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Revealing high-frequency multipass sharpening

From: Photoshop CS3 Sharpening Images

Video: Revealing high-frequency multipass sharpening

In this exercise, we are going to do a little bit of soft proofing. I am going to attempt to show you the contribution made by the various phases of sharpening when we are doing multi-pass sharpening inside of Photoshop. I am doing this sort of faux soft proofing thing for you. We're proofing the image at a 117 pixels per inch because I can't show you the way the images really print. If this were a book, I can show you printed output; this is a video, so we are going to do soft proofing on screen. So here's the idea, and of course by the way you can print the document yourself if you want to and that's going to give you the best sense of whats going on.

Revealing high-frequency multipass sharpening

In this exercise, we are going to do a little bit of soft proofing. I am going to attempt to show you the contribution made by the various phases of sharpening when we are doing multi-pass sharpening inside of Photoshop. I am doing this sort of faux soft proofing thing for you. We're proofing the image at a 117 pixels per inch because I can't show you the way the images really print. If this were a book, I can show you printed output; this is a video, so we are going to do soft proofing on screen. So here's the idea, and of course by the way you can print the document yourself if you want to and that's going to give you the best sense of whats going on.

But before we do that, you may recall at the end of the previous exercise, I went ahead and flattened the entire image, in order to nail down that sharpening effect and this is sharpening for inkjet output, incidentally and then I use the Image Size commands to reduce the resolution to a 117 pixels per inch. Because I am pretending that I am working on that 17 inch MacBook Pro. Well I obviously want to undo those changes because if I were to save the image this way I am losing a lot of resolution, so I am throwing away a bunch of pixels. And of course I have flattened the image, so I lost my effects as well.

This was just for screen purposes only. I will go to the History palette. If you were to do what I did, youd go to the History palette and you'd backup two steps here. You get rid of Image Size, you get rid of Flatten Image, you click on whatever happened before Flatten Image, in order to regain your effects and regain the high resolution of your image. I will go ahead and zoom out here a little bit because we have got a larger image to work with. Of course, you would go up to the File menu and choose the Save command in order save the results of your labors.

Alright. I am not going to do because I'd overwrite one of the documents I am giving you. Instead what I am going to do is I am going to bring up this other document that's called Comparison (landscape).PSD and it is the screen res version of the image. So it is a soft proof version and notice what we have here, we have four different versions of the image to choose from. No sharpen or NR, meaning no sharpening or noise reduction applied to the image whatsoever. This is what the original image would like. The only change I made was to blue up the sky.

To make the sky bluer so that we are retaining that modification throughout all of our comparative photos here. That's all I did but otherwise I didn't sharpen for source, I didn't sharpen for detail and I didn't sharpen for output. This is what the image would like when we printed it, which is to say fairly soft, actually pretty darn soft and less distinct then we needed to be. Here's what would happen, if we didn't apply any output sharpening, but we go ahead and sharpen for the source and we sharpen for the details as well and then we print the document.

So basically this is the way the image looked like after we applied the noise reduction. By about the fourth exercise if we just gone ahead and flattened the image and printed it, this is what it would have ended up looking like. So its better than the original version of the image, but only slightly. Its actually pretty difficult to see the difference at this point, it's just slightly, ever so slightly sharper in some of the forward details here. You can see that a little bit at the 200% view size. So really, a lot of that work we did isn't translating to the final piece, but it is translating to the final application of sharpening.

Here is what would happen if we didn't do that. We didnt do any of the source sharpening, we didn't do any noise reduction, we didn't sharpen for detail, so we just opened up Nick Robert's original image and we applied output sharpening, which is what most people do by the way. They just apply output sharpening that's all they do, nothing more. Then we would definitely get a sharper image. This is the image as it looked originally, so fairly soft, and this is what it looks like with output sharpening. So it does look sharper. We are getting better detail out of it, but it gets even better if we combine all of the noise reduction and sharpening.

If we combining sharpening for source, sharpening for detail, and sharpening for output altogether, then we get this final effect, the multi-pass sharpen right there and notice how much better it gets. This is without the various phases of the sharpening, this is with the various phases of sharpening. So I am going to go ahead and zoom out here. Alright. So lets take it in at 100% zoom level. Lets go ahead and work through everyone on of these again. This is without any sharpening whatsoever, this is what happens when we apply all of the noise reduction and sharpening except of the output sharpening.

Here's the effect we get if we only apply output sharpening, which as I say is the way most people work, and here is the brilliant wonderful effect that we get if we apply all stages of sharpening. You can see that we get much better results in a distant object, if we go ahead and stick with the entire multi-pass sharpening process. That's fairly subtle actually. Although you would notice that even more in print, if you were to print every one of these at high resolution, then you would get a better sense of what is going on, but it's fairly subtle.

Once we start working with more elaborate images that have lots of different details going inside of them, including portrait details going on, low frequency portrait shots, you are going to see more dramatic, more pronounced effects and we will begin to get a sense of how those effects work in the next exercise.

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This video is part of

Image for Photoshop CS3 Sharpening Images
Photoshop CS3 Sharpening Images

115 video lessons · 17017 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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