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Photoshop CS5 One-on-One: Mastery

Tempering saturation values in Lab


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Photoshop CS5 One-on-One: Mastery

with Deke McClelland

Video: Tempering saturation values in Lab

I've saved my progress as Slightly elevated saturation.psd. Now, in the previous exercise, we applied Shadows/Highlights inside of the Lab Color model. We had to use different settings, because we were getting completely different results otherwise, but in turn, we gained more control and even more importantly, we got better results, because truth be told, the Shadows/Highlights filter works better inside Lab than it does in RGB. However, even though this effect actually looks just absolutely great to me, it's a little too saturated.
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  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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Photoshop CS5 One-on-One: Mastery
20h 1m Advanced Sep 30, 2010

Viewers: in countries Watching now:

In the all-new Photoshop CS5 One-on-One: Mastery, the third and final installment of the popular series, join industry expert and award-winning author Deke McClelland for an in-depth tour of the most powerful and empowering features of Photoshop CS5. Discover the vast possibilities of traditional tools, such as masking and blend modes, and then delve into Smart Objects, Photomerge, as well as the new Puppet Warp, Mixer Brush, and HDR features. Exercise files accompany the course.

Recommended prerequisites: Photoshop CS5 One-on-One: Fundamentals and Photoshop CS5 One-on-One: Advanced.

Topics include:
  • Using masks and blend modes in radically new ways
  • Mastering the Pen tool and Paths panel
  • Transforming and maximizing Smart Objects
  • Employing Smart Filters to create complex effects
  • Exploring the capabilities of Bristle brushes and the Mixer Brush
  • Merging multiple images into seamless panoramas
  • Exploring the full range of luminance with HDR Pro
  • Recording actions and batching-processing images
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Tempering saturation values in Lab

I've saved my progress as Slightly elevated saturation.psd. Now, in the previous exercise, we applied Shadows/Highlights inside of the Lab Color model. We had to use different settings, because we were getting completely different results otherwise, but in turn, we gained more control and even more importantly, we got better results, because truth be told, the Shadows/Highlights filter works better inside Lab than it does in RGB. However, even though this effect actually looks just absolutely great to me, it's a little too saturated.

So this guy's face is a little bit too ruddy. The background's too yellow. The sea is too greenish, that kind of thing. So we just want to temper the colors a little bit, take the Vibrance down essentially. However, if you were to click on the Smart Object thumbnail in order to make it active and then drop down here to the Black-White icon and try to choose Vibrance, you'll notice it's dimmed. Vibrance doesn't work inside of Lab, which is kind of ironic, because the whole idea behind Vibrance is it's designed to simulate the way Saturation, reduction and enhancement works inside the Lab mode, but it doesn't work inside the Lab mode, it only works inside RGB.

So if you want to get the effect of Vibrance while you're working in Lab mode, you need to apply Levels or Curves. Now, Levels is the simplest way to do it, so that's the command we're going to use. What I suggest you do however, so that you can name the layer as you create it, I suggest you press the Alt key or the Option key on the Mac before you click the Black-White icon, then hold that key down until you choose Levels. Then we'll go ahead and call this layer naturalizer, let's say, because we're trying to make the colors more natural. Click OK. We're not going to modify the Lightness Channel, by the way, because there's really no sense in doing that.

You know, I think I'll go ahead and move these panels, so that I can see the guy's face, so that the panels aren't covering up his face as I work. Now, we don't need to change Lightness, as I say that would just brighten or darken the luminance information inside the image. We're interested in changing the Saturation. This color saturation lives here inside the a and b Channels. So once again, a is your turquoise to pink information, that is the Tint information, and b is your blue to yellow information, that is the Temperature information. Now, if I switch over to a, check this out.

We've got a very small Histogram. This is true always for the a and b Channels. Most of the Luminance information is trapped right there in the center, because were we to spread out that Histogram, like so, we would increase the heck out of the Saturation levels inside the image. Notice now, you can really see those turquoise and pinks are popping. The turquoise is over here with the Black slider triangle. Notice that affects that turquoise/green. Then the White slider triangle is controlling the intensity of the pinks or the magentas if you prefer.

