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The Showfoto Handbook

The tool comes with several presets as starting points and to simplify the restoration. The preset

settings available are listed below:

• None: Using most common default ﬁlter settings not optimized for any particular purpose.

• RemoveSmall Area: .

• RemoveMedium Area: .

• RemoveLarge Area: .

If you want to set ﬁlter parameters for ﬁner adjustments, use Smoothing Settings and Advanced

Settings tabs:

• Detail Preservation p[0, 100]: thiscontrolsthe preservationof the curvatures(features). A low

value forces an equal smoothing across the image, whereas bigger values preferably smooth

the homogeneous regions and leaves the details sharper. A value of 0.9 should well preserve

details so that no sharpening is required afterwards. Note that Detail Preservation must be

always inferior to Anisotropy.

• Anisotropy alpha[0, 100]: alow value smooths equally in all directions, whereas a value close

to 1 smooths in one direction only. If you have ﬁlm grain or CCD kind of noise a high value

will result in wave-like pattern, whereas JPEG artifacts are suited for values close to 1.

• Smoothing [0, 500]: this sets the maximum overall smoothing factor (when p deﬁnes the rela-

tive smoothing). Set it according to the noise level.

• Regularity [0, 100]: this parameter is concerned with the bigger structures. The bigger this

value, the more even the overall smoothing will be. This is necessary when much noise is

present since it is then difﬁcult to estimate the geometry. Also if you want to achieve a ’van

Gogh’ turbulence effect, setting it higher than 3 is recommended.

• Filter Iterations: number of times the blurring algorithmis applied. Usually 1 or 2is sufﬁcient.

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The Showfoto Handbook

• Angular Step da [5, 90]: angular integration of the anisotropy alpha. If alpha is chosen small,

dashould also be chosen small. But beware, small anglesresult in long runs! Choose it as large

as you can accept.

• Integral Step [0.1, 10]: spatial integration step width in terms of pixels. Should remain less

than 1 (sub-pixel smoothing) and never be higher than 2.

• Use Linear Interpolation: The gain in quality if you select this option is only marginal and

you lose a factor of 2 in speed. Our recommendation is to leave it off.

Save As and Load buttonsare used to do just that. Any PhotographInpainting ﬁlter settings that

you have set can be saved to the ﬁlesystem in a text ﬁle and loaded later.

ARNING

Photograph Inpainting is (comparatively) very fast in what it is doing, but it can take a long time to

run and cause high CPU load. You may always abort computation by pressing Cancel button during

rendering.

3.1.4.3.2 The Inpainting tool in action

Below, you can see a Remove Small Area Inpainting type applied to a color photograph taken

at Guatemala city with an analog camera. Look like there is a strange black artifacts on the face

front, resulting of a bad ﬁlm stockage during the travel. The original image is (1), the corrected

image (2).

3.1.4.4 Introduction

Thistool provides selectable image ﬁlters to remove specks or other artifactscaused by junk such

asdust or hair onthe lens. It also can be used to remove Sensor Noise from the camera that maybe

caused by high ISO settings, as well as the so-called Moiré Patterns on scanned images from

books or magazines.

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The Showfoto Handbook

If you want more information about what’s digital camera sensor noise, please take a look inthis

tutorial.

3.1.4.4.1 Using the Noisereduction Tool

The above screenshot showsa typical scene taken with an digital camera using a highsensitivity

ISO setting. It shows grainy noise which can be reduced successfully with this tool.

The re-sizeable image panel with the original preview helps you to pan within the image. Move

the red rectangle around to select the area that lets you judge on the optimal ﬁlter settings. The

preview window shows the ﬁlter output using the current settings. It can be rearranged in four

different combinationsasdepicted in the iconsbelowthe original preview. Thisscreenshot shows

the ﬁrst arrangement where the same cutout is shown for comparison. Onthe bottom of preview

area, you can see Zoom Factor settings to magnify an area of the image.

You can see below a full description of all parameters. In most cases only Details tab is needed

and the other parameters available into Advanced tab can be left at their default setting.

