June 7, 2016 | Leave a Comment |
Optimal image sharpening is best done in three stages – capture (Do it during Raw conversion.), creative (Do it in Photoshop.), and output (Automate it.).
This article covers the first stage of sharpening – capture sharpening.
Capture sharpening benefits all images. Capture sharpening compensates for inherent deficiencies in optical and capture systems. All lenses and sensors have specific characteristics and deficiencies. They do not all have the same characteristics or deficiencies.
To speed your workflow, default settings for a best starting point for capture sharpening can be determined for all images created with the same lens/chip combination and saved for subsequent use. To optimally sharpen an image, you’ll need to modify these settings to factor in additional considerations – variances in noise (ISO, exposure duration, temperature), noise reduction settings, and the frequencies of detail (low/smooth to high/fine texture) in an image.
Capture sharpening is determined visually. Perform capture sharpening while previewing an image on a monitor at 100% screen magnification, the magnification that most precisely displays high frequency detail such as texture and noise.
Capture sharpening is best done during Raw file conversion. (Do it after scanning for analog originals.) I recommend importing your Raw files into Photoshop as Smart Objects. If you do this, you can quickly access specific sharpening and noise reduction settings simply by double clicking the image layer. At the same time, you’ll also be able to take advantage of any updates in detail rendering (noise reduction and sharpening) with the click of a button. (Do be mindful that any adjustments you make in Adobe Camera Raw will not be recorded in a Lightroom library.)
Capture sharpening is typically done globally and uniformly to all areas of an image, but on the fly masking routines are recommended for reducing and removing sharpening effects, such as halos on contours and noise in low frequency or smooth image areas.
When performing capture sharpening, err on the conservative side and avoid producing unwanted artifacts. Don’t fall prey to the temptation to fix unwanted sharpening artifacts you could produce at this first stage of sharpening in subsequent stages of image editing; you’ll get better results if you don’t produce unwanted sharpening artifacts at all. Additional sharpening enhancements can be performed locally with more precision in Photoshop during creative sharpening.
Set Clarity before sharpening. It produces a different but related contour contrast. If you change Clarity settings substantially, double check your sharpening settings
Perform noise reduction before capture sharpening. You’ll use slightly more aggressive sharpening settings to compensate for the blurring noise reduction introduces. As with capture sharpening, produce as few artifacts as possible during noise reduction. If you need to perform more aggressive or localized noise reduction, do it in Photoshop. (See my noise reduction series on digitalphotopro.com.)
Lightroom’s Detail panel
The Detail controls in Adobe Camera Raw and Lightroom are identical; only their appearance varies.
There four Sharpening sliders.
1 Amount controls the contrast of the effect produced.
2 Radius controls the width of halos (light) and lines (dark) produced around contours.
3 Detail skews the effect towards a particularly frequency of detail – high, medium, or low.
4 Masking creates on-the-fly edge masks, removing the effect from smoother lower contrast areas. (You can see the mask when you hold down the Option/Alt key and click on or slide the slider.)
Images with high frequency detail benefit from using smaller Radius settings, higher Amount and Detail settings. (And lower Noise Reduction settings.) Images with low frequency detail benefit from using higher Radius settings, lower Amount and Detail settings. (And higher Noise Reduction settings.) Images with a wider variety of frequencies, especially those that containing significant contours, benefit from higher Masking settings.
If you don’t know where to start, start with an Amount of 100, a Radius of 1.0, and Detail of 50. Then adjust with the above recommendations in mind, but above all look critically at the way the effect affects your image.
There will be many times when you will want to readjust Noise Reduction settings after determining Sharpening settings. The two are intimately related.
Finding an optimum balance involves making trade-offs. Again, be conservative and avoid producing artifacts. This is perhaps the hardest part of capture sharpening, as the tools are powerful and the effects can be compelling so the temptation to go too far is great. Resist. Remember, there’s a second stage of sharpening for localized effects – creative sharpening.
Double processing Raw files with Photoshop will allow you to apply different noise reduction and sharpening settings to different areas of an image with great precision. In one version you can aggressively sharpen high frequency detail with little noise reduction, such as textured stone, and in second version you can minimally sharpen low frequency detail with high noise reduction, such as a clear blue sky. When you do this, you can optimize sharpening settings for one frequency of detail and ignore the artifacts produced in another. With detail settings optimized for different frequencies on separate layers in Photoshop, you can mask the suboptimal areas in the overlying layer and reveal the optimal detail in the layer below. (Here’s an easy way to do this. First, import the first version into Photoshop as a Smart Object. Second go to Layer : Smart Objects : New Layer Via Copy. Third, double click the new Smart Object to change the detail settings in the overlying layer. Note, if you simply Duplicate a Smart Object instead the settings will be reset in both layers. The way you make the Smart Object determines whether the duplicates share the same settings or have different settings.)
