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Introducing Camera Raw (4.1 or later)


Photoshop CS3 Sharpening Images

with Deke McClelland

Video: Introducing Camera Raw (4.1 or later)

In this chapter, we are going to be taking a look at some sharpening controls that not available inside of Photoshop proper. To get to these sharpening controls, you'll either have to open an image inside of Adobe Camera RAW, which is a plug-in that ships along with Photoshop, or you have to use this separate program that ships separately, cost more money that's called the Adobe Photoshop Lightroom also known to most folks just as Lightroom. Now the controls that we are going to be looking at are available inside of Adobe Camera RAW 4.1 or later.
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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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Watch the Online Video Course Photoshop CS3 Sharpening Images
10h 33m Intermediate Feb 15, 2008

Viewers: in countries Watching now:

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

Introducing Camera Raw (4.1 or later)

In this chapter, we are going to be taking a look at some sharpening controls that not available inside of Photoshop proper. To get to these sharpening controls, you'll either have to open an image inside of Adobe Camera RAW, which is a plug-in that ships along with Photoshop, or you have to use this separate program that ships separately, cost more money that's called the Adobe Photoshop Lightroom also known to most folks just as Lightroom. Now the controls that we are going to be looking at are available inside of Adobe Camera RAW 4.1 or later.

In Camera RAW 4 ships along with Photoshop CS3, but in order to get 4.1 or later you have to run your Updater utility. As I am filming this, most recent version of Camera RAW is Camera RAW 4.3.1 that anything after 4.1 will do just fine. If you are using Lightroom, you need the Lightroom 1.1 or later. Just you know a little bit of an FYI. Now both Camera RAW and Lightroom are specifically designed to accommodate digital images or images captured with a digital camera in that camera's RAW file format.

So we will be looking at RAW images throughout this chapter, however, these options are also applicable to images that you capture as JPEG files or TIFF files or images that you scan from film, from film transparencies, lets say or color negative and save as JPEG or TIFF files. You can also use Camera RAW on those files. So before we go any farther in this exercise, I just want to show you how you open an image inside of Camera RAW and how you get to the sharpening controls, regardless of what kind of image you are working with.

Now I am looking at Adobe Bridge that ships along with Photoshop and with CS3 and I have the Bridge trained on the contents of the 05_for_source folder, which is found inside the exercise_files folder, and I am looking at a modified version of a horizontal film strip view here inside the Bridge and you should see these images, if not several more images as well, inside of this folder. And you may notice that they are all DNG files. DNG is the Adobe's RAW file format and it is meant to serve as a unifying file format, sort of the TIFF essentially of RAW digital images, because every single camera has its own RAW file format.

These images were captured by a variety of different cameras from vendors such as Canon and Nikon and Leica and each one of those vendors havs their own preparatory format, whether its CRW or CR2 in the case of the Canon image. Nikon, it would be NEF. This Leica photograph right here to be RAW, but I went ahead and converted them all to DNG files, using Adobes free DNG Cnverter utility, which you can get to- by the way, you do not need for the purposes of this exercise, but you can get to it if you need it in the future for whatever reasons, by going to

As I say that's a free converter utility. And by the way, if you are a member of the Online Training Library, then you can check out why DNG is so great by talking a look at my Photoshop Camera RAW Series, which goes into quite a bit of details about Camera RAW and the basic sort of makeup of the utility and so on. Lets go ahead and see how you open an image inside of Camera RAW. I am going to go down here to Festive Ornaments.dng and all I am going to do is double click on it and that now only shifts you to Photoshop, you may have seen how we shifted from the Bridge into Photoshop for a moment there, and then it opens the Camera RAW plug-in inside of Photoshop.