• Radius: this control selects the gliding window size used for the ﬁlter. Larger values do not

increase the amount of time needed to ﬁlter each pixel in the image but can cause blurring.

This window moves across the image, and the color init is smoothed to remove imperfections.

In any case it must be about the same size as noise granularity or somewhat more. If it is set

higher than necessary, then it can cause unwanted blur.

• Threshold: use the slider for coarse adjustment, and the spin control for ﬁne adjustment. This

controlsedge detectionsensitivity. Thisvalue should be set so that edges and detailsare clearly

visible and noise is smoothed out. Thisvalue is not bound to any intensity value, it is bound to

the second derivative of intensity values. Simply adjust it and watch the preview. Adjustment

must be made carefully, because the gapbetween noisy, smooth, and blur is very small. Adjust

it as carefully as you would adjust the focus of a camera.

• Texture: thiscontrolset the texture accuracy. Thisvalue can be used, to get more or less texture

accuracy. When decreased, then noise andtexture are blurred out, whenincreased then texture

is ampliﬁed, but also noise will increase. It has almost no effect to image edges, opposed to

ﬁlter Edge, whichwould blur edges, when increased. If Edge isadjusted in away so that edges

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The Showfoto Handbook

are sharp, and there is still too much area noise, then Texture detail could be used to reduce

noise without blurring edges. Another way would be to decrease Radius and to increase Edge.

• Sharpness: this control set the sharpness level. This value deﬁnes the pixel distance in which

the ﬁlter looks ahead for luminance variations. When this value is increased, then spikenoise

is erased. You can eventually readjust ﬁlter Edge, when you changed this setting. When this

value isto high, then the adaptive ﬁlter cannot longer accurately track image details, and noise

can reappear or blur can occur.

• Edge: this control set the edge accuracy for sharpness. This value improves the frequency

response for the ﬁlter. When it is too strong then not all noise can be removed, or spike noise

may appear. Set it near to maximum, if you want to remove weak noise or JPEG-artifacts,

without loosing detail.

• Erosion: this control set the phase shift for edges. This value can be used to erodes singular

spikes and it has a smooth effect to edges, and sharpens edges by erosion, so noise at edges

is eroded. The effect is dependant from Sharpness, Damping, and Edges. Set it to minimum,

if you want to remove weak noise or JPEG-artifacts. When this value is increased, then also

increasing Damping is often useful. This setting can provides sharpening and antialiasing

effect to edges when spike noise is corrected.

• Luminance: this control set the luminance tolerance of image. It’s recommended to use only

Color or Luminance tolerance settings to make an image correction, not the both at the same

time. This settings don’t inﬂuence the main smoothing process controlled by Details settings.

• Color: this control set the color tolerance of image. It’s recommended to use only Color or

Luminance tolerance settings to make an image correction, not the both at the same time. This

settings don’t inﬂuence the main smoothing process controlled by Details settings.

• Gamma: this control set the gamma tolerance of image. This value can be used to increase the

tolerance values for darker areas (which commonly are more noisy). This results in more blur

for shadow areas.

• Damping: this control set the phase jitter damping adjustment. This value deﬁneshow fast the

adaptive ﬁlter-radiusreactsto luminance variations. If increased, then edgesappear smoother,

if too high, then blur may occur. If at minimum then noise and phase jitter at edges can occur.

It can suppress spike noise when increased and this is the preferred method to remove it.

• Save As and Load: these buttons are used to do just that. Any Noise Reduction parameters

that you have set can be saved to the ﬁlesystem and loaded later.

• Defaults: this button resets all settings to default values.

3.1.4.4.2 Noisereduction in action

This is an example of how the noise reduction can change your life. The original image is (1) and

the corrected image is (2). The noise reduction was applied using default settings.

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The Showfoto Handbook

3.1.4.4.3 Softening a Photograph

Sometimes an image is too crisp for your purposes. The solution is to blur it a bit: fortunately

blurring an image is much easier than sharpening it. Select the Blur Tool with the Enhance

!Blur menu entry and experiment with the level. The preview window on the right of the

dialog shows the effect of the operation on your photograph.

