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Introduction:
Image processing is a method to convert an image into digital form and perform some
operations on it, in order to get an enhanced image or to extract some useful information from it.
It is a type of signal dispensation in which input is image, like video frame or photograph and
output may be image or characteristics associated with that image. Usually Image Processing
system includes treating images as two dimensional signals while applying already set signal
processing methods to them.
It is among rapidly growing technologies today, with its applications in various aspects of a
business. Image Processing forms core research area within engineering and computer science
disciplines too.
Image processing basically includes the following three steps.
Importing the image with optical scanner or by digital photography.
Analyzing and manipulating the image which includes data compression and image
enhancement and spotting patterns that are not to human eyes like satellite photographs.
Output is the last stage in which result can be altered image or report that is based on image
analysis.
Purpose of Image processing:
The purpose of image processing is divided into 5 groups. They are:
1.
Visualization - Observe the objects that are not visible.
2.
Image sharpening and restoration - To create a better image.
3.
Image retrieval - Seek for the image of intetrest.
4.
Measurement of pattern Measures various objects in an image.
5.
Image Recognition Distinguish the objects in an image.
Types
The two types of methods used for Image Processing are Analog and Digital Image
Processing. Analog or visual techniques of image processing can be used for the hard copies like
printouts and photographs. Image analysts use various fundamentals of interpretation while using
these visual techniques. The image processing is not just confined to area that has to be studied
but on knowledge of analyst. Association is another important tool in image processing through
visual techniques. So analysts apply a combination of personal knowledge and collateral data to
image processing.
Digital Processing techniques help in manipulation of the digital images by using computers. As
raw data from imaging sensors from satellite platform contains deficiencies. To get over such
flaws and to get originality of information, it has to undergo various phases of processing. The
three general phases that all types of data have to undergo while using digital technique are Preprocessing, enhancement and display, information extraction.
Image acquisition:
digital camera: for fine art prints save your images in RAW mode through the software with the
camera or a third party program such as Breeze Browser (for Canon) or Bibble (Nikon) and
convert to 16-bit TIFF. Use JPEG (which is a lossey compression) only for the web or e-mail.
Scanner: scan at the highest resolution (e.g. 4000 pp/i; 48-bit) and at the highest film
density the scanner can capture; do not alter image with scanner unless you have superior
software (e.g., Silverfast , Vuescan); use Digital ICE (if available) when working with a
particularly dirty print.
Save as a TIFF file to your "Image Capture" directory.
Open the image in Photoshop and convert to your working space (e.g. Adobe RGB
1998).
Rotate image to vertical if needed (Image>Rotate Canvas).
Adjust minor rotational error of horizon or verticals: choose measurement tool (under the
eyedropper fly-out menu or Shift + I until the ruler appears); draw desired vertical or
horizontal line on image; open Image>Rotate>Arbitrary>OK.
Histogram: review histogram (Image>Histogram) to see if it is reflective of the image
without excessive highlight or shadow clipping; if graph is excessively bunched right or
left, rescan unless this is a high-key (light tone) or low-key image.
Run curser over histogram and note ranges of excessive concentration of pixels for each
channel.
Open Crop Tool (or Alt-C) and click Front Image; drag box loosely around image
Drag corner handles inwards while holding down Ctrl key to eliminate black border;
zoom in on one of 8 handles (View>Zoom or Ctrl-plus) to align crop (Ctrl-minus to zoom
out); extend canvas size if necessary by dragging crop handle outside image.
Crop out or fill in blank areas with the clone tool (so they do not effect histograms); use
Alt-Z to undo one step, or the History palette to go back; press Enter.
Make duplicate (Image>Duplicate); name duplicate, e.g. Wood Duck 16-bit
Master. Save this file as backup.
Zoom in to 100%; press Home key; open history palette (Window>Show History).
Slightly darken image (Image>Adjust>Brightness/Contrast); drag Brightness slider to
3.
Open Filter>Noise>Dust and Scratches.
Place square curser on a dust spot; move radius slider to far left, then slowly right
until spot disappears with threshold 0; move threshold right without revealing spots;
hit OK.
Set Dust and Scratches state as History Brush source by clicking left box.
Click on the state before Dust and Scratches to activate.
Open History Brush Tool; set soft-edged brush size slightly larger than spots, set the
Blend Mode in the Options Bar for Lighten in pull down menu with opacity at 100%;
press Tab to clear palettes (Tab again will return palettes).
