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Sharpening with the High Pass filter

From: Photoshop CC One-on-One: Intermediate

Video: Sharpening with the High Pass filter

In this movie, I'll demonstrate a more nuanced but less intuitive approach to sharpening, that relies on a filter called High Pass. And the great thing about High Pass is that it naturally avoids clipping the highlights in shadows around the halo which typically makes it better for sharpening portraits even if that portrait is a couple of squirrels in love. Now I've set things up so that we've got two layers both of which are expressed as smart objects. I'll start off with the traditional approach by going up to the filter menu, choosing sharpen, and then choosing smart sharpen And I'll switch remove back to its default setting of Lens Flare, and then I'll crank the amount value up to its maximum of 500%.

Sharpening with the High Pass filter

In this movie, I'll demonstrate a more nuanced but less intuitive approach to sharpening, that relies on a filter called High Pass. And the great thing about High Pass is that it naturally avoids clipping the highlights in shadows around the halo which typically makes it better for sharpening portraits even if that portrait is a couple of squirrels in love. Now I've set things up so that we've got two layers both of which are expressed as smart objects. I'll start off with the traditional approach by going up to the filter menu, choosing sharpen, and then choosing smart sharpen And I'll switch remove back to its default setting of Lens Flare, and then I'll crank the amount value up to its maximum of 500%.

I'll leave the radius set to 3 pixels, but I want you to remember that value, because it's going to come in handy when we apply High Pass. And because I've got some noise going on in the background here I'm going to take the reduce noise value up to 25% which will produce this effect here. Now obviously that's too much sharpening so I'm going to have to back it off. But I'll do so after clicking the OK button. Now I'm going to go ahead and zoom these guys in to 100% so that we can take in every pixel.

And I'll double-click on the slider icon to bring up the blending options dialogue box. And keep an eye on this area of the squirrel right there, the right squirrels eyebrow. Notice how there are some aberrant colors at work there but as soon as I choose Luminosity those colors disappear. I'm also going to take the opacity value down to 50%, which will not only mitigate the effect but cut down on the halo clipping as well. Then I'll click OK to apply the effect. You know everything at this point is looking very good, but we can do slightly better.

I'll go ahead and turn on the high pass layer here and select it as well. And then you want to go up to the filter menu, choose other, and choose high pass. Now high pass on its own produces about the ugliest effect possible. What it does is it changes all the non-edges in an image to grey and then the edges don't quite go to grey. They almost go to grey, but they sort of hang in there. And so it's basically separating the edges from the non-edges inside the image. Now HighPass relies on galsium blur instead of lens blur to calculate it's halos.

So you want to set the radius value to about half of what you did inside Smart-sharper which would be 1.5 pixels and then click OK. The next step is to drop out the grays and keep the relative highlights and shadows. And you do that by double-clicking on a slider icon, to the right of the words high pass, and then you want to change the mode to one of the contrast modes. If you want a subtle effect, you go with overlay, like so. But I want to make this effect really pop on screen so I'm going to select the highest impact contrast mode which is linear light.

And we'll end up with this effect here. And then click OK in order to apply that modification. Now go ahead and zoom in on the details here because this is a pretty subtle difference I'm going to show you. If I turn of the high pass layer, we'll see the results of smart sharpening. And notice how even though smart sharpen is doing a diligent job of tracing around all these hairs on the squirrel's face. It's doing so in a relatively flat manner. So we have some flat shadows, and some flat highlights.

Especially in contrast with the High Pass effect, which gives us more volumetric details, so the hairs appear to be more rounded. Now as they say, it's a subtle distinction, but when you really care about the subject of your photograph and you want to make the results appear sharp but contoured, than high pass is the way to go. Now there are a couple of downsides associated with high pass. First of all you may end up getting the aberind g/ colors. Linear light is pretty good about getting rid of most of them but not all of them.

So check out the squirrel's eyebrow here. This is the colorful high pass version and this is the more uniformly colored smart sharpened version. And then the other distinction is that smart sharpen allows you to get rid of the noise in the background whereas the high pass filter does not. But you can always address the noise in a separate step by going to the Filter menu, choosing Noise and choosing the choosing the Reduce Noise command as I will explain in a future course. In any event, that's how you sharpen using the High Pass Filter Just remember that you want to go with the radius that's about half what you would use With the lens blur setting in the Sharp Sharpen dialogue box.

And to combine high pass along with one of the contrast modes starting with Overlay and ending with linear light.

Show transcript

This video is part of

Image for Photoshop CC One-on-One: Intermediate
Photoshop CC One-on-One: Intermediate

