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Photoshop CS3 Sharpening Images
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Sharpening for inkjet output


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Photoshop CS3 Sharpening Images

with Deke McClelland

Video: Sharpening for inkjet output

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.
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  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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Photoshop CS3 Sharpening Images
10h 33m Intermediate Feb 15, 2008

Viewers: in countries Watching now:

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.

Topics include:
  • Understanding the effects of sharpening
  • In-depth examinations of Unsharp Mask, Smart Sharpen, Emboss, and High Pass
  • Smoothing an image with the Surface Blur, Despeckle, and Reduce Noise features
  • Working with smart objects and smart filters
  • Creating edge masks and non-edge masks
  • Sharpening for digital-image capture using Camera Raw
  • Gauging and exploiting luminance frequency
  • Exploring creative applications of sharpening
  • Sharpening a multilayer composition
  • Sharpening eyes, hair, and out-of-focus backgrounds
  • Reducing noise in a high-frequency image
  • Determining ideal settings for commercial and inkjet output
  • Sharpening very large-format images
  • Sharpening an image for the web or screen output
Subjects:
Photography Sharpening
Software:
Photoshop
Author:
Deke McClelland

Sharpening for inkjet output

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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