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The Camera Raw Detail panel

From: Photoshop CS6 One-on-One: Advanced

Video: The Camera Raw Detail panel

In this movie I'll introduce you to the Noise Reduction and Sharpening options that are available to you in Camera Raw. So I went ahead and selected this guy, Noisy hair guy.tif in Bridge and then pressed Ctrl+R or Cmd+R in the Mac in order to open Camera Raw. And we have got two panels of Noise options available to us. There's the Detail panel, which contains the corrective options; and then there's the fx options, which allow you to apply special effects. I am going to switch over to the Detail panel. And notice by the way, if I were to zoom out a click, I'd see this message down at the bottom of the screen, which tells me, for a more accurate preview, zoom the preview size to 100% or larger when adjusting the controls in this panel.

The Camera Raw Detail panel

In this movie I'll introduce you to the Noise Reduction and Sharpening options that are available to you in Camera Raw. So I went ahead and selected this guy, Noisy hair guy.tif in Bridge and then pressed Ctrl+R or Cmd+R in the Mac in order to open Camera Raw. And we have got two panels of Noise options available to us. There's the Detail panel, which contains the corrective options; and then there's the fx options, which allow you to apply special effects. I am going to switch over to the Detail panel. And notice by the way, if I were to zoom out a click, I'd see this message down at the bottom of the screen, which tells me, for a more accurate preview, zoom the preview size to 100% or larger when adjusting the controls in this panel.

This image is sufficiently low-res that I can see it at 100% by pressing Ctrl++ or Cmd++ on the Mac, even on my small screen. Now, in Camera Raw 7, you don't, strictly speaking, have to be seeing the image at 100% to see the effects of Noise Reduction and Sharpening, it's just that at 100% you get the best sense of what's going on. We are going to start off with these Noise Reduction options, which are as in Photoshop divided into two groups; you have got these three luminance noise options and then two color noise options. I am going to start by cranking the Luminance option up to its maximum setting of 100%, and then I'll reduce Luminance Detail to 0, and you can see that wipes out just about all the luminance noise at the top of this image.

I'll press Ctrl++ or Cmd++ to zoom into 200%. We just have a little bit of that high contrast noise hanging on in the guy's forehead. If you want to bring back some of your high contrast edges, as well as your higher contrast noise, then you crank up this Luminance Detail value. And at about 50%, you can see that we're bringing an awful lot of that noise back into play, even though, as you can see here, if I zoom out, the lower contrast noise around the perimeter of the image remains defeated. Now, we also have this Luminance Contrast option, and you can barely tell the difference, even if I crank it all the way up to 100%, you can barely see any difference when working with the Luminance Detail option.

To really get a sense of what's going on, I'll take Luminance Detail down to 0 and now I'll show you this is how the image looks when Luminance Contrast is set to 0, keep an eye on those big groups of noise that are coming back in here. This is what things look like if I crank the value up to 100%. So as opposed to measuring the contrast between neighboring pixels the way Luminance Detail does, Luminance Contrast looks for higher radius blocks of detail, which can sometimes be useful for bringing back thick edges, while still defeating noise.

All right! I am going to go ahead and set this value down to about 50% and raise Luminance Detail to about 25%, and you can see that gets rid of most of the luminance noise inside this image. Now let's take a look at the Color Settings. I'll crank the Color value all the way up to 100% and then take Color Detail down to 0, and you can see that gets rid of a lot of that color noise down here at the bottom of the image, but not quite as neatly as the Reduce Noise feature inside of Photoshop. So rather than completely eliminating the noise the way we have seen in earlier movies, it tends to thicken up the noise, as you can see here. Now, Color Detail allows you to bring back higher contrast color noise, as well as higher contrast color details inside the image.

However, we have got a little bit of a bug in this build. Notice how much color noise we are now seeing when I have Color Detail cranked up to 100%, but that's because my mouse button is down. As soon as I release, the Preview resets to the same thing we saw when Color Detail was cranked down to 0%, and yet, if I were to open this image in Photoshop by clicking on the Open Image button, we would see more color noise than we see now. So you only get an accurate preview, again, in this particular build of Camera Raw 7.

We can only preview the effects of the Color Detail setting when you're mousing down on that triangle. All right. So just be aware of that when you're working inside the program. I'll go ahead and take Color Detail down to 50% and scroll the Preview, so we are more or less centered on this guy's face. All right. Now let's take a look at the Sharpening options. Now, these Sharpening settings are not designed to sharpen the image the way we saw with say Smart Sharpen inside of Photoshop back in Chapter 13 of the Intermediate course. Rather, these options are designed for two purposes; one is to firm up the detail that gets soften during the demosaicing process, when the full color image is generated from the monochrome data that's captured by the camera.

And the other reason you might use these Sharpening settings is to account for the softening effects of the Noise Reduction values. So you just want the image to look moderately sharp on screen. That said, I am going to go ahead and crank the Amount value up to its maximum of 150, so that we can see what's going on with the other options. We have got a Radius value, which you can set as low as 0.5 and as high as 3. Most of the time however you are going to want to leave it set to 1, as I will do here. This Detail setting is an adjustable version of that more accurate checkbox, that's included along with the Smart Sharpen Filter, and it might be more accurately called Sharpen Noise, because that's what it ends up doing in most images. And certainly, that's what's going to happen in this particular image.

Notice if I crank this value up, we are sharpening the contrast between neighboring pixels and we are making a mess in particular of this image. Unless you are working with a very low noise image, I recommend that you generally set the Detail value to 0. Masking allows you to create an edge mask on the fly, and to get a sense for how it works, I want to show you a tip that works with all of the sharpening options. If you press and hold the Alt key or the Option key on the Mac and drag one of these triangles, for example I am dragging the Amount triangle, then you'll see a luminance only version of the image. So in this case we're seeing how Camera Raw sharpens just the luminance data and never sharpens the color data.

You can also Alt+drag or Opt+drag the Radius triangle to see those dark and light halos develop on the fly, and you can Alt+drag or Opt+drag the Detail triangle in order to see that noise sharpening. I am going to crank this guy back down. That's all very interesting, I think, but Alt+dragging or Opt+dragging becomes most useful when working with the Masking setting, because it permits you to actually preview the mask on the fly. So here I am Alt+dragging or Opt+dragging on that Masking triangle and I can see what the mask looks like. And bear in mind where masks are concerned, wherever we are seeing white, that area will receive sharpening; wherever we're seeing black will not get sharpened. So I'll go ahead and take this value up to say 65, and as soon as I release, you can see that just these edges around the hair and the ear and the glasses and so forth, those are the only areas that are receiving sharpening.

Notice also that the nose and the mouth and the chin are not getting sharpened, and the reason for that is there's so little luminance information to work with; most of the distinctions that we're seeing are color as opposed to detail. All right, so that's how the Detail options work. In the next movie I'll show you how to use them to correct a handful of digital photographs.

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This video is part of

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

124 video lessons · 19114 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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