Smart Objects: Selective Sharpening

 

Adobe® Photoshop® Intensive

 

Lesson Info

Smart Objects: Selective Sharpening

Well, before we actually sharpen the image, let's talk just a little bit about what the heck sharpening really is. Ok, so what I'm gonna do here is I'm going to run a sharpening filter purely for the sake of explaining what sharpening is, so I'm gonna choose filter sharpened and sharp mask, and any time you have a preview window inside of a dialogue like this, you can click and dragging around, which is kind of handy. So I'm going to apply a lot of sharpening here way more than I would any other time, and I'm actually going to pump up the sharpening so we can see what is happening. And of the cool thing about these preview windows in some of the filter dialogues is that if you click and hold your mouth spending down on the preview, it shows you that before version I realize you can see it over here, but sometimes it's handed to see it over there to ok, so what the heck is sharpening, sharpening and photo shop is very similar to sharpening a knife in your kitchen except for your kitchen...

knife it's really easy to figure out what the edge is because the edge of a kitchen knife will cut you right I have several scars from that so sharpening and photo shop it's finding the edges in your image and it's accentuating them it's exaggerating areas of high contrast that's all sharp news so what happens when you sharpen and I'll move this dialogue out of the way and zoom into my image using my space bar trick to move over to the part of the image which really exhibits what sharpening is happening here? What what photo shop is doing in it sharpening so when you run a sharp on the filter of any count, it doesn't matter which one photo shop is going to analyze your image and it's going to find areas of high contrast and in those areas of high contrast it's going to exaggerate that contrast by making the light pixels a little bit lighter and the dark pixels a little bit darker so areas of contrast would be where pixels of different colors of greatly different colors meet such as the area between a tree and a background, a sky or a tree branch in the sky so anywhere there's high contrast as you can see here since I'm zoomed in really far and I applied ah an extra dose of sharpening to this image you can get what's called a sharpening halo and you can kind of see that happening right here next to the tree so what is really going on is once photoshopped identifies an area of high contrast as an edge, then it exaggerates that contrast by making thie dark pixels darker see how the tree isn't solid black over here and if I turn off my preview, you can see the difference between the original image and the over sharp and won so what it's doing is it's identifying an edge and then it's taking one piece of that edge and it's making it darker and it's taking the other piece and it's making it lighter? What happens when you over sharpened is that you get what looks like a halo around the areas of high contrast in your image and you can see a little bit of that going on right here see this area right here didn't used to be solid white in this area right here didn't used to be solid black but because I've over sharpened it it's exaggerating that particular edge too much okay, so that's really what's happening in your image now how wide oven area is going to get darker and lighter that's something that you can control in a dialogue box hey the un sharp mask filter which has been the gold standard for sharpening for a bunch of years let's you telephoned a shop. Yeah don't go crazy with this sharpening business photo shop you know because you can control the width of how many pixels air actually changed, so if you think of an engine your image you can consider that photo shop is really straddling that ege and you can tell it exactly how far out from that edge to adjust pixels case what's making the lighter ones lighter in the darker ones darker, just like you're sharpening your kitchen knife, your accentuating or exaggerating and edge and that's what's happening in photo shop. Okay, so let's, go ahead and cancel out of this and I'll close this image in its open up another one and let's take a look at a couple of different ways to sharpen an image. Okay, here, let's, take a peek in the layers panel and see what I've got going on, so we've got our original image background hanging out out here, and then we can see that the un sharp mask filter was ran on a smart object because we've got our nice, smart filter mask here that lets us high the sharpening from the areas of the image that we don't want it to show on. And we've got our smart object right here we know it's a smart object because of that special little badge in the lower right corner of the layer thumbnail. Now I will tell you that in sharp mask, that name of it it comes from, I think, a darkroom technique where you actually used a blurry or in a kn sharpened version of the image to create the sharpened diversion so that's that's where the funky name comes from is a darkroom technique so let's, go ahead and zoom back out and this time, I'm gonna go ahead and delete this layer, but if you do this at home, try not to save over this file it if you've purchased the course and you have the download files because I want you to keep these layers intact in case you need to refer to them later so I would go ahead and delete the smart object by activating impressing the delete key. There we go. So now we're back at square one so you can either open the image is a smart object. If you remember by choosing file, open a smart object or if you forget, you can go immediately up to the filter menu and choose convert for smart filters. Click ok in this dialogue now we've got our little smart object badge, so we're ready to apply are sharpening