Best Ways to Sharpen and Reduce Noise in Your Photos - Tutorial

while how's it going on market awfully welcome to my channel on today's episode I want to show you the best ways to sharpen and clean up that noise in your photographs so one of the most frequently asked questions I get a lot is how do I sharpen my images how do I get such sharp images and what do I mean by the 100 rule I use in Lightroom while I'm sharpening and cleaning up some of the noise in my images in today's episode I'm gonna show you the best ways iPhone for sharpening and cleaning off your images so let's not waste any more time let's get into this okay so we come into Lightroom and I have treat images ready to go as you can see in Lightroom and these are gonna be three examples I'm gonna be using to show you how I sharpen my photos and the reason why I pick these photos is dish show the full range of ISO settings you're going to come across and from the extreme of a really low ISO setting of ISO 50 to an extreme of ISO 3200 and then the one in here in the middle is the middle ground ISO 400 so you get a full spectrum of how I actually sharpen my photos and it's pretty simple I just used the rule of 100 so and whatever before I explain the rule of 100 I'm just going to open up the first image which is this one from Flagstaff so to develop and you can see here it's ISIL 15 X exciting for me is very important this is how I determine how much sharpening and luminance to clean up the noise is needed per image now I did say before I've said it a few times already I used the 100 rule I've learned us off from a photographer called Serge Romilly I'll leave a link in the description for his channel I won't be able to leave a link to the directed video that I got this from because I can't remember what video I watched to get this from but the rule that he has is he determines the sharpening needed for an image depending on the eye so that's in the image so the rule is if it's ISO 50s it's really clean you go to a mount and you don't put up 40 to 100 because that's going to be too much so you put it to 80 before we do that we're just going to change this window and this window here they cross if you press this crosshairs you can change it to anywhere in the image you just hover over here you can see it moves and I want to put it in too near the center of the image okay so you set it to 80 so then the difference between 100 and 80 is 20 and that is what determines your illuminance you just simply put in 20 for your limits and if we zoom in here take that on and off you can see it's doing a reasonably good job now you don't want to put in too much illuminance this isn't a great image to be shown as I can show you another one just put the luminance up fully it's gonna soften your image loads so you don't want that you just wanna bring that back to 20 and as well as that when you're adding sharpening if you leave your settings as is like this here it's gonna add sharpening across the whole image which means that your sky that doesn't need to be sharpened is gonna be sharpened so what you do is come down the masking you hold the alt button down and he dragged across whatever is black is being concealed and whatever's white is being revealed same as a layer mask in Photoshop so whatever is white is going to be sharpened so you don't want the clouds too much so I usually go up as maybe as far as 7576 not really much more than that and that's all I do that's it that's it it's a simple simple process it's not too difficult I like it this is I I really do like sharpen my photos I guess and most of my photos are shower iso 50 so a lot of my settings are simply that 80 75 20 you can nearly set that up as a preset already into your photos and you can see here there's not much fringe in around that mountain which is exactly what you want you don't want much fringe and if any at all you don't really want any at all and what I mean by fringing is like a halo and if I go to treaty one maybe you won't see it see that a little bit there but there's not enough there's not enough there to get rid of it no not that I would think anyway so we go on to the next image then so we go on to the Giant's Causeway and I'm using this image because flag cipher which is photographed by a canon 6d and the giant's causway camera obviously this 60 is in the shot so I'm not using the 60 to photograph it I'm using my Canon 70d and this is when I become quite known for on Instagram is photographing my gear setup when I'm actually at a shoot so this is a good comparison between photo frame and aps-c it doesn't really matter too much really to be honest not when it comes to this I don't find anything I don't really change my settings between the two I applied the same settings from aps-c twofold frame so we can see here ISO 400 so we move it to our window first of all you can see in this window I'm looking at absolutely nothing there's nothing showing me any details oh so we need to change that so click here and