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Using Smart Sharpen extras

From: Photoshop CS3 Sharpening Images

Video: Using Smart Sharpen extras

In this exercise we are going to review the remaining functions inside the Smart Sharpen dialog box, which include those Advanced shadow and highlight adjustments and the fact that you can ostenstebly save off your settings, although that feature is essentially broken the way it is right now. And then there is the More Accurate check box, the one feature that I think is actually useful of the functions we haven't discussed so far inside that dialog box. Now I am working inside of Happy family.jpeg which is found inside of the O3 Sharpen Filters folder and I am going to go to Filter menu and choose Sharpen and choose the Smart Sharpen command to bring up of course the Smart Sharpen dialog box.

Using Smart Sharpen extras

In this exercise we are going to review the remaining functions inside the Smart Sharpen dialog box, which include those Advanced shadow and highlight adjustments and the fact that you can ostenstebly save off your settings, although that feature is essentially broken the way it is right now. And then there is the More Accurate check box, the one feature that I think is actually useful of the functions we haven't discussed so far inside that dialog box. Now I am working inside of Happy family.jpeg which is found inside of the O3 Sharpen Filters folder and I am going to go to Filter menu and choose Sharpen and choose the Smart Sharpen command to bring up of course the Smart Sharpen dialog box.

Now for the sake of demonstration, I am going to max out some values, I am going to change the Amount value to 500% and I am going to change Remove from Motion Blur to Lens Blur and I am going to leave the Radius size set to 10 pixels, which is insane if we are trying to correct the image, but I am just trying to demonstrate a few features here. So I am going to go ahead and zoom in on this woman's face and notice if you will that thanks to this radical sharpening that I've applied that we have some clips, highlights and shadows, meaning that many of the highlights have gone to flat white, so they are blown highlights, and many of the shadows have gone to flat black.

That's not really acceptable. Now this happens all the time. The fact that I have exaggerated the value makes it very obvious, but this is happening on the less obvious basis anytime you apply Unsharp Mask or Smart Sharpen or one of the other sharpening functions. That's because Photoshop is going in there and enhancing the edge contrast. So you are bound to get black and white pixels out of it. That's what this Advanced option right here is designed to avoid. So if you turn on Advanced, you will get a couple of additional panels, Shadow and Highlight.

Now they both work the same. I am going to demonstrate Highlight because it is more obvious in the case of this image. First of all, you determine how much you want to fade those highlights. So I will go ahead and change that value to 50% to fade them back 50% and notice they are still there, they are just not clipped anymore. So we went ahead and dim those highlights. Now the total Width value controls exactly what falls into the range of highlights. So currently with a value of 50% we are saying the brightest 50% of the colors inside of this image. So anything from medium gray or darker is ruled out and anything medium gray or lighter is ruled in and there is a nice soft transition between the two incidentally.

So that we don't have harsh transitions the way we did inside the Unsharp Mask dialog box with the Threshold function. But if you want to incorporate more luminance levels inside the image into the brightness range, then you go ahead, increase that all the way to 100% and you can see, now you get some very smooth transitions at this point. Now the Radius value determines how these highlights are distributed because Basically this is another one in those filters, this is a filter on top of the filter by the way that's going through in scrubbing around the pixels in order to create it's effect.

Right Now the Radius value is very lo. If you want to distribute the effect a little better and you want to bring back some of the highlights, then you would crank that Radius value up. Now the Radius value really has to be cranked; if you want to see any difference, you are really going to have to crank the heck out of it. So I want you to keep an eye on this region inside of the image along the top of her nose and I am going to change Radius value from one, the lowest value, to hundred, the highest value. Did you see that change? That was all there is to it. It's just a little bit of difference there.

Keep an eye on it once again, I am going to now change it back to one and notice how it drops back. So we are going to recover some highlights, if I raise that value gets a little brighter and the effect is more distributed and we are going to lose those highlights, they are going to flatten out if we reduce the Radius value. It is such a subtle difference, however, that if we weren't operating with this incredibly exaggerated effect you wouldn't notice it all; it is very difficult to detect. So usually you don't need to worry about this Radius value' you are just change its something like 20 and call it a day, I mean it really doesn't matter what you set it to on a practical basis.

Now here is the big problem I have with Basic versus Advanced. I like the idea and if Adobe would fix this dialog box, it could be really good, but watch what happens if I switch back to Basic. What should happen is the original values are restored, because we do not want those Advanced settings anymore, but they aren't. So the values persist, when you switch back and forth between Basic and Advanced and that means three months from Now you have decided that you do not even want to use those Advanced settings anymore, but you did changed them once upon a time, they are still operative and they are going to mess everything up.

