Report on Work Flow of image processing

Using Adobe Photoshop

http://design.tutsplus.com/tutorials/how-to-create-a-can-with-a-barcode-in-adobe-illustrator-vector-6038
Table of contents

Introduction of image processing

Image Acquisitions
Crop/clean
Initial cleanup & spotting
Removal of Ditracting element
Tonal Adjsutments / White Balance

Introduction:

Image processing is a method to convert an image into digital form and perform some
operations on it, in order to get an enhanced image or to extract some useful information from it.
It is a type of signal dispensation in which input is image, like video frame or photograph and
output may be image or characteristics associated with that image. Usually Image Processing
system includes treating images as two dimensional signals while applying already set signal
processing methods to them.

It is among rapidly growing technologies today, with its applications in various aspects of a
business. Image Processing forms core research area within engineering and computer science
disciplines too.
Image processing basically includes the following three steps.
Importing the image with optical scanner or by digital photography.
Analyzing and manipulating the image which includes data compression and image
enhancement and spotting patterns that are not to human eyes like satellite photographs.
Output is the last stage in which result can be altered image or report that is based on image
analysis.
Purpose of Image processing:
The purpose of image processing is divided into 5 groups. They are:
1.
Visualization - Observe the objects that are not visible.
2.
Image sharpening and restoration - To create a better image.
3.
Image retrieval - Seek for the image of intetrest.
4.
Measurement of pattern Measures various objects in an image.
5.
Image Recognition Distinguish the objects in an image.
Types
The two types of methods used for Image Processing are Analog and Digital Image
Processing. Analog or visual techniques of image processing can be used for the hard copies like
printouts and photographs. Image analysts use various fundamentals of interpretation while using
these visual techniques. The image processing is not just confined to area that has to be studied
but on knowledge of analyst. Association is another important tool in image processing through
visual techniques. So analysts apply a combination of personal knowledge and collateral data to
image processing.
Digital Processing techniques help in manipulation of the digital images by using computers. As
raw data from imaging sensors from satellite platform contains deficiencies. To get over such
flaws and to get originality of information, it has to undergo various phases of processing. The
three general phases that all types of data have to undergo while using digital technique are Preprocessing, enhancement and display, information extraction.

Image acquisition:

digital camera: for fine art prints save your images in RAW mode through the software with the
camera or a third party program such as Breeze Browser (for Canon) or Bibble (Nikon) and
convert to 16-bit TIFF. Use JPEG (which is a lossey compression) only for the web or e-mail.

Scanner: scan at the highest resolution (e.g. 4000 pp/i; 48-bit) and at the highest film
density the scanner can capture; do not alter image with scanner unless you have superior
software (e.g., Silverfast , Vuescan); use Digital ICE (if available) when working with a
particularly dirty print.
Save as a TIFF file to your "Image Capture" directory.
Open the image in Photoshop and convert to your working space (e.g. Adobe RGB
1998).
Rotate image to vertical if needed (Image>Rotate Canvas).
Adjust minor rotational error of horizon or verticals: choose measurement tool (under the
eyedropper fly-out menu or Shift + I until the ruler appears); draw desired vertical or
horizontal line on image; open Image>Rotate>Arbitrary>OK.
Histogram: review histogram (Image>Histogram) to see if it is reflective of the image
without excessive highlight or shadow clipping; if graph is excessively bunched right or
left, rescan unless this is a high-key (light tone) or low-key image.
Run curser over histogram and note ranges of excessive concentration of pixels for each
channel.

This histogram clearly shows work to be done

Crop & Clean:

Open Crop Tool (or Alt-C) and click Front Image; drag box loosely around image
Drag corner handles inwards while holding down Ctrl key to eliminate black border;
zoom in on one of 8 handles (View>Zoom or Ctrl-plus) to align crop (Ctrl-minus to zoom
out); extend canvas size if necessary by dragging crop handle outside image.
Crop out or fill in blank areas with the clone tool (so they do not effect histograms); use
Alt-Z to undo one step, or the History palette to go back; press Enter.
Make duplicate (Image>Duplicate); name duplicate, e.g. Wood Duck 16-bit
Master. Save this file as backup.

