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Photoshop CS4 One-on-One: Advanced

High-resolution sharpening


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Photoshop CS4 One-on-One: Advanced

with Deke McClelland

Video: High-resolution sharpening

In this exercise, I'm going to show you some great settings using the Smart Sharpen filter for sharpening the detail inside of a high frequency, high resolution image. Now, by high frequency I mean that the Luminance Levels are changing quite rapidly inside the image, so that there is a lot of detail to work with. So this would be a landscape or a cityscape or a shot of multiple people, typically like what we have here. If you're sharpening a portrait shot, which would be a low frequency image, meaning that we have more contours going on, more slow transitions, that kind of thing, then you tend to be better off where sharpening is concerned using the high pass filter, and I'll show you how that works later in this chapter.
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  1. 22m 32s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 17s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 4s
  2. 2h 43m
    1. Highlights, shadows, and midtones
      49s
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 34s
    10. Previewing clipping
      7m 17s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 34s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 18s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 56s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 23s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 2s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 19s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 33s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 43s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
      58s
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
      56s
    2. Establishing default formatting attributes
      4m 5s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
      53s
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 51s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 42s
  12. 57s
    1. Until next time
      57s

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Photoshop CS4 One-on-One: Advanced
20h 57m Intermediate May 01, 2009

Viewers: in countries Watching now:

Photoshop is one of the world’s most powerful image editors, and it can be daunting to try to use skillfully. Photoshop CS4 One-on-One: Advanced, the second part of the popular and comprehensive series, follows internationally renowned Photoshop guru Deke McClelland as he dives into the workings of Photoshop. He explores such digital-age wonders as the Levels and Curves commands, edge-detection filters, advanced compositing techniques, vector-based text, the Liquify filter, and Camera Raw. Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, and enhancing colors without harming the original image. Exercise files accompany the course.

Recommended prerequisite: Photoshop CS4 One-on-One: Fundamentals.

Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.

Topics include:
  • Using blend modes, adjustment layers, and layer styles
  • Organizing a layered composition so it is fluid and editable
  • Creating and editing type in Photoshop
  • Using blur effectively
  • Using adjustment layers to add color
  • Combining layers into a clipping mask
  • Working with Camera Raw
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

High-resolution sharpening

In this exercise, I'm going to show you some great settings using the Smart Sharpen filter for sharpening the detail inside of a high frequency, high resolution image. Now, by high frequency I mean that the Luminance Levels are changing quite rapidly inside the image, so that there is a lot of detail to work with. So this would be a landscape or a cityscape or a shot of multiple people, typically like what we have here. If you're sharpening a portrait shot, which would be a low frequency image, meaning that we have more contours going on, more slow transitions, that kind of thing, then you tend to be better off where sharpening is concerned using the high pass filter, and I'll show you how that works later in this chapter.

But for now I have opened this image called Cheerful girls.jpg, and this image comes to us from fellow trainer and great guy here at lynda.com, Chris Orwig, a real super dude. A good photographer as well, as you can see here, beautiful shot. Anyway, let's say I want to sharpen it using Smart Sharpen. Why then, I would go up to the Filter menu and Smart Sharpen was the last command I applied so what the heck, I'll just press Ctrl+Alt +F or Command+Option+F on the Mac. You know what? This darn dialog box is so gargantuous that it's covering up the girls in the background. Also, you know what I'd like to do is I'd like to see the girls at 100% inside the dialog box, since I have this generous In dialog box preview to work with.