So what I would suggest you do is not work this way, quite frankly. I would go back to Highlight, I would change this value to zero for the Dade amount, so that we are not doing anything and just go ahead and switch these guys back to their defaults 15, 1, and then I would turn on Basic again and not worry about Advanced. Since it sticks, it gets in the way and it can create a lot of problems incidentally. Now ostensibly these Settings options right here should take care of it because you could save off a bunch of settings. For example, I could call this one, by clicking on my little floppy disk icon, since God knows we all use floppy disk these days, I will go ahead and call this effect, something like Extreme and then click OK.

Now note that I still have my settings set to Default. So if I were click OK, I would change my Default settings, which is bogus. So I am going to switch this back to Extreme and that should ostensibly say 500% and ten pixels, right. So lets say I changed my Radius value to something like one and I change my amount to something like a 100%, well that's no longer Extreme. What should happen is settings should change to Custom now or something so that it doesn't overwrite the Extreme settings. This is what happens elsewhere inside Photoshop, but this feature the way it is, it's broken because if I click OK right Now I just saved over my Extreme settings, they are no longer Extreme at all.

So I'll go ahead and undo that modification to bring back my original image. I will go ahead and press Ctrl+Alt+F, or Command+ Option+F on the Mac to bring back my previous settings and notice that now Extreme is set to a 100 and radius of one. If I go to Default, it's set to 200 and Radius of 10 and Motion Blur, which are not the default settings. So unless you are incredibly vigilant about saving and then selecting and then clicking OK and never overwriting your originals, because it is very easy to do, you are going to mess up all of your settings and they are going to be of no use to you whatsoever.

I say this from personal experience, as a guy- I am the guy who just showed you how to build your own Smart Sharpen using just the Lens Blur Filter. That's how over the top I am, I am very careful about this stuff and I have ruined everything I have done. So that's not a challenge, I mean I am sure you can beat me, but I am just saying on a regular basis, it doesn't tend to be very useful. I'll tell you what's useful inside this dialog box that we havent discussed yet. So I am saying, give this is a slip, give this the slip, do not worry about trying to save your settings. And More Accurate. This can be useful, not for a portrait shot but it can be useful.

Now I am going to go ahead and set my Amount Value to something relatively high like 250%. Let us take this Radius value, let us say to 4 pixels, so we can see what we are doing and I will change Remove to Lens Blur, which would be a setting we could use for this image. It's a little high, it's a little extreme, but it would work. Now watch what happens, I'll go ahead and zoom in on the womans face once again, watch what happens if I turn on More Accurate. Now you might think More Accurate is going to create a more accurate effect. So why wouldnt you try More Accurate on? Well, that takes a little bit of additional time, but not that much time.

Here's the deal. It has nothing to do with accuracy. What its really doing is, it's applying a second layer, a second iteration of sharpening to the image. So it's actually applying a Multipass sharpening effect from the Smart Sharpen dialog box. So you are sharpening it multiple times in one operation and it's doing this using what's called a Convolution Kernel. So I am going to go ahead and turn it on, which means its a very detail orientated sharpening effect. So I am going to go ahead and turn on More Accurate and notice that its got a second level of sharpening applied, so we've got addition halos going around inside of this image.

What it is good for is sharpening very minute details, which is not what we want when we are sharpening a portrait shot. We are taking a good looking woman for example here and we are sharpening our pores and our freckles and we are making your face like essentially a lunar landscape, right, that it is blasted. That is not what we want. Now if this was a still life or it was a high frequency image with a cityscape or something along those lines, and we will see examples of that, More Accurate would be good, it would be helpful to turn it on. But where portrait shots, low frequency images are concerned, it's bad.

So in the case of this image, I would keep it the heck off, do not turn on more accurate with your portrait shots, because you would be doing terrible things to the unfortunate people in your photograph. Now I'll go ahead and click OK. Now I did say something that may have confused you or at least caused you to scratch your head a little bit. I was telling you that More Accurate applies that second pass of sharpening that's based on the Convolution Kernel. So I am going to show you what I mean by Convolution Kernel, well see what Convolution Sharpening looks like in the next exercise.

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This video is part of

Image for Photoshop CS3 Sharpening Images
Photoshop CS3 Sharpening Images

115 video lessons · 16995 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  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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