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Sharpening the luminance data

From: Photoshop CS3 One-on-One: Beyond the Basics

Video: Sharpening the luminance data

Here's the sharpened version of the orange on blue snake from the previous exercise. Now were you to inspect this image very carefully, you might start to notice that there are some color disparities showing up inside the image so in addition to sharpening the edge detail, the Unsharp Mask command has also brought out some color anomalies and they are very subtle as it turns out but they are evident inside this image but subtlety be darned.

Sharpening the luminance data

Here's the sharpened version of the orange on blue snake from the previous exercise. Now were you to inspect this image very carefully, you might start to notice that there are some color disparities showing up inside the image so in addition to sharpening the edge detail, the Unsharp Mask command has also brought out some color anomalies and they are very subtle as it turns out but they are evident inside this image but subtlety be darned.

I figure I am going to show you when I am talking about more obviously inside of a totally different image here, so I would like you to switch this image, it's called barehead.jpeg, it's also available to you inside the Elevensharpen folder. Now this image I shot, I photographed this one, it's a bare head on a wall unfortunately dead animal I am afraid. Now if you check out its fur, I am going to go ahead and zoom in on the fur here. It looks like it's fairly uniformly sort of orange and warm, doesn't it? Turns out that there are some slight color variations going on and some rather cool shades going on inside of this fur as well and that's the kind of thing that the Unsharp Mask command and any sharpening functioning for that matter tends to exaggerate and I want to show you what I am talking about.

So let's go up to the Filter menu and notice now that the first command at the top of the Filter menu is Unsharp Mask. We could repeat the last settings we applied by pressing Ctrl+F on Command+F on the Mac or if wanted to bring the dialog box back up on screen and apply different settings then you would press Ctrl+Alt+F or Command+Option+F. Let's go ahead and do that. I will go ahead and escape off the menu here and I would press Ctrl+Alt+F on my keyboard in order to bring up the Unsharp Mask dialog box once again.

And I am going to apply some very exaggerated numbers here. I am going to zoom out from the barehead inside of the in dialog box preview and I am going to focus in on his eye here and I am going to take this amount value up to 500% and I am going to raise the radius value to 4 and I am going to take the threshold value down to 0. Alright so these are some very exaggerated values but go ahead and check out what the barer looks like. I am zoomed in now to the 100% zoom ratio. Not only am I bringing out a lot of noise which one would expect given the high amount value and high radius values but I am also bringing out a lot of weird colors inside the bare and there is nothing special going on inside of this image.

This is the way it is. I didn't prep this image to make it specifically behave this way. It just has this quality about it and what's happening is that Photoshop is exaggerating color problems that were already inherent inside the image. They were just so subtle that we couldn't see him but now that we have sharpened the image we really can't see the problems. So alright, I am going to go ahead and click OK in order to apply those exaggerated settings. What's happening here is that Photoshop is going through and sharpening the red channel, the green channel and the blue channel independently of each other.

Check out that blue channel. What a mess? Now I photographed this image using a midrange camera, so not a really super deluxe model and mid-range cameras often hide a bunch of garbage inside the blue channel and that's what's happened to this image. So this is the before version of the blue channel, still really bad and this is the after version, thanks to the Unsharp Mask command and thanks to the horrible mess of this blue channel. We are having a lot of color mis-registration going on in the composite RGB image and as a result we are seeing blue and purple up here inside of the hair.

Alright I am going to zoom back out because we can see it clearly from pretty far away here. Alright I am going to show you two fixes for this effect. I am going to undo the Unsharp Mask command. First I will show you a very popular technique for avoiding color sharpening and strictly sharpening the luminance levels inside of an image and then I will show you what I think is a better and certainly an easier way to work. Alright so here's the common technique, starting with an RGB image go up to the Image menu, choose mode and switch to L-A-B color or LAB color if you prefer.

And that divides the colors inside of an image into 3 different channels, lightness which is all the luminance levels then we have got A and B. Now they don't look like much but there are different color variations. Basically B is showing you your temperature variations between blue and yellow and A is showing you your tenth variations between green and magenta and we will look at temperature and tend to more detail when we take a look at Camera but for now if you want to see what their contributions are you can just turn on like A and lightness at the same time and then you can see that A is contributing the greens and magentas.

I will turn off A and I will turn on B and you can see that B is contributing the yellows and blues. Alright, doesn't really matter because always care about is lightness, so what I want you to do is this, starting in the LAB, the composite LAB image, click on the lightness channel here inside the Channels Palette and then click the eyeball in front of the LAB image so that you are seeing all the channels but you are only modifying the lightness channel. Now go to the Filter menu and reapply the Unsharp Mask command. You don't have to press Ctrl+Alt+F or Command+Option+F this time.