119 video lessons · 9109 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 2m 4s
    1. Welcome to One-on-One
      2m 4s
  2. 29m 46s
    1. The best of Photoshop automation
      35s
    2. Introducing the Patch tool
      3m 43s
    3. Using Content-Aware Patch
      5m 42s
    4. Retouching with Content-Aware Patch
      2m 5s
    5. Using the Content-Aware Move tool
      3m 9s
    6. Using Content-Aware Extend
      2m 4s
    7. The Content-Aware Scale command
      6m 35s
    8. Scaling in multiple passes
      2m 22s
    9. Protecting skin tones
      3m 31s
  3. 32m 55s
    1. Editing the histogram
      1m 50s
    2. The new automatic Levels adjustment
      4m 33s
    3. Customizing a Levels adjustment
      4m 53s
    4. Understanding the Gamma value
      2m 7s
    5. Opening up the shadows
      2m 48s
    6. Previewing clipped pixels
      3m 40s
    7. Retouching with Output Levels
      4m 25s
    8. Making channel-by-channel adjustments
      2m 19s
    9. Faking a gray card in post
      2m 51s
    10. Assigning shortcuts to adjustment layers
      3m 29s
  4. 57m 43s
    1. How sharpening works
      1m 38s
    2. Introducing the Smart Sharpen filter
      6m 56s
    3. Understanding the Radius value
      5m 20s
    4. Gauging the best sharpening settings
      5m 45s
    5. Addressing color artifacts and clipping
      5m 49s
    6. The Remove and Reduce Noise options
      4m 22s
    7. The Shadows/Highlights options
      7m 36s
    8. Correcting for camera shake
      6m 47s
    9. Sharpening with the Emboss filter
      5m 45s
    10. Sharpening with the High Pass filter
      4m 44s
    11. Painting in sharpness
      3m 1s
  5. 1h 9m
    1. Vector-based type
      1m 35s
    2. Creating and editing point text
      5m 58s
    3. Font and type style tricks
      7m 10s
    4. Type size and color tricks
      6m 42s
    5. Kerning and tracking characters
      8m 7s
    6. Creating and editing area text
      3m 50s
    7. Selecting and formatting paragraphs
      6m 36s
    8. Setting text inside a custom path
      5m 32s
    9. Creating text along a path
      6m 12s
    10. Adjusting baseline shift
      4m 45s
    11. Creating and stylizing a logo
      6m 49s
    12. Masking text into image elements
      6m 14s
  6. 57m 13s
    1. The other vector-based layer
      1m 39s
    2. Dotted borders and corner roundness
      8m 14s
    3. Drawing and aligning custom shapes
      3m 55s
    4. Creating your own repeatable custom shape
      5m 43s
    5. Selecting paths and isolating layers
      4m 11s
    6. Combining simple shapes to make complex ones
      5m 59s
    7. Cropping, adjusting, and merging shapes
      5m 50s
    8. Creating a soft, synthetic sparkle
      6m 22s
    9. Saving a resolution-independent PDF file
      6m 42s
    10. Turning a small image into a huge one
      8m 38s
  7. 1h 14m
    1. Depth, contour, and texture
      1m 28s
    2. Imparting depth with a layer effect
      9m 9s
    3. The power of the drop shadow
      7m 37s
    4. Modifying a layer and its effects
      6m 21s
    5. Saving custom default settings
      4m 12s
    6. Creating a custom contour
      8m 5s
    7. Introducing Bevel and Emboss
      8m 8s
    8. Multiple effects and multiple layers
      7m 45s
    9. Global Light and rasterizing effects
      8m 5s
    10. Gloss and surface contour
      6m 4s
    11. Adding texture to Bevel and Emboss
      7m 21s
  8. 34m 48s
    1. Styles store settings
      1m 38s
    2. Creating and applying a paragraph style
      3m 41s
    3. Redefining a style and styling a word
      5m 38s
    4. Creating and styling a placeholder style
      5m 43s
    5. Applying and creating layer styles
      5m 45s
    6. Loading and customizing layer styles
      5m 42s
    7. Merging and saving layer styles
      6m 41s
  9. 56m 48s
    1. Meet the transformations
      1m 55s
    2. Transformations and Smart Objects
      5m 46s
    3. Adjusting the interpolation setting
      5m 10s
    4. Rotating a layer with Free Transform
      5m 22s
    5. Scale, duplicate, and repeat
      4m 30s
    6. Creating a synthetic star field
      5m 20s
    7. Warping a logo with Arc and Flag
      5m 34s
    8. Distort, perspective, and skew
      4m 15s
    9. Using transformations to draw and correct
      7m 0s
    10. Bolstering text with layer effects
      5m 43s
    11. Adding highlights with Lens Flare
      6m 13s
  10. 43m 36s
    1. Removing the weight that the camera adds
      1m 7s
    2. The Warp and Reconstruct tools
      6m 44s
    3. Brush size, hardness, and opacity
      4m 29s
    4. The Pucker, Bloat, Push, and Twirl tools
      7m 12s
    5. Saving and reapplying Liquify settings
      4m 9s
    6. Lifting and slimming details
      9m 42s
    7. Warping legs, arms, and fabric
      5m 33s
    8. Improving a model's posture
      4m 40s
  11. 58m 46s
    1. Shoot in color, convert to black and white
      1m 55s
    2. Three ways to grayscale
      5m 36s
    3. Mixing a custom black-and-white image
      7m 31s
    4. Simulating an infrared photograph
      6m 39s
    5. Creating a sienna-infused sepia tone
      5m 38s
    6. Creating a hyper-saturated image
      5m 26s
    7. Introducing the Black & White command
      3m 16s
    8. Customizing the Black & White settings
      4m 50s
    9. Black & White meets the Channel Mixer
      7m 29s
    10. Infusing an image with tint and color
      5m 9s
    11. Grayscale and Split Tone in Camera Raw
      5m 17s
  12. 41m 34s
    1. The many ways to print
      1m 41s
    2. Using the test document
      3m 18s
    3. Print, position, and size
      5m 57s
    4. Description and printing marks
      3m 3s
    5. Establishing a bleed
      3m 44s
    6. Getting reliable color
      5m 54s
    7. Special printing options
      5m 1s
    8. Previewing an image at print size
      4m 16s
    9. Creating contact sheets
      4m 49s
    10. Creating a multipage PDF
      3m 51s
  13. 31m 9s
    1. Making Internet imagery
      1m 6s
    2. Introducing Save for Web
      4m 39s
    3. Creating the perfect JPEG image
      5m 14s
    4. Creating a high-contrast GIF image
      6m 23s
    5. The two varieties of PNG
      3m 57s
    6. Downsampling for the web
      5m 59s
    7. Adding copyright and contact info
      3m 51s
  14. 1m 3s
    1. Until next time
      1m 3s

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