Targeted Adjustments in Adobe® Photoshop®


Targeted Adjustments in Adobe® Photoshop®


Lesson Info

Skipping the Mask: When Layer Masks are Not Required

Let's not mask so one of the things I think is also important to keep in mind is that sometimes the adjustment that you want to apply doesn't require a mascot all so if you feel a little bit intimidated, you're just getting started with layer masking. Keep in mind that in many cases, the adjustment that you want to apply to a specific area of the image doesn't require a layer mask. I'll show you a couple of examples of that we're going to start off with a color adjustment. Now, when it comes to adjusting color, I mostly sort of correct the color with a color balance adjustment, and then I improve the color with a vibrant suggest mint, you know, boosting up the saturation so the colors look so much more rich the huge saturation adjustment I usually say for sort of correcting color, so let's assume just for the sake of argument that I want to make the the wheat in the foreground here, all this greenery in the foreground, I want to make that gray not pretty good reason other than I need a...

n example of something to show you, I'm going to click on the ad adjustment layer icon, little half black, half white circle icon at the bottom of the layers panel, and then I will choose huge saturation. You know the saturation adjustment allows you to create all sorts of wild and crazy effects if you adjust the slider for hugh, it allows you to increase the saturation or decrease the saturation for the image obviously with the saturation slider and then it allows you to smear white paint all over the image or black paint all over the image using the lightness slider all well and good but not what I want to do the most images in case in the case of the hue or the lightness saturation maybe so but I'm going to use violence for that instead but what's really helpful is that I can choose a particular channel by default the huge saturation adjustment is working on what's called the master channel or the entire image but I can choose an individual channel so I want to get the wheat in the foreground to be shifted to black and white all the saturated so if I choose the greens and d saturate, then that field of green should go completely black and white except it didn't now you might be thinking to made a mistake actually probably you would never think that would you thank you so what's going on here I said green d saturate and the greens didn't seem to de saturate the issue here first we have to establish who's to blame so how many of you think it's my fault good no hands I mean I think it's photo shops fault very good thank you very much I love this studio audience it is photo shops fault and it's not really a fault it's just that photo shops idea of green doesn't match my idea of green I was thinking this week field was green actually because this is under early morning live it's kind of golden looking it's a little more yellow actually in the real world most foliage is a little bit more yellow than it is green based on the definition of color as it were within photoshopped but fortunately we can actually change the definition of the color that we're working on so I've completely de saturated the greens here but I can change the range of colors being affected in other words, I can change the meaning of greens in this case, you'll notice that on these grady in sees color grading it's down at the bottom of the properties panel I have a couple of vertical bars here in between those vertical bars that represents the range of colors that is being completely affected by this adjustment and then we have these little sort of trap is lloyd's out there that represents the range of transition between the colors I'm effecting and the colors that I'm not affected, so if I want to expand that range I could just put my mouth in between the two on the left, the vertical bar and the trap was right on the left side, since I want to move over into the yellows and I will then just click and drag over into the yellows, expanding that range so that my reduction in saturation is now affecting the greens and the yellows. I'm just changing the definition of green essentially, I could take that even further into the reds and out into the science and the blues, but obviously in this case, my aim supposedly at least, was to de saturate the wheat in the foreground, and so I just expand that rain if you include the range of colors that defines that area. Now, it's important to keep in mind that I'm defining this adjustment not based on areas of the not based on the geography as it were of the image, but based on actual color values in the photo. So if there was a yellow bird sitting on top of this barn it's going to get de saturated also. So I need to be thoughtful about that, too. Check the image, make sure I'm not creating any problems. In this case, you can probably see at least a little bit might not be really easy to see, but there is some kind of golden light on the barn because this is right after sunrise very early morning and so by d saturating the yellows, I'm also getting rid of some of that color in the barn so it's important to keep in mind that we're working based on color values not based on a layer mask sometimes that will work perfectly sometimes it might be a little bit problematic, but usually I'm not di saturating all of these colors maybe I'm shifting the hughes so as you know we saw that shifting the hugh makes this wild and crazy image, but when we're talking about one little range of colors shifting the hugh can actually work pretty nicely now I'm gonna obviously exaggerate this just so that it's a little bit more obvious but I could shift those kind of yellowish green hues to mohr of appear green for example, I could change the color of the barn just by going into the reds and shifting the hughes around that we have a green barn never saw green born did you? The point is that we can target our adjustments based on color values in the photo which often times is just a wonderful capability if I want to make that sky a little more cobalt, I go to my science for example shift a little bit more toward a cobalt sky maybe increase the saturation maybe turned down the lightness just a little bit and I confined tune the color of the sky just kind of tinker with the colors in the image, without having to use a layer mask at all. So certainly layer masks, tremendously powerful. We'll see lots of examples of that today, but worth keeping in mind that sometimes you can skip it all together and work a little bit more easily and that's. You know, one of my mottoes is that if you want to learn something, learn it from somebody who's lazy, such as myself. Because they'll find the easy way to do the test that you're trying to accomplish. And that hugh saturation adjustment, when it comes to color adjustments, can be tremendously valuable for that purpose.

Class Description

Targeted adjustments in Adobe® Photoshop® give you incredible power when editing photographs. Learn how they can quickly transform your images in Targeted Adjustments in Adobe® Photoshop® with Tim Grey.

Tim will help you truly understand the concepts and functionality behind layer masking. You’ll learn how you can apply adjustments to specific areas of a photo. Tim will demonstrate selection techniques, painting on layer masks, and using gradients. You’ll develop the skills you need to make impactful and efficient adjustments.

Software Used: Adobe Photoshop CC 2014.2.2