Lesson Info

Hue and Saturation Adjustments

Kurtz. If you ever look at an image in you, just say this needs to be more yellow. This needs to be more blue, where any other color of that list of red, green, blue, Scient, magenta, yellow I would end up using that adjustment. But now let's look at a different type of adjustment, and this is a kind that works with a color wheel. And let's look at the most common adjustment related to I'm going to do an adjustment layer that's called hue saturation. In there, I'm gonna have three kinds of sliders. Hue saturation in lightness. Hugh means basic color saturation means How vivid is the color in lightness means how brighter dark it is. Let's see what those adjustments due to this particular image. First, let's adjust lightness and you'll find it is three worst brightness adjustment available in all a photo shop. It's what you would not want to use in general on a picture, but it will become useful once we've isolated one particular color. Then we could adjust how brighter dark that color i...

s. Above that, we have saturation, which controls how colorful the images. If we turn it down, it becomes less colorful. Turn it all the way down. You have no color whatsoever. Turn it up and it becomes more colorful. Push it too far in certain colors. Get way overdone. When you make a color, get overdone. What happens is it loses all detail. So if a color usedto have a texture within it, like the weave of fabric were anything like that, suddenly that detail goes away. When you reach a point that's known a saturation clipping, we have a bunch of it in the image right now where there's no detail in those extremely bright areas, then the last slider is called hue in hue means basic color, and when we move it, it's going to change the basic color of everything in the picture. And it's gonna be kind of weird. Be kind of fun. Just keep going around in a circle. But if you look at that top slider, the bard's attached to do you notice the color in the left side. The left edge of it is identical to the color on the far right edge. That's because you could take all the colors that are in that bar. You could take the bar and bend it until the two ends touch. And if you did, you'd end up with a color wheel. It would be a circle where it would be seamless, where the color on the right side matches the color on the left. And that's why I say it's going to spin things around the color wheel. Now, if you look at the two bars at the bottom, that gives you a better clue as to what's gonna happen when you do. Hugh. Imagine that the top bar is what you started with in the bottom bar is what you're gonna end up with. So if you're thinking about this blue jar that's right here, then pay attention to blue down here, and if you go straight down from it right now, it's blue Blue things are blue, but watch what happens when I move the hue Slider. Well, that blue jar should now be what color, according to those two bars green, look over at the image. You see that it is green, keep going, and now it should be becoming a more yellowish color and then keep going. It is going to become orangish because orangish is now below that now I've moved this slider as far as they possibly can, and I wish I could get the red to show up. Well, I can were just at the end of the slider. Now that means I gotta move in the opposite direction and then eventually I'll be able to get red under there. And now, if you look at the jar, you'll find that it's reddish. Keep going, and I might build get orangish again. But the top bar indicates what you started with. The bottom bar is what you're ending up with. So if we ended up adjusting this so that blue things became red, that's not the only change we made because look at what happened. All of the other colors that simultaneously read things are now going to be green. Yellow things were gonna be Scion green things. They're going to be blue. And so we get a weird looking and result, especially if there's recognizable things like Greenglass, grass, blue skies and skin tones. Well, this is going to do some weird stuff, but what makes this adjustment extremely useful is the fact that there's a menu up near the top here that usually says Master, it shouldn't really be called master. It should be called everything, which means it affects everything when it's sent to that. But if I click here, you're going to find a total of six colors listed. And by choosing these, we can isolate colors. So all we're changing our things that used to be red or yellow or green. So if I only want to change the green jars that are up here, watch what happens to in between the two bars we were looking at before when I changed this to greens. Do you see what just showed up there? Well, when you see little things in between these two bars, it means you're on Lee going to change the colors or Hughes that are found above those bars. And therefore we're not gonna change reds, magenta as blues or science at all. And so if that is sitting there, watch what happens now when I move the hue slider, look over here and noticed when I move in, these areas are not gonna change it all. It's on Lee these areas that will change. So if I move this around, you see that only that area is changing. The only problem is, I was thinking I was working on green, and if I actually look at my picture over here are some green jars that didn't change. This one on the far left did, but not these two. And that's because they might have been over here in the more Scion Range where somewhere else, I'll show you how to further isolate things. But first, let's work on a few images with this. Look at this. We have a green umbrella. What if I wanted it to be read or some other color? Well, I could do a hue and saturation adjustment layer, and I don't have to change that menu manually like I did a minute ago, because if this little hand tool is pushed in, then when I click on my picture, it's gonna change this menu to match the color of whatever I click on within my image. That little icon, I always have it turned on when I get into hue and saturation, and you can cause that to happen by going to the side menu and hue and saturation in turning on this setting. Now when I move my mouse into my image and I click on this umbrella. Watch what happens in the curves or not curves the hue and saturation adjustment. You don't need to look at the picture. Just look at the adjustment. Look at the two bars that are found at the bottom and look at the pop up menu that is currently set to master. When I clicked, you noticed the menu change to greens, and those little bars appear above green. Well, now I could come in here an attempt to adjust this. I could make all the greens turned black and white by bringing the slider all the way down for saturation, where I could make it more colorful. But eventually, if it gets too colorful, the detail goes away. That's noticed saturation clipping war, if I want the umbrella to be slightly larger, are brighter or darker shade of green. I could do so if I want to change its basic color. I can change the hue now. There might be other things within this image that are green in. This might not isolate it quite precisely. I'll show you how to be more precise later, but for now it's nice knowing that I could make that radical. The change where all I do is I got a hue and saturation in. If a hand tool is turned on, I move my mouth side of my image. Click within it on the color I want, and it should attempt to generically isolate that color. Now, when you end up moving your mouse onto the image like that, you can just click. And then, instead of going to hue and saturation to make a change, just drag left and right. If you drag left or right, right after clicking on your picture, then you're gonna be adjusting the saturation of the color you clicked on. If you would like to change the hue, then you hold down the command key controlling windows when you drag, and if you hold down the command key, you don't have to go into hue and saturation appear to adjust it. You're right on your image. You just click and then hold on the command key control on windows and drag horizontally. Unfortunately, I don't know of a key to hold down to adjust the lightness so that when I have to manually come up here and adjust

