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Surface Blur and the rest

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

Video: Surface Blur and the rest

Now I should mention in case, I am not conveying my message properly here. I like the Dust & Scratches filter, I think it's great, in fact I am going to go so far as to show you a really wonderful practical application of the filter in an upcoming exercise. I just think it has a bad name, that's all, alright so Dust & Scratches misleading name, end of story. They should call it Median with Threshold, sure tons of people would call it and say what happened to my beloved Dust & Scratches filter that I use so often to remove dust and scratches, that is the price of progress.

Surface Blur and the rest

Now I should mention in case, I am not conveying my message properly here. I like the Dust & Scratches filter, I think it's great, in fact I am going to go so far as to show you a really wonderful practical application of the filter in an upcoming exercise. I just think it has a bad name, that's all, alright so Dust & Scratches misleading name, end of story. They should call it Median with Threshold, sure tons of people would call it and say what happened to my beloved Dust & Scratches filter that I use so often to remove dust and scratches, that is the price of progress.

Alright, I am going to go ahead and press Ctrl+Alt+C, Ctrl+Alt+C, a couple of times here, Command-Option-C, Command-Option-C and the reason is I am undoing the application of Dust & Scratches and the Median filter, so that my bottom two rectangles are returned to their original states, so that I can apply some other Blur functions to them. We are going to go back to the Blur submenu now and check out some of the secondary blur functions, I would go so far as to call them. Now notice up here in the tittle bar you can see that the two TR layer is selected in parenthesis, you see the name of the active layer and then the Color mode and the bit depth for the image as it turns out.

So when you undo an operation that's going to apply to a layer, Photoshop goes ahead and takes you back to the layer that was selected before the application of the filter in this case. So I have to go back to Layers palette and click on 3BL to make it active once again and you should do that as well. And there are other ways to select layers by the way, but I am just trying to keep it clean. Once we get into our layering chapters, I will show you a bunch of quick ways to switch between named layers, anyway I have got this bottom left layers selected here and I am going to go back up to the Filter menu, choose Blur and very quickly, and let me show you the filters that I am not going to be discussing in an analytical fashion, the Average filter, which just averages all colors on a given layer, I will show you that one later actually, it can't be useful, but it's kind of a brain-dead function.

And then there is Blur which just applies tiny bit of blur, notice these guys don't have "..."after them, so they are single-shot blur functions. Blur More, which just blurs a little bit more, not useful commands. We saw Box and Gaussian Blur here, Lens Blur, a big function that allows you to blur a background so create a real focal blur and if you want to check out that function because there is a lot of stuff associated with Lens Blur, if you want to see that function in operation, we did see it a little bit in operation back in Chapter 10 when we were discussing Masking, but if you want to see a really great application, check out my Photoshop Channels and Mask series, there is just so much going on in that series, I don't want to repeat it.

And then you can check out Chapter 8 which is called Specialty Mask. And there is a couple of Depth-Mask discussions, a couple of exercises on creating Depth-Mask and one of them is called Fashioning a Depth-Mask and the other is called Blurring the Background. Those two exercises, check them out, you can learn all about Lens Blur if you want to. We will be seeing Motion Blur and Radial Blur in just a moment. Shape Blur blurs in predefined shapes, it's just a nutty function, never figured out an application for it. If you find one, ride in, won't you. Smart Blur absolutely not a smart function, unlike Smart Sharpen which is just an awesome feature inside the program.

Smart Blur is absolutely the opposite, it is completely counterintuitive, it is designed by monkeys, I swear to it and what it does is much better accomplished by the Surface Blur function. And if anything is not, it's another "S" word, it's not smart though, it's another "S" word that I have been trained by my little children, we don't say in this house "daddy" alright so another "S" word. You know what I am talking about right, that's right, stupid, oops I said it, stupid blur though. Alright anyway, I am going down to Surface Blur. Let's start with Surface Blur, this is really useful one. See I just went through the list, right okay.

So here is Surface Blur, I am going to choose it so that we can see how it works. And the idea is that it's design to blur the surface detail in an image without harming the big transition, so it's sort of the opposite of what we were seeing with Dust & Scratches except that it's a Blur function instead of an Averaging function. A Dust & Scratches averages the big stuff and leaves the little stuff behind. Surface Blur, blurs away the little stuff and leaves the big stuff behind. Now I am going to go ahead and take the radius value up to 20 because that is our value that we have been applying over and over here.

And I am going to take the Threshold option, this is an upside-down threshold by the way. I am going to take the Threshold option up to 255 levels. And that saying that's when you are blurring everything inside the image because you are saying any 2 pixels as long as they are 255 luminance levels, different or less, alright, that or less is what's coming in the play here. Then they will get blurred, so everything gets blurred at 255 and you can see what the blur looks like, it's a little weird sort of linear blur variation as it turns out. Looks kind of like the Box blur with little bit of stuff left behind in the background.

As you take this value lower you are going to begin to rule out the big details. So if I take it down for example, let's just take it down to 60 and see what it does here. Notice that it's saying in this case if two neighboring pixels are 60 luminance levels different or more then they don't get blurred, if they are 60 luminance levels different or less then they do get blurred. Alright, so let's end this, I am just going to end this with a Threshold value of a 100 luminance levels and then I am going to click on the OK button in order to accept that modification.

This is another one of those functions and I am going to show you in the context of a practical application, the creative practical application in a later exercise. In the next exercise, we are going to see our Motion Blur filters beginning with Motion Blur and then we will see Radial Blur.

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

129 video lessons · 39091 viewers

Deke McClelland
Author

 
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  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...
      59s
    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
      54s
    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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