Sharpening Savvy in Adobe® Photoshop® and Lightroom®
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It's very obvious what ed is being sharpened so the edge of the knife is the one that cuts you well in your images photo shop is finding areas of high contrast which it considers to be in as she can think of it like a edge of a knife it's finding areas of high contrast and it's accentuating them are emphasizing them, so if you find an area it photoshopped, finds an edge in your area, which would be an area of high contrast where a light pixel meets a dark pixel sharpening really just lightens the light, picks a little bit more and darkens the dark picture a little bit more that's it that's all there is to sharpening, so we're going to look at several different ways to sharpen and photo shop today, I'm going to start out with the easiest, foolproof, most amazing don't even have to think about it sharpening method you have ever seen in your life, and they were going to move on to the other ways that you can sharpen in the program, and we're going to talk about the specific instances in which he would use those other methods, rather than the first foolproof method of sharpening that I'm just show you first and it's all gonna be nondestructive, so you can get out of what you've done. We're not gonna be harming our original images with any of the techniques that we do today, so let's, go ahead and get started. If you're following along at home, I do provide all of the exercise files for you were in the folder number two called high pass in my texas accident starts coming high pass, ok, but first let's talk just a little bit more about where are the edges in this image? This image it's pretty easy to figure out where they are, so if we're looking for areas of high contrast, that would be where any of these palm trees meet the sky, so any time, light pixels or next to dark pixels, that is what photoshopped considers an edge. So I'm gonna go ahead and do this technique that will step through it again a few times, there's a couple different ways you can do it, you can do it using smart filters, where the sharpening filter is really applied to the protective wrapping of ah smart object, or you can duplicate a layer and running on a duplicate layer. It just depends on which way you want to go, so I'm going to go ahead and just duplicate my layer here by pressing commander controlled jay j for jumped the content up on anywhere. Now, let's, come up to the filter menu and let's go down to the other category and choose high pass. This is my favorite way to sharpen images for several reasons. First of all, I get a lovely preview of a exactly the edges that are going to be affected should I choose to go forth with this filter, and this is the only way to get a preview of the sharpening. In a way that you can really see what parts of your images are being affected in photo shop, I'm gonna show you ways to do that in camera on light room later on but here in photos show this is really the only way you can see it so what's happening here is the high pass filter is turning everything gray in my image, but if I click and drag the radius slider to the right and I'll be a little bit um heavy handed with it just so you can see it on screen she has I dragged that to the right I'm seeing a preview of all the's the spots in my image or being illuminated photo shops showing me exactly the pixels that are going to be sharp and should I choose to go forth with this particular method as I dragged the radius slider to the right more and more of my image is becoming visible here in the document that means more and more of it is going to be sharpened. So if you have the radio slider set way down to the left very little of the image on lee that areas in the image that start to appear through the gray are going to be sharpened and if we look at that as I dragged the slider to the right it's the areas of high contrast and you can see you see them right here with the image, if I zoom in really far, you're going to see a great representation, your visual, rather of what's called a sharpening halo, so if the whole process of sharpening is looking for areas of high contrast and then accentuating, you're emphasizing them through lightning, the light pixels a little bit more and darkening the dark pixels a little bit more. It is extremely easy to sharpen to such a degree that you get what looks to be a gap between those light and dark pixels. It'll we call it a sharpening halo, and if you go too far with some of these sharpening filters on my show, you day, you can see a sharpening halo from outer space, which is not what you want, so every image needs to be sharpened, especially if you're going to print an image, because just the process of printing ink on the paper will soften the pixels a little bit more. So it's, not which images images to sharpen its all images need to be sharpened, but you're gonna learn several techniques in this class today to figure out how much too sharp and win and, uh, different ways to go about it, depending upon what's in your image, but this technique, the high past feel too right here is great for showing you what happens when you sharpen too much. So if I continue to drag this radius slider to the right, can you see how that gap gets more and more and more pronounced so that's a sharpening halo, so the lack pixels have been lightened so much in the dark pixels have been darkened so much that it looks like you've got a white outline around the high contrast edges in your image, which you don't want. I'm showing you that sharpening halo because when we get into some of the other sharpening filters that have more controls, you can control how wide that sharpening halo is. It's really radius does you're going to find radius in the un charter mass filter? You're going to find it in smart, sharp, and you're going to find it in all kinds of different ways to sharpen, but that really is letting you control hey fuck shot! How wide am I willing to let that sharpening halo b am I willing to let it be twelve pixels wide? And you can see it's really in count twelve pixels out from that high contrast? Ege, how wide are you willing to let that be for this particular method? The high pass filter you probably don't ever, ever, ever want to go about four that's why I love this filter you've got one member to memorize one number and that's it I don't have to teach you what all these different sliders dio I'm happy to do that but this is just a full proof generic sharpened anything don't ever go over for the higher the number the more sharpening you've got and this one lets you put in decimal point so you can do a very, very minimal sharpening if you're sharpening you know like baby portrait's or something like that we're also going to go pretty deeply into global sharpening versus selective sharpening so will sharpen the whole image and then we can come back in and sharpen areas a little bit more say like the iris of your eyes to make them pop off the page or some texture and the image like hair and so on and so forth so we're gonna be looking at all that so for this particular image now I have given you the full resolve off of my five day mark three images thirty megabyte just plain image here is huge but I want you to have the ability to zoom into this thing and see these scharping halos and see what's happening if you try to sell this image is stop I will find you so if I was going to sharpen this one for really what I would do is I would drive the slider all the way left and then I would very slowly drag it rightward keeping a close eye on those halos, click ok, looks fantastic, doesn't it? But what about the gray, well blend modes, which we have a menu at the very top of our layers panel here, let us determined color on one layer, interacts blends with knocks out color on other layers, will if you choose one of the modes in the overlay category. These modes all have gray as a neutral color, which means it disappears in the dark and category moves. White is a neutral color, so if you ever need to knock out a white background, try changing it to something in the dark and category, and the white disappears. It's, almost like photoshopped, has a war between colors like it looks at the colors on this layer, looks at the colors on the other layer, and the darkest ones win, or the lightest ones win, so in the dark and category, why is your neutral in the light and category? Black is your neutral, so if you ever want to knock out a black background, try setting the blend mode to something in the light and category. A lot of times, most of the background will disappear, giving you far less work toe hide with a mask, but with the overlay category, I like to think of these is my contrast mode, because in the dark and category they all produce a darker image that he started out with in the latin category they all produce a lighter image than he started out with but an overlay category and I'm just using the first one in the section to say it's a category the's all do a little bit about so you do a little bit of darkening a little bit of lightning gray is are neutral so depending upon which of these moons we pick all of them gray is going to fall right out so that the gray is going to disappear leaving us with the accentuated edges of our image so if you want pretty strong sharpening choose overly if you want a little bit it's more subtle sharpening too soft light let's see if we can zoom in far