You can just choose the command or press Ctrl+F and notice what happens. This time the exact same settings and amount of value 500%, a radius of 4 and a threshold of 0 and we are not exaggerating the color disparities at all. We are only focused in on the luminous levels inside the image. Alright, so that's one way to work. It's a good way to work. There is nothing wrong with it except it's kind of a multistep operation and in that regard it's a little bit inconvenient. My preferred way to work is not only a little more straightforward and involves fewer steps but also it provides a little more flexibility as it turns out.

So I am going back-step I am going to press Ctrl+Alt+Z, Ctrl+Alt+Z a couple of times there to restore the RGB version of my image that would be Command+Option+Z twice on the Macintosh side of things. Now here I am back in the RGB image. I am going to reapply the filter once again by just choosing the Unsharp Mask command from the Filter menu. It's going to look right and it's going to look horrible. Now go to the Edit menu and choose Fade Unsharp Mask. Brings up the Fade dialog box which allows you to merge the after version, the Unsharp Mask version of the image with the original version of the image.

Now I am going to start things off by modifying the mode setting here. I am going to click on the word Normal and notice these guys down here Hue Saturation Color and Luminosity. Now as we have seen in the past color is made up of Hue and Saturation working together. Where I to apply my modifications just to the color, I would just bring out these color anomalies and I would not affect the luminance levels at all. The opposite of color is luminosity right here, if I choose it I will only affect the luminance levels and I won't affect the color at all and that's what I want.

So go ahead and choose luminosity, notice what it does, those colors fade away. We get the original colors inside the bare. We apply the Unsharp Mask command just to the luminance levels and here's where I say thanks for more flexible. Now that I have seen that luminosity takes care of my problems I can back off my affect. I know I went way too far with it, right, I didn't want an amount value of 500% and a radius of 4, that's ridiculous. So I will go ahead and tamper my affect by reducing the opacity value. I can apply both operations from one dialog box with convenience and I didn't have to go onto the LAB mode so it's totally awesome.

I will click OK in order to accept the affect. Now I am going to go ahead and show you before and after version of my sharpening. I will press the F12 key to load the original image, the one that was saved to disk and then I would press Ctrl+Z or Command+Z in order to show you the sharpened version, thanks to the Unsharp Mask filter and the Fade command set to the luminosity blend of mode and a lowered opacity value.

Show transcript

This video is part of

Image for Photoshop CS3 One-on-One: Beyond the Basics
Photoshop CS3 One-on-One: Beyond the Basics