Now, what we want to do is diminish the contrast. So right now by changing the Input Levels here inside the Adjustments panel, we're actually increasing the Saturation of the colors. Again, that's not what we want. So I'll go ahead and reset these guys back to 0 and 255 respectively. Instead, we're going to modify the Output Levels, because if we essentially reduce the contrast of this channel, like so, we're going to leach the Saturation out of that channel, so we're going to bunch up the Luminance information even more toward the center of the Histogram.

What that means is we're going to lose all that Tint information and we're just going to see Temperature in the background. All right, so we don't want to go that far either, but I just want to give you a sense of what we're trying to accomplish here. I'm going to click inside of the first Output Levels value. And I'm going to press Shift+Up Arrow twice in a row in order to reduce the intensity of the turquoise. So we're leaching the green out of the image. Then I'm going to tab over to 255, over to the second Output Levels value, and I'm going to press Shift+Down Arrow twice in a row in order to similarly reduce the amount of pink inside the image, so that we're retaining the same color balance where the Tint information is concerned.

All right, next I'm going to move over to b and I'm going to enter those exact same values. So I'll click inside of the first Output Levels value, press Shift+Up Arrow twice in a row, like so, in order to reduce the amount of blue inside the image, tab over to 255, which is the second Output Levels value, and then press Shift+Down Arrow twice in a row to reduce the amount of yellow. All right, let's go ahead and reinstate the Adjustments and Masks panel back inside of the panel column here by dragging the panels and dropping them into place, and now let's see the contribution of this Adjustment layer.

I'll go ahead and turn it off. This is before, so it's a subtle modification. Notice that his Saturation levels are a little bit elevated. He looks a little bit sunburned. His lips look a little dry, that kind of thing. Then I'll go ahead and turn naturalizer back on, and that goes ahead and settles those colors down. Let's go ahead and compare the various versions of the image. I've got opened the original Dead calm.jpg image, so that's the original, I think now fairly obviously washed out version of this photograph. This is the RGB modification, which not only is a much higher contrast image, a little bit over the top I think in terms of the Highlights and the Shadow detail and that kind of thing, but also we have elevated Saturation levels.

Then finally, this is the more muted, more naturalistic enhancement that we were able to achieve using the various Smart Filters here inside of the Lab mode. One more thing I want you to note. I'm going to go up to the Applications bar and click on the Launch Bridge icon in order to view these various versions of the image inside of the Adobe Bridge. Notice I've got the Bridge trained on the contents of the 30_smart_filters folder. There's Dead calm.jpg. It weighs in at just 2.4 megabytes, so just a little bitty file. As soon as we applied all those static modifications, so in other words, applying the various filters; Shadows/Highlights, Gaussian Blur, and High Pass to independent pixel-based layers, which is what we did back in Chapter 17, we took the size of the file up to 60 megabytes, so we just increased the heck out of that file size.

The RGB version of the file that uses Smart Objects shaved off some of that data, so that file weighs 53 megabytes, so it's 7 megabytes smaller than the static version of the modification. Then finally, if we go all the way up here, this is the Lab version of the modification, the file we just got done creating, I have saved in advance as Lab SH objects.psd, also found inside the same folder. And notice, we lose another 11 megabytes. So altogether this guy is 18 megabytes smaller than the various static layers on top of each other.

That's pretty significant. So sometimes you're going to run into situations where Smart Objects result in larger files than your static modifications, and other times Smart Objects are going to end up being a lot more efficient. So in other words, at least in this case, Smart Objects turn out to be more efficient, not only more flexible, but more efficient than their static counterparts, and Lab turns out to be more efficient and more successful than RGB.

Find answers to the most frequently asked questions about Photoshop CS5 One-on-One: Mastery.


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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Application Support/Adobe/Adobe Photoshop CS5/Presets/Keyboard Shortcuts

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
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