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Now that we have assigned the proper settings for the commercial reproduction of this image, lets take a look at the settings that we would apply for local inkjet or dye sublimation output. If you just joined me, I am working inside of the catch up document called Halftone landscape.PSD because we have prepared the image for halftone reproduction and of course it's found inside the 08_For_Output folder. Lets go over to our Smart Object right here that has the High Pass filter assigned to it and lets turn High Pass off. We don't want to apply two passes of the output sharpening.
We just want one or the other; we are just keeping High Pass around in case we need it and we also keep Smart Sharpen around in case we need it. By the way, lets go ahead and check out our chart once again, this is that Recommended Settings.PSD file and I am going to bring up my Layer Comps palette and switch over to inkjet. So that we can see that since we are going to 300 PPI; we want to apply this Smart Sharpen filter because we're outputting to a local printer and we want to use an Amount value of 100%, a Radius value of 3 pixels and we are setting the Blend mode to Luminosity.
We are going to keep the Opacity value to 100%, More Accurate will be turned off and though it is not here inside of the table, we also want Remove to be set to Lens Blur. Alright. So lets go ahead and switch back to this image right here and I am going to go up to the Filter menu, I am going to choose Sharpen and I am going to choose Smart Sharpen and here are my settings actually right ready to go. An Amount value of 100%, a Radius value of 3.0 pixels, Remove set to Lens Blur, More Accurate to turned off and that's it. Then click OK in order to accept that modification.
Now lets change the blending settings, go ahead and double click on the blending icon to bring up the Blending Options dialog box to change the Mode value to Luminosity. We always do that and we always leave Opacity set to a 100% when preparing for inkjet or dye sublimation. Go ahead and click OK in order to accept that modification and there are our two passes and the great thing is if you have both of these filters ready and waiting for you, you know what they mean this way. You know High Pass is for commercial reproduction, you know Smart Sharpen is for inkjet and so you can turn them on or off.
So it is very handy that were using different filters for these different processes here. If they both said High Pass or they both said Smart Sharpen, it would be very confusing, it would be very easy to select the wrong one. So here's what we are going to do. I can't create Layer Comps. Layer Comps do not track which Smart Filters are turned on or off. So that is too bad. It is kind of a kerfuffle where Photoshop is concern. A little bit of mistake I think. Hopefully, they will remedy that in the future, but in the meantime, I am going to kind to have to turn one off and one on very quickly in order to show the difference between the two.
So keep your eyes peeled. Lets go and zoom in a little bit actually to take it in. So with Smart Sharpen, we have very hard highlights and very dark shadows around the edges inside of this cabbage. We are looking at the lower right corner of the document and I will go ahead and turn High Pass on and then Smart Sharpen off very quickly there. And there is the High Pass version of the image with more mellow highlights and shadows. It's not a lot different, it is just slightly different, but the mellower shadows, or mellower highlights and shadows are going to work better for half tone reproduction whereas for inkjet, we are better off with very hot highlights and shadows produced by Smart Sharpen.
So that's it folks. We have sharpened this image accurately for both kinds of output. If you want to get a sense on screen, you may recall you can soft proof the output by flatting the entire thing. You would have to flatten to make sure that you are anchoring down your sharpening settings right there. Go up to the Layer menu and choose the Flatten Image command and bear in mind, I am not doing that because I really want to flatten the image. I don't. I want to soft proof the image on screen here. So I've flattened the image, as I say that nails down those Smart Sharpen settings, so they don't stay at their previous settings.
We do not keep the big halos when we resample the image. Then we are going to go to the Image menu and choose the Image Size command and we are going to reduce the Resolution value with resample and Constrain Proportions both turned on; we are going to reduce the Resolution value to that imaginary screen resolutions. I am imaging that I am working on 17 inch MacBook Pro you may recall that has a screen resolution of 117 pixel/inch this goes way back to Chapter 1 and I will click OK and then we will zooming and this is what our image would look like if I am viewing it a 100%, I'll actually take it closer to 200%.
This is what our image would like when it is printed. You know what I am going to do, I am going to show you the difference. We are going to soft proof every stage of the sharpening process. I am going to show what every stage contributes to this image, whether we're sharpening for source or we're sharpening for detail, or we're sharpening for output here, and I will show you that and what contribution is made by every phase of process in the next exercise.
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