I was preparing an image for printing this morning when I decided that I wanted to bump the contrast tiny bit. I thought about using a curves or levels layer in Photoshop, and then I recalled something I'd read a long time ago on Luminous Landscape about enhancing micro contrast.
This is something one would do with a print file rather than to the master file?
Yes.
I ran a quick experiment by making a copy of the background layer and then moved it to the top of the stack. Basically, I wound up at square one, so you're correct.
Next, I tried applying the technique to the background layer. It does work, but if you save the file, you're stuck with it.
Therefore, I would reserve this technique for final output.
For a Web jpeg, I would size the image, sharpen to suit and then apply the technique as in my OP.
Good question, Harley!
--P
ps: Research continues...
Posted by Keith Bauer on April 23, 2015 at 6:27 PM
You can create a "composite" layer to solve this issue.
On the layers panel in the upper right corner there is a small icon with a triangle facing down and horizontal lines next to it.
Click that, move down to "Merge Visible". Press and hold the Alt/Option key before clicking merge visible. You will end up with a layer on the top of the layer stack with all of the layers merged. All the other layers stay in tact. Use that layer for final output sharpening. You can then save the image with or without it.
The full keyboard shortcut if you are a keyboard shortcut junkie is: This will do the same thing I described above.
Mac: Command / Option / Shift / E
Windows: Cntrl / Alt / Shift / E
How does one reverse the 'Merge Visible' other than deleting the history state?
--P
Posted by Dennis Plank on April 23, 2015 at 8:15 PM
Thanks, Preston.
For people using the Topaz plugins, Topaz Detail has a similar ability to adjust just the small detail contrast that I find handy. Since I do mostly bird and flower photography, I often create a separate layer for the subject, and I find it effective to apply this to just the subject to make it pop a bit more from the background.
Posted by Keith Bauer on April 23, 2015 at 9:03 PM
Preston: to "reverse the Merge Visible" all you need to do is delete the top layer. This process does NOT merge the layers and create one single layer in the image. It creates a layer at the top of the layer stack with all of the underlying layers adjustments all merged into one layer. Use it for your sharpening and then delete it if you want, or save it with the "composite layer" on top.
Thanks, Keith. That makes sense. I'll have to try it.
--P
Posted by Mark Seaver on April 23, 2015 at 11:50 PM
TK's triple play is an alternative approach that does basically the same thing using luminosity masks. Since I started using that, I've totally stopped doing any final "sharpening".
TK's Triple Play is quite powerful, but sometimes I find it's effect on color to be more than I want. The technique in my OP has a very small effect on color. Also, for those who don't have TK's actions, the technique would work well for them at the output stage.
(Slightly off-topic: I rarely use the Triple Play for the reason I mentioned. When I use TK's luminosity masks, I set the blending mode to 'Luminosity' when I do not want any change in color.)
It just dawned on me that there would be no affect on color if the blending mode of the USM layer (in my OP) is set to 'Luminosity'.
--P
Posted by Mark Seaver on April 24, 2015 at 9:43 PM
Preston, I see more color effects in my RAW processing than in my triple plays. In triple plays, I routinely adjust the opacity of the "return" layer to minimize them pushing either lights into burn out or darks into total black. Based on what you've said, I think I need to go back and reread Tony's write up on luminosity masks (let's see, this must be about the 4th or 5th reading... )
In the TP there are two layers for each mask: "Screen (S), and Multiply (M). For example: Lights (S) and Lights (M). Which layer are you referring to when you say "return layer"?
With TK's regular luminosity masks, the trick of setting the blending mode to 'luminosity' is one I found through experimenting with TK's masks. The trick is not documented in TK's tutorials, as far as I know.
As a total aside: I don't do any color tweaking in Adobe Camera RAW aside from removing chromatic aberration and (rarely) white balance. I do all my color and tonality work in CS6.
--P
Posted by Mark Seaver on April 26, 2015 at 11:08 PM
Preston, what I'm calling the "return" is the layer with the unblurred mask. That would be the screen layer on a "lights" pair and the multiply layer on a "darks" pair.
Given the triple play use, I mostly use luminosity masks for burning and dodging, except for a mid-tone contrast boost done in luminosity mode.