Class Description

Lessons

1. Introduction To Adobe Photoshop 2020
2. Bridge vs. Lightroom
3. Tour of Photoshop Interface
4. Overview of Bridge Workspace
5. Overview of Lightroom Workspace
6. Lightroom Preferences - Saving Documents
7. How To Use Camera Raw in Adobe Photoshop 2020
8. Overview of Basic Adjustment Sliders
9. Developing Raw Images
10. Editing with the Effects and HLS Tabs
11. How to Save Images
12. Using the Transform Tool
13. Making Selections in Adobe Photoshop 2020
14. Selection Tools
15. Combining Selection Tools
16. Using Automated Selection Tools
17. Quick Mask Mode
18. Select Menu Essentials
19. Using Layers in Adobe Photoshop 2020
20. Align Active Layers
21. Creating a New Layer
22. Creating a Clipping Mask
23. Using Effects on Layers
24. Using Adjustment Layers
25. Using the Shape Tool
26. Create a Layer Mask Using the Selection Tool
27. Masking Multiple Images Together
28. Using Layer Masks to Remove People
29. Using Layer Masks to Replace Sky
30. Adding Texture to Images
31. Layering to Create Realistic Depth
32. Adjustment Layers in Adobe Photoshop 2020
33. Optimizing Grayscale with Levels
34. Adjusting Levels with a Histogram
35. Understanding Curves
36. Editing an Image Using Curves
37. Editing with Shadows/Highlights Adjustment
38. Dodge and Burn Using Quick Mask Mode
39. Editing with Blending Modes
40. Color Theory
41. Curves for Color
42. Hue and Saturation Adjustments
43. Isolating Colors Using Hue/Saturation Adjustment
44. Match Colors Using Numbers
45. Adjusting Skin Tones
46. Retouching Essentials In Adobe Camera Raw
47. Retouching with the Spot Healing Brush
48. Retouching with the Clone Stamp
49. Retouching with the Healing Brush
50. Retouching Using Multiple Retouching Tools
51. Extending an Edge with Content Aware
52. Clone Between Documents
53. Crop Tool
54. Frame Tool
55. Eye Dropper and Color Sampler Tools
56. Paint Brush Tools
57. History Brush Tool
58. Eraser and Gradient Tools
59. Brush Flow and Opacity Settings
60. Blur and Shape Tools
61. Dissolve Mode
62. Multiply Mode
63. Screen Mode
64. Hard Light Mode
65. Hue, Saturation, and Color Modes
66. Smart Filters
67. High Pass Filter
68. Blur Filter
69. Filter Gallery
70. Adaptive Wide Angle Filter
71. Combing Filters and Features
72. Select and Mask
73. Manually Select and Mask
74. Creating a Clean Background
75. Changing the Background
76. Smart Object Overview
77. Nested Smart Objects
78. Scale and Warp Smart Objects
79. Replace Contents
80. Raw Smart Objects
81. Multiple Instances of a Smart Object
82. Creating a Mockup Using Smart Objects
83. Panoramas
84. HDR
85. Focus Stacking
86. Time-lapse
87. Light Painting Composite
88. Remove Moire Patterns
89. Remove Similar Objects At Once
90. Remove Objects Across an Entire Image
91. Replace a Repeating Pattern
92. Clone from Multiple Areas Using the Clone Source Panel
93. Remove an Object with a Complex Background
94. Frequency Separation to Remove Staining and Blemishes
95. Warping
96. Liquify
97. Puppet Warp
98. Displacement Map
99. Polar Coordinates
100. Organize Your Layers
101. Layer Styles: Bevel and Emboss
102. Layer Style: Knockout Deep
103. Blending Options: Blend if
104. Blending Options: Colorize Black and White Image
105. Layer Comps
106. Black-Only Shadows
107. Create a Content Aware Fill Action
108. Create a Desaturate Edges Action
109. Create an Antique Color Action
110. Create a Contour Map Action
111. Faux Sunset Action
112. Photo Credit Action
113. Create Sharable Actions
114. Common Troubleshooting Issues Part 1
115. Common Troubleshooting Issues Part 2
116. Image Compatibility with Lightroom
117. Scratch Disk Is Full
118. Preview Thumbnail