Image Sharpening in Photoshop
Development Focus
T1_20101108
Image Sharpening in Photoshop The optics in consumer level and professional cameras will normally produce a slightly blurry image. The following easy steps will provide consistent sharpening, dramatically improving the quality of your photos.
Before
After: Edges & Details
Step 1:
Open your image in Photoshop
Step 2:
Duplicate your image into a new layer (CTRL‐J).
Step 3:
Click Filter > Other > High Pass
Step 4:
Adjust the threshold until you see a high contrast between the edges in your image. Click OK once the threshold is where you want it to be.
Step 5:
Set the blending mode of your new layer to Overlay.
Step 6:
Duplicate your new layer (CTRL‐J). The copy will amplify the sharpening effect. Hide your new layer(s) to compare with the original.
1
Development Focus
T2_20101108
Cartoonize in Akvis Sketch This filter process can add an interesting effect to context images. Done right, the output can empha‐ size the focal details of the image while minimizing the background details. The results and settings depend on the resolution and contrast of your source image. See the second part of this tutorial for selection guidance. Step 1:
Open your image in Photoshop. This tutorial requires Akvis Sketch to be installed. This is not a free plugin. Lighting and contrast of your image is very important. Depending on the image, you may get better results from the filter after exaggerating the image contrast. You may also want to sharpen the edges using tutorial 1 of this guide.
Step 2:
Separate your layers (plates) so you can process the background and focal elements separately. See future tutorial 3.
Step 3:
Select the layer you want to process and click Filter > Akvis > Sketch. It’s a good practice to make copies of your plate layers before applying the filter!
Step 4:
The presets in the tool provide a great starting point. Use low detail settings for background elements. Use higher detail and subtle color settings for foreground elements.
Each of the images above emphasize a different element, potentially telling a different story. By separating the graphic elements into plates it’s easy to apply treatments to each layered ele‐ ment to produce the desired “eye magnetism”. The background in the element above was brightened and colored and processed with a lower level of detail than the foreground ele‐ ments.
2
Development Focus
T2a_20101108
Deciding to Use the Cartoon Style This one extends tutorial 2 with a quick decision matrix to help figure out when it might be good to use this style of presentation. It doesn’t work well for everything.
Are you representing people?
More specifically, are you representing interactions between people or “inner voice” / thoughts of a single person? This is the largest determining factor supporting the use of this style. Based on expectations around themes (just about every‐ one is familiar with comic book / comic strip style cell presen‐ tations), this style can work better than photographs with a comic themed dialog callout. This style can also make the separation of details more natural and less distracting. If the focus of meaning is two people talk‐ ing in their environment, the prime focus is the people. By deemphasizing the background details, the prime focus main‐ tains the highest visual volume. All images aren’t going to come out well using presets. Some will require more effort to obtain good results. Are the results worth that extra effort? If you aren’t representing interactions between people, the application of this style could be considered decoration with‐ out purpose.
Other uses:
Non‐people things can benefit from the treatment when the treatment is used in moderation. High contrast photos of equipment may benefit from the same amplification of prime focus and slimming of distracting details.
When not to use:
Here is a very short list of reasons when it’s not a good idea to use this treatment: • Just because Bottom line — have an articulable strategy for using a vis ual treatment.
3
Development Focus
T3_20101108
Isolate Stuff in Photoshop There are a few quick and easy ways to separate elements into layers or plates using Photoshop. This quick tutorial illustrates one method. CS4’s tools aren’t as powerful as CS5, but they are still powerful.
Step 1:
Open your image in Photoshop. Contrast between your ob‐ ject and background will influence your results. If you have control over the photography and know you’re going to be separating objects (keying), try to take pictures against a solid & contrasting background.
Step 2:
Activate the Quick Selection Tool (W key) . You’ll use this tool to “paint” a selection on your object. So pick a brush size that will allow you to paint inside your object. HINT: You can use the bracket keys [ ] to control your brush size.
Step 3:
Reduce your selection using the Quick Selection tool in sub‐ tract mode by holding down the ALT key and “painting out” areas where the tool previously selected too much. If you paint out too much you can add back to the quick selection by releasing the ALT key.
Step 4:
When you’re satisfied with your rough selection, click the Refine Edge button in the top toolbar.
Step 5:
The Refine Edge dialog provides tuning controls. Keeping the Radius low reduces “fuzziness”. Bumping up the Con trast will sharpen your edges. Don’t worry if there are small areas that need additional fixing. We’ll address those next. Click OK to apply the refinements.
Step 6:
Now you have a new selection (marching ants) with a tighter fit to what you wanted to select. But there are areas that need “fixing”. At the bottom of your left toolbar there’s a toggle named “Quick Mask Mode”. Click it. You’ll see a red “mask” surrounding your object. You can “paint” using the brush tool (black) to add to your mask, or (white) to re‐ move. A quick touch‐up and you’re done! HINT: You can use the X key to toggle between black and white (foreground / background) to edit your mask. It’s also handy to zoom in and use the spacebar to pan the workspace. 4
T1_20101108
Image Sharpening in Photoshop The optics in consumer level and professional cameras will normally produce a slightly blurry image. The following easy steps will provide consistent sharpening, dramatically improving the quality of your photos.
