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Product details
File Size: 13890 KB
Print Length: 360 pages
Simultaneous Device Usage: Up to 5 simultaneous devices, per publisher limits
Publisher: Peachpit Press; 2 edition (September 25, 2009)
Publication Date: September 25, 2009
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B002NQSMWW
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Amazon Best Sellers Rank:
#481,792 Paid in Kindle Store (See Top 100 Paid in Kindle Store)
Highly recommended. A problem I'm having with the Kindle edition (hence my 4 star rating) is that many of the figures are too small to read. If you're proficient with Photoshop, ACR, and Lightroom, you'll be able to get by, but there are definitely a few key figures that must be seen in full detail. For example, there's Jeff's multi-application flowchart in Figure 3-12, which serves as an index to what follows. I searched online for a repository of images but was unable to find one. This is a problem I've had with many technical books published on Kindle: You get great portability with the downside of not being able to read a some of the content.
First, this is way more than just a book about sharpening. To read the front cover, you might think that what it is going to do is explain the sliders in the PS sharpening window. While it certainly does that, it does very literally 1000 times more. It addresses every factor that degrades sharpness, and does it in considerable detail. Managing sharpness is joined at the hip with managing noise. The book has a comprehensive treatment of noise and how to get the best of the tradeoff between noise and sharpness in post-processing. There's a treatment of appropriate target resolution for your images. There's a brief discussion of the backfocus problem. Then there's the treatment of your target display technology, whether, for example, internet or print. There's a discussion of the three types of print and how their properties and resolution should influence your image resolution. There's even a discussion of what the human eye can resolve. There's an excellent discussion of the importance of image frequency. What does all this have to do with sharpening? If you want to do the very best you possibly can with sharpening, all this stuff has everything to do with it.Even so, I truly believe that the book is overkill for the vast majority of readers. You might think you will be able to just pull out what you need and apply it, but it ain't that easy. Some other reviewers have faulted the book for not providing straight-forward procedures for applying sharpening. These reviewers, I believe, make a valid point. If you are looking for a clean set of rules and procedures, you won't find them here. I haven't read the earlier edition (by Fraser, now deceased), but what we have now is somewhere between a scholarly treatment and a textbook for dedicated students. I'd be willing to bet that not one of the reviewers truly mastered the material in this book. I'm a Ph.D. experimental physicist. I probably won't master it. What I'll probably do is end up spending 10 to 15 hours total on it and, with that investment, manage to extract what I want to take away from the experience. True mastery would require reading various segments and then trying to apply the info provided -- experimenting until I developed a true feel for it. The real question though, is whether it has to be that hard. I believe the book can give average readers a huge leap forward in capability without so much investment of time.When Jeff Schewe reads this review, I can guess what he'll say. He'll say that the subject is too complex to reduce to the Betty Crocker level. He'll say you have to have all this background knowledge to be able to know where you want to go as well as how to get there. He's got a point, but I'm convinced the book could do better.I think the book should be organized into sections that converge on processes that solve various parts of the problem. At the end of each section should be a summary process that takes into account the items explained in the section. For example, there needs to be a formula with printer resolution, print size, and viewing distance as inputs and an image resolution as output. (If it's a function of more variables, make it so, but just providing a gross approximation is good enough for most of us.) If some experimentation is required, the book should say so and explain how to go about it. If you need three formulas, one for each kind of print rendering, then the book should provide three. It is wonderful that the book provides all the information that it does; it is unfortunate that it is not focused more on summarizing and simplifying the application of the information.I have very strong empathy for Mr. Schewe. He has an amazing wealth of knowledge on this subject. He wants to share it, and he doesn't want to leave anything out that is important. He has already done a Herculean job of sorting information out, organizing it, and codifying it. He has endeavored to provide examples of real images at every turn. It may not even need a lot reorganization to attain better focus on the user's immediate needs. He can make a huge leap forward by adding summary processes. Mr. Schewe, you are almost there.As for me, I'm already doing a much better job of sharpening than I was before. I am now careful to begin by reducing noise. (I bought the Noise Ninja plug-in for PS.) I now have a far, far better grasp of how to set radius. I'm beginning to understand how to use multiple sharpening passes. I know more about what problems to expect and how to recognize them early before I get too far past them. I also understand why some of my earlier efforts turned out poorly. I can see effects of faulty sharpening (especially too much radius) in my own recent efforts. I do believe that I can and will reduce what I'm continuing to learn to a manageable set of rules. If I succeed at that, maybe I'll send them to Mr. Schewe.There are a few nits that I have to pick. There are places in the book that use technical terms not previously defined. That is inexcusable. There are important pieces of info that are hard to find through the index. The index is about average in its coverage, but a book of this caliber deserves better than average.I'm assigning five stars because this is the most comprehensive book in print on its subject. It has already paid for itself several times over for me. I'm just saying it has the potential to provide more useable information without so much investment of time.***Update: Please read the comments section for more info.***Tim Naff
For almost all photographers, this book should not be a priority.There are much more important topics than this.As the author points out the differences are "subtle", like usually you can't see the difference.For one thing, noise is much less of an issue, which is something that affects sharpening.(You should do noise reduction first). But my gear shooting in RAW is pretty much noise free.If you are into high end printing MAYBE this could help, but in the end as the book points out you need trial and error, which is one of the frustrating things about the book - all the practical advice is hedged.
