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Hue, Saturation, Color, and Luminosity

From: Photoshop CS6 One-on-One: Advanced

Video: Hue, Saturation, Color, and Luminosity

In this movie, I'll demonstrate how to work with the final group of blend modes, which are Hue, Saturation, Color, and Luminosity. Together they make up the component modes, so called because these blend modes divide an image into its color components. Now, I'll be discussing these blend modes in opposite order, because that's the easiest way to understand them. I'll switch over to this image of the model against the sky. You can see that she has a layer mask, which will become important in just a moment. Now, let's say I want to keep all the detail information that's associated with the model, but I want to let the blues from the background show through.

Hue, Saturation, Color, and Luminosity

In this movie, I'll demonstrate how to work with the final group of blend modes, which are Hue, Saturation, Color, and Luminosity. Together they make up the component modes, so called because these blend modes divide an image into its color components. Now, I'll be discussing these blend modes in opposite order, because that's the easiest way to understand them. I'll switch over to this image of the model against the sky. You can see that she has a layer mask, which will become important in just a moment. Now, let's say I want to keep all the detail information that's associated with the model, but I want to let the blues from the background show through.

Any time you want to keep the Luminance levels for the active layer, then you change the blend mode in the upper left corner of Layers panel from whatever it is -- Normal in my case -- to Luminosity. And notice now we can see all the detail of the model, but we're seeing the color of the clouds show through in the background. Now you may ask, well why are we seeing the luminance levels of the clouds outside of the model? And that's because of the layer mask. If I where to Shift+Click on this layer mask thumbnail to turn it off, then you can see now we're overriding the background luminance, and we're just seeing the colors from the clouds and the sky.

All right, I'll go a head and Shift+Click on the layer mask thumbnail to turn it back on. The opposite of Luminosity is the next blend mode up, and that's Color, and let me show you how that works. I'll go ahead and click on the sunlight layer to make it active, and turn on as well. Let's say we're not interested in any of the luminance information in this layer, but we do want to colorize a composition using this layer. Then with that layer active, you go to the blend mode pop-up menu once again, and this time choose Color, and now we're seeing the color from the sunlight layer, and the luminance information from the composite version of the two layers below.

All right, now we'll go and turn that sunlight layer off for a moment. Here I am playing around in my image, and I decide to click on the model layer once again. And in reviewing this composition, it bothers me that I can see the contours of the clouds, because of the saturation levels that are showing through. So sometimes we have these low saturation clouds coming into the model, and other times we see this high saturation sky, and interferes with our view of the model, I think. And so what I would like to do is retain the model's saturation levels. In other words, I'd like to go ahead and apply not only the Luminosity blend mode, but the Saturation blend mode as well.

Well that's not possible in Photoshop. You can't apply a combination of two modes to the same layer. So if that's the effect you're looking for, you will have to create a copy of layer. And I'll do so by pressing the Escape key, so my blend mode option isn't active here in the PC. And I'll press Control+Alt+J, or Command+Option+J in the Mac, in order to create a copy of this model layer, and I'll call it saturation, and then I'll click OK. And now I'll go a head and switch to the blend mode to Saturation. And by the way, Color, and Luminosity, as I was telling you; they are commuted versions of each other.

So if you prefer, they are blend mode opposites. Color is divided into these two ingredients; it's a combination of Hue and Saturation working together. I'll go ahead and choose Saturation, and you can see now we've got more uniform saturation levels that work inside the model, while still lifting those blues from the sky. All right, now I'll go ahead and click on that sunlight layer, and turn it back on. We've got all these garish oranges and yellows from the sunlight layer. Let's imagine I really like that combination of saturation and luminance that's at work in the layers below sunlight.

So if I want to keep all that luminance and saturation, I'll turn sunlight back on, and instead of choosing Color, I'll apply Hue instead, and we end up getting this more organic effect. All right, one more cool color trick I want to show you here. I am going to go ahead and turn off the top two layers, and click on the model layer to make it active. Press Shift+Alt+N, or Shift+Option+N on the Mac, in order to return it to the Normal mode. So we're seeing that same view of the image we saw the outset of this movie. Now let's say you want to invert just the colors inside the image.

