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Isolating Colors Using Hue/Saturation Adjustment

Lesson 43 from: Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

Isolating Colors Using Hue/Saturation Adjustment

Lesson 43 from: Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

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Lesson Info

43. Isolating Colors Using Hue/Saturation Adjustment

Lessons

Class Trailer
1

Introduction To Adobe Photoshop

04:05
2

Bridge vs. Lightroom

06:39
3

Tour of Photoshop Interface

18:21
4

Overview of Bridge Workspace

07:42
5

Overview of Lightroom Workspace

11:21
6

Lightroom Preferences - Saving Documents

08:19
7

How To Use Camera Raw in Adobe Photoshop 2020

05:10
8

Overview of Basic Adjustment Sliders

13:09
9

Developing Raw Images

30:33
10

Editing with the Effects and HLS Tabs

09:12
11

How to Save Images

03:37
12

Using the Transform Tool

04:48
13

Making Selections in Adobe Photoshop 2020

06:03
14

Selection Tools

05:55
15

Combining Selection Tools

07:37
16

Using Automated Selection Tools

17:34
17

Quick Mask Mode

05:07
18

Select Menu Essentials

21:28
19

Using Layers in Adobe Photoshop 2020

13:00
20

Align Active Layers

07:29
21

Creating a New Layer

06:15
22

Creating a Clipping Mask

03:02
23

Using Effects on Layers

11:24
24

Using Adjustment Layers

16:44
25

Using the Shape Tool

04:39
26

Create a Layer Mask Using the Selection Tool

04:39
27

Masking Multiple Images Together

15:15
28

Using Layer Masks to Remove People

10:50
29

Using Layer Masks to Replace Sky

10:04
30

Adding Texture to Images

09:11
31

Layering to Create Realistic Depth

05:35
32

Adjustment Layers in Adobe Photoshop 2020

05:29
33

Optimizing Grayscale with Levels

10:59
34

Adjusting Levels with a Histogram

03:37
35

Understanding Curves

06:18
36

Editing an Image Using Curves

18:41
37

Editing with Shadows/Highlights Adjustment

07:19
38

Dodge and Burn Using Quick Mask Mode

07:14
39

Editing with Blending Modes

08:04
40

Color Theory

05:59
41

Curves for Color

16:52
42

Hue and Saturation Adjustments

08:59
43

Isolating Colors Using Hue/Saturation Adjustment

13:33
44

Match Colors Using Numbers

16:59
45

Adjusting Skin Tones

05:25
46

Retouching Essentials In Adobe Camera Raw

10:52
47

Retouching with the Spot Healing Brush

07:53
48

Retouching with the Clone Stamp

06:51
49

Retouching with the Healing Brush

04:34
50

Retouching Using Multiple Retouching Tools

13:07
51

Extending an Edge with Content Aware

03:42
52

Clone Between Documents

13:19
53

Crop Tool

10:07
54

Frame Tool

02:59
55

Eye Dropper and Color Sampler Tools

08:14
56

Paint Brush Tools

13:33
57

History Brush Tool

06:27
58

Eraser and Gradient Tools

03:06
59

Brush Flow and Opacity Settings

04:17
60

Blur and Shape Tools

11:06
61

Dissolve Mode

09:24
62

Multiply Mode

15:29
63

Screen Mode

14:08
64

Hard Light Mode

14:54
65

Hue, Saturation, and Color Modes

11:31
66

Smart Filters

11:32
67

High Pass Filter

13:40
68

Blur Filter

05:59
69

Filter Gallery

07:42
70

Adaptive Wide Angle Filter

04:43
71

Combing Filters and Features

04:45
72

Select and Mask

20:04
73

Manually Select and Mask

08:08
74

Creating a Clean Background

21:19
75

Changing the Background

13:34
76

Smart Object Overview

08:37
77

Nested Smart Objects

09:55
78

