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Adobe Photoshop CC Bootcamp

Lesson 38 of 118

Brush Mask: Hue & Saturation


Adobe Photoshop CC Bootcamp

Lesson 38 of 118

Brush Mask: Hue & Saturation


Lesson Info

Brush Mask: Hue & Saturation

So let's go ahead and take a look at how we can use this with hue saturation and other different adjustment layers. So in this image I really like the red color on the stairs, but I think with this, I want to change the overall look and feel of the stairs, by changing maybe the colors of the chairs. Of the stairs. So what I'm gonna do, is I'm going to add a hue saturation adjustment layer, and I've got a targeted adjustment tool here, that when I click on this, and then click on that color of red, I can manipulate the hue of that color red to whatever color I want that color to be. So if I move this over, start making it a little bit on the green side, maybe move it this way and start getting it onto the blue side. When you're rotating the hue like this, what you're doing is, you're actually taking that color of red and rotating it around the color wheel in whatever degrees. So notice when you pull this all the way up, it's 180. Not 100, it's 180. Because you're taking that color red, ...

180 degrees around the color wheel. Pull it all the way down, it's taking 180 degrees to the left around the color wheel. So let's make that a little bit more on the blue side. Let's brighten that up a little bit. And then drop that saturation a little bit. And then change this spread down here, so it spreads a little bit more into those magenta areas. (mouse clicks) See how there's a little bit of magenta on those stairs? I wanna get that in there. So let's change that spread a little bit. When I do that, though, what's it doing? It's affecting the entire canvas, and it doesn't look very good. So if I click on this hue saturation adjustment layers mask, again if I press command or control I, it is gonna make sure that hue saturation doesn't affect anything at all in this image. And then what I can do, is I can press B for the brush tool, make sure that I'm painting with white on this mask, and if I zoom in by pressing control and space bar, and get a little bit more control over the area that I wanna paint in ... Just start painting in that color. Start to get some blue in those stairs, instead of making them red. Paint in, I'm just gonna do this a little bit quicker. Boom, boom, boom. I'm gonna do something on purpose here, I'm just gonna go a little bit lighter on my paint here, Show you how you can manipulate this even a little bit more in the mask. So now those stairs are a blueish color. And if we wanted to we could do the same thing with the couch over here, 'cause the couch matched the stairs. So we'll just paint that in a little bit. (brush sounds) Alright, so now, if I look at this mask, you can see that this mask is not 100% white. You see that? It's got some gray in it, it's not 100% white. It's even got a little bit of black in it. Now I could continue to keep trying to build up and build up and build up to make that mask more white, or I can kinda hack that mask a little bit. So if I alt or option click on this mask, you can do things to masks just like you would do to any other photograph. You can blur a mask with a filter, and any of the things that you see in the menus up here on the top of Photoshop, you can use those to adjust the mask. So you're not just restricted to just the pen at this point, you lay down the mask ... If I were to keep painting here, I might accidentally over spray into an area that I didn't want, or I might paint something in that I didn't necessarily want, but I want a full on white mask. Well because I started with my Wacom tablet, it's not that this is the point of no return, I can't necessarily go back, but what I can do is if I go up to image and go to adjustments, I can go to levels or curves. And now I have a curves adjustment layer for that mask, that's not even going into an adjustment layer. So there's the adjustment layer that's curves, that's the calculation that's happening within the stack, and then there's also curves that are by themselves within the menus. So if we look at this mask, and I bring this down to make this look brighter, look at how the density and the intensity of that mask is changing. So if I bring this down, that whole mask is starting to get whiter. So let me go ahead and press okay on this. I'll press alt or option and click away from this, still with this mask selected, go up to image, adjustments, and curves. And if I make this darker, watch the effect. Look at how those stairs are now getting more blue. And the reason why is because that mask that we painted on there before, wasn't necessarily a 100% white mask. It had some feathering in it, it had some opacity changes in it, because we used the Wacom tablet. So, this is a really helpful tool when you make a mask, and you're like, "Man, I wish that was just a full on white mask." Well you can change the contrast of that mask, just by going in to the curves or the levels of that mask. And that's not affecting the layer that's below it, it's just a curves adjustment layer for that mask. Now unlike a regular curves adjustment layer, you can't go back from that. So once you do it, it's pretty much done. You can go into the history and you can back up in the history, but if I were to keep going, I can't necessarily go back. Whereas a curves adjustment layer, you can delete or alter at any time. On that, we also have some things like properties of masks that we haven't even talked about yet. So when we first started this mask, this mask right here, if we look at the properties of this mask, it has properties just like a curves adjustment layer would have properties, or a hue saturation adjustment layer would have properties. It has a density, it has a feather. So you can increase and decrease the density of this mask, using this control panel. However, it starts at 100%. So if your mask is already light and you wanna go higher, you can't increase the density of the mask beyond 100%, but you can always reduce the density of that mask. And by density, if I press alt or option and click on this hue saturation adjustment layer, and drop this density down, you can see that it's changing the density of the mask, or the black area of this mask. Which is allowing more of the underlying area to be revealed through it. If I were to click on this mask, again and go to the properties and bring that back up, so you can see it in real time what's happening, that black area of that mask around it, this is not affecting the white portion at this point, this is affecting the black portion. As I bring this down, that's allowing more of that underlying color to show through. Even though I've masked it out, look at the mask now. The density of that mask is less. So it's not necessarily about black and white, it's also about what happens in between black and white. If you have a variation of the color black in there, so you have maybe some middle grays, that'll basically be, if it's 128 gray, that's a 50% effect of that mask. But because our mask was painted with straight white and black, we bring the density up to 100%, that blacked-out area around it is going to block out this effect completely from what's happening underneath. (mouse clicks) So if we go to the feather, press alt or option on this mask, and increase the feather, (mouse clicks) this will increase the spread of that mask. And this can be very helpful when we're doing things with selections which we'll see in the next course. If you make a mask and it's got very rigid edges on it, it can be very difficult to go through and paint in your edges to make it better. But what you can do is you can just increase that feather a little bit. If we were to press alt or option to click away from this mask, zoom in a little bit, maybe to right here and see what this feather's gonna do as we bring it up ... It's basically gonna increase the spread of that mask. See that, so it's allowing more of that underlying red to kind of feather through. Press alt or option on that. Drop that down a little bit. There you go.

