This post was going to be a review about one of my favorite filters, the now updated Topaz Sharpen AI filter that contains a brush for creating a mask to locally sharpen certain areas of the image. There appears to be a few bugs yet so I am not ready to review it. Instead I went back into my archive to find some new things to work on during this stay-at-home time. Therefore this week is going to be just a short blog on getting a little detail into an image, in this case some Jellyfish images. Hum!
The Moon Jellyfish image above seems to be both creepy and beautiful at the same time. (Their body is white in color, round, and very transparent so when the sun or the moon is shining on them, they look just like a lit-up moon.) What was really interesting to me was how to get all the nooks and crannies of this image to look as transparent as the jellyfish really looked. The Camera Raw Filter was opened and a free Profile in a Sparklestock set called Lemon – Pumpkin 02 profile at 106% was selected (they have many great presets and all have free samples). Then the basic sliders were adjusted so that the background was a little darker and the light lines showed up a better. Some Texture and Clarity were also added. Since I did not have my Topaz Sharpen AI working, I decided to use my back-up which never lets me down – Luminar 4 (see sidebar at my Tidbits Blog for website link). It has also been recently updated for Landscapes or Portraits. Sometimes the AI Enhance Tool is used, but in this case it was lightening up the background too much. The AI Structure Tool (Amount 73 and Boost 43) and painted in a mask where on the areas needing sharpening was used first. Then applied the Details Enhancer Tool (Small Details 49, Medium Details 25, and Large Details 37). These are usually the only two filters needed to get some great detail from Luminar. Now here is a great trick when working with objects with thin lines – go into Topaz (see sidebar at my Tidbits Blog for website link) Studio 2 and apply the Edges Filter. This filter can do wonders to give a little more edge to objects. In this case these filters and settings were used: AI Clear: Remove Noise Auto, Enhance Sharpness High, Exposure 0.02 and Clarity 0.40 (I still love this filter in Studio and just by adding a little Clarity here helped quite a bit in this case); and Edges: Edge Type – Monochrome Line, Edge Tone – Light, Edge Strength – 0.67, Simplify Edge – 0.04, Suppress Weak Edges – 0.35, Suppress Small Edge 0.84, Edge Thickness 0.12, and Edge Resolution – 0.84 – painted off any long white lines which looked over the top. That was basically all that was done on this image, but the sharpening process turned out really good.
So for this image the following items were used to add the detail: (1) Camera Raw Filter and the Texture and Clarity sliders in particular; (2) Luminar 4 using their AI Structure and Details Enhancer Tools; and (3) Topaz Studio 2’s AI Clear (especially the Clarity slider) and Edges Filters.
This image is of a more traditional looking Jellyfish, the kind I have seen in the ocean before. This time a more painterly effect was applied and most of this was done in Topaz Studio 2 where the more artistic filters can be found. This time an older version of Topaz Sharpen AI (Model: Stylize at Sharpness 0.90 and Suppress Noise 0.20) was used to do my initial sharpening – and it did a great job. Luminar 4 was applied on a stamped layer and the Dramatic set Mystic Look preset was applied which gave it an overall painterly feel. Then on another stamped layer Topaz Studio 2 was opened and AI Clear applied – Remove Noise: Auto, Enhance Sharpness: High, and Clarity 0.78. Next the wonderful Edges filter set to 100 Opacity, Multiply blend mode, Edge Type Monchrome Edge, but this time Edge Tone: Dark instead of Light as above. All the other sliders refine the original Edge Strength (0.78) setting: Simplify Edge 0.40, Suppress Weak Edges 0, Suppress Small Edges: 0.00, Edge Thickness 0.40, and Edge Resolution 1.00. In layer mask with brush set to Transparency 0.50, Radius 0.03, Softness 0.50 and Edge Aware On, painted effect off in a mask where the lines were just too dark – this still left an enhanced line but was not as obvious. The Impression filter was set to Type 13, Background Color Original in Texture section, and in inverted layer mask, just painted over the top of the Jellyfish with brush at 0.78 Transparency. Back in PS, the background was created by using 3 different colors on 3 different layers using the Shadowhouse Creations texture brush set to a large size (it was the 2nd example created in my recent How to Create a Texture Brush to Match a Texture blog). Then put layers in a group and set it to 82% layer opacity. On a New Layer on top, the top part of the Jellyfish was smoothed with a Mixer brush. Then on another New Layer, a small brush was used to add in some of the tentacle lines that were missing. Text was Hardwired Script Update and it was a lot of fun to use – the creator added in many variations for the letters. Still more clean up, but these were pretty much the steps. Once again Studio’s Edges filter was a great help.
For this image, these detailed items were used: (1) Topaz Sharpen AI; (2) Topaz Studio 2’s AI Clear and Edges filters; and (3) actually drew in any small lines that needed emphasis using a tiny small brush.
More Moon Jellyfish – this time in a sepia tone. Did initial sharpening in Lightroom using the Detail Panel before applying the old Nik Silver Efex Pro filter to the image. Just the default preset was used to start and then changes were made using Toning Preset 9 to give a slightly bluish look. Back in PS the image was inverted (CTRL+I on the image). A Color Lookup Adjustment Layer was added using a Color Negative Device Link preset (not sure if this is from PS or not) set to Hue – it added the nice sepia effect. The Moon is from Rule by Art (in Design Cuts Planet-Space-Explosion-Background and Ancient Texture set) and it was also adjusted to match the Jellyfish using the same Silver Efex Pro and Color Lookup Adjustment Layer settings. Another Color Lookup Adjustment Layer was added and set to the Foggy Night preset at 63% layer opacity and Overlay blend mode. Used the same Hardwired Script Update font. Last step was a Curves Adjustment Layer to add a little contrast back.
In this case, the only sharpening needed was in Camera Raw. It is interesting to see that each image had such different requirements.
Hope everyone is taking it easy and trying out some new techniques. That is what I was trying to do with my images – try a few different things and see what I like. It is actually nice to be able to slow down and think about this – just hope it is not for too long. Stay safe!…..Digital Lady Syd