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laughfta

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Dan Margulis Sharpening Action
« Reply #40 on: September 30, 2007, 04:52:03 pm »

Andrew, you must admit this is going to get really complicated if you get to be both Dan and you.  

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In the recent past, Dan would simply state his techniques as being factually correct and superior to anything else out there. Like "you should convert to Lab and sharpen the L channle despite the time and data loss". When you inform him that such a process isn't necessary, we have blend modes in Photoshop for doing this faster, with more control and without data loss, well its simply not appropriate.


 This is from Dan's (recent) PP5 book,"If we're in LAB, we always sharpen the L channel only, because the A and B just contain color information, no detail. Unless you're never planning to leave RGB at all, it's best to avoid sharpening there. Both other alternatives have slight technical advantages in certain cases. Not enough, in my view, to warrant moving out of RGB if you have no other reason to do so. In around half of the images I've tested, I see no difference at all..."

This is just frustrating, Andrew.
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digitaldog

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« Reply #41 on: September 30, 2007, 05:06:09 pm »

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Andrew, you must admit this is going to get really complicated if you get to be both Dan and you. 

Really scary thought

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This is from Dan's (recent) PP5 book,"If we're in LAB, we always sharpen the L channel only, because the A and B just contain color information, no detail. Unless you're never planning to leave RGB at all, it's best to avoid sharpening there. Both other alternatives have slight technical advantages in certain cases. Not enough, in my view, to warrant moving out of RGB if you have no other reason to do so. In around half of the images I've tested, I see no difference at all..."

We don't know how many of the images were tested to understand what half means for one.

We can produce visually identical results using Fade/Lumonisty. I'm arguing with a fellow over on DP review who says the differences are obvious. Here are the two files:

1. http://digitaldog.net/files/LabvsLumonisity.jpg
Which is which? One's sharpening in Lab, the other is the Fade technique.
2. http://digitaldog.net/files/ApplyImage.jpg
Here we use the apply command/subtract to see there IS a difference (all non gray pixels). But man, its really subtle.

So the question becomes, why go to Lab to sharpen? Well its a good way to toss away 20-30 or more levels in your original just by virtue of the conversions. And of course, it takes time if you have a big file. So one technique is slower and more damaging, the other isn't and provides a nice opacity tweak if you want it. Which would you use?

OK, he says "If we're in Lab". So you sharpen for what, ouptut? And yes, I plan to never leave RGB, certainly for all my editing needs. I'll convert to CMYK as a last step. So if I'm in Lab, polishing a turd using a Lab move, I should now sharpen because I'm in Lab? Or move into Lab again later?

Then we have the newer Dan speak of ensuring that he doesn't say anything that can be held against him but not defining anything either such as "Both other alternatives have slight technical advantages in certain cases." Well what are they? What cases, what are the advantages? If you do the tests, what are the technical disadvantages of using Fade? No question its faster. And no question there's less data loss. You can't do a round trip from RGB to Lab and back without some data loss. In high bit, its moot, you have plenty of data to start with. Expect Dan doesn't buy high bit editing.

"Not enough in my view". Well based on what Dan? Could you tell us? No, its better to be vague.
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Mark D Segal

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Dan Margulis Sharpening Action
« Reply #42 on: September 30, 2007, 05:17:33 pm »

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On the other hand, you and Mark Segal actually analyzed the method and identified some shortcomings

Bill
[a href=\"index.php?act=findpost&pid=142969\"][{POST_SNAPBACK}][/a]

Bill, thanks for the credit, but it was actually Jonathan Wienke who made the first analytical comment in this thread about the wrong emphasis the procedure would produce, then some time after Jeff's analytic post, I followed-up with a comment on the relationship between two steps in the procedure dealing with the black mask and the treatment of noise, also raised a question about Dan's intro, wondering what bright colour has to do with sharpening, but the main emphasis of my comment was on the need for a proof of concept using a methodology we could consider scientifically valid based on what we now know about sharpening issues - thanks to the late Bruce Fraser and his colleagues.

Turning to Gloria's *astonishment* about what has happened in this discussion thread, Gloria, what you're seeing, as you can understand from Andrew's message, is a lot of attenae up, because of the rather sorry history of the recent past concerning the Camera Raw discussion, the Black and White Adjustment Layer discussion, the moderating practices on ACTL, etc.- all of Dan's making I might add; but "obeying strict rules of justice" and confining the scope to the case in hand, it's hard to avoid noticing the way in which this procedure was launched.