You don't want to invert the Luminosity levels; just color. Then you'd drop down to the black/white icon at the bottom of the panel, click on it, and choose Invert to create an Invert adjustment layer. There are no properties, so I'll hide the Properties panel, and then you'd switch to the Color blend mode, which you can do from the keyboard, by the way, by pressing Shift+Alt+C, or Shift+Option+C on a Mac, and that allows us to invert the colors inside the image, while leaving the luminance information entirely unmodified. And that's how you exploit the power of the component modes, which are, in opposite order, Luminosity, Color, which is Luminosity's opposite, and then the two ingredients that make up color: Saturation, and Hue.

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This video is part of

Image for Photoshop CS6 One-on-One: Advanced
Photoshop CS6 One-on-One: Advanced

124 video lessons · 19219 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 30m 4s
    1. Welcome to One-on-One
      2m 19s
    2. Loading the dekeKeys keyboard shortcuts
      6m 5s
    3. Remapping your Macintosh OS shortcuts
      3m 4s
    4. Adjusting a few general preferences
      4m 3s
    5. Using the visual HUD color picker
      2m 2s
    6. The interface and performance settings
      5m 31s
    7. Adjusting the color settings in Photoshop
      7m 0s
  2. 47m 0s
    1. Smart Objects
      1m 36s
    2. Three ways to place a Smart Object
      3m 6s
    3. Copying and pasting from Adobe Illustrator
      4m 11s
    4. Transforming and warping a vector object
      4m 48s
    5. Blending a Smart Object into a photograph
      3m 10s
    6. Blurring with a nested Smart Filter
      4m 57s
    7. Editing a Smart Object in Illustrator
      3m 20s
    8. Creating "true clones"
      3m 50s
    9. Duplicating a group of clones
      2m 53s
    10. Breaking the Smart Object link
      2m 53s
    11. Styling and blending Smart Objects
      2m 44s
    12. Editing originals; updating clones
      3m 41s
    13. Removing people from a scene with Median
      5m 51s
  3. 29m 59s
    1. Luminance meets sharpening
      1m 2s
    2. Correcting for lens distortion
      4m 39s
    3. Introducing Shadows/Highlights
      3m 54s
    4. Mitigating halos with Radius values
      4m 19s
    5. Enhancing the effects of Midtone Contrast
      3m 18s
    6. Creating a "bounce" with Gaussian Blur
      3m 29s
    7. Sharpening on top of blur
      2m 47s
    8. Masking a group of Smart Filters
      2m 53s
    9. Reducing the density of a layer mask
      3m 38s
  4. 49m 10s
    1. Using Curves
      2m 40s
    2. Introducing the Curves adjustment
      7m 36s
    3. Adding and editing points on a curve
      6m 27s
    4. Winning Curves tips and tricks
      8m 12s
    5. Correcting a challenging image
      6m 33s
    6. Selecting and darkening highlights
      4m 39s
    7. Neutralizing colors and smoothing transitions
      6m 6s
    8. The new automatic Curves function
      6m 57s
  5. 1h 31m
    1. Camera Raw
      2m 11s
    2. Opening and editing multiple images
      8m 1s
    3. Correcting white balance
      4m 8s
    4. The revamped Exposure controls
      8m 8s
    5. Working with archival images
      7m 54s
    6. The Spot Removal and Graduated Filter tools
      6m 4s
    7. Painting edits with the Adjustment Brush
      7m 23s
    8. Tone Curves (and why you don't need them)
      5m 57s
    9. Straighten, crop, and geometric distortions
      5m 17s
    10. Applying manual lens corrections
      5m 14s
    11. Vignette, chromatic aberration, and fringe
      6m 49s
    12. Selective hue, saturation, and luminance
      6m 36s
    13. Working with JPEG and TIFF images
      6m 36s
    14. Camera Raw Smart Objects
      6m 48s
    15. Editing Camera Raw images from Bridge
      4m 24s
  6. 32m 30s
    1. Duotones
      1m 23s
    2. Creating a professional-quality sepia tone
      4m 18s
    3. Introducing the Gradient Map adjustment
      5m 42s
    4. Loading a library of custom gradients
      3m 48s
    5. Creating a custom quadtone
      5m 48s
    6. Colorizing with blend modes and Opacity
      4m 6s
    7. Creating a faux-color, high-key effect
      7m 25s
  7. 1h 6m
    1. Noise vs. Details
      1m 28s
    2. Introducing the Reduce Noise filter
      7m 29s
    3. Correcting a noisy photo
      5m 33s
    4. Smoothing over high-contrast noise
      5m 50s
    5. Protecting details with an edge mask
      4m 52s
    6. Adjusting overly saturated shadows
      3m 35s
    7. Correcting with High Pass and Lens Blur
      3m 45s
    8. Brushing away blur and sharpening
      6m 42s
    9. Creating texture by adding noise
      5m 28s
    10. The Camera Raw Detail panel
      7m 8s
    11. Correcting noise and detail in Camera Raw
      8m 10s
    12. Adding noise grain and vignetting effects
      6m 47s
  8. 44m 30s
    1. Blur Gallery
      1m 36s
    2. Creating depth-of-field effects in post
      5m 29s
    3. Modifying your Field Blur settings
      4m 57s
    4. Editing and exporting a Field Blur mask
      6m 15s
    5. Adding a synthetic light bokeh
      3m 52s
    6. Using the Selection Bleed option
      7m 29s
    7. Creating a radial blur with Iris Blur
      6m 59s
    8. Creating "fake miniatures" with Tilt-Shift
      4m 35s
    9. Combining multiple Blur Gallery effects
      3m 18s
  9. 1h 34m
    1. Blend Modes
      1m 16s
    2. Using the Dissolve mode
      9m 47s
    3. Multiply and the darken modes
      8m 30s
    4. Screen and the lighten modes
      8m 10s
    5. Cleaning up and integrating a bad photo
      6m 38s
    6. Blending inside blend modes
      6m 55s
    7. Overlay and the contrast modes
      6m 53s
    8. A few great uses for the contrast modes
      9m 7s
    9. Difference, Exclusion, Subtract, and Divide
      5m 5s
    10. Capturing the differences between images
      4m 18s
    11. Hue, Saturation, Color, and Luminosity
      4m 45s
    12. Blend mode shortcuts
      6m 21s
    13. The Fill Opacity Eight
      8m 57s
    14. Using the luminance-exclusion slider bars
      8m 8s
  10. 44m 20s
    1. Color Range
      1m 14s
    2. Introducing the Color Range command
      7m 24s
    3. Selecting a complex image with Color Range
      5m 49s
    4. Refining a selection in the Quick Mask mode
      7m 4s
    5. Viewing a mask with or without its image
      4m 24s
    6. Painting directly inside an alpha channel
      5m 39s
    7. Correcting fringes around a masked layer
      8m 5s
    8. Turning a layer into a knockout
      4m 41s
  11. 59m 43s
    1. Refine Edges
      1m 28s
    2. Laying down a base layer mask
      6m 49s
    3. Introducing the Refine Edge/Mask command
      7m 57s
    4. Edge detection and Smart Radius
      4m 42s
    5. Using the Refine Radius tool
      7m 31s
    6. The transformative power of Refine Edge
      3m 37s
    7. Perfecting a mask with overlay painting
      10m 58s
    8. Combining Quick Selection with Refine Mask
      10m 37s
    9. Bolstering and integrating hair
      6m 4s
  12. 1h 18m
    1. The Pen tool
      1m 50s
    2. Pixel-based masking versus the Pen tool
      6m 45s
    3. Drawing a straight-sided path outline
      6m 57s
    4. Moving, deleting, and adding anchor points
      6m 10s
    5. Dragging control handles to modify curves
      5m 27s
    6. Converting a path outline to a vector mask
      5m 36s
    7. Customizing a geometric shape
      5m 53s
    8. How to position points and control handles
      7m 7s
    9. Drawing smooth points with the Pen tool
      8m 7s
    10. Duplicating and scaling a vector mask
      5m 21s
    11. Cusp points and the Rubber Band option
      6m 21s
    12. Setting anchor points in the pasteboard
      6m 8s
    13. Using the Convert Point tool
      6m 43s

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