enough to actually see a difference here so there's overlay soft light I can see it on my screen it's just a subtle softening and then hard light he has had to play around to see which one works for you but nine times out of ten overlay will look well look nice so that's it so there's our before and there's our after full proof sharpening so let's take a look and another way to do that I'll go hand delete the layers I even tried to give you hints in the layer name so here I've got do play or high pass overly mode I tried to help you as much as I can, so another way to do that technique is to create a smart object so you'd select all the layers or activate all the layers that were in your layers panel and he would come into the filter menu choose convert for smart filters and then you would do the exact same thing, so we choose filter other type ass we're gonna drag the radius to the right, gently keeping eye on are sharpening halos and we don't ever want to go above for I mean, maybe if you had, you know ah humongous image from a hassle bladder there's the taken hassle glad possible blood, you know thing you might be able tio you've got such pixel density and your image that you could go above for on this, but rare is that image most the time you're going to be below for so let's, let this roll with two now if you do go this way, you might be the smart object were out, you might be tempted to think, well, I'll just change this blend mode menu toe overlay doesn't do anything why? Because that's not where the filter is so let's change that back to normal we need to come in here and double click that little icon to the right of the filters name itself and that's where we're going to change that blend mode to something in the overlay category and now it drops right out in the same dialogue we could alter the opacity and that would be altering the amount of sharpening so let's say you ran that high past filter like dad garment is this a little bit too heavy handed on the sharpening? We can lower the opacity of the particular filter right here, which is a really nice thing and if you needed to hide the sharpening from any area in your image, you've got an automatic layer mask right there in that mass would let you had just the filters effects not, you know, layer content, just the filter so high passes fantastic, I would just use that that's what I always used for sharpening and a lot of high end photographers, and I know use that to one setting to remember that's it if you are dealing with a multilayer document and I've got a an example of that for you here because most often times you're going to be dealing with multiple layers case so I'll go ahead and delete that layer created for you, so if we're gonna sharpen this guy than I would shift clicked, activate all of the layers and then do you filter convert for small filters? Then we could go back out to the filter menu and choose other high pass what a nice way to get a preview if exactly what areas of your image you're gonna be sharpened, see how that changes if I reduce the amount of sharpening, then there's very, very few areas if I zoom in really far, I think I can see that some sharpening is going to take place, and it is a good idea to preview your image is at one hundred percent is in level when you're sharpening, because that's really the same level where you're going see the difference, and when you do sharpening in camera or light room, you're not going to see a change at all unless you are viewing the image. I don't want to one ratio of one hundred percent, but she can see how it changes as I dragged this slider to the right more and more and more and more and more of the image is going to be sharpened, but I this great preview right here I just love love high pass, so we'll let this one role in about one point two and now again, if you're going to go the smart filter route, you're going to double click that icon to the right. If I pass and that's, we're going to change the blend modes to overlay, which is going to make the grade just dropped right out I'm gonna go ahead and do a few times let's say that you don't want to go the smart object route for whatever reason then if you're dealing with a multilayer document, then you're going to create a stamped copy of all visible layers, so you're gonna create another layer that contains all the content of other visible layers and that's the later going to sharpen so we can do that a couple of different ways we can press shift option command e told you it works so now this layer has all of this content on it, but yet I have not flattened my document the other way to do that is to present hold the option chiana mac or altana pc before you access the layer, fly out menu and then you can choose emerge visible if you do not hold that modifier key down before you access that many that won't work. So now you've got one layer made from many so that's the letter we could sharpen and I like tio practice good linger naming habits and when I do a stamped copy like that, I definitely name it so that I know what the heck's going on in my layers panel so now we could do that a technique so we come up to the filter menu other high pass it's called that good click ok and now in this instance we would change the bowline mode of the layer itself so overly so there's the before and there's the after and with this method, if I it was a little heavy handed on the sharpening, I could drop a pass ity of the layer itself to reduce a little bit of that sharpening really, really handy handy handy method now let's talk a little bit about and sharp mask we'll use the same image here again. I love this image ok, so for uncharged mask will you go ahead and click to activate our layers coming to the filter menu, convert for smart filters or you could create the stamped coffee like we did a moment ago. Go back and choose filter sharpen on chart mask so in short mask gives you three controls versus the one we saw with hi pass so if you want or crave a little bit more control with your sharpening, you might reach for an chart mask that's the only reason I would use it over high pass is if you just really want more control over it, but within chart mask you get no preview of the actual edges that are going to be sharpened so it's a little bit harder and you've got to memorize what thes three control dude button chart mass has been the gold standard for sharpening for a long time because it was the first method and photoshopped that gave us any method of controlling anything you know otherwise it's just photoshopped going in and trying to determine what's an edge with no specifications. So the amount slider here is just sharpening strength that's it radius that controls are what? Sharpening halos. So now you know exactly what a sharpening halo is, so with this one, drag it to the right and you're going to get sharpening halos you can see from outer space you know, we've got some of that going on right in here so that's, what radius does threshold is a little different in that this control lets you tell photoshopped how different exactly the neighboring pixels have to be and brightness levels for photoshopped to consider them to be an edge. So it kind of lets you control hell if you know you're going tohave sharpening party if you want everything in your image sharpened or if you or if you're saying hey photo shop seriously now on lee the edges with super high contrast do I want you to touch so that's what the threshold level lets you do so it works the opposite way and you would think if you said it to zero is going to sharpen everything in your image period everything if you drag it to the right, then those edges have to be more and more and more high contrast for them to be touched so that's an additional control that you've got here within chart mask now you the next question will be what magic numbers do we use and there are some magic numbers the magic numbers that my good buddy scott kilby gave me permission to use scotsman different for a long, long time so I've got four combinations or five combinations of numbers rather so if you want to go the in sharp mass method you might want to jot these down a general sharpened anything no matter what's in the image eighty five percent a radius of one so we've got nice and thin sharpening halos and a threshold of four which by bumping it from zero means that photo shop is looking for the higher contrast edges and it's not touching those that are similar and brightness levels so the higher you dragged this to the farther you during that sire to the right the fewer pixels in your image are going to be sharpened so eighty five one and four if you don't wanna memorizing the other combination of numbers that's a good one to start with and it's ok if you're images look a little too sharp on screen like a smidgen most mitten which is less than a pinch because if you're going to print it that's going to soften so it's okay they look a little too sharp on screen you'll probably be pleased with the print the way it comes out so eighty five one and four for general all purpose for minimal sharpening like babies I'm not a fan of I'm a cat person so if you're shopping babies and other soft beauty stuff, then get set of numbers is one hundred fifty for amount one on radius and ten on threshold so threshold is increased were shot bringing fewer pixels so the contrast has to be higher for them to be touched in the program. So one hundred fifty one in ten now for