Now here, I don't want to sound unreasonable, but we are talking about material coming from one of the world's foremost professionals in this field. Therefore we have a natural tendancy to hold him to an appropriately high standard in terms of his technical output. The statement of principles underlying the procedure was - to put it mildly - thin, and likely contains errors mentioned above. There are precious few explanations underlying the rationale for the various steps. Explanation of methodology for using it is also thin. Even a very preliminary comparison to demonstrate its value of the kind "flashlight" produced on DPReview wasn't provided. It was kind of thrown out as a "here - test this and comment" request. Now any one who wants to argue back that Dan is in travel status - my response would be fine - wait until you can do it properly.

Putting it out this way itself demonstrates to me that perhaps Dan hasn't fully internalized the true scope of the sharpening challenge, because if he did, he would have realized that a proof of concept in this particular area really needs *a lot* of concentrated effort using a well-selected and representative matrix of cases - provided both the underlying principles and preliminary spot-tests indicate the procedure may have real merit and therefore deserves more thorough testing. That, however, has been seriously questioned over the past couple of days and should provide useful feedback for Dan. Whether he agrees with it of course remains to be seen. He could also make a positive contribution by participating in the technical aspects of the discussion on and in this Forum.
« Last Edit: September 30, 2007, 05:20:51 pm by MarkDS »
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Mark D Segal (formerly MarkDS)
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mistybreeze

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Dan Margulis Sharpening Action
« Reply #43 on: September 30, 2007, 06:33:09 pm »

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Why would I possibly be interested in what Bruce Chizen thinks about anything?
The super-egos and self-righteous among us tend not to care what anybody thinks of them. Donald Trump comes to mind and I think he's a small, petty man.

Bruce Chizen? John Lang? Michael Reichmann? Does any professional matter? At least in your seminars your thoughtful enough to ask if anyone from Epson is in the room before you criticize them.

If your cowboy/biker, shoot-em-down style helps to attract corporate interest and money, congratulations. Will it help define you as professional? I guess that's for the marketplace to decide. For me, I prefer Michael Reichmann's style of professionalism.
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you are free to hide behind your screen name and launch personal attacks all you want. It means absolutely zero to me. (actually, less the zero truth be told)
I'm happy it meant enough for you to respond. I don't view defining professional in the context of this thread as a "personal attack." Let's not forget I'm a fan. Do you treat all your customers this way?

The method of any man's argument illustrates character.

As for hiding...yes, men tell me my naked beauty is so great it blinds. This being a forum for photographers, I figured I'd spare everyone.  
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digitaldog

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Dan Margulis Sharpening Action
« Reply #44 on: September 30, 2007, 06:51:17 pm »

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As for hiding...yes, men tell me my naked beauty is so great it blinds. This being a forum for photographers, I figured I'd spare everyone. 
[a href=\"index.php?act=findpost&pid=143002\"][{POST_SNAPBACK}][/a]

Now you really have my curiosity going <g>

Of course, there's that old saying about curiosity and the cat. Being an old dog... Never mind.
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BernardLanguillier

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Dan Margulis Sharpening Action
« Reply #45 on: September 30, 2007, 07:21:38 pm »

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If I am not mistaken, they were discussing the interest of taking into account color saturation/purity in the original image as one of the inputs in determining the amount of sharpening that would be required.
[a href=\"index.php?act=findpost&pid=142327\"][{POST_SNAPBACK}][/a]

Any comment on the relevance of color saturation/purity on sharpening?

Cheers,
Bernard

Mark D Segal

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« Reply #46 on: September 30, 2007, 07:55:31 pm »

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Any comment on the relevance of color saturation/purity on sharpening?

Cheers,
Bernard
[a href=\"index.php?act=findpost&pid=143017\"][{POST_SNAPBACK}][/a]

Bernard, yes, please read one of my posts above, where I commented that I think it is completely irrelevant. It isn't the colour that matters for sharpening, it is the structure of the image's frequency for capture sharpening, and resolution for output sharpening. There is no necessary correlation betweeen frequency and colour unless you saturate a colour to the extent that it obliterates detail, and at that point no amount of acutance enhancement will bring it back. Try it and you will readily see. Maybe I'm missing something fundamental, but I just don't see where Dan is coming from on this - it makes no obvious sense in terms of the basic principles of sharpening as we now understand them.

Cheers,

Mark
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Mark D Segal (formerly MarkDS)
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Schewe

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Dan Margulis Sharpening Action
« Reply #47 on: September 30, 2007, 09:18:04 pm »

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Any comment on the relevance of color saturation/purity on sharpening?
[a href=\"index.php?act=findpost&pid=143017\"][{POST_SNAPBACK}][/a]

Only as it may relate to avoid sharpening color data instead of luminance data...which Dan's technique fails to address (unless he just forgot to tell people to set the background copy that is sharpened to a luminosity blend mode).

