Hue & Saturation Adjustments


Adobe® Photoshop® Mastery: Color & Tone


Lesson Info

Hue & Saturation Adjustments

Today is all about color. Yesterday we covered tonal adjustments, which mean anything relating to brightness, contrast or any kind of adjustment that doesn't involve color, but today, sell about color now with color, I can either just show you what to do and be done with that, or I could tell you how to understand what you do, and I personally mohr into getting you to understand what you're doing, because then you're not limited to doing what I show you. Instead, if you run into any issue, you could possibly tackle it yourself, even if it's an issue that no one's ever seen before ever in photo shop because you understand what you're doing and so that's part of what I'm gonna try to do today. And so when I think of federal shops adjustments, I divide up the list of adjustments and, in general, four general categories where within those categories there's, some common theme, that's holding the adjustments that are available in that category together. The first one would be tonal adjustme...

nts, things designed for changing the brightness or contrast of your image and let's. See if I can show you that here I have photoshopped this is actually screenshots from an older version, but it's not gonna matter because they've only added, like, one new item. But you see the way I think about it, if you go to the image menu, choose adjustments, you get this really long list in the first thing my brain does when I'm looking at it is it doesn't see the list in this way it sees it instead as four general categories, it sees these choices in here as ones that on ly affect brightness or are tonal adjustments, so you could say in so if I'm looking to adjust color, my mind doesn't even see those because they're not color adjustments, so those are a lot of the things that we ended up talking about yesterday we talked about brightness and contrast exposure black and white, we use something called threshold, but we use it in a weird way we didn't actually go what we did go to the dialog box remember we did leinart the beginning the day, but also when you hold on the option key alton windows, where are you when you're in levels or curves and you get that little display that shows you what's turning black in your image or what's turning white that happens to be known as threshold mode? So anyway, we used out, were you shadow highlight? We used hdr toning we didn't use de saturate, all it does is pull the color out of your image it makes your butt look terrible, though in that remember when we had a picture full of I think we had lots different colors of flowers in it we converted it to black and white if we use that command code de saturate all the flowers will look about the same and so it doesn't pretty bad job so that's why we didn't really get into it equalizes more of a specialty but we've covered pretty much the vast majority of those yesterday those are the tonal adjustments now what's left over what's not currently highlighted within this is thie other categories these adjustments here are what I call warm cool adjustments and we'll talk about that concept later on today but in general if there's a slider available in any of those choices when you move it one direction your image will become warmer more towards red, yellow, orange move in the opposite direction and it will become cooler more towards green blue sayin those kinds of colors and that's what all those choices do and we'll learn win is that a good approach to use him? When might you want to do something else? Then these choices here are choices that separate your image into three parts hugh saturation and brightness and we'll talk about that in detail but those three choices are all related to each other if you know how to use one of them you largely know how to use the others already same with the warm, cool adjustments if you know how to think about the concept of warm, cool adjustments, all of those adjustments will be very similar will just be slight variations one might let you isolate things based on brightness, a different one might let you isolate things based on color, that kind of thing, but the adjustments themselves will be very similar then there's this category, which is what I call specialty adjustments, which means they just do weird stuff that doesn't relate to anything else that's in the menu, and so we look at them is a separate kind of category of just, you know, weird adjustments that don't conform to the other ideas, so we're going to be looking at that kind of stuff in you just look at the menu and divided up the gray ones in there are tonal adjustments, the red ones are warm kool the, um, blue ones are the what I call hsb, which means hugh saturation brightness ones, and then we the rest of the specialty ones and that's how we'll kind of separate this up, and we'll discuss each one of those categories separately, so let's get into it, I'm going to start off with something I think is easier to understand because it works maur the way your brain thinks than the way photoshopped, thanks behind the scenes eso we'll start with that then we'll get into a different kind of adjustment after this where we got to start thinking like photoshopped which is a little different than what your brain is used to let's start off with something a little more enjoyable so we're going to start off with the hsb adjustments those air ones that will separate your image into three parts hughes saturation and brightness if you're not familiar with those terms by chance hugh in general means basic color is it red? Is it yellow? Is it blue? Is it orange what's the basic color saturation is how colorful something is is it flores and orange or is it barely orange it all just a little less hint and then brightness is how bright or dark it is and your brains usually pretty good at thinking that way so let's just open an image let's get started here we're near page arizona in a place called antelope canyon and if you're ever near the utah arizona border and you see page arizona on the map, look for the power station you'll see the on ly smokestacks sticking up in the distance drive straight for um until you see a sign for antelope canyon it is hard to take a bad photo in there uh and it's gorgeous but it's a slot canyon so here we have her image what I'm going to do here is go to my adjustment layer pop up at the bottom of my layers panel and the choice we're going to start with is one called vibrance vibrance. That's going to bring up dialogue box with only two sliders in both of these sliders. Control how colorful your images, and I simply want to discuss the difference between the two and how I think about with both of these slaughters. If I move them towards the left, the left thie image will become less colorful by moving towards the right, it will become even more colorful than it is right now. The difference is that the saturation slider treats all colors equally, every color will be boosted an equal amount, and so I could bring that up higher and higher and get the color to be more vivid. The problem with just bringing up saturation, though, is usually some areas in your picture, arm or colorful to begin with, then the rest in. So at a certain point, you'll bring saturation up in whatever area is the most colorful will start looking are official. It'll just become too colorful, and I think I'm starting to get that at the top of the photograph. Bring that back down to zero vibrance. On the other hand, instead of treating all colors equally, it divides the colors up in treats them differently first off, it concentrates on the mellow colors in your image the areas that are not all that colorful to begin with that's where the largest change is going to try to happen and it'll apply less and less as it gets into the more colorful areas in your picture that way, if there's something in your picture that's already pretty colorful, then it's going to get the least change. And so I'm going to be able to bring this up much higher than I was able to bring up saturation because it's applying less and less and less as it gets into the more colorful areas. So those areas that would usually become overdone when you do saturation shouldn't when they do vibrance so let's see what happens when I bring it up? Do you see more of the purples at the bottom? Are starting to come out in that area at the top is not getting overdone, but vibrance has a bunch of other things plugged into it it's going to darken blues because most of the time when you have blues in a picture, you can probably guess what the most common blue is in a picture of the sky unless you're in seattle or portland it's overcast today uh so anyway it's going dark and blues as it makes it more colorful so that could help your skies quite a bit it's also going to try not to over saturate kind of orange ish colors which would be like skin tones so if you bring out saturation on a skin tone people look sunburnt or just alien pretty quickly if you bring up vibrance they don't because it's trying to protect colors that are similar to skin and that's one reason why it might not be saturating the area the top quite as much because this might be somewhat similar to a skin tone so vibrance is a little bit more of a high tech way of making your image more colorful compared to saturation which is very generic make everything equally doesn't do anything special, but I find the combination of the two is useful so when I bring up vibrance for instance, that area at the top of the photograph I can't get it to be colorful enough so I might end up bringing up saturation to force everything to be more colorful and then if the