Isolating Colors Using Hue/Saturation Adjustment
Ben Willmore
Lesson Info
43. Isolating Colors Using Hue/Saturation Adjustment
Lessons
Introduction To Adobe Photoshop
04:05 2Bridge vs. Lightroom
06:39 3Tour of Photoshop Interface
18:21 4Overview of Bridge Workspace
07:42 5Overview of Lightroom Workspace
11:21 6Lightroom Preferences - Saving Documents
08:19 7How To Use Camera Raw in Adobe Photoshop 2020
05:10 8Overview of Basic Adjustment Sliders
13:09Developing Raw Images
30:33 10Editing with the Effects and HLS Tabs
09:12 11How to Save Images
03:37 12Using the Transform Tool
04:48 13Making Selections in Adobe Photoshop 2020
06:03 14Selection Tools
05:55 15Combining Selection Tools
07:37 16Using Automated Selection Tools
17:34 17Quick Mask Mode
05:07 18Select Menu Essentials
21:28 19Using Layers in Adobe Photoshop 2020
13:00 20Align Active Layers
07:29 21Creating a New Layer
06:15 22Creating a Clipping Mask
03:02 23Using Effects on Layers
11:24 24Using Adjustment Layers
16:44 25Using the Shape Tool
04:39 26Create a Layer Mask Using the Selection Tool
04:39 27Masking Multiple Images Together
15:15 28Using Layer Masks to Remove People
10:50 29Using Layer Masks to Replace Sky
10:04 30Adding Texture to Images
09:11 31Layering to Create Realistic Depth
05:35 32Adjustment Layers in Adobe Photoshop 2020
05:29 33Optimizing Grayscale with Levels
10:59 34Adjusting Levels with a Histogram
03:37 35Understanding Curves
06:18 36Editing an Image Using Curves
18:41 37Editing with Shadows/Highlights Adjustment
07:19 38Dodge and Burn Using Quick Mask Mode
07:14 39Editing with Blending Modes
08:04 40Color Theory
05:59 41Curves for Color
16:52 42Hue and Saturation Adjustments
08:59 43Isolating Colors Using Hue/Saturation Adjustment
13:33 44Match Colors Using Numbers
16:59 45Adjusting Skin Tones
05:25 46Retouching Essentials In Adobe Camera Raw
10:52 47Retouching with the Spot Healing Brush
07:53 48Retouching with the Clone Stamp
06:51 49Retouching with the Healing Brush
04:34 50Retouching Using Multiple Retouching Tools
13:07 51Extending an Edge with Content Aware
03:42 52Clone Between Documents
13:19 53Crop Tool
10:07 54Frame Tool
02:59 55Eye Dropper and Color Sampler Tools
08:14 56Paint Brush Tools
13:33 57History Brush Tool
06:27 58Eraser and Gradient Tools
03:06 59Brush Flow and Opacity Settings
04:17 60Blur and Shape Tools
11:06 61Dissolve Mode
09:24 62Multiply Mode
15:29 63Screen Mode
14:08 64Hard Light Mode
14:54 65Hue, Saturation, and Color Modes
11:31 66Smart Filters
11:32 67High Pass Filter
13:40 68Blur Filter
05:59 69Filter Gallery
07:42 70Adaptive Wide Angle Filter
04:43 71Combing Filters and Features
04:45 72Select and Mask
20:04 73Manually Select and Mask
08:08 74Creating a Clean Background
21:19 75Changing the Background
13:34 76Smart Object Overview
08:37 77Nested Smart Objects
09:55 78Scale and Warp Smart Objects
09:08 79Replace Contents
06:55 80Raw Smart Objects
10:20 81Multiple Instances of a Smart Object
12:59 82Creating a Mockup Using Smart Objects
05:42 83Panoramas
13:15 84HDR
11:20 85Focus Stacking
04:02 86Time-lapse
11:18 87Light Painting Composite
08:05 88Remove Moire Patterns
06:11 89Remove Similar Objects At Once
09:52 90Remove Objects Across an Entire Image
05:46 91Replace a Repeating Pattern
06:50 92Clone from Multiple Areas Using the Clone Source Panel
10:27 93Remove an Object with a Complex Background
07:49 94Frequency Separation to Remove Staining and Blemishes
12:27 95Warping
11:03 96Liquify
14:02 97Puppet Warp
12:52 98Displacement Map
10:36 99Polar Coordinates
07:19 100Organize Your Layers
11:02 101Layer Styles: Bevel and Emboss
02:59 102Layer Style: Knockout Deep
12:34 103Blending Options: Blend if
13:18 104Blending Options: Colorize Black and White Image
06:27 105Layer Comps
08:30 106Black-Only Shadows
06:07 107Create a Content Aware Fill Action
08:46 108Create a Desaturate Edges Action
07:42 109Create an Antique Color Action
13:52 110Create a Contour Map Action
10:20 111Faux Sunset Action
07:20 112Photo Credit Action
05:54 113Create Sharable Actions
07:31 114Common Troubleshooting Issues Part 1
10:23 115Common Troubleshooting Issues Part 2
07:57 116Image Compatibility with Lightroom
03:29 117Scratch Disk Is Full
06:02 118Preview Thumbnail
02:10Lesson Info
Isolating Colors Using Hue/Saturation Adjustment
So let's take a look at how we can change some images using hue and saturation. Here we have fall color starting. You see, we have some green leaves that have some red mixed in. What if I wanted this to be a picture that had no red in the leaves? Instead, I want the entirety of all leaves to be green. Well, with hue and saturation, that might not be too difficult. I'm gonna come in here and do a hue and saturation adjustment layer. I just need to double check that the hand tool has turned on. Remember, if yours isn't to come up here and turn it on automatically with that, that way, every time it will be turned on, I'm gonna come up here and click on something that should be read in my image to isolate the Reds. And then if I drag right now, that's gonna affect saturation. I want to affect Hugh Hughes basic color. And for that I hold on the command key control on windows, and I click right on that red leaf and I drag left or right, depending, Um, what color I want. And now I can get all...