May 30, 2016 | Leave a Comment |
Double pass Unsharp Mask sharpening.
Hybrid Unsharp Mask and High Pass sharpening.
Different sharpening techniques make the world look different. A world of difference can be seen between the thin hard line of Unsharp Mask and the broad feathered line of High Pass Sharpening.
Can you choose a combination of both? Yes you can! You can choose the texture of one, the halo of another, and the line of yet another, applying them either globally or selectively. You can customize the look and feel of detail in any image or image area with astonishing precision and flexibility.
Double Pass Sharpening
Results will differ if you filter the same image layer twice. Why? First, either the technique or the settings can be varied. Second, having been filtered once, the state of the pixels will have changed before a second pass is applied, generating a different final effect. Consequently, not only the type and amount of filtration matters, but also the order in which the filtration is applied.
One classic double pass sharpening technique involves filtering first with an Unsharp Mask setting using a low Radius (under 1.0) and a high Amount (300% or more) and second with an Unsharp Mask setting using a high Radius (approximately1.5) at an Amount of 100%. A variant of this technique adds a third pass of High Pass sharpening. Both methods use the first pass of Unsharp Mask to give the second pass of filtration more to bite into. The key to making any multi-pass sharpening technique successful is to produce a strong yet still convincing effect with as few, if any, unwanted artifacts as possible, either with or without masking.
Some routines will repeat filtration at a lower amount multiple times; for instance, a sharpening setting may be applied ten times at ten percent instead of one time at one hundred percent. The idea behind this approach is that you can achieve a more intense effect (crisper edges) with fewer artifacts (accentuated noise/texture). As it’s inefficient to perform these routines by hand more than one time, this type of approach is best handled by recording an Action that you can play for future uses, which may need to be modified if resolution varies substantially.
Are there benefits to filtering more than twice on the same layer? Maybe. Maybe not. You get diminishing returns with each additional pass of filtration. You may also run the risk of producing more unintended artifacts. Furthermore, as complexity rises your ability to both predict and interact with the final effect diminishes. In general, I recommend you be cautious of highly complex routines and urge you to ask yourself if you derive significant benefit from them.
Sharpening results will also differ if you apply varied filtration techniques to separate layers. Here, the order of the layers in the layer stack matters.
To combine the effects of the different layers use blend modes: Darken will display the only values on a sharpening layer that are darker than values on layers below it, such as the dark line; Lighten will display the only values on a sharpening layer that are lighter than values on layers below it, such as the halo; Luminosity will display any values that change in brightness, but not hue or saturation, and may override any sharpening effects below them so consider separating one Luminosity layer into two layers, one on Lighten and the other on Darken, as their cumulative effect will enhance rather than override underlying effects.
High Pass sharpening layers (or any technique that reduces an image layer largely to gray values) combine easily with other layers using blend modes (typically Overlay); they do this so well that many times it doesn’t matter whether they are placed above or below other sharpening layers.
To reduce file size, you may decide to merge multiple sharpening layers into a single layer. While this makes a file easier to manage now, it reduces your ability to modify the sharpening effect in the future and to clearly track any effects or artifacts were produced. Weigh the pros and cons of this option carefully.
By keeping sharpening effects on separate layers you not only preserve the future flexibility of the effects you create but you are also able to selectively control the effects and target specific areas of an image more precisely. There are three primary ways of doing this; blend modes; Blend If sliders; and masks. A layer’s blend mode controls the way its values combine with values in layers below it; access a layer’s blend mode at the top of the layer stack. A layer’s Blend If sliders let you quickly remove effects from highlights and/or shadow. Activate a layer’s Blend If sliders by double clicking on it – split the sliders for smoother transitions. A layer mask allows you to target different areas of an image. Add a mask to any layer by clicking the mask icon in the Layers palette and fill (either with selection or brush) areas you want to reduce an effect in with varying shades of gray, darker values reduce effects more.
