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Real focus happens inside the camera's lens element. The sharpening features in Photoshop CS3 exaggerate the contrast along edges in a photograph to transform a well-focused image into an outstanding image. In Photoshop CS3 Sharpening Images, Deke McClelland teaches a host of sharpening and noise reduction techniques, including using filters such as Unsharp Mask, Smart Sharpen, High Pass, and Reduce Noise. The training teaches the essentials of sharpening, including what it does, why it's important, and how the filters function. Plus, the training covers Deke's recommended best practices, including the four distinct varieties of sharpening, which can be used independently or in combination with each other. Photoshop CS3 Sharpening Images is about how to transform images from looking good to looking their absolute best. Exercise files accompany the course.
Alright. Now you may recall in the previous exercise at the end I told we were going to take a look at some alternative sharpening workflows. I lied. We are going to do that in the next exercise. In this exercise this one thing I forgot to show you and I want you to do that right now. I forgot to account for the fact that Max's coat is a little too textural and it's kind of have got a little bit of a pattern going on inside of it we don't that. So we want to able to mitigate the sharpening effect inside of this area. Now if I were working, what I would typically do and what I'll show you in the future.
I would typically apply a non-destructive sharpening modification and then I could mitigate the sharpening effect using a layer mask or a filter mask something along those lines. But, in this case, I applied the Smart Sharpen filter it directly to the image. So I'm going to have to brush away the sharpening effects that I don't want using the History brush. It's a different way to work. Now before, I can use the History brush, if I were to grab the History brush here, this guy right there, inside the toolbox and you can also get to it by pressing the Y key if you like.
You would notice, if you're working along with me and you know this is on screen too, I imagine, you would see that I get the little Ghostbusters's icon, which is telling me that I can't do any brushing inside of the image. So I go over here to the History palette, which you can get to by choosing History from the Window menu as well and I would notice my problem is that I flatten the image and that I'm trying to source from the original layer composition and Photoshop doesn't allow you to do that, for two reasons actually. One is because I don't have corresponding layers to work with since I went ahead and flattened the darn thing and the other problem is that I applied the Image Size command.
So I re-sampled the image and the History brush doesn't like re-sampling. So first time, we need to do is we need to move our source to right after we applied Image Size so that we are getting rid of the re-sampling problem. That still does not take care of our problems, as you can see it. I move my cursor out I still have the Ghostbusters's icon and that's because I flattened the image. So let's move back one step to the Smart Sharpen step and you can see that now I've the gradient backdrop image set. It's called �the gradient' because gradient was the top layer when I combined, when I merged all those layers together and then we have the text group, right there.
So we still have a layered document and now I've got nice brush to work with here. I'll go ahead and hide my History palette on screen, I'll make my brush bigger, like So by pressing the right bracket key a few times. So I now have a 175 pixel brush, it's nice soft brush, that's good. I'm going to zoom in on Max's jacket and I'll just brush away the sharpening in this area right here. So we don't have a problem with the patterning that's starting to form there inside of his coat. And I'll just get rid of few areas of sharpness that are going on and I might just do a little bit of brush stroke in his arm as well, if I like.
And where the pants are concerned, they are little tactile as well. I would say they are over-sharpened and you could brush those way. Now if you find that you are getting strange transitions, thanks to the fact that you are totally brushing away the effect inside the pants, but you are ignoring the effects outside the pants- I'm not brushing right Now I'm just pointing to this region- and you want a more incredible transition, then what you might want to do- I�ll go ahead and undo that modification there. You might want to reduce the Opacity value, so I'm going to press the 5 key to reduce the Opacity value to 50% and then brush over this region and that way we are sort of splitting the difference and we are not ending up with these completely radical transitions at this rate.
I'll go ahead and do the same thing inside of Sammy's pants as well. So you get the idea. It's a subtle modification at this point, probably inside the movie, it's only semi showing up, but you would get the idea if you worked with the image on your screen or any other image for that matter. Now at this point having successfully mitigated the effects of the sharpening in the areas where we wanted to mitigate the effect, and we can even, by the way I should say, just interject one more thing, I could even decide that back here in a rubble, I don't want it to be quite so sharp either. This rubble that is falling away from the majestic Presidents' huge faces there.
So I could brush that back as well. Alright. Anyway, I will just take the image out to the 50% view size. The final step of course, now that we're done brushing at the image. So the final step would be to go back up to the Layer menu, choose the Flatten Image command in order to merge the entire image, in order to flatten all the layer and then of course go ahead and save that image off as an independent TIFF file. Alright, now we are ready to look at some alternative sharpening workflows in the next exercise.
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