Bonus: The Color Range Mask in ACR

Lesson Info

Bonus: The Color Range Mask in ACR

One more tip here that we have, really good one here. If we go into our little grab bag here and we go to our image, I covered the luminance range mask pretty well in Adobe CameraRoll, but one of the things that I didn't cover was the color range mask. Okay, so I'm gonna press Control, Shift, and A to go into Adobe CameraRoll as a filter. Let me get this back to full screen. And I'm gonna go into my adjustment brush. So we talked a lot about the luminance range mask, and out of all the masks that I use in Adobe CameraRoll, the luminance range mask is typically gonna be my favorite. But let's just go ahead and reset these settings to just make our exposure a little bit darker, and I'm just gonna take my brush, I'm gonna turn AutoMask off. You can leave it on if you want. Just for the sake of this tutorial, I'm just gonna brush right here, okay? Turn my mask on to see what it is that I'm affecting. If I use the color range mask, though, the color range mask allows me to pick a color on t...

his image that I want to be affected within this brush, okay? So you brush on the area that you want to affect, but then you say, you know what, within this brush, only affect these colors that I select. So I brushed the whole image, or I brushed a big swatch of that image, and then within that brush, I said only affect this color. If I press and hold Shift, it'll accept another color, press and hold Shift, another color. Right here this color range is how much of those colors are being accepted within that range mask. So if I bring this up to about here, that means that that's what's gonna be affected there. You can still see that some of the background is being selected in here, too. It's very faint. Again, that's why I pull the opacity really high up on my masks in Adobe CameraRoll. By default, they're not set that high. This allows me to see that this is gonna be the most potent version, and I Look like I'm from the Magenta Man Group. (audience laughs) Not the Blue Man Group. (laughs) And then if I, I can further brush the area out if I wanted to, also, by clicking on here after I get out of my color picker. If I Alt or Option + click, Alt or Option + click is going to reduce the areas and just paint that away there. Okay, but the main thing that I was doing here was just trying to get the skin tone features that would be on my face. If I turn AutoMask on, paint away those areas, and now I pretty much just have my skin tone selected within that grouping. Notice how my arms aren't in there, though. Why are my arms not in there? 'Cause I didn't brush down there. If I brush down here now, because that skin tone is very much the same as the skin tone that's in my face, I'm now gonna get those arms in there. But it's not gonna get gray or any of the other colors around there because I'm restricting it to the color that would be most, be closest to my skin tone, especially my face. Make this a little bit smaller, Alt or Option, click on my hair. Don't want my hair to be magenta. And then if I turn that mask off, whoa. What is wrong? Oh. Make sure it's set to color. Go up to the top here. Add a little bit more of the magenta and yellow in there to bring it closer to a nice fake and bake sun tan. There we go. Oh yeah, tan Blake. (audience laughs) Dun-dun-dun. Heading to the beach. Okay. That's basically how I use the color range mask. You can use that, and that's really helpful for things like skies, too. If you just wanna affect the blue sky, you could select the, you could use a gradient tool for that, 'cause if you look at the gradient tool, the gradient tool also has your range masking in it. You can also use a radial filter. It also has your range mask in it, too. So that could be a color range mask or a luminance range mask. The one you see me use most often as I process is gonna be the luminance mask unless I really want a specific color to be the color that I select. In this case, it was skin tones, but on maybe a landscape, it would be the blue sky in the background, or maybe the green foliage or something like that. Just know that whatever you paint and then what, that, you have to paint first, then restrict. If you just try to select the color, it's not gonna work the same way. You have to paint first, then restrict. Press OK. The last and final thing that I have for you is we talked about opening Photoshop, but we didn't talk about closing Photoshop. So to properly close Photoshop and take a nap, click right here on the X and you're done.

