Capture NX2 Highpass sharp vs unsharp mask?

Kandy10

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I am still very much into the learning stage of using Capture NX2, I really am liking the program, but it can do way more than I at this point, but I am coming along. The question I have, "hope it is not to stupid", is this: In PP when choosing USM or Highpass, do you all just use one sharpening tool ? If so, which one and why ? I have used them both, but am not sure really which one to use, and just pick one. OR do you all use both, if so which order and why? I understand what thier basic uses are, and like the effects they have, but am a bit confused as to when you would use one over the other.

Thanks in advance....
p.s. I think I am addicted to reading this forum, get nothing done anymore LOL!
 
I prefer high pass in NX2 (at 2,75, luminance channel only at 70%, overlay mask)together with in-camera sharpening of +5 (D7000).
Fits quite well for almost all situations.
Only when rezing for web I use unsharp mask in 2 steps of 20,2,0.
Best

--
Ray Soares

See my pictures at http://www.pbase.com/raysoares
 
I prefer high pass in NX2 (at 2,75, luminance channel only at 70%, overlay mask)together with in-camera sharpening of +5 (D7000).
Hey Ray. I'm not a regular user of high pass (I find it adds more grain than other methods). But I thought I'd give your settings a try. I don't understand "2,75". Is that the European equivalent of 2.75 pixels?

Thanks

Reimar
 
I am not sure I understand 2,75 either? Why do you only use unsharp mask for web only?

Thanks
 
Here are some thought of mine regarding sharpening - FWIW !

NX2's unsharp mask is pretty good, but I prefer Lightroom 3's method (and if we really get into it, I prefer Topaz In-Focus).

With unsharp mask, I can typically get a bit more "fine-grained" sharpening out of the image. An example would be birds - typically for fine feather details, especially if they're subtle, I'll experiment with unsharp to get the best mix.

Note that you must be careful with Nikon's unsharp, especially when you start messing with "threshold" because you can get blotches with too high of a threshold - transitions from smooth bokeh regions to detailed objects can fool the software - just be aware of this and it's easy to avoid.

High pass I use more for photos that have less very fine detail image - sometimes portraits, sometimes some landscape shots, etc. It just really depends on the contents of the photo, but generally high pass I use for "photos with a few strong lines" and unsharp for photos "with lots of small lines"

Also, high-pass can be useful for sharpening photos with noise already present - it has less of a tendency to sharpen everything and just go for the edges instead.

--
JL Smith
http://jl-smith.smugmug.com
 
Hi,

I cannot answer your question, but when I first bought NX2, which I too like, I also bought Jason Odell's Guide to Capture NX2. It explains tools and workflows in clear language. See:

http://www.luminescentphoto.com/nx2guide.html

Go to his Home page and he also has a book on sharpening, but I have not bought it as it is covered in the Guide. Hope that helps.

--
J.

http://jules7.smugmug.com/
 
Hi Reimar!

Its 2,75 pixels! I thing it will work perfectly for your landscapes, although I use it for portraits very often.

Kandy: I use the unsharp mask ONLY when rezing to 1200 pixels largest side for web (in NX2):
Go to rezise and set max largest side to 2500 pixels
Unsharp mask 20,2,0
Another rezing to 1500 pixels
Another unsharp mask of 20,2,0
final rezing to 1200 pixels

Best
--
Ray Soares

See my pictures at http://www.pbase.com/raysoares
 
Hi Kandy10,

Sharpening is a very interesting subject that can add a lot to the look of your images. I suggest that you start with this article to put it in perspective:

http://www.creativepro.com/article/out-of-gamut-thoughts-on-a-sharpening-workflow

Many different approaches, and what really counts in the end is what creates the look that YOU like, so read up but tailor to your taste. USM and HP techniques are not restricted to CNX2, so any information that you glean from other sources (e.g. Photoshop tutorials and the like) will also work: just keep in mind that if you are looking at a PS referenced recipe, you need to scale the settings appropriately before applying them in CNX2: see for instance here

http://blog.nikonians.org/nikonian_jason_odell/2009/01/understanding-usm-in-capture-n.html
The Jason Odell ebook referenced in a post above is an excellent first step.

As for me, I like more or less the following workflow:
Capture Sharpening: Picture Control Sharpening at 3 (2 for portraits)
Creative Sharpening: Portraits - Eyes, mouth, etc. USM 30/4/4

Landscapes - USM30/4/4 + Local Contrast Enhancement at USM 6/50/4 or HP overlay to taste

Output Sharpening: Web USM25/3/2, Inkjet Combo of USM/HP blend depending on paper type.

Watch those halos and make sure you don't overdo it: nothing worse than an overly sharpened picture.

Cheers,
Jack
 
Why do you only use unsharp mask for web only?
Understanding what the two different methods actually do can help with realizing when one or the other will likely be more effective.