yes, your question when you first opened, the image on your background layer was still the background later wasn't a smart object, but here we're converting it. So are you leaving it and that's a copy for store? The reason that I left this background layer in your exercise files is that you have a you can go back to the original image so you can play with the technique at home, yeah, I just left it in there for you, so your files when you're doing this at home you won't leave that background later hanging out there so yeah that's just for you guys great question thanks for for asking that. Ok, so I'm gonna go ahead and delete my smart object again so we can start over together so we'll choose filter convert for smart filters and click ok when footage shot warned you you're about to change your layer into a smart object now we're going to go back up to the filter menu and we're gonna choose sharpened and sharp mask. So now it's been just a couple of minutes talking about what we're seeing in this dialog box so the amount slider the first one the even counter obviously controls how much sharpening do you want to happen at this moment? The radius slider controls the width of the pixels on either side of the edge that you're willing to let photoshopped change ok, so how wide from the edge are you willing to let photoshopped altar so remember when it finds an edge in your image an area of high contrast the light pixels in that edge get lighter in the dark pixels on that edge get darker, but how wide of a swath of pixels are affected can be controlled by this radius slider and I'll tell you that unless you want a sharpening halo or what gap the size of the grand canyon, you will never raise the radius above four ok, so that is the serious maximum amount of sharpening you you want to create unless you want to destroy your image which hey that's your choice s so you never want to go above four in there really? The next control is called threshold in this one controls is you telling photoshopped how different pixels have to be? How much contrast does there need to be for photoshopped to consider that area and edge? So this control works the opposite way you would think so I'm going to pump up my sharpening a lot just to illustrate what the threshold control will do so I'm gonna give her one hundred fifty percent of sharpening ik and the threshold control set at zero means that very few pixels are going to be sharpened okay, so watch what happened when I start dragging it to laughter actually, I just said that the opposite way zero means that every pixel in your image is probably going to get a little bit of sharpening as you drag this to the right fewer and fewer pixels are being sharpened see how the sharpening is disappearing as I dragged threshold to the right so it's a little bit counterintuitive in that the slider works in the opposite direction that you might think ok so again set to zero most every pixel in your image where there's contrast is going to get a little bit of lightning a little bit of dark winning, and as you drag it to the right, fewer and fewer pixels are going to get sharpens because you're making photoshopped be, uh, you're making it look for pixels that have a lot of contrast before it will consider them an edge. Yes, sir. Reduce the amount of sharpening versus increasing the threshold. Why would you increase the amount of sharpening versus decreases of decreasing are sharpening and leave threshold where it wass, why? Why would you adjust to what? I don't understand that that play between the two components? Ok, well, a male is just how much sharpening overall is gonna happen threshold that she control which pixels or getting sharp mint? Do you want every pixel in your image to be sharpened? Or do you want on lee the areas of high contrast to be sharpened? Okay, so a male doesn't let you control which pixels or being sharpened threshold is you telling photo shop hey, don't have a sharpening party, calm down, don't go sharking and everything simmer, you know only look for areas of really high contrast because the problem was sharpening, as you saw in the example that when we really blew out that tree and that whole girl on that tree is that it's extremely destructive and there's, you know, a lot of parts of your image that you probably don't want to destroy if you've got noise and your imminent sharpening will accentuate noise you know it can be really, really destructive, so these three controls let you tell photo shop how much of your image you're willing to let it trash basically, you know, set the strength set the radius how live do you want pixels affected on either side of the edge and exactly which pixels in your image are you willing to let sharpening apply to it all? Ok, so that's the difference between those and because of these thes three controls in the chart mask is why everybody loves on chart mass so much because with some of the other sharpening filters and photo shop, you don't get this kind of input. However, it also makes it really confusing because this is a pretty cryptic dialog box you know what they did to those things mean anyway? So here in a minute we're going to do another sharpening method using the high pass filter, which is another method that you don't have any of these sliders you've got exactly one slider for radius and that's it so it is a little bit of a simpler dialog box to deal with and it's just it's good no it's a personal preference to you there's no right or wrong way to do this other than dragging the radius above four so any questions on the on sharp maris dialogue question we've got a question here in the bag there's a pretty well known teacher in seattle who says really menus five hundred percent of sharpening and then he dials it back in um saturday night saturation what's the word I'm looking for a couple