Initial cleanup & spotting:

Zoom in to 100%; press Home key; open history palette (Window>Show History).
Slightly darken image (Image>Adjust>Brightness/Contrast); drag Brightness slider to
3.
Open Filter>Noise>Dust and Scratches.
Place square curser on a dust spot; move radius slider to far left, then slowly right
until spot disappears with threshold 0; move threshold right without revealing spots;
hit OK.
Set Dust and Scratches state as History Brush source by clicking left box.
Click on the state before Dust and Scratches to activate.
Open History Brush Tool; set soft-edged brush size slightly larger than spots, set the
Blend Mode in the Options Bar for Lighten in pull down menu with opacity at 100%;
press Tab to clear palettes (Tab again will return palettes).
Paint over spots working down, across, up image using PgDn, Ctrl-PgDn (moves
window right), PgUp, Ctrl-PgDn, PgDn, etc. sequence; use Darken mode or
Clone Stamp tool for white spots.
As alternative open healing brush tool (PS7) set to Normal, Aligned or clone stamp
(PS6) set to Lighten (to avoid affecting grain), Aligned; brush size just bigger that
spots; Alt + click to set source.
Click or paint over spots working down, across, up image using PgDn, Ctrl-PgDn
(moves window right), PgUp, Alt-PgDn, PgDn, etc. sequence; use Darken mode
for white spots.

Removal of Distracting elements:

Eliminate unwanted elements with the healing brush or clone tool then paint
changes with history tool into previous state (to avoid mishaps) or open
Image>Duplicate; Alt-Z to undo/redo.
For straight elements (scratches, wires, etc.), set brush to size of scratch, Alt +
click a brush away perpendicular to end of line, click on end of line, Shift + click
on other end

TONAL ADJUSTMENTS / WHITE BALANCE

Set Reference Points at Luminance Thresholds

Note: We now will set four monitor points in the Info palette using the Color
Sampler tool.

Open the Info palette (Window>Show Info); click on Color Sampler tool (under eyedropper); set sample size to 3x3.

Four points will be monitored in Info palette during color corrections.

Option 1: Click on little eyedropper in upper left box of Info palette and choose Total
Ink.
Run eyedropper over black areas to determine highest percent; click to set sample #1.
Run eyedropper over white area (with some detail) to find lowest percent; click to set
sample #2.
Option 2: In16 Bits, open Levels (Image>Adjust>Levels); if 8 Bits (Layer>New
Adjustment Layer>Levels).
With preview box checked, hold down the Alt key (to display threshold
mode) and move Input Highlight (right) slider to the left; note first significant (with
some detail) white area that appears; return slider and click area with color sampler
tool to set Sample #1 in Info palette.
With preview box checked, hold down the Alt key and move Input Shadow (left)
slider to the right; note first significant dark area that appears; click to create
Sample#2.
Option 3 8-bit only: Click on the halfwhite/halfblack icon at the bottom of the Layers
palette; move slider left to reveal white point; OK; click color sample eyedropper on
point for Sample#1.

Double click on same icon in Threshold layer; move slider right; OK; click color
sample eyedropper on black point Sample #2; delete Threshold layer (click/drag to
ashcan).
Click Color Sample tool on a true gray of any tone for Sample#3; click on the
dominant color for sample #4.

Note: You are now able to monitor these points throughout the remaining corrections.

6. Set Print Map Target Preference

Note: if the destination is print, change the white and black points to match media
characteristics so that you hold some information in white and black. The following are
values for sheet-fed press on coated paper or Lightjet 5000, and most Epson printers.

6.1. If Levels is not open, Image>Adjust>Levels.

6.2. Double click Set White Point highlight eyedropper (right); set the B (in
HSB) to 95% (RGB values for 242,242,242); click OK: (if working in CMYK use
5,3,3,0).
6.3. Double click shadow eyedropper (left); set B to 5% (RGB to 12,12,12);OK: (
CMYK, 65,53,51,95).

