How to Avoid and Remove Image Noise with Nik Dfine 2
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Dfine 2 tutorial: reduce noise | Photophique
Lists with This Book. This book is not yet featured on Listopia. Community Reviews. Showing Rating details. More filters. Sort order. Mar 12, Rajiv Chopra rated it really liked it. Simple, Excellent I have been using Nik's Dfine for some time now, and have not realised the full potential of this wonderful programme.
Therefore, I have a debt of gratitude to Robin for this simple, concise and very clear book. The explanations of each step, control are clear and are sections that I can, and will, review, from time to time. Andreas Vlach rated it it was ok Dec 12, Michael C. Farnham rated it liked it Feb 28, Gaetano rated it liked it Aug 06, Anton Pickard rated it liked it Mar 25, Douglas Wofford rated it liked it Nov 12, Rennie Coleman rated it liked it Apr 05, Mats Oldin rated it did not like it Dec 19, Paulduke rated it really liked it Oct 10, David rated it really liked it Dec 03, Mr Michael J Greenwood rated it liked it Dec 27, Tymoteusz Zon rated it really liked it Dec 20, Kathy Barry rated it it was amazing Jul 06, Albert rated it it was ok May 23, Clicking the measure button will measure the noise in that picture and create a profile again for you to save if you want to use it again later.
After measuring the amount of noise in the picture, it's time to reduce it. There are two options for reduction called control points and colour ranges allowing for either global or selective enhancement. Unfortunately, you can only use one method at a time.
How to Avoid and Remove Image Noise with Nik Dfine 2 (The Lightweight Photographer Books)
Local Reduction. The slider controls let you change contrast and colour noise. If you decide to use the colour ranges option, this allows you to make adjustments to specific colours which is good for large objects or if you're working on a batch of pictures of the same colour and need a uniform result. Colour Ranges. There are three additional options available for edge preservation, JPEG artefact reduction and debanding. The first option is useful for fine detail subjects because it allows you to balance the noise reduction you apply with detail.
If your picture is suffering from banding, using the debanding option will help this problem. Make sure you choose between horizontal or vertical banding before making adjustments.
You may remember from the Nik Color Efex Pro 3. Dfine has a similar feature allowing you to add noise reduction to selective areas of a copy of the picture that's automatically been placed on a new layer. The selective brush option lets you apply noise reduction in two ways as well as remove it in two ways. Normally when people talk about noise reduction, they refer to approaches that can be used on the post-processing side.
There are some notable options on the shooting side as well so we're going to take a look at those too.
This is where we add another image that has more pixel information. Whether it's just another exposure with the same settings aka light frame or another approach, astronomers have been using some interesting techniques for decades and some of them can help us as well. What separates the approaches in this area vs the techniques used in post-processing on a single exposure is the fact that adding data tends to reduce noise without also giving up some details.
So extra attention is deserved in this area since using a good shooting technique usually translates to the best image quality and this route is often preferred over trying to extract a high quality result from noisy image. We may have fewer options to choose from but they're still pretty good thanks to the power of Photoshop and some third party tools from Nik and Topaz.
Some of these options are really impressive especially for the hot pixels! This is where we take a sequence of images and blend them using "median stacking mode" which essentially throws out the bad values and only keeps the good ones. The result is a visible reduction in noise although it takes some work to get there.
The stacking process part of it, but don't forget that for the final image, we often like to blend in a long-exposure low ISO foreground. That's where the reward comes at a price with time and skills on the post processing side. Median Stacking deserves a little more mention so we wanted to take it a little further.
To do it, you'll need a sequence of exposures, Photoshop cs6 or newer software and skills, and some time. The benefit is reduced noise in the stars and this is the only approach that doesn't sacrifice details.
Google Nik Collection: Control Color Noise with Dfine
And while the foreground is one way to see what it does for noise, we also wanted to show what it does for the sky. Keep in-mind that the more images we use, the better the noise reduction. This image only uses 7 frames. Simply changing the blending mode for a sequence of images has some success in reducing noise and it's easy.
In just a few moments, we can turn a sequence of noisy images into a single one with less noise. We noticed though that while this technique works fairly well with random noise, it works very poorly with hot pixel noise. During long-exposures, a lot of short exposures, or when the ambient temperatures are very warm, we tend to have more of the Hot Pixel noise. When that happens, we may find some benefit from using our cameras' in-camera long-exposure noise reduction.
When we do this, we'll find that the camera stays busy for twice the amount of time as what we set for an exposure time. This happens because the camera is actually shooting a second exposure without letting any light in so it can measure the amount of heat coming from the sensor. Then it removes the noise coming from this heat from the first image.
While we did plenty of testing with in-camera long-exposure noise reduction, we found it's difficult to compare what it looks like with and without having it enabled because of the varying temperatures of the camera's sensor. Besides that, running multiple long exposures with a single camera is a bit of a challenge.
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So while it's difficult to test it in a side-by-side comparison, the scores were consistent. It did well with hot pixel noise score: 8 but not so much with the random noise score: 2. Using some astrophotography terminology, the primary exposures we typically capture are called light frames. After that initial frame, you can measure the amount of heat coming from your sensor by shooting a dark frame - most often captured with the same settings as your initial exposure only with the lens cap on to block the light.
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This is the manual approach to the in-camera long-exposure noise reduction mentioned just above. It's common with telescopes and has some benefits with wide-field astrophotography as well.
Dfine 2 Tour
Using a few of them with reduced opacity gives some improved results, we've heard. In Photoshop, copy the image layer 2. This reduces both hot pixels and to a lesser degree random noise in the rest of your image. In many cases, this may be preferred to address both types of noise.
If your preference however is to just address Hot Pixel Noise with no chance of losing details in the rest of your image, the next option Median Noise Reduction With Pin Light Blending Mode bay be the better choice.. This technique does a great job of reducing the hot pixel noise without any effect on random noise or the rest of the image for that matter.