portrait ce we're going to go down and sharpening a little bit so we're gonna do an amount of seventy five and these air just members to start would do with the hick you want. There is no photo shop police, but these air get starting point so seventy five two in three for sharpening portrait that's just enough to make the eyes pop off the page but I can show you how to selectively sharpen those which is a little bit better but this isn't so much sharpening that every poor will be accentuated because that would be really bad and portrait's so seventy five two in three if you're sharpening landscapes like the picture that we've got here of these three palms, then a good set of magic numbers to start with is one hundred twenty for the amount because if you've got something with a lot of detail in it that's a landscape you can afford to pull that out a little bit more radius of one threshold of three so one hundred to one hundred twenty one and three for sharpening objects, landscapes and animals you know you've got for you've got hard angles lines and all that kind of stuff architecture and then for max sharpening like buildings and cars and things like that you could even do a sixty five percent foreign three now you're next question will be but least that you just said mac scharping and here you've reduced the amount to sixty five that's because we've increased how wide we're allowing those sharpening halos to be so that's why we would ratchet down the amount and if you're sharpening for the web I would do two hundred percent and you are like are you serious? Two hundred percent if I'm going straight to the web but a radius of point three point three so that's we're not allowing any sharpening halo really, but we're sharpening a lot and then we're allowing all of the pixels in the image to be sharpened so that's kind of what those controls do and sharp mask so that's basically all there is to ensure mass was there a question the other than just putting the numbers in? How do we know how much sharpening we need? I mean, why what's the what's the approach he used to figuring out how much sharpening your need that's a great question every image like we talked about that needs to be sharpened because especially if you're shooting in raw there's no in camera sharpening going on so you definitely I would shop in raw images a little bit more than my j pace because jay pegs air getting a tiny bit of sharpening in camera anyway unless you've turned that off in your menu settings so you just want the details to pop in the image sharpened until it looks good to you and it depends on you know what kind of look you're going after, you know do you want it to be more dramatic, more striking, situate texture sharp and more if it's a patriots something really soft that doesn't have hard edges you know like a baby or a soft flower petal then you don't want to apply as much sharpening to that, but it really is subjective it really is a personal choice but kind of go by the image content and sharp and more if it's a raw image because it hasn't had any sharpening applied to it and the great thing about all the methods that were going to learn today in this class is that they're all adjustable inflexible so if you print the image and you say dead game that's not quite sharp enough and it's easy to go back in and adjust that and in reverse as well, so very, very flexible okay, were there any questions on in chart mass before we cruise on now? Maybe this is something that you are going cover later, but on y andy and a couple other people are wondering just how do you know whether you use on sharp master high pass or one of the various one of the various strategies? So you're going to talk about that a little bit? We are but it's good tio address a little bit of it now high passes for everyday all purpose sharpening is the easiest, most self fail safes full proof sharpened get it done! Get out that's it hi, pass! I do that all the time on ly when I need more control or if you are a control freak seriously, that really is what it boils down to use high pass just call it and they're harder ways to do it if you want to go that route. But if you really crave maximum control on your sharpening, then you're going to reach for on charm ask, but when you do that, you give up that image previ that's what makes high pass so amazing? So I did high pass all the time except if you've got images with noise in it or if you've got images where you want to restrict the sharpening and either the highlights or the shadows and in that case you can use smart sharpen ok, which is what we're going to do next we're going to do one more thing on in chart mask if you've got an image that is blurry due to camera shake like you moved the camera not that you're taking a picture of something that's blowing in the wind but if you move the camera then you're going to reach for one of photo shops newer filters which is the camera shake filter that's new and cc so so far what do we have high pass for easiest way to do it on sharp mask if you really want more control but then you give up the image preview smart, sharp and if you're sharpening and images that have a noise in them or images that you want to control the sharpening in either the shadows were the highlights and then if you're sharpening do the camera motion or camera shake then you would use the camera shake filter and that's really what we've got now when we get into selective sharpening here in just a little bit then we will experiment with sharpened tool because we actually have a sharpened tool but it used to be very destructive it's gotten a little bit better in recent versions and I'm going to show you how to use it non destructively on an empty layer so you'd use the sharpened tool when you want to just hand sharpened certain areas, maybe like lives or eyes or hair eyebrows, you know that kind of thing. So hopefully that makes a little bit more clear of which method you should use when so let's, go ahead and open another image here. This is what this is why I took a cannon five d mark three with because I wanted to focus on senses. I made a book of sunsets, and let me tell you, that camera will shoot like a million I esso and there's some noise, but not nearly as much as you think, but I cannot tell you how dark the sky was in that camera to seems to create light were there seemingly is none. So that's why I specifically wanted that camera take so we're going to use on chart mask here I'll go ahead and delete the layer I made for you again, activate the layers, choose filter, convert for smart filters or create a stamped copy. If you've got multiple layers, let's, go ahead and convert for smart filters. Come back in here to one sharp mask and again and short mascot so popular because at the time and I don't remember what version of photo shop that came along he's probably put it up three it was the first time we had any modicum of control. These kinds of settings at all and that's why people still use it lots people don't know about high pass if everybody knew that high past, they'd be using that instead. So here, what kind of image do we have? I want to sharp and some of the details so it's a landscape so that's when I could reach for our magic set of numbers one hundred twenty one in three and I'm just pressing the tab key to advance from one field to the next so I can toggle the preview often on here in my image by zoom in a little bit you can really see the sharpening here down on the water so there's the before see everything's soft it's not that it's a bad image but people we'll react differently to it when it's sharpened nicely, they won't be able to tell you why they like image a over image be, but they'll just know that they liked image because it was sharpened properly so we can go ahead and click ok and again if we wanted to hide the sharpening from in the areas let's say for whatever reason, the sharpening just was a little too much let's say down here on the water than I could click within that automatic mask that came along with running a filter on a smart object press b to grab the brush tool set my four grand color cipto black so you could press b to grab the brush tool, set your color chips to the default of black and white by pressing d d for default and impress the ex key to flip flop them so that black is on top because in the realm of the layer mass black conceals and white reveals you know you could come in here change the brush size, go up on both sides by person the right bracket key or go down and brush size with the left bracket key and as you paint see how that water softening it so now we've effectively hidden the sharpening from that area and there'll be some images that you need to do that but again it's it's subjective you'll just have to look and see what you think now what if I wanted to hide some of the sharp many but not all of it in that area that's when I would double click this mask and then we can use the density slider which is really just a mask opacity slider is all that is so now what I'm doing is I'm revealing and you can see my brush strokes turned to gray over here so I'm just revealing fifty percent because that's about a fifty percent gray fifty percent of the sharpening that I have applied in that area very very flexible so let's look at that one more time I'll use a different image so for this one let's go ahead and duplicate the layer someone to show you howto hide part of the sharpening when you don't