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Flattening and saving to TIFF


Photoshop CS3 Sharpening Images

with Deke McClelland

Video: Flattening and saving to TIFF

Flattening and saving to TIFF provides you with in-depth training on Photography. Taught by Deke McClelland as part of the Photoshop CS3 Sharpening Images
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  1. 50m 30s
    1. Why every image needs sharpening
      2m 37s
    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 55s
    10. Gauging the ideal sharpening settings
      6m 13s
  2. 59m 28s
    1. Everyone knows you sharpen last (and everyone is wrong)
      1m 7s
    2. Understanding the conventional sharpening workflow
      5m 3s
    3. Flattening and saving to TIFF
      6m 40s
    4. Downsampling (and why you shouldn't upsample)
      6m 8s
    5. Understanding last-step sharpening
      6m 43s
    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 48s
    13. Learning that technique trumps timing
      4m 40s
  3. 1h 30m
    1. Comparing and contrasting neighboring pixels
      1m 6s
    2. Using the Gaussian Blur filter
      4m 25s
    3. Using Gaussian luminance distribution
      7m 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 24s
    2. Using the Median filter and Dust and Scratches
      7m 6s
    3. Using Smart Blur and Surface Blur
      6m 14s
    4. Using the Despeckle filter
      8m 18s
    5. Softening flesh tones selectively
      10m 16s
    6. Using the Reduce Noise filter
      7m 27s
    7. Combining smoothing and sharpening
      8m 23s
    8. Making an image into a smart object
      9m 23s
    9. Applying editable smart filters
      6m 10s
    10. Combining two smart filters
      8m 6s
    11. Assigning a filter mask
      5m 59s
    12. Nesting one smart object inside another
      10m 31s
    13. Employing a static High Pass layer
      9m 0s
    14. Matching static pixel-level edits
      4m 37s
    15. Avoiding clipping with luminance blending
      9m 7s
    16. Sharpening and smoothing
      6m 37s
    17. Making an edge mask
      8m 15s
    18. Making a non-edge mask
      7m 17s
  5. 1h 33m
    1. Sharpening with Adobe Camera Raw
      1m 28s
    2. Introducing Camera Raw (4.1 or later)
      8m 12s
    3. Understanding why to sharpen for source
      5m 14s
    4. Using Camera Raw’s sharpening control
      5m 51s
    5. Previewing limitations and tricks
      6m 45s
    6. Why downsampling doesn’t work
      3m 12s
    7. Reducing chromatic aberration
      7m 29s
    8. Using the Defringe option
      3m 31s
    9. Understanding high frequency, low radius
      5m 21s
    10. Raising the Detail value
      3m 6s
    11. Using on-the-fly edge masking
      5m 40s
    12. Sharpening a low-frequency portrait
      6m 35s
    13. Eliminating color noise
      4m 47s
    14. Reducing luminance noise
      4m 41s
    15. Correcting “false sharpening”
      7m 14s
    16. Reducing shadow noise
      5m 22s
    17. Approximating ACR sharpening in Photoshop
      8m 35s
  6. 59m 12s
    1. Gauging and exploiting luminance frequency
      1m 26s
    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 1s
    8. Actioning a high-frequency edge mask
      5m 5s
    9. Downplaying color artifacts and clipping
      4m 5s
    10. Sharpening a medium-frequency image
      5m 25s
    11. Sharpening a layered composition
      7m 17s
    12. Sharpening for multiple frequencies
      4m 12s
  7. 1h 8m
    1. Who needs dull when you have sharp?
    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 38s
    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 27s
  8. 1h 18m
    1. Reverting back to convention
      1m 36s
    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 19s
    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 44s
    11. Sharpening for inkjet output
      4m 57s
    12. Revealing high-frequency multipass sharpening
      5m 21s
    13. Using Gaussian Blur to sharpen hair
      5m 42s
    14. Flatten, Save As, Resample, and Sharpen
      5m 10s
    15. Revealing low-frequency multipass sharpening
      3m 31s
    16. Sharpening an image for web or screen
      6m 22s
  9. 1m 51s
    1. Goodbye
      1m 51s

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Flattening and saving to TIFF
Video Duration: 6m 40s10h 33m Intermediate Feb 15, 2008

Viewers: in countries Watching now:

Flattening and saving to TIFF provides you with in-depth training on Photography. Taught by Deke McClelland as part of the Photoshop CS3 Sharpening Images

View Course Description

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.

Topics include:
  • Understanding the effects of sharpening
  • In-depth examinations of Unsharp Mask, Smart Sharpen, Emboss, and High Pass
  • Smoothing an image with the Surface Blur, Despeckle, and Reduce Noise features
  • Working with smart objects and smart filters
  • Creating edge masks and non-edge masks
  • Sharpening for digital-image capture using Camera Raw
  • Gauging and exploiting luminance frequency
  • Exploring creative applications of sharpening
  • Sharpening a multilayer composition
  • Sharpening eyes, hair, and out-of-focus backgrounds
  • Reducing noise in a high-frequency image
  • Determining ideal settings for commercial and inkjet output
  • Sharpening very large-format images
  • Sharpening an image for the web or screen output
Deke McClelland

Flattening and saving to TIFF

So let's take a tour through the conventional sharpening workflow. I am working with something of an unconventional image as it turns out, which is begging for an unconventional approach, but I have to tell you something, I would argue that any image out there, any composition, is an unconventional composition. They all require different approaches, which is why I think the one-size-fit-all approach, the conventional approach, really doesn't work all that well. But anyway, let's try it out here. I am working with this holiday card and it's called Holiday Card 2007.PSD found inside the 02_when_to_sharpen folder.