When you combine different sharpening techniques you’ll find that when it comes to the appearance of detail you’ll have a wider variety of choices to choose from. This can affect more than just the look and feel of your images. You can also use it to guide the eye to specific image areas in different ways, producing a qualitatively different visual journey. Sharpening can make the world looks different. Master sharpening and you may even see the world differently. People who view your images certainly will.
May 26, 2016 | Leave a Comment |
A low High Pass filter setting.
A high High Pass filter setting.
There are three methods of sharpening in Photoshop that we should all be aware of – luminance, edge, and High Pass sharpening. In this order, the three methods become progressively more complex and go to greater lengths to reduce the accentuation of noise.
To minimize the accentuation of noise, luminance sharpening requires that the filter Unsharp Mask’s Threshold setting be set precisely. When this is not enough, edge sharpening adds a mask that targets the contours of an image, allowing more aggressive sharpening with fewer side effects. Like, edge sharpening, High Pass sharpening (named after the filter used to produce the effect) targets contours in an image, but it does so without the need for a mask; a mask which is more complex to produce. Unlike edge sharpening, the contour accentuation it produces is soft, feathered, and wide. The effect is substantially different and can be used for many creative effects. High Pass sharpening is very similar to the effects of ACR and Lightroom’s Clarity slider, but it offers more control and more varied effects.
Photoshop’s High Pass filter.
Take these steps to apply High Pass sharpening.
Precise sharpening can improve almost any image. It helps to know when to apply it, what type of sharpening to apply, how to apply it, and where to apply it.
Forget the filters Sharpen, Sharpen More, and Sharpen Edges. They’re just default settings of Unsharp Mask. Even Smart Sharpen offers few advantages over Unsharp Mask; it’s particularly useful for compensating for trace, but not substantial, amounts of motion blur. My advice? Start with the classic and master it.
Why is a filter that makes images appear sharper called Unsharp Mask? In analog chemical photography, unsharp masks are made with out of focus negatives that are registered with an original positive image. During exposure, the blurring adds contrast around contours, making images appear sharper. Digital unsharp mask works the same way, it uses blurring algorithms to add contrast to contours, again making images appear sharper.
What are the ideal settings for Photoshop’s Unsharp Mask filter? There are no ideal settings that will accommodate all images – or image makers. Settings will be influenced by resolution, ISO, subject, and practitioner. As creative sharpening is primarily an aesthetic decision, individuals are likely to prefer different amounts and types of image sharpness. When it comes to the effects Unsharp Mask generates, there is a general range of believability most viewers share, but whether you play it safe or push the envelope is entirely up to you. You can craft your own sharpening style. To do this, you have to know how the tool works and what to look for.
What are the controls Unsharp Mask offers? Unsharp Mask offers only three controls – Amount, Radius, and Threshold.
What do they do? Amount controls contrast; a higher setting will create a brighter halo, darker line, and contrastier texture. Radius controls how thick halos and lines get. Threshold suppresses the effect in adjacent pixels, base on their relative luminosity; with a very low setting only adjacent pixels that are very close in color will be affected; with a very high setting many more color values will be affected.
Hue adjusted – Normal and Hue blend modes compared.
Hue adjusted – Normal and Color blend modes compared.
Saturation added – Normal and Saturation blend modes compared.
When you adjust color in digital images, several common unintended biproducts arise. Increase or decrease contrast and saturation will rise or fall. Increase or decrease saturation and lightness will change. Make a hue adjustment with Curves (or Levels) by targeting specific channels and an image will either lighten or darken. Make a hue adjustment with Hue/Saturation and both saturation and luminosity are likely to shift, sometimes lightening and other times darkening. Correct one problem and you may create another. Sometimes these biproducts are desirable; usually they are not. While these changes may be minor, sometimes insignificant, when making subtle adjustments, they can become major when making more dramatic adjustments.
Is there a cure? There are several!
You can make additional adjustments to correct the biproducts of one adjustment. For instance, to compensate for value shifts when making color adjustments by targeting individual channels with Levels or Curves, many return to the Master channel to correct the accompanying shifts in value. To correct saturation shifts when contrast has been increased or decreased, a second adjustment is often made with Hue/Saturation. Some of these moves bring new problems with them, which will in turn need additional adjustment. If the problems are minor, usually the biproducts are accepted. This is appropriate only when the biproducts are desirable, and far less than ideal when they are not.
Most of these moves are done in an attempt to stabilize one component of color while another shifts.
