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In the all-new Photoshop CS5 One-on-One: Mastery, the third and final installment of the popular series, join industry expert and award-winning author Deke McClelland for an in-depth tour of the most powerful and empowering features of Photoshop CS5. Discover the vast possibilities of traditional tools, such as masking and blend modes, and then delve into Smart Objects, Photomerge, as well as the new Puppet Warp, Mixer Brush, and HDR features. Exercise files accompany the course.
Recommended prerequisites: Photoshop CS5 One-on-One: Fundamentals and Photoshop CS5 One-on-One: Advanced.
I've saved the results of the previous exercises as Static High Pass comp.psd. Now that we've reviewed how High Pass Sharpening works, I want to show you how to achieve the exact same effect using Smart Filters, but that requires us to jump through a couple of hoops, because we have to somehow account for the slight amount of color that's associated with High Pass. So I'm going to switch back to Smart squirrels.psd which you may recall is the result of the first exercise in the chapter. We're going to take off from here because it already has our squirrels converted to a Smart Object, we've already got the Filter Mask as well to work from.
So that'll save us a couple of steps. Now, I'm going to make a duplicate of the squirrels layer by pressing Ctrl+Alt+J or Command+Option+J on the Mac and I'm going to call this layer unsharpened base, because it is going to serve as our base image. I'll click OK, I'll move it underneath squirrels like so because squirrels will have the sharpening information associated with it. I'll go down here to the Smart Filters item underneath unsharpened base, and I'll right-click on it, and then I'll choose Clear Smart Filters to get rid of all that Smart Filter information. So we now have two true clones as you may recall from the previous chapter.
Both of the Smart Objects are pointing to the same original image. So if we were to later modify that original image by double-clicking on the Smart Object and bringing up a new window, making your modifications, then both unsharpened base and squirrels would react to those changes which is a good thing, because that means our filtering effect remains live no matter what we do. All right! Let's switch back to the squirrels layer now, turn off Smart Sharpen because we don't need two sharpening effects going on at the same time. Then I'll go up to the Filter menu, I'll choose Other, and I'll choose High Pass once again.
By the way, you can just go ahead and choose that very first command at the top of the Filter menu or press Ctrl+F, Command+F on the Mac. And even though we just went ahead and chose the command or press Ctrl+F or Command+F, we get the dialog box again. Normally, when we're working with Static filters, Ctrl+F or Command+F just goes ahead and applies the Filter using the previous settings. However, because we're working with the Smart Object, it forces the display of a dialog box no matter what. Now this happens to be the same effect we applied before that is the same Radius value, that's what we want. So I'll click OK in order to apply that effect.
Now I'll zoom-in so that you can see that we do have a color High Pass effect applied, so we can see a little bit of color in the eyes, some color anomaly is there inside the fur as well. Nothing I can do about that right here. You cannot apply an Adjustment layer to a Smart Filter, nor can you otherwise modify a Smart Filter to make a grayscale for example unless that's part of the Filter. So unless there were some grayscale check box inside the High Pass dialog box which there isn't unfortunately, there's nothing we can do at this point.
So I would go ahead and double-click on the little slider icon right there in order to bring up the Blending Options. Again, there is no Blending Option that combines luminosity along with the Contrast modes. So the Contrast modes are more important in this case because if we were to apply a luminosity, sure we'd get rid of the color anomalies, but we'd get rid of a lot of luminance information inside of those original squirrels and this does not look like a sharpening effect, I do not think. What we need in order to pull this off is one of the Contrast blend modes here, either Overlay for a light effect, Hard Light for a more significant effect, or Linear Light for the biggest effect that we can achieve.
So I'll go ahead and choose Linear Light and we get our color anomalies. So if I zoom-in once again on the squirrel's fur, you can see that we've got all these weird greens and purples going on and so on. So somehow we need to get rid of those, click OK. Well, here is what we do. Again, this is a big hoop to have to jump through in my opinion. So you can decide to write off this technique and just figure it's too much work, it's not the kind of thing you're going to do on a regular basis, or you might decide, yeah, I could accommodate that.
I could write down the steps, I could action it in the future and so on. Anyway, I'm going to go ahead and zoom out a click here, so I can show you what we need to do. You go to the Image menu, you choose mode, and you choose Lab Color, because here's why. Let me escape out for just a second. I'll double-click on the squirrels layer right there in an empty portion to bring up the Blending Options. Remember how we can turn off these Channels check boxes, so we can just affect one Channel and not the others. Well, in our case, that means we could just sharpen let's say the Green Channel by turning off Red and Blue, and then we get even worse anomalies, but that way we are sharpening the closest thing to the detail information inside of an RGB image.
If we switch to LAB, then we can just sharpen the luminance information. We'll see L, A, and B. We can turn off A and B, just sharpen L, and that means that we're avoiding the color. So I'll cancel out of here. Let me show you how that works. You go up to the Image menu, you choose mode, and then you choose Lab Color, and you are now going to be met by two alert messages. And first, you're going to be asked, hey! Do you want to rasterize all your smart objects? You want all this work after all? Do you just want to throw it all away? No, Don't Rasterize.
Then even though you've told Photoshop many times that you do not want to merge your layers when switching color modes, it still asks you if you'd like to do that? Would you like to go and merge the layers? No. You don't want to merge either even though Merge is the suggested button. Go ahead and click Don't Merge, and then you will still have all of your image information intact. You're not losing anything. And you still have your wacky colors going on as well. Now, let's get rid of the wacky colors by double-clicking in empty area of this layer or if you loaded dekeKeys, of course you can press Ctrl+Shift+O, Command+Shift+O on the Mac.
Then there are our Channel check boxes; turn off B, turn off A, and you're left with just L. Check out what's going on in the background there. We've gotten rid of those weird green colors inside of the animal's fur. You click OK and you're done. We have the exact same effect now. If I go ahead and zoom-out and re-center my display here and then switch over to Static High Pass comp.psd, you can see that these two different approaches are achieving the same effect. The advantage of the Smart Filter approach, I need to impress upon you, is that you do have that Filter Mask as opposed to working with the layer mask.
I suppose that's better. But what's definitely better is you have the option to go ahead and modify your settings. So I could double-click on High Pass, and change my Radius setting if I wanted to. I don't, but if I did, I could, cancel out of there and you could also change your Blend mode settings if for example you wanted to reduce the Opacity value or switch from Linear Light to Hard Light or Overlay or something along those lines. Here is the disadvantage you should know about. Besides it's more convoluted and you have to jump through those hoops, I'm going to go ahead and press Ctrl+Alt+O or Command+Option+O on the Mac to switch back to the Bridge.
I want you to see that we have a larger file. So Static High Pass comp which is the one that we created in the previous exercise using an independent layer that had High Pass applied to it, as well as the desaturating Adjustment layer. However, it's not editable, so you can't edit that Radius value after the fact. That file comes at 34.50 Megs. Whereas, the file we just created just now using Smart Filters I had saved in advance as Dynamic High Pass in Lab, that one takes up 49 Megs. So it's considerably bigger.
That's an additional 15 megabytes almost. But you should keep in mind this whole time that the original Rodents in love.jpg file that was flat and had nothing going on, was just 3.36 Megs. So it's about a 10th the size of our Static High Pass comp effect. So the second we start adding layers to that image, it starts getting quite big. But I just want you to see that there is often more overhead in terms of file size associated with Smart Objects and Smart Filters than with static effects. That said, if you're looking for a recommendation from me, I would go the Smart Filter route and that is indeed what I do on a regular basis.
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