Using Photoshop Selection to Fix Grass & Sky - Color Range
Hello my friends. This video, we're going to use color range again, but for a very different use case instead of masking, we're going to use it to adjust the colors and it's something that I do a lot more instead of masking, it's more just adjusting things like if you have a look at the leaves, they are kind of a brownie green and now beautiful green and let's look at the sea, it's gone from a blue to a kind of a nice tropical holiday cyan color. So basically we're going to use color range to make a selection of those colors and then use adjustment layers on them just to fix them up. It's a really common way that I use color range. Let's jump in now and learn how to do it. Alright, so I'm going to work on the document we used in the last video. If you don't have that or you skipped it, just go to file, open and open up Your exercise files and we're using color range three basically we combine color range three with one and two. We've got this kind of like composition now. So what I'm g...
oing to do is just turn the eyeball off on both of these guys which is the banana and the blueberry and I want the background selected. So I want to change the blues and the greens, basically every landscape photograph I ever take. I want to kind of enhance the greens a little bit and often the sky needs just a little bit of photoshopped Love and color range is an amazing quick and easy way to isolate those things to make those adjustments very different from the last video we were using it to completely mask it. So background layer selected select. Let's go to color range depending on what you were last doing. You might have to switch back to none. You might have to turn off localized color and you get yours looking something like mine and we'll start at 100 fuzziness fish. I'