Color can be broken down into three essential elements; hue (a spectrum around the color wheel from red through yellow, green, blue, cyan, magenta and back to red), saturation (a gradient from intense to dull), and luminosity (a gradient from dark to light). These problematic biproducts, typically found in standard methods of color adjustment, arise because only a few exotic color spaces treat the three distinct qualities of color separately. To control only one quality in RGB and CMYK you typically have to make adjustments to more than one channel. In LAB, luminosity has it’s own separate channel and you can make adjustments to it alone, but saturation and hue are still wrapped into two channels, A and B. The color spaces that treat all three elements separately, HSB, HSL, and HSV are not supported by Photoshop (or Lightroom).
Some adjustment tools allow you to make adjustments to one component of color without affecting the others. Favor them whenever practical. For instance, you can check Preserve Luminosity when using Color Balance to stabilize brightness when making adjustments to hue. This works well when adjustments are made to the midtones. But, when targeting highlights and/or shadows, brightness or contrast may shift. Tools like these build the solution for the problem directly into their interface. But these tools are not always the tools we need to accomplish a given task, nor are they the most precise.
Some tools even produce problems that are not curable. For example, increasing or decreasing value using the Lightness slider with Hue/Saturation will reduce an image’s dynamic range, making white or black gray while darkening or lightening. The best policy is to avoid using these tools altogether. You can do more and do it with greater precision using other tools. (In this specific case use Curves.)
Wouldn’t it be nice if you could target one specific component of color without affecting the others with any color adjustment tool? When you use Photoshop, you can. You can use the blending mode of adjustment layers to constrain the affects of an adjustment to one or more components of a color. If you are making an adjustment directly to an image without using adjustment layers, you can Fade (Edit: Fade) the problem away immediately after applying the adjustment. Unfortunately, you cannot do this during Raw conversion with either Lightroom or ACR. Many of these side effects are built into the behavior of the sliders and no additional blend mode feature exists.
You’ll find all of the blend modes in Photoshop’s Layers palette. All layers, including adjustment layers, have a blending mode. A layer can only have one blending mode, but a layer’s blending mode may be changed at any time. The default is Normal. But there are many other modes to choose from. The long list of options you will find under the blending mode pull down menu, offering seventeen choices in all, may seem overwhelming at first and deter you from using them altogether. While some experimentation with all of the blending modes may prove fruitful, start with the four that are most useful for color adjustment – the four that target specific components of color; Hue, Saturation, Color, and Luminosity.
You can use the adjustment layer blending modes of Hue, Saturation, Color, and Luminosity, to target single color components, regardless of which space you are editing in. The blending mode of an adjustment layer constrains the affects of a adjustment to the component of color specified its title. Hue allows an adjustment layer to affect only hue, eliminating shifts in luminosity. Saturation allows an adjustment layer to affect only saturation, eliminating shifts in luminosity. (Use this for most saturation adjustments, for instance when you use Hue/Saturation.) Color allows an adjustment layer to affect both hue and saturation, eliminating shifts in luminosity. (Use this for most hue adjustments, for instance when you use a single channel in Curves.) Luminosity allows an adjustment layer to affect only value or brightness, eliminating shifts in saturation. (Use this for most contrast adjustments, for instance when you use the master channel in Curves. This functions just like adjusting the L channel in LAB without having to make a color mode conversion, possibly forcing you to flatten a file.)
You can specify the blending mode of an adjustment layer when you first create it. Or, you can change the blending mode of an adjustment layer after it’s creation. Either way, it’s more than likely that you will want to compare the effects of both the alternate blending mode and the Normal blending mode. Sometimes, you may find you like the side effects and don’t want to remove them. In these cases, leave the blend mode on it’s default Normal. As a rule, with exceptions, I recommend you use the blend mode that targets the element of color you are adjusting.
You cannot reduce a blending mode by a percentage; it’s an all or nothing proposition. If, for instance, you want to remove most, but not all, of the additional saturation introduced by a shift in contrast, you will need to choose a blending mode, either blending mode – Normal or Luminosity, and then make an additional Hue/Saturation adjustment. Pick the mode that gets you closest to the result you desire and then fine-tune the final effect with a subsequent adjustment.