So Photoshop is hosting the plug-in at this point. Then to get the sharpening controls, you would go over here to this guy, Detail, and that looks like a couple of cones, one in focus and one out of focus. They might be not mountain peaks, what have you, and there are sharpening controls and are noise reduction controls. We will also be looking at this guy right here, which is the Lens Correction functions and the first group of Lens Correction functions are the Chromatic Aberration options and they come in very handy when adjusting sharpening as well. Now then, after you make your modifications to those and other options inside of Camera RAW, you would go ahead and click on the Open Image button down here if you wanted to open the image inside the Photoshop and further modify it, or you could just click on this Done button in order to save your changes as non-destructive metadata instructions that are applied to the image as you open it, but aren't ever applied to the original photograph.

So the original photograph remains intact, which is really great. We will see more about how these options work shortly. But for Now I am just going to click on the Cancel button in order to cancel out of the Camera RAW. Now that dumps me inside of Photoshop. I am going to have to switch back to the Bridge by pressing Alt+Tab or Command+Tab on the Mac. And I should say very briefly- I will go back for a moment. I should show you that you can get to the Bridge from Photoshop by going to the File menu and choosing the Browse command or there is also this little Bridge folder icon right up here in the Options bar.

So either of those options will take you back to the Bridge. Alright. So here I am inside of the Bridge and we saw how we can just double click on a DNG file for example or any other RAW Digital camera file in order to open it inside of Photoshop inside Camera RAW. What if we want to run Camera RAW directly inside the Bridge? Well we would go up here to the File menu. Instead of choosing the Open command up here, we would choose Open in Camera RAW or you can press Ctrl+R or Command+R on the make. The advantage to this way is that you are hosting Camera RAW inside of the Bridge.

So notice we didn't switch to Photoshop that time, we are just working directly inside of the Bridge, which means that I can still use Photoshop for other activities. If I Alt+Tab or Command+Tab over here to Photoshop, I can open a different image, work inside of it and it is free. In another words I am not occupying Photoshop with the Camera RAW plug-in, which is actually a really nice thing. Alright. So I can still make the exact same modifications. I can switch over to here there is a sharpening control, make my modifications and click on Done button in order to update the image inside of the Bridge.

I will go and click on Done and we can see by the way that all of these images that we are seeing here along the bottom area here inside of the Content panel. Your Content panel may be arranged differently, but all the thumbnails feature these settings options, there is little sort of settings icon right there in the upper right hand corner and that shows you that some form of Camera RAW modifications have been applied to all these images. And had these images been modified in Lightroom, they would also have these little settings since both Camera RAW and Lightroom will support each others modifications, which is a really great thing.

So as I say all these modifications are applied non-destructively just as metadata instructions that you can see over here in the Metadata panel if you want to. There is the Camera Data, if I go ahead and scroll down I will see the Camera RAW Data right here, which is telling me the setting set have been applied for example to Festive Ornaments.dng. Those are the ways that you get to the Camera RAW when you are working with the RAW digital photograph. What if you are working with a JPEG file or a TIFF file? I am going to switch over here to this 04_support_staff folder that we worked with in the previous chapter. I am going to scroll until I find this guy Shaggy behemoth.jpeg.

He is a standard JPEG file as you all know from the previous chapter. Now if I double click on this file, if I double click on the thumbnail here, I will just open the file normally inside of Photoshop. If you want to open the image in Camera RAW instead in order to sharpen with the source in mind, that is either the digital camera or the scanner in mind, then you would go up to the File menu and you would choose Open in Camera RAW that way you are forcing the image to open inside the Camera RAW utility. Once again you can press Ctrl+R or Command+R in the Mac as a shortcut and that will bring up the Camera RAW utility.

You have got your sharpening controls, you make your modifications, you click on the Done button. I am going to go ahead and click on Cancel because I am not doing anything. Had I done something then I would see a little settings modifier up here in the upper right hand corner of the thumbnail and I would also be able to see my Camera RAW modifications over here in the Metadata panel. So that's how you get the Camera RAW. In the next exercise, I am going to introduce you to Camera RAW specialized sharpening controls.

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