have an automatic mask was press commander control j to duplicate it or if you have a multilayer document you're gonna press shift option command e which is going to create a stamped copy of all visible layers practice good sharpening your good layer naming habits by double clicking its name to rename it sharpening and now we can come up here to filter sharpened on chart mask now this is an interesting case because I've got really really softy tells back here I really only want to sharpen this part so I want quite a bit of sharpening this area so I'm gonna go ahead and leave it set to our magic numbers of one hundred twenty one in three and click ok but if you go this duplicate layer stand flare out then you'd need to add that layer mask manually so you would click thie circle within a square icon at the bottom of your layers panel now there's my mask I've already got the brush tool active I have black is my four grown color chips and there I could come in here and I could high the sharpening from all of the area around this toman of this tropical hibiscus now that would take too long for my patients so when you're dealing with stuff like this take a moment and think about how much painting you'd have to do to hide? Do I wantto hide mohr the sharpening that I want to show? In that case, all we have to do is invert that mask. Commander control I now my mass because field with black which means what? There's, no sharpening. If I toggle the visibility of that often on there's no change at all because black conceals or hides why reveals so with the black mask is completely being in so if you want to hide more the sharpening then you want to show it's faster to invert the mask and then paint with white on the area in which you want to reveal sharpening. So be kind to yourself and don't spend a bunch of time if there's a faster way to do it. So now if we do that before I was a little bit more in that fund that's only fifty percent is in that's a honkin big image hung in so there's the before calls them eleven or there we go there's the before and there's the after seacon begin to see the sharpening. Now what if at this point, if I had gone the duplicate her stand player route, what if I decided not enough sharpening you could run the filter again, you know you could just run it again but in that kind of situation I'd be more apt to use the smart filter method that way I can get back to the filter sittings instead of just you know, not really knowing how many I couldn't look at my layers palin go I ran that filter three times you know, unless you type it in the layer name you're not going to know that so but that's how you can restrict the sharpening tio certain areas do we have a question? Well, with all the different got pickled we'll all the different numbers you threw at us for the different pictures or whatever presets and then fine tune well that's a good question can we create praecis within sharp mask? Let's go look filter other groups sharpened on sharp mask no way to add a preset now a smart sharp and you can add a preset so that might be another argument. If you find yourself using the same values over and over then you might be a preset or you might create an action. Absolutely. Now when we get into camera are light room very, very easy to add sharpening presets there really easy to have them over there a little bit more difficult photo shot all right, speaking of smart sharpened can you believe this picture? It was dark and I mean it almost like pitch black but that camera crazy crazy so let's zoom in and let's appreciate it's noisy nous now that's not that bad I mean, seriously if you guys knew how dark it was I mean that's not that bad I mean a lot of other cameras would have introduced buckets and buckets and noise, but that five d more three did not. So anyway, this is a prime opportunity for us to use a filter that has a noise reduction slider in it, and it just so happens that smart, sharp and does so that's when you might reach for smart sharpened over high pass if you're dealing with an image that has noise in it or if you're wanting to restrict the sharpening in the shadows and the highlights without having to jump through the hoops of layer masking and all that the program can do it itself so let's, look at that zoom back out a little bit so here again we could go with the smart object method let's go ahead and do that. So what she's filter convert for smart filters and again that just puts a protective wrapper around that layer or layers. And so the filter applies itself to the rapper, not the layer content, so then go back up to the filter menu and choose sharpened and this time we're going to do smart sharp in now if you're running photo shops, sisi there's a real treat in the style of box that didn't use to exist and the treat is you can resize the darn thing that's important you know because otherwise you're dealing with a poster standard size preview so that's new and photo shops sisi adobe completely reengineered the math behind this particular filter and redesigned the dialog box so if you're looking at this dialog box in any other version of the program you're going to see tabs and and basic and advanced and it's come of a mess not very intuitive it all but in cc it got a lot better you've also got zoom controls down here at the bottom she can click and drag around within the image to reposition it on your screen it incidentally that's a planet how cool is that little bright spot there's planet ok so here we have kind of the same controls that we've been looking at we have the ability to create preset hey that's nice so once you get your settings all set up then you would click this little sprocket I call in right here gear sprocket and how you do the presense no you're doing right here save preset given a name the sprocket lets you go back to the old way that the style I box look and you don't do that okay so a mountain how much do you want to sharpen radius how wide are you willing to let those halos get probably don't ever want to go above four here either but here's the cool part about this particular filters this reduced noise slider so that is really, really, really, really handy. So if we wanted to sharpen this one let's say, well, we'll still some magic numbers from our own chart mask section, so we'll go about a one hundred twenty and perhaps the ones we don't really want to have sharpening halos now we could use this reduce noise slider and I would just drag it to the right and again, this is a huge image that I've given you to play with, so give the program a moment to redraw your screen. So in other words, if I dragged this all the way to the right watch near that planet, which is the bright spot there is going to take the program a moment and you're going to start to see the the noise reduction apply itself so it is not an instant thing with this slider when you've got a really big image is going to take a moment for it apply it, but it really can help you get rid of the noise, so that is keep she from running the reduce noise filter and then running the sharpened filter when you do both right here so that's a really nice thing now you do get an option with this particular filter to tell photoshopped I don't because it removed I call it what do you want a blur because reducing noise is really blurring right? So if we use gaza and blur that's what the un sharp mask uses so if you you smart, sharp and and you don't do any noise reduction and you don't restrict any of your sharpening and either the shadows of the highlights and you leave the set to gaza blur you have just run on chart mask same same thing so why not just use on chart mask? Maybe you want to create a preset that would be why you would use this over in chart mask if you leave it set to goshen blur the next thing that you can't remove or blur is called lenz blur and with this one photo shopped tries detect detail or edges and it really tries its level best to make the sharpening halos anybody? This is really where the new math comes in in the version of this filter that we haven't photo shops sisi motion blur tries hilariously tries to fix any blur in your image caused by either camera shake or the object moving and it does a crappy job don't even try to dio but you would use the new camera shake filter instead but if you don't have photo shop cc which is when we got that filter than you might want to have a go with this but it's raw really really hard if you do choose motion blur than you can use this little radio slider and degree field over here to try to tell photo shot what direction you've got the blur going in so for example if you were taking a picture of a flower and it moved left and right then you would set lead this angle said it what it is but if it moved up and down and you would change it to ninety so ninety degrees so you're trying to help the program and tell what direction the thing moved or what direction you moved your camera the camera shake us far better than that so here's where it gets really interesting I'll set this tow tow limbs for this is where this particular filter gets interesting is that you can restrict the sharpening in the shadows of highlights selectively right here just using these sliders I mean it really is quite amazing so if we wanted but when you start out I think they're both sit at zero which means sharpening is happening evenly across the whole image if I want to ratchet down the sharpening but only in the shadows which