Set White Point

Note: Our next step in color correction is to adjust the histogram with Levels. Some
photographers use iCorrect for steps 6-11. For more precise control follow the
Workflow. Well use the eyedropper to remap the white and black tones.

While still in Levels check for true white: open Blue channel; move highlight
slider left to end of histogram; if input level stops short of 244, there may be no true
white so eyedropper may not be used (skip step); if values are over 244 or to create
true white, click Set White Point eyedropper (right most).
Run eyedropper over area of neutral white identified (do not use specular highlight,
reflection, glare, etc., which have no detail or image will be flat); zoom in if
necessary (Ctrl-plus) reading Info palette to find brightest point where you want some
texture (hold down space bar to move image).
7.3. Hold down shift to move Sample #1 if necessary; set pointer over sample target
and click to set white point.
7.4. Toggle Preview for results; hold down Alt to toggle Cancel to
Reset to undo
Set Black Point
Check for true black; open blue channel; move shadow slider right to
beginning of graph; if histogram stops short of 8, there is no true black so eyedropper
cannot be used (skip step); if values under 8, click Set Black Point eyedropper (left
most).
8.2. Run eyedropper over area of neutral black (with some detail) to find optimum
point; zoom in if necessary (Ctrl-plus) (hold down space bar to move image).

8.3. Hold down shift to move Sample #2 if necessary; set pointer over sample target
and click to set black point.
No True White or Black
If no true white, open each channel (red, green, blue) separately and move each
highlight slider until its just within the graph (to create some white); do not move
center slider.
If no true black, open each channel (red, green, blue) separately and move each
shadow slider until its just within the graph (to create some black); do not move
center slider.

EXPAND DYNAMIC RANGE

Note: If after the previous steps your histogram still does not extend to the left and right
ends, you may want to remap it to use the full dynamic range. Be careful, however, with
high key or low-key images.

Expand Histogram Range

If Levels is not open, then (Image>Adjust>Levels) (or Levels>Adjustment Layer>Levels
in 8-bit); move the left then the right sliders to where they just meet the histogram.

COLOR BALANCE
Note: Colorcasts will occur when the ambient light is a different temperature than the
film. Filters can help, but often an imbalance remains. The new (PS7) Auto Color can be
tried, but it seems to create as many color casts as it cures.
11. Remove Colorcasts in Shadows and Highlights

If monitor samples are not already established, set as above.

If white point pixel values are the same in sample #1, there is no color cast;
otherwise, choose lowest value channel (e.g. Green).
Move Set White Point slider to left until value in Color Sampler Info matches highest
value (e.g. Red); do the same for remaining (e.g. Blue) channel.
Check sample #2; drag Set Black Point slider right to match lowest value in sample
#2 in Info palette.
Click OK; open Layers palette; click on eye in Levels layer to check result.

12. Remove Colorcasts in Gray Midtones with Curves

Note: If a colorcast is clearly visible in neutral midtones, this technique is preferred to
using the gray eyedropper (which sets the R, G and B of the point to the same values)
since you can see results of the adjustments.

If you have not yet done so, add a third Color Sample #3 by shift-clicking in a true
gray area of any tone; note the channel with middle value.

Open Curves (Image>Adjust>Curves), then open, e.g., Blue in channel popup, click on
midpoint and move up or down (use up/down arrows) until value in the Info palette
matches middle value, e.g. Red.
Do the same with e.g. Green channel so all three channels are equal.

13. Precise Color Adjustment

Note: In the event the above does not work, to selectively enhance a specific color
channel or range of colors, Curves provides a more flexible control than Levels.

