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Reducing noise in a high-frequency image

From: Photoshop CS3 Sharpening Images

Video: Reducing noise in a high-frequency image

Alright gang I am still working inside of the image Field of greens.PSD that I opened in the previous exercise. The only modification I have made so far is to draw a gradient inside of this Smart Filter mask right there. I drew a black to transparent gradient and then I faded it to 65% in order to protect the antialiasing at the top of this hill, so that the cabbages aren't getting quite so jagged. In this exercise we're going to take a look at how to defeat the noise up here in the sky.

Reducing noise in a high-frequency image

Alright gang I am still working inside of the image Field of greens.PSD that I opened in the previous exercise. The only modification I have made so far is to draw a gradient inside of this Smart Filter mask right there. I drew a black to transparent gradient and then I faded it to 65% in order to protect the antialiasing at the top of this hill, so that the cabbages aren't getting quite so jagged. In this exercise we're going to take a look at how to defeat the noise up here in the sky.

Now the noise is very difficult to see inside the video but it is there. Trust me, it's there. Normally what we do, if you recall from a few chapters back, if we're going to be reducing noise and smoothing out the image, we need to smooth before we sharpen. So that means that we need to apply the Reduce Noise filter. That's the filter we'll be using inside of this crop rows Smart Object, because after all we can't have Reduce Noise being effected by an edge mask. It has to be effected by a non-edge mask, exactly the opposite of the mask that we have going right there.

So that means we need a Smart Object inside of a Smart Object. So what we would normally do is double-click on this Smart Object to enter it, but if we do that here we bring up Camera RAW, because this is Camera RAW Smart Object. So in other words, we can't get to that Background layer that we need in order to create another Smart Object and apply Reduce Noise to it. Now you might say, OK, well then here we are inside of Camera RAW, Camera RAW has a noise reduction function after all. I'll go ahead zoom in on the sky here, so that we can see it a little more closely.

Again, I doubt you're going to be able to make out the noise very well, but there is noise inside of that sky. You see can see that I've up'ed the Vibrance value here inside the Basic panel and that's it. I am then going to go over to the Detail panel where I have done a little bit of work. I went ahead and applied the standard Sharpening settings that are required to compensate for the demosaicing process. I have also applied a fairly standard Color noise reduction value of 25, and I have up'ed the Luminance noise reduction value to 15. Now what we're seeing there inside the sky, if you're working along with me, you'll be able to make out some luminance noise.

That's the kind of noise that we have here that we're trying to get rid of. And so you might think, lets just increase the luminance value. Here is the problem. If we increase that value, we're going to end up smearing the good details inside of the image, because while we can mask the sharpening effect using this masking value right there in order to create an edge mask, we can not create an on the fly non-edge mask inside of Camera RAW. It's more flexible to get rid of noise inside of Photoshop crop rows; that's what I am try to say. So lets go and cancel out of Camera RAW. So what in the world do we do? I can't get in there to do my work.

Basically you have to bear in mind, in Photoshop's defense, Smart Objects and Smart Filters are fairly new features. Smart Objects came about in CS2 and Smart Filters came about in CS3. There are a lot of limitations that they throw in your path right now. I hope by like CS5 or CS6 that a lot of this stuff is worked out. Maybe even CS4. That'd be great. But in the meantime, I will show you this wonky workaround. That is a best workaround I've found anyway. So here's what we are going to do. Select that crop rows layer right there, and then press Ctrl+Alt+J or Command+Option+J in the Mac, to jump it to a new layer or just basically cloning a layer, and I am going to call is XXX because its just placeholder.

And XXX tells me that I'll ultimately delete this layer; it's just a temporary layer that I need for now. I click OK. And what it really is is a placeholder to keep track of the sharpening effect, so that I don't lose it. I am going to go ahead and turn that layer off. I am going to down to crop rows, and I am going throw its Smart Filter effect. Notice that I am dragging the Smart Filters down to the trash can right there, and under Windows Vista, you get this little preview of the filter. So the filter icon on the Mac, you don't that. I am just going to go ahead and drag it down, but it will, if you drag it off into the trash can, it will get rid of the effect, because I need to go ahead and apply Reduce Noise to this guy.

So now lets go over to Channels tab and load ourselves a channel as a selection, because we need to create a non-edge mask. So we need a base mask to work from. SoI am going to go ahead and Ctrl-click or Command-click on the green channel in order to load it as a selection outline, then I'll return to Layers palette, let's go up to the Filter menu, choose Noise and choose Reduce Noise. I've already applied these settings right here in advance, so they're still up, which is a Strength value of 8, Preserve Details of 45. Incidentally: you might see this weird sharpening effect that's being applied by Reduce Noise, because I think the values that you've got are 3 for Strength, 0 for Preserve Details and Reduce Noise, and then like 100 for Sharpen Details. That's your culprit, as you have Sharpen Details set so high, and it ends up giving you kind of a more accurate style sharpening effect or like something you might get inside Camera RAW.

Anyway, what we want are these values here, 8 for Strength, 45 for Preserve Details, and 0 for the other two. Remove JPEG Artifact should be turned off, and then go ahead and click OK in order to create that Reduce Noise Smart Filter. Now lets go ahead and convert this mask into a non-edge mask, and we're going to that by Alt-clicking on the mask, or Option-clicking on the mask thumbnail on the Mac, in order to see the mask here inside of the image window. I am going to go up to the Filter menu and I am going to choose Noise and I am going to choose Median.

You may recall if you were with me a few chapters back when I showed you how to create non-edge mask in the first place, you may recall that we went with a pretty high Radius value of 10 pixels, but that's because we were working with a portrait shot. This is a high frequency image obviously, so we need to keep our Median value very low so we don't end up ruining all the good details inside of here. So I am going to set it to 2 pixels and click OK. Then I go up to the Filter menu choose Stylize and choose Find Edges, and that goes ahead and protexts the edges with black and leaves the non-edges white. Except we do have some texture going on inside of the sky there that we need to eliminate.

I want the sky to be nice and smooth so press Ctrl+L or Command+L on the Mac to bring up the Levels dialog box. I am going to click in this third value right there, the White Point value, and I am going press Shift+Down arrow three times in order to reduce that value from 255 to 225. Notice our sky is nice and white now. I'll click OK to accept that change and then finally we need to blur the edges a little bit. I am going to go to the Filter menu choose Blur and choose Gaussian Blur, and we're going to match the Radius value that we applied with the Median filter, which is 2 pixels.

So I'll go ahead and click OK, and we're done. that's the edge mask. That's all there is to it. Go ahead and Alt-click or Option-click on that filter mask again in order again in order restore the RGB image. Now at this point you might say, how in the world does this work at all for us? We've certainly gotten rid of the noise inside of the sky. It's hard to make out inside the video, so I am not even going to bother to show, but you may see the difference on your screen if you're working along with me, and you will see the difference shortly. But we've lost that sharpening effect, which was after all kind of more important to what were trying to accomplish here.

How do we reinstate the sharpening effect on this Smart Object right there? Well, I'll show you when we create a third level of Smart Object, a Smart Object inside of a Smart Object inside of a Smart Object in the next exercise.

Show transcript

This video is part of

Image for Photoshop CS3 Sharpening Images
Photoshop CS3 Sharpening Images

115 video lessons · 17038 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  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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