Generally, it's not a real good isea to sharpen color...but the luminosity of a color often needs sharpening to bring out texture and detail.
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Schewe

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« Reply #48 on: September 30, 2007, 09:20:06 pm »

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Let's not forget I'm a fan.
 photographers, I figured I'd spare everyone. 
[a href=\"index.php?act=findpost&pid=143002\"][{POST_SNAPBACK}][/a]

Well, with "fans" like you, I sure don't need enemies...
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Mark D Segal

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« Reply #49 on: September 30, 2007, 09:36:48 pm »

Jeff, true enough.

I think Bernard may have been referring to this statement of Dan's:

"I've realized a corollary--in addition to lightness, a strong color is an argument against sharpening. We don't like to oversharpen skies, the petals of flowers, and human skin, for example."

In these cases of course one may not even want to sharpen the luminance of the colours, but not because of the colours - rather because of the subject matter. And what if there happens to be detail within the strong colours that one wishes to enhance? No sharpening allowed? Would sharpening here, using proper capture and output sharpening mess up the image in any way whatsoever?

Mark
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Mark D Segal (formerly MarkDS)
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laughfta

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« Reply #50 on: September 30, 2007, 10:02:54 pm »

Quote from: MarkDS,Sep 30 2007, 08:36 PM

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In these cases of course one may not even want to sharpen the luminance of the colours, but not because of the colours - rather because of the subject matter. And what if there happens to be detail within the strong colours that one wishes to enhance? No sharpening allowed? Would sharpening here, using proper capture and output sharpening mess up the image in any way whatsoever?


I am really confused by something here. If one  wants to avoid sharpening color noise, does sharpening in the luminosity blend mode ignore color noise,  or does it sharpen noise, but eliminate color shifting? Or possibly something else entirely?
What does it mean to sharpen the luminance of the colors?
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Mark D Segal

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« Reply #51 on: September 30, 2007, 10:25:03 pm »

Gloria, my understanding is that when we work in Luminosity blend mode the whole idea is to avoid altering  or affectingcolour, but rather alter luminosity only. In this mode, similarly sharpening of colour noise would also be ignored; but I expect that luminance noise may not be so ignored, and if there is much of that, it should be disposed of before sharpening - normally using something like NoiseWare or Noise Ninja on its own duplicate image layer until one is satisfied with the balance between noise reduction and "sharpness". Jeff can answer for what he means by sharpening the luminance of the colours, but I interpret this to be sharpening the edges between light and dark contours, whatever the colour.
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Mark D Segal (formerly MarkDS)
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Mark D Segal

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« Reply #52 on: October 01, 2007, 07:51:00 am »

Gloria,

Further to my message from last night, you will find what Jeff means by sharpening luminance in this article of his:

Schewe Article on Camera Raw 4.1

Mark

(edited for web page identifier)
« Last Edit: October 01, 2007, 07:52:14 am by MarkDS »
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Mark D Segal (formerly MarkDS)
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laughfta

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« Reply #53 on: October 01, 2007, 08:11:49 am »

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Gloria,

Further to my message from last night, you will find what Jeff means by sharpening luminance in this article of his:

Schewe Article on Camera Raw 4.1

Mark

(edited for web page identifier)
[a href=\"index.php?act=findpost&pid=143122\"][{POST_SNAPBACK}][/a]


Thanks very much for your reply, Mark. There is a small distinction I am still not able to eliminate: does the Luminosity Blend mode look at color noise, sharpen its edges, but not cause color shifting/color in halos or does it ignore color noise all together?

Andrew's post in which he provided two files is really interesting. I would like to know if my question has anything to do with the extremely slight difference he found between sharpening methods.

Gloria
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Mark D Segal

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« Reply #54 on: October 01, 2007, 08:24:03 am »

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Thanks very much for your reply, Mark. There is a small distinction I am still not able to eliminate: does the Luminosity Blend mode look at color noise, sharpen its edges, but not cause color shifting/color in halos or does it ignore color noise all together?

Andrew's post in which he provided two files is really interesting. I would like to know if my question has anything to do with the extremely slight difference he found between sharpening methods.

