 8s
    5. Working with archival images
      7m 54s
    6. The Spot Removal and Graduated Filter tools
      6m 4s
    7. Painting edits with the Adjustment Brush
      7m 23s
    8. Tone Curves (and why you don't need them)
      5m 57s
    9. Straighten, crop, and geometric distortions
      5m 17s
    10. Applying manual lens corrections
      5m 14s
    11. Vignette, chromatic aberration, and fringe
      6m 49s
    12. Selective hue, saturation, and luminance
      6m 36s
    13. Working with JPEG and TIFF images
      6m 36s
    14. Camera Raw Smart Objects
      6m 48s
    15. Editing Camera Raw images from Bridge
      4m 24s
  6. 32m 30s
    1. Duotones
      1m 23s
    2. Creating a professional-quality sepia tone
      4m 18s
    3. Introducing the Gradient Map adjustment
      5m 42s
    4. Loading a library of custom gradients
      3m 48s
    5. Creating a custom quadtone
      5m 48s
    6. Colorizing with blend modes and Opacity
      4m 6s
    7. Creating a faux-color, high-key effect
      7m 25s
  7. 1h 6m
    1. Noise vs. Details
      1m 28s
    2. Introducing the Reduce Noise filter
      7m 29s
    3. Correcting a noisy photo
      5m 33s
    4. Smoothing over high-contrast noise
      5m 50s
    5. Protecting details with an edge mask
      4m 52s
    6. Adjusting overly saturated shadows
      3m 35s
    7. Correcting with High Pass and Lens Blur
      3m 45s
    8. Brushing away blur and sharpening
      6m 42s
    9. Creating texture by adding noise
      5m 28s
    10. The Camera Raw Detail panel
      7m 8s
    11. Correcting noise and detail in Camera Raw
      8m 10s
    12. Adding noise grain and vignetting effects
      6m 47s
  8. 44m 30s
    1. Blur Gallery
      1m 36s
    2. Creating depth-of-field effects in post
      5m 29s
    3. Modifying your Field Blur settings
      4m 57s
    4. Editing and exporting a Field Blur mask
      6m 15s
    5. Adding a synthetic light bokeh
      3m 52s
    6. Using the Selection Bleed option
      7m 29s
    7. Creating a radial blur with Iris Blur
      6m 59s
    8. Creating "fake miniatures" with Tilt-Shift
      4m 35s
    9. Combining multiple Blur Gallery effects
      3m 18s
  9. 1h 34m
    1. Blend Modes
      1m 16s
    2. Using the Dissolve mode
      9m 47s
    3. Multiply and the darken modes
      8m 30s
    4. Screen and the lighten modes
      8m 10s
    5. Cleaning up and integrating a bad photo
      6m 38s
    6. Blending inside blend modes
      6m 55s
    7. Overlay and the contrast modes
      6m 53s
    8. A few great uses for the contrast modes
      9m 7s
    9. Difference, Exclusion, Subtract, and Divide
      5m 5s
    10. Capturing the differences between images
      4m 18s
    11. Hue, Saturation, Color, and Luminosity
      4m 45s
    12. Blend mode shortcuts
      6m 21s
    13. The Fill Opacity Eight
      8m 57s
    14. Using the luminance-exclusion slider bars
      8m 8s
  10. 44m 20s
    1. Color Range
      1m 14s
    2. Introducing the Color Range command
      7m 24s
    3. Selecting a complex image with Color Range
      5m 49s
    4. Refining a selection in the Quick Mask mode
      7m 4s
    5. Viewing a mask with or without its image
      4m 24s
    6. Painting directly inside an alpha channel
      5m 39s
    7. Correcting fringes around a masked layer
      8m 5s
    8. Turning a layer into a knockout
      4m 41s
  11. 59m 43s
    1. Refine Edges
      1m 28s
    2. Laying down a base layer mask
      6m 49s
    3. Introducing the Refine Edge/Mask command
      7m 57s
    4. Edge detection and Smart Radius
      4m 42s
    5. Using the Refine Radius tool
      7m 31s
    6. The transformative power of Refine Edge
      3m 37s
    7. Perfecting a mask with overlay painting
      10m 58s
    8. Combining Quick Selection with Refine Mask
      10m 37s
    9. Bolstering and integrating hair
      6m 4s
  12. 1h 18m
    1. The Pen tool
      1m 50s
    2. Pixel-based masking versus the Pen tool
      6m 45s
    3. Drawing a straight-sided path outline
      6m 57s
    4. Moving, deleting, and adding anchor points
      6m 10s
    5. Dragging control handles to modify curves
      5m 27s
    6. Converting a path outline to a vector mask
      5m 36s
    7. Customizing a geometric shape
      5m 53s
    8. How to position points and control handles
      7m 7s
    9. Drawing smooth points with the Pen tool
      8m 7s
    10. Duplicating and scaling a vector mask
      5m 21s
    11. Cusp points and the Rubber Band option
      6m 21s
    12. Setting anchor points in the pasteboard
      6m 8s
    13. Using the Convert Point tool
      6m 43s

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