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Upsampling vs. real pixels

From: Photoshop CC One-on-One: Fundamentals

Video: Upsampling vs. real pixels

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.

Upsampling vs. real pixels

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.

Show transcript

This video is part of

Image for Photoshop CC One-on-One: Fundamentals
Photoshop CC One-on-One: Fundamentals

102 video lessons · 20924 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 35m 44s
    1. Welcome to One-on-One
      1m 51s
    2. Opening from the Windows desktop on Windows 8 NEW
      6m 16s
    3. Opening from the Windows desktop on Windows 7 or earlier UPDATED
      5m 48s
    4. Opening from the Macintosh Finder UPDATED
      7m 10s
    5. Opening from Photoshop or Bridge
      3m 52s
    6. Opening through Camera Raw
      5m 11s
    7. Closing one image and closing all UPDATED
      5m 36s
  2. 52m 47s
    1. Navigating your image
      40s
    2. The dark vs. the light interface UPDATED
      6m 2s
    3. Navigating tabs and windows
      4m 32s
    4. Panels and workspaces
      6m 20s
    5. Zooming incrementally
      6m 22s
    6. Zooming continuously
      2m 43s
    7. Entering a custom zoom value
      2m 25s
    8. Scrolling and panning images
      2m 31s
    9. Rotating and resetting the view
      2m 11s
    10. Cycling between screen modes
      3m 10s
    11. Using the Navigator panel
      3m 38s
    12. Using Retina and HiDPI displays
      4m 3s
    13. Adjusting a few screen preferences UPDATED
      8m 10s
  3. 1h 2m
    1. Digital imaging fundamentals
      1m 45s
    2. Image size and resolution
      6m 34s
    3. The Image Size command
      6m 9s
    4. Common resolution standards
      4m 7s
    5. Upsampling vs. real pixels
      7m 59s
    6. Changing the print size
      8m 15s
    7. Downsampling for print
      5m 14s
    8. Downsampling for email
      6m 22s
    9. The interpolation settings
      6m 40s
    10. Downsampling advice
      5m 5s
    11. Upsampling advice
      4m 15s
  4. 53m 20s
    1. The layered composition
      1m 40s
    2. Introducing the Layers panel
      4m 12s
    3. Adding, scaling, and aligning layers
      5m 27s
    4. Dragging and dropping layers
      4m 36s
    5. Stack, reveal, and rename
      3m 1s
    6. Opacity, history, and blend mode
      6m 5s
    7. Duplicating a selected portion of a layer
      5m 32s
    8. Applying a clipping mask
      3m 58s
    9. Blending inside a clipping mask
      4m 10s
    10. Finishing off your artwork
      3m 13s
    11. Creating a new layer and background
      4m 24s
    12. Layering tips and tricks
      7m 2s
  5. 26m 13s
    1. The art of the save
      54s
    2. Four things to know about saving UPDATED
      5m 59s
    3. Saving layers to PSD
      6m 34s
    4. Saving print images to TIFF
      4m 48s
    5. Saving an interactive image to PNG
      3m 40s
    6. Saving a flat photo to JPEG
      4m 18s
  6. 32m 16s
    1. Honing in on your image
      1m 43s
    2. The new and improved Crop tool
      4m 35s
    3. Editing your last crop
      6m 29s
    4. Cropping to a specific ratio or size
      5m 57s
    5. Straightening a crooked image
      4m 44s
    6. Filling in missing details UPDATED
      6m 44s
    7. Using the Perspective Crop tool
      2m 4s
  7. 44m 51s
    1. First, there is brightness
      2m 12s
    2. How luminance works
      4m 18s
    3. The three Auto commands
      3m 27s
    4. Automatic brightness and contrast
      6m 5s
    5. The Brightness/Contrast command
      2m 47s
    6. The dynamic adjustment layer
      4m 4s
    7. Editing adjustment layers
      3m 52s
    8. Isolating an adjustment with a layer mask
      3m 31s
    9. Introducing the histogram
      4m 58s
    10. Measuring an adjustment
      3m 34s
    11. Using the Shadows/Highlights command
      6m 3s
  8. 44m 33s
    1. And second, there is color
      1m 31s
    2. Identifying a color cast UPDATED
      3m 34s
    3. Correcting a color cast automatically
      3m 57s
    4. Changing the color balance
      6m 10s
    5. Compensating with Photo Filter
      3m 11s
    6. Adjusting color intensity with Vibrance
      3m 29s
    7. Correcting color casts in Camera Raw
      5m 46s
    8. The Hue/Saturation command
      5m 26s
    9. Summoning colors where none exist
      4m 8s
    10. Making more color with Vibrance
      4m 27s
    11. Making a quick-and-dirty sepia tone
      2m 54s
  9. 55m 46s
    1. Making selective modifications
      1m 10s
    2. The geometric Marquee tools
      6m 1s
    3. Aligning one image element to another
      4m 59s
    4. The freeform Lasso tools
      3m 59s
    5. The Polygonal Lasso tool and Quick Mask
      5m 19s
    6. Cropping one selection inside another UPDATED
      6m 15s
    7. Creating rays of light
      4m 44s
    8. Quick Selection and Similar
      4m 11s
    9. Making it better with Refine Edge
      4m 56s
    10. Integrating image elements
      2m 39s
    11. Magic Wand and Grow
      5m 17s
    12. Refine, integrate, and complete
      6m 16s
  10. 53m 48s
    1. Your best face forward
      1m 0s
    2. Content-Aware Fill UPDATED
      6m 11s
    3. Using the Spot Healing Brush
      5m 36s
    4. The more capable "standard" Healing Brush UPDATED
      5m 55s
    5. Meet the Clone Source panel
      3m 53s
    6. Caps Lock and Fade
      4m 57s
    7. The Dodge and Burn tools UPDATED
      5m 1s
    8. Adjusting color with the Brush tool UPDATED
      6m 35s
    9. Smoothing skin textures UPDATED
      5m 57s
    10. Brightening teeth
      4m 0s
    11. Intensifying eyes UPDATED
      4m 43s
  11. 49s
    1. Until next time UPDATED
      49s

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