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Compensating for camera shake

From: Photoshop CS3 Sharpening Images

Video: Compensating for camera shake

In this exercise we are going to talk about setting the Smart Sharpen filter to Remove Motion Blur. 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. There is a big difference as you will see. 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. And it may be that Sammy is shaking, that Sammy is in motion or it may be that my camera is in motion.

Compensating for camera shake

In this exercise we are going to talk about setting the Smart Sharpen filter to Remove Motion Blur. 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. There is a big difference as you will see. 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. And it may be that Sammy is shaking, that Sammy is in motion or it may be that my camera is in motion.

However, it worked out, and I suspected its a little bit of both actually, this is the long exposure shot, and I shot this photograph, it looks a little bizarre, but I actually think it looks pretty nice generally speaking. 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. 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, cheat him over to the left-hand side of the screen so we have some room for the filter down here.

Then I am going to go up to the Filter menu, choose Sharpen and I am going to choose Smart Sharpen or because it was the last command I applied, you can see its up here at the top of the menu. 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, to invoke that last filter using different settings and I am going to zoom-in on his nose here for a moment. You can see this is the effect of the last settings on this particular photograph with Amount of 200%, a Radius of 3 pixels and Remove set to Lens Blur, which is not right for this photo.

But it does create this kind of painterly effect on the nose right here, this area around the nose because there is a bunch of these interesting textures that are being resolved inside of this photograph. When you have blur going on inside of the photograph, either an Optical Blur or a Motion Blur like were seeing here, the camera tends to generate a higher amount of noise and the digital noise can take on different patterns. And in this case we have these almost brush strokes patterns going on inside this image, which I think is actually pretty nifty.

But lets say that's not what I want. Well, then I wouldn't leave Remove set to Lens Blur, that's for sure. Lets go and zoom-out from the nose a little bit. I am going to leave that nose and some of the lips in the center of the photograph there. You really want to compensate for the eyes, but I am going to start with the nose. I am going to change that Remove setting from Lens Blur to Motion Blur. Now as soon as I do, a couple of things happen. First of all the nature of my Radius totally changes the nature of my Radius value, and it's going to appear to have less of an effect, even less of an effect in Lens Blur.

So your halos get yet smaller. They're also directional halos. 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 up on the other side of larger group edges as you'll see in a moment. 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, but it's really the angle of the Motion Blur filter being applied. 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.

And something around 20 degrees is where I am going to start with. So I'll go ahead and actually take that down, what I mean to say actually is -20 degrees. I am also going to up the Radius value a little. Now it's difficult to determine exactly what Radius value you want to use when you are working with Motion Blur. Here's what I suggest. First of all, you want to be higher than the normal Radius values you would use. 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.

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, 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, but we're trying to figure out how it resolves in terms of this photograph. 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. This is the before, you can see there is a little bit of movement blur going on there; this is after, and so the details actually kind of come together.

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, and we're going to knock the Radius value back down to 3 pixels and with the value selected, you can see that its active because of the blinking insertion marker. I am going to press Shift+Up arrow, I want you to watch that eye and when I press Shift+Up arrow of course I am raising the Radius value in whole pixel increments. So we'll take it from 3 to 4 in this case. So watch what happens, when I press Shift+Up arrow, the eye seems to move, notice the details, its kind of moved over a little bit to the left, a little bit up and to the left.

Then I press Shift+Up arrow again and now they move down into the right a little bit, so they move the opposite direction. Even though I am going continuously upward here. 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 and forth, back and forth from one pixel to the next. Shift+Up arrow again moves over to the left, Shift+Up arrow again it doesn't move very much. 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. So the point which you don't see very much movement inside the photograph, that's the right Radius value.

So for us, its in that 8 to 9 pixel range, between 8 and 9 were not seeing much movement going on. In fact, were not seeing much difference and that's another way to tag the proper value, but that's an approximation, I have to tell you because sometimes you're going to find a very large value works out well, and sometimes you're going to find a very small value works out well, regardless of what you see going on with the movement. 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. 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, sometimes if its strict camera shake you will find that its almost exactly horizontal because you are vibrating back and forth with the camera.