While still in Curves dialog Alt-click within graph to change to 10x10 grid.
Go to channel of color to modify, Red (cyan), Green (magenta), or Blue (yellow).
Click on each of nine intersections of graph to anchor curve.
Run eyedropper over position in image of target color with the mouse button down; Ctrl +
click to add a handle.
Remove the lock down points adjacent to handle by dragging them off graph.
Drag point up and left (carefully) to add red, green, or blue, and down right to add cyan,
magenta or yellow; (hold down Alt and click Reset to clear).
Save if in an adjustment layer (to reapply if necessary later), then OK.

Individual colors can be tweaked with Curves.

ADJUST CONTRAST AND SATURATION

14. Contrast Adjustment

With Curves still open, Alt-click within graph to change to 4x4 grid.
Ctrl + click on area to be lightened; Ctrl + click on an area which should be darkened
setting two handles.
Move upper handle up and left and lower down and right to produce s-curve.
Ctrl + click on brightest area; reduce contrast if Output is over 244; Ctrl + click black;
reduce contrast if Output is under 12.
o Alternatively:
Click on three intersections to lock down curve.
Click on lower anchor and move down with down arrow; click on upper anchor and
move up with up arrow to create smooth s-curve (reverse to reduce contrast); monitor
results in Info palette to avoid pure black or white as above; OK.

Curves gives greater control than Brightness/Contrast.

15. Increase Saturation
Note: Since faster films and most scanners reduce saturation, you usually have to
restore some color depth. However, be careful not to overdo this since over saturation
may look flashy at first, but does not wear well.
Open Image>Adjust>Hue/Saturation.

Select Master to change overall saturation (+10 to +20 usually enough); (inkjet
printers require more saturation than Lightjets).

To correct saturation in a specific color range, go to channel to modify (R, G, or B),

select a color with the eyedropper, adjust the default with + or eyedropper, or
move color sliders.
Use Lightness not at all or only for minor adjustments.
Toggle Preview to assure saturation is not overdone; click OK.

EDGE SHARPEN AND CLEANUP

Note: If your edges look sharp and clean or you have pre-sharpened in the scanner (with
perhaps Nikon software set at 20,10,3), skip this step. This is the first of a two-pass
sharpening; at this time moderately sharpen edges only. If you are in 16-bit, sharpening
is less destructive in Lab mode L channel since it creates no color shifts. Dont
convert to Lab if in 8-bit.
16. Edge Sharpen in Lab L Channel

Check setting: Edit>Color Settings>Advanced Mode checked>Conversion

Options>Dither Off.
Change Master to Lab mode (Image>Mode>Lab Color), the sharpening space of choice.
Make second duplicate of original (Image>Duplicate), name Edge Mask; change
Duplicate to 8 bit (Image>Mode>8 Bits).
o Note: Pick up from here in 8-bit.
Make color channel with highest contrast active, e.g. Red; isolate edges with
Filters>Stylize>Find Edges.
Invert image with Image>Adjust>Invert (or Ctrl+I).
Delineate edges with Filter>Noise>Median with radius value of 2.
Thicken edges (Filter>Other>Maximum) with 4 as radius.
Smooth edges with Filter>Blur>Gaussian Blur, radius 4.
Increase
contrast
to
point
below
which
artifacts
are
picked
up
(Image>Adjust>Brightness/Contrast).
16.10. Create selection (marching ants) outline by Ctrl + click the red channel in the
Channels palette.
Choose Select>Save Selection and name Edge Mask.
Make the 16-bit Master active by clicking on it; open Lightness channel in Channels
palette by clicking on it; open View>New View; zoom in on detail with zoom tool on
either view so you can see detail as well as overall effect.
Load edge mask (Selection>Load Selection>Edge Mask).
Eliminate marching ants outline with Ctrl+H.
Choose Filter>Sharpen>Unsharp Mask; set amount to 100-150, radius at 1.0-1.5,
threshold at 0-1; adjust as necessary for moderate edge sharpening, with amount as final
choice.
Ctrl + H to return selection outline; Select>Deselect to clear edge mask (make sure mask
is cleared or it could affect subsequent steps).