those formerly red areas to be green. Once I get him to be green, though, to me it looks like to intensive a green. So I'm gonna bring the saturation a little lower to see if I get it to more, blend in with the other colors there, there and if need be, I couldn't make a brighter or darker that needs that to blend in as well. If I turn off the eyeball at the bottom of this adjustment area, then you can see before and after. I'll throw away that adjustment and let's look at a different scenario. What if, instead, I want all the green portions of the leaves to be yellow or orange so it looks more like an intense fall. So we have the red tips that are there, but the middle portion, instead of being green, will be yellow or orange. Well, let's go here to hue and saturation. Make sure the hand tools turned on. Come out here and click within the green area. That's going to change the menu up here. You might not find it changing to greens because oftentimes things you think of is being green, a really dark yellow Most people aren't used to thinking about dark yellow, but it might be. Then I'm gonna adjust the hue. Now, when you adjust the hue, you don't have to totally guess at what direction to move it. If you look at this, you it's always gonna be starting in the middle, always pointing at Scion. You can ignore the fact that is pointing at Siam instead. Look at the bar and find the color you're about to change. I'm about to change the greens, so I find the greens in here. Then look at the color you want to end up with in the same bar. And just ask yourself, what direction? If you started with green, would you need to travel in to make your shortest distance to that color? Well, it looks to me if I want to make this yellowish orange, I'd have to move from green towards the left, and it tells you approximately how far, too. If this is where green is and this is where yellow oranges. That's exactly how far I'd have to move the slider. It's just that it starts out pointing here in the middle. I'm still just gonna move it right over like that. And even though it's pointed green, that doesn't mean anything. It means How far did I move it from where it started in what direction? Then, if you were to think about it as if you started at green and move the same direction the same amount. That's what you're ending up with. But just look at your picture. You'll see it changing. So there I could get him all to be reds. But I want a kind of variation on what kind of an orangish. Once I get it into that kind of orangish color, it's not bright enough. So let's bring up the lightness and then they're not vivid enough. So let's bring up the saturation. And then I confined tune everything. But now I think it's starting to feel like more of an intensely fall colored time. I find, though the reds look a little too colorful. Well, after you've adjusted one color in here, you don't have to use separate human saturation adjustments. If you change this menu to a different color like reds, then you can adjust more than one color. You can adjust up to six colors in one adjustment So now I can take the Reds and say I want them to be less colorful. Bring that down a little. Maybe. I say I want them to be a little more orange ish, whatever you like. So I have this image printed in a tread above the doorway that leads to my kitchen. And we have, Ah, modern home. The doors in our house are actually painted. This kind of darkish will not dark a vivid darkish orange orangish red color in with this, right above the entrance to our kitchen. I wanted that background that's there to match the color of our doors because you could see him in the same view, then insider kitchen. Our kitchen is a little different. We have some green cabinets and I wanted the color of the bicycle to match the green cabinets that are inside the kitchen. Therefore, when you're about to walk into the kitchen, you see this sign right above the door, and it looks like it matches everything as if it was created for it. In reality, this is a literal sign, that is, and I think Kabo in Mexico, and, uh, I took a photograph of it I just happen to use it above my kitchen. So let's see, How can I find Tune this? I'm gonna come in here and do hue and saturation. The little hand tool is active, so I'll click on the red background. Then, if I need the red to be a little