We're going for hugh saturation knowyou saturation is an interesting when we've already talked about some of these adjustments where we have a lot of controls, but we don't really need all of the controls that are available. We don't have to go quite to the extent that the adjustment allows us to go. Hugh saturation is one of those where I think a lot of photographers look at what's there and they decide, ok, clearly I don't need any of this except for one thing, because, for example, what is hugh? Anybody color yahoo is color, and so he basically represents the color wheel. And so what happens if you spin the wheel of colors? Then you get some wild and wacky colors in your photo, and there we go is a martian landscape or something? So you start to realize where you start to think, assume that clearly hugh is not for photos. This is for, like the wacky psychedelic, you know, whatever crazy thing you're going to do to the image type of adjustment, then you let's just skip down the liken...
ess just so we get these others out of the way we goto lightness, what happened, okay, that's, lightness and that's, darkness and there's somewhere between I described likeness. As being able to spill white paint all over your photo at various capacities or to spill black paint all over your photo, it generally gives you a muddy result and so you might quickly decide lightness is clearly not for your photographic images, which leaves us with saturation even though we already looked at saturation at vibrance, we could always use more color the skies looking amazing this was like sunset on an overcast day I don't know how that happened, but so there's a couple of things here that I mentioned the self control thing right with vibrance here's a good example of why that might be necessary the wonderful emerald water of the colorado river and so this seems a little bit silly, obviously, but saturation everybody loves saturation, don't they? And so we might want to boost saturation at least a little bit, but notice how it's kind of this a little bit too strong there's no self control there and we've already decided that was a little bit of a problem but actually cranking up the saturation all the way to the maximum value could be tremendously helpful in terms of evaluating the image. So right now the rocks look perfect, the water looks a wonderful green, the sky looks like a sun said even though it was like a total overcast day what's going on back here with this magenta that's a little bit weird. I'm going zoom in just a little bit. I mean, granted it's, red rock and magenta is close to read, but it's pink it's a little bit weird, so cranking up that saturation all the way to its maximum value could be very helpful in terms of finding colors you didn't even know existed in the photo. Very helpful. And so I'll do that on occasion, especially if I feel like I'm having a little bit of a difficult time. Evaluating the color in the photo is the shadow you know, the shadows too cool or to warm? Do I need to find tune or the skin tones? What's wrong what's going on? Something just doesn't seem right send that saturation sky high and it will probably tell you exactly what's wrong with the colors in terms of that color balance or just weird colors appearing, we'll take a look at those magenta is in a moment, but that brings us to this notion of well, of saturation is so pointless and so horrible. Why do we even need hugh saturation let's? Just have adobe roof move this feature altogether because we have vibrance and vibrance we've already decided is the most amazing color adjustment. Ever added the photo shop ever, but saturation is still tremendously helpful so let's take a look at how it's, not by the way to make a black and white version of the image will look at how he would actually do that in a moment do not crank down your saturation all the way to the minimum use the black and white adjustment will look at that later you might reduce the saturation to tone down the colors get a little bit more kind of ethereal, dreamy kind of quality to the photo but if you want a black and white there's a different tool for that which will look at but what a lot of photographers don't realize initially is that while we can adjust these sliders for the overall image, we can also adjust these sliders for individual colors within the photo in this is amazing so we've got the reds and the yellows and the greens and the science and the blues and the magenta is here and so I can choose one of those let's just briefly take a look at the greens let's assume we wanted to de saturate or shift the hue for the greens in the water let's just go ahead, for example and d saturate that looks pretty good the water now is a perfect inky black, but if we zoom in, things start to look a little bit weird because this area of the water which has turned into this wonderful state of gray is obviously green or was green initially, but what about this stuff over here? That's certainly live screen to may, but photoshopped decided that wasn't green. I think it's green, I think all this foliage over here is green, I think out here on the shore of got like, you know, I'm guessing that some sort of moss or something on the shore, I think that's green but photoshopped does not when I choose a color from this pop of a specific color channel what's happening is photoshopped is defining a range of color values, and so in this case I've chosen greens have de saturated I didn't get what I wanted, no problem, because I can tell photoshopped how to give me exactly what I want. If you take a look down here at the bottom of the properties panel in this case at the bottom right corner, you'll see to grady ints we've got this colored radiant on top in the color grading on the bottom, and if you look closely, you