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Photoshop CS5 One-on-One: Advanced, the second part of the popular and comprehensive series, updated for CS5, follows internationally renowned Photoshop guru Deke McClelland as he dives into the workings of Photoshop. He explores such digital-age wonders as the Levels and Curves commands, edge-detection filters, advanced compositing techniques, vector-based text, the Liquify filter, and Camera Raw. Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, and enhancing colors without harming the original image. Exercise files accompany the course.
Recommended prerequisite: Photoshop CS5 One-on-One: Fundamentals.
I'm still working inside that progress file Alpha channel.tif and with my selection outline ready and waiting inside the image window. If it isn't for you, you would go to the Channels panel, and you would Ctrl+Click or Command+Click on the general lips Alpha channel in order to load up that selection. But once you've got it switch over to the Layers panel, and let's go ahead and create a new Adjustment layer. I am going to do that by bringing up my Adjustments panel, which I can do either by clicking on the Black/White icon here or choosing the Adjustments command from the Window menu, and I want to create a Hue/Saturation layer.
So I'll go ahead and Alt+Click or Option+Click on the second icon here in the second row. That way, I can name the layer as I create it, and I am going to call this cherry red. I know I've been promising to make the lips fire engine red, but that's too long of a name. So cherry red it is. I'll click OK, and that not only brings up the Hue/Saturation options here inside the Adjustments panel, but it also automatically converts my selection outline to a layer mask. Even though we've asked Photoshop not to add layer mask by default to new adjustment layers, that's the setting I showed you many chapters ago now.
Be that as it may, if you have the selection outline going, then Photoshop goes ahead and converts it to a layer mask automatically no matter what, which is a good thing by the way. We don't want to change that behavior. All right! I am going to tab to the Saturation option, and I am going to increase that Saturation value like crazy. I am going to take it up to 80. I can't take it up to plus 100, because then it'd look ridiculous. But I want it to look pretty darn over the top. So 80 is my setting of choice. However, that ends up bringing out a lot of yellow inside of this highlight region right here.
So what was formerly gold in that dark lipstick becomes yellow. I don't want that, so I will Shift+Tab back to the Hue value right there, and I want to shift these yellows back toward red, so I am going to enter a negative value, and I'll press Shift+Down-arrow in order to reduce that value to -10. That works out as well as anything is going to. I could press Shift+Down-arrow again, and we end up getting some oranges where we formerly had yellows, but we also end up turning certain parts of lip magenta. I don't want that.
So anyway, Hue value of -10, a saturation value of +80, and we end up getting this outrageously great result right here. So just that we can see what kind of modification we've made. I'll go ahead and turn off this Adjustment layer. This was the before version of lips. Very stylin and everything. I think the lips look great here. It's just that I want them to look ultra red, so they stand out from my ultimate black background. That's the effect I was able to achieve using this Hue/Saturation layer. In the next exercise I'll show you how to refine this layer mask, so we're not painting in the teeth.
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