would be a good thing to do if you've got a noisy image like we've got because the noise is more prevalent where in the shadows so I might keep from accentuating noise scharping noise just makes it more obvious than I might ratchet it down in the shadows where there's less sharpening now being applied so you can think of this as a sharpening strength or opacity, but on ly in the specific section, either in your shadows are either in your highlights so that's a really great thing, these tonal with with sliders that you see underneath the fate amounts they let you control exactly which shadows or which highlights photo shop is sharpening their both set to fifty percent by default, and that means that they the shadows in the highlights get sharpened evenly throughout their tone, range or range of brightness. But if you change that let's, say you drag that to the left and you get a lower number. That means photo shop is sharpening just the darkest shadows or the lightest highlights. Ok, so if you increase the number, that means that photo shop the sharpening all the highlights or all the shadows. So you've got quite a bit of control in here, so not only hey photoshopped, how much sharpening in my applying and either my shadows or my highlights, but exactly which shadows in which highlights are being affected there's some images when that would be, you know, very, very helpful, but again, noisy images and images where you really want to have control over what's going on in the shadows and highlights without having to do a lot of masking so that's basically how smart sharp and works and again if you find yourself entering the same set of numbers you might you know this would be a way to have pre cents for in sharm ask you know leave this set to gaussian blur set the fate amount of the shadows and highlights to zero which which setting those two zero means nothing is happening with the other two sliders that the's fate amount sliders have to be above zero for the other two sliders in those section is to have any effect at all but you could put in those magic numbers that I talked about and use this poppet menu here to save each one of them is a preset and that would give you in chart mass presets so that's smart sharpened here's a good example let me go and close that one here's a good example of a kn image in which you might want to restrict the sharpening so I was really proud of this one this is my girlfriend karen wilmore's the back of her wedding dress it was just so beautiful I had to take a picture of it so if we pop open the smart sharp and filter and again I can get at it because I ran in on a smart object you'll notice and even if I zoom in a little bit all the sharpening is being restricted to karen in her dress there isn't any sharpening going on back here, so without masking you can get that done with the smart, sharp and filter so if you look at what I've got over here, I've got my shadows I've got fade at one hundred percent so I don't have any sharpening going on in the shadows, so for this particular images that's what I want on with sharpening to be restricted to this area and arguably if I was preparing this for real, I would hi the sharpening from her back in to slip the dress be the sharpened part but that's the magic of smart, sharp and as you can really find to what's going on where so if I dragged this fate amount down to zero, then I don't if you can see it on screen but I'm seeing noise appear now in the background could I use the reduce noise slider to avoid that? Sure, but when you reduce noise you're blurring so I'd get some blurring in the areas of her dress that I don't want to be blurred. So in this instance because these air so clearly shadows it's just easy for me to say hey, you're the shadows alone only sharpen the highlights so that's a real nice thing about smart sharpened the next sharpening filters and I want to share with you is absolute magic and again this one is new and photo shop cc and again I've given you a punk and big image because I want you to be able to zoom in and appreciate what's going on with all this so let's take a look at our before ik an r after now it's not perfect but holy cow alright really amazing so you know when you're shooting at long focal length or shooting with a really long limbs and your zoomed in really far in your shooting in low light I was doing all these things this is in the vatican museum and it's just impossible unless you're shooting with a tripod to not introduce a little camera shake I mean it's going to be blurry and that's exactly what this filter was made for so when you're shooting with a long lindsay really releasing then and it's a little bit dark and it's this filter is just incredible absolutely incredible so it's a little bit it looks complicated but let's take a look at it so filter convert for smart filters or duplicate or create a stamp copy go back into the filter menu to sharpen and this is the new one right here shake reduction new and cc so give that a click and let me resize my dialogues you can see the whole image so immediately what happens is photo shop analyzes uh a square patch of the very center of your image that's just where it looks first so that area, that photo shop analyzed is represented by this pin looking thing in this abounding box you can find to the area that photo shop is analyzing by increasing or decreasing the size of this box. But what it's doing is it's looking deeply into your image and it's trying to discern, is trying to trace the pattern of the blur that's really what's going on here and in fact, adobe calls these little things right here called blur traces. So if I click to zoom in, I can see that in the patch of my image, that photo shop automatically analysed I didn't do anything to make that appeared happen automatically. It looked at my image and the white area that is showing me the direction in which photo shop thinks the blur is headed. That's how I moved my camera when I took the shot so you know, when you have camera shake, it could be up down, it can be diagonal, whatever. So that's what this is right here for the shop is saying, hey, I think you blurred the image in this direction you can create multiple blur traces let's say that there were more areas of the image that we're very important to you let's say you wanted photo shop also to analyze these guys down here, then you would click the little flippy triangle, too show that advanced area and then you could just click and drag to draw another blur trace so now photoshopped created another one and if we were to compare the two they're ever so slightly different but mostly the same. So for this particular image it won't behoove us to draw more of those blur traces but it's nice that you can do it so let's say your focal point didn't happen to be in the middle of the image and most likely it's not going to be you could either move the automatic blur trace that you get or you could create another one to make photo shop analyzed the part of the image that's really the most important to you rather than just this center section as you create more blurred traces they stack up here in the advance panel you can click to activate one and get rid of it by pressing the little trash can icon so the moral or traces you have the longer it's going to take photos shot to look at this and the more areas of your image it's trying to eradicate that particular blur from but it's a neat neat neat neat filter and it's just really really fat list let's talk for just a moment about some of these other settings down here blur trace bounds that lets she determined how wide is the blur in pixels or how much did you move your camera but mostly you're just gonna let photo shop safeties up that's, it's analyzing and it's setting these settings according to what it finds in in the end utilisation. But if you want to, you can always change them. No, I I'm going with my camera a lot now see, we've got even a little bit sharper, but then we start to get a little bit of blurring and, you know, it's better where it was so that's. What blurred trace bounds does source noise you're telling it, you know how much noise you've got in the amer so it's, a little bit of a a noise reduction there smoothing. You can drag that one to the right to blur noise in areas of fine detail and, you know, as your reducing noise and sharpening, you're really messing with pixels here, and in doing so, you can introduce what is called artifact ing, where you get just really weird blotches of color. If you start having that, then you can use this artifact suppression slider to try to eradicate that so often, when you're doing this kind of thing, you'll get noise in, um well you get sharpening halos for one so that's kind of a nasty you also get exaggerated texture and areas that look so great and then you might have a little bit of detail loss in the shadows or highlights so you can use this slider to determine how much of that those artifacts photo shop is really trying his best to get rid of which just means blur so you got to keep that in mind as you're messing with the sliders you know anything below this source noise here he is blurring really so just keep that in mind but this is a fabulous filter I wouldn't ever use this filter on a stock shot that I was going to submit I would not use it on I would not use it the client shot but if you've got a shot that you just cannot repeat like the subject is so good let's say it's somebody that's