Scale and Warp Smart Objects

09:08
79

Replace Contents

06:55
80

Raw Smart Objects

10:20
81

Multiple Instances of a Smart Object

12:59
82

Creating a Mockup Using Smart Objects

05:42
83

Panoramas

13:15
84

HDR

11:20
85

Focus Stacking

04:02
86

Time-lapse

11:18
87

Light Painting Composite

08:05
88

Remove Moire Patterns

06:11
89

Remove Similar Objects At Once

09:52
90

Remove Objects Across an Entire Image

05:46
91

Replace a Repeating Pattern

06:50
92

Clone from Multiple Areas Using the Clone Source Panel

10:27
93

Remove an Object with a Complex Background

07:49
94

Frequency Separation to Remove Staining and Blemishes

12:27
95

Warping

11:03
96

Liquify

14:02
97

Puppet Warp

12:52
98

Displacement Map

10:36
99

Polar Coordinates

07:19
100

Organize Your Layers

11:02
101

Layer Styles: Bevel and Emboss

02:59
102

Layer Style: Knockout Deep

12:34
103

Blending Options: Blend if

13:18
104

Blending Options: Colorize Black and White Image

06:27
105

Layer Comps

08:30
106

Black-Only Shadows

06:07
107

Create a Content Aware Fill Action

08:46
108

Create a Desaturate Edges Action

07:42
109

Create an Antique Color Action

13:52
110

Create a Contour Map Action

10:20
111

Faux Sunset Action

07:20
112

Photo Credit Action

05:54
113

Create Sharable Actions

07:31
114

Common Troubleshooting Issues Part 1

10:23
115

Common Troubleshooting Issues Part 2

07:57
116

Image Compatibility with Lightroom

03:29
117

Scratch Disk Is Full

06:02
118

Preview Thumbnail

02:10

Lesson 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

Bonus Materials with Purchase

Lessons 1 - 6 - Handbook 1: Introduction to Adobe Photoshop
Lessons 7 - 12 - Handbook 2: How to Use Camera Raw
Lessons 13 - 18 - Handbook 3: Making Selections
Lessons 19 - 24 - Handbook 4: Using Layers
Lessons 25 - 30 - Handbook 5: Using Layer Masks
Lessons 31 - 38 - Handbook 6: Using Adjustment Layers
Lessons 39 - 44 - Handbook 7: Color Theory
Lessons 45 - 51 - Handbook 8: Retouching Essentials
Lessons 52 - 59 - Handbook 9: Tools Panel
Lessons 60 - 64 - Handbook 10: Layer Blending Modes
Lessons 65 - 70 - Handbook 11: How to Use Filters
Lessons 71 - 74 - Handbook 12: Advanced Masks
Lessons 75 - 81 - Handbook 13: Using Smart Objects
Lessons 82 - 86 - Handbook 14: Photography for Photoshop
Lessons 87 - 93 - Handbook 15: Advanced Photo Retouching
Lessons 94 - 98 - Handbook 16: Warp, Blend, Liquify
Lessons 99 - 105 - Handbook 17: Advanced Layers
Lessons 106 - 112 - Handbook 18: Actions
Lessons 113 - 117 - Handbook 19: Troubleshooting Issues
Practice Images 1: Introduction to Adobe Photoshop
Practice Images 2: How to Use Camera Raw
Practice Images 3: Making Selections
Practice Images 4: Using Layers
Practice Images 5: Using Layer Masks
Practice Images 6: Using Adjustment Layers
Practice Images 7: Color Theory
Practice Images 8: Retouching Essentials
Practice Images 9: Tools Panel
Practice Images 10: Layer Blending Modes
Practice Images 11: How to Use Filters
Practice Images 12: Advanced Masks
Practice Images 13: Using Smart Objects
Practice Images 14: Photography for Photoshop
Practice Images 15: Advanced Photo Retouching
Practice Images 16: Warp, Blend, Liquify
Practice Images 17: Advanced Layers
Practice Images 18: Actions
Practice Images 19: Troubleshooting Issues

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!!!

Student Work