mellow things are too colorful, I get adjust vibrance to control them thailand and how I want but then when I work on an image, I don't just work on the color you know we've talked earlier about curves I could go in here with curves and say okay but this part here is too bright so fine bring it down maybe go up here way into the brights part bring it down and then you could invert that mask and painted in meaning do the stuff we did yesterday as well don't just be stuck thinking about color when you're just in color instead, pop over and think about the other things that we've done. So in this case, I just dark in that area a little bit of stuff. So the main thing those vibrance is usually more useful than saturation on most images, but if vibrance just isn't able to push certain colors far enough, then go down to your saturation, do it there let's, try another image in with this image, you want to think a little differently about it? Because if I go over here and just do a vibrance adjustment, I can crank up the vibrance and make this image look much more colorful. Sure, I can also crank up saturation, but at a certain point it just starts looking artificial, right? But it might start having issues before I visibly notice that something weird's happening there might be something that reduces the amount of detail in the image, and I'd like to show you how to figure out if that's happening. I'm going to go to the window menu in choose hissed a gram damn history ram is the same kind of bar chart that we saw when we were levels and we wearing curves. When we have a color picture, the history graham has multiple colors in it. If you look closely at the history, graham, the grey part describes just the brightness. If you're not thinking about color, you're just thinking about brightness. You look at the great part of it. If you're thinking about color, you look at the colored part of it. And as with most images, I don't care about the overall shape. I don't care if it looks like two mountains, I don't care if it looks like one big block. Anything like that that's dictated by the contents of the picture got a picture of a snowman there's going to be a big block on the right side? Got a picture of snowman with coal for eyes and dirty snow, and you're going to have a little bump near the dark part it's completely dictated by the contents of your photo, so I don't care about the shape overall, what I do care about is how wide is it and what's happening on the ends? And right now you notice it's not all that wide, it doesn't expand all the way across. That means I could have a much wider brightness range in this picture remember we're in levels or in curves we could pull in the upper two sliders. Pull him over until he touched the history ram. We'd make the bright part of the image white, the dark part black. We have the full brightness range available. Could do something like that. But let's, just talk about color. Watch what happens on the end of the history, graham. But when I talk about the end, I don't actually mean the end of the bar chart that's there? What I mean is the end of where it could show up. Meaning the full width of this area what's happening right here in what's happening right there and watch what happens if I bring up saturation. You think this is the saturation? Slaughter should eventually get that thing to become wider. And on the left side, you see it's starting touch the edge. And if I keep going, you see a little spike developing the spikes getting taller. If you ever see a colorful spike on the end of your history, ma'am, that's an indication you might have taken saturation too far. And in doing so, you might be losing detail in the most colorful portion of your image. The only problem is that this history graham is trying not to slow down photo shop. Because it would have to analyze your entire picture and calculate this and if it were the update in real time and do that it might take a while for it to calculate so there's a exclamation point triangle in the upper right that just says hey, this is an approximation it's working on a low resolution version of your image so it can update quickly if you click on that triangle this will become more precise more accurate so to really see what it's doing I'd have to click there and you see how tall the spike we have well if you ever have a colorful spike on either end of your history graham that means that you have something that is known a saturation clipping saturation clipping and what it means is in the most colorful areas of your picture you might be losing detail it's not that you're going to lose detail where something goes solid wider solid black instead it's where you just can't see the texture in that area instead it starts to look like a solid color more like you'd seen a logo and it has no texture to it so if I bring my saturation down that line should get shorter and I could click the little triangle to make sure it's accurate keep bringing this down until I don't have that spike or the spike is really, really short probably about like that and now I'm doing fine and so if you look at your picture sometimes you'll visibly notice it right away because you're zoom way up on a flower and you're seeing the actual like veins and things that are in the flower the fine details when you bring up to high that texture just goes away and the flower becomes a solid color but other times you're zoomed out an image like this one and it's not like a flower where it would be overly obvious if the details starts going away because you're looking at such a simple thing instead here there's detail everywhere in its complex so you might not notice when it's happened visibly unless you resumed way up so that's why it's nice whenever you saturate your image tohave the history and panel open and just glance at the ends when you're done see if there's a tall spike in if there is back off on your saturation until a tall spike goes away if you need more detail but sometimes it's fine to have the tall spike just look at the most saturated area of your image and say would it look better if it had more detail if so lower saturation till the spike goes away but it's called saturation clipping and you'll find that you get a lot less of it when you bring up vibrance because vibrance does less of a change to the most colorful areas so you can crank vibrance up quite a bit and you notice I'm knocking spike, I'll try to crank it as high as it'll go. I'm still not getting a spike on the end, which means vibrance is going to protect those colors a lot more without having them lose detail and then I could in addition, boost saturation once vibrance is all the way up, but then I'll have to clip that and I'm starting to get a little spike, which, if it's little it means a small area of your picture has a little less detail in the most saturated colors quick question from someone on the internet, ben, do you ever just both saturation in vibrance in the same area of an image which it looks like you're doing? Yes, I do quite frequently like type of photographs that you recommend it more or less pretty much once you have vibrance at one hundred if it's still not colorful enough, grab saturation. The other thing is, sometimes I want what's already colorful and white picture too be the focus of the picture and I want everything else in the focus in the photograph to be secondary and if that's the case, I don't bring up vibrance because vibrance would take the mellow colors and make the more colorful so off five a flower and surrounding it is brown dirt bringing up vibrance is going to make the brown dirt more colorful what I might do in that case is take vibrance and turn it all the way down as low as it can go what I'm saying is take the mellow colors in the image, mel amount then I'll take saturation and boost it up so I can take the areas that air already colorful have them be primary I just might not want to bring vibrance donna's faras I have here more like that and so now what I'm doing is saying make the mellow color secondary don't bring them up to make them stand out more so I will very frequently adjust both I think about what I want to do with melo colors don't want to exaggerate him really get himto pop if so increased vibrance so I want them to not compete with what's already colorful then decreased vibrance and whenever I'm done adjusting the vibrance fiddle with saturation justo get the image look good as a whole question yeah should be a quick one when you're messing with vibrance will that make saturation more sensitive? Like if I bring my vibrance up the whole way do I have to be more careful so I don't get into saturation clipping yeah, you'll get into saturday, you'll get into saturation clipping mohr quickly if you're vibrance is already up because things were much more colorful, so when you boost saturation you do have to be more careful does doing this and photoshopped give you anything that you can't get in light room or a cia? No, this is vibrance is something that originally started out in adobe camera raw and then when light room came out it was in light rum as well, so this is just them putting it in the main part of photo shop so that if we've already opened our image and we're trying to additional adjustments on it, we have it available, right? But there is no advantage that I know of applying it here versus in adobe camera or light room, so we covered camera just so you know, in a previous class, I think it was during the I think it was during the foundation's class of photoshopped mastery and so right now I'm just covering things that we haven't already covered, so I'm kind of avoiding camera usually I get a cz much out of my images I possibly can