Before
After: Edges & Details
Step 1:
Open your image in Photoshop
Step 2:
Duplicate your image into a new layer (CTRL‐J).
Step 3:
Click Filter > Other > High Pass
Step 4:
Adjust the threshold until you see a high contrast between the edges in your image. Click OK once the threshold is where you want it to be.
Step 5:
Set the blending mode of your new layer to Overlay.
Step 6:
Duplicate your new layer (CTRL‐J). The copy will amplify the sharpening effect. Hide your new layer(s) to compare with the original.
1
Development Focus
T2_20101108
Cartoonize in Akvis Sketch This filter process can add an interesting effect to context images. Done right, the output can empha‐ size the focal details of the image while minimizing the background details. The results and settings depend on the resolution and contrast of your source image. See the second part of this tutorial for selection guidance. Step 1:
Open your image in Photoshop. This tutorial requires Akvis Sketch to be installed. This is not a free plugin. Lighting and contrast of your image is very important. Depending on the image, you may get better results from the filter after exaggerating the image contrast. You may also want to sharpen the edges using tutorial 1 of this guide.
Step 2:
Separate your layers (plates) so you can process the background and focal elements separately. See future tutorial 3.
Step 3:
Select the layer you want to process and click Filter > Akvis > Sketch. It’s a good practice to make copies of your plate layers before applying the filter!
Step 4:
The presets in the tool provide a great starting point. Use low detail settings for background elements. Use higher detail and subtle color settings for foreground elements.
Each of the images above emphasize a different element, potentially telling a different story. By separating the graphic elements into plates it’s easy to apply treatments to each layered ele‐ ment to produce the desired “eye magnetism”. The background in the element above was brightened and colored and processed with a lower level of detail than the foreground ele‐ ments.
2
Development Focus
T2a_20101108
Deciding to Use the Cartoon Style This one extends tutorial 2 with a quick decision matrix to help figure out when it might be good to use this style of presentation. It doesn’t work well for everything.
Are you representing people?
More specifically, are you representing interactions between people or “inner voice” / thoughts of a single person? This is the largest determining factor supporting the use of this style. Based on expectations around themes (just about every‐ one is familiar with comic book / comic strip style cell presen‐ tations), this style can work better than photographs with a comic themed dialog callout. This style can also make the separation of details more natural and less distracting. If the focus of meaning is two people talk‐ ing in their environment, the prime focus is the people. By deemphasizing the background details, the prime focus main‐ tains the highest visual volume. All images aren’t going to come out well using presets. Some will require more effort to obtain good results. Are the results worth that extra effort? If you aren’t representing interactions between people, the application of this style could be considered decoration with‐ out purpose.
Other uses:
Non‐people things can benefit from the treatment when the treatment is used in moderation. High contrast photos of equipment may benefit from the same amplification of prime focus and slimming of distracting details.
When not to use:
Here is a very short list of reasons when it’s not a good idea to use this treatment: • Just because Bottom line — have an articulable strategy for using a vis ual treatment.
3
Development Focus
T3_20101108
Isolate Stuff in Photoshop There are a few quick and easy ways to separate elements into layers or plates using Photoshop. This quick tutorial illustrates one method. CS4’s tools aren’t as powerful as CS5, but they are still powerful.
Step 1:
Open your image in Photoshop. Contrast between your ob‐ ject and background will influence your results. If you have control over the photography and know you’re going to be separating objects (keying), try to take pictures against a solid & contrasting background.
Step 2:
Activate the Quick Selection Tool (W key) . You’ll use this tool to “paint” a selection on your object. So pick a brush size that will allow you to paint inside your object. HINT: You can use the bracket keys [ ] to control your brush size.
Step 3:
Reduce your selection using the Quick Selection tool in sub‐ tract mode by holding down the ALT key and “painting out” areas where the tool previously selected too much. If you paint out too much you can add back to the quick selection by releasing the ALT key.
Step 4:
When you’re satisfied with your rough selection, click the Refine Edge button in the top toolbar.
Step 5:
The Refine Edge dialog provides tuning controls. Keeping the Radius low reduces “fuzziness”. Bumping up the Con trast will sharpen your edges. Don’t worry if there are small areas that need additional fixing. We’ll address those next. Click OK to apply the refinements.
Step 6:
Now you have a new selection (marching ants) with a tighter fit to what you wanted to select. But there are areas that need “fixing”. At the bottom of your left toolbar there’s a toggle named “Quick Mask Mode”. Click it. You’ll see a red “mask” surrounding your object. You can “paint” using the brush tool (black) to add to your mask, or (white) to re‐ move. A quick touch‐up and you’re done! HINT: You can use the X key to toggle between black and white (foreground / background) to edit your mask. It’s also handy to zoom in and use the spacebar to pan the workspace. 4
