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Photoshop CS3 Sharpening Images

Matching static pixel-level edits


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Photoshop CS3 Sharpening Images

with Deke McClelland

Video: Matching static pixel-level edits

At the end of the last exercise I promised we are going to look at luminance nlending. We are, but in just a moment. In the next exercise actually, to be more specific. In the mean time, I want to show you a little bit of a problem associated with working with this High Pass layer and I was telling you this independent High Pass layer, this old school technique, provides two advantages over Smart Filters. One, we are able to adjust the amount of the High Pass independently using a clipped Levels adjustment layer and we are able to take the saturation out of the High Pass layer, so that we don't exaggerate any color discrepancies inside the image. But here is the downside, check it out.
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  1. 50m 30s
    1. Why every image needs sharpening
      2m 38s
    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 54s
    10. Gauging the ideal sharpening settings
      6m 13s
  2. 59m 31s
    1. Everyone knows you sharpen last (and everyone is wrong)
      1m 8s
    2. Understanding the conventional sharpening workflow
      5m 4s
    3. Flattening and saving to TIFF
      6m 39s
    4. Downsampling (and why you shouldn't upsample)
      6m 8s
    5. Understanding last-step sharpening
      6m 44s
    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 49s
    13. Learning that technique trumps timing
      4m 40s
  3. 1h 27m
    1. Comparing and contrasting neighboring pixels
      1m 6s
    2. Using the Gaussian Blur filter
      4m 25s
    3. Using Gaussian luminance distribution
      4m 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 25s
    2. Using the Median filter and Dust and Scratches
      7m 7s
    3. Using Smart Blur and Surface Blur
      6m 12s
    4. Using the Despeckle filter
      8m 17s
    5. Softening flesh tones selectively
      10m 15s
    6. Using the Reduce Noise filter
      7m 27s
    7. Combining smoothing and sharpening
      8m 24s
    8. Making an image into a smart object
      9m 24s
    9. Applying editable smart filters
      6m 8s
    10. Combining two smart filters
      8m 5s
    11. Assigning a filter mask
      5m 59s
    12. Nesting one smart object inside another
      10m 32s
    13. Employing a static High Pass layer
      8m 59s
    14. Matching static pixel-level edits
      4m 37s
    15. Avoiding clipping with luminance blending
      9m 7s
    16. Sharpening and smoothing
      6m 36s
    17. Making an edge mask
      8m 14s
    18. Making a non-edge mask
      7m 17s
  5. 1h 33m
    1. Sharpening with Adobe Camera Raw
      1m 29s
    2. Introducing Camera Raw (4.1 or later)
      8m 13s
    3. Understanding why to sharpen for source
      5m 14s
    4. Using Camera Raw’s sharpening control
      5m 52s
    5. Previewing limitations and tricks
      6m 45s
    6. Why downsampling doesn’t work
      3m 12s
    7. Reducing chromatic aberration
      7m 30s
    8. Using the Defringe option
      3m 32s
    9. Understanding high frequency, low radius
      5m 21s
    10. Raising the Detail value
      3m 6s
    11. Using on-the-fly edge masking
      5m 41s
    12. Sharpening a low-frequency portrait
      6m 36s
    13. Eliminating color noise
      4m 47s
    14. Reducing luminance noise
      4m 42s
    15. Correcting “false sharpening”
      7m 15s
    16. Reducing shadow noise
      5m 22s
    17. Approximating ACR sharpening in Photoshop
      8m 35s
  6. 59m 8s
    1. Gauging and exploiting luminance frequency
      1m 27s
    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 2s
    8. Actioning a high-frequency edge mask
      5m 4s
    9. Downplaying color artifacts and clipping
      4m 4s
    10. Sharpening a medium-frequency image
      5m 24s
    11. Sharpening a layered composition
      7m 16s
    12. Sharpening for multiple frequencies
      4m 10s
  7. 1h 8m
    1. Who needs dull when you have sharp?
      56s
    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 39s
    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 28s
  8. 1h 18m
    1. Reverting back to convention
      1m 37s
    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 18s
    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 45s
    11. Sharpening for inkjet output
      4m 58s
    12. Revealing high-frequency multipass sharpening
      5m 21s
    13. Using Gaussian Blur to sharpen hair
      5m 41s
    14. Flatten, Save As, Resample, and Sharpen
      5m 9s
    15. Revealing low-frequency multipass sharpening
      3m 30s
    16. Sharpening an image for web or screen
      6m 22s
  9. 1m 50s
    1. Goodbye
      1m 50s