of opacity thank you what do you how do you feel about that that's exactly what we're going to do here in a minute yeah it's okay tio over sharpen your image what we're going to do is we're going to apply to levels of sharpening great question then why'd you ask that we're going to apply what's called global sharpening so we're going to apply a little bit of sharpening to the whole image and then and then we're going to go back and we're going to apply selective over sharp upping to certain parts of our image we're going over sharpen our image but then we're going to hide that over sharpening from a lot of the areas and the murder and I'll back the opacity a little bit so we're going to do just that question from rock star is there a certain number on the threshold that you do not want to go past like the number four with the radius? Well, you really don't want your threshold lower than three ever you want to keep it lisa three unless you want every single pixel in your image to be sharpened ok, so as the weird thing about threshold to me, it works backwards. The slider works backwards, you know, zero was everything you know in anything above zero is sharpening fear of pixels. To me, it should be zero is very few pixels being sharpened. And as I dragged this to the right, that would increase the amount of pixels that are being sharp. And so it it works the opposite way, but yeah, you don't. You don't really want to go below three to keep from destroying your image. So there's, quite a few questions, but I think you're about to answer them with your next. Okay, great. Okay, so I have a few magic members for you to use in this dialog box for global sharpening so that sharpening that you're willing to let roll on your whole image. Ok, so we're going to go back and do selective sharpening after this. So a few magic members for you that my buddy scott killed we gave me permission to share with you guys. Is magic number set? So four portrait a good, basic sharpening set of magic numbers is seventy five percent for amount. A radius of two, which means not a very wide swath of pixels on either side of the edge are going to get affected. Because you really don't want to be especially in faces, you know you start sharpening, you're going to start accentuating all kinds of imperfections and your clients will not be happy so radius of two and then a threshold of three okay, so seventy five two in three for portrait ce is a good rule of thumb in again these are just guidelines you can play with your own numbers that's totally fine, so seventy five, two and three for portrait ce if you're dealing with really, really soft and fluffy stuff like babies and pepys flowers, things like that a good set of magic numbers is one hundred fifty percent radius of one because you want the image to still look soft. You don't want it's a look that sharp, so one hundred fifty percent a radius of one and a threshold of ten because remember ah, higher threshold number means fewer pixels and your image is going to get sharpened because photo shop is looking for more contrast before it considers an area to be an edge. So one hundred fifty one in ten for soft, fluffy stuff and another set of magic members for for in objects and landscapes, this is kind of like a general all purpose sharpening amount is one hundred twenty percent one for radius and three for threshold, so one hundred and twenty one and three and I will say that it's okay if your image looks a little too sharp on screen if you're going to print it because the process of printing with the spring of the inks and the laying down of the paint is going to soften the image a little bit anyway okay so if it looks a little bit over sharp on your screen is probably gonna print perfectly ok so we're going to let this image keep these numbers right here kind of our general all purpose sharpening numbers I want to keep the amount of one hundred twenty because she's got so much great texture in her hat and her hair in the straw back here that I really want that pop in the picture so I mean I'm not I'm not going to use the rail tilly reduce sharpening of the portrait magic numbers I just gave you because we've got a lot of texture going on in this particular portrait so I'll go ahead and press ok and over here are layers panel we can see that indeed the field to ran in its own little space and if we look at the image and we decide oh shoot man that's just still to mitt sharpening then we can't of course doubleclick this little icon right here and go down in opacity if we want but I'm gonna go ahead and leave this at a hundred now that's global sharpening now I want tio make a smart object out of this smart object so that I can apply another set of sharpening and then go back and hide that from certain areas. Okay, so what we're going to do is you can either control click near the layer name or you can use the layer menu either one so I'm gonna go ahead and control click near the layer name and I'm going to choose convert to smart object what this is going to do is this is going to roll this current smart object that I've already applied a little bit of sharpening too into another smart object to which I'm going to apply selective sharpening too if I decide that my global sharpening is a little too much after I apply selective sharpening, I can edit the contents of the new smart object I'm about to make which will open this smart object in another temporary document sounds convoluted let's go ahead and do it ok, so we're going to control click on original spired object that we have already applied global sharpening too and we're going to choose convert to smart object so here it looks like we're starting out with our original imaging it we're not we've got that global sharpening applied, so now we're gonna do the exact same thing again we're going to get