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Using Camera Raw’s sharpening control

From: Photoshop CS3 Sharpening Images

Video: Using Camera Raw’s sharpening control

In this exercise I am going to introduce you to the sharpening controls that are available to you inside of Camera RAW as well as inside of Llightroom. Now I have got the Bridge trained on the 05_for_source folder that's available to you inside the exercise files folder and I have selected the Festive ornaments.dng file. I'd like you select it as well and then you can open this file inside the Camera RAW either by going up to the File menu and choosing opening Camera RAW or pressing Ctrl+R or Command+R on the Mac or you can right click on the image's thumbnail there inside of the Content panel and you can choose Open in Camera RAW from the shortcut menu.

Using Camera Raw’s sharpening control

In this exercise I am going to introduce you to the sharpening controls that are available to you inside of Camera RAW as well as inside of Llightroom. Now I have got the Bridge trained on the 05_for_source folder that's available to you inside the exercise files folder and I have selected the Festive ornaments.dng file. I'd like you select it as well and then you can open this file inside the Camera RAW either by going up to the File menu and choosing opening Camera RAW or pressing Ctrl+R or Command+R on the Mac or you can right click on the image's thumbnail there inside of the Content panel and you can choose Open in Camera RAW from the shortcut menu.

Any of those techniques is going to work. That's going to open the Camera RAW inside of the Bridge, so the Bridge is hosting Camera RAW at this point. Now I am going to go ahead and enlarge the Camera RAW window so that fills up the entire screen, which I can do by clicking on this icon here or pressing the F key. F cycles you back and forth, in that way I am maximizing my space on screen here. Now as you may know if you have any experience with Camera RAW, you know that it's mostly- most of it's controls are dedicated to the task of adjusting colors inside of an image.

So you may very well wonder while you are sharpening the image for the source, should you also go ahead and accommodate its colors? Should you also go ahead and apply color adjustments and color corrections that kind of thing? And the answer is definitely yes. This a general rule of thumb when working inside of any Photoshop dialog box. As long as you have that dialog box upon screen, try to get as much work done inside the dialog box as you can. That's the way that you are going to apply the most nondestructive modifications possible. In fact when working with sharpening you want to go ahead and apply your color adjustments first, not because it effects the order in which Camera RAW applied its adjustments, but because of the fact your ability to gauge your sharpening adjustments.

So in the case of this image I have applied a variety of settings here inside of the Basic panel. I will just go ahead, just to give you a sense of what kind of changes I have applied. I am going to click on this little menu icon to the right of that word Basic and I am going to choose Camera RAW Defaults. This is the way the image looks when I have first opened it up inside of Camera RAW. I am going to go ahead and zoom in a little bit by pressing Ctrl+plus or Command+plus on the Mac. So this is the original version, the colors that are a little bit muted and they are also a little bit too cool. So I went ahead warmed things up and increased the Vibrance and Saturation values and I will just go ahead and show you by choosing Image Settings so I can bring those settings back.

The settings, the metadata instructions that are saved along with this file. So these are all nondestructive modifications, as I was saying in the previous exercise. And a variety of these values change when I chose that command. The exact settings aren't important. I just want to make the case that you want to go ahead and apply your color adjustments first. Then you'll want to switch over to this guy right here, Detail. Notice, its called Detail, not Focus, which is rightly so. These are not really focus adjustments. You can only adjust the focus technically speaking, when you are taking the shot.

But I don't want you to be thinking that we're sharpening for detail at this point. We'll be sharpening for detail in the next Chapter. Right now we are sharpening for source. We are sharpening in order to adjust for the anti-aliasing and noise and other artifacts of the photography process. So anyway I am going to go ahead and switch over to this Ddetail tab right here, or I could press the keyboard shortcut Ctrl+Alt+3 or Command+Option+3 on the Mac. Notice that we have a total of four different Sharpening options and two Noise Reduction options available to us.

The order in which you apply these is not important because Camera RAW goes ahead and applies them in a most sensible order possible. So even though you apply your Sharpening first and then your Noise Reduction and then your color adjustments, Cameral RAW is going to apply the color adjustments and then the Noise Reduction and then the Sharpening. So it does its own thing in own order, no matter what. So you go feel free to work in whether of the order you want. Just make sure its a best order in which to gauge your changes. Now briefly I am just going to run through this very fast. Then we will spend more time with them in future exercises.

