I mostly agree with Conrad. IMO the Camera Raw engine - Lightroom Classic or ACR - has superior sharpening to anything you find in Photoshop, because it gives you much more control over many more parameters. You should have a little initial capture sharpening on the raw stage, and then you can add output sharpening on RGB files in Photoshop in the form of the ACR filter, masked if you like.
High pass sharpening is what they used many years ago because that's all they had. Unsharp Mask is the more modern version that produces the same effect, and with all the same shortcomings like edge halos and artifacts.
Smart sharpen improves it a little because you can roll off the high and low end where most of the artifacts are.
Either way, two things are critical:
- do output sharpening at final pixel size, after any resampling. Any resampling after sharpening negates the effect.
- set sharpening at 100% view. That represents each image pixel by exactly one physical screen pixel, so you see the actual pixel structure on screen. My rule of thumb is to err on the safe side and don't overdo it. Nothing looks worse than an oversharpened image! So I find what seems like a proper amount, and then dial back a little.
(Output sharpening for print is partly to counteract ink spread and diffusion in the paper. So there is already a small negative halo, and adding a small positive halo cancels that effect. So what you see on screen will be "diluted" a little bit on paper. To get a real life check on that, you may also try to see it at 50% zoom, which doesn't replace 100%, just an additional reality check).
Ultimately, it's not life and death. "Just print the damn thing" will usually look just fine. But careful sharpening may add that extra little crispiness that lifts it.
(edit: I'd upvote Conrad's post, but the upvote button mostly doesn't work, no matter how many times I reload and try. So consider yourselves upvoted, everyone 😉 )
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