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In this exercise, I am going to introduce you to the fourth panel of options, HSL/ Grayscale, and these various sliders here allow you to adjust the hue, saturation, and luminance of an image on a color-by-color basis. These kinds of selective modifications are analogous to what you can do with the Hue/Saturation command inside Photoshop. Remember back in the Fundamentals portion of the series, we took that model holding an umbrella and we change the color of her sweater? And you can do that kind of thing here inside of Camera Raw, but you can't go as far with the effect.
So you can take a blue sweater, let's say, and you can make it more cyan or more violet, but you couldn't make it orange, and a rationale is that you're trying to correct the image, not apply a special effect here inside Camera Raw. To that end, I have got an image opened. Canal boat.dng. It's found inside the 24_camera_raw folder, and we were seeing the image subject to the last changes I applied to it. if you didn't save your changes for whatever reason, then you can load mine by going to the flyout menu choosing Apply Snapshot and choosing Basic adjustments.
And then you'll be all caught up. Now the problem with this photograph is that we have some sort of aberrantly colored edges. For example, notice these purples around the models eye right here, and there is some purples leeching into her hair and along the top of her ear, as well. So what I'm thinking of doing is modifying the hue and saturation of those Purples to bring them more in line with the other details inside the image. That's going to change all the purples across the board, but I'm not sure that as colorful as this image is, that the purples are making an actual positive contribution.
So with the HSL panel up onscreen and the Hue sub-panel active, I'm going to ahead and grab my Targeted Adjustment tool, and you can see that it has many different behaviors. Right now, Hue is automatically selected because I am seeing the Hue options, and that's exactly what I want. So I am going to take this tool and by the way, you can either scrub it back and forth or up and down, but once you drag one way or the other, you make a kind of commitment, as you are about see. So I am go ahead and drag right there along this purple edge underneath her eye.
I am going to drag over, let's say, to the right actually and notice what I mean by that commitment. You can see a back and forth cursor now. If I'd started by dragging up and down, I would've seen an up and down cursor. Anyway, notice that by dragging to the right or up, I increased my Hue values and specifically I nailed the purples and the magentas, and I took them up to +17 and +32. That just happens to be the results that I got. That's a little too much actually. I'm going to take the purples value down to +15, and I'm going to take the magentas value down to +25 like so, and we end up dispelling some of the purple nasties there inside the face details.
Not quite everything. So I'm going to switch back over to Saturation, and the thing is if went too far with these values, then we'd end up getting some weird colors inside the coat because we do have some purples showing up here and there inside of the coat texture as you can see. There is a lot of noise there as well, which we will correct in a second because all of these options work together as you are about to discover. Anyway I'm going to switch over to Saturation and using the Target Adjustment tool once again, I am going to drag. This time, let's drag down instead of to the left just for the sake of variety, and you can say that I have an up and down arrow cursor. All right.
So once I release, I appear to have knocked the Purples down to -6 and the Magentas down to -17. All I really want, based on my experience with this image is a Purples value of -20, and then I'm going to leave the Magentas alone. All right now, that doesn't quite take care of everything where this image is concerned, and I want you to have a sense of what other options you might take advantage of. In case your HSL changes aren't doing everything you want them to do. For example, let's go ahead and take a look at this coat.
It is noise world inside of this jacket. So I'm going to switch over to the Detail panel, and for starters, I'm going to take this Color noise option, I'm going to take it way higher, up to 75, and that's going to wipe out a lot of the color noise inside of that jacket. There was copious color noise before, and then I'm going to take Luminous value up to 25 and by the way, you'll want to be, if you're working along with me and you want to see the results of your changes, you'll want to make sure that you're zoomed into 100% or higher. I'm going to leave my Luminous Details set to 50 and my Luminance Contrast for all the good it does set to zero, and we have much smoother detail inside the jacket now.
All right. Now I'm going to scroll up and zoom in actually another click here to 200% so that you can see we still have his weird edge on the ear, and it's very possible, even though I was telling you that chromatic aberration tends to happen at the outskirts of the image more than the interior, more than the center of the image that is, it's very possible even at the center of the image. These kinds of weird effects here are ultimately the results of chromatic aberrations. So let's switch over to Lens Corrections. And the values that I found to work for this image are -50 for the Red/Cyan Fringe, and then I'll tab down here and enter 5 for the Blue/Yellow Fringe and notice how that weird little purplish edge on the top of the ear has totally gone away, and we have better color inside of the eyes as well.
So that's one scenario where you may find the HSL options useful. In the next exercise, I'm going to show you another really awesome use for HSL, and that's the deepen the color of sky.
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