in camera or light room as my very first step and then I only used these things after that. Uh, but if the vibrance in camera couldn't go high enough, you wanted more, I could do it here so that's saturation versus vibrance and the history graham panel remember to get to the history ram panel just go to the window menu and the window minute menu list all the panels you could possibly have and so any time I use a panel, if you don't find it on your screen, you will find it here and you'll be able teo, get to it, I usually place it over here where you can click on the tab for that particular panel and drag it around your screen like to put in a new area in that type of stuff in oftentimes you'll find it in this little a bar that's here where you click on it and shows up, you click on it again and it goes away. The problem with that is if you have it visible and you work on your adjustment, your adjustment is usually also in the same little bar, so when that adjustment part shows up, the other disappears. And so what I do is I put it up here in the upper right of my screen by dragging it up into this grouping and that way I can keep it there when I need it. If I don't need it I could double click on its name it'll collapse down so it's out of the way then if I need it, double click on its name and its there anytime I need it now let's move away from vibrance in saturation because the problem of vibrance and saturation is I have very little control over how it's applied in that it applies to the entire picture I can't tell it make the yellow canoe here more colorful and leave the rest of them alone I could do that through masking you know paint on the mast to say don't apply to the rest fine, but instead we're going to move on to human saturation with human saturation we have three general sliders only one of those sliders is usually useful when working on the entire picture and that is saturation if I was going to work on the entire picture I would prefer to do vibrance and saturation because I'd have more control I'd have to cook choices but if we look through what thes three sliders do, you'll find the only one that really helps when working on the entirety of a picture is usually saturation so let's see what they do first we have hugh hugh means basic color and if I move the huse slaughter watch what happens to the basic colors that make up the image see him going around on psychedelic way's gonna be a fun little video to do that uh but usually that's going to make your picture looked pretty weird unless what you have a stack of colorful canoes where you can't have any reference as to what color they used to be, but if you have blue sky green grass skin tones that kind of stuff they're all going to shift in weird ways and the picture is just gonna look weird but just so you know what it's doing and in fact I didn't even think to grab this let me see if I can quickly find okay all it's doing is it's taking a color wheel and it's spinning the colors around the color wheel unequal amount what that means is if the if we originally had let's say a red canoe and we had a blue canoe and we had a yellow canyon and we change the hue we move it over a certain distance all that's going to do is spin this around the color wheel in one particular direction like this so that a yellow canoe will become an orange one and then the red canoe will move the same distance this way could become a pink canoe genta kun, the blue canoe will move the same distance this way become a science canoe but all assume is rotating the color wheel underneath your picture and just saying we're going to shift it like that that's if I moved it one direction if I move in the opposite direction slider it's just going to move this the ah pa's it way you know this direction equal amount for all three of you so when I'm in here than human saturation it's spinning the color wheel, you could say each color moves an equal distance around that color wheel and if you want to be able to think about it more when you're inhuman saturation, just look at where the colors are in this little bar let's say I want the yellow canoe to become, uh I wanted to become a scion one just look at the direction you'd have to move. If you were standing on top of yellow here and you want to end up it's science, you'd have to move to the right one yet and look at how far you would have to move to get there. Well, that's exactly how far I would move this slaughter to the right and that would spend every color around by that same distance. So if we started on yellow, we're going to move it over that distance were probably right over in about here right now. So if you look at the color of the canoe it's, more of that greenish color might have to push a little further to get to the more senior. Then we have saturation we should have talked about, which is simply how colorful is the image. If you bring it up, the image becomes more colorful. You bring it down, it becomes less colorful, all the way down means no color at all. And here you might be able to see it a little better if I look at the yellow canoe I'm guessing I might be able to see a little detail in it do you see some dirt and just texture in general hopes texture and general in here well let's see if that texture goes away if I bring the saturation too high when we get saturation clipping so once I get it to a certain point well now the details starting to go away it's just can you tell if there's less detail when I get up there that's saturation clipping that's what happens if you over saturate something there's only so saturated that it could naturally become push it beyond that and it can make it more saturated but in order to do so it needs to throw with detailed do it starts looking more like a business graphic like a logo or something which usually has no detail s o that's saturation then we have lightness which I might also call brightness means in general the same thing photo shop has many different terms for that there's lightness brightness luminosity they're all referring to how bright your picture is there is a difference between those definitions just so you know for instance in here it will think of the most colorful yellow you can possibly make which is usually also the brightest yellow you could possibly make that's colorful as having a lightness of one hundred where is one of the other types of describing brightness would say that yellow is nowhere near bright is white and therefore it shouldn't be a one hundred maybe it should be at eighty five or ninety because compared to white it's nowhere near is bright so there's different ways of describing things that just so you know when you hear lightness, brightness and luminosity there is slight differences in the way they think but overall generically they're all talking about brightness so anyway this lightness and if I bring that up the entire picture will become brighter or the entire picture will become darker but it's pretty darn generic in that everything is becoming brighter the shadows there's no longer any black in the image that kind of thing and so it's not all that effective oven adjustment when you're working on the entire picture but what's best about the human saturation dialog box is you're not stuck working on the entire picture so let's look at a few of the things we could dio there's a hand appeared see little hand icon just like we had in curves anytime of the hand icon in the middle of a of an adjustment it means make it so if I click my picture it does something related to this adjustment so if I click on that and then I go to my image now when I click on something like let's say this blue area watch what happens in two spots one is this pop up menu master means everything and if I click there is a bunch of colors listed it's gonna automatically pick one of those colors when I click my picture it'll pick whatever color it thinks I clicked on the other thing is down here you're going to see something show up when I click my picture and let's see what happens I'm gonna click right here and then I'm going to drag you notice what is changing in human saturation you see the slider is moving I can change the saturation of everything in the image that's sayin ish blue then I can click down here in this red canoe and you see that menu changed two reds and now it can change the saturation of reddish things then I can try going over here to green click on it and I can change the that but it might think greens and science are similar so it it might overlap so what happens is this menu allows you to isolate colors in the way that it isolates colors is down here the two are connected so the top bar indicates all the hughes or basic colors that you're isolating you notice that there's a light grey and too dark gray areas whatever's above the light grain that's what you're trying to change whatever's above the dark ray sides is what you're trying to blend in with meaning fade out into so that you don't see a distinct abrupt stop to your change instead it slowly happens less and less and less as it gets across that dark bar so when I click my picture, what it's doing is it's centering this setup on whatever I click on so it's trying to isolate that but it's also affecting some of those surrounding colors and that's why when I tried to change a green canoe this little fade out was over here into the science and they also changed a little bit now when I just grabbed that hand on a click of my image when I drag I'm adjusting saturation but watch what happens if I hold down the command key I believe its command I'll click here on the red canoe now when I drag instead of changing the saturation I'm changing the hue or basic color and so I can say let's make