I would like to see them at Print Size in the background. You can do that, you can go to the View menu and choose Print Size, even though you have the Smart Sharpen dialog box up on screen, and that will go ahead and send the image to hopefully what is now an accurate Print Size for you. Also, by the way, what I could do, because I have a keyboard shortcut, because I loaded my own Deke Keys here, I could press Ctrl+Alt+0 or Command+Option+0 on the Mac, and it just sort of ever so slightly zooms in right there, as you can see. So now what I'm going to do is I'm going to leave that Amount value set to 200%, actually that works out nicely. You could if you're just investigating what -- some amount of sharpness to apply, you could go ahead and take this guy up to 500% and check out all of the color artifacting that's been happening on the middle girl's shirt there, the red wagon with a dog in it, we've got all kinds of blue stuff going around in that wagon. It's going at a little bit of an angle, and that's because, oops, I still have Motion Blur active, I don't want that, I want to switch to Lens Blur. This is a digital photograph. I haven't really done much of anything to it. I just opened it from Camera Raw essentially and saved it out as a JPEG file. I haven't even bothered to downsample it or anything like that. This is a 12-megabyte plus image, and I've got its size to 364 pixels per inch I believe. Anyways, I think it's 8 by 12 inches.

So it is a high resolution image. They get higher. There are 21 megapixel cameras as I'm talking to you right now. I'm sure there will be something beyond that by the time you're listening to me. But anyway, when we're working with digital photographs, we typically want to work with Lens Blur, and that's what I'm going to do here. Now, that's just ridiculous at this point, and the reason its ridiculous is I have my Radius value set way too high. Now, I was telling you, if you're going to go with a high Radius value, then you can investigate a low Amount value sometimes in order to get the heightened contrast effect that's known as a Clarity effect, because its still edge driven. This is what the image looked like before. If I click and hold here inside the preview, this is what the image looks like after.

So we're bringing out some of that volumetric detail a little bit. I might even, if I were going this route, bring the Radius value even higher, to something like 50 pixels, and maybe even take that Amount value down. But tell you what, I want a really high Amount value, I'm going to take this guy to 200%, or wait a sec, wait a sec, we were working with 500%, right, just so we can get a sense what's going on. Doesn't look too good with such a high Radius value, so let's take that Radius value down. I was telling you, you can reduce the Radius value in one pixel increments by pressing Shift+Down Arrow, like so. That's not going to get us very far very fast though, because we have such a high Radius value right now.

You can also scrub, notice that, if you scrub on the word Radius, you're going to reduce or enhance the value in increments of .1 pixels. If you want to move faster than that, you Shift+scrub so I can take it down in whole pixel values hereby, Shift+scrubbing over to left. I'm going to take that value down to 4 actually for this image. The Amount value is way too high at this point, however the Radius value is looking pretty good. We have a nice amount of Radius. It looks like too much at 100%, but it looks really good back here at the Print Size resolution.

So that's a nice thing. I'm going to go ahead and back off that Amount value to something much more acceptable, such as 200%. I sort of already gave that part away earlier, but it looks pretty darn good. Now, to get a sense of the before and after inside the dialog box, at 100%, we'll click and hold, and that's before, then release, that's after. So she is oversharpened inside of the dialog box at 100%. So this would be too much if I were going to the web, but I'll tell you what, I'm not going to post a 36 megabyte file to my website. That would be ridiculous. So I'm not going to do anything resembling that. This is definitely sharpening for output at this point. I want it to look nice and tactile on that page.

Also, you should know, when you're going to print; whether you're printing locally to your Inkjet printer, or you're sending it out to a commercial printer for commercial reproduction, then there is a little bit of softness that occurs as a result of the print process. So you're trying to anticipate that when you're sharpening your image for output, and that is why we've applied this Amount and this Radius, and just to get a sense of what it looks like, really when it prints; so we're soft-proofing here, I'm going to turn off the Preview checkbox. I want you to keep an eye on that image in the background. This is what it looked like originally, a little bit soft really when taken in the context of what we're seeing right now. Little bit soft before and now, nice and sharp and tactile after the sharpening, without over sharpening that image.

All right. There is one other option that I've pretty much just ignored so far inside of this dialog box, and that's that guy right there, More Accurate. I'm going to explain how it works and why most of the time you do not want to select it, in the next exercise.

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