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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.
In this exercise we are going to examine alternative sharpening workflow number two, which is sharpening for a RAW photograph, for a RAW digital photograph,. And I am working once again inside of that Alternative Sharpening Workflows.PSD document that is found inside the 02_When_to_Sharpen folder, and I am looking at this and more Layer Comp here inside the Layer Comps palette. We are going to switch for to this Layer Comp, Workflow # 2. So I am go and deselect the image and switch over to it, and then I am going to Shift-Tab away the palettes of course.
That takes us to the headline here, Sharpening A Digital Photograph. What we are about look at actually applies not only to RAW digital photographs, but to any photo captured with a digital camera, it whether captured as a JPEG or a TIFF File. And we'll start things off here by opening the RAW image. First and foremost, if your camera supports a RAW format, whether it is Cannon CRW or CR2, Nikon's NEF, Olympus's ORF, Leica's RAW or one of may others, there's tons of other manufacturers out there with their own RAW formats.
Go ahead and use it. Definitely use your camera's RAW format, if it gives you access to one. It will give you way better quality images in the long run. For best results, open that image in Adobe's Camera RAW, which ships along with Photoshop, or inside Photoshop Lightroom if you have it. Then we are going to smooth and sharpen the image, once again just as we did with the film photograph. But this time we are going to be sharpening it inside of Camera RAW or Lightroom. Now it's important to note that most cameras capture just one channel of information per pixel, strange as that sounds.
You are either capturing green information or red information or blue information, and I will show how that works in the later Chapter. ACR, that is Adobe's Camera RAW, or Lightroom calculates the full color image by averaging each pixel with its neighbors. A process called demosaicing. This leads to softness, which you can counter with sharpening and you typically apply that sharpening directly inside ACR or Lightroom as you will see later. Next you go ahead edit the image of course, after conveying the image to Photoshop, make any and all desired modifications, keep them nondestructive when you can, and save the layers, masks and the other falderal in the native PSD format, so just a different way of saying something that I have said several times now.
Then we move on to the final phase here, flatten, resample and sharpen, again we are in familiar territory, but this time I am telling you why it is we can get away with the second pass of sharpening. Downsampling averages away much of the first sharpening pass, so it's really not that evident anymore, which is in part why I advocate second pass. The other part is that the first pass and the second pass serve totally different purposes and therefore are warranted. Alright. There you have and that's how you go about sharpening a digital photograph, whether RAW or otherwise, as captured ofcourse by a digital camera.
In the next exercise we are going to talk about alternative sharpening workflow number three, which is selective sharpening, stay tuned.
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