this red stuff more towards purple or maybe I want to get rid of the red stuff on that one canoes I'm going to make it more towards yellow like that but I had to hold on the command key in order to get that to happen now unfortunately there is not a key to hold down that I'm aware of where you can click on your picture and you can affect the lightness I wish there was because then we could affect all three sliders but just clicking but instead they reserved the slider are the key in your keyboard that is the option key to make amore fine adjustment if you hold down the option key and you move your mouse if the slaughter would usually move like the width of my head when you dragged it holding on option it's going to move the width of my nose you know much more fine adjustment we've already used up that key and some of the other keys they've also used for other purposes I wish there was one that allow me to just the lightness so let's use this on some other images and see if we get better at it make it more useful in different ways here we're at the starlight classic campground same place where that illustration that he used yesterday was inspired by and we got a red car but let's just say you hate red your favorite color is blue or green or something else and that's what you'd rather have so if that's what you want I go to human saturation knowing that human saturation is good at isolating things based on color so I can grab the little hand icon I click on the car in when I drag I'm going to be affecting saturation well I don't really need to make the car more colorful I could manually move my mouse up to hugh which is basic color or if I happen to remember that I could hold on the command key and click of my image I can hold on command and click and now watch I can pick any color car I want. The only thing is it hasn't precisely isolated the car. Do you still see some areas that are still red? So I've never worked on this image before. A lot of the images I will be working on today I've never worked on and I like that because I want to run into problems just so you know, there are some of the images have worked on before, but this one I never let's see if there's anything we could do two more precisely isolate the car so I grabbed the little hand I've already clipped in the car in that caused it to put out these little things they weren't there until I clicked on the car, but these things I can actually grab them and dragged them to expand so I say fade out all the way into the greens, fade out all the way over here and do whatever grab these I confined tune these can also click in the middle of the bar and move the whole thing. What I like to dio is smash them together that means work on the narrowest range of colors to start with. The only problem is when I smash them together, I'll end up having him above the wrong color. Not the color I was thinking of well there are three I droppers right here you see those the one on the left if I click on my image watch what happens to these sliders I'll just click right here all it does this center the sliders on whatever you click on regardless of how wide they were its going to center them so now it's thinking about the right color then you see the one of the plus sign on it that's going to expand the slider says they work on mohr a wider variety of colors so I'll click down here watch those little sliders do you see it spread out a little bit because this varies in what color the car is and by clicking on various areas I can try to get it to expand just the right amount toe isolate the car from everything else does it make some sense? The problem is I can't see how much of the car's isolated so let's make a radical change I don't care what it is move any of the ciders a radical amount just to see what would happen what I usually do is I take the saturation slider and turn it all the way down that will make the black and white just so I can see what is it changing and therefore what have I not yet isolated so I'm going to continue working with the eyedropper the plus sign on it and I'm gonna click on the areas that have not yet become black and white, and you don't have to just click and let go. You can click and drag across something it'll look at all the colors you drag across to make sure that they're included, and if they're up here these highlights arm or reflection of the bluish sky, I think because they look blue and not red, so I might instead decide to have it fade into those instead of fully changed them. Um, in the highlights here, I think are a reflection of the light source there there was, like a light like here you can actually see through the car to a light in the distance. I think these air little highlights least I'm assuming from light that's behind me, but in general, I think I've isolated the red parts of the car now on the hood, we have that bluish stuff up there. I'll need to fade into that because otherwise this will be a chris badge where it looks like they use an exacto knife to stop the change from happening. So that's, when I come in here and you see here's blue on the side, I grab this little slider and I pull it out this way to say fade into those colors. Applied less and less and less as you get across into those colors in there for if I look in there let's, see if I could get that black and white to fade smoothly into that hood where it was reflecting the blue maybe somewhere around there got to be careful, though it will most likely start to change parts of the sky as well. Because it's blue it has no idea there's a car, it has no idea I'm trying to isolate an area that is all one chunk, it just looks generically about colors across the entire picture, just like curves would affect the entire picture and isolate things on lee based on brightness. This is looking at the entire picture and on lee isolating things based on color. So now I've isolated that area. I didn't really want it to be black and white, so I'm just going to take the slider that is causing it to be black and white, which is saturation and senator zero they don't do that and now I'm going to take my huse slider and say, what color car would I like? I wanted blue, I still have the highlights in the car that I think are from a light source that are behind me in all of that, but I was able to isolate that if I knew how to think about human saturation now other areas of the photo might have changed if I turn off the eyeball before and after, I'm just looking around the rest of the image I noticed I think it's a reflection on the back of the trailer or might be some trim on the trailer and I bet you if I look over here you see that table, you see parts of it shifting a little bit well, that's when I grabbed my brush in anytime you use an adjustment layer, you always have a mask, and so I grabbed my brush and I just paint over the areas where I didn't want to change to occur. Also, I noticed that the, um the hubcap kind of area of the trailers changing, maybe I wanted to still be read, so I paint with black maybe I want that part of the trailer to stay red, so if it didn't isolated enough, we can always paint in the mask quick question, very different content, but same color idea someone was asking coley was asking when wanting to change only a single item like lips on a model lips tomorrow that is, do you think that the lips have you tried that with your lips on a model do that I would usually often times if you're shooting model, if they don't have hair and makeup done, they're not gonna have lipstick on their lips can look somewhat dull compared to images where they do have lipstick, so I could use that to try to isolate the reds, and I would bring down the lightness to darken them and possibly bring up a saturation a little bit to make that come out. The problem is that lip color is often similar to if your rosy cheeks or anything, and so afterwards, you might need to paint with black on the cheeks if you have rosy cheeks to say, don't change those, so, yeah, that would be another example, so I'm kind of along the same lines, ben, I think you just answered this question for scorpion lens who says what if I have to read cars? Exactly? I just want to change one of the great with black on the mask when you're done and that therefore you'll further isolate it. Thank you, let's do some more of that because it's something I need to do very frequently and often times, I need to do it very precisely. So let's, figure out how to do a very precise thing. Let's say you're hired by a car company and they say here's, a reddit version of our car now we need you to show us all the other cars colors, but you only get this one photograph. To make him out of there like okay and they give you just a little swatch of paint like you see if you went to the dealership and you saw the little square paint you like great how do I do this or in this case? This isn't the best photograph, but it was just an example that I thought would be useful I want the red uh leaf to be the same color as the rest of the lease. You know, the client says this is the best photo that's my favorite one I've ever seen but that darn red leaf I wanted to be like the rest in order to do that, we could do it visibly. We could try to come in here, choose human saturation in, grab that little hand and just click on the leaf that might be enough to isolate it if there's nothing else in the surroundings that's anywhere similar in color than just clicking on it's probably enough, but if the surroundings have very similar colors, then you'll probably have to smash the sliders together and be really precise about it. All you do is just try it once by just clicking once on the image and if it doesn't isolate it precise enough, then