Paint over spots working down, across, up image using PgDn, Ctrl-PgDn (moves
window right), PgUp, Ctrl-PgDn, PgDn, etc. sequence; use Darken mode or
Clone Stamp tool for white spots.
As alternative open healing brush tool (PS7) set to Normal, Aligned or clone stamp
(PS6) set to Lighten (to avoid affecting grain), Aligned; brush size just bigger that
spots; Alt + click to set source.
Click or paint over spots working down, across, up image using PgDn, Ctrl-PgDn
(moves window right), PgUp, Alt-PgDn, PgDn, etc. sequence; use Darken mode
for white spots.
Eliminate unwanted elements with the healing brush or clone tool then paint
changes with history tool into previous state (to avoid mishaps) or open
Image>Duplicate; Alt-Z to undo/redo.
For straight elements (scratches, wires, etc.), set brush to size of scratch, Alt +
click a brush away perpendicular to end of line, click on end of line, Shift + click
on other end
Note: We now will set four monitor points in the Info palette using the Color
Sampler tool.
Open the Info palette (Window>Show Info); click on Color Sampler tool (under eyedropper); set sample size to 3x3.
Option 1: Click on little eyedropper in upper left box of Info palette and choose Total
Ink.
Run eyedropper over black areas to determine highest percent; click to set sample #1.
Run eyedropper over white area (with some detail) to find lowest percent; click to set
sample #2.
Option 2: In16 Bits, open Levels (Image>Adjust>Levels); if 8 Bits (Layer>New
Adjustment Layer>Levels).
With preview box checked, hold down the Alt key (to display threshold
mode) and move Input Highlight (right) slider to the left; note first significant (with
some detail) white area that appears; return slider and click area with color sampler
tool to set Sample #1 in Info palette.
With preview box checked, hold down the Alt key and move Input Shadow (left)
slider to the right; note first significant dark area that appears; click to create
Sample#2.
Option 3 8-bit only: Click on the halfwhite/halfblack icon at the bottom of the Layers
palette; move slider left to reveal white point; OK; click color sample eyedropper on
point for Sample#1.
Double click on same icon in Threshold layer; move slider right; OK; click color
sample eyedropper on black point Sample #2; delete Threshold layer (click/drag to
ashcan).
Click Color Sample tool on a true gray of any tone for Sample#3; click on the
dominant color for sample #4.
Note: You are now able to monitor these points throughout the remaining corrections.
While still in Levels check for true white: open Blue channel; move highlight
slider left to end of histogram; if input level stops short of 244, there may be no true
white so eyedropper may not be used (skip step); if values are over 244 or to create
true white, click Set White Point eyedropper (right most).
Run eyedropper over area of neutral white identified (do not use specular highlight,
reflection, glare, etc., which have no detail or image will be flat); zoom in if
necessary (Ctrl-plus) reading Info palette to find brightest point where you want some
texture (hold down space bar to move image).
7.3. Hold down shift to move Sample #1 if necessary; set pointer over sample target
and click to set white point.
7.4. Toggle Preview for results; hold down Alt to toggle Cancel to
Reset to undo
Set Black Point
Check for true black; open blue channel; move shadow slider right to
beginning of graph; if histogram stops short of 8, there is no true black so eyedropper
cannot be used (skip step); if values under 8, click Set Black Point eyedropper (left
most).
8.2. Run eyedropper over area of neutral black (with some detail) to find optimum
point; zoom in if necessary (Ctrl-plus) (hold down space bar to move image).
8.3. Hold down shift to move Sample #2 if necessary; set pointer over sample target
and click to set black point.
No True White or Black
If no true white, open each channel (red, green, blue) separately and move each
highlight slider until its just within the graph (to create some white); do not move
center slider.
If no true black, open each channel (red, green, blue) separately and move each
shadow slider until its just within the graph (to create some black); do not move
center slider.
COLOR BALANCE
Note: Colorcasts will occur when the ambient light is a different temperature than the
film. Filters can help, but often an imbalance remains. The new (PS7) Auto Color can be
tried, but it seems to create as many color casts as it cures.
11. Remove Colorcasts in Shadows and Highlights
If you have not yet done so, add a third Color Sample #3 by shift-clicking in a true
gray area of any tone; note the channel with middle value.