it the filter menu and we're going to sharpen and sharp mask and this time I'm going tio increase my radius to two and I'm gonna increase the amount two hundred fifty so this is the over sharpening that I'm going to apply. Actually, I could stand to go up higher than that let's go up to about two hundred with a radius of two, so are halos air not too wide in a threshold of three so that every pixel isn't being sharpened? Now we're going to go ahead and click ok, now we have our mask, so this time I'm gonna click the mask and I'm going to fill it with black because I want to hide the sharpening from the majority of the image, the selective sharpening the over scharping, if you will, so I'm going to collect the mass to activate it, go up to the edit menu and choose phil, pick black from the eu's poppet menu and click ok and immediately all the extra sharpening that I just applied is being hidden. The global sharpening is not being hidden, okay, because it's tucked away inside the smart, opted you can't see it. The reason I feel that this mass with black is because since I want to hide it from the majority of my image, it's faster to fill the mass with black and then just reveal the sharpening in certain areas than it would be to paint the holder something black that would take more time. So do you think about how much concealing a revealing you need to do when you're dealing with a layer mass? Because oftentimes it can be faster to fill the mass with black and then go in with a white brush to reveal whatever that filter is where you want it to be? So that's what we're going to do now, we're going to press b to grab the brush tool. We're going to take a peek at the color chips the bottom of our tools panel what do we want? Tio black conceals white reveals we want to reveal some of that over sharpening, so we want to press x to flip flop our color chips so that we're painting with why I do have a soft edge brush chosen from my brush preset picker in the options bar, so now I'm gonna come over to my image and I'm going to reveal the sharpening in a couple of key areas, the iris of each I on ly the iris, her lips and maybe some of the straw of her hat. So I'm gonna zoom into my image so I can see what I'm doing I present commander control plus, and then I'm going to use my space bar trick, hold his face far down and click and drag with your mouse to move the image into place use the left bracket key to go down and brush size, and as I paint on top of the iris, I'm revealing the sharpening, but only on iris. You do want a pain across the dark rim of the iris. This is going to make the irises just leap out of the page at you, it's going to be way too strong. But like one of our fabulous in studio guests pointed out, we're going to be able to drop the opacity of this over sharpening by using the smart filters blending options. So if you wanted to, you could also reveal the sharpening on the eyelashes. If you wanted to really get in there, zoom in and reveal the sharpening on the individual eyelashes again, great to do at an hourly rate they want to use in my space bar trick to scoot over to the other I get up and brush size a little bit and pain across the iris of this one. You just want to make sure that you don't go into the whites of the eyes or touch any part of the eyelid other than the lashes and again, since we're in a mask. If you do miss up and you reveal too much sharpening in a certain area, all you have to do is press x to flip flop your color chips paint back across that area because black conceals white reveals and I'm saying that rhyme on purpose over and over and over to drill it into your little head because it's so helpful for me, I think it will be helpful for you, too. So have that rhyme in your head, so just help she figure out what color to paint with win. So I'm gonna reveal a little bit of the sharpening on her eyelashes here just to make them really stand out, and I like to keep my one finger on the ex key as I'm painting with layer mass because you need to flip flop those color chips back and forth and you can get quite fast with it now I'll zoom out a little bit. I could also reveal the sharpening on her eyebrows if I wanted a little bit right there now gonna come down to her lips now the lips are fun, the lips are so much fun because as I paint over, they're gonna reveal the sharpening it looks like I'm reaching into the photo shoot and putting lip gloss on her in that fun, ok, so now listen back out a little bit and we're going to come over teo, her hat, and I'm going to go up in brush size quite a bit, and at this point you could choose what you want to sharpen you could reveal some were sharpening on her hair if you really wanted that to stand out, give it some extra texture and maybe on her hat, as will I wouldn't sharpen the I wouldn't reveal the sharpening on the the logo of the hat appear because I don't really want that to be in focus. Yes, sir, why you're doing this? You're always leaving one hundred percent that's a great question. I usually leave my brush at one hundred percent, and then I just use thie ah, blending options over here to drop opacity. But lowering the opacity of the brush would be another way to do this. So now let's say that I'm finished revealing the over sharpening your selective sharpening in the areas I wanted to reveal in. So now I want to drop the opacity of that to make it look real. So I'm gonna double click this tiny little icon to the right of the uncharted mask in our layers panel it looks like two lines with too little triangular sliders on it. So give that a quick double click and here's your opacity control so you can drop that to something that looks more realistic. So whatever that percentage is there's no right number for that is what looks good to you, I will tell you another option that you have here. In