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Correcting noise and detail in Camera Raw

From: Photoshop CS6 One-on-One: Advanced

Video: Correcting noise and detail in Camera Raw

In this movie, I will show you how to use the options in the Detail panel here inside Camera Raw to correct a trio of photographs; one low noise, one high noise, and one over the top. Notice this vertical bar over here on the left -hand side of the window. If I double-click on it, I will bring back my filmstrip which shows that I have several images open. If you need more room inside Camera Raw, you can double- click on that vertical bar to hide the filmstrip. I will go ahead and bring it back and I'll switch forward to this image; Roman theater.dng.

Correcting noise and detail in Camera Raw

In this movie, I will show you how to use the options in the Detail panel here inside Camera Raw to correct a trio of photographs; one low noise, one high noise, and one over the top. Notice this vertical bar over here on the left -hand side of the window. If I double-click on it, I will bring back my filmstrip which shows that I have several images open. If you need more room inside Camera Raw, you can double- click on that vertical bar to hide the filmstrip. I will go ahead and bring it back and I'll switch forward to this image; Roman theater.dng.

It has a low ISO, just 100. And it was shot during the day, so as a result, it's not going to have much noise. What noise there is, is going to be most apparent in the low detail portions of the photograph such as this region of clouds. So, I am going to go ahead and zoom in to 200%. And what I like to do is crank the Amount value up to its absolute maximum, so the noise is as obvious as possible. Next, I am going to take the Luminance value up to 25, and otherwise, I am going to leave the values set to their defaults. So, Luminance Detail: 50, Luminance Contrast: not going to make much of a difference here, Color: 25, and Color Detail: 50.

Now, at this point, you may say, well, there's still a lot of noise visible inside that image. That's because the Detail value is set to 25 by default. I'm going to tell you I always take that value down to 0 because it truly does do a better job of sharpening noise than any of the detail inside of photograph. Now, I'll take the Amount value down to something more reasonable such as 75, and then I will press the Alt key or the Option key on the Mac, and drag that masking slider triangle all the way up to 50. So, once again those white edges will get sharpened. The black regions will not receive any sharpening at all. But they will receive noise reduction. So noise reduction is applied throughout the image.

Now, I am going to scroll up to the top of these columns here. And you'll notice that we have some color fringing along the edges. That's chromatic aberration and it's going to get exaggerated as you raise that Amount value. So, to get rid of it, skip over to Lens Corrections, and then turn on the Remove Chromatic Aberration checkbox and that fringing will disappear. Next, I will advance to Ventura harbor.dng. This is that night shot that started out so very, very dark back in chapter 27. So, as a result, even though it has a low ISO, whenever you expand the shadow information inside of an image, you're going to draw out noise.

So I am going to zoom in on this boat down here in the bottom of the image, and then zoom in on it, so I'm seeing it at 100%. And you should be able to make out, there's just a ton of noise at work inside this image. So, I will switch back over to Detail, and I will go ahead and crank the Luminance value up to its absolute maximum of 100, and then I'll go ahead and zoom in on the image, and you can see, if you look closely here, that we've got some pockmarks of noise. And just to make sure we can see that noise as well as possible, I'll crank the Amount value up to 150. And sure enough, we have these smooth areas that are occasionally populated by regions of noise.

To get rid of those pockmarks, all we need to do is take the Luminance Detail value down to 0, and now, I can demonstrate how well Luminance Contrast can work under these circumstances. So if you take Luminance Detail down, then Luminance Contrast produces a more obvious effect. Check out this shadow right here that's being cast by this blue line. It's barely visible in the image right now. But if I take the Luminance Contrast value all the way up to its maximum, then the shadow becomes more clear, and that's a good thing because that shadow information is not noise, it's real detail. Now, I will take the Luminance Detail value up to a point at which we see more detail inside the image without seeing those patches of noise, and for me, that happens at about 25.

All right. There is a lot of Color Noise inside this image, so I am going to take the Color value up to 75, and finally, I will take the Color Detail value down to 25. Now, you don't have to work with these quarter values, I am just doing so to make it easy to follow along. Now, of course I don't want this Detail value to set to 25 because notice I end up getting these patches of noise around the real details in the photograph. But if I take the value down to 0, then those areas of noise totally disappear. Now, I will press the Alt key or the Option key on the Mac, and drag the Masking slider triangle all the way up to 50 here.

Those white edges will receive the sharpening, the black areas will not. I will go ahead and release my mouse button in order to apply the effect, and then finally, I'll take the Sharpening value down to something more reasonable such as 50. All right. Now I will zoom out to take in the image and you can see that it's just so much smoother than it was before. If I press the P key to turn off the preview, this is the original version of the image, and the noise is even more garish out here in this empty orange region of water. And then, if I press the P key to re-invoke the preview, you see that, that noise almost entirely disappears.

All right. Let's check out a worst-case scenario such as this JPEG image. The noise in this image is most apparent up here in the sky. So, I will go ahead and marquee it, and set my zoom level to 200%. And you can see that we have some very choppy detail indeed along with a massive amount of posterization. Even though this is a colorful region of the image, this is Luminance Noise because, after all, the color is fairly homogeneous. It's all blue. So, I am going to take that Luminance value up to its maximum setting of 100, and crank the Luminance Detail value down to 0.

And we end up smoothing out those choppy So if I press the P key, this is the original sky, and if I press P again, this is the smoother sky. So, we still have posterization, we still have stair-stepping, all that stuff, but it's a lot smoother than it was before. All right. I am going to zoom out a couple of clicks here, and now you can see the unfortunate part of what I've done here is I have made the image look kind of plastic, especially if we check out Colleen's face here. She is definitely over-smooth; so this is the before version and this is the after version.

Now we do need some amount of smoothing in this region but not that much. So I will go ahead and take the Luminance value down to 75, and then I will increase the Luminance Detail value to 50; don't need to worry about Luminance Contrast for this image. And that brings back a lot of detail. Now let's check out the Color Noise which is most obvious here inside Colleen's jacket, and it could be made more obvious still if I take that Amount value up. So I will go ahead and take it up to 150% for now, take the Detail value down to 0. And you can see that in addition to the real sort of purplish blue of the coat, we have all kinds of violet and green and blue noise showing up. There's also this little red spot there.

In an effort to defeat it, I am going to crank that Color value all the way up to 100%, and I'll take Color Detail down to 0. And you can see that all of that noise goes away, even most of that red dot which I would later turn around and fix using the Spot Removal tool. But there is a downside to my extremely high values here. I will go ahead and zoom in on the top of this red scarf. If I press the P key, this is the original version of the scarf right there, so it was previously much more vivid. I will go ahead, and press the P key to turn the Preview back on. We also have a little bit of bleeding right here at the top of the scarf where it's eeking into the coat. We're not going to get rid of that entirely, but we can tone it down a little bit by reducing the Color value to 50, and then taking the Color Detail value up to 100. And that helped solve that problem. It brings back a little bit of saturation in the scarf while leaving the coat nice and smooth.

All right. Finally, I am going to go ahead and zoom out here to take in more of the image at a time, and I will adjust my Sharpening settings by pressing the Alt key, or the Option key on the Mac, and dragging the masking triangle up to 65 I figured for this image. The white edges will get sharpened, the black areas will not, and then I will take the Amount value down to something more reasonable such as 70%. What I'm doing here, it's very important to know, is I'm sharpening in order to account for the softening that's been applied by the Noise Reduction values. And that's how you go about correcting the noise and detail in a few real-world photographs here in Camera Raw.

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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 · 20104 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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