This is addendum added at the top here after passage of time: I've found myself going back to this book time and again. Whatever I wrote below, and most still applies, this book is a goldmine and by now the only book I keep next to my computer for reference. I'm just looking at it again--for the 20th time or so. There's so much in it there's no way to pick it all up in one or two or three readings. This book is a must have for anyone seriously into digital imaging. Make it six or seven stars.If you have the tools mentioned in the subtitle, and are reasonably proficient in at least one of them, this book might be for you. If you're also a more-than-casual photographer or maker of other kinds of digital images. But especially if you're a photographer--film or digital. (The book discusses scanned color negatives and transparencies as much as digital "captures" sent directly to a computer.)In fact, this book, as with Fraser, et al.'s, Real World Color Management, is a must-have for any serious photographer or even digital painter. (No doubt Real World Camera Raw, also written by Fraser and Schewe, is excellent too, but I've not read it.)The first sections concern theory and ought be read, even if eyes do tend to glaze over, while the subsequent sections ought be followed by working on one's own images as one reads. (Make the gradients for yourself if you can.) That's how I read it, and I got at least one amazing result, as good as any of the amazing photos in the book, I'm pleased to note.Several techniques are presented for sharpening, but also--and not mentioned in the title--for noise reduction, which is kinda critical to sharpening when one thinks about it a little. What with noise being a major problem in digital photography. (Unless you have the Mamiya back (and presumably camera to which to attach the back) the authors mention and that comes for 35 large. I don't, but apparently noise is still a problem!)Simply reducing noise is a goal in itself, though sharpening can do wonders for an already good photo. What it can't do is salvage a mediocre or bad one, especially any that is a little too fuzzy, even if not entirely out of focus. Don't buy the book thinking you're going to save that once-in-a-lifetime shot that went wrong when you tried to hand-hold the camera during a one-half- or even one-thirtieth-second exposure. (I have personal experience with being too lazy to break out a tripod and then after processing discovering my once-in-a-lifetime shot is actually never-in-a-lifetime.) The authors illustrate what can happen even at very fast speeds when one fails to use a tripod (and sandbag, ideally). I was surprised by the illustrated difference. That doesn't mean one can't really improve something hand-held at one two-hundredth second. The difference between hand-held and tripod at that speed isn't that much! But photos (including scans of negatives/transparencies, and prints too, I'd think) need to be fairly sharp to begin with. But techniques work best with digital photos sent directly to one's computer, or so I discovered. (Unless you have one of those really high-end scanners, which I also don't have, but which the authors do have.) Sizing and sampling are discussed, and my only tiny gripe is that they aren't discussed more. But then I find that whole subject extremely confusing. And since I often up-sample...trouble can ensue. Just don't resample, or do much more of anything after sharpening, is the message I got. And turn off sharpening when scanning. (I did notice I could apply some adjustments after sharpening. I noted no change in the sharpening at 200% on-screen enlargement. But yeah, one ought be judicious, or wait to sharpen. But there's always that one last adjustment one seems always to need to make just before printing, or after printing when the result isn't quite as expected. It can still be done, but only certain ones.)The subject of sizing/sampling is important to the topics and maybe ought not be treated too abruptly, even if info is available elsewhere. So four and one-half stars. I gave it five.For some of this stuff one needs a fairly speedy computer. Some filters are slow to apply and my old HP scanner takes all day at, say, one thousand ppi, which ain't that much these days. Ultimately, down-sampling is recommended, especially for noise reduction--obviously. There is discussion of various types of printers, but all-too brief and then mostly of commercial press, or so it seemed to me. E.g., the very term, "half-tone," has become more vague in meaning. (There's more info in Real World Color Management, but even there less than one might desire on the topic of sizing and sampling. Not that math is my thing.)This book is primarily for commercial photographers who send out to press. (Also true of Real World Color Management)But the serious non-pro (who can afford or has access to some software and equipment) can get a lot out of these Real World books, sometimes results as good as the pros get. For me, getting just one really fine image justified the not-really-high price for such a good book containing so many terrific and high-quality illustrations of the topics at hand, along with a lot of how-to-get-there when willing to apply oneself.If you have or have access to at least one of the software tools and are intent on producing much better images, get this book, study it, practice it, eventually make better images from start to finish. The book also contains a number of tips I didn't know of for using software tools. PS's High Pass filter, just for example. Who knew? These authors know everything to do with digital imaging, including underlying sciences. Very impressive, and they make great photos too.
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