So now let's go into detail detail is basically the sharpness of the photograph itself. So when you're looking at a photograph and when you're looking at a photograph, that message that it showed me was that it was missing a profile. So whatever profile was used on the computer was not installed here on the IPad. And so we need to browse and find an appropriate, uh, profile for this image. And I'm just gonna use Adobe Color as my profile. So in the detail, we want to kind of play around with sharpness of something. And sharpness is set at as a as a default right now. Used to be said it about 25. And for some reason Adobe has changed that default toe 40. I'm not a big fan of a 40 sharpening. I actually prefer bringing the sharpening down a little bit so that it's in the kind of 2030 range. Um, so in this case, I'm bringing it down to about 31 then I want the radius to be higher. And the reason for that is that sharpening something and I'll show you if I take the sharpening up 100% So i...
t's just super sharp. You can see that it actually creates, like, these weird looks in it, cause it's actually sharpening the pixels themselves. And so you get this kind of almost stippled look or painterly look to the image and so sharpening the actual minute details, which, sharpening that the sharpening slider is basically saying, How much should I sharpen? How drastic should the sharpening? Because sharpening is basically contrast between the highlight and the shadow on an edge. And so sharpening says. How much contrast do I want between those two edges so that Aiken define an edge? So if you increase the sharpening too much, you start seeing edges everywhere. So instead of sharpening with the sharpening knob, I would prefer to bring the radius up, because when you bring the radius up, what you're saying is, I want to have all of this tone to be disregarded until it hits on edge, where there's a drastic difference between this kind of tone and that kind of tone. And so when you look at it like for instance, here you have a nice, softer look here in the middle, where you instead of if you'd added sharpening if you'd gone way up. You get like this really crunchy look inside of the of the tile there. But if you bring it down and you just are using the radius, then it's on Lee sharpening right at the edges here of the actual ah tile because it's starting to see a definite edge between this tile and the next tile. So that's what radius does is the bigger the radius the mawr, like on a face. It would be your eyebrows and your eyelashes and and, ah, the edges of your of your ear and your hair and stuff like that. If you use sharpening, you'll start to get textures on the skin. You'll be producing textures, which you don't want to do. So, typically speaking, I want to keep my sharpening decently low somewhere in the 25 to 40 range, somewhere on the low side, and then I want to keep my radius higher. So somewhere between about 1.9 and two point for something like that, and then I want my detail somewhere in the middle, so I I don't 24 is normal. Somewhere around 50 is fine. Um, it just helps to add specifics to the details in the photograph. So it starts toe, you know, hair and stuff like that. Now I'm asking is specifically to of basically Masking says if, if an area is fairly similar, don't touch it until you start to see X amount of difference. Um, and usually it's used to try and smooth out skin, but not smooth out the hair or stuff like that because skin is fairly neutral. The problem is, is that if you use the masking when you go to masking, you start to see the edges of things a little bit too much. So you start, you see flat, and then all of a sudden it starts to get crunchy at the edges. So typically, I just leave the masking off. Okay, now, noise reduction Noise reduction is a really interesting thing, because it used to be. It used to just blurt things. That's what it used to do. But now noise reduction is quite impressive, and it allows us to take some photos in some pretty dark areas and then, uh, reduce reduce the noise. So let's go into some photos here and quickly find a photograph right there. Okay, so in this photograph, it's a sh night shot. And so there's gonna be a lot of noise inside of the photograph. But if we go into the detail section and we come into the noise reduction look at this. All of this noise and I'm going toe. I'm kind of trying to find a new area here where you can see detail, too. So this is a good place because you can see a little bit of text right here, and you can see some edges of various pillars and things like that. So we're gonna take the noise reduction up, and I want you to pay attention to the fact that the detail doesn't disappear. So we take the noise reduction up, and it's going to soften up all of that noise. So now all of our all of that grainy look is gone, but noticed that you can still read the text over there, and you can still see the detail there. And if you intensify the detail on it, you can actually further say, Hey, I want a little bit more detail in the edges and it will do a good job of giving a little bit more detail. If you need a little bit extra help, you can add some contrast, not there. There add some contrast to it. And now you'll see that the edges are quite nice. You can see the edges, you can see the text, but the street is not quite as grainy. So let me just take the noise reduction out so you can see the difference. So today, with today's modern cameras them this was shot with a, I think, with a mark. I think it was shot with like a mark to Amman old Canon camera. Um, and yet even with that old camera, it does a great job at removing that noise. But if you're shooting within modern camera, you can shoot 6400 eyes. So no problem, especially with noise reduction, because you can just remove it and it's gone, so that's where your noise reduction is. There's also color noise reduction, so if you're looking at an image that has color noise in it, so let's zoom in here and look at some of the color noise. You can remove some of that color noise, but most cameras already do a pretty good job at avoiding that color noise. And so if you're looking at an image that needs some color noise reduction, um, chances are it's an older camera. The color noise reduction is usually a 25 to begin with, because that's just kind of standard normal. So keep it at 25 unless you really need it. And usually the only time you would really need it is if you're using an older camera or if you're using a camera that you're jacking up the I s o toe, you know, Ah, 150,000 I s O or something like that. That's when you start really having to deal with color noise reduction.