this dialog box is the ability to change blend modes and if you remember from the day before yesterday we talked about layer blend moz let you change how the color on one layer interacts or knocks out her blends with color on other layers well, there's a lot of folks that believe if you change the mode, let me to scoot this box up so you can actually see it if you change the blend mode of these sharpening filter because remember, while we're in this dialog box you are on ly affecting the filter you're not affecting the image on lee the filter that you ran. So if you change this blend mode toe luminosity that makes the sharpening on ly apply to the lightness values in the image, which means you won't ever introduce a color cast, you won't have any color shifts with your sharpening, which can happen so there's a lot of folks that really believe in changing that blend mode toe luminosity in my own in my own photographs, I haven't really been able to tell a significant difference. I don't know if I just haven't encountered the right photo that that's really going to make me do that every time, but it is certainly an option and that is up to you so you can do that is will you can change the blend mode of the sharpening right here in this dialogue so I'll go ahead and click ok, so there's our image so now let's, take a peek at the before and after all, zoom in a little bit. So as we click the visibility I next to the filter name not the mask, but the filter name we can see a before and after here's the before here's the after of our selective sharpening, so it really is a nice effect, especially on eyes and things like that. Now let's say that after you applied your selective sharpening, you decided you wanted to back off of the global sharpening. You can absolutely do that if this cool, smart objects are amazing. So let's, look at how you do that, okay, so what we're about to do is we're about to dive into this smart object to get at the original smart object where we applied our global scharping, and we're going to do that again by bringing up that little contextual menu in the layers panel we're going to control or right. Click near the layer name, and I keep hammering that point home because you get a different menu depending upon which area you click on. So that's why I keep telling you when you're bringing up these contextual menus, click near the layer name because there's no icon in that spot and if you need teo, you can have your mouse over the left edge of your layers panel and you can drag it out to make it wider because if you're dealing with layers panel like this, you may not be able to get the right men you so you can always make that layers panel wider there we go so right or control click somewhere in the area near the layer name and from that menu we're going to choose edit contents that is going to expand the second smart object that we made so that we can get to the original and and continue to edit it non destructively we have still not harmed our original image at all, nor have we had to duplicate the image layer in order to get this done so I'm gonna choose edit contents and photo shop is going to politely tell us so hey when you edit this content when you edit this first foreign object that you made, you got to save it because then if you save it I'll stick it back within the second smart object that you made so that's what this dialogue is telling you after you have absorbed that information, then you can click this check box and you won't see this dialog box again so we'll go ahead and click ok and now in another document with the weird, weird, weird extension of psb here we are back at our original smart object, so if we decide we want to reduce or increase the sharpening that we applied, all we have to do is double click that little icon to the right of that and sharp mass filter and we're right back at our original global sharpening so had we reduced it to say seventy five or so and decided we wanted more global sharpening, we could have increased that again. So in this case since we left it set to one hundred, I'm going to drop it to something really low and hopefully we'll be able to see the effects of it on screen in the second smart object ok, so I'm going to drop it to twenty five percent I'm gonna click ok remember the dialog box photo shop asked me to save it ok so if I click back on this other document right here my changes will not update but if I am on this smart object psb were document that does not stay anywhere this will not end up on your hard drive it will go away in about five seconds if you choose file save you do not want to say that as you do not want to give this another name, you don't want to move it in another spot you want to do a straight save command or control s keyboard shortcut or just to smile save now let me go back to the other document watched carefully and we're going to see sharpening in the overall image drop ok? Because we just took off seventy five percent of the global sharpening that we did so when we come back over here it dropped just a little bit. Yeah, so that's how you can apply global sharpening as well as select sharpening all on smart objects that you can continue to get back to you to edit yes hands everywhere. So I see up with the tabs though, that once we saved it, we stop that tab so I just do we just get to ignore it now we can close it and never worry about it again. Ok, everything's done like the way you see it. Okay, yeah, yes how many nested smart objects can you have? I don't think you're limited it all. I think you can have as many as you need. You want you? Yes, um I've seen a sharpening technique to use the high pass filter is the is there any benefit to that compares using this on sharp mask and we're going to do that based sorry, no it's okay, you don't don't apologize at all it's just a