Gloria
[a href=\"index.php?act=findpost&pid=143128\"][{POST_SNAPBACK}][/a]

Gloria, that is a "fine" question in more ways than one; now that you have raised it I am curious to know the answer!
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Mark D Segal (formerly MarkDS)
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bjanes

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« Reply #55 on: October 01, 2007, 09:46:18 am »

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... I expect that luminance noise may not be so ignored, and if there is much of that, it should be disposed of before sharpening - normally using something like NoiseWare or Noise Ninja on its own duplicate image layer until one is satisfied with the balance between noise reduction and "sharpness".
[a href=\"index.php?act=findpost&pid=143048\"][{POST_SNAPBACK}][/a]

Mark,

Your suggestion seems like a very good one, but do you carry the process further by making a surface mask to protect the edges and allow stronger NR in areas with less detail. In his sharpening book, Bruce suggested that one could merely invert the sharpening mask for this purpose, but that better results would require some tweaking.

The case of the blue sky is illustrative. It makes no sense to sharpen blue sky, not so much because of its color, but because there is no detail to sharpen and the sharpening will only accentuate noise. The edge mask will protect the sky from the sharpening. With NR, the sky has little detail and strong NR may be employed and a surface mask will reveal the sky but protect the edges from the NR process.

The NR programs such as Noise Ninja may have edge protection but so far as I know this is not documented.

One could make his/her own surface mask, but perhaps the edge mask in PK Sharpener could be used as a starting point. Any suggestions from you (or Jeff and others too)?

Bill
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john beardsworth

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« Reply #56 on: October 01, 2007, 09:46:48 am »

Surely it only looks at the luminosity values of the colour noise pixels?
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digitaldog

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« Reply #57 on: October 01, 2007, 10:00:57 am »

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Andrew's post in which he provided two files is really interesting. I would like to know if my question has anything to do with the extremely slight difference he found between sharpening methods.
[a href=\"index.php?act=findpost&pid=143128\"][{POST_SNAPBACK}][/a]

The question about color noise and color itself? I don't think so based on looking at the results of the Apply command. Looks more like the issues of moving from RGB to Lab and back. I also see the effects on some very fine edges.

You can test this yourself on any image you like. I actually used one that (according to Chris Murphy) should show more differences by using a working space in a 1.8 gamma TRC (ColorMatch RGB and ProPhoto RGB).

Take an RGB image. Duplicate it. On the duplicate I ran USM (75/1/0 but you can use what you wish). Then faded Lumonisty. On the original I converted to Lab, selected the L channel, ran the same USM. Then I used Covert to Profile to convert back to the original color space. Use Apply Image. Subtract. Offset is 128. If the documents are identical, every pixel in the image would be a solid level 128 gray. Pixels that aren't level 128 gray are different by the amount they depart from 128 gray. Zoom in, you can see the differences.

Of course, just looking at the two prior to the Apply shows what appears to be identical looking results. You have to use the Apply trick to see the very subtle differences.
« Last Edit: October 01, 2007, 10:04:51 am by digitaldog »
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Mark D Segal

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« Reply #58 on: October 01, 2007, 10:05:58 am »

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Surely it only looks at the luminosity values of the colour noise pixels?
[a href=\"index.php?act=findpost&pid=143143\"][{POST_SNAPBACK}][/a]

John, when you start an answer with a certainty and end it with a question mark, it tells me we're not quite so sure? Right?    OK, that was for a laugh.

Substantively, what intrigues me about Gloria's question is this: assuming the luminosity of a pixel which is actually colour noise differs from that of the pixel/pixels next door to it (which may or may not be colour noise), there is by definition an edge created, hence is it not reasonable to believe that the edge would be sharpened eventhough the colour of the pixel may be left unaltered in luminosity mode?
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Mark D Segal (formerly MarkDS)
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laughfta

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« Reply #59 on: October 01, 2007, 11:21:48 am »

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Take an RGB image. Duplicate it. On the duplicate I ran USM (75/1/0 but you can use what you wish). Then faded Lumonisty. On the original I converted to Lab, selected the L channel, ran the same USM. Then I used Covert to Profile to convert back to the original color space. Use Apply Image. Subtract. Offset is 128. If the documents are identical, every pixel in the image would be a solid level 128 gray. Pixels that aren't level 128 gray are different by the amount they depart from 128 gray. Zoom in, you can see the differences.




I almost think I'm doing something wrong, because I'm seeing really substantial differences on the three images I've tried this with. Especially in the noisy sky of one image. I could post these, but people should do this themselves, so they can zoom in to really take a look.

I do agree, though, that I couldn't easily see much difference unless I used the Apply Image 'trick'.

Btw, I also did this without applying any sharpening, just the conversions, and did notice some difference, sort of what I would call a smearing of some color areas.

Gloria
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