SHARPENING DIGITAL IMAGES

Perceived image sharpness is actually an optical illusion created by edge

contrast. Any software enhancement of sharpness deal with edges.

The most commonly available sharpening tool that is controllable is the “Unsharp
Mask” filter in Photoshop. Biggest advantage is its availability. Biggest
disadvantage is its working on ALL parts of the image the same, not JUST edges
and boundaries. Different image elements have varying optimal sharpening
requirements.

No two images are alike in their optimal sharpening requirements, therefore there
is no universal formula for the “best” application. Some of the USM alternatives
have analytical tools that operate on each image, allowing for individual
differences.

There are other sharpening tools that have some distinct advantages over
Photoshop’s USM, many are free, others not.

Ideal amount of sharpening desirable depends on intended use:

Web – can judge accurately on monitor

Print – can judge ONLY on final print

Print size
Distance at which it will be viewed

Resolution of image

Compression of image

Over sharpening causes halos, ugly blemishes, color shifts, and emphasizes
shadow noise.

.JPG images that have been overcompressed will show boundary artifacts when
sharpened too much

Images enlarged with Genuine Fractals must have only SLIGHT sharpening, as
GF does it’s own edge treatment as part of the extrapolation algorithm

Sharpening should usually be the LAST step in your image workflow.

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SHARPENING SOFTWARE ALTERNATIVES AND APPROACHES

Unsharp Mask in Photoshop (USM)

- slow, works on every pixel in the image – does NOT identify edges
- Applied equally to all parts of the image – a disadvantage
- compares adjacent pixels, increases contrast according to the set
parameters
- creates a halo

USM Parameters

Amount – adjusts the intensity of the sharpening halo (200 – 400, adjust down)

Radius – sets the halo width – very critical – to much causes ugly halos

Threshold – determines how far apart on the tonal scale (0-255) pixels have to
be before they are affected. Low values yield sharper looking images. (Use
values of 1 – 4 and increase as needed)

These variables are related.

Increased Radius needs decreased Amount.

High Radius can utilize higher Threshold values. (Smoothes out unwanted
sharpening of fine texture while keeping edges sharp)

Nik Sharpener Pro

http://www.tech-nik.com/english/sharpenerpro.html

-$330.00
-VERY sophisticated, does an auto analysis of image and sets parameters
-protects colors
-protects details
-some swear by it, others at it

Ultra Sharpen Pro

www.ultrasharpen.com

- $20 and WELL worth it!

- also claims to protect detail and work primarily on edges

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Fred Miranda Edge Sharpen

http://www.fredmiranda.com/Action_profilesPage/index.html
- Freeware
- Sharpens edges
- Versions for 8 or 16 bit images

Fred Miranda Stair Interpolation

-also freeware
-a multi step process
-photoshop action

Sharpening Techniques

LAB (convert)

-Gaussian blur – one pixel on a, two on b channel (removes artifacts)

-Sharpen L channel - Use Amt 300 – 400, R .4 - .7, T 2 – 4)
-Disadvantage is that conversion degrades the image

Better to:

Sharpen RGB image, then use fade command (Edit menu) in luminosity mode
Avoids quality loss from LAB mode conversion

Sharpen through a mask

Mask off shadows and blue sky – usually contain the most noise
(See “Sharpening with finesse and selectivity”)

Sharpen only eyes in a portrait

Channels –

sharpen color channels with most content, least noise (red and green)

- de-speckle blue channel (has most noise)

- sharpen red and green channels (Amt 200, Radius 1.2, threshold 4)

Layer-Based Sharpening

- uses a high pass filter (“Other” on filter menu) to create an edge mask
- Soft or Hard light blending to increase edge contrast

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(See “Real World Photoshop 6” by Blatner and Fraser, pps 385 – 387

Note: - One can create actions to get these effects with a mouse click

Katrin Eisman Approach

“Restoration & Retouching” – Katrin Eisman – A VERY good reference

for Photoshop. pps 188 – 196 on sharpening

Smart Sharpening
Sharpens edges only

Steps can be put into an action, available on her web site – Chapter 8

1. Duplicate the background layer

2. Duplicate channel with highest contrast
3. Filter>Stylize>Find Edges
4. Invert Channel [Ctrlr + I]
5. Filter>Noise>Median Value of 2
6. Filter>Other>Maximum value of 4
7. Filter>Blur>Gaussian Value of 4
8. Return to Composite View [Ctrl + ~]
9. Load Channel Mask [Ctrl + Alt + 4]
10. Apply Unsharp Mask Filter

High Pass Sharpening

Turns all non-edge areas to neutral gray, leaves edges intact
Soft light or Overlay Blending
Minimizes artifacts

1. Duplicate Background Layer

2. Filter>Other>High Pass – Radius slider to emphasize edges
3. Change Layer Blending Mode to Overlay or Soft Light (Overlay more
contrast)
4. If too sharp, decrease filtered layers opacity

Emboss Sharpening
Best for images that are slightly out of focus

1. Duplicate the Background Layer

2. Filter>Stylize>Emboss – set Angle to match image, height 2 – 4, Amount
near 100%
3. Change Layer blending mode to Overlay

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Custom Sharpening
Uses Custom Filter with 5 x 5 matrix of edit boxes

Mask out individual image areas

Use different numbers on each area

See Page 196 of the Katrein Eisman book for details

Sharpening with Finesse and selectivity

Methods of controlling sharpening

Sharpening Highlights and Shadows separately

1. Duplicate the background layer twice

2. Sharpen highlights in one layer
3. Sharpen shadows on the other
4. Use “Blend If” layer options to blend the two layers (Later Style)

History Snapshot before using Unsharp Masking

1. Take History Snapshot

2. Run USM Filter
3. Take a new snapshot
4. Use History Brush to paint back and forth

Using a Layer Mask

1. Duplicate layer to be sharpened

2. Run USM Filter
3. Add layer mask to sharpened layer
4. Use large, soft black airbrush to hide sharpening in areas you don’t want
sharpened (sky, flat surfaces, peoples skin)

CONCLUSIONS

“Optimal” sharpening is HIGHLY subjective, there is a great deal of individual

variation in preferences.

Therefore, there is no one ideal approach that will satisfy everyone on every
image. One must TRY every available approach on a wide variety of images and
gather an arsenal of techniques that make YOU happy with YOUR images.

Jack Winberg