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Modifying specific colors

From: Photoshop CS3 Channels & Masks: Advanced Techniques

Video: Modifying specific colors

Over the course of the next few exercises, we are going to be creating a color mask which allows us to isolate one region of color from other colors inside of an image. Specifically, we are going to be taking this image right here Dry dandelion.jpg which is found inside of the 12 Specialty folder. This image comes through us from photographer Bobby Osborne of istockphoto.com and we are going to take this woman's blouse here which is currently a kind of crimson color and we are going to be shifting it over to yellow. If you know your way around Photoshop, then you know the best command for this purpose is Hue/Saturation, because the Hue/Saturation command allows you to relegate areas of color and then shift them to different colors. The problem is that the Hue/Saturation command works in color blocks and so if a color is found in other areas throughout the image, those areas are going to get shifted as well.

Modifying specific colors

Over the course of the next few exercises, we are going to be creating a color mask which allows us to isolate one region of color from other colors inside of an image. Specifically, we are going to be taking this image right here Dry dandelion.jpg which is found inside of the 12 Specialty folder. This image comes through us from photographer Bobby Osborne of istockphoto.com and we are going to take this woman's blouse here which is currently a kind of crimson color and we are going to be shifting it over to yellow. If you know your way around Photoshop, then you know the best command for this purpose is Hue/Saturation, because the Hue/Saturation command allows you to relegate areas of color and then shift them to different colors. The problem is that the Hue/Saturation command works in color blocks and so if a color is found in other areas throughout the image, those areas are going to get shifted as well.

For example, these crimson colors that are showing up inside of her blouse also show up inside of her cheeks, along the sides of her nose, up here on her forehead, all over her lips of course, down her arm, into her fingers, and her shoulders, everywhere that she has flesh. In fact, is basically this same group of colors here. So those colors are likely to shift over to yellow along with the blouse and that's why we are going to end up needing a color mask. What we are about to do by the way, this color shifting inside of fabric is very common in the fashion industry and the catalog business and retail and so forth. You have your four or five colors that a certain outfit is available in, all of those product shots are based on a single shot, they have all been color manipulated.

Often times a color manipulation is to ensure color accuracy so that there are fewer returns, that kind of thing. So this is a pretty good skill to have under your wings here. Now, I can't say that we are necessarily going to feature this image inside of a catalog, but maybe just for aesthetic reasons in our case, we want to change the blouse color. All right. So here is what I want you to do. I want you to create a new Hue/Saturation adjustment layer. So press and hold the Alt key or the Option key on the Mac, click the Black/White icon down here at the bottom of the Layers palette, choose Hue/Saturation. That will bring up the New Layer dialog box. You can now release the Alt or Option key.

Let's call this layer Yellow like so and then click OK. Then, you'll get the Hue/Saturation dialog box up on screen. I want you to shift your edit from Master which changes all colors inside the image. I want you to shift over to reds right here, which you can do from the keyboard if you want to by pressing Ctrl+1 or Command+1 on the Mac. Now, I want you to click some place inside of the blouse in order to establish the base color for this selection. You can Shift+Drag throughout the blouse too if you want to. Although, it may not make any difference to your values that are listed down here at the bottom of the dialog box. These values represent your range.

So basically we would if we started editing here, we would edit all colors that fall between 338 degrees and 8 degrees on the big color wheel. Bear in mind that it switches over from 360 degrees to 0 degrees right there in the middle. Then we are going to have drop offs 30 degrees over to 38 degrees and then 30 degrees the other direction to 308 degrees. Just to give you a sense of where we are on the color wheel, 300 degrees is magenta, and 0 degrees is red. So this is mostly this round between magenta on the purplish side of magenta over to the slightly orange side of red, that we are changing. And you can see that represented down here in the Color Bar.

So these two straight lines here, they represent 338 and 8 degrees. So they represent our absolute region of color changing, and then these triangles represent the drop off zone right there. So I am going to change our Hue value, so that we do some color shifting here. I am going to change our Hue value to 60 degrees, so we are rotating the colors over 60 degrees from crimson to yellow. We are actually a little bit on the orange side of yellow, thanks to the rotation. This is not an absolute value, it's a relative value. So it means that we are shifting all of the colors that many degrees.