The Amount value changes the amount of sharpening you apply. Radius value affects the size of your halo, so that's very much the same as it is with Unsharp Mask, Smart Sharpen and so on. But the way that these values are calculated is very different. This amount setting and the amount setting goes as high as a 150. I will tell you right now. I am not going to change it right now but it goes as high as a 150. A 150% amount is very, very high inside of Camera RAW. It makes a big modification, much bigger than what you get with Unsharp Mask and Smart Sharpen.

Next, we have a Detail option, which is going to smooth or sharpen the contours and then we have masking, which is going to apply edge masking and as I say we will come to each one of these options in our future exercise. We have got Noise Reduction. Luminance affects the luminance noise that is the arbitrary changes in brightness values, and then we have Color which effects the arbitrary variation in hue and saturation values. In addition to these Detail options right here we have a couple of other sharpening controls that are available to us inside of this tab. Lens Corrections. And you can get to this tab either by clicking on it or by pressing Ctrl+Alt+6 or Command+Option+6 on the Mac.

Now the settings that we are concerned with are these Chromatic Aberration settings toward the top of the panel here. We have got these two slider bars, which allow us to align colors with each other around the edges of the image. We will see how those work and then we have this Defringe setting as well. These all contribute to the overall sharpening, the appearance of sharpening inside the image. That's it for this exercise. Just an overall, just to give you a sense of what's going on here with the sharpening controls inside of Camera RAW. In the next exercise I will show you how to preview the results of your sharpening accurately so you can gauge the ideal settings.