Example 3.14 The Blur Tool in Action

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The Showfoto Handbook

3.1.4.5 Introduction

This fantastic restoration ﬁlter is a new development providing unprecedented possibilities in

the public domain to remove lots of unwanted stuff from your images. It is well adapted to

deal with degraded images suffering from Gaussian noise, ﬁlm grain, scratches or compression

artifacts and local degradationsusually encountered indigital (originalor digitized) images. The

smoothing happens along the image curvatures, thus preserving the meaningful content much

alike our human eye would want it.

The same algorithm can be used for colorization and texture replacement which is covered by

another tool (inpainting). The restoration algorithm has been developed by the IMAGE team of

GREC CNRS lab in Caen/France and is a part of theCImgproject.

3.1.4.5.1 Using the Restoration tool

Photograph Restoration Dialog

The tool comes with several presets as starting points and to simplify the restoration. The preset

settings available are listed below:

• None: Using most common default ﬁlter settings not optimized for any particular purpose.

• Reduce Uniform Noise: Optimum settings for image noise due to sensors.

• Reduce JPEG Artifacts: JPEG’s compression is not perfect, in fact for some types of images it

isfar fromit. As alossy compression algorithm, there are some compression´´artifacts´´ - slight

defaults showing in the decompressed image. This setting aims at correcting this problem.

• Reduce Texturing: Optimized to remove artifactsfrom scanning, digitizing or Moire patterns.

If you want to set ﬁlter parameters for ﬁner adjustments, use Smoothing Settings and Advanced

Settings tabs:

The Showfoto Handbook

• Detail Preservation p[0, 100]: thiscontrolsthe preservationof the curvatures(features). A low

value forces an equal smoothing across the image, whereas bigger values preferably smooth

the homogeneous regions and leaves the details sharper. A value of 0.9 should well preserve

details so that no sharpening is required afterwards. Note that Detail Preservation must be

always inferior to Anisotropy.

• Anisotropy alpha[0, 100]: alow value smooths equally in all directions, whereas a value close

to 1 smooths in one direction only. If you have ﬁlm grain or CCD kind of noise a high value

will result in wave-like pattern, whereas JPEG artifacts are suited for values close to 1.

• Smoothing [0, 500]: this sets the maximum overall smoothing factor (when p deﬁnes the rela-

tive smoothing). Set it according to the noise level.

• Regularity [0, 100]: thisparameter is concerned with the uniformity of the smoothing. Imagine

the smoothing process as a combing of the image. Then the Regularity would correspond to

the size of the comb. The bigger this value, the more even the overall smoothing will be.

This is necessary when much noise is present since it is then difﬁcult to estimate the local

geometry. Also if you want to achieve a ’van Gogh’ turbulence effect, setting it higher than 3

is recommended.

• Filter Iterations: number of times the blurring algorithmis applied. Usually 1 or 2is sufﬁcient.

• Angular Step da [5, 90]: angular integration of the anisotropy alpha. If alpha is chosen small,

dashould also be chosen small. But beware, small anglesresult in long runs! Choose it as large

as you can accept.

• Integral Step [0.1, 10]: spatial integration step width in terms of pixels. Should remain less

than 1 (sub-pixel smoothing) and never be higher than 2.

• Use Linear Interpolation: The gain in quality if you select this option is only marginal and

you lose a factor of 2 in speed. Our recommendation is to leave it off.

Save As and Load buttons are used to do just that. Any Photograph Restoration ﬁlter settings

that you have set can be saved to the ﬁlesystem in a text ﬁle and loaded later.

The Showfoto Handbook

ARNING

Photograph restoration is (comparatively) very fast in what it is doing, but it can take a long time to

run and cause high CPU load. You may always abort computation by pressing Abort button during

preview rendering.