SAVE AND CONVERT

17. Save and Convert to 8-bit

When done with overall corrections, save file to Hi Res Images directory in
PSD format.
Note: image should be very close to optimum at this point. Gamma and brightness
have been corrected, white and black points established; color casts eliminated with
white, black and gray points set to neutral, saturation level adjusted, and edges
sharpened. Area corrections, resampling, and final sharpening remain.

Convert to 8-bit (Image>Mode>8 Bits).

Save 8-bit version using a different name, e.g. save as Master in Master
Images directory.
Note: image is now in 8-bit mode, so all selection tools can be used (Magnetic Lasso,
Paintbrush, Eraser, Color Range, etc. are not available in 16-bit). Adjustments of this
kind are best done in layers (not available in 16-bit mode) so they can be edited at a
later time.

SELECTIVE CONTRAST AND EXPOSURE CORRECTION

18. Blending Modes for Tone and Contrast
Note: In the event further minor adjustment is needed, Blending is a method of correcting
tone or contrast of images without the problems of selection techniques. However, for
more precise control use the selection techniques below. The key Blending modes are:
Multiply-increase density of entire image if underexposed (better than Darken mode).
Screen-lightens image
Soft Light, Overlay, Hard Light- increase contrast progressively
Luminosity-selects light areas only

Make duplicate to monitor effect; return to original.

Add Layer>New Adjustment Layer>Levels; click OK without adjustment..
In Layers palette, move Opacity to 0%; open Blending mode in drop-down menu and
raise Opacity slowly.
Open a new layer (Layer>Duplicate Layer); switch to Luminosity mode (preserves hue
and saturation of base) in Layers palette (or Ctrl + Alt + ~)..

Click on Red, Green, and Blue channels to see which shows best detail in area to be
adjusted (red for skies, green for faces); return to RGB.
Name Layer, e.g. Red Only; leave new layer active.
Choose Image>Apply Image; set Layer=Merged; Channel=Red; Blending=Darken for
skies, Normal for faces, Soft Light to increase contrast; set opacity at 100%
(experiment with this); toggle Preview.
Choose Layer>Merge Down.

19. Selecting a Specific Area for Correction

Note: Some images require selective adjustment. Identify an area that needs further
tweaking, e.g. sky, foreground, and determine optimum method of creating a selection.
Precision is not necessary since selection will become an editable mask.
Note: it is sometimes easier to select solid color areas and then Select>Invert.

To select a solid or almost solid color skip to Color Range (best way) or use
convenient Magic Wand (options bar set to tolerance of 8-16 depending on color
variation, anti-aliased on, contiguous off); Shift + click to add to selection, Alt + click
to remove).
For areas with well-defined edges use the Magnetic Lasso tool (feather off, width 10,
contrast 10%, frequency 50); hold down Alt to convert to freeform Lasso where edges
are ill-defined; double click to close loop; Alt-Z to undo.
For entirely freeform selection use Lasso tool. (Marquee and Pen tools are not
generally useful for photographs).
Choose Select>Feather and enter 1 or 2, or up to 6 radius for edge blend of hi-res
images.

20. Color Range Selection

Note: Color Range is more precise than Magic Wand and generates a preview of the
mask. You may want to use Color Range after making a selection to limit area of mask.

Double click on Quick Mask; click on color box and set for contrasting color; opacity
50%; click on standard mask (Q).
Choose Select>Color Range; select option from dropdown list, e.g. Sampled Colors;
fuzziness 0.
Switch between image and mask by clicking Selection or Image radio buttons or by
holding down Ctrl key.
Use eyedropper to specify color to be adjusted; + eyedropper (or Shift-click)
to add (or drag); "-" eyedropper to delete; Ctrl-Z to undo.
Click on Invert to mask color.
Hold down Ctrl key to toggle preview.
To enlarge selection, use Select>Grow, or Select>Modify>Smooth Set.
Select>Inverse to reverse selection if required.