not with us anymore or an event that you cannot recreate that's where this kind of filter is a rule lifesaver did you have a question sir could you make the box bigger smaller or is it a present which box the blur's raises the square absolutely you can change its size you can change its size thank you for asking that you can move it around so let's say if the part of this particular painting that was most important to me was on ly this part right there then I would reposition my my box right there so you can click and drag the pin to move it around and change its size so it's just the larger you make it, the longer it's going take photo shopped to create a blur trace because it's analyzing a bigger chuck ever your image pretty amazing. So here's, our there's, our before there's are after, and I've got another example of that one here there's the before there's the after so pretty amazing and again, if we wantto delete that, we can activate our layers, be a smart filter or create a standard coffee good and a sharpened shake reduction again that is new and cc photo shop automatically analyzes a center chunk, treats a blur trace, create more bored traces if you want, and so on and so forth. It's a you know, every once in a while, adobe comes out with this stuff that is just absolutely mad, you know, content where technology was one of those which you're going to look at in the last class day is going to be fun, and this camera shake filter is the other piece of magic recently. Now let's talk a little bit about selective scharping, which honestly gives a lot of fun, so I'm gonna turn off the layer that I created for you and this one was kind of unbelievable here I am taken shots of all these flowers in hawaii and I was shooting with a, uh a macro lin's and this bird with teeny tiny bird just lit on this flower and I can't blame it okay steps upsets upset, but I'd like to accentuate the bird's eye a little bit more so let's say I have applied some global sharpening in any of the mess the methods that we've looked at today, then you might if you're just going to sharpen a small area, excuse me, you could reach for the sharpened tool because there is a national sharp until but every instructors told you never to use it because it can be so destructive, but I'm going to show you a way that you can use it where it's not so destructive first we're going to do are sharpening on an empty layer. We're not going to harm our original pixel of our image, so we're going to create a new layer. You can either click the new layer icon at the bottom right of your layers panel for u press shift command in for a new layer either way, so we'll call this one eye sharpening one hundred twenty words a minute ninety eight percent accuracy somebody's going to ask that before I got into teaching photo shot by a typing service called flying fingers what's weird is that I married a man who could type as fast as me yeah, real evil ok, so let's sharpen this bird's eye go ahead to lead the layer I made for you so we've got a new layer for sharpening, so that means whatever we do with this tool, we can reduce capacity or we can throw this letter away. We're not messing up original image so it's come over here and find the sharpened tool caitlin's below the grady and tool in your tools panel, so we're just going to click it to activate it. Now there are a couple of options that you want to be sure and turn on the options bar at the top of your screen. First, I like to ratchet down the strength of this thing because you can paint with it and it will have a bill the fact so in other words, I don't want to make one brush stroke and have it be too sharp. I know there have to paint paint and paint and paint to build up the sharpening as I gives me a chance to assess it as I'm going, so I like to ratchet that down so you might want to ratchet that down a little bit further I usually use about twenty five percent or so, but the big important setting is this one right here sample all layers so without this checkbox turned on photo shop will squawk it if you try to sharpen because it's going to say um there's no pixels on this layered sharp because remember, whatever you do next is gonna happen to the currently active layer, so if I try to sharpen nothing's happening because there's nothing there so I have to turn on sample all layers and that makes for a shot look through the currently active empty layer to the layers underneath where the pixels actually live and this has been this the sharp until has had this option I think since c s five if you're using cs for earlier, you may not see that option in that case, I would duplicate the layer or create a stamped copy and sharpen it that way, but if you've got this option, go ahead, turn it on and then you want to make sure to leave on this protective detail. Adobe redid the math behind the scharping tool I think it was a back and see us five as well and they just make it be a little less destructive. So do be sure to keep that turn on. And if you are curious, several tools that I activate have this weird looking little icon to the right almost looks like a target that if you're using a whack on graphics tablet which I love, I use those at home all the time I still travel with it but then you can turn that on in that way the pressure of your stylist or your pan rather on the tablet itself controls how much sharpening your playing well, I'm really glad that she's not using a tablet because that makes me feel better about using a mouse so good looking good okay, so if we want to sharpen the bird's head and I I could just come over here and just paint you don't have to do it all in one brush stroke release your mouse button, assess it if you want to sharpen a little bit more, go ahead so now if we do before and after so there's our before there's are after, you know we've been very selective with are sharpening but in a way that we can always get out of. So if you do happen to go too far let's say you get distracted or whatever and you go a little bit too far with that don't start over don't throw away that layer just bring the opacity of it down so hopefully are starting to get the idea had have really flexible editing in your documents so again we can create a new empty layer if you go the keyboard shortcut route of shift command and or shift control in for new layer, you get a naming opportunity so you could call this eye sharpening that way you wouldn't have to double click the the layer name and now we're gonna come grab the sharpened tool and in the options bar I suggest that you lessen the strength of it I think it starts out at fifty percent but you'll find your own magic number make sure to turn on sample all airs and make sure to leave protective detail on that was going to be on automatically the sample all ares is not so now with the new anti layer active just come over and paint so there's there before there's our after if we turn off the original layer we can see what photo shop has done it soon all that scharping on that new empty layer and that's definitely how you want to use that tool so that's method numeral who knew for selective scharping let's take a moment to do a little bit of global sharpening in a little bit of selective sharpening so let's take a look at our the original image so use our turn all these other layers often on keyboard shortcut trick which is option are all too clicking the layer that you want to remain visible so there's our original then there is what we're going to create if you look at my layers panel I have applied one round of global sharpening using some of the methods we talked about earlier I used high pass you can see right here in the lakersfinal then I converted that smart object into another smart object, so I first wrapped the layer at protectively sharp ended, then I took that protectively rat layer put another wrapping around it sharpen that one selectively that's what we're gonna do, you can do it with duplicate layers if you're more comfortable in that way, but let's, go ahead and delete everything, so this might be a workflow that you could follow, so activate all the layers and you're in your document that you want to sharpen or create a stamp to copy the way, so we'll just do that will say filter convert for smart filters filter hi pass russia that down to about point seven this a pre small image click ok now let's change the blend mode of the filter itself not appear you'd use that many if you were doing this on duplicate or stand players so changed overlay click ok that's our global sharpening and I might even call this smart object global sharpening great! Now I want to accentuate her lips in her eyes, but just the iris is I love this I love I do this on every portrait as love it, so now we're going to take the a smart, obviously made and stuff it into another smart object you can miss smart objects all day long. So how would you do that? I'm just gonna go ahead and right click or control click near the layer name not the layer from milk you'll get a different mini and we're gonna choose convert to smart object great now we can run another filter she's filter other high pass and we might ratchet this up quite a bit severe sharpening extreme sharpening click ok used the filters blending options to change the mode or really now we've got an automatic mask now if we want to only have the sharpening revealed on the irises and the lips if we look at the whole image that's a pretty small area we're going