Here are three images that simulate the difference between Unsharp Mask and High Pass Sharpening. Consider the top image to be a highly magnified original part of a photograph. The middle image has HP Sharpen applied to the high frequency detail on the right side, and the bottom image has USM applied to the tonal transition on the left side. (In fact, all of this was done by adjusting the contrast of selected areas, but it shows on a large scale almost exactly what sharpening does at the pixel level. The way it shows up here the USM isn't very dramatic, but it does have a little bit of a halo, so it's perhaps realistic.)





First, a "sharpen" tool means a "high pass" algorithm. Some people refer to it also as "convolutional sharpening", which isn't wrong but since convolution can be used for Unsharp Mask too it is a bit ambiguous.

What does "high pass" refer too? The frequency of a signal produced from the pixels (either by different intensity or color) as one scans from pixel to pixel physically along any line in an image. On the right side of those images the dark/white transitions are close together, so they are a higher frequency than the transitions on the left side. Rapid changes of value between close pixels is high frequency detail, slow changes across many pixels would be low frequency detail. A single jump in values is a transient high frequency spike rather than what photographers think of as "detail".

Okay, what a High Pass sharpening tool does is increase the contrast between the highest values and the lowest values of multiple tonal edges that are closely spaced. (And in fact the exact same software can be used, with different parameters, to blur an image by reducing the contrast. This is a reversible process.)

Consider that if you have a 12 MP image that is 4000x3000 there are five times as many data points across a single horizontal line as there will be if that image is scaled down in size to 800x600. If the actual physical display size is the same, the frequency of the data points is 5 times higher in the 12 MP image.

So consider what happens if you have a 12 MP image and use a sharpen tool on it, and then re-sample it down to a size appropriate for web display! Virtually the entire spectrum of high frequency data that the sharpen tool worked with is removed by the re-sampling process.

For that reason an High Pass Sharpen tool has little effect on images that are scaled down in size, and virtually no effect if the sharpening is applied before the re-sampling is done. On the other hand, HP Sharpening can be very effective on images that are printed full size and even more so if the image is up-sized before printing.

The Unsharp Mask is different because it affects accutance, or the acuteness of a singe tonal transition. It has an effect that cannot be reversed. And it is unrelated to bandwidth or frequency of the data between spacial boundary beyond a single transition (it relates to high frequency transient response rather than repetitious high frequency data).

If that 12 MP image has a single transition made up of high frequency detail (the transition is fuzzy and several pixels wide) and it is down sized, the detail is replaced with a single transition (If the resulting image has 1/5th as many pixels, a transition that took 10 pixels to go from light to dark will necessarily end up being a transition across only 2 pixels. One pixel is light, the next one is dark). Hence the high frequency detail that an HP sharpen tool might work with is replaced by the kind of transition that USM works on! For that reason USM does little to images that are upsized for printing, and has significant effect on an image after it is downsized for web viewing.

Generally the smaller the image the lower numbers that are suitable for the radius and amount parameters, both for HP sharpen and USM. The exact numbers vary depending on the algorithm used by a given program and also often depend on the exact data too, so it is important to do sharpening after an image has been scaled to its final size. Also note that for certain data the two methods will actually produce almost identical results.
 
OK Ray. I tried the 2.75 pixel HP and I have to say that this will not work for me. With a capture sharpening of 5, and this HP, the halos produced are VERY noticable at 100%. My stock agent will not accept these. Even using my usual 2 setting for capture sharpening and 1.4 pixels for HP, the artifacts are too noticable.

I tend to use HP more like the local contrast enhancement USM where a very wide radius (20-50 pixels) is used to add bite to clouds. (Hey Jack, no need for a threshold here).

For sharpening I use settings closer to those of Jack Hogan. Picture control capture at 2 and then USM. Rarely, if I have a lot of blur and sharp elements mixed in a photo, I'll use NX2 at 40, 3, 4 for the threshold effect. But most often, I like the smart sharpen in PS that even further reduces halos but makes details crisp. I will mask out blurred elements like sky and only sharpen the details.

I don't fuss with web displays much and just use PS's bicubic sharper for downsampling. Just another perspective to consider.
 
Wow, got up this morning to find in-depth answers to this question, this board astounds me with how much knowledge there is on absolutely every subject related to photography. I am on my way to work, but will devour every line of this when I get home. I am so appreciative of the help here, I'll see if I have other questions after reading.

Thanks so much!!!
 
I tend to use HP more like the local contrast enhancement USM where a very wide radius (20-50 pixels) is used to add bite to clouds. (Hey Jack, no need for a threshold here).
Guess not, you are right. Never thought about it before.
 
Thank you all so much, there really is more to this than I thought, whew! almost looks like one needs a college course just to learn sharpening LOL! I appreciate all the very detailed responses, the book referrel and websites, I have saved all of this. There really are some experts on this board, lets me know just how much I need to learn at this point, and I don't consider myself a complete beginner either!

Most of my pictures are printed, but occasionally I size down the same file for web, should I then do another sharpening before saving to J-peg? Until I understand all the technical aspects of this, I will just try what I think looks good and make sure it is done last after sizing and editing.
 

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