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Real focus happens inside the camera's lens element. The sharpening features in Photoshop CS3 exaggerate the contrast along edges in a photograph to transform a well-focused image into an outstanding image. In Photoshop CS3 Sharpening Images, Deke McClelland teaches a host of sharpening and noise reduction techniques, including using filters such as Unsharp Mask, Smart Sharpen, High Pass, and Reduce Noise. The training teaches the essentials of sharpening, including what it does, why it's important, and how the filters function. Plus, the training covers Deke's recommended best practices, including the four distinct varieties of sharpening, which can be used independently or in combination with each other. Photoshop CS3 Sharpening Images is about how to transform images from looking good to looking their absolute best. Exercise files accompany the course.
Now that you have a sense for how the conventional sharpening workflow works and bear in mind, this is a wor flow that is held near and dear by hundreds of thousands, if not millions of print technicians in the world around. There is all kinds of different variations on this workflow. Some folks will tell you, you should convert to seem like a first and then sharpen just a black channel. Other folks will swear to you that the only way to go, is convert the image to the LAB mode and then sharpen just the lightest channel. You can also apply luminance blending, via the Luminosity blend mode.
So there is a bunch of different ways to approach the conventional workflow. In this exercise, I am going to introduce you to three out of what are probably several dozen different alternative sharpening workflows out there. Part of my reason for doing this is to suggest to you that there might a different way to work. I certainly do believe that. I do believe there are better ways to work and to count the whole notion of a workflow into question. I think you are better of arming yourself with a variety of different sharpening techniques and then apply those techniques as warranted by a particular composition.
So here I am working inside of a document called Alternative Sharpening Workflows found inside of the 02_when_to_sharpen folder and it obviously is going to tour us through, as I was saying, I am going to introduce you to three different alternative sharpening workflows, and then we'll check those workflows out in a little more detail in subsequent exercises. This is another one of those documents that is blessed with a ton of Layer Comps, I think I have got 26 different layer comps inside this file all together. Let's check them out. First of all different kinds of jobs require different approaches, which is obvious I think, but it's common sense as that sounds, it contradicts the conventional one size fits all approach.
I'll offer three sample workflows and feel free to develop your own. Now here are the three samples workflows that we are be taking a look at. We are going to sharpen for film, we are going to see a way to sharpen for film, that is scanned film images, whether transparencies, color negatives, that kind of thing. We are going to see how to sharpen for RAW images that are captured with a digital camera and then we will see how to sharpen an image selectively, according to kind of detail that you find inside of the image. And these three different sample workforce may lead you to develop others of your own and I completely encourage that of course.
We are going to see how to sharpen for film in the next exercise, then we will move on sharpening for RAW and then we will move on to sharpening an image selectively.
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