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Photoshop CC One-on-One: Intermediate
Illustration by John Hersey

Creating a hyper-saturated image


From:

Photoshop CC One-on-One: Intermediate

with Deke McClelland

Video: Creating a hyper-saturated image

In this movie we'll do just the opposite of what we did in the previous movie. We'll use the channel mixer to exaggerate the amount of contrast between channels and the result will be a collection of wildly saturated colors. So, starting with the original image once again, I'll press the Alt key or the Option key on a mac and click the black white icon at the bottom of the panel and choose Channel Mixer and I'll go ahead and call this guy color booster this time. And then press the enter key or the return key on the Mac in order to bring up the properties channel.
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  1. 2m 4s
    1. Welcome to One-on-One
      2m 4s
  2. 29m 46s
    1. The best of Photoshop automation
      35s
    2. Introducing the Patch tool
      3m 43s
    3. Using Content-Aware Patch
      5m 42s
    4. Retouching with Content-Aware Patch
      2m 5s
    5. Using the Content-Aware Move tool
      3m 9s
    6. Using Content-Aware Extend
      2m 4s
    7. The Content-Aware Scale command
      6m 35s
    8. Scaling in multiple passes
      2m 22s
    9. Protecting skin tones
      3m 31s
  3. 32m 55s
    1. Editing the histogram
      1m 50s
    2. The new automatic Levels adjustment
      4m 33s
    3. Customizing a Levels adjustment
      4m 53s
    4. Understanding the Gamma value
      2m 7s
    5. Opening up the shadows
      2m 48s
    6. Previewing clipped pixels
      3m 40s
    7. Retouching with Output Levels
      4m 25s
    8. Making channel-by-channel adjustments
      2m 19s
    9. Faking a gray card in post
      2m 51s
    10. Assigning shortcuts to adjustment layers
      3m 29s
  4. 57m 43s
    1. How sharpening works
      1m 38s
    2. Introducing the Smart Sharpen filter
      6m 56s
    3. Understanding the Radius value
      5m 20s
    4. Gauging the best sharpening settings
      5m 45s
    5. Addressing color artifacts and clipping
      5m 49s
    6. The Remove and Reduce Noise options
      4m 22s
    7. The Shadows/Highlights options
      7m 36s
    8. Correcting for camera shake
      6m 47s
    9. Sharpening with the Emboss filter
      5m 45s
    10. Sharpening with the High Pass filter
      4m 44s
    11. Painting in sharpness
      3m 1s
  5. 1h 9m
    1. Vector-based type
      1m 35s
    2. Creating and editing point text
      5m 58s
    3. Font and type style tricks
      7m 10s
    4. Type size and color tricks
      6m 42s
    5. Kerning and tracking characters
      8m 7s
    6. Creating and editing area text
      3m 50s
    7. Selecting and formatting paragraphs
      6m 36s
    8. Setting text inside a custom path
      5m 32s
    9. Creating text along a path
      6m 12s
    10. Adjusting baseline shift
      4m 45s
    11. Creating and stylizing a logo
      6m 49s
    12. Masking text into image elements
      6m 14s
  6. 57m 13s
    1. The other vector-based layer
      1m 39s
    2. Dotted borders and corner roundness
      8m 14s
    3. Drawing and aligning custom shapes
      3m 55s
    4. Creating your own repeatable custom shape
      5m 43s
    5. Selecting paths and isolating layers
      4m 11s
    6. Combining simple shapes to make complex ones
      5m 59s
    7. Cropping, adjusting, and merging shapes
      5m 50s
    8. Creating a soft, synthetic sparkle
      6m 22s
    9. Saving a resolution-independent PDF file