3.1.4.5.2 The Restoration tool in action

Below, you can see a Reduce Uniform Noise Restoration type applied to a Black and White

photograph taken with a Minolta(tm) 700Si camera using Ilford(tm) HP-5 ﬁlm set at 3200 ISO

sensitivity. You see the very prominent ﬁlm grain on the faces. The original image is (1), the

corrected image (2).

Below, you cansee ananother PhotographRestoration example using ReduceTexturing Restora-

tion type applied to an old color photograph acquire with a digital ﬂat scanner. You see the very

prominent artifacts resulting of scanner light on plastic photograph paper. The original image is

(1), the corrected image (2).

The Showfoto Handbook

3.1.4.6 Introduction

Most current digital cameras produce images with several brightly colored ´´bad pixels´´ when

using slow shutter speeds. Night images can be ruined by these ´´bad pixels´´. There are three

different types of ´´bad pixels´´:

• Stuck pixels: it’s a pixel that always reads high or is always on to maximum power on all

exposures. This produces a bright pixel usually of red, blue or green color in the ﬁnal image.

Astuck pixel will occur regardless of shutter speed, aperture size or any other user settings. It

will occur on a normal exposure and tendsto be more obvious under bright condition.

• Dead pixels: it’s a pixel that reads zero or is always off on all exposures. This state produces

ablack pixel in the ﬁnal image. Similar to stuck pixel, a dead pixel will occur regardless of

shutter speed, aperture size or any other user settings.

• Hot pixels: it’sa pixelthat reads high(bright) onlonger exposures aswhite, red, or greencolor.

The longer the exposure time, the more visible hot pixels will become. These pixels will not be

visible in bright conditions.

Note that stuck or dead pixels will occur at the same location for all images. If the location of the

stuck or dead pixel occursat different locations, it may be a Hot Pixel.

Stuck, dead or hot pixels are a problem in particular when shooting in high quality raw mode

since many cameras have built-in hot pixel suppression applied automatically when JPEG com-

pression is used (which is mostly the case).

This tool can be used to ﬁx the ´´Hot pixels´´ and ´´Stuck Pixels´´ on a photograph using a black

frame subtraction method. There is no yet a manual editor to select bad pixels.

3.1.4.6.1 Create the Black Frames

The Black Frame substraction method is the most accurate ´´Hot Pixels´´ and ´´Stuck Pixels´´ re-

moval. First you have to create a ´´Black Frame´´ as a reference. This is easy to do. When you

ﬁnish taking your long exposure shots, put a lens cap on the camera and take one ´´dark´´ image

The Showfoto Handbook

with the same exposure time as the images before. This image will be all dark, but with close

examination you willsee that it has the Hot and Stuck Pixels (colored dots). These are positioned

at the same places as on your previousshots.

Load this ﬁle to the widget using the Black Frame button. The toll will process an automatic

detection of Hot and Stuck Pixels. They will be highlighted in the control panel preview areas.

ARNING

If you use an old digital camera, it is important to re-shoot the Black Frame next time you are taking a

long exposure images to detect new Hot and Stuck Pixels on CCD defects.

3.1.4.6.2 Using the hotpixel tool

At ﬁrst, as explained in the previous section, you need to load a Black Frame corresponding to

the image to correct. An automatic parsing will be processed on the Black Frame to ﬁnd bad

pixels. Note that the widget will remember the previous Black Frame used on the last session

and it will be re-opened automatically with the next session.

The image panel and the original preview help you to pan within the image. The preview win-

dow shows the ﬁlter output using the current settings. Bad Pixels are highlighted on all preview

areas.

Select an area to see bad pixels on preview and the ﬁlter result using ’Separate View’ options of

image panel. Choose the best Filter method to interpolate pixels or pixel blocks. These are the

available ﬁlters:

• Average: the pixels adjacent to the pixel block are averaged. The resulting color is assigned to

all pixels in the block. For 1-dimensional interpolation, this is done separately for one pixel-

wide, horizontal or vertical stripes.

• Linear: the pixels which have a distance of 1 from the pixel block are used to calculate a bi-

linear surface (2-dim), or a group of linear curves (1-dim), which is then used to assign inter-

polated colors to the pixels in the block.

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