Open Curves (Image>Adjust>Curves), then open, e.g., Blue in channel popup, click on
midpoint and move up or down (use up/down arrows) until value in the Info palette
matches middle value, e.g. Red.
Do the same with e.g. Green channel so all three channels are equal.
While still in Curves dialog Alt-click within graph to change to 10x10 grid.
Go to channel of color to modify, Red (cyan), Green (magenta), or Blue (yellow).
Click on each of nine intersections of graph to anchor curve.
Run eyedropper over position in image of target color with the mouse button down; Ctrl +
click to add a handle.
Remove the lock down points adjacent to handle by dragging them off graph.
Drag point up and left (carefully) to add red, green, or blue, and down right to add cyan,
magenta or yellow; (hold down Alt and click Reset to clear).
Save if in an adjustment layer (to reapply if necessary later), then OK.
With Curves still open, Alt-click within graph to change to 4x4 grid.
Ctrl + click on area to be lightened; Ctrl + click on an area which should be darkened
setting two handles.
Move upper handle up and left and lower down and right to produce s-curve.
Ctrl + click on brightest area; reduce contrast if Output is over 244; Ctrl + click black;
reduce contrast if Output is under 12.
o Alternatively:
Click on three intersections to lock down curve.
Click on lower anchor and move down with down arrow; click on upper anchor and
move up with up arrow to create smooth s-curve (reverse to reduce contrast); monitor
results in Info palette to avoid pure black or white as above; OK.
Select Master to change overall saturation (+10 to +20 usually enough); (inkjet
printers require more saturation than Lightjets).
When done with overall corrections, save file to Hi Res Images directory in
PSD format.
Note: image should be very close to optimum at this point. Gamma and brightness
have been corrected, white and black points established; color casts eliminated with
white, black and gray points set to neutral, saturation level adjusted, and edges
sharpened. Area corrections, resampling, and final sharpening remain.
Click on Red, Green, and Blue channels to see which shows best detail in area to be
adjusted (red for skies, green for faces); return to RGB.
Name Layer, e.g. Red Only; leave new layer active.
Choose Image>Apply Image; set Layer=Merged; Channel=Red; Blending=Darken for
skies, Normal for faces, Soft Light to increase contrast; set opacity at 100%
(experiment with this); toggle Preview.
Choose Layer>Merge Down.
To select a solid or almost solid color skip to Color Range (best way) or use
convenient Magic Wand (options bar set to tolerance of 8-16 depending on color
variation, anti-aliased on, contiguous off); Shift + click to add to selection, Alt + click
to remove).
For areas with well-defined edges use the Magnetic Lasso tool (feather off, width 10,
contrast 10%, frequency 50); hold down Alt to convert to freeform Lasso where edges
are ill-defined; double click to close loop; Alt-Z to undo.
For entirely freeform selection use Lasso tool. (Marquee and Pen tools are not
generally useful for photographs).
Choose Select>Feather and enter 1 or 2, or up to 6 radius for edge blend of hi-res
images.
Double click on Quick Mask; click on color box and set for contrasting color; opacity
50%; click on standard mask (Q).
Choose Select>Color Range; select option from dropdown list, e.g. Sampled Colors;
fuzziness 0.
Switch between image and mask by clicking Selection or Image radio buttons or by
holding down Ctrl key.
Use eyedropper to specify color to be adjusted; + eyedropper (or Shift-click)
to add (or drag); "-" eyedropper to delete; Ctrl-Z to undo.
Click on Invert to mask color.
Hold down Ctrl key to toggle preview.
To enlarge selection, use Select>Grow, or Select>Modify>Smooth Set.
Select>Inverse to reverse selection if required.
Using ColorRange to select background is often easier than selecting the object. The background
can now be lightened for separation, and with Select>Inverse, only the duck sharpened.
21. Creating and Editing Mask
Note: Generally selections must be edited regardless of the selection technique. Quick
mask is the most efficient editing tool of standard selections.
Click Quickmask mode in Tools palette (or hit Q); press D to set foreground color to
Black.
Double click Quick Mask channel and set to 50% luminosity and radio click masked
or selected area.
Select a paintbrush (press B); paint with black in foreground to add to rubylith overlay,
paint with white (press X) to erase color.
Use the Gradient tool (press G) to draw a gradual transition.
Switch back to normal mode (marching ants) (Q again to toggle); Select>Feather 2-3
or 4-6 for hi-res.
Select>Save Selection; goes into alpha channel and may be saved for reload (select
Load>Selection>Alpha).