The precision and degree of control over color you can acquire today is nothing short of astonishing. It is responsible for producing a dramatic r/evolution in color photography. We now have near total control of color’s three primary elements – hue, saturation, and luminosity. Add to this nonlinear color adjustment (even color transformation), the ability to affect specific hues without affecting others. Add to this the ability to make adjustments to specific ranges within each of those components, for instance the saturation of highlights and/or shadows, rather than the component in its entirety. And there are many other possibilities. You can do virtually anything. You need only imagine the possibilities and then find the right tool for the job.
Identifying and developing a sensitivity for the artifacts digital sharpening produces will help you choose a sharpening method and what settings to use during any stage of your sharpening workflow. You can easily see the artifacts digital sharpening produces by overdoing it. Apply a filter like Unsharp Mask at maximum strength and look closely at what happens.
Following are the seven most common digital sharpening artifacts.
2. Exaggerated Texture
3. Visible Light Halos
4. Visible Dark Lines
5. Loss of Highlight Detail
6. Loss of Shadow Detail
7. Increased Saturation
These artifacts can be reduced in one or more ways.
If you know what to look for, you’ll know what path to choose and how far down it to go. Training your eye for what to look for and understanding the upper limits of what other people find to be naturalistic, or at least not distracting, is the first step to developing your unique sharpening style. The second step is learning how to produce certain effects and avoid others with the tools at your disposal. Once you’ve taken these steps, you can take the third and final step, knowledgeably putting craft in the service of your vision to make compelling visual statements. Enhancing detail is one area of expertise that’s well worth mastering for all photographers.
December 16, 2015 | Leave a Comment |
The Photoshop Color Adjustment Tool Survey – The Go To, The Exotic, And The Redundant
You can evaluate any color adjustment tool, in any software – past, current, or future –based on the control it offers over one or more of the three elements of color – Luminosity, Hue, and Saturation.
Use this as a strategy for quickly mastering the intricacies of color adjustment in Photoshop: own the six go to tools; familiarize yourself with the eight exotic tools; forget about the eleven redundant tools.
Go To Color Adjustments
There are a six color adjustment tools I shudder to think of living without; Curves, Hue/Saturation, Vibrance, Selective Color, Photo Filter, and Black & White
Curves offers the ultimate control over luminosity; no other adjustment offers such precision over the relative darkness and lightness of shadows and highlights. Using the separate channels, Curves offers the same kind of precision when adjusting hue.
Hue/Saturation and Vibrance are the two essential tools for adjusting saturation.
What’s the difference? Vibrance saturates less saturated colors more and prevents clipping in very saturated values, producing a heavier appearance. Hue/Saturation produces a lighter more intense effect, so use it cautiously; you can quickly clip values, producing an overly smooth, overly saturated synthetic appearance if used aggressively. Similarly, handle its Hue slider with care; it’s really more useful for color transformation than it is color enhancement. Unlike Vibrance, Hue/Saturation offers the ability to adjust individual hues without the need for masking. Neither has the ability to selectively adjust the saturation of highlights, midtones, and shadows; for this you’ll need a luminosity mask. Vibrance provides only a very limited ability to selectively adjust colors with different levels of saturation while Hue/Saturation provides none. (For a way to do this read my article Saturation Masking on DigitalPhotoPro.com.)
Photo Filter offers the ability to adjust the hue and to a more limited degree saturation of an image much like an analog lens filter would do, only much more precisely and flexibly. Though less intense, it preserves hue variety better that a Color Fill layer set to a blend mode of Color.
Selective Color trades in subtlety, referencing CMYK adjustments without leaving RGB working spaces. Its ability to adjust the hue of whites, neutrals, and blacks and its ability to mix white and black into other hues, producing reduced saturation tints and shades, makes it unique.
Black & White is the simplest and most powerful tool for converting color to black and white, first reducing saturation to zero and then adjusting luminosity based on original hues. It shines brightest when used in combination with Hue/Saturation and when applied selectively with masks in multiple passes.
Exotic Color Adjustments
You’ll see and think about color differently once you use Photoshop’s three most exotic color adjustment tools; Color Lookup Tables, Gradient Map, and Match Color. (For more detail on each of these adjustments read my previous articles on DigitalPhotoPro.com.) They affect luminosity, hue, and saturation in complex non-uniform ways.
Color Lookup Tables combines multiple color routines or recipes into a single adjustment, making it easy to create consistent effects across multiple images; it’s most frequently but not exclusively used for color grading the many stills in a video.
Gradient Map uses the luminosity values of an original to selectively distribute new colors into an image.