Using ColorRange to select background is often easier than selecting the object. The background
can now be lightened for separation, and with Select>Inverse, only the duck sharpened.
21. Creating and Editing Mask
Note: Generally selections must be edited regardless of the selection technique. Quick
mask is the most efficient editing tool of standard selections.

Click Quickmask mode in Tools palette (or hit Q); press D to set foreground color to
Black.
Double click Quick Mask channel and set to 50% luminosity and radio click masked
or selected area.
Select a paintbrush (press B); paint with black in foreground to add to rubylith overlay,
paint with white (press X) to erase color.
Use the Gradient tool (press G) to draw a gradual transition.
Switch back to normal mode (marching ants) (Q again to toggle); Select>Feather 2-3
or 4-6 for hi-res.
Select>Save Selection; goes into alpha channel and may be saved for reload (select
Load>Selection>Alpha).

22. Adjusting Selected Area

Note: Now that you have your selection, you may work on it with a variety of tools.

For the most control, Layer>New Adjustment Layer>Levels/Curves/Saturation to

correct selection.

23. High-bit Mode Selection

Note: most selection tools are not available in 16-bit mode; selective corrections are
usually done in 8-bit adjustment layers, but the following will guide you in 16-bit
selection for those who want to continue in hi-res for whatever reason.

Open duplicate (Image>Duplicate); name 8-bit mask; choose Image>Mode>8

Bit.
Follow steps above for creating a mask.
Save selection (Select>Save Selection) and name, e.g. trees; click OK.
Click on the 16-bit original and Select>Load Selection trees; delete the 8bit image.
Use Image>Adjust>Levels/Curves/Saturation to correct selection.

24. Rescuing Shadow Detail

Note: if shadow details remain repressed after all of the above, the following may be
helpful.

Open Color Sampler Tool; move sample #4 (click-drag) to shadow area near detail to
monitor shadow.
Open Image>Adjust>Levels; move middle slider left until details appear in shadows
but color sampler does not show degradation of shadow (ignore rest of image).
Make a copy for reference (Image>Duplicate); make original active.
Window>Show History; click on left box in History channel to set history brush (icon
will appear); activate previous state; use history brush (press Y) choose soft brush, set
on Lighten, 50-100%, to paint in shadow details using duplicate for reference; close
duplicate.

25. Graduated Neutral Density Filter

Note: If you wish you had used a GND filter when you took the picture, this step might
help.

Make duplicate (Image>Duplicate); name GND; make duplicate layer

(Layer>Duplicate Layer), name, e.g. Sky.
Use Levels or Curves to adjust exposure (brightness/contrast) of sky without regard
for the rest of the image.
Click Quick Mask icon at bottom of Layers palette; click on mask layer to make it
active.
Open Linear Gradient tool (with black foreground/white background); click and drag
line from foreground area to bottom of well-exposed sky to define gradient zone
(adjust opacity slider if necessary to control intensity).
Click eye in Sky level to compare results; merge down layers (Layers>Merge Down).
Retouch using history brush.

FINE TUNING
26. Local Area Sharpening and Toning
Note: These tools should be used sparingly and only for very small areas.

Identify small areas that need correcting; use light opacity brushes since these tools are
cumulative.
These adjustments are best made on a duplicate layer (Layer>Duplicate>Layer).
To sharpen a local area without selection, open the Blur/Sharpen/Smudge tool from
the pop-up; try Blur tool before Sharpen; set pressure at 25%; select darken or lighten
to target effect.
Check highlight, mid-point, shadows, set low pressure (25%) and use on eyes,
catchlights, sparkles, anything that glitters, etc. sparingly to avoid artifacts; try blur
tool before sharpen tool.
Use Dodge tool (to lighten) e.g. to remove wrinkles with large, soft brush; Burn (to
darken) local areas with pressure at 20-30%.
Sponge to saturate or, to de-saturate (hold down Alt) e.g. to de-emphasize an object or
out-of-gamut colors.