      6m 42s
    10. Turning a small image into a huge one
      8m 38s
  7. 1h 14m
    1. Depth, contour, and texture
      1m 28s
    2. Imparting depth with a layer effect
      9m 9s
    3. The power of the drop shadow
      7m 37s
    4. Modifying a layer and its effects
      6m 21s
    5. Saving custom default settings
      4m 12s
    6. Creating a custom contour
      8m 5s
    7. Introducing Bevel and Emboss
      8m 8s
    8. Multiple effects and multiple layers
      7m 45s
    9. Global Light and rasterizing effects
      8m 5s
    10. Gloss and surface contour
      6m 4s
    11. Adding texture to Bevel and Emboss
      7m 21s
  8. 34m 48s
    1. Styles store settings
      1m 38s
    2. Creating and applying a paragraph style
      3m 41s
    3. Redefining a style and styling a word
      5m 38s
    4. Creating and styling a placeholder style
      5m 43s
    5. Applying and creating layer styles
      5m 45s
    6. Loading and customizing layer styles
      5m 42s
    7. Merging and saving layer styles
      6m 41s
  9. 56m 48s
    1. Meet the transformations
      1m 55s
    2. Transformations and Smart Objects
      5m 46s
    3. Adjusting the interpolation setting
      5m 10s
    4. Rotating a layer with Free Transform
      5m 22s
    5. Scale, duplicate, and repeat
      4m 30s
    6. Creating a synthetic star field
      5m 20s
    7. Warping a logo with Arc and Flag
      5m 34s
    8. Distort, perspective, and skew
      4m 15s
    9. Using transformations to draw and correct
      7m 0s
    10. Bolstering text with layer effects
      5m 43s
    11. Adding highlights with Lens Flare
      6m 13s
  10. 43m 36s
    1. Removing the weight that the camera adds
      1m 7s
    2. The Warp and Reconstruct tools
      6m 44s
    3. Brush size, hardness, and opacity
      4m 29s
    4. The Pucker, Bloat, Push, and Twirl tools
      7m 12s
    5. Saving and reapplying Liquify settings
      4m 9s
    6. Lifting and slimming details
      9m 42s
    7. Warping legs, arms, and fabric
      5m 33s
    8. Improving a model's posture
      4m 40s
  11. 58m 46s
    1. Shoot in color, convert to black and white
      1m 55s
    2. Three ways to grayscale
      5m 36s
    3. Mixing a custom black-and-white image
      7m 31s
    4. Simulating an infrared photograph
      6m 39s
    5. Creating a sienna-infused sepia tone
      5m 38s
    6. Creating a hyper-saturated image
      5m 26s
    7. Introducing the Black & White command
      3m 16s
    8. Customizing the Black & White settings
      4m 50s
    9. Black & White meets the Channel Mixer
      7m 29s
    10. Infusing an image with tint and color
      5m 9s
    11. Grayscale and Split Tone in Camera Raw
      5m 17s
  12. 41m 34s
    1. The many ways to print
      1m 41s
    2. Using the test document
      3m 18s
    3. Print, position, and size
      5m 57s
    4. Description and printing marks
      3m 3s
    5. Establishing a bleed
      3m 44s
    6. Getting reliable color
      5m 54s
    7. Special printing options
      5m 1s
    8. Previewing an image at print size
      4m 16s
    9. Creating contact sheets
      4m 49s
    10. Creating a multipage PDF
      3m 51s
  13. 31m 9s
    1. Making Internet imagery
      1m 6s
    2. Introducing Save for Web
      4m 39s
    3. Creating the perfect JPEG image
      5m 14s
    4. Creating a high-contrast GIF image
      6m 23s
    5. The two varieties of PNG
      3m 57s
    6. Downsampling for the web
      5m 59s
    7. Adding copyright and contact info
      3m 51s
  14. 1m 3s
    1. Until next time
      1m 3s