Match Color applies the color values of one image to another, based on a complex statistical analysis of the color relationships in both; it has an added benefit of being able to neutralize strong color casts, such as those found in underwater exposures, without the use of a second image.
Five other exotic color adjustment tools are worth noting.
While preserving shadow and highlight detail is best done during exposure and Raw conversion, and while you can mask a Curves adjustment to the shadows or highlight, both the adjustment Shadows/Highlights and HDR Toning offer occasionally useful sharpening options that Curves doesn’t, in the form of Radius sliders, which potentially makes them more related to detail enhancement than color adjustment.
Cast Equalize (resets dynamic range), Posterize (reduces gradation), and Threshold (reduces all values to pure black or white) into the really exotic category. They have real uses for very graphic images and for analysis but offer little that is useful for photorealistic images.
Redundant Color Adjustments
Part of mastering a tool is learning what not to use. Many of Photoshop’s color adjustment tools are redundant, offering similar control over the same elements of color – with less power and precision. You can simplify your toolset by eliminating these eleven adjustment types from your workflow. Instead, use the tools that give you more control.
Brightness/Contrast (Use Curves instead.), Exposure (Use Curves instead.) Levels (Use Curves instead.), Color Balance, (Use Curves instead.), Invert (Use Curves instead.), Equalize (Use Curves instead.), Desaturate (Use Hue/Saturation instead.), Replace Color (Instead, use Select By Color Range and then Hue/Saturation.), and Channel Mixer, Apply Image, and Calculations (Instead, use Layer Styles to blend channels, with or without a mask. (For more on this technique see my previous article Blending Channels on DigitalPhotoPro.com.)
See the pattern(s)? Two adjustments, Curves and Hue/Saturation, and one layer technique can outperform all of these eleven adjustments.
You can make any color adjustment in Photoshop more precisely target an element of color by using one of four Blend Modes – Luminosity, Hue, Saturation, and Color (a combination of Hue and Saturation). Simply change an adjustment layer’s blend mode from its default Normal. If, instead, you apply an adjustment directly to an image, immediately after applying it, select Edit: Fade (Command / Shift / F) to change the Mode. As a general guideline for all color adjustments, I recommend you make a standard practice of using the blend mode of the element of color you are adjusting, making exceptions when desired.
Lightroom & Camera Raw
Can the separate but related programs Lightroom and Camera Raw do things that Photoshop can’t? Yes. While the majority of these two interfaces, which differ in appearance but not in function, provide controls that are quite similar to but sometimes more limited than what you find in Photoshop, they can do three things that can’t be done in the same way in Photoshop: first, White Balance (Curves and Photo Filter are similar but different.); second, Clarity (High Pass filtration is similar but different); and third, the HSL panel is able to produce luminosity adjustments of individual hues without adverse side-effects on dynamic range.
While the precision of the adjustments provided in Lightroom and Camera Raw is often more limited, it’s usually best to do the basic heavy lifting during Raw conversion – it’s less destructive – and then either dramatic transformations and/or fine-tuning in Photoshop.
In the future, if we discover a single interface that allows us to precisely and without side-effects control the luminosity, hue and saturation of any range of brightness (L), colors (H), and intensities (S), then we’ll have found the Holy Grail of color adjustment. For now, the Photoshop interface, a product of more than 25 years of continual expansion, is more complicated than it needs to be, but it’s capable of producing magic – so much magic. When you clarify your thinking about color, you’ll find it becomes much easier to navigate interfaces and master color adjustment. Keep it simple. Remember, color only has three elements – Luminosity, Hue, and Saturation – so color adjustment is all about controlling the relationships between them … nothing more and nothing less.
Learn more in my digital photography and digital printing workshops.
Photoshop CC 2015 was updated Nov 30.
Here’s a list of updates with links for more detail.
- Photoshop CC 2015.1 (November 2015 release)
- Artboard improvements
- Improvements to Creative Cloud Libraries integration
- Design Space (Preview) enhancements
- Oil paint filter
- Touch workspace and gestures
- Use 3D models in 2D designs
- Start and Recent Files workspaces
- Enhanced export experience
- Customizable toolbar
- Quickly find the right font
- Deeper integration with Adobe Stock
- Modifier Keys palette
- 3D imaging
- Import and export SVG files
- Camera Raw | New features
- Other enhancements
- What’s changed
Color to black and white conversions are radical transformations of an image. They establish the tonal foundations of a neutral image, creating tonal relationships by determining which areas of an image become light and which are dark. While this process can generate some localized effects (all blues become darker or lighter), this is quite different than selectively lightening and darkening an image to accentuate existing tonal relationships (only select blue areas become darker or lighter). Selectively enhance a tonal structure after conversion, rather than before. Selective enhancement may yield dramatic results.