Note: most selection tools are not available in 16-bit mode; selective corrections are
usually done in 8-bit adjustment layers, but the following will guide you in 16-bit
selection for those who want to continue in hi-res for whatever reason.
Open Color Sampler Tool; move sample #4 (click-drag) to shadow area near detail to
monitor shadow.
Open Image>Adjust>Levels; move middle slider left until details appear in shadows
but color sampler does not show degradation of shadow (ignore rest of image).
Make a copy for reference (Image>Duplicate); make original active.
Window>Show History; click on left box in History channel to set history brush (icon
will appear); activate previous state; use history brush (press Y) choose soft brush, set
on Lighten, 50-100%, to paint in shadow details using duplicate for reference; close
duplicate.
FINE TUNING
26. Local Area Sharpening and Toning
Note: These tools should be used sparingly and only for very small areas.
Identify small areas that need correcting; use light opacity brushes since these tools are
cumulative.
These adjustments are best made on a duplicate layer (Layer>Duplicate>Layer).
To sharpen a local area without selection, open the Blur/Sharpen/Smudge tool from
the pop-up; try Blur tool before Sharpen; set pressure at 25%; select darken or lighten
to target effect.
Check highlight, mid-point, shadows, set low pressure (25%) and use on eyes,
catchlights, sparkles, anything that glitters, etc. sparingly to avoid artifacts; try blur
tool before sharpen tool.
Use Dodge tool (to lighten) e.g. to remove wrinkles with large, soft brush; Burn (to
darken) local areas with pressure at 20-30%.
Sponge to saturate or, to de-saturate (hold down Alt) e.g. to de-emphasize an object or
out-of-gamut colors.
PERSPECTIVE CORRECTION
27. Perspective Correction
Note: If perspective of converging verticals or barrel distortion of a super wide-angle
lens has not been corrected above; the following steps are for a) symmetrical correction,
b) free transform, and c) perspective cropping.
Select Image>Canvas Size; click lower middle Anchor box; open Width dropdown
menu, select percent; change amount to 125%; OK (or use crop tool to crop outside
image).
Open grid (Edit>Preferences>Guides and Grid) change Subdivisions to 1; select
View>Show>Grid.
Use rectangular selection tool to select area slightly larger than image.
Choose Edit>Transform>Perspective;
Mouse grab the upper corner handle arrow and move outward to align converging
verticals with grid;
Hit Enter. Use Crop tool to square image.
For non-symmetrical adjustment, same as above, but select Edit>Free Transform; drag
left and right handles independently.
Use Crop tool to select all; unclick Shield cropped area; click Perspective box.
Mouse grab the upper corner handle arrow and move inward to align crop edge with
converging verticals; use middle handle to move horizontally to check alignment;
return crop to frame edge.
For symmetrical crop turn on rulers (View>Show Rulers or Ctrl + R); align right crop.
Hit Enter.
RECOMPOSITION
28. Distracting Elements
Note: Examine the image for distracting elements, e.g. branches, hot spots, clutter, etc.
Sometimes adding elements works. By masking the eagle, a patriotic background layer was
combined, set at Soft light with Luminosity 15%.
Now choose cancel and reopen Unsharp Mask, which will contain your same settings.
Open color channels (Windows>Show Channels); click on Red and shift-click on Green
(Blue channel produces more noise) or choose lightest channel with least detail.
. Divide the Amount determined above by four, and apply the filter four times monitoring
each step.
Look for and repair any unwanted artifacts with clone tool.
If the effect is too sharp, either backup one sharpening (Edit>Undo) or use Edit>Fade
Unsharp Mask set for Luminosity in drop-down menu at e.g., 50% (experiment with
setting).
Open a new layer (Layer>New>Layer); check the Use All Layers box and the cloning
will remain in the layer.
Use the healing brush or clone tool to cleanup image.
Select brush size just bigger than specks, usually hard edge.
Zoom in 100%-200%; press Home key; press the Tab key to clear palettes; Alt-click
then click (not drag) to remove spots.
Work carefully up and down image using sequence: PgDn, Alt-PgDn, PgUp,
Alt-PgD, PgDn, etc.
Tab again to return palettes.
Save TIFF file as e.g. (Subject) 13x19 in Print directory.
PROOF
Note: Soft proof requires ICC or Color Sync media profiles for your printer and the ink
and paper combination.
33.
Soft Proof