Next, I am going to take the Saturation value down to negative10%. So again, it's a relative adjustment. So we are reducing the saturation of all colors that fall inside the zone by 10%. Now, let's go ahead and make some manual modifications. After all, you can see that not only if I turn off the Preview check-box, not only are we changing her blouse, we are also changing the colors inside of her skin tone. So we are making her really yellow. She looks very jaundiced. In fact, I would say she looks on a green side of Jaundice. I don't know what that is, but she looks way too green, and her lips are kind of greenish as well. Everything has got this gullish cast and we could back off if we wanted to in order to bring back her skin tones, and notice I am doing this by dragging this light gray region between the straight bar and the triangle. So I am dragging it over and that's condensing the area of absolute modification there, meaning that all of those colors are being completely adjusted.

In doing so, while that does bring back the skin tones and it leaves the shirt, it leaves the blouse yellow, but brings the skin tones back into the pink range with the exception of the lips, which remain a little too yellow here. The problem that we have, I am going to go ahead and zoom in on her blouse quite a bit here. This is a fairly high resolution image actually. You can see that we have this fringe of red that's tracing all the way around between her blouse and the background. It's tracing around the buttons as well, and that's no good. That's just a big give away that we have been inside this image, and we've modified it. So we need to somehow change those reds and really the only way to change those edges is to change more colors inside of the image. I basically have to take this thing way the heck over at this point.

So in fact, I am going to expand my range. I am going to go ahead and drag the Vertical Bar over to 355 degrees actually, 355 degrees you can track it right there. These basically, when you are dragging these little triangles and so forth around, it's like dragging the halves of the triangles that are associated with the Luminance sliders inside of the Blending Options panel of the Layer Style dialog box. Meaning that you don't really have numerical control, you can't dial in numbers. You just have to keep an eye on those numbers if you are interested in hitting specific values.

I am going to take this far right triangle over to 75 degrees, so you can see this guy switches over to 75 degrees. Notice now that we have a nice drop off, and that red edge is completely gone now. Okay. So that's good, because I would rather change too many colors and then use a layer mask in order to back it off. That's what I am going to have to do. In fact, just not really, like I have a choice at this point. Now, I am going to drag this Vertical Bar, the left hand of the two Vertical Bars here. I am going to drag it over to 325, just to make sure we are hitting everything we need to hit, and I am going to drag this far left triangle over to 295 like so. So 295 degrees/325 degrees, 355 degrees/75 degrees, that's what we are looking for along with Hue of 60, and Saturation of negative 10.

That means that we are covering all of our bases, but it also means that she is turning green and gullish. This is before this change, this is after. So we've got the blouse, we have done a beautiful job on the blouse. We have done a dreadful job to everything else inside the image. In fact, we have pretty much changed every single color inside this image that doesn't fall inside the jeans. The blue jeans are still blue jeans. They are still the same color they were before, but we have even changed much of the background here. You can see that we have these hot green dandelions going in the background.

But anyway, go ahead and click OK in order to accept that modification. It just goes a proof that we need a color mask inside of this image and we will be creating that color mask beginning in the next exercise.

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This video is part of

Image for Photoshop CS3 Channels & Masks: Advanced Techniques
Photoshop CS3 Channels & Masks: Advanced Techniques