Here are two ways.
Create a new layer set to a blend mode of Overlay. Use an appropriately-sized soft-edged brush. Paint with black to darken and white to lighten. Vary the opacity of the brush to control the intensity of the effect – lower is less, higher is more. If you’re not sure what percentage to use, it’s very rare that you will be when you first begin enhancing an image, take this approach.
Paint areas with a single broad stroke and use the Fade command (Edit: Fade or Shift: Command/Control: F) to modify Opacity. (Ignore the option to change Blend Mode; this is rarely helpful and far too complex.) This allows you to determine opacity visually with a dynamic preview and generates a smoother effect. Additionally, opacity can be reduced to 0% to eliminate the effect. Note that you can only Fade the last stroke made, so until you determine a precise opacity, fade each stroke after making it. Once you know the opacity desired for a given area you can set the brush to that opacity and continue painting without fading.
If you find you’d like to reduce the effect use a soft-edged eraser, at any percentage. This way you can selectively reduce or eliminate the effect.
Use the opacity of the Brush and Eraser tools to control the opacity of the effect. If you use the Opacity of the layer to limit one part of the effect you’ll limit the effect of all areas and won’t be able to generate a stronger effect.
Selectively lightening and darkening with an Overlay layer generates stronger or weaker variations of a simple contrast response. If you’d like to generate a more specific contrast response, use another method. Roughly select an area; create a Curves adjustment layer that generates a specific contrast response; blur the layer mask; refine the mask with a soft-edged brush. This will allow you to precisely modify brightness and contrast. Just as the effect can become more complex, so can your layer stack when you use this method. It will generate multiple adjustment layers. (File them in a Group.) For instance, you cannot lighten and darken with a single layer and you’ll need two adjustment layers for different types of contrast. That said, no other method delivers the same precision.
Use the first method for basic moves (and industrial strength problems in dark shadows and bright highlights). Use the second method for very precise moves.
Periodically turn off these effect layers to monitor your progress. You’ll be amazed at how quickly and dramatically you can enhance an image.
October 12, 2015 | Leave a Comment |
Awareness of the distortions produced by angle of view and lens choice is the beginning of using them creatively. Curiously, permission is the beginning of using distortion in post-processing creatively. Many people have been told that it’s inappropriate to do so. Why? Why accept an unintended mechanical by-product, but not a consciously intended effect? Why take such a powerful tool for expression off the table? Even the subtlest applications of distortion can produce powerful results. Once you understand what kinds of distortions are possible during post-processing, you may even find yourself changing your angle of view during exposure.
There are many reasons why you might want to distort an image. Here are four:
1. Correct optical distortion that can be produced by many things, including lens choice, angle of view, motion, panoramic stitches, etc. You can choose to make the selection of a wide-angle lens less about distortion and more about including more.
2. Modify proportion; adjust the height and/or width of objects and/or areas. Just for starters, take off the 10 pounds that the camera adds on.
3. Change proximity; reduce or increase the spaces between objects. Make things feel more or less related.
4. Enhance or change gesture; make a leaning object more tilted or straighten it out. Think of this as adding the words “very” or “less” into a sentence.
When exploring the many distortion tools in Photoshop, you’ll find that the Liquify filter is one of the most powerful. The Liquify filter is so powerful that, when in use, it offers its own toolbar and menus, somewhat like Camera Raw. To get the most of the Liquify filter, it’s worth taking the full tour …
Photoshop’s sophisticated distortion capabilities are relatively new to photography and so is the mind-set of using them to photographers. Both are worth acquiring. Everyone can find a use for them, at one time or another, if not on every image. As every photographer uses distortion to one degree or another, ultimately what separates photographers is not whether they use distortion, but when, how and why they use it. The same tools can be used to achieve entirely different effects. There’s a world of difference between using distortion to remove process artifacts for more accurate representations, using distortion to aesthetically refine the formal qualities of images and using distortion to expressively interpret subjects. Intent is everything. Practice is a reflection of intent. Simply asking yourself how far you are and aren’t willing to go and, finally, why, will help clarify yours. Consider these questions seriously, and you’ll find your vision will grow stronger and clearer.