Class Description

Lessons

1. Bootcamp Introduction
2. The Bridge Interface
3. Setting up Bridge
4. Overview of Bridge
5. Practical Application of Bridge
6. Introduction to Raw Editing
7. Setting up ACR Preferences & Interface
8. Global Tools Part 1
9. Global Tools Part 2
10. Local Tools
11. Introduction to the Photoshop Interface
12. Toolbars, Menus and Windows
13. Setup and Interface
14. Adobe Libraries
15. Saving Files
16. Introduction to Cropping
17. Cropping for Composition in ACR
18. Cropping for Composition in Photoshop
19. Cropping for the Subject in Post
20. Cropping for Print
21. Perspective Cropping in Photoshop
22. Introduction to Layers
23. Vector & Raster Layers Basics
24. Adjustment Layers in Photoshop
25. Organizing and Managing Layers
26. Introduction to Layer Tools and Blend Modes
27. Screen and Multiply and Overlay
28. Soft Light Blend Mode
29. Color and Luminosity Blend Modes
30. Color Burn and Color Dodge Blend Modes
31. Introduction to Layer Styles
32. Practical Application: Layer Tools
33. Introduction to Masks and Brushes
34. Brush Basics
35. Custom Brushes
36. Brush Mask: Vignettes
37. Brush Mask: Curves Dodge & Burn
38. Brush Mask: Hue & Saturation
39. Mask Groups
40. Clipping Masks
41. Masking in Adobe Camera Raw
42. Practical Applications: Masks
43. Introduction to Selections
44. Basic Selection Tools
45. The Pen Tool
46. Masks from Selections
47. Selecting Subjects and Masking
48. Color Range Mask
49. Luminosity Masks Basics
50. Introduction to Cleanup Tools
51. Adobe Camera Raw
52. Healing and Spot Healing Brush
53. The Clone Stamp Tool
54. The Patch Tool
55. Content Aware Move Tool
56. Content Aware Fill
57. Custom Cleanup Selections
58. Introduction to Shapes and Text
59. Text Basics
60. Shape Basics
61. Adding Text to Pictures
62. Custom Water Marks
63. Introduction to Smart Objects
64. Smart Object Basics
65. Smart Objects and Filters
66. Smart Objects and Image Transformation
67. Smart Objects and Album Layouts
68. Smart Objects and Composites
69. Introduction to Image Transforming
70. ACR and Lens Correction
71. Photoshop and Lens Correction
72. The Warp Tool
73. Perspective Transformations
74. Introduction to Actions in Photoshop
75. Introduction to the Actions Panel Interface
76. Making Your First Action
77. Modifying Actions After You Record Them
78. Adding Stops to Actions
79. Conditional Actions
80. Actions that Communicate
81. Introduction to Filters
82. ACR as a Filter
83. Helpful Artistic Filters
84. Helpful Practical Filters
85. Sharpening with Filters
86. Rendering Trees
87. The Oil Paint and Add Noise Filters
88. Introduction to Editing Video
89. Timeline for Video
90. Cropping Video
91. Adjustment Layers and Video
92. Building Lookup Tables
93. Layers, Masking Video & Working with Type
94. ACR to Edit Video
95. Animated Gifs
96. Introduction to Creative Effects
97. Black, White, and Monochrome
98. Matte and Cinematic Effects
99. Gradient Maps and Solid Color Grades
100. Gradients
101. Glow and Haze
102. Introduction to Natural Retouching
103. Brightening Teeth
104. Clean Up with the Clone Stamp Tool
105. Cleaning and Brightening Eyes
106. Advanced Clean Up Techniques
107. Introduction to Portrait Workflow & Bridge Organization
108. ACR for Portraits Pre-Edits
109. Portrait Workflow Techniques
110. Introduction to Landscape Workflow & Bridge Organization
111. Landscape Workflow Techniques
112. Introduction to Compositing & Bridge
113. Composite Workflow Techniques
114. Landscape Composite Projects
115. Bonus: Rothko and Workspace
116. Bonus: Adding Textures to Photos
117. Bonus: The Mask (Extras)
118. Bonus: The Color Range Mask in ACR