different way of sharpening with a high pass filter you don't have as many settings so you don't have as much control but the neat thing about the high past fills her is that you get a preview of what parts of very image that are going to be sharpened and you've only got one control radius for that so we're going to do that next year the questions I have a question from you as I would like to know is there a way to get the red over latest show where you brushed in the reveal so you can see if accidentally went over the lines and the whites of the eyes while you're in the layer mask? I'm not real sure how to do that do you know how to do that if we're painting in the mask like we are now yeah I'm not real sure that's a great question that maybe we can find out it break and come back to that any other questions? Ok, so let's do this again because that was a bit there was a lot of steps so I'm gonna go in close this image go back to my original actually I'm going to start with another image just for fun ok, so let's go ahead and convert this for smart filters or turn it into a smart object again if you remember to open the darn thing as a smart object, you can certainly do that so we're going to choose filter convert for smart filters click ok and now we're going to run our global sharpening so go up to the filter menu, choose, sharpen and sharp mask, so we're going to start out with our general sharpening members, which are one hundred twenty percent at a radius of one. So we're not letting it sharpened in a very wide swath of pixels in three for threshold, because we don't want every pixel in the image being sharpened and click. Ok, here we go now, let's, create a smart object out of our smart object and apply selective sharpening a little bit of over sharpening that we're only gonna let reveal in certain areas, so you're going to control a right click in the area near the layer name and you're going to choose convert to smart object and you're gonna wait a moment. Now we're gonna go back up to the filter menu to sharpen and sharp mask, and this time we're going to sharpen the heck out of it so you can enter any members you would like. I'm going to go ahead and enter two hundred with a radius of two, and I'm gonna leave my fresh hold at three, go ahead and click ok now let's, go and hide the selective sharpening from the areas where we don't want it to apply, so we'll click once to activate the filter mask. Now we need to fill it with black because it's going to be faster if we hide all the extra sharpening and then go back and reveal it with a white brush than it would be too hide it from most of the image. Now, if you're dealing with the image where you want to reveal a lot of selective sharpening, then you don't have to feel the mask with black, but in our case it's gonna work out to be faster. The last time I did this I used the edit phil command less time let's do it with the keyboard shortcut so with black is my foreground color chip and if your color chips or anything other than black and why you can press d to seth into the default of black and white and then just make sure that black is on tops it's not. You can click that little curved arrow above the color ships or you compress the ex key to flip flop for them. Once you have black on top and you have the brush tool active and you've got a soft edge brush chosen from the preset picker in the options bar, then we can uh, go ahead and fill that mask with black with a keyboard shortcut on a mac it's option delete on a pc it's ault backspace option delete on a mac pc is ault backspace will fill he currently active layer with the foreground color or it will fill a currently active selection with your foreground color so now it's come in and let's zoom entire image here he's our space bar to scoot over to see her pretty little eyes and let's paint with white on the irises and d be sure to catch the rim of the iris when we get into our foe dodge and burn techniques where we're going to be lightening the iris you don't want to touch the rim on those techniques but for selective sharpening you do want to touch the rim you just want to make sure that you don't touch any of the white and if you do it's not the end of the world let's say that I revealed a little too much sharpening here I can press x to flip flop my color chips and with black I can hide the sharpening again in that area yes it could be a c s five thing and I have seen us four still when I go to use the brush on my smart object it's asking me to roster isat okay that tells me that you don't have the mask active okay so you want to activate the mask okay so make sure that you've got that extra white outline yeah around your mask yes tested on a regular mask but I haven't gotten to convert it to the smart filter mask but it is the backslash key that toggles the mask overlay to the red overlay. Okay, so the backslash like, with a question mark no that's for it, isn't it? Or I honestly don't know that's why I asked you ok, yeah, sorry up under your delete key. Okay, so maybe it doesn't not do it for smart filter masks and maybe not pay adobe way want to use the redder related click mask and smart filter masks? Ok, so let's come down here and this one, I'm actually going to reveal a little bit the sharpening on her eyelashes just to make him stand out a little bit. Here we go now I'm gonna come down to her little very little it's a little beauty in reveal sharpening here looks like we're reaching into the photo shoot and applying lip gloss. I love that, and I'm also going to reveal a little bit sharpening on her eyebrows and a little bit across her hair. Here we go. I'm not going to reveal any sharpening down here because this part of the image is actually out of focus, so if I I don't want to apply selective sharpening to it because I wanted to retain this softness