slam the sliders together and you could do the more precise thing but let's just see if I can do it here so I noticed we got a red leaf we would need a greenish yellow one if I want to figure out what direction to move this and by how far just look at where red is and look at where greenish yellow is what direction would you walk if you're standing on top of red here and you wanted to end up a greenish yellow when she walked to the right and how far would you walk exactly this distance when you that's exactly how far I need to move this to get near the same color because all we're doing is spinning the the all these colors across this because this is a color wheel right here it's just been straightened out if you look there's red on this end there's a read on that end if he just bent it into a circle so that ends touch you have a color wheel so that helps but I think this is a little on the dark side so I could lighten it up a little bit and maybe it needs to be more or less saturated I'm not certain if you bring it up a little and fine tune that okay we started to look like the others what I don't like about the process is I'm really guessing and I don't know how close I really am yet so let me show you an alternative method of doing this where you're not guessing and blindly moving sliders here's what I'd like client comes to me and says, I want this photograph. I love this photograph, they say, but I absolutely detest yellow and purple. My favorite color is red, and so what they want me to do is take all of the yellow flowers and all the purple colors make them look exactly the same as the red ones. How the heck did you do that? Well, the way we do that is we start thinking using numbers photo shop can precisely describe any color that's in your picture. Using numbers, you can see those numbers by going to the window menu in choosing info. If you move your mouse on top your picture and move around, you'll see the numbers in the info pal. Changing in those numbers are a precise description of the color that's underneath your mouse. You could call somebody else on the telephone. You could read off those numbers, and they could click on there foreground color in here to see all the numbers they could type him in and they'd see the same color. So you could say instead of saying, I want a yellowish brown, you could say I want and you just read off the numbers. And they could type it in here in the color picker they'd see the same color and they know what you're talking about instead of saying greenish brown or something, you know they wouldn't be able to visualize the exact color you're thinking of, so those numbers are not something I enjoy working with because I'm a visual person I hate them with math and numbers, but but when it's useful enough, then I'm willing to do it well I just have to give you a little shot out then because the live tab is the live room is going nuts, coley says woven you just totally sad solved one of my biggest issues thank you, cathy says so great that he's devoting a whole day to color love but he is going to all of this in depth and then omg major ah ha moment awesome spending of the color wheel on it should know that everyone kind of way get out of there have not it's involved our way well, I don't know, I bet you there was some bacon. Now with this we can use these actually are but the problem is they're goingto become empty if you don't have your mouths on top of your picture because it doesn't know what part of your picture to think about so there's a special tool in your tool panel if you go to the eyedropper tool the eyedropper tools usually used for clicking on your picture and where've you click it makes that you're foregone color makes it the color you're going to paint with but if you click and hold down there's another one that looks just like the eyedropper tool but it's got a little cross hair next to it and it's called the color sampler tool in with that tool what I could dio is first I'm going to come in here and click on a red flower I'd ask the client okay what's your favorite red flower within their what color do you really like in their and they tell me it's this one right here so I click on it and you see how it marked it with a little cross there in labeled it number one then I go in and I say okay based on the brightness of that area I clicked on it wasn't a really bright highlight was in the deepest, darkest shadow it was kind of like a medium non backlit area of a flower I'll goto a yellow flower now in try to find a similar area right about here is not the deepest shadow it's not backlit so much so quick there and you say I get number two now that immunity the same for a purple flower come in here and may be right about here click so you see how I have read outs and they're labeled one two and three will now check out what happened at the same time in the info panel do you see how I have extra readouts of the bottom? Those weren't there before? Do you see that? They're labeled number one, number two and number three so now they're going to stay there with whatever numbers you have. This is a precise description of the color of red the client liked. This is a precise description of the color of what was the second colored yellow flower I need to change. This is a precise description of the purple one. The only problem is the readouts say rgb, and the kind of adjustment we're going to apply has sliders that aren't called rgb. Instead, if you were to abbreviate these tournaments that kind of like an acronym, wouldn't it be a tch es el I'd really love those readouts to read out h s cell numbers, because then I could tell exactly how far to move this exactly how far to move this in that just by looking at the difference in the numbers well, let's, see if we can do that well over in our info panel, you'll notice that do you see any tiny little triangles? Any time you see a tiny triangle, it means there's something hidden there, for instance, in your tool panel, do you see tiny little triangles right there? Right there that means if you click and hold there are more tools there write if you look in many areas of federal shop if you ever see a tiny triangle it means hey there's little menu hidden here so I'm going to click on that either that tiny triangle or the eyedropper that's next to it it's all one icon and I'll click in this says how do you want to measure that area? Do you want to measure it is if it's a shade of gray we're just tells you how bright it is because maybe you're only adjusting brightness that wouldn't be a bad thing to think about the default setting is whatever mode your picture is in if you have an rgb image goes rgb see thats what it means by actual color it means what your image is actually made out of but I want to find the one in here that most closely matches the type of adjustment I'm applying so if I would abbreviate this h s l in here what's the one that looks the closest you just be the letter b stands for brightness so brightness lightness pretty darn similar isn't it so that's what I'm going to choose and I'm going to get each one of these readouts to be set to hsb I wish it had the choice of hs l he would actually make the process easier but this will be close enough so now these air precise descriptions of those three areas of color and if I didn't have an adjustment active there just be one set of numbers for each. But you notice that there's two sets of numbers with a little slashing between him? Well, the numbers on the left means what did you have before you adjusted it? The numbers on the right are what are you getting because of this adjustment? So you could think of the left one is being before the right ones is being after. So what I need to do is read out number one, if you looked in my picture, I couldn't find it anymore readout number one can't even see it wherever it is it's in there somewhere, but it was for the red flower the client like it read out number two was for a yellow flower and read out number three was for a purple flower. What I need to do my quest is to get these numbers right here, which are the after numbers for the yellow flower to match these numbers right here because that's, the color of the client likes after I'm done doing that, I want to get these numbers right here to match those right there if the numbers match the colors match because it's a precise description of the colors guys let's, try it hopefully I don't have to do too much with isolating colors, but we'll find out I'm gonna grab that little hand tool that now I can see my color samplers I'm going to zoom up just so he could more easily see the picture I'm going to move my mouse onto that little cross hair with a number two is and I'm just going to click so it isolates yellow now I'm not even gonna look at the picture I don't care about the picture I care about the numbers because the numbers tell me what's going on in my picture, I want to get these numbers to match these numbers and these are the three sliders I can use to get there, so the difference between forty seven in three forty two I need to get that number to go up, don't I? So I'm gonna trade the hugh slider and push it up many higher in there'll be a limit to how far I can move it, but do you see the number for hugh changing? There'll be a limit though, of how high I can get it o two twenty eight size dango don't worry about it because it's like a color wheel meaning if this end is not far enough, if it was a color wheel, this end would wrap around and touch that end so just push it to the opposite side and you'll start right off where you left off it's kind of weird with you in that is like that but I'm just looking at the hugh number I'm trying to get three forty