come over to say cannon I think set because there's a lot of details here I will just click there is a lot of details on the ridge and ever and that's really what we look and you can see there's some color fringing and our in this image so this is a great example so for ISO 400 I am gonna walk off the 80 room so 80 is that a clean image that's X of 100 that's ISO 50 so 400 is a bit down so if you think about it walking hundreds you've got nice - 100 ISO 200 ISO 400 so for ISO 200 I know we bring it down 80 to 70 years and then the next step down because I go back I go I go down in step 2 - is to keep an even number for some reason I keep it even numbers that's just the way I do it even numbers is the way I go so we bring that down to 76 hit return now I usually don't add in the luminance first the next thing I the next step I actually do is the masking so alt and then drag across but it looks nice so obviously you don't need all the details so we just want the main details again 73 74 - up to 76 is a good way to be an angry illuminance and the difference between 76 and 100 is 24 and that's it jobs are good that's it finished you can see there it's a bit slow to come up but you can see it changes here so if you watched this window for a second you see the difference there's a Lara there's a lot of air colonies and all and for that by putting it it's gone it's pretty sharp if i zoom in this here noon where I treated one so well above the size of the pixels from one to one where should we had a tree to one ratio with this that's before and that's after I'm happy enough with that and I was happy enough for that I used that on Facebook Instagram Twitter and it was all fine so we're going to them the last image then and this is the Milky Way all work who wear a church just outside and doc and I did a great job Spelling Church gonna point at it before someone else pointed out to me so I sold 2200 the most extreme I obviously does a shot where they're sexy I would not shoot ISO 3200 on a 780 it's unusable I don't care what anyone says for me it's unusable this is borderline unusable so I go back to one to one there this is borderline on use of them in my eggs as well and very noisy from my tests and literally only after receiving a print today for our customer Optus and when you see a printed is actually okay it's fine from a distance I know it was pixel peeping while holding a frame and my face I really wouldn't be overly happy about it but it's okay it's grandma it's fine I wouldn't go above ISO 3200 so ruler 100 again we did 80 it's not enough it's not near enough at all so we'll change the window and the window here maybe depend on the building you can see even on that window the 60 is starting to get soft in for me some people might be happy with that but for me the image is getting quite soft and I don't forget I am focused in on the stars so there is a little bit of play on that for depth of field that is shot at F 2.8 at 16 mil so it's possibly another reason why it is cleanness soft so there's no water way thinking this the max amount that I would go or I wouldn't go under 70 because you're gonna be ringing in too much luminance so I just bring this down to 70 I don't usually bring in much luminance especially on a milky way because the more luminance you bring in the last stars you're going to see if i zoom in here I'm gonna bump the luminance way up before we just watch you can see the stars are gone so you don't want that you really don't want that at all we bring the luminance back to thirty seventy four star T equals 100 and change the masking so just bring this back it again and change the masking holy odds drag across again I don't want to be effecting all the stars so I don't think 75 years on the walk you can see it's affecting too much here let me just toggle this on and off you're kind of losing you don't really mind a better noise in the sky it's the foreground I really don't like the noise and so you can see it's quite clean there too bit soft so we'll just bring this back I mean I would say 60 around 59 60 for a Milky Way shot is acceptable enough and as you can see there's a good bit of know he's been reduced so what clothes I let like room now and we're going to Photoshop and I'll show you another way that you can sharpen your images what I use in my room so here we have the Sun Dial photo that I did back in August I love this this is possibly my favorite photo I've taken this year just to show you it's two photos there's the original taken as seven seven a.m. and then I mixed in the full moon shot and out was taken at midnight and seven hours previous if I was setting this for print what I would do is I would add in and actually a little bit of sharpening for print this is actually what I do for prints so what I do is I get all the layers and I control II to flatten them that's gonna merge them all together or you can come up here and you can go flatten image and what I do is if i hold ctrl + j to duplicate and when i