bit more orangish red. I look at this bar and I find Red to begin with. It's here and there, and I say, Where's orange? In what direction would have to travel into get toe orange in the shortest distance possible while here's a red in orange would be going to the right just a little bit. So that means I want to take the huge slider and move it to the right just a little bit. And so I confined tune that read. But when I do, it doesn't seem like the entirety of what's in there is changing. This area in here doesn't seem to be changing. It could be that if you look at it, you see these bars well. Part of the wall might be this color, but part of it might be over in here. Just be a darker shade of that. Well, you can actually grab these things, move it like this or grab its edges and move it like this to say I want to work on a wider range. The little outer bars means let's fade into these colors. So what you get is everything that's above the middle bar gets the full force of the adjustment you're asking for. Anything is above the dark bars on the end. That's where it fades out. So starting with this color, it starts applying less and less and less until it gets too right here. Same with on this side, less and less and less and talk is to there. So if I could get that to spread out to include those other colors, I can usually get it to work. Fine. But there is a way to be more precise with ease if I could move around like this and really control it now, first off, they only show up after color has been chosen either from this menu or by clicking with hand on your picture. If this is set to master, those don't show up. That's the thing most people forget. They expect those to be there right away, so either have the hand tool active and click on your picture or shoes from the pop up menu, and they'll be there now. Let's learn how to be more precise with them, how to more precisely isolated color. And here's how you can do it. Grab one of the outer sliders and push it in towards the others until they all slam together so there is tightly packed together as they could possibly be. Therefore, you can isolate the narrowest range of colors possible. Once you've done that, this is no longer going to be above or below the color you're wanting. It's no longer above the reds. Don't worry about that. Just get Thies to slam together and remember to get him to show up. You need to have this set to something other than master. Doesn't matter what you chose, but that's what gets the used to show up. Once you have them slammed together, then these three eye droppers are going to be your buddies. Grab the one on the far left and watch what happens when I click within my picture. I'll click here. Do you see how they just jumped to that color? Or if you see a color in here that looks kind of yellowish green. If I click there, you see how it jumped over, jumped over. It jumps to whatever color you click on. But that's a really narrow range of colors, and I doubt that picks up the variation and color we have in this wall. We can find out, though, by making a radical change to the picture. What I usually do generically is I bring the saturation all the way down, which should turn your image black of white, whatever doesn't turn black and white. You have an isolated yet well, instead of manually splitting those sliders apart to increase the range, I can instead come in here and use the plus eyedropper. When I use the plus, I drop her. If I click on an area like down in here, it will find it in here. In it'll spread apart those inner little bars so they're wider include that color. So I just clicked in its spread it apart and click again. I could even drag to say, Look at all these colors and come up here, click in. Therefore, I'm spreading that out, trying to get it to isolate the full range of colors that I'm attempting to change. And once you do, you probably want to come in here and just pull out these ends a little bit. So it fades into the surroundings. Otherwise, you can get some abrupt edges that don't look natural. So I'll probably put out at least that far. Now I brought saturation all the way down just because it would be easy to see if it was a colorful image. And I'm gonna then bring saturation back up to where it was by taping a zero in for the number for saturation. And now I can move the hue around to choose the basic color. And if I wanted to get that to match my doors, I might need to go a little bit towards the right. It might need to go a little bit less colorful, maybe a little bit brighter. Fine tune all these, but whatever it is, I could most likely get it to match my door. Then I want to get the kind of scion colored bicycle to instead be green because I have green cabinets in my kitchen. I wanted to match, so I'm gonna change the menu up here to anything