two three, forty, forty one forty two so do you see this number which is after for my yellow flower is now matching what was in the red flower said that what that means is the basic color of both flowers if I were to let you look at the picture are the same what's different is how colorful they are in how bright they are now the next thing I often adjust will be the brightness and I look our brightness is currently eighty six what I need is fifty three, fifty three is lower than eighty six so what direction they're going to move this lower fifth I just had it was just beyond fifty three so now the basic color and the brightness is the same the only thing it's office how colorful it isthe so now I look at saturation I see ninety one and a creek saturation I needed to be at one hundred, which is a higher setting so what direction they're going to move this slaughter, move it up right meaning to the right sounds like you guys already know how to do this you guys are all like you're telling me which way to move things so now here's, the problem we're going to run into is when I did that I don't know if you noticed or not, but look what happened to the brightness number do you see it change to and that's? Because this readout does not say h s l wherever we're using hs l sliders instead of says hsb, and so the concept is not perfectly aligned with the kind of sliders I had. If it did, then one slider in here would affect one number and would never touch the others. But because the numbering system is slightly off in how it's thinking moving, one of these sliders will often effect one of the others, so off to fine tune it so I just look in here and I say, okay, we're good there we're good there, it's my brightness that's off now, so I'll just find to the rightness bring it down to fifty three in nam a saturation office, I'll bring it up and then I'll bring this down oh, come on, let me get it they're so now do you see this number? Same as that one this number, same as that one this number, same as that one right and without looking at the picture, I can tell you that the yellow flower is exactly the same color right now is the red one quick, quick question them and then we have a question in the audience can you have presets on your h s b uh and that yes you see up here little menu called presets in order to say the pre set you go to the side menu that's up here in it will say save hugh saturation preset then it would appear from this menu and then you do have a question can you just take the numbers from the info panel and key them into the little boxes situation? Usually what you'd have to do is just too simple math subtract one from the other meaning I want to get to this number I'm starting here what you want is not to type this number in you want to type in how big? How much of a difference is there between the two numbers so if my hugh started a ten and I needed to be at fifty what's the difference in those two forty that's the number of have to type in okay so it's not that you type in what you want it's you type in how big of a change you need to get to the number you want so you could calculate how far you have to move it for hugh and somewhat for saturation but it becomes a little more complicated because the numbering system doesn't perfectly match so it's not going to be exact hugh is exact um but the other is not quite I wish you could be really nice so you cannot click with your arrow right now in that where where it says three forty to one hundred that does not open up to just plugged in them no this is just like your speedometer on your car you can touch it as much as you want doesn't matter she still leads out what you got there's no interaction with it other than hitting the gas pedal something else here's our gas pedal our brakes and whatever else too afford it and it's just like your speedometer it's not like you can do anything with the speedometer you can't grab the needle and push it to go higher you know it's the ftc gas pedal so anyway, we have these now matching I know you want me to zoom out to show you but I'm not going you're like in suspense these numbers match these oh my god what could that mean? Well ok final zoom out you ready? Do you see any yellow flowers now? Now the problem I see here is if I turn off the eyeball before we had yellow flowers look at what color they become red flowers, right? But look at what else is changing in the image you see the greenery that's in there and that's because I generically clicked on that I didn't move those sliders together in be precise in green things are very similar to yellow things it's just parker so what I could do is if you look at these little sliders do you see how it's extending into the greens so I could just say hey, bring that more closely into the yellows and get the heck out of my greens but I might do that one looking at the picture so I see how far you want to get it out of the greens we go and do I have enough of the oh so I need to extend over this way or not but now let's see before after you see my red my yellow flowers turn red when we do the purple ones I know the area the bottom's changing you might not want it to just grab your brush paint with black you have a mascot tachyon just say hey don't affect that maybe there's some soil down here that had a little hint of yellow innit paint on it say they don't affect it but let's continue grab the hand tool again this time when I come up here I'm going to change the the purple ones so although I'm sure you have a fancier name for the color I'm a guy I got about twelve names for colors, okay? I don't know what fuchsia is I don't know what sha're truces I don't, you know just so you know I'm a guy so that means I got like twelve words for color purple is one of them uh all right so I just grabbed the hand tool I'm gonna move my mouth onto where the little cross here is for number three I'm just going to click to say isolate that stuff then in the info panel we're going to look who's gonna look over here and we're going to be looking at this time that readout number three we're going to be trying to get these numbers which are the after numbers remember the numbers on the left or before numbers to match what's up here because that's the color of the client likes in these numbers by the way do not have to come out of this picture the client could provide you with a little color chip and just take a picture of it with your iphone open it in front of shop adjusted until you think it looks like the chip you know, so the photos and look bad and just click on it with the eyedropper tool that'll change your foreground color you go look at the numbers and they're or just move your mouse on it looking the info panel just write down the numbers you're writing down the color so let's take a look so we have three nineteen we need three forty two right? So we need to increase hugh I bring this up if I want to do the math if somebody wants to do it, I hate math. So what's three forty two minus three, nineteen, twenty three. Great. I'm gonna type in twenty three. Thank you. Now, it's. Not precise, though. In this particular case, I noticed that I didn't go up exactly the same, but oftentimes it is that simple, but I usually just look either that or it could mean your math was oh, and actually, what was the number? Twenty three? Okay, um, I have to look at the before numbers over here with this is telling me is when I isolated the purplish it also got into the reds and so this numbers changing. I need to make sure I'm looking at the before number so we're close. Let's, get it up. I can't get it. Forty one, forty three. Close enough. If it's off by one. Who cares? Okay, then. Next I'm gonna go here and change my brightness that pretty darn close. I need it to be a little higher though, so I could bring that up. Try to get my brightness now, it's. Weird it's. Look at this. That makes no sense. The number for b is not changing that's because of the difference between lightness in brightness. And so if you ever find that to be the case you're on ly going to find it with really colorful objects like flowers that if lightness just does not change the brightness then go for the other number instead so here's saturation of seventy six I needed it one hundred get that in order first quick question men from jackie from georgia so your matching the colors exactly that aren't real flowers all a little different why would you want precision? Because the client said I want that color so I'm here again in that color I want magenta well before I showed you with the red leaf amongst a bunch of yellowish green ones you could eyeball it I'm just saying if you need more precision than that do this if you don't, then who the heck wants to deal with numbers? Just do it visually but if you need it to precisely match this is the way to do it so anyway I have my saturation now my brightness though needs to be lower so let's see if I can get this down sometimes there's a little battle that happens between these two sliders when you're working on a really colorful thing to get them to be precisely the same ok, so now we got fifty two I needed fifty three okay fifty three one hundred three forty one I need three forty two I can't get three forty two this is not capable of getting exact, but off by one you're never going to notice. So let's, zoom out and let's turn this often on and you see, we have our yellow flowers, but now look at the purple ones you see the purple one, especially the one that had my color sampler on it are shifting as well, and the only thing I need to do is come in here and possibly get it so it's not bleeding over into the reds to say more accurately isolate and usually visibly, you might need to