to save time if we feel that mass with black and then just go in with a brush set toe white to reveal that sharpening only in the areas that we want it but again if you're being paid by the hour you might want to use black pain I would not do that but whatever so how do we feel that mask with black we simply inverted command I or control I I for invert now that extra around a sharpening that we applied is completely being hidden because that mask is filled with black black conceals white reveals so now with the breast tool press be said to paint with white press d to set your color chips to the default to black and why if there's something else impress x so that white is on top and now you can come over and use your bracket keys to just brush size and as we paint, we're going to be revealing the sharpening on lee in the area that we're painting across and then we can it doesn't hold our space bar to scoot over to the other eye and this method is so forgiving because if you mess up and you do something like this, you know I've got eyelashes that you're way too sharp all you have to do is press the excuse so that you're painting with white black conceals white reveals and you just pay it back over the area that you didn't mean to reveal that extra around a sharpening to begin with this method has been around for ages and you know, smart objects and smart filters have been around since cs too so but if you happen to be using a copy for the shop is older that you still get this done just by duplicating the layers so you'd end up with three layers on this one you know, the one you started out with the one you did the global sharpening on and then the one you duplicated ended the selective sharpening on so you can get it done without smart objects but smart off just this kind of keeps your layers panel from being, you know, a mile long keeps it nice and clean okay, so now where else might we reveal the sharpening? I can scoot up here and let's give her what looks like an extra coat of lip gloss, but it's just sharpening and again, when I'm doing this kind of, uh, hiding and showing in the mask, I always keep two fingers on those bracket keys because I can be very fast with changing my brush size, so I went a little bit too far down there someone hide that again. So now let's, take a look at our before and after, so I'll topple visibility off on the second filter that iran so there's the before. So watch your irises and her lips and there's the after that's pretty dramatic, but yet it subtly mean the client probably wouldn't know why they like the image so much, but they will. If you want to ratchet down the opacity of that selective sharpening, then you would just double clicked open the filters, blending up options and you'd use this opacity slider, so maybe fifty ish percent would look better some now I'll zoom in a little bit because our change will be a little bit more subtle, so there's the before and there's the after just makes their eyes pop off page do be sure if you do this technique tio to reveal the extra sharpening on the iris rim else it'll look weird, but be extra careful not to go into the white area that I really, really awful, so just be careful with that. So let's, go ahead and close that image and activate the layers. Make your first smart object for global sharpening used the sharpening method of your choice. We're going to use high pass now we're going to open the filters blending options change the blue moto overlay now we're going to create we'll call that one global sharpening. Now, let's, treat another smart object out of that one. Convert to smart object now, let's, go back it to the filter menu. High pass, severe sharpening. Here we go! Open the filters! Blending options changed the blend moto overlay there we go now assess how much of the sharpening you want to hide. If it's a bunch invert the mass by person commander control I do you make sure to click to activate the mask first. Now, with the brush tool set to paint with white, black conceals white reveals now we can reveal the extra sharpening on lee in the areas that we need it. I kind of went into the white there, so I'm gonna press x to flip flop my colored ship so that I'm painting with black to fix my mistakes. You can be really fast with this technique, and if I was doing this on this portrait for riel for client, I might reveal a little sharpening on her hair, maybe a little on the on the guitar there and then to adjust the opacity of that selective sharpening, we can open the filters, blending options, change the opacity they're now your next question would be, well, lisa, what if, after assessing the image, I want to apply more or less global? Scharping easy double click the smart object see, I got another new document right here temporary document that contains my original smart object. I can double click the filter, and I can change the global sharpening right there very, very, uh, great method for being precise and it's forgiving you're not going to mess up your original image. All right now, let's, take a look at sharpening and camera all and in light room, which is fabulous. Okay, if you're running photo shop cc, you can get to camera raw as a filter in photoshopped someone to go ahead and delete the layer that I made for you so you would activate the layers coming to the filter menu and shoes convert for smart filters, she's camera or off you don't see that you're not running photo shops sisi when the camera raul dialog box opens you're going to open the detail panel which cleverly looks just like the sharpen tool and photoshopped triangle so give that a click and here's your sharpening controls we've got about the same controls you know by now that the amount is the strength of the sharpening radius how wide are we willing to let those halos go? The detail slider is interesting because it lets you control where the sharpening is apply so you can drag it to the lift two sharpened fewer areas it's kind of like that threshold slider that we saw back in in sharm mask how different do the pixels have to be before photoshopped considers them an edge and therefore sharpens them so drag it to the left fewer areas or sharpen drag it to the right to have a sharpening party now just dragging the sliders around either the details slaughter the masking slider that it is impossible for you to see any change with your eyes impossible first of all we need to be viewed in the image of one hundred percent so we need to use this a zoom slider down here at the bottom we can click the plus sign and you want to be viewing your image at one hundred percent only that they're going to see any change at all with any of these sliders but if you option or ault click either the detail or the masking slider will talk about this one next you get a mask and what does that look like high pass now hopefully you're starting to see how useful that high pass filter is so as we drag this slider to the left fewer areas or being sharpened in there showing up just like they didn't high pass filter as you dragged this to the right more areas or being sharpened so I'm if you can see it on screen but I can definitely see more pixels poking through of my image as I dragged that slider to the right but only when you hold down that option keilar altana pc are you going to see that what really is an edge mask pretty much the details slider I rarely use I kind of leave it sit to the default but what I use you guys we're not going to believe this what you're about to see I really do believe again is worth the entire cost of photo shot we cause this is gonna change your life this masking cider right here this life she control exactly what areas of your image or being sharpened but if you drag it around he is impossible to see anything so let's use that same modifier key trick was prison hold the option chiana mac or altana pc areas that show up in white will be sharpened so right now our entire image would get some level of sharpening as I drag it to the right I get excited every time we do this that's kate leave I'll call this is areas that appear in black will not be sharpened can you even believe I'm even cold chills can you even believe you've got that level of sharpening control look at that how about that for restricting the sharpening toe on ly areas of detail so if we've got this situation going on if I dragged the masking slider all the way to the right I've got no sharpening going on in the background or the area that I put in a soft focus I'm on ly getting sharpening on my foreground power power power I absolutely love this so again what we did was we turned that into a smart object and then we came into the filter menu and chose camera raul it works exactly the same way and light remember we'll look at it in light room in just a second so let's come over here to the detail panel it's like a triangle and you're going to make sure that your viewing your image at one hundred percent if you're sharpening for real but I want you to see the whole picture so I'm not one hundred percent so you're going to come over here to the sharpening panel you're going to set your amount of sharpening whatever that is I tend not to go over forty on most images and if you are submitting anything for stock photography you can never go over about one point four on the radius or your image will get rejected due to sharpening hale is I promise you I know I know so many inspectors that I stopped further they're like if the radius is