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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
Subjects:
Photography Sharpening
Software:
Photoshop
Author:
Deke McClelland

Matching static pixel-level edits

At the end of the last exercise I promised we are going to look at luminance nlending. We are, but in just a moment. In the next exercise actually, to be more specific. In the mean time, I want to show you a little bit of a problem associated with working with this High Pass layer and I was telling you this independent High Pass layer, this old school technique, provides two advantages over Smart Filters. One, we are able to adjust the amount of the High Pass independently using a clipped Levels adjustment layer and we are able to take the saturation out of the High Pass layer, so that we don't exaggerate any color discrepancies inside the image. But here is the downside, check it out.

I am going to go ahead and zoom in on this model's eye here and it looks like she is over-sharpened, but bear in mind we are printing this image, so I want it look extra crunchy on screen. But I am not sure that I want this. I am not sure what this thing is. First of all, it might be a lump of makeup because she has some makeup stuff going on over here. But if I was on the set or wherever this is, I would have recommended against this particular bit of makeup if indeed that's what it is. I think we should get rid of it, in fact. That's a little tricky.

If we were working with a Smart Object then I could just double-click on the Smart Object, edit this item inside of the independent image, inside of the Smart Object image. Then go ahead and save the changes and the Smart Filter would update automatically. But that's not the case. We have easier access to this image right here, we can edit the pixels directly without having to open up the Smart Object. That's a good thing, but the filtered version of the image is not going to update automatically. So here is what I am talking about. I am going to go ahead and deselect the image.

I am going to grab my Healing Brush right here, and this is the standard Healing Brush by the way, not the Spot Healing Brush, and I am going to Alt+Option+click in order to set a source point right about there. Then I am going to paint over this boogie here in order to get rid of it, then I'll release and I will hope that the thing goes way. Now it doesn't really appear to have totally gone away. We have a little bit of a remnant left behind right there and the reason that we have that remnant left behind is because the eye booger is still extent on the High Pass layer. It is still there.

So if I were to go to the High Pass layer for example, and I were to change this Blend Mode from Overlay to Normal, which I will go ahead and do right now, you can see there it is. Showing up right at that location, so we need to get rid of it. So I am going to have to get rid of it independently. I am going to have to heal twice essentially. And of course each one of my healing strokes is going to be slightly different, so I may end up getting a different effect, but it should be good enough and if you are at all worried, you could recreate this High Pass layer as we did in the previous exercise. But I am just going to go ahead and do a separate Healing Pass. I am going to Alt+Option+click on this layer, because you need to make sure that you are healing from the proper layer in this case. Otherwise you would be healing from the background layer and that would make a mess of things.

And then I am going to paint over this area. Hopefully, that will heal things well pretty nicely. It doesn't. I don't like that at all actually. Let me try Alt-clicking or Option-clicking over here instead and painting that away. I think we will get a better effect that way. That looks better to me. And it doesn't look perfect, we have got some weird pattern right at the allocation but that's OK, I mean this High Pass layer doesn't contribute all that much information, it doesn't contribute so much information that we are going to notice this repeat pattern. So here's what we going to do. We are going to go back to the Layers palette and change this Blend Mode back to Overlay from Normal to Overlay and now things look pretty darn good.

It looks like its more or less gone. And this is the unsharpened version of the image and this is the sharpened version of the image. And I lied! Look at that. We can see that patterning, it is getting repeated. So let's go ahead and reduce the size of the cursor a little bit by pressing the left bracket key a few times and I'll Alt+Option-click down here lets say, and then I will just click right there and see if that takes care of the problem. It works out pretty nicely. I don't want to do that, I don't think. Maybe this. Anyway, you could heal like a crazy person if you wanted to. Actually I am going to undo that last modification there.

This looks good to me; I am going to leave it alone. That's what I think is the best bet at this point, leave it the heck alone; looks much better. The main point here is not whether and I should be healing these various details, but the fact that if you do make a pixel-level modification to a layer that's affected by a static High Pass layer, you then need to turn around and apply that same pixel-level modification to the High Pass layer as well. Alright then, in the next exercise we will be taking a look at luminance blending, which is something we can only do if we have an independent layer. Doesn't work with Smart Filters. Coming right up.

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