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Photoshop CC One-on-One: Intermediate
9h 51m Intermediate Aug 19, 2013

Viewers: in countries Watching now:

Photoshop CC One-on-One is back, and this installment teaches you how to build on your basic knowledge and achieve next-level effects with this premiere image-editing program. Industry pro Deke McClelland shows you how to seamlessly move and patch areas of a photo with the Content-Aware toolset; stretch the brightness of a scene with automatic and custom Levels adjustments; create intricate designs with text and shapes; and morph an image with layer effects and transformations. Deke also shares his techniques for sharpening details, whether addressing noise and highlight/shadow clipping or camera shake, and converting a full-color image to black and white. The final chapters show you how to best print and save images for the web, making sure all your hard work pays off in the final output.

Topics include:
  • Performing automatic retouch, scaling, and more with the Content-Aware tools
  • Editing the histogram
  • Customizing a Levels adjustment
  • Making channel-by-channel Levels adjustments
  • Sharpening with the Smart Sharpen, Emboss, and High Pass filters
  • Working with vector-based type
  • Kerning and tracking characters
  • Creating text on a path
  • Drawing and customizing shapes
  • Creating depth, contour, and texture with layer effects
  • Liquifying an image
  • Simulating an infrared photo
  • Adjusting print position, size, and color
  • Creating the perfect JPEG image
  • Downsampling for the web
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Creating a hyper-saturated image

In this movie we'll do just the opposite of what we did in the previous movie. We'll use the channel mixer to exaggerate the amount of contrast between channels and the result will be a collection of wildly saturated colors. So, starting with the original image once again, I'll press the Alt key or the Option key on a mac and click the black white icon at the bottom of the panel and choose Channel Mixer and I'll go ahead and call this guy color booster this time. And then press the enter key or the return key on the Mac in order to bring up the properties channel.

And I'm going to switch over to the channel's panel and click on the red channel to make it active. That way we'll see the red channel here in the histogram panel. I'll also make sure output channel is set to red. Now the idea this time is we're going to increase the amount of red in the red channel and the amount of green in the green channel and the amount of blue in the blue channel. So I'll take this red value up to 160% and then we need to compensate with the other values by making them negative.

So I'll change green to negative 30% and I'll change blue to negative 30% as well. And this sum is 100 percent. The question is, does that work for the histogram? I'll go ahead and update that histogram and we can see, no, we're missing some shadow detail here. So I'll take the constant value down to, let's say, negative 2 and then I'm going to raise the amount of red to 161%. And that ends up nicely filling up that black to white spectrum. And just so you can have a sense of what's going on here, I'll turn off this eye ball at the bottom of the properties panel, that's the original red channel, and this is the eggagerated version of that same channel.

Alright now I'm going to switch over to the green channel and I'm going to switch the output channel option to green as well. And I'll do exactly the same thing, that is to say I'll increase the green value to 160%. I'll take the red value down to negative 30% and I'll take the blue value down to negative 30%. Now in this case I'm not going to worry about confirming the histogram, it does have some problems, but we're going to come back to green in just a moment. And to see what we've done here turn off the eyeball and then turn it back on. This time around it doesn't look we're making that significant of a difference.

In other words the contrast isn't really elevating all that much although we are darkening up the area inside the fur and a few other of the dark details as well. Alright, now I'm now going to switch to the blue channel. Here inside the channel's panel and I'll change the output channel to blue as well. I'll take it up to 160%. I think you're beginning to get the idea here. And I'll take both the green channel and the red channel contribution down to negative 30%. Then I will take a look at the histogram. If I update it, my shadows are just fine, but my highlights need some work.

Notice that we've got a big gap there. So I'm going to increase that blue value to 167% and that goes in and stretches out that histogram so that we have better highlights and so you know what's going on here, I'll turn off the eye once again. We've got a much darker blue channel this time around and we have a higher degree of contrast between it and the other channels that are involved. Alright, now I'll switch back to the RGB image and you can see it is a much more saturated image.

This is before And this is after. Problem is I felt like we were introducing a little bit too much yellow, so we have this sort of yellowish-orange flavor to the flesh tones. And yellow is a contribution of red and green working together, but I like the red, especially the reds that are popping off the fur here. So, I decided to just work on the green channel. And by work on a green channel, I mean, I'm going to go ahead and reduce the amount of contrast between these values. So, I'm going to take the green value down to 120%, I'll take the red value up to negative 10%, and I'll take the blue value up to negative 10% as well.

Then, I'll update that histogram. We need a little more shadow detail, I think, so I'll take the constant value down to negative 1%, and then I'll take the green value up to 124%. And we get, what I consider to be, this improved effect right here. And so, just to give you a sense of what we've accomplished, I'll switch back to the RGB image. Switch back to the layers panel as well, and this is the original image, as it appeared at the outset of every one of these movies, and here's the image now, wtih some amazing saturation levels, including this bright, bright red, here inside of the fur, and these very bright colors in the background woman's hair.

As well as the exaggerated colors in her jacket. And the amazing thing about these colors is, most of them are going to survive quite nicely in print. And incidentally, if you ever want to get a sense of how your image is going to commercially reproduce. And this is also somewhat indicative of how it's going to print when you go to a color laser printer. Then go to the View menu and choose Proof Colors, or you can press CTRL+Y or Command Y on the Mac, and that is, at least according to Photoshop, how the image is going to look in CMYK. If I press CTRL+Y or Cmd+Y again this is how the image looks in RGB.

So not too many differences there despite the amazing levels of saturation that we now have, and without any color clipping or noise details Which are the kinds of things you might encounter when using Photoshop's conventional Saturation options.

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