Class Description

Adobe® Photoshop CC® is a valuable tool for photographers, but it can also be intimidating. In this all-inclusive 20 lesson course, you’ll go from opening the program for the first time to creating images that really stand out. Join Blake Rudis, Photoshop expert and founder of f64 Academy, as he shows you how to maximize your use of Photoshop. 

Topics covered will include:

  • Class Introduction & Bridge, Adobe Camera Raw, Setup Interface, Cropping and Layers
  • Layer Tools, Masks, Selections, Clean-Up Tools and Shapes & Text
  • Smart Objects, Transforming, Actions, Filters, and Editing Video
  • Custom Creative Effects, Natural Retouching, Portrait Workflow, Landscape Workflow, and Composite Workflow

Don’t let the many aspects of Photoshop prevent you from maximizing your use of this amazing app. Blake will help you develop the confidence to use your imagination and create the images that you will be proud to share with your clients.


Adobe Photoshop CC 2018


  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


a Creativelive Student

Amazing course, but don't be fooled into thinking this is a beginner's course for photographers. The problem isn't Blake's explanations; they're top. The problem is the vast scope of this course and the order in which the topics are presented. Take layers for example. When I was first learning Photoshop (back when we learned from books), I found I learned little or nothing from, for example, books that covered layers before they covered how to improve/process photographs. These books taught me how to organize, move, and link layers before they showed me what a layer was actually for. Those books tended to teach me everything there is to know about layers (types of layers, how to organize them, how to move them, how to move them two at a time, how to move them two at a time even if there are other layers between the two you're interested in, useful troubleshooting tips, etc. ) all before I even know (from a photographer's point of view) what it is the things actually do. The examples of organizing, linking, and moving mean everything for graphic designers from Day One, but for photographers not so much. Blake does the same thing as those books. Topics he covers extremely early demand a lot of theoretical imagination for a photographer who doesn't already know quite a bit about what he is talking about. Learning about abstract things first and concrete things later only makes PS that much harder to understand. If you AREN'T a beginner, however, this course is amazing. I thought it would be like an Army Bootcamp, taking you from zero and building you into a fit, competent Photoshop grunt. Now I think it's more like Army Bootcamp for high school varsity jocks. It isn't going to take you from the beginning, but the amount you'll get out of it is nonetheless more than your brain can imagine. I've been using PS for years to improve my photographs, and even to create the odd artistic composite or two. The amount I've learned in the first week is amazing, and every day I learn something -- more like many things -- which I immediately implement to improve my productivity and/or widen the horizons of what I can achieve. If you ARE a photographer who's a Photoshop beginner, I'd take very seriously the advice Blake gives in the introduction: Watch one lesson, and practice the skills and principles you learn in that one lesson for two weeks. THEN watch the next lesson. You can't do that of course without buying the course, so it's up to you to decide whether you'd like to learn Photoshop and master Photoshop all from the same course. Learning it first and mastering it later will cost more money, but I think you'll understand everything better and have a much more enjoyable ride in the process. As for me? I'm going to have to find the money to buy this course. There is simply way too much content in each lesson for me to try to take on all at once, but on the other hand I don't want to miss anything at all that he has to share.

Robert Andrews

Blake Rudis is the absolute best in teaching photoshop. His knowledge and how he presents the instruction is clear and concise - there is NO ONE BETTER. Yes, his classes require some basic skills, and maybe I'd organize the order of (or group) the classes in a different order, but, let me be clear - if anyone is to be successful or famous in the Photoshop world, it should be Blake Rudis. I strongly recommend his teaching. I started photography and post processing in 2018, and because of this class, I'm know what Im doing. The energy you get when you create something beautiful is profound, it makes you bounce out of bed (at 4AM) like a 5 year old, to go create. It's a great ride! Thanks Blake, & Thanks Creative live.

Esther Gambrell

WOW!!! I've been purchasing CL classes for several years now and have watched HOURS of "How-To Photoshop" classes, but this is the first one I've actually purchased because of the AWESOME BONUS content!!! SERIOUSLY??!!?!? A PLUG-IN??? But not only that, Blake is SO easy to understand, and he breaks down concepts in different ways to connect with different people's learning styles. I REALLY appreciated this approach because I am a LEFT-BRAINED creative that has an engineering background, so I really connected to what Blake was saying. THANK YOU FOR THAT! There are TONS of Photoshop courses out there, but I found this one to be the most helpful in they way Blake teaches concepts so that you know WHY you're doing what your doing. I feel like he taught me how to fish with Photoshop to feed me for a lifetime instead of just giving me a fish to feed me for one day. This is the BEST overall PS course out there!!! Thank you!!!!