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Get the ultimate foundation in Adobe Photoshop CC, in this update to the flagship series Photoshop One-on-One. Deke takes you on a personalized tour of the basic tools and techniques that lie behind great images and graphic design, while keeping you up to speed with the newest features offered with Creative Cloud. Learn to open images from multiple sources, get around the panels and menus, and work with layers—the feature that allows you to perform masking, combine effects, and perform other edits nondestructively. Then Deke shows how to perform important editing tasks, such as cropping and straightening images, adjusting the luminance of your image, correcting color imbalances and enhancing color creatively, and finally, retouching and healing.
In this movie, I'll show you how upsampling has improved recently in Photoshop. And I'll also show you how it compares to capturing high resolution data with your scanner or digital camera in the first place. Notice that I've got this image right here called Duplicate image.tif, and I created it just by going to the previous image, clicking on the Image menu and then choosing this command right there, Duplicate. Which creates an independent copy. Of the image. And I'm doing this, of course, for comparative purposes.
So now, I'll sample it by returning to the image menu and choosing the image size command. And I've still got my wapping big image size dialogue box. And I'm first going to make sure my resample image checkbox is turned on and then I'm going to increase the resolution value to 1000 pixels per inch which is way more than we need for print. However it provides us with a useful demonstration. Now thanks to the fact that I can't see the image in the background. I'm just going to have to manually drag inside the image window.
In order to see the tyrannosaurus rex here. And notice those are the pixels, if we were to just magnify them. And this is the interpolation, that is the method by which the preexisting pixels were averaged in order to create the new ones. Now, this is different than it used to be, by the way. I'll go ahead and move things over a little bit there. Notice, next to the word re-sample, is an interpolation method. By default it is set to automatic. But you can choose between a lot of other ones as well. Automatic when you upsample is the same as choosing Preserve Details. It used to be, however, the same as choosing Bi-cubic Smoother. And I just want you to appreciate what a big difference this makes. So in previous versions of the program You would have gotten this. That is very soft detail.
Possibly you might argue it's better than a bunch of jagged blown up pixels. But there's no denying that it's something of a blurry mess. Whereas now we have preserve details and you can see that, that makes a terrific difference. We get some nice hard lines and some smooth lines as well. And it does a very good job of drawing in circular areas, much better than in the past. And you can see, that's the same as choosing automatic. When up sampling once again, there is one advantage, however, to selecting preserved details manually, and that is you also get this reduced noise lighter.
I'll go ahead and scoot this image over even a little more. And notice as you crank that up you start getting rid of the transitional pixels right there so you're smoothing over the rough transitions an dyou can take this value all the way up to 100% in order to get the smoothest results possible. In my case, that noise, is actually paper texture, so I don't want to lose it, which is why I'll go ahead and scoot the reduce noise value down to zero percent, and I might as well just stick with automatic as well.
Alright, now I'll click okay in order toscale the image, and, it's going to grow dramatically. As we're about to see here. And you can expect this to take a few moments, because Photoshop is generating 10 pixels wide and 10 pixels tall. So 100 pixels for every one pixel we had before. Alright, now I need to find out where the heck I am in this document. So I'll press and hold the h key, and click and hold like so in order to take advantage of that birds eye scrolling. And I'll go ahead and hone in on the eyes like so, of the tyrannosaur, and then release.
And now let's compare that to what would happen if we just zoomed in on the image, which is analogous to just printing the image at a low resolution. So I'll switch back to this guy right here. And then I'll go ahead and change the zoom value, down in the lower left corner of the screen, to 1,000% and press the Enter key, or the Return key on a Mac in order to zoom on in. And I'll press and hold the H key. And then we'll scroll over to this location right there. Alright so obviously we've got some big jagged pixels going I'll press control tab or command tilda on a mac in order to switch over to the up sample version much smoother lines as you can see here but notice this little region of green right there we've got some green details that are popping up and some pretty highly saturated green as well. Down here and up in this region too, and I'm not seeing that shade of green at work in the original image.
This is a greenish gray, just a little bit of green, but it's very low saturation, whereas we've got some major green action showing up here. All right, so, arguably, things look better, this is better than just printing it at low resolution. But it's no substitute for capturing a high resolution image in the first place. I'll go and switch over to such a high-res scan. So I scanned this image at a 1,000 pixels per inch which is why it's currently zoomed to just 10% as you can see here. And it looks a little soft at this ratio because it's not one of the standards. But if I press Control 1 or Command 1 on a Mac to zoom in, you can already see we've got a ton of detail inside this image.
I'll go ahead and press and hold the h key once again. Click and drag to about this location. Again, I'm just trying to get everybody registered into place. And look at that detail. Look at those edges associated with the watercolors. Look at this texture associated with the pencil lines and so forth. So again for the sake of comparison here, this is the blown-up version of the image with the jagged pixel transitions. This is the smooth up sample version of the image. Thanks to the preserved details option.
And then finally, this is the real thing right here. So in other words, there is no substitute on earth for real scanned or photographed pixels. Which is why you should always scan at the highest optical resolution provided by your scanner. And you should always photograph At the highest resolution provided by your digital camera. One more thing I want you to note, see this value down here in the bottom left corner of the screen, Dock and then it tells the size of file and RAM, 1.66 MB.
And you choose document sizes. Anyway, notice it's 1.66 megs, so it's dinky. Photoshop is going to have no problems doing anything to this file ever, whereas the high resolution version of the image here is 100 times that size. It's 165.9 megs, so it's a monster file. And after about 100 megs, depending on your system, that's when a very big file can start slowing Photoshop down, just a rule of thumb. And the up sampled version of the file? Also a look at that. 166 megabytes, so it's just slightly larger and yet it obviously doesn't provide the same degree of detail.
So that's why I was saying in the introduction to this chapter That it's not only important to have a lot of pixels inside of a image. But it's important that those pixels are in great shape as well. And that friend is the difference between inventing pixels by up sampling, and getting the real thing by scanning or photographing at a higher resolution in the first place.
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