This is holiday card that I sent out, I made up and I sent out to celebrate my children and how they might one day become presidents, don't you know. So here it is. It's a series of layers that are going on inside of the Layers palette. So let's say I decide I want to print it at 4x7, which is what I want to do, and I am going to print it 2-up and I am going to take it to an inkjet printer. So I am not going to run a CMYK conversion on it but I am going to do all of that other conventional stuff. Let's see how it works. Well, the first thing, after I've gone about compiling all my layers and everything else, I would make sure that I've saved all of my changes.

Now let's say, I haven't saved this image once for some reason because I want to show you that Maximize Compatibility thing. I'll go up to the File menu; I'll choose the Save As command in order to demonstrate sort of a first save here. I am in the 02_when_to_sharpen folder. You won't see this file that I am about to create. So I'll just call it 'First time save' or something along those lines, .PSD. I definitely want to save my Alpha Channels but of course, make sure those checkboxes are on and also make sure, by the way, that you don't see a little yellow warning.

That tells you that something is turned off. So make sure you have all of the checkboxes that you need turned on. You don't want As a Copy turned on, but you do want Alpha Channels, Layers, Annotations, and Spot Colors if you got them. Your ICC Profile, definitely. You probably want to work with the Lower Case Extension. Then you click Save. Make sure that you are saving to the native PSD format right there. Click Save and then depending on your Preference settings, but most likely, you'll get this Photoshop Format Options warning right there.

If you worked through some of my other series inside the Online Training Library and you don't get this warning, don't worry about it. It just means that I've told you to turn it off in the past because this Maximize Compatibility checkbox, I don't like it at all. I want you to turn it off. It just blows up the size of the file and again, unless you are going to be exporting this file for use in another application, for example InDesign. Or Photoshop Lightroom cannot see layers, so if you're using Lightroom you need to have it turned on. But if you're not using Lightroom or InDesign or Premiere or one of those other programs, there's no reason to have it turned on. If you are just using the layered composition inside Photoshop, and the Bridge- the Bridge can see layers- save yourself some hardrive space and expense, of course, because if you are gobbling up hard drives, you'll need to buy more.

Then click OK in order to save that image to disk. So now we've saved the changes. Now let's go about flattening the file. Now I could try to print the file as it is, with all of its layers intact and at it's present size and the whole thing, but I would be wasting a lot of time. I would make Photoshop have to flatten image on the fly. I would make the printer have to deal with too many pixels essentially as it's downsampling and you might as well do it manually and save all of your hardware a lot of work.

And normally you have your hardware do work but in this case, let's go ahead and save some time and some complexity by going up to the Layer menu and choosing the Flatten Image command. Now the thing is this will flatten the image. I will go ahead and choose the command and you see that it does flatten away all of the layers. Now be very careful! Don't be going up to the File menu and choosing the Save command because you'll ruin all of those layers. You are not going to get rid of any channels or paths that you have. So if you go to the Channels palette, you'll still see that in the case of this image, I've got some alpha channels set up and alpha channels, you have to delete one at a time in order to get rid of them, which is why I came up with this other thing here, I'll go ahead and undo that modification there.

Let's switch back to the Layers palette. I press Control-Z or Command-Z on Mac in in order to undo the flattening. I've got this JavaScript and I'll go up to the File menu. I am going to choose Scripts and I am going to choose this guy right there, Megaflatten. Now you are probably not going to see Megaflatten in your Script menu unless you actually work through my Photoshop CS2- it's an older title- but it is Photoshop CS2 Actions and Automation, which is part of the Online Training Library. It includes a bunch of scripts that are actually really super helpful and one of them is Megaflatten.

So even if you don't want to watch the series, you can just go over there if you are a premium member and you can download the files and you can install all of the scripts according to my instructions. This one, if you choose Megaflatten, it not only flattens out the layers- notice that it tells you what it's going to do- it's going to create a duplicate image with no layers, Layer Comps, channels, paths or guides. So there is a lot of advantages here; it get rids of all of the stuff that you don't need but it also creates a duplicate image which is great. Click Yes. There is no reason to click No. It's not going to hurt you at all. You create a duplicate image so now there is no way that you can accidentally save over the original, which I have to say, is a brilliant thing. Thank you very much.

So it should do you some good if you are going to work this way. Then go up to the File menu, choose Save As- very important step here to save your image of course. Choose Save As and now we are going to go and save this image to the TIFF file format because that's the closest thing to a lossless format that we have for flat images. So go ahead and choose TIFF and I might as well call this something like, I'll change the name to Holiday 2007.TIFF. As a Copy should be off. These guys should be on.

Click Save. You'll get this dialog box right here. Make sure Image Compression is set to LZW. That's actually a really good thing. It applies lossless compression so it doesn't hurt the image. And then leave the Pixel Order alone, it should be Interleaved and then Byte Order is totally up to you. It does not matter. If you are working on a PC and you set it to Macintosh, or you working on a Mac and you set it to PC, 99% of programs out there are going to support the file no matter what. Then go ahead and click OK and you've now gone ahead and saved a flat version of that file.

So the next step is to resample the image to define the dimensions and resolution at which you want to print this photograph here. Because that's a little intricate and it involves the downsample versus upsample thing that I was telling you about, I am going to show you how to perform this step in the next exercise.

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