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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.
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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