keep looking »
SubscribeGet the RSS Feed
- Alumni Portfolios
- Awards & Grants
- Books – Blurb
- Books – eBooks
- Books – eMagazines
- Books – Free PDFs
- Books – Photography
- Books – Recommended
- Color – Adjustment
- Color – Management
- Color – Physics/Biology
- Color – Psychology
- Color – Theory
- Creativity – Composition
- Creativity – Exercises
- Creativity – Planning
- Creativity – Quotes
- Creativity – Storytelling
- Creativity – Video
- Creativity – Video Music
- Creativity – Video Performance
- Destination – Antarctica
- Destination – Atacama
- Destination – Greenland
- Destination – Iceland
- Destination – Italy
- Destination – Maine
- Destination – Morocco
- Destination – Namibia
- Discount Limited Time
- Discounts – Special Offers
- eNews – Collectors Alert
- eNews – Insights
- Environment – Causes
- Environment – Green Actions
- Environment – Organization
- Environment – Reading
- Environment – Video
- Event – Exhibit
- Event – Lecture
- Event – Seminar
- Event – Webinar
- Exhibit – New Work 2016
- Images – Annual Top 12
- Images – Collected
- Images – Contact Sheets
- Images – Experiments
- Images – iPhone
- Images – Photographs
- Images – Statements
- Images – Stories
- Images – Studies
- Influences – Photographic
- iPhone – Apps
- Magazine – Digital Photo Pro
- Magazine – Huffington Post
- Magazine – PHOTOGRAPH
- Optical Illusions
- Photographers – Conversations
- Photographers – On Photography
- Photographers – Photographs
- Photographers – Q&A
- Photographers – Quotes
- Photographers – Quotes / Favorites
- Photographers – Video
- Photographers – Video Conversation
- Printing – Masterworks Collection
- Printing – The Making Of The Print
- Social Networks
- Software – Apps
- Software – Lightroom
- Software – Photoshop
- Store – DVDs
- Store – eBooks
- Store – Prints
- Store – Screensaver
- Technique – B&W
- Technique – Blurring
- Technique – Color
- Technique – Distortion
- Technique – Exposure
- Technique – HDR
- Technique – Sharpening
- Video – Adobe Lightroom
- Video – Adobe Photoshop
- Video – Artists
- Video – Creativity
- Video – Inspiration
- Video – Meditation
- Video – Photography
- Video – Printing
- Video – Quick Tips
- Video – TED
- Workshop – Giveaways
- Workshop – Seminar
- Workshop – Special Guest
- Workshop – Travel Tips
- August 2016
- July 2016
- June 2016
- May 2016
- April 2016
- March 2016
- February 2016
- January 2016
- December 2015
- November 2015
- October 2015
- September 2015
- August 2015
- July 2015
- June 2015
- May 2015
- April 2015
- March 2015
- February 2015
- January 2015
- December 2014
- November 2014
- October 2014
- September 2014
- August 2014
- July 2014
- June 2014
- May 2014
- April 2014
- March 2014
- February 2014
- January 2014
- December 2013
- November 2013
- October 2013
- September 2013
- August 2013
- July 2013
- June 2013
- May 2013
- April 2013
- March 2013
- February 2013
- January 2013
- December 2012
- November 2012
- October 2012
- September 2012
- August 2012
- July 2012
- June 2012
- May 2012
- April 2012
- March 2012
- February 2012
- January 2012
- December 2011
- November 2011
- October 2011
- September 2011
- August 2011
- July 2011
- June 2011
- May 2011
- April 2011
- March 2011
- February 2011
- January 2011
- December 2010
- November 2010
- October 2010
- September 2010
- August 2010
- July 2010
- June 2010
- May 2010
- April 2010
- March 2010
- February 2010
- January 2010
- December 2009
- November 2009
- October 2009
- September 2009
- August 2009
- July 2009
- June 2009
- May 2009
- April 2009
- March 2009
- February 2009
- January 2009
- December 2008
- November 2008
- October 2008
- September 2008
- August 2008
- July 2008
- June 2008
- May 2008
- April 2008
- March 2008
- February 2008
- December 2007
- September 2007
- April 2007
- March 2007
- February 2007
- December 2006
- November 2006
- October 2006
- August 2006