can see that the greatest on the bottom has a gray area down underneath in that green zone these grady ants are intended to be a before and after view essentially of the colors in the photo least to help you get a sense of what's going on but more importantly in between those two grady ints we have a set of controls that defined the specific range of color values that are currently being impacted so in other words this is what green's means the photo shop so I've got these two vertical bars in between those little vertical bars represent the range of colors that are being absolutely affected by photo shop so in this case the colors that are being completely de saturated to a shade of gray outside of that you might be able to see his little kind of trap is oid shapes that represents the degree of feathering or transition so we taper off from the greens into the yellows with a gradual transition in that adjustment well that tells me what the range is but I can also change the range and so in this case I think I need to expand out into the yellow so that's over on the left side so I just want to take the vertical bar and the trap is oid that are on the left and move both of them over toward the left out into the yellows to accomplish that aiken certainly adjust each of the positions for these controls individually by dragging on them each by themselves but if you point your mouse right in between those two controls I can move both of them in sequence so I'm maintaining that gradation of transition that transition of the adjustment without making the image the problem at it's, I can expand the range and still have that smooth transition into the rest of the photo. I'm going to zoom out for just a moment here I can expand the range into the yellows and into the reds and into the magenta zx and of the blues and eventually we end up with a range of everything being de saturated and aiken back that off. Maybe it was too much of a range initially, and I can bring that back, tighten it up a little bit, but in this case maybe I wanted to expand the range so that we're getting all of the water turned inky black. Why would I want to make the river look inky black? I have no idea I'm just using it as an example of how we can work with these controls more important is going to that magenta in a moment, but by taking a look at this kind of exaggerated version of this adjustment, we get a better sense of what's possible. So having done that let's bring our saturation backup zero for those greens will leave the green water alone and let's take a look at our magenta zal zoom in on that area of the photo and I will increase the the saturation for the magenta is and maybe I don't need to take it as far into the reds but aiken once again, fine tuned the range of colors, the's, specific range of colors that is being affected by this adjustment. Bear in mind, this is defining an adjustment based on a specific range of color values, and so I have to think about where else in the image to these color values exist, and therefore I'm going to zoom out so I can see the entire image here. I've applied this absurd, exaggerated adjustment taken saturation all the way up, two plus one hundred, and now I can look throughout the emergency. Are there any other areas? Well, there's this area off in the distance and the far right? Well, that's the same basic issue I can pan across over here and just check out this area, and I think I can narrow down the range a little bit, because I really I'm just interested in the magenta is not so much the reds in this specific case, and so I'll just go and check them, basically, just troubleshooting once again, using that big boost in saturation to get a better sense of am I defining the right range of colors? Now that I have defined the right range of colors, what am I going to do? Well, I'm going to reverse that adjustment I want to de saturate by how much well, do I really want gray rocks blended in the background know that would look a little bit silly? I'm unfortunately it's a small area of the photo, but guess what, you think? It's ok, then you make a big huge twenty by thirty inch prints and you hang it on the wall, you get it matted and framed, he spent a bunch of money and then somebody comes over a dinner guest comes over and they say, what a beautiful picture, but how come the rocks in the background or grey? How you going to feel about that? Not so good. I mean, it's never happened to me, so it's ok, but we don't want to leave these little details because the problem with these sorts of things when it's just a little problem way off in the distance, hidden in the haze, you think you're never going to notice it until you do. And now you cannot pass that photo without staring at that area. So in this case, that means not over exaggerating the adjustment. I just want to take those magenta is down a little bit. It doesn't really take much in this case, it's just it was a little too purple e little too pink in those areas, why? Atmospheric scatter. We've got hayes in the background to do any landscape, nature, photography and the outdoor photography in general, and you've got kind of his wide view and it's, a little bit of a hazy day. The scatter of light in that hes off in the distance very often will appear a bit magenta, and that, obviously, could be some cases problematic. So it's, a fairly common thing for outdoor photos that you would want to de saturate the magenta, is to some extent, but again, the ability to find tune the range of colors and hugh saturation to me, that's, absolutely huge. It effectively means that the huge saturation adjustment becomes a sort of targeted color adjustment tool. That's, tremendously flexible, just wonderful, wonderful, wonderful. I love it not as much as vibrance, but I do love it.