129 video lessons · 39184 viewers

Deke McClelland

Expand all | Collapse all
  1. 1h 15m
    1. Welcome to Photoshop CS3 One-on-One: Beyond the Basics
      2m 5s
    2. Selecting glass and water
      5m 23s
    3. Establishing a base layer
      4m 0s
    4. The Color Range command
      6m 45s
    5. Selecting sparkles
      3m 19s
    6. Setting sparkles to Screen
      4m 19s
    7. Selecting and compositing hair
      2m 59s
    8. When Color Range falls short
      7m 25s
    9. Selecting a base channel
      4m 25s
    10. Enhancing the channel's contrast
      4m 4s
    11. Dodging the highlights
      5m 55s
    12. Putting the mask in play
      3m 20s
    13. Reducing the edge fringes
      4m 21s
    14. Adding a layer mask
      4m 53s
    15. Creating a gradient quick mask
      5m 26s
    16. Blurring the layer mask
      5m 51s
    17. And that's just the beginning...
      1m 15s
  2. 1h 13m
    1. Edge-enhancement parlor tricks
      1m 30s
    2. The subterfuge of sharpness
      3m 14s
    3. The single-shot sharpness
      3m 47s
    4. Unsharp Mask
      5m 17s
    5. Understanding the Radius value
      4m 31s
    6. Gauging the best settings
      7m 14s
    7. Sharpening the luminance data
      8m 25s
    8. USM vs. Smart Sharpen
      6m 0s
    9. Smart Sharpen's Remove settings
      6m 23s
    10. High-resolution sharpening
      6m 4s
    11. Leave More Accurate off!
      2m 29s
    12. Turn More Accurate on
      2m 58s
    13. The Advanced options
      5m 17s
    14. Saving Smart Sharpen settings
      4m 18s
    15. Accounting for camera shake
      6m 0s
  3. 1h 24m
    1. Why the heck would you blur?
      1m 20s
    2. The "bell-shaped" Gaussian Blur
      7m 16s
    3. The Linear Box Blur
      2m 58s
    4. Median and its badly named progeny
      6m 3s
    5. Surface Blur and the rest
      5m 36s
    6. The Motion Blur filter
      3m 2s
    7. The Radial Blur variations: Spin and Zoom
      5m 55s
    8. The Captain Kirk-in-love effect
      6m 50s
    9. Averaging skin tones
      6m 2s
    10. Addressing the stubborn patches
      6m 0s
    11. Combining Gaussian Blur and Average
      4m 8s
    12. Blurring surface details
      7m 2s
    13. Smoothing blemishes while matching noise
      7m 52s
    14. Reducing digital noise
      8m 22s
    15. Smoothing out JPEG artifacts
      6m 1s
  4. 45m 28s
    1. Behold, the layered composition
      1m 13s
    2. The Layers palette
      5m 8s
    3. Enlarging the hand
      4m 40s
    4. Erasing with a layer mask
      6m 28s
    5. Moving a layer
      4m 3s
    6. Combining layers into a clipping mask
      4m 42s
    7. Hair and stacking order
      6m 12s
    8. Adding a frame and expanding the canvas
      6m 2s
    9. Adding a vignette
      7m 0s
  5. 42m 27s
    1. Organization: It sounds dull, but it rocks
      1m 8s
    2. The terrible battle
      3m 3s
    3. Assembling the base composition
      5m 46s
    4. Adding adjustment layers
      4m 55s
    5. Creating a layer group
      2m 24s
    6. Grouping selected layers
      3m 13s
    7. Making the TV lines
      4m 17s
    8. Introducing layer comps
      5m 52s
    9. Saving your own layer comps
      6m 40s
    10. Final footnotes
      5m 9s
  6. 1h 23m
    1. Parametric operations
      1m 4s
    2. The power of blend modes
      6m 44s
    3. Changing the Opacity value
      5m 35s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      5m 38s
    6. Blend mode shortcuts
      5m 52s
    7. The darkening modes
      6m 12s
    8. Tempering a Burn effect with the Fill value
      3m 53s
    9. Saving a blended state
      2m 54s
    10. The lightening modes
      4m 55s
    11. The contrast modes
      7m 13s
    12. The comparative modes
      7m 25s
    13. The composite (HSL) modes
      6m 2s
    14. The brush-only modes
      8m 11s
    15. Blending groups
      7m 10s
  7. 1h 27m
    1. At this point, there is a great shift...
    2. Messing with the masters
      2m 28s
    3. Scaling a layer to fit a composition
      6m 39s
    4. Merging clock face and cardinal
      2m 2s
    5. Rotating the minute hand
      7m 42s
    6. Replaying the last transformation
      3m 50s
    7. Second hand and shadows
      5m 0s
    8. Series duplication
      3m 23s
    9. Skews and perspective-style distortions
      6m 43s
    10. The envelope-style Warp function
      7m 32s
    11. Introducing the Liquify command
      5m 9s
    12. Adjusting the brush settings
      4m 2s
    13. Viewing layers and the mesh
      4m 18s
    14. Incrementally undoing undesirable effects
      4m 5s
    15. Twirl, pucker, and bloat
      2m 2s
    16. Push, mirror, and turbulence
      4m 37s
    17. Protecting regions with a mask
      3m 41s
    18. Applying a digital facelift
      10m 53s
    19. Saving and loading mesh settings
      2m 31s
  8. 1h 18m
    1. Planes and perspective
      1m 7s
    2. The Blue Gallery
      2m 47s
    3. Introducing Vanishing Point 2.0
      5m 30s
    4. Drawing out perpendicular planes
      6m 54s
    5. Exporting the gridlines to a layer
      4m 45s
    6. Cloning an image from one plane to another
      7m 58s
    7. Blending the image into its new home
      6m 31s
    8. Healing away the sockets
      7m 48s
    9. Importing a new image
      6m 20s
    10. Masking and shading the image
      7m 27s
    11. Flat in, perspective out
      5m 57s
    12. Adding perspective type
      4m 50s
    13. Swinging planes to custom angles
      6m 2s
    14. Wrapping art around multiple surfaces
      4m 35s
  9. 1h 15m
    1. Type: The great imaging exception
    2. Creating an independent text layer
      6m 39s
    3. Editing vector-based text
      6m 38s
    4. Working with area text
      6m 15s
    5. Resizing the text frame
      6m 4s
    6. Obscure but important formatting options
      7m 25s
    7. Text editing tricks and shortcuts
      9m 38s
    8. Adding a ghostly cast shadow
      6m 19s
    9. Backlighting the text
      2m 48s
    10. Creating type on a path
      7m 37s
    11. Pasting text along the bottom of a circle
      3m 50s
    12. Flip and baseline shift
      3m 15s
    13. Warping text
      3m 58s
    14. Scaling the warped text to taste
      4m 18s
  10. 1m 11s
    1. See ya for now
      1m 11s

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