adjust the lightness afterwards because you might have clicked on one area in a shadowy area and the other picture you might have not clicked on a shadowy areas, the brightness might be off a little, and so you could come in here and find two in that, and just in the end, fine, tune it visibly until you like it. But if the client asked, you know, if they said that absolutely can't stand yellow, fine, they don't have to deal with you and we can isolate it both those little bars, and you can isolate it further by painting on the mask, and you can adjust up to six colors in a single adjustment. I find it to me we were useful to do the adjustments of separate adjustment layers I would do one adjustment layer for the yellow flowers one for the purple because then if I paint on the mask I'm on ly affecting the yellow change for the purple change and not both and so I limit myself somewhat by putting into a single adjustment this is helpful to make sense the numbers describe it. I hate the numbers unless they're useful enough for me to want to deal with them and I don't have to know what the numbers mean I just need to make a match look at this guy look at that skin here's me having a beer with the claw coming in here in the corner but dang, I wish my skin look better uh where were you here? Not iceland? No, not iceland. I was driving my vintage bus across the country right after I had been re powered and I actually broke down somewhere because anytime you freshly re power you put in a new engine transmission rear and breaks the first time you go out there's going to be little issues that you just didn't know about and I broke down on this one little town had to go get something fixed on facebook I said I'll broke down whatever in a buddy of mine that also lives in an rv, said I'm in that town and this was a little town and like I can't remember where my wife karen would probably know but it happens to be where my friend sam's kids live but little town I'd never been to friends and towns we went out for a beer anyway I don't quite like my skin so let's go to human saturation looking looking and tool and click on my skin and I haven't adjusted this image before I don't know that's gonna look good or not oh uh well I could use the numbers in the info panel to take the non sunburn t ready area on my neck and use that as a donor color to push things too but I'm a visual person so I hate numbers right? So instead I might do it visibly so in here I look at about what color is my skin? Well it's pretty darn red right? And I look at what color should my skin be? Probably more over towards the yellowish orange is right that means pushing it towards the right. I can see approximately how far I need to move it to get there and it just happens to be starting here so I'm going to move it over to about there so let's see if that does anything to my skin start looking a little less red right? But then I might not have isolated this good enough so let's slam the sliders together and be more accurate, so I'm slamming the sliders at the bottom together. Then we have the three eyed droppers the one on the far left is going to center in on a color, but then the change we're making is pretty small it's hard to tell if I've isolated it, I might just take it to black and white just to see I can take the eyedropper with a plus sign on it and say work on more colors try to get to advance in there and down here, I can say blend into the surroundings by pulling out these because otherwise you get an abrupt edge and so I might grab this put out a little bit, just try to get it so it's getting all the reddish stuff you like gray, this is an iphone photos, so it doesn't have great fidelity when it comes to things it's like a j peg it's not overly ideal to work with, but now that I've seen have isolated all the red stuff, so my face doesn't look right anymore it's kind of weird that I'm going to take the slaughter called saturation, which was just helping me see what I've isolated and get back to normal what type of zero in it in I'll turn off the eyeball let's see what we've done so far we might only into fine tune what color is in there we might need thio if it's sunburn or just redness it's usually darker the areas that aren't red so he might need to take the lightness up a little down and just find tennes see if we need more or less color see if we need to shift the color a little bit more I'm not saying it's perfect but it's getting there and if I were to be more careful with how I isolated try to get it in the wide enough range in with that adjustment I might be able to get it to usable but I want to spend that much time on it it's a pretty bad photo to begin with but you get the idea that you can try now the more fidelity your picture has, the less overly j peg the less just low quality it iss the maur this will be able to blend them with the surrounding area and simply look good ben quick questions about that trish two nine seven in the chat room says what do you do if the person has read freckles and red skin make a black and white photo thing that's the easy solution you can if the reds are different you khun try toe isolate them separately you might find that the command under the select menu called color range might even give you more control over isolating the red of the skin from the redflex freckles assuming there is some difference if there is no difference whatsoever between the two you have to paint in the mask and every little freckle because if they're exactly the same color what's photoshopped supposed to do so get cozy yeah so I often use this concept of adjusting color too influence where somebody looks in my picture I find your eyes drawn to color it just can't help it it's like a magnet pulling your eye up to something and so I try to make sure that the color that's in my images in an area that's useful and that it's not detracting from the main subject so in this particular case if you can see him in there or not but there's an iguana sitting there this is took this in the galapagos islands and I liked this shape on the ground of this water pool coming around and I love that his tail was looping around with it so I got down on my stomach with a fish islands and shot it in the fisheye lens gave me the curvature on the horizon so I thought the coverage on the horizon the tail and that thing all went together but now I want your eye to be drawn right to the iguana well the first thing I need to do is select the iguana and we're not talking about selections right now so I'm gonna cheat and just load a selection that I've saved of course it's called the dude to get the iguana I could go in here and do stuff like we talked about yesterday curves maybe you remember how you can pull a detail in something you could click on a dark area the lock in its brightness and then you can click on a bright area and drag it up to get more contrast and we do that on a bunch of things so you see it making him pop out, then I could load that selection again. I think we talked about this when we did adjustment layers you could move your mouse on top of the mask if you command click on it, you get a selection out of it so I got that you want to select it again? We did that and if I want the opposite of it I could select inverse get the opposite. And then I could come in here and say let's do human saturation and I grabbed that little uh hand tool and click on the blues that are in here and bring the saturation down to say make it less blue don't like the sky's becoming less blue though so I could grab my brush and when you have an adjustment layer, can't you paint with black so you just paint with black where the sky is they bring that back all right so now let's see what that layers doing I'll turn off the eyeball before you see the blue surrounding the iguana after you see it's less blue so that should help direct your attention to the iguana because you're not distracted you're not attracted to the blue color I could go on doom or I could come in here and let's say I command click on that mask again to get the iguana selected I could go to human saturation in boost the saturation did he make it more colorful so now I've very quickly done three adjustments on let's see the difference here is the original picture my eye gets pulled over blue surrounding the iguana some people don't even notice that there's an iguana in there uh after my I notice is the nude more right? Does that help? So you get the idea of combining some of these ideas and just using him for simple things as well now human saturation is not the on ly adjustment that offers me the sliders that air called hugh saturation and lightness poor brightness the paint on another adjustment we could use instead if you go to your adjustment layer pop up menu you'll find that in here certain adjustments aren't there just not listed when they're not listed we need to go over here to get to him one of those is called replaced color I don't think it's in the adjustment layers replace color it is not one that I need to use all that often. It's, really. The combination of two features and photo shop kind of put together in a weird way like they're just kind of legos map together on that is the truth. The command called color range, which would select a range of colors in then human saturation. So this presents you with a different way of isolating the colors within your image. You could click on the car you automatically have this eyedropper on. Grab the eyedropper, the plus sign on it to say work on a wider range of colors and click on other areas of the car and you get a preview in here. If you look if you click on image that's, a miniature version of my picture and the preview means whatever's