But in this case we've got some movement from our subject mixing with the camera shake and so it could be anything. What I would suggest is you just fool around with this Angle value in order to see what works best for you. So lets go ahead and zoom. 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. What it really meant to do is zoom back out from the preview right there, and I am going to just play with the Angle value, just by dragging this guy around.

So this currently were seeing an angle of -20. 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, this would be south-west to the north-east, so in that direction. 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. So I don't like that nearly as much. So lets try something around this region. 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. 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.

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, 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. So a very different effect indeed. And here's Gaussian Blur just to give you yet another very, very different effect. So we cant go with nearly those high Radius values for Gaussian Blur and Lens Blur, but we can with the Motion Blur. Alright, so it looks pretty darn good. 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 with Lens Blur or if we'd tried Gaussian Blur we would be exaggerating the noise that much more as well.

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 in an upcoming exercise, but for now lets just go ahead and click OK in order to take advantage of these settings. And lets go ahead and zoom-in on Sammy. So were taking a look at the child here at the 100% zoom level. So this is the before-version of Sammy and this is the after-version of Sammy, 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, and you can see, we have a little bit of radial rotation going down here in the mouth that we can't compensate for, but it does make a difference, it does help to compensate.

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 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 to compensate for a Motion Blur using the Emboss filter instead.