To my eyes, Adobe's white balance choice is almost always too cool (blue), so I routinely add 200 - 300 points to the white balance. Then I adjust the shadows, highlights, whites and blacks sliders for where I want the most detailed tonal emphasis (say, maximize the range of the mid-range lights) and to minimize any blown or black areas. I also tweak the tone curve because changes there don't seem to be the same as changing the sliders plus you can adjust more limited tonal ranges. Yes, Adobe changes saturation in all this, which is often a pain in the keister requiring desaturation later.
My suspicion is that we end up in similar places, but in a typical Adobe fashion, there may be a half dozen ways to get there.
Discussion
13 repliesA quick search found the article--Here.
Basically, the technique is the following:
1. Size the image to suit
2. Create a copy of the Background layer
3. Go to Filter>Sharpen>Unsharp Mask...
Set Unsharp Mask, as follows:
Amount 20%
Radius 50
Threshold 0
4. Click OK
Now, the effect won't jump out at you, but you'll notice a subtle increase in contrast. It's kind of like removing haze.
The values for USM I gave above are a good starting point, so you can experiment with values that give the best result.
--P
Yes.
I ran a quick experiment by making a copy of the background layer and then moved it to the top of the stack. Basically, I wound up at square one, so you're correct.
Next, I tried applying the technique to the background layer. It does work, but if you save the file, you're stuck with it.
Therefore, I would reserve this technique for final output.
For a Web jpeg, I would size the image, sharpen to suit and then apply the technique as in my OP.
Good question, Harley!
--P
ps: Research continues...
On the layers panel in the upper right corner there is a small icon with a triangle facing down and horizontal lines next to it.
Click that, move down to "Merge Visible". Press and hold the Alt/Option key before clicking merge visible. You will end up with a layer on the top of the layer stack with all of the layers merged. All the other layers stay in tact. Use that layer for final output sharpening. You can then save the image with or without it.
The full keyboard shortcut if you are a keyboard shortcut junkie is: This will do the same thing I described above.
Mac: Command / Option / Shift / E
Windows: Cntrl / Alt / Shift / E
How does one reverse the 'Merge Visible' other than deleting the history state?
--P
For people using the Topaz plugins, Topaz Detail has a similar ability to adjust just the small detail contrast that I find handy. Since I do mostly bird and flower photography, I often create a separate layer for the subject, and I find it effective to apply this to just the subject to make it pop a bit more from the background.
--P
TK's Triple Play is quite powerful, but sometimes I find it's effect on color to be more than I want. The technique in my OP has a very small effect on color. Also, for those who don't have TK's actions, the technique would work well for them at the output stage.
(Slightly off-topic: I rarely use the Triple Play for the reason I mentioned. When I use TK's luminosity masks, I set the blending mode to 'Luminosity' when I do not want any change in color.)
It just dawned on me that there would be no affect on color if the blending mode of the USM layer (in my OP) is set to 'Luminosity'.
--P
Mark
In the TP there are two layers for each mask: "Screen (S), and Multiply (M). For example: Lights (S) and Lights (M). Which layer are you referring to when you say "return layer"?
With TK's regular luminosity masks, the trick of setting the blending mode to 'luminosity' is one I found through experimenting with TK's masks. The trick is not documented in TK's tutorials, as far as I know.
As a total aside: I don't do any color tweaking in Adobe Camera RAW aside from removing chromatic aberration and (rarely) white balance. I do all my color and tonality work in CS6.
--P
Given the triple play use, I mostly use luminosity masks for burning and dodging, except for a mid-tone contrast boost done in luminosity mode.
To my eyes, Adobe's white balance choice is almost always too cool (blue), so I routinely add 200 - 300 points to the white balance. Then I adjust the shadows, highlights, whites and blacks sliders for where I want the most detailed tonal emphasis (say, maximize the range of the mid-range lights) and to minimize any blown or black areas. I also tweak the tone curve because changes there don't seem to be the same as changing the sliders plus you can adjust more limited tonal ranges. Yes, Adobe changes saturation in all this, which is often a pain in the keister requiring desaturation later.
My suspicion is that we end up in similar places, but in a typical Adobe fashion, there may be a half dozen ways to get there.
Mark
Ha! Same here, Mark!
--P