that it had from the shoot um I also sharpen a little bit of the tree bark right down here, little extra bit and that's it if it looks good to you then you don't have to go into the blending options and change capacity but if it does look a little bit strong to you then certainly give that a double click and reduce the capacity so now we're done with selective sharpen me let's say we want to go back and adjust the amount of global sharpening that we applied so we're going to control or right click near the layer name and we're going to choose edit contents and that's going to pop open our original smart object that we applied the gold global sharpening on and photoshopped ever the healthful and is letting you know that you have to save this temporary document that it's about to open for you if you don't save it it's not going to update that original smart object in your original document so let's go ahead and click ok and it's even going so far as to tell you that the final must be saved to the same location if the save as dialog appears choose cancel okay so you just want to do a straight save click ok now if we're in that psb document which stands for photoshopped big there's a barb it piece of trivia for you how about photoshopped big honking fish will be here okay so here we are back in our original smart object with our global sharpening so we could pop open the opacity control if we'd like to alter that, we could even apply more sharpening here if we wanted let's say that it looks like we didn't do enough global sharpening you could run on sharp mask again right here in this original smart object so let's, just do that see if we can see the change update in the other document, so we'll choose filter sharpened and sharp mask and we're just gonna let it roll it two hundred say, ok, now we're going to choose file save not say that file save or press command s on the mac or control is on the pc, and when it finishes, you can close this document and now when we go back to our other document, it should look more sharp and it does questions on that gasps heads exploding on twitter uh, question from image seven fifty how can you tell if you have the effects like global sharpening? Apply to a smart object that has been converted to a new nested smart object? Do you have to just remember that you made the previous adjustments or is there a special icon? You have to remember that you made those adjustments? Yeah, ok, yes, is this process more memory intensive? Because it it seems to take longer to save and do some of the or it could just be well smart objects I mean it does take photo shop a couple of seconds to you know expand that and open it up into another thing and save it and then it's putting that instance back into the other nesting it back into the other smart object that you created so it does take a little bit more time it probably is a little bit more processor intensive they would like to know if they're any sharpener plug ins that you like nick nick multimedia and I k makes a fabulous sharpening plug in but to be quite honest with you I don't use any plug ins question from mud foot with the sharpening numbers that you gave out earlier for the different scenarios would you apply any sharpening in camera roll what I apply sharpening and camera no not with those numbers so if you're shooting in the raw format river that's like I raw ingredients of cookie that seems like ages ago doesn't it so when you're when you open images in camera software there is some automatic sharpening that happens so you would probably turn that off so if you're doing sharpening in camera raw you can skip the global sharpening step in photo shot okay or if you want to do it all in photo shop you could turn off the default sharpening that does take place when you open an image and camera raw and then just do all your sharpening here and photoshopped so it's really the global sharpening that that camera raw affects so if you do sharpening over there then just do the selective sharpening over here which means you can skip creating a smart object out of your original smart object uh phil crane would like to know if you how would you apply this technique toe landscapes how would you apply this tightening toe landscapes exact same technique ah higher sharpening members and teddy asked how do you remove the nested smart object? How do you remove it? Would you know you would not don't we'll do one more question does design said I noticed that the file was a jpeg instead of a psd is there a reason why he chose not to save a za psd and then used smart filters? Oh, I just haven't saved it yet I gave it to you straight off the digital camera so I'm gonna go ahead and oh, we have another question yes if you ever get to meet the artifacts in your scharping halos and that sort of thing you ever take the rest the image and softened a bit. So that contrast wise, it looks like it's still sharper compared to say the face you could certainly do that I I don't you you went into that myself personally, but if you do over sharp and then you could apply a little bit of a blur to kind of soften that area again. But honestly, if you use smart filters, you would never have to do that, because you have complete control over the sharpening that you've applied. So you, if that happens, you could just simply go back and back off of it, or use the layer mass to hide it. So it seems like this method is a little bit a lot cleaner, actually, than blurring. Because you're not, you know, messing up the pixels even more by adding a blur that wasn't there to begin with. You could just hide the sharpening if it looks too strong in certain areas to avoid those halos altogether. Or make sure that you, you know your radius is set to one. If you're using the n sharp mass filter, because that will keep them from being that wide.