190 video lessons · 26372 viewers

Deke McClelland
Author

 
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  1. 2h 13m
    1. The Odyssey Continues
      2m 39s
    2. Mapping one image onto another
      7m 12s
    3. Making a custom contrast mode
      7m 10s
    4. Luminance blending
      8m 40s
    5. Forcing the visibility of underlying layers
      4m 4s
    6. Adjusting the appearance of clipped layers
      4m 34s
    7. Selecting a Blend If channel
      6m 12s
    8. Enhancing highlights by hiding them
      5m 9s
    9. Smart Object first, layer mask second
      7m 22s
    10. The Fill Opacity Eight
      4m 30s
    11. Blending Smart Filters
      7m 24s
    12. Cleaning up edges
      7m 39s
    13. More fun with luminance blending
      6m 22s
    14. A first peek at the Calculations command
      12m 11s
    15. Masking a softly focused model
      11m 46s
    16. Moving layers and masks between images
      7m 35s
    17. Matching colors
      9m 13s
    18. Building transitional blended layers
      6m 33s
    19. Restoring normal colors
      6m 50s
  2. 2h 33m
    1. Layer masks, clipping masks, and knockouts
      1m 20s
    2. Rotating and stretching
      7m 54s
    3. A jet of motion blur
      9m 18s
    4. Keyboard tricks
      5m 4s
    5. Merging sky and landscape
      6m 3s
    6. Masking an adjustment layer
      6m 37s
    7. Creating two windows into an image
      7m 42s
    8. Whitening teeth and adding other highlights
      3m 46s
    9. Mapping a texture onto an image
      4m 1s
    10. Isolating a texture with a layer mask
      6m 44s
    11. Welcome to the glass composition
      3m 18s
    12. Balancing shadows and highlights
      5m 51s
    13. Masking the glass
      7m 24s
    14. Masking the text
      9m 23s
    15. Adding and blending the goldfish
      8m 45s
    16. Assembling the perfect group photo
      5m 12s
    17. Aligning photographs automatically
      5m 26s
    18. Masking in each person's best shot
      5m 18s
    19. Masking densely packed people
      6m 17s
    20. Crafting the perfect final poster
      5m 16s
    21. From the improbable to the impossible
      1m 56s
    22. The fantastical "world of clones" effect
      10m 0s
    23. Upsampling and blurring a background
      8m 39s
    24. Adding a knockout mask
      8m 3s
    25. Choking edges with Gaussian Blur and Levels
      3m 46s
  3. 2h 27m
    1. The corrective power of masking
      1m 6s
    2. The amazing luminance mask
      7m 22s
    3. Brightening and neutralizing the eyes
      8m 22s
    4. Adjusting a nondestructive composition
      5m 52s
    5. Creating a corrective mask
      6m 4s
    6. Averaging away irregular flesh tones
      3m 52s
    7. Modifying specific colors
      7m 46s
    8. Initiating the color mask
      6m 0s
    9. Refining the color mask
      6m 40s
    10. Adjusting the edges around fabric
      7m 56s
    11. Perfecting hair
      9m 35s
    12. Sharpening with a High Pass layer
      10m 12s
    13. The also-amazing density mask
      4m 48s
    14. Adjusting the knockout depth
      8m 48s
    15. Fashioning a depth map
      6m 12s
    16. Invoking a depth mask from Lens Blur
      6m 38s
    17. The perfect depth-of-field effect
      6m 25s
    18. Sharpening an archival photograph
      7m 7s
    19. Creating an edge mask
      8m 29s
    20. Making a High Pass sandwich
      7m 46s
    21. Applying the edge mask
      6m 2s
    22. Customizing your sharpening effect
      4m 6s
  4. 2h 3m
    1. Channel Mixer, I am your father!
      1m 39s
    2. Three ways to gray
      7m 49s
    3. Meet the Channel Mixer
      8m 26s
    4. Mixing a custom black-and-white image
      7m 10s
    5. Creating a professional-level sepia tone
      5m 36s
    6. Employing the Black & White command
      8m 1s
    7. Extreme channel mixing
      4m 50s
    8. The infrared photography effect
      6m 43s
    9. Taking shadows to the brink of black
      3m 56s
    10. Elevating highlights, leeching saturation
      5m 58s
    11. Deepening a black-and-white sky
      5m 49s
    12. Infusing luminance levels with color
      5m 44s
    13. Creating an opposing colorization scheme
      4m 58s
    14. Bolstering contrast with the Green channel
      5m 37s
    15. A tiny improvement to a terrific technique
      7m 39s
    16. The simple (but wrong) approach to red-eye correction
      6m 39s
    17. Channel-mixing red pupils
      9m 18s
    18. The expert approach to red-eye correction
      5m 20s
    19. Fixing problem coronas (pupil edges)
      8m 9s
    20. Making pupils match
      4m 8s
  5. 2h 33m
    1. Chops are dead; long live maskops
      1m 37s
    2. The Calculations command
      8m 16s
    3. Blue Screen blending
      7m 40s
    4. Refining the Blue Screen mask
      5m 53s
    5. Brushing away color fringing
      7m 24s
    6. Locking the transparency of a layer
      6m 22s
    7. Nondestructive layer painting
      7m 36s
    8. How the Add blend mode works
      8m 40s
    9. How the Subtract blend mode works
      6m 43s