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This video is part of

Image for Photoshop CS3 Sharpening Images
Photoshop CS3 Sharpening Images

115 video lessons · 17014 viewers

Deke McClelland
Author

 
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  1. 50m 30s
    1. Why every image needs sharpening
      2m 38s
    2. Understanding the effects of sharpening
      5m 26s
    3. Understanding the mechanics of sharpening
      4m 19s
    4. Understanding sharpening and gradual transitions
      3m 21s
    5. Understanding sharpening and noise reduction
      4m 0s
    6. Understanding amount and radius
      7m 50s
    7. Measuring your screen resolution
      6m 19s
    8. Using reliable zoom ratios
      5m 30s
    9. Calculating the actual print size
      4m 54s
    10. Gauging the ideal sharpening settings
      6m 13s
  2. 59m 31s
    1. Everyone knows you sharpen last (and everyone is wrong)
      1m 8s
    2. Understanding the conventional sharpening workflow
      5m 4s
    3. Flattening and saving to TIFF
      6m 39s
    4. Downsampling (and why you shouldn't upsample)
      6m 8s
    5. Understanding last-step sharpening
      6m 44s
    6. Recognizing problems with the conventional workflow
      9m 38s
    7. Erasing sharpening with the history brush
      4m 30s
    8. Using alternative sharpening workflows
      2m 37s
    9. Sharpening a scanned photograph shot on film
      2m 45s
    10. Sharpening a digital photograph
      3m 6s
    11. Sharpening specific details
      3m 43s
    12. Finding broad workflow conclusions
      2m 49s
    13. Learning that technique trumps timing
      4m 40s
  3. 1h 27m
    1. Comparing and contrasting neighboring pixels
      1m 6s
    2. Using the Gaussian Blur filter
      4m 25s
    3. Using Gaussian luminance distribution
      4m 47s
    4. Using the Unsharp Mask filter
      4m 54s
    5. Understanding the history of Unsharp Mask
      3m 51s
    6. Building your own USM with Gaussian Blur
      7m 35s
    7. Using the Smart Sharpen filter
      7m 35s
    8. Compensating for camera shake
      8m 50s
    9. Building your own Smart Sharpen with Lens Blur
      6m 59s
    10. Using directional sharpening with Emboss
      9m 13s
    11. Using Smart Sharpen extras
      8m 56s
    12. Using Convolution Kernels for more accuracy
      7m 8s
    13. Using the High Pass filter
      7m 32s
    14. Using Luminance Sharpening
      5m 5s
  4. 2h 14m
    1. Smoothing filters, smart objects, and masks
      1m 25s
    2. Using the Median filter and Dust and Scratches
      7m 7s
    3. Using Smart Blur and Surface Blur
      6m 12s
    4. Using the Despeckle filter
      8m 17s
    5. Softening flesh tones selectively
      10m 15s
    6. Using the Reduce Noise filter
      7m 27s
    7. Combining smoothing and sharpening
      8m 24s
    8. Making an image into a smart object
      9m 24s
    9. Applying editable smart filters
      6m 8s
    10. Combining two smart filters
      8m 5s
    11. Assigning a filter mask
      5m 59s
    12. Nesting one smart object inside another
      10m 32s
    13. Employing a static High Pass layer
      8m 59s
    14. Matching static pixel-level edits
      4m 37s
    15. Avoiding clipping with luminance blending
      9m 7s
    16. Sharpening and smoothing
      6m 36s
    17. Making an edge mask
      8m 14s
    18. Making a non-edge mask
      7m 17s
  5. 1h 33m
    1. Sharpening with Adobe Camera Raw
      1m 29s
    2. Introducing Camera Raw (4.1 or later)
      8m 13s
    3. Understanding why to sharpen for source
      5m 14s
    4. Using Camera Raw’s sharpening control
      5m 52s
    5. Previewing limitations and tricks
      6m 45s
    6. Why downsampling doesn’t work
      3m 12s
    7. Reducing chromatic aberration
      7m 30s
    8. Using the Defringe option
      3m 32s
    9. Understanding high frequency, low radius
      5m 21s
    10. Raising the Detail value
      3m 6s
    11. Using on-the-fly edge masking
      5m 41s
    12. Sharpening a low-frequency portrait
      6m 36s
    13. Eliminating color noise
      4m 47s
    14. Reducing luminance noise
      4m 42s
    15. Correcting “false sharpening”
      7m 15s
    16. Reducing shadow noise
      5m 22s
    17. Approximating ACR sharpening in Photoshop
      8m 35s
  6. 59m 8s
    1. Gauging and exploiting luminance frequency
      1m 27s
    2. Using low-frequency source sharpening
      5m 53s
    3. Using High Pass for portraits
      4m 19s
    4. Actioning a low-frequency edge mask
      7m 42s
    5. Modifying the source sharpening
      5m 21s
    6. Using high-frequency source sharpening
      5m 26s
    7. Using Smart Sharpen for cityscapes
      3m 2s
    8. Actioning a high-frequency edge mask
      5m 4s
    9. Downplaying color artifacts and clipping
      4m 4s
    10. Sharpening a medium-frequency image
      5m 24s
    11. Sharpening a layered composition
      7m 16s
    12. Sharpening for multiple frequencies
      4m 10s
  7. 1h 8m
    1. Who needs dull when you have sharp?
      56s
    2. Focusing in on a person’s eyes
      4m 22s
    3. Blurring the area outside the eyes
      4m 22s
    4. Sharpening eyes and other details
      5m 38s
    5. Darkening the lashes and eyebrows
      7m 13s
    6. Sharpening dark-haired people
      5m 2s
    7. Edge mask and emphasize
      3m 39s
    8. Nesting a Smart Sharpen effect
      4m 48s
    9. Density mask sharpening
      5m 35s
    10. Adding depth of field
      4m 39s
    11. Sharpening a background
      4m 23s
    12. Masking background from foreground
      8m 51s
    13. Eliminating halos around a person
      5m 38s
    14. Deepening and warming a background
      3m 28s
  8. 1h 18m
    1. Reverting back to convention
      1m 37s
    2. Understanding the use-neutral composition
      4m 15s
    3. Restoring much-needed antialiasing
      4m 2s
    4. Reducing noise in a high-frequency image
      7m 24s
    5. Making a third-level smart object
      3m 55s
    6. Preparing an image for print
      5m 18s
    7. Using ideal settings for commercial reproduction
      5m 37s
    8. Calculating very large-format settings
      5m 11s
    9. Using ideal settings for inkjet output
      4m 26s
    10. Sharpening for commercial reproduction
      5m 45s
    11. Sharpening for inkjet output
      4m 58s
    12. Revealing high-frequency multipass sharpening
      5m 21s
    13. Using Gaussian Blur to sharpen hair
      5m 41s
    14. Flatten, Save As, Resample, and Sharpen
      5m 9s
    15. Revealing low-frequency multipass sharpening
      3m 30s
    16. Sharpening an image for web or screen
      6m 22s
  9. 1m 50s
    1. Goodbye
      1m 50s

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