Class Description

In this special photoshop tutorial, you'll dig into Adobe® Photoshop® CS5 with Lesa Snider, author of Photoshop® CS5: The Missing Manual. There is so much to cover in Adobe® Photoshop® CS5 that we need almost a week to cover everything. In this special 4-day workshop you'll dig into Adobe® Photoshop® CS5 with Lesa Snider, internationally acclaimed instructor and author. Lesa is informative yet entertaining with a unique way of explaining difficult concepts so you understand the "why" behind the "how". Get ready to spend a fun, high-energy week digging into the power of Photoshop.


Software Used: Adobe Photoshop CS 5.1

Lessons

1Introduction: Nitty Gritty Basics + Layers 2Workspace Overview 3Q&A: Workspace 4The Truth About Resolution and File Formats 5Changing Resolution Without Changing Quality 6Q&A: Resolution and File Formats 7Resizing with the Crop Tool 8Cropping with the Ruler Tool 9Resizing with Content-Aware Scale 10Resizing for Print/Web 11Layers and Layer Types 12Duplicating, Moving, and and Aligning Layers 13Q&A: Layers 14Creating Reflections 15Layer Alignment Tools 16Simple Slimming Technique (Resizing Layers) 17Colorizing a Black and White Image 18Creating a Solid Color Fade with Fill Layers 19Layer Masks: Hand Painted Image Collage 20Layer Masks: Gradient Mask Collage 21Layer Blend Mode Collage (Include Load Images as Stack) 1Using Selections Part 1 2Using Selections Part 2 3Q&A: Selection Tools 4Color Selections: Fixing Animal White Eyes 5Tightening Up Layer Masks 6Painting Selections with QuickMasks 7Using Vector Drawing Tools 8Vector Shapes: Creating an Oval Vignette 9Vector Shapes: Rounded Edges to Photo 10Use Channels to Create Selections 11Tough Selections Around Hair & Fur 12Refine Edges Part 1 13Refine Edges Part 2 14Creative Edges on Photos 15Embellishing with Vector Art 16Creative Vector Photo Frames 17Editing Smart Objects 18Smart Objects Template: Creating Dark Edge Vignette 1Smart Objects: Selective Blurring 2Smart Objects: Selective Sharpening 3Sharpening with the High Pass Filter 4Q&A: Sharpening 5Auto Color Adjustments 6Shadows and Highlights 7Using Levels 8When to Use Smart Objects 9Using Curves 10Lightening and Darkening with Blend Modes 11Enhancing Eyes and Teeth 12Changing Colors with Hue/Saturation 13Changing Colors by Hand Painting 14Faux Dodge/Burn: Reduce Wrinkle 15Color to Black and White 1Healing Brush 2Content Aware Fill 3Using Text in Photoshop 4Designing with Baseline Shift 5OpenType Fonts 6Placing Text Behind an Object 7Barely There Text: Faded and Hollow Text 8Pushing Photos Through Text 9Adding Texture to Your Text 10Convert Text to Paths 11Combine Images using Advanced Blending 12Realistic Photo Aging 13Faking HDR 14Wrapping Texture Around an Object

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