white in there would be selected or adjusted, and I could come in here and click on various parts of the car to try to isolate them. Whatever I see that's not white in there, yet I have to come in here and click on and then there's a fuzziness control, which means how much can we deviate from the colors that you've clicked on? Can I go for things a little bit different in color, little different brightness? If you bring fuzziness down it's gonna be more precisely. Going for just the colors you click on if you bring it up, it will go for deviate from the color, so I just might need to come in here and click near the bottom of the car. I see some areas they're still black to try to get it largely isolated. After I've done that to isolate the area down here, I can adjust the huge is a basic color and I could see if there's areas that I have an isolated just with that plus eyedropper come in there, click on him to further isolate things, and then we have hugh saturation a likeness I don't find this to be anywhere near is useful as the normal human saturation dialog box, but there was one special thing about it in isolating that area, it calculated the average color that was in there and it's showing me the average color right here, then down here, the result of these sliders it's showing me the average of that result right there, let's say I haven't made a change yet. I'll set this to zero these two numbers met these two colors match well, here's, where if you had another document full of colors let's, say another picture of a different car, the client says, I want the car that color wash this instead of moving these three slider to change the color, I can click on that little square which brings me color picker and I could just say I want a blue car, I want a green car uh, or when this is open, I can move my mouse on the any open document and just click and it'll grab the color. I don't happen to have another document open, but if I did, I could just click on the color of another car boom this car would change to it. And so that's, what makes this particular one special is its calculating, where the sliders need to move to get it to become that color, and I could even copy these numbers right here paste them into the normal human saturation dialog box if I cared to two get the same kind of an adjustment with it, but this is using a different way to isolate things, and it is allowing me to calculate the results in a different way. I click on ok and it's done. The problem is I can't do this adjustment layer, which is a bummer I wish it could output the result is an adjustment layer and I find it a little less than useful if you find some areas that changed you didn't want them to which need to do is go to a tool that is called might even take me a minute to find it the history brush history brush looks like this I think that's it I use it so I barely ever use it so I don't even recognize what it looks like but the history rash paints with whatever your picture originally looked like when you opened it and so if it ends up changing too much your image in grab the history brush come in here and say, hey, I didn't mean to change those parts and you can do that so replace color is available some people would probably find it to be useful on many things, but I find it to be more useful to simply use color range if I find that a useful way to isolate things and then use a normal human saturation adjustment because I can have it on an adjustment layer I can paint on the mask I can drag it over to another document I can do all sorts of things but because this particular adjustment requires it to work directly on the original picture I don't like that as much but if you like it use it can you to be able to adjust this later later can you have changed that too a smart object and then would you be able to change that replace color if I go up here and convert this to a smart object and then I attempt to go over here to get replaced color it's not there if you ever see me answer a question like I just did, it means I don't know, but I'll find out in a second, okay, but that is an adjustment that I so rarely used that I don't know, but no, it doesn't work in a smart out dicked unfortunate it's typically a permanent adjustment. Yeah, if you say, then close your image it's permanent, so why not instead go to the select menu and choose color range to initially get your selection? You have the same general I droppers the same fuzziness, the same preview, and then afterwards you use a human saturation adjustment, the thing you're losing functionality wise is being able to click on that one little square and have it be able to click on a different picture and have it changed to that. So if you find that valuable enough to sacrifice the ability using adjustment layer, then go ahead, use it. I was going to say the other tricky showed us yesterday is using a blank adjustment layer and and then making the adjustment to the adjustment layer, and then you can paint out instead of duplicating a layer, and I'm guessing that wouldn't work here no, because it's not available adjustment layer in an empty adjustment layer is the equivalent to the original it's underneath, but the empty adjustment layer I can't the only thing I can do to it is paint on the mask. I can't apply something to an empty adjust so it's not going to lie to the main thing I would do is simply work on a duplicate layer so that if later on you notice something screwed up, you could add a mask to that duplicate layer that you've changed and mask it out. It's the thing I can't do is fine tune the adjustment later, and I wish I could all right, so that's, what I wanted to talk about when it comes to hugh saturation in brightness adjustments, I find them to be overly useful and I use hsb adjustments along with curves for the vast majority of adjustments that I do and that's why I wanted to spend this length of time on it, but I'm sure we have questions so it's hot australia in the chat rooms is asking, how do I take the grey out of my hair and look fifteen years younger what's that called grecian formula for men? Where where what's his name that had the spray product for balding here running deal so if you have great hair, there is a checkbox within human saturation I don't have an example image I know he's getting but there is a checkbox called color eyes in color eyes will force the color into your image you could choose the basic color from the hue slider and how colorful it should be from the saturation slider and then paint on the mask in this case I inverted it right where your gray hair is to get hit at least look like punk rock you know colorful there might not be with these guns were here tonto but yeah you have the heart to do that that's pretty cool right shape k from spain ass and replace color what is a localized color cluster option dio the I find the localized colored cluster choice within that dialogue box to be defective to show you what it should do I have to go to color range with color range it also has localized color clusters and what that means is if I click on my picture and then used the eyedropper with a plus sign to isolate an area here I'm just dragging across it to isolate it once I've done so I can further isolate something by bringing down a setting called range in what range does if you watch this little preview image look at this guy do you see the cars getting selected but so is the table other things will range means how far away from where I clicked can it select if it's set one hundred it means the whole picture if I bring range down watch the little table on the left and eventually if I get this down low enough do you see the table on the left starting and no longer be selected no longer be selected now it's on ly selecting things very close to where have clicked if the front of the car is not being selected just grabbed that I drop with the plus sign and click near the front of the car so it knows that it's okay to select things near there because you've clicked near there and click around but it just says how far away from the areas where I've clicked cannot select in order to make it effective though I need to have a range slider on and I need it to work right when I choose it here this one localized color clusters there's no range slider and I find it breaks the other commands so if I click here and grab the plus eyedropper instead of having it add to what I want to select its a ziff I don't have a plus eyedropper do you notice it's not getting more and more white as it should instead it's only thinking of one area it's a ziff I'm using the left eye dropper the whole time so I personally find that to be broken I don't know why they put it in there there might be a good reason and just some hidden thing I'm unaware of but usually need a range slider and usually it wouldn't want it to make the plus eyedropper stop working so I don't use localized color clusters in that particular adjustment.

Class Description

Part of the Complete Photoshop Mastery Bundle. Become an adjustment master by learning how Adobe® Photoshop® thinks about color and tonality. You'll go way beyond the basics and learn how to use the most powerful, precise and versatile adjustments. You'll also see how all of the Adobe® Photoshop® adjustment options relate to one another so that you'll be able to easily pick the best tool for the job at hand. • Scanning Line Art (pure black and white graphics like your signature) • Optimizing Grayscale Images • Professional Color Correction Techniques • Matching the color between multiple images • Getting the most out of adjustment layers • Color Manipulation Techniques • Sharpening Strategies

Software Used: Adobe Photoshop CS6