PERSPECTIVE CORRECTION
27. Perspective Correction
Note: If perspective of converging verticals or barrel distortion of a super wide-angle
lens has not been corrected above; the following steps are for a) symmetrical correction,
b) free transform, and c) perspective cropping.

Select Image>Canvas Size; click lower middle Anchor box; open Width dropdown
menu, select percent; change amount to 125%; OK (or use crop tool to crop outside
image).
Open grid (Edit>Preferences>Guides and Grid) change Subdivisions to 1; select
View>Show>Grid.
Use rectangular selection tool to select area slightly larger than image.
Choose Edit>Transform>Perspective;
Mouse grab the upper corner handle arrow and move outward to align converging
verticals with grid;
Hit Enter. Use Crop tool to square image.
For non-symmetrical adjustment, same as above, but select Edit>Free Transform; drag
left and right handles independently.
Use Crop tool to select all; unclick Shield cropped area; click Perspective box.

Mouse grab the upper corner handle arrow and move inward to align crop edge with
converging verticals; use middle handle to move horizontally to check alignment;
return crop to frame edge.
For symmetrical crop turn on rulers (View>Show Rulers or Ctrl + R); align right crop.
Hit Enter.

RECOMPOSITION
28. Distracting Elements
Note: Examine the image for distracting elements, e.g. branches, hot spots, clutter, etc.

With PS7, click on Background Layer to make it active

Use the patch tool (J) set to Source to remove a small element where blending is
desirable; circle the element (shift-drag to add to selection; alt-drag to subtract) (or use
the Magnetic Lasso, freeform Lasso, etc.) and drag selection to an area from which
you want to sample.
Use healing brush to clean up.
With PS6 or where blending is undesirable, click on Background Layer to make it
active
Select the item to be removed using one of the tools above, e.g. Magnetic Lasso,
Lasso, etc.
Press Q to create a Quick Mask; feather edges with gaussian blur
(Filter>Blur>Gaussian Blur) with radius 5-10 or higher depending on resolution; press
Q to activate selection.
Use the selection tool to move the selection to an area to be copied remembering the
location.
Choose Layer>New>Layer via Copy (or Ctrl + J); move the selection back over the
cluttered area; dress up edges with clone tool.

Sometimes adding elements works. By masking the eagle, a patriotic background layer was
combined, set at Soft light with Luminosity 15%.

CROP AND RESAMPLE

29. Final Crop

Set snap to (View>Snap checked)(View>Snap to>Document Bounds checked).

Create duplicate layer (Layer>Duplicate Layer).
Open crop tool (or press C), clock on Front Image.
Adjust width and height to target dimensions; select Shield cropped area.
Drag rectangular marquee to select image to retain; drag handles to adjust (hold down
CTRL to turn off snap).
Place cursor just outside bounding box (and inside image) to rotate.
If perspective has not been corrected above, check Perspective box on options bar;
move each corner of the cropping rectangle independently; hold down Space bar to
move image within outline.
Click Hide radio button (only revealed in layered file); click on check, double click
image or press Enter to crop (Esc to cancel).
To view hidden pixels, Image>Reveal All.
Save file in PFD format to preserve hidden pixels as Master or in new directory, Final
Images.

Note: When up-sampling substantially, increase image size in increments (stair

interpolation) for better results.
30. Resampling
Note: resampling effects both size and resolution as compared to resizing which
maintains the same pixel dimensions.

Flatten Image (Layer>Flatten Image).

Save file in Genuine Fractals (STN) if this is available (some believe fractal
resampling is better than Adobe bicubic) and reopen using GF settings.
Otherwise, choose Image >Duplicate (Merged Layers Only).
Open Image>Image Size; click on Width then Height arrows and choose inches; set
size and resolution. (Note: for inkjet printers use 300ppi, for Lightjet, 304.8; otherwise
the resolution of the printer); OK.