everyone point for forget it forget it I mean which clearly there's an exception but for the most part if you're sharpening for stock you cannot go over one point for because the people are downloading your image are going to sharpen it themselves because who's dalati your image designers so you need to leave them some room to move around within your image so national stock tip for you ok so now let's say we're fine on them out found radius detail this one let you restrict the sharpening teo on ly areas of detail or more the image or everything ok kind of works opposite of the threshold slider but it's really the same control now this masking is the really special and so we're going to press and hold the option chiana mac or altana pc right from the get go all of our image is going to be sharpened but as we dragged that slider to the right the areas that appear in black will not be touched so without any kind of selection or any madness like that I can restrict the sharpening toe on lee the edges of those trees and the bark of the palms and I think that is just absolutely fantastic all right she was this excited about photoshopped oh my gosh so let's pop over to light room real quick I absolutely love light room for those for the curious among you I do all of my importing organization rating sorting, filtering everything key wording everything from light room you can pre set light room to death you can have presets on import you can have exposure presets you can have special effect priests sharpening presets oh my gosh it's just the most amazing program so here's the image that we've been working with I'm gonna press d to pop in to develop mode and if we cruise down in our panels over here we find we've got a detail panel it works exactly like the one we saw in camera raw so let's let the detail panel now I will tell you that light room comes with some pretty cool presets straight from a dove seems you're very handy you'll find them on the left hand side of your screen in the presets panel if the flippy triangle is turned up then you may not see it so just click it tio collapse it we're expanding rather but the sharpening presets air down here in the general section and you've got two of which you're great starting point so if you forget all the numbers that I've told you look at what's in your picture is it faces click faces and start from there if it's scenery like ours is here click scenic and we can see over here on the right hand side I'll go and hide that panel that we've got an amount of forty which is a great place to start we've got our radius remember we're never going to go over one point for if you are submitting for stock photography do what you want on client photos but that's the sharpening halo here's our detail slider drive to the left only sharpen details dragged to the right to sharpen everything and if we option or all click are masking slatter it works exactly same way everything that appears and why it is going to be sharp and as you drag it to the right, the areas that appear in black will not be touched it's been fascinating to see our students this week because they've been totally captivated with all of the material they say russ and I were actually just saying off camera we're so fascinating this subject particularly russia is a very talented photographer but when you have this density of information it's all it's impossible for us to keep going with the things we do we can do selective sharpening and either camera or our light room too so let's just take a second to do that's really really easy we're going to do we're gonna develop module we're going to come over here in light room and grab the adjustment brush she had the same tool in camera it just lives at the top of the panel instead of the right hand side so we're going to click adjustment brush and in light room it comes with a slew of presets so from this little poppet menu here so I got this panel by clicking the adjustments brush so does click in it you see the controls choose sharpness from the priest says and you can see here that the only change the sharpness all the other sliders your set tio zero so we'll make this really pronounced by increasing clarity which is kind of like an uncharged mask as well a sharpness and now it's just a brush come over here to your image use your left and right bracket key suggest brush size consume in a little bit and as I paint from painting on were sharpening that's it and if you want to ratchet down the strength of that after you have painted with that adjustments fresh then you're going to click the little flippy triangle that appears near the top of that panel that expanded when we activated the tool and then it becomes an amount slider in the nikkan back off of what you did so that's one way to do it with the adjustments brush another way to do it let me grab a different image is to use the radio filter so the radio filters new and camera eight and in light room five so the radial filter is this guy right here actually looks circular, which is helpful, so clicking toe activate it and you've got the same kind of controls that you expect to see over there in the basic panel. So what I can do now and I'll zoom out a little bit is if I wanted to accentuate just the area where the baby humpback whale so proud of that shot the baby humpback whale is ah blowing air the night position that radio filter right here but by default, this filter wants to affect uh, the inside and I think I changed it. Yeah, I did. You can invert it right here and I think there's a keyboard shortcut also is the apostrophe here so depending upon if you've messed with this filter it it wants to by default adjust the area outside of the shape that you draw the circle so all the sharpening was being applied everywhere except the inside of the circle, so all I did was flip flop it by either pressing the apostrophe key see how now the outside of that circle is sharp but and when I pressed the apostrophe now it's on lee the inside you can do that same thing by turning on that invert mask in camera raw it also has its exact same control. So if I press h toe, hide my pins, you can see that now, this area the image has selected sharpening apply to it so that's, another great way to do it. So you have questions are so much a question just did confirmed. So if we're in light room, this would be the way similar how you were painting her I exactly. And the letter retired so in light room to your global sharpening using the detail section, I'll put this tool away. So the detail section over here in the developed module. Okay, so this is your global sharpening for selective sharp ring. You can use one of two tools, either the new radio filter, so click it to activate the tool and there's all kinds of presets in here. So you just two sharpness, but then you could also adjust. I'd adjust the clarity to I'd bump it up, and then you could draw that onto the image and just make sure that you know which way the mask is gonna happen. So if it does the opposite of what you want, like if the area outside the filters affected than just press the apostrophe key or turn on this invert mask to flip flop it, so the effect happens to the inside of the filter that's the method number one I'll put that tool away method number two for selective sharpening in either light rumor camera raw is to grab the adjustments brush when you do you see this panel appear now if it doesn't have all the settings in it, click that little flippy triangle right there and you see all of those settings so this is where you could either start with a sharpness, priests it or create one of your own when I do this it on my own images id also bump up the clarity and with the adjustments brush than you just paint, so if I wanted to paint an extra round sharpening on the whale itself, easy to do that and if I want to see the before and after of that, I can just click this little flip the switch at the bottom of the panel that expanded when I grabbed the tool so that switch right there off on off on you want to get rid of it. We set if I want to apply selective sharp in two different areas that aren't contiguous, then I would just klick knew and I paint a swatch and I click new and I'd paint another area very, very forgiving very indeed one very quick question this might be just a yes or no who knows tough toodle is saying is sharpening always the very last step in my humble opinion, sharpening is always the very last step. I do know a lot of photographers that like to apply a rather low level of global sharpening when they import their images, just because if you know you're always going to sharpen them a little bit, why not do a little global sharpening when you input? Do your editing? I tend to save it to the last just because I'm terrified a sharpening, so destructive I'm terrified I'm gonna tear up the image, you know? So if you're using a light rumor camera ross easier to undo that global round scharping, they may have applied in photo shop it's much more difficult depends on how you've applied the global sharpening to begin with, you know, because if you did it on the original layer and you didn't neither duplicate layers or you smart objects than it's, impossible to undo that initial round of sharpening that you may have done so, I might do a little global sharpening on import. If I'm using light rumor camera photo shop, I wouldn't. I'd save it to the last, but selective sharpening definitely always save it to the very end.