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Thread: removing haze

  1. #1

    Default removing haze

    so I had someone here ask me how to romove the haze in the background on landscape shots. While reading up on some PP stuff I came across something that's easy and helps. Not just with the haziness either, with the whole image.

    Copy layer, filter>sharpen>unsharp mask, then crank the radius all the way up and the amount keep real low. I do the amount at 5-8%, and the radius at 250.0 then click ok. That should put you in a pretty good spot, but if it needs more you just go filter> and at the top it will have your previous filter(unsharp mask) click it again and it will duplicate it again.
    Eat me

  2. #2

    Default

    REPOST!!

    already knew that noob

  3. #3

    Default

    btw, that technique is more helpful for trying to remove blooming in a plate. since blooming effects the brighter parts of a plate more than the darker areas.
    and with that unsharp gag you will be effecting the brighter areas more as well since you are basically taking the inverse of a blur kernel and applying it to the image.

    real hazing over a complete plate is more of a black level issue where pulling the black level down is usually more successful and more correct looking, leaving less artifacts.

    my .02

  4. #4

    Default

    I didnt quite understand everything you said, so I wont fake it, but I only found this as a side effect, not a solution. So far I havent been able to control the black level to completely get rid of the haze in the background without spending a whole crap load of time selecting and deselecting areas. I watched a tutorial on enhancing mid tones which suggested this, and I applied it to some landscape stuff and it helped a ton.
    Eat me

  5. #5

  6. #6

    Default

    its funny that the video calls it enhancing mid-tones but it's effect is mostly in the blacks near high con areas. which it has to be based on the tool and how he's using it.
    just by the nature of what he's doing you won't really see much change in the mid-tones unless they are within 250 pixels of an extremely bright area. and then in order for it to show up enough in the mids you will probably be hammering the blacks pretty good. i would figure you'll start to see some artifacts by then.

    basically what you are doing is bluring an image then taking a very small percentage of the difference between that and the original and subtracting it back out of the original.
    that's why you will always see the main effect in the blacks next to something bright. since you are bluring that bright bit into the black area it doesn't take much to pull those blacks down.
    but that is why i mentioned that this works better for blooming (ringing or brightening of the plate around the bright areas) since it really is dependant on bright areas for the blacks to come down.
    it's not going to give you an equal effect everywhere if you have a plate that the blacks are screwed all over.

    again, just my .02

  7. #7

    Default

    So how do I accomplish pulling the blacks down without spending a ton of time selecting small areas? I HATE post process stuff, and just like the taking the picture aspect so the simpler the better if at all possible.

    This is the one huge downfall to todays digital stuff IMO. The post is now what sets apart photographers, not their actual ability behind the camera. Since I'm stuck learning this crap though, is there any resources you could suggest?
    Eat me

  8. #8

    Default

    sorry to break it to ya but the post has always set the pros apart. they were just doing it in the darkroom instead of the computer.

    there was a great exhibit of ansel adams a few years back a sf moma and they showed a big collection of his stuff. he would do a ton of prints on a single neg just to get a different feel to it. he would sometimes go back years later when he felt different about the original photo.

    on the black level stuff i hate to say it but i really don't know photoshop at all so i can't tell you a tool to use. we use proprietary software at work so i don't have a need to really learn it other than i feel lame not know it
    even worse when you consider that i work directly with the guy that invented/wrote it haha.

    i will say gamma is nice because it doesn't change the white/black points but will push down or pull up your mid-tones depending on which way you go.
    the thing to remember is small changes are what you want usually otherwise you really start to break the image.

  9. #9

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    ugh. I don't have an issue using PS and getting the results I want.. Well for the most part... It's the time it takes to do it.. I printed some images up for some family for Xmas, and each print I spent at least 20-30min on. Some over an hour. When I post stuff online I usually spend about 2-3min on it and call it good. Now if I could do that and get the same results I'm getting from a hours worth of editing I would be thrilled.
    Eat me

  10. #10

    Default

    well one thing you should take the time to do is calibrate the monitor to the printer.
    the easiest way to do it might be to just get a few photos dialed in how you like them on the monitor then print one out. take a look at your result and any corrections that you need to make to the the print to look like the monitor you should save as a leyer that you just apply to every photo that you want to print.
    it will take a few tries to get this right and will probably not be exact on every print since the content of the pic can skews the corrections a bit.

    btw, this is the kind of stuff i deal with every day and you're only working on a single frame with one image. try 500-1000 frames and trying to combine dozens and dozens of elements together through lighting changes and who knows what.

    that's why it can take weeks/months sometimes to get 20 seconds of film to look right. and sometimes it just can't be done(jungle sequence on indy)

    it all just takes time. you'll get there.

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