I have not already adjusted. It doesn't have to be Science doesn't matter. So I haven't adjusted the greens he had. I'll just choose that and then I'm gonna go through the same process. I'm going to slam those sliders together and then grab the eyedropper. I'm going to click on the color of the bicycle so that centers it on that color, and it's kind of weird. Check it out. That color, perhaps all the way around the edges could remember. This is like a color wheel in the ends of the same color. You could even come in here if you want to get funky. If I could remember, if you hold on the command key, you can spin this, so if it's ever on the ends, you can move it. You don't have to know that, but command dragging on this control dragging and windows would do that. I'm gonna again bring my saturation all the way down just to see how much becomes black and white. And it's not much. So I grabbed the eyedropper with the plus sign on it, and I click on any part of the bicycle that does not look black and white. Anything that still has a hint of blue ish scion in it starting to look black and white. I think so. Then I'll bring saturation back up to the middle by selecting this number and typing in zero. Then I want green, So I'm gonna move the hue over until I find a green. Ah, I wanted to be a little darker green, so I bring that down and then I just how colorful it is. So now I could get that bicycle to be green instead of blue. Ah, if the color that's within these wheels is different than what I've already adjusted, I could also work on it. Choose again. One of these I haven't worked with yet. I don't think I work with blues yet. Then I might not need to slam these together. That's only if I need to be accurate. I could just grab the eyedropper and click there. Hopefully, that's enough. It's not gonna be enough. How can I tell? Because reds included in the fade out and we have read in the picture so it's slam most together, then bring saturation down. I dropped with the plus sign on it. See if I can isolate it. Looks like it's same colors. What's up here? Which is good, cause I want that to be less colorful, too there and then bring saturation back to the middle again. And I actually wanted it less colorful, just probably not black and white, maybe about there. So you get the idea that you can isolate colors using human saturation and then shift them around. You could make a red car blew. With this technique, you could make a blue shirt green, so I think of hue and saturation for color manipulation. A supposed to color correction takes a little practice, so go through that a few times to try to get the sense for it.
Class Materials
Ratings and Reviews
Noel Ice
I am an avid reader of photoshop books, and an avid watcher of photoshop tutorials. I have attended (internet) several hundred of presentations. In the course of this endeavor, I have found my own favorite photoshop websites and instructors. Creative Live is probably the bargain out there as well as among the top three internet course sites. I have to say with great enthusiasm that the best Photoshop instructor is Ben Willmore. There are many great ones, but truly, he is the best I have come across, and, as indicated above, I have watched literally 100s of tutorials on Photoshop. I have seen all of Ben's courses, I think, and among them, this one is the best by far, and that is saying a lot, because that makes this course the best course on Photoshop to be found anywhere. I am going back and watching it twice. Not only is it comprehensive, but Ben is so familiar with his subject that he is able to explain it like no other. This is crème de la crème of Photoshop classes. I have been wanting to write this review for some time because I have been so thoroughly impressed with everything about this class!
ford smith
Highly recommended if you want to take your Photoshop skills to the next level. Ben Willmore is clear, concise, and professional. He also has a good speaking voice that is not distracting but also keeps you engaged. Lastly, I would recommend that as you become more advanced, increasing the speed of the video (one of the options given on the menu)...especially if you've gone through the course once before and maybe want to watch it again. The double speed is very efficient as you become more advanced in Photoshop. Thanks for the help Ben!
a Creativelive Student
Wow. I cannot communicate the value of this course!! The true value in this course is how the instructor identifies workflows you'll need before you'll ever realize it, repeats important information without it becoming annoying, and explains the "why" behind the techniques so well that even if you forget the exact method, you can figure it out via the principles learned. Excellent value, excellent material, excellent instructor!!!