use a high pass filter to add in sharpening so you pop to filter down to auto high-pass leave it at 1:1 pixel is perfect i don't know why but it is pear it's perfect and it's perfect for aps-c is 1 so this boat applies for full frame and aps-c cameras leave it at 1 hit okay come down to your blending options and select linear life again this is gonna be a little bit subtle but it's good for printer I've already sharpen this but it's good for print because you want to make sure that your printer is sharp you could use this on its own for online and it's fine as well as so we toggle it on and off it's actually a good bit of a change isn't it it's pretty good I like it so that's what I use for prints so even though I sharpen it in Lightroom I do come back in and I give it a second sharpening just because I'm sending out the print now here's a little trick for sharpening as you can see in this image this is again another behind the photo this is where the 70d made a better mass of the photo it focused here on my bald head are not on the camera and the most important thing about product photography is the company's name needs to be in focus so I want to show you how I actually use sharpening to combat an image that isn't fully in focus so I'm gonna regain some focus true sharpening so the first thing I want to do is I'm gonna double click this this layer to make an intro normally together away from being a background there then we're gonna select ctrl + J to duplicate it because this is a non-destructive way of editing and you should always apply a non-destructive way of editing and for this this means that I always have the original the original layers at the bottom whatever you know is now going to effect - layer so what I'm also gonna do is I'm going to right click compare to smart object once that's done cook the filter sharpen unsharp mask and you can already see I've used these settings a few times and it works a treat and I would just say just memorize these 186 2 pixels threshold one so he was bringing the trash hold a just a little bit up from the bottom and if i zoom in here you're gonna see the difference so hey this is overkill far far over Kelvin this is the whole point of why you're doing it so we take the preview and turn it off you can see the can it like you could use it but for me for my eye it's just not perfect and I want me shot to be perfect I want Canon to be completely legible so there you go that's it done now we're not fully finished out as you can see over here where it says Smart Filters this is why I left this as a smart object if I didn't leave this as a smart object this would be consolidated into that layer and I wouldn't be able to edit it but here we go if I select the actual layer mask pull down control press I it will invert the mask so now it's gone you can see it's completely disappeared I will go for B for brush make sure your brush is selected on white if it's not just hit X and it'll flip it around or you can hit this these arrows and I'm gonna make sure my opacity is off at 100% it's smaller and then just paint in the details I want to be sharp so all of that get in there so obviously I don't want everything sharp that there is enough could just paid in the whole camera that could be another option and there you turn on time now I'm only affecting the camera the main part that needs to be sharpened it means that the the part of the photo that was already sharp doesn't need to be any more sharper and it doesn't need me any in any more focus so the viewers not gonna notice this and it's just gonna look like a very very clean image and that's how you again focus true over sharpening an image so there are some of the ways that I actually sharpen my photographs and the Honda rule is what I use every time and when I'm going to print I'll use that high pass further matters and you know the unsharp mask I only used the guard time if I've missed focus I usually have used it in the past with my behind the photo shots where my 70d hasn't quite focused exactly where I want it to be ie the Canon logo of my 60 I hope you like that hope you got something from it if you did hit that like button subscribe to the channel ring the bell to get notified when I post up a new video I post up every week and check me out on Facebook Instagram and my site my name cross photography it was calm mark toffee Photography calm and until the next time Lera Garros you

Channel: Mark Duffy

Views: 70,669

Keywords: best ways, best ways to sharpen photos, best ways to reduce noise in photos, noise reduction, sharpening, sharpen photos, photography, photography tutorial, sharpening tutorial, noise reduction tutorial, reduce noise tutorial, adobe lightroom, adobe photoshop, lightroom tutorial, photoshop tutorial, adobe lightroom tutorial, sharpening using lightroom, sharpening using photoshop, reduce noise using lightroom, mark duffy, mark duffy photography

Id: Tn_lqhxpsak

Length: 15min 14sec (914 seconds)

Published: Thu Dec 07 2017