    10. Focus, noise, and other masking challenges
      5m 33s
    11. The Add mode in action
      7m 51s
    12. The Subtract mode in action
      8m 25s
    13. Comparing two channels with Difference
      5m 24s
    14. Enhancing the contrast with Curves
      9m 11s
    15. Gathering details with Apply Image
      9m 43s
    16. Dodge highlights, burn shadows
      6m 6s
    17. Dodge and Burn in action
      8m 24s
    18. Painting in the scalp
      10m 1s
    19. Painting away the face and chin
      4m 53s
    20. Compositing complementary images
      4m 13s
    21. Multiply, Minimum, Blur, and Apply Image
      6m 40s
    22. Crafting the final composition
      7m 7s
  6. 1h 57m
    1. Mark of the Pen tool
      1m 35s
    2. The big paths project overview
      6m 51s
    3. How to make a path
      8m 25s
    4. Corner points and freeform polygons
      8m 6s
    5. Editing paths with the arrow tools
      5m 2s
    6. Adding and deleting endpoints
      5m 15s
    7. Adding and deleting interior points
      6m 6s
    8. Converting a path to a selection
      3m 35s
    9. Converting a path to a mask
      6m 38s
    10. Smooth points and control handles
      8m 57s
    11. Making cusp points
      6m 0s
    12. Combining paths in a vector mask
      7m 55s
    13. Turning a path into a shape layer
      8m 57s
    14. Combining paths to make a layer mask
      7m 52s
    15. Mixing layer and vector masks
      10m 14s
    16. Editing character outlines as paths
      8m 39s
    17. Using the Convert Point tool
      7m 8s
  7. 3h 17m
    1. Where there's a will, there's a way
      1m 18s
    2. Masking natural cast shadows
      4m 10s
    3. Applying the cast show
      4m 2s
    4. Creating a difference mask
      3m 7s
    5. Applying an arbitrary map
      3m 50s
    6. Making the flesh mask
      7m 17s
    7. Roughing in an object mask
      6m 49s
    8. Drawing missing details with the Lasso tool
      4m 7s
    9. Combining flesh and object masks
      3m 53s
    10. Amplifying the cast shadow
      4m 10s
    11. Selectively choking edges
      3m 58s
    12. Power duplication in Photoshop
      7m 9s
    13. Masking blond hair
      5m 48s
    14. Using Levels to mask iterations
      3m 14s
    15. Drawing an iteration boundary
      4m 55s
    16. Merging the best of two Levels iterations
      4m 4s
    17. More fun with Dodge and Burn
      6m 14s
    18. Fixing edges with the Pen and Stamp tools
      7m 29s
    19. Pulling from another file with Apply Image
      4m 52s
    20. Blending clipped layers independently
      5m 43s
    21. Building the flame mask
      9m 22s
    22. Amplifying the flame
      3m 53s
    23. Masking an image against a busy background
      5m 15s
    24. The Freeform and Magnetic Pen tools
      6m 52s
    25. Masking with arbitrary maps
      9m 32s
    26. A more deliberate approach to arb maps
      10m 51s
    27. Combining arb maps with paths
      9m 28s
    28. Masking with the help of the History brush
      11m 38s
    29. Creating a High Pass mask
      7m 25s
    30. Coloring in the outlines
      8m 31s
    31. Mastering Calculations
      7m 29s
    32. Subtracting and merging the beak
      11m 6s
  8. 1h 33m
    1. The meaning of bit depth (and why you care)
      2m 50s
    2. Scanning line art in 8-bit and 16-bit
      5m 9s
    3. Measuring the 16-bit difference
      8m 9s
    4. Correcting 8-bit images in the 16-bit space
      9m 31s
    5. Opening a raw image directly in 16-bit
      6m 13s
    6. Editing in Camera Raw, opening in 16-bit
      8m 22s
    7. 16-Bit/channel vs. 32-bit/channel (HDR)
      8m 18s
    8. Working with auto-bracketed photographs
      5m 6s
    9. Using the Merge to HDR command
      6m 0s
    10. Adjusting the HDR preview
      6m 0s
    11. Building a 32-bit sky mask
      6m 29s
    12. Properly exposing land and sky
      4m 25s
    13. Modifying a layer mask in 32-bit
      4m 56s
    14. Converting to and correcting in 16-bit Lab
      12m 7s
  9. 2h 8m
    1. Photoshop flirts with the third dimension
      1m 13s
    2. The displacement map
      8m 24s
    3. Making custom waves
      7m 14s
    4. Creating a Gaussian distribution
      4m 32s
    5. Using a two-channel displacement map
      6m 28s
    6. Creating a rustic edge effect
      8m 21s
    7. Distorting and shading with a DMap
      6m 34s
    8. Moonlight reflecting off water
      8m 48s
    9. Mapping the reflection onto the water
      7m 7s
    10. Dipping the moon into the water
      6m 18s
    11. Turning flesh into stone
      7m 55s
    12. Wrapping the stone around the face
      7m 27s
    13. Softening a displacement map
      8m 5s
    14. Making a repeating watermark pattern
      9m 22s
    15. 3D embossing with Lighting Effects
      10m 48s
    16. The amazing credit card type effect
      6m 56s
    17. Lightening the credit card letters
      6m 16s
    18. Wrapping the background around the text
      6m 27s
  10. 1m 43s
    1. Goodbye
      1m 43s

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