Photoshop CS6 One-on-One: Advanced
Illustration by Richard Downs

Selective hue, saturation, and luminance


Photoshop CS6 One-on-One: Advanced

with Deke McClelland

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Video: Selective hue, saturation, and luminance

In this movie, I'll show you how to selectively modify the Hue Saturation and Luminance properties of specific ranges of colors. I'm working inside a file called Canal boat.dng, I have just one image open, which is why I am not seeing the vertical strip of thumbnails over there on the left-hand screen. I will start by developing the image, so I will click on this flyout menu icon, choose Apply Snapshot and then choose ACR7 conversion, and we end up getting this much more vibrant photograph. All right, I am going to zoom in on Colleen here and beautiful as she is, she does have some problems going on.
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  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 59s
    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 51s
    12. Setting anchor points in the pasteboard
      6m 8s
    13. Using the Convert Point tool
      6m 43s

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Watch the Online Video Course Photoshop CS6 One-on-One: Advanced
11h 8m Advanced Sep 12, 2012

Viewers: in countries Watching now:

The third part of the popular and comprehensive series Photoshop CS6 One-on-One follows industry pro Deke McClelland as he plunges into the inner workings of Adobe Photoshop. He shows how to adjust your color, interface, and performance settings to get the best out of your images and the most out of Photoshop, and explores the power of Smart Objects, Shadows/Highlights, and Curves for making subtle, nondestructive adjustments. The course dives into Camera Raw to experiment with the editing toolset there, and returns to Photoshop to discuss toning, blur, and blend modes. Deke also teaches tried-and-true methods for sharpening details and reducing noise, as well as creating quick and accurate selections with Quick Mask, Color Range, and Refine Edge commands.

Topics include:
  • Adjusting the color settings in Photoshop
  • Placing and blending Smart Objects in a scene
  • Transforming and warping vector objects
  • Correcting for lens distortion
  • Mitigating halos and enhancing contrast with Shadows/Highlights
  • Adding and editing points on a curve
  • Editing multiple images in Camera Raw
  • Creating a pro-quality sepia tone or quadtone
  • Colorizing with blend modes and opacity
  • Reducing and smoothing over noise
  • Creating depth-of-field effects with blur
  • Selecting with Color Range and Quick Mask
  • Perfecting a mask with Refine Edge
  • Drawing paths with the Pen tool
  • Converting path outlines to vector masks
Photoshop Camera Raw
Deke McClelland

Selective hue, saturation, and luminance

In this movie, I'll show you how to selectively modify the Hue Saturation and Luminance properties of specific ranges of colors. I'm working inside a file called Canal boat.dng, I have just one image open, which is why I am not seeing the vertical strip of thumbnails over there on the left-hand screen. I will start by developing the image, so I will click on this flyout menu icon, choose Apply Snapshot and then choose ACR7 conversion, and we end up getting this much more vibrant photograph. All right, I am going to zoom in on Colleen here and beautiful as she is, she does have some problems going on.

She's got this little bit of pink at the top of her ear and then she's got some purple round her eyes and those are once again indications of Chromatic Aberration and Color Fringing, which you are going to run into a lot. So we might as well solve those problems right now, by switching over to Lens Correction panel, making sure that the color tab is active, then I will turn on Remove Chromatic Aberration and that gets rid of a lot of our problems right away. We still have a little bit of purple around the eyes though, so I am going to increase that Purple Amount value to 10 and everything clears up.

At least where Colleen is concerned, and if I zoom out here, we've got a weird problem associated with this boat. Notice that we have these dark edges around some of the details and they really shouldn't be there. Now we can't correct those edges using Defringe, so I will switch a couple of panels over to HSL grayscale, and notice we have the sub-panels Hue, Saturation, and Luminance. Now remember back in the Fundamentals Course, Chapter 8, when I was showing you how to use the Hue/Saturation Adjustment, we were able to selectively modify those spray cans using the Target Adjustment tool.