SHARPENING AND CLEANUP

31. Final Sharpening / Examination
Note: Images acquired from a scanner or digital camera will almost always benefit from
judicious sharpening. Sharpening should be done after all retouching and resizing, and is
the last operation before Color Management takes over. Final sharpening should be done
with size, viewing and printing parameters in mind. If available, use nik Sharpener to
sharpen to image size and resolution (set on Anna). Otherwise, for Lightjet 5000 (and
continuous tone printers) sharpen so image looks well on screen, slightly over-sharpen
for inkjets (dithered).
Note: It is usually advantageous to mask out continuous tone areas to avoid sharpening
grain, or to sharpen highlights and shadows separately through selections as above.

Open new view (View>New View); zoom in on critical area.

Open unsharp filter (Filter>Sharpen>Unsharp Mask)(do not use Sharpen, Sharpen Edges,
or Sharpen More).
Place preview box in critical area and set zoom (+/-) to monitor effects (you now have
three views).
Set Amount (volume control; interacts with Radius to set degree of sharpening)
temporarily to 500%; set Radius (width of edges) to final resolution divided by 150
(75ppi = 1.0; 300ppi = 2.0); fine detail needs less.
If using a 35mm scan, move sample box to smooth, continuous tone; if indicated, raise
Threshold (delta of tonal values) carefully to point where grain and noise are not
sharpened; detailed landscapes 0 inanimate objects 0-1, average 2-3, faces may need up
to 5 Threshold; to restart use Ctrl-Z.
Return to Radius and set at point where detail is emphasized.
31.7. Finally, decrease Amount to between 120-400 (faces 70-100, fine detail higher) and
monitor results.
Note: Lightjet sharpening for 16x20 print would be about amt. 300, radius 0.5, and
threshold 0-2. Web sharpening should be about 200%, .5, 0.

Now choose cancel and reopen Unsharp Mask, which will contain your same settings.
Open color channels (Windows>Show Channels); click on Red and shift-click on Green
(Blue channel produces more noise) or choose lightest channel with least detail.
. Divide the Amount determined above by four, and apply the filter four times monitoring
each step.
Look for and repair any unwanted artifacts with clone tool.
If the effect is too sharp, either backup one sharpening (Edit>Undo) or use Edit>Fade
Unsharp Mask set for Luminosity in drop-down menu at e.g., 50% (experiment with
setting).

32. Final Cleanup

Note: Levels, Curves, and Saturation can sometimes create artifacts which sharpening
emphasizes. If this occurs, a final cleanup may be indicated.

Open a new layer (Layer>New>Layer); check the Use All Layers box and the cloning
will remain in the layer.
Use the healing brush or clone tool to cleanup image.
Select brush size just bigger than specks, usually hard edge.
Zoom in 100%-200%; press Home key; press the Tab key to clear palettes; Alt-click
then click (not drag) to remove spots.
Work carefully up and down image using sequence: PgDn, Alt-PgDn, PgUp,
Alt-PgD, PgDn, etc.
Tab again to return palettes.
Save TIFF file as e.g. (Subject) 13x19 in Print directory.

PROOF
Note: Soft proof requires ICC or Color Sync media profiles for your printer and the ink
and paper combination.
33.

Soft Proof

Image>Duplicate; soft proof the duplicate.

Open View>Proof Setup> e.g. Working CMYK or >Custom; choose saved preview
profile in Setup dropdown or vendor supplied or custom profile in Profile dropdown.
Set Intent (maps out-of-gamut colors) on perceptional for most photographs
(especially for strong colors); preserve color numbers-off; paper white and black inkoff (unless profile supports those options).
Press Save and give new preview profile a name, e.g., Epson 2200P SGloss
Open Layer>New>Layer Set; name set, e.g., Epson 2200P Semi Gloss.
Select Layers>New Adjustment Layer>Curves, or Hue/Saturation, etc., to tweak
image.
Use Ctrl Y to toggle between image and proof.
When images match, save image with layer set as (printer/paper device name) Master
w/Proof. Other layer sets may be added for different papers, etc
When all documents are closed choose View>Proof Setup and select your custom
setup to make it the default.