Show transcript

This video is part of

Image for Photoshop CS3 Sharpening Images
Photoshop CS3 Sharpening Images

115 video lessons · 17094 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 50m 30s
    1. Why every image needs sharpening
      2m 38s
    2. Understanding the effects of sharpening
      5m 26s
    3. Understanding the mechanics of sharpening
      4m 19s
    4. Understanding sharpening and gradual transitions
      3m 21s
    5. Understanding sharpening and noise reduction
      4m 0s
    6. Understanding amount and radius
      7m 50s
    7. Measuring your screen resolution
      6m 19s
    8. Using reliable zoom ratios
      5m 30s
    9. Calculating the actual print size
      4m 54s
    10. Gauging the ideal sharpening settings
      6m 13s
  2. 59m 31s
    1. Everyone knows you sharpen last (and everyone is wrong)
      1m 8s
    2. Understanding the conventional sharpening workflow
      5m 4s
    3. Flattening and saving to TIFF
      6m 39s
    4. Downsampling (and why you shouldn't upsample)
      6m 8s
    5. Understanding last-step sharpening
      6m 44s
    6. Recognizing problems with the conventional workflow
      9m 38s
    7. Erasing sharpening with the history brush
      4m 30s
    8. Using alternative sharpening workflows
      2m 37s
    9. Sharpening a scanned photograph shot on film
      2m 45s
    10. Sharpening a digital photograph
      3m 6s
    11. Sharpening specific details
      3m 43s
    12. Finding broad workflow conclusions
      2m 49s
    13. Learning that technique trumps timing
      4m 40s
  3. 1h 27m
    1. Comparing and contrasting neighboring pixels
      1m 6s
    2. Using the Gaussian Blur filter
      4m 25s
    3. Using Gaussian luminance distribution
      4m 47s
    4. Using the Unsharp Mask filter
      4m 54s
    5. Understanding the history of Unsharp Mask
      3m 51s
    6. Building your own USM with Gaussian Blur
      7m 35s
    7. Using the Smart Sharpen filter
      7m 35s
    8. Compensating for camera shake
      8m 50s
    9. Building your own Smart Sharpen with Lens Blur
      6m 59s
    10. Using directional sharpening with Emboss
      9m 13s
    11. Using Smart Sharpen extras
      8m 56s
    12. Using Convolution Kernels for more accuracy
      7m 8s
    13. Using the High Pass filter
      7m 32s
    14. Using Luminance Sharpening
      5m 5s
  4. 2h 14m
    1. Smoothing filters, smart objects, and masks
      1m 25s
    2. Using the Median filter and Dust and Scratches
      7m 7s
    3. Using Smart Blur and Surface Blur
      6m 12s
    4. Using the Despeckle filter
      8m 17s
    5. Softening flesh tones selectively
      10m 15s
    6. Using the Reduce Noise filter
      7m 27s
    7. Combining smoothing and sharpening
      8m 24s
    8. Making an image into a smart object
      9m 24s
    9. Applying editable smart filters
      6m 8s
    10. Combining two smart filters
      8m 5s
    11. Assigning a filter mask
      5m 59s
    12. Nesting one smart object inside another
      10m 32s
    13. Employing a static High Pass layer
      8m 59s
    14. Matching static pixel-level edits
      4m 37s
    15. Avoiding clipping with luminance blending
      9m 7s
    16. Sharpening and smoothing
      6m 36s
    17. Making an edge mask
      8m 14s
    18. Making a non-edge mask
      7m 17s
  5. 1h 33m
    1. Sharpening with Adobe Camera Raw
      1m 29s
    2. Introducing Camera Raw (4.1 or later)
      8m 13s
    3. Understanding why to sharpen for source
      5m 14s
    4. Using Camera Raw’s sharpening control
      5m 52s
    5. Previewing limitations and tricks
      6m 45s
    6. Why downsampling doesn’t work
      3m 12s
    7. Reducing chromatic aberration
      7m 30s
    8. Using the Defringe option
      3m 32s
    9. Understanding high frequency, low radius
      5m 21s
    10. Raising the Detail value
      3m 6s
    11. Using on-the-fly edge masking
      5m 41s
    12. Sharpening a low-frequency portrait
      6m 36s
    13. Eliminating color noise
      4m 47s
    14. Reducing luminance noise
      4m 42s
    15. Correcting “false sharpening”
      7m 15s
    16. Reducing shadow noise
      5m 22s
    17. Approximating ACR sharpening in Photoshop
      8m 35s
  6. 59m 8s
    1. Gauging and exploiting luminance frequency
      1m 27s
    2. Using low-frequency source sharpening
      5m 53s
    3. Using High Pass for portraits
      4m 19s
    4. Actioning a low-frequency edge mask
      7m 42s
    5. Modifying the source sharpening
      5m 21s
    6. Using high-frequency source sharpening
      5m 26s
    7. Using Smart Sharpen for cityscapes
      3m 2s
    8. Actioning a high-frequency edge mask
      5m 4s
    9. Downplaying color artifacts and clipping
      4m 4s
    10. Sharpening a medium-frequency image
      5m 24s
    11. Sharpening a layered composition
      7m 16s
    12. Sharpening for multiple frequencies
      4m 10s
  7. 1h 8m
    1. Who needs dull when you have sharp?
      56s
    2. Focusing in on a person’s eyes
      4m 22s
    3. Blurring the area outside the eyes
      4m 22s
    4. Sharpening eyes and other details
      5m 38s
    5. Darkening the lashes and eyebrows
      7m 13s
    6. Sharpening dark-haired people
      5m 2s
    7. Edge mask and emphasize
      3m 39s
    8. Nesting a Smart Sharpen effect
      4m 48s
    9. Density mask sharpening
      5m 35s
    10. Adding depth of field
      4m 39s
    11. Sharpening a background
      4m 23s
    12. Masking background from foreground
      8m 51s
    13. Eliminating halos around a person
      5m 38s
    14. Deepening and warming a background
      3m 28s
  8. 1h 18m
    1. Reverting back to convention
      1m 37s
    2. Understanding the use-neutral composition
      4m 15s
    3. Restoring much-needed antialiasing
      4m 2s
    4. Reducing noise in a high-frequency image
      7m 24s
    5. Making a third-level smart object
      3m 55s
    6. Preparing an image for print
      5m 18s
    7. Using ideal settings for commercial reproduction
      5m 37s
    8. Calculating very large-format settings
      5m 11s
    9. Using ideal settings for inkjet output
      4m 26s
    10. Sharpening for commercial reproduction
      5m 45s
    11. Sharpening for inkjet output
      4m 58s
    12. Revealing high-frequency multipass sharpening
      5m 21s
    13. Using Gaussian Blur to sharpen hair
      5m 41s
    14. Flatten, Save As, Resample, and Sharpen
      5m 9s
    15. Revealing low-frequency multipass sharpening
      3m 30s
    16. Sharpening an image for web or screen
      6m 22s
  9. 1m 50s
    1. Goodbye
      1m 50s

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