So I Ctrl+Drag or Cmd+Drag down that green spray can to change it to a totally different color. Well that's the same idea behind these sliders here, except that in one regard we have more control, because we have more colors to work with. We don't have cyan, but we do have an addition of Oranges, Aquas and Purples. On the other hand we have a more limited range of Hues on a slider by slider basis. So you can change your Aquas from Green to Blue, but you can't change them to say Red. And the idea here is where Camera Raw is concerned, we are not going for a special effect, we are trying to correct the photograph.

So I am going to switchover to the Target Adjustment tool, which you can get by pressing the T key and because the Hue panel is up, the tool immediately switches its behavior to Hue. If I were to choose Saturation instead, that would actually switch me to the Saturation tab, and if I were to choose Parametric Curve, that would switch me to the Tone Curve panel. Anyway, I want to be working on Hues of course, so I will switch back and now I'll go ahead and click and drag inside the Blue. Now you can scrub side to side or up and down, it's totally up to you, but once you begin dragging you make a sort of commitment.

So for example, when I start the drag, I see, I can go in any direction, but once I drag to the right for example, to make those Blues sort of Purple, then I see this back and forth arrow cursor, indicating that I now have to drag horizontally. Okay, in this case, I have gone ahead and made my Blues and my Purple, so instead of sticking to a single range of colors, the way that Hue/Saturation command does, any changes you make with the Target Adjustment tool here inside Camera Raw, can bleed over into multiple values, so I'm changing both my Blues and my Purples.

Anyway, I am losing those strips, which is great, but I don't want the boat to be Purple. In fact, I don't want it to look much different color wise than it did before. So I'm going to drag back over here to the left this time and those lines come back and then they start going away at a Blues value of -10, as you can see here. All right, I am going to go ahead and reinstate my Purples value to 0, because we don't need to change any of the Purples. And I'll zoom out a little bit, so that we can take in the scene and see what I've managed to do across the entire scene, which is very important.

So I will turn off the Preview checkbox, those stripes come back, we don't want them of course, we're also seeing the color of this boat in the background change a little bit and there are some Blues inside the cars, in the reflections on the camera and so forth. Anyway, I can live with those, so I will press the P key to turn the Preview checkbox back on. All right, now let's make some Saturation and Luminance Adjustments. I will click on the Saturation tab and that's all it takes to change the behavior of the Target Adjustment tool. It now changes to Saturation as well, as you can see here in the pop-up menu.

And so, what I want to do this time is slightly reduce the Saturation of that scarf, so I'm going to drag this time down let's say, and notice that I get a up down cursor instead, if I drag up, I am going to increase the Saturation of not only the scarf, but of all the Red details and Colleen's face as well, which is pretty unfortunate. So let's not do that. I will go ahead and drag down until I reduce the Reds value to -10 as you can see over here in the Saturation panel. I have also affected the Magentas, I don't think I really care about them, so I will set that to 0.

So notice I am making some pretty small modifications across the board here. All right, let's finish things up with Luminance. I want to make the blue boat darker, so I am going to click in the Blue and drag down and I am going to take that Blues value to -20, and again, I've affected Purple, so I'll go and reset the Purples value to 0. So -20 for Blue, for Luminance we've got -10, for Saturation for Reds, and we've got -10 for Blues for Hue, and we end up achieving this effect.

So I will turn the Preview checkbox off, this is what the scene would look like without those modifications and then I will press the P key to turn that checkbox back on, and this is what the scene looks like with those modifications. And by the way, the reason I took the Luminance of the Blues down a little bit is because I wanted this boat to look more like it looked in the first place. All right, I am going to press the Z key to switchback to the Zoom tool and zoom on in once again on Colleen. One last final trick that doesn't really have anything to do with what I've shown you so far, let's say you want to see a before and after of everything you've done during a session inside of Camera Raw, then you switch to the Snapshots panel, and now the Preview checkbox, if I turn it off by pressing the P key, turns off everything.

So this is the original version of the image, before I developed it and before I applied any of my other modifications. And if I press the P key again, this is the finished version of the image. In part, thanks to my ability to selectively modify the Hue, Saturation, and Luminance on a color by color basis.

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