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Hue, Saturation, Color, and Luminosity

From: Photoshop CS5 One-on-One: Mastery

Video: Hue, Saturation, Color, and Luminosity

In this exercise, we are going to run through the final four blend modes, which are the component modes, that include Hue/Saturation color and Luminosity, and we are actually going to discuss them in the opposite order, because they make the most sense that way. I am working inside that model with skies.psd file and I have got the sunlight layer just ready and waiting, it's turned Off currently, and then I have Normal and Multiply versions of the model, and that Background blue sky layer. I am going to get rid of the Multiply layer, just by clicking on it and pressing the Backspace key.

Hue, Saturation, Color, and Luminosity

In this exercise, we are going to run through the final four blend modes, which are the component modes, that include Hue/Saturation color and Luminosity, and we are actually going to discuss them in the opposite order, because they make the most sense that way. I am working inside that model with skies.psd file and I have got the sunlight layer just ready and waiting, it's turned Off currently, and then I have Normal and Multiply versions of the model, and that Background blue sky layer. I am going to get rid of the Multiply layer, just by clicking on it and pressing the Backspace key.

And then I am going to rename the Normal layer model, because we'll be changing its mode. So all we have now is the model layer masked against the blue sky background. I am going to change her mode by going up to the Blend mode menu and choosing the final option, Luminosity. Now what the Luminosity mode does is it keeps the luminance of the active layer and blends it in with the color, that is the hue and saturation of the composite view of the layers in back of it. So when I choose Luminosity, we are going to lose all the color that's inherent in this model skin and hair and dress and so on, and we are going to lift all the color information from that background blue sky.

Meanwhile, we keep all of the luminance information, so all that detail info that's associated with the woman. Now we could then turn around and override all the color inside of the image with this sunlight layer. So if I select it and turn it On by clicking on its eyeball, then I can now change its Blend mode and I will change it from Normal to Color, and we end up getting this effect here. So now we are blending the hue and saturation because that's what color is. It's a combo of hue, the rainbow hues along with saturation, the color intensity, and we are lifting the luminance information from the two layers in back of it.

And so we end up with this orange mix here. Now another thing we could do, I am going to turn Off that sunlight layer, what I'd really like to see happen is that we keep the saturation levels that were inherent in this model, and we go ahead and mix the hues from the background into her. Well, you don't really have the option of changing the mode to Luminosity plus Saturation, which is what I'd want to do, but you can reverse the order of these layers, and remember how I was telling you that Overlay and Hard Light are commuted versions of each other, that is having one layer set to Overlay on the layer below it, is the same as switching the layer order and changing what was formerly the background layer to Hard Light.

The same is true for Color and Luminosity, they are commuted versions of each other as well. So rather than setting the model layer to Luminosity, I could convert this background to a floating layer by double-clicking on it, and renaming it sky, and then I could drag it in front and I could change its Blend mode to be commuted version of Luminosity which is color. And I'll achieve the exact same effect we were seeing before. Now this frees me up to divide color into its component pieces, which are Hue and Saturation, so I could say, you know what, I don't want to see all these vivid blues inside of her skin, I would prefer instead that the blues wavered depending on the inherent color intensity of this model layer.

So I will go ahead and switch this mode from Color to Hue. And what that means is I will keep the Saturation and Luminosity of the layer below, and just mix in the Hue of the active layer, and I end up getting this more naturalistic effect right here. Bear in mind that there is no layer down here in this lower region, by which I mean there is nothing underneath model and she's got a lot of transparency. If I turn that sky Off for a moment, you can see that this entire area out here is transparent.

What does the Blend mode do? What it encounters transparency? Well, it does nothing. So it basically turns Off in this region out here and becomes normal. So we have normal sky in the background, and then we have a huge variation of the sky inside of the mask model. Now Saturation is a little more difficult to defend, that's not a mode that I use very often, but here is one potential use for it. Let's say that I put the model back on top and I change her Blend mode back to Normal by pressing Shift+Alt+N or Shift+Option+N on the Mac, and then what I want to do to this sky layer here is I want to create an area of low saturation toward the middle of the sky, and then high saturation out here at the corners.

So it's kind of a saturation vignetting effect. What I would do is create a new layer by pressing Ctrl+Shift+N or Command+Shift+N on the Mac and I'll call this layer saturation and then click OK, and now I'll draw a gradient inside of that layer. Now this is going to be a fairly specific kind of gradient. So I will click on the Gradient tool and then I will go up to this Gradient Bar here inside the Options Bar and I'll click on it and that will bring up to Gradient Editor. Now currently my foreground color is white for some reason, but it might be black for you, it doesn't really matter.

I am going to click on this first color stop, because either black or white would work, but I am just going to change it to gray, so we can more easily see what we are doing. So a Hue value of 0, actually the Hue doesn't matter. Saturation value of 0, that does matter, and then a Brightness value of 50% also doesn't matter but it's useful for seeing what's going on. All right so I'll click OK and then I will change that final color to some high saturation color. So I will double-click on it to bring up the Color Picker and I'll change the Saturation value to a 100. Now the Hue value doesn't matter, currently it's 0 for me, it's a red, and the Brightness value doesn't really matter either, however I would like to see what I am doing, so I'll go ahead and raise that Brightness value to a 100%, so we have full on red, click OK.

This is an ugly looking gradient, don't worry about that, it's going to serve our purposes. I am going to drag this Midpoint Skew right there, all the way to a location value of 85%, so that we are emphasizing the low saturation colors, and then I'll click OK, and now I am going to select radial gradient, make sure that the other options are set to their defaults as they are for me. So Reverse should be Off, for example, and then drag from the approximate center of the image right there in her throat I guess, out beyond the corner, like so in order to create a gradient that looks something like this, and that might not be big enough still, we will see.

Now I'll go ahead and change the mode for that Saturation layer to Saturation and we end up getting this effect where we have a low saturation sky toward the interior and we have a high saturation sky toward the outside. And if that's not enough let's say I want to emphasize the effect further, I'll go ahead and click in that Gradient Bar once again, click on one of the Color Stop so I can see that Midpoint Skew and I am going to take it even higher. I'll take it up to let's say 95%, something really high, and then I will click OK, and then I will drag from her throat down beyond the corner once again, and we get a little bit more low saturation sky there in the background.

So without the model you can see it even better. We've got a low saturation interior, high saturation corner effects. So that's a way to work. Again, I don't use the Saturation mode very often, but you can't use it to paint away saturation side of an image so that you are combining grayscale and color elements inside of one composition. So there is your basic rundown of the component Blend modes inside of Photoshop. In the next exercise, I am going to show you a couple more specific uses for Color and Luminosity.

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This video is part of

Image for Photoshop CS5 One-on-One: Mastery
Photoshop CS5 One-on-One: Mastery

192 video lessons · 43731 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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