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Photoshop CS6 One-on-One: Fundamentals is a concise and focused introduction to the key features in Photoshop, presented by long-time lynda.com author and Adobe veteran Deke McClelland. This course covers the image editing process from the very beginning and progresses through the concepts and techniques that every photographer or graphic designer should know. Deke explains digital imaging fundamentals, such as resolution vs. size and the effects of downsampling. He explains how to use layers to edit an image nondestructively and organize those edits in an easy-to-read way, and introduces techniques such as cropping, adjusting brightness and contrast, correcting and changing color, and retouching and healing images. These lessons distill the vast assortment of tools and options to a refined set of skills that will get you working inside Photoshop with confidence.
In this movie, I'll introduce you to the final color adjustment command that we will be seeing in this chapter and that's Hue/Saturation. I have created this demo file called Spray paint cans.psd. It's based on an image from the Fotolia Image Library about which you can learn more at fotolia.com/deke, and I've gone ahead and added an inset version of that Color Wheel, starting with red on the right-hand side and wrapping around the visible spectrum in a counter-clockwise fashion. Now the colors are most highly saturated around the perimeter and they become increasingly less saturated toward the center culminating in gray.
Now the first thing I'm going to do is bring in my Adjustments panel, and then I will click on the Hue/Saturation icon which is right next door to Color Balance and that brings up the set of options here. And for starters, we've got three sliders: Hue, Saturation, and Lightness. The Hue slider is perhaps the most remarkable because if I drag it, you can see all the colors in the image rotate metaphorically, as well as quite literally here inside the Color Wheel. So check out that Color Wheel as I modify the Hue value.
The colors are rotating into different locations. So what you're doing with this Hue value is rotating all the colors inside of a range from -180 degrees to +180 degrees over on the right-hand side. I'll go ahead and reinstate that value to 0. Your other option is to change the saturation of the colors so you can make those colors as vivid as humanly possible, and notice when I crank that Saturation value up to +100, even the low saturation colors in the middle of the wheel becomes saturated.
And of course, if I reduce the Saturation value to -100, I end up changing the entire artwork to grayscale. Note by the way that we have this Reset option at the bottom of the Properties panel, and if you click that, you will go ahead and reinstate all the values to 0. The value that you're less likely to use at least on a global scale is Lightness, because notice if I reduce the Lightness value, I'm compressing the luminance range, so that white now becomes the medium shade of gray, black stays black, and everything else gets crunched in between.
The opposite happens when you increase the Lightness value. So if I take the value up to +50%, then what were formally black details inside the image become 50% gray, and the rest of the luminous range gets compressed. So where this adjustment is concerned, you're best off leaving the Lightness option alone and adjusting Hue and Saturation independently. Meanwhile, you have what's known as a Target Adjustment tool; this little hand with a pointing finger. And notice that it has two little arrowheads that are pointing either left or right.
Well, here is how they work. Let's say I want to modify the color intensity of the green can independently of the others. If I drag to the right, then I'm going to increase the saturation of that can and that can only, as well as any other green details such as the reflections in the neighboring cans. If I drag to the left, then I'm going to reduce the saturation of that green can independently of the other colors, and Photoshop even shows me that I'm modifying the greens.
So instead of changing the master colors, in other words, all colors inside the image, I'm just changing the greens and nothing more. Notice that Photoshop divides the color range into those same primaries that we saw when working with color balance, that is, we have reds, greens, and blues as well as their complements, yellows in the case of blues, cyans in the case of reds and magentas in the case of greens, and those are the primary colors in the world of RGB imaging.
I'm going to go ahead and click on that Reset button once again in order to reinstate the saturation of that green can. You can also use the Target Adjustment tool to selectively modify hues. So let's say I want to change the color of the green can. If I press the Ctrl key or the Command key on the Mac, and drag to the right, then I'm not only going to switch to greens as you can see there on the panel, but I'm increasing the Hue value which goes ahead and rotates the colors in a counter-clockwise fashion. So in this case, I've replaced this range of greens here inside the Color Wheel as well as inside the can with blues, even though we end up getting kind of a purplish effect on screen.
If you want to rotate the hues in the other direction, once again press the Ctrl key or the Command key on the Mac, and drag to the left instead and you will end up applying a negative Hue value which rotates the hues in a clockwise fashion, so we're replacing that range of greens with reds instead. Then if we wanted higher saturation reds, then you could just go ahead and drag without pressing the Ctrl key or the command key on the Mac, in order to increase those Saturation values, and you can see we've got something of an orange can.
If I want to make it red instead, I would Ctrl+Drag, or Command+Drag a little more to the left, and we end up with this effect here. Now, we have some choppy transitions and that's because we made some very aggressive modifications, as witnessed by these values here inside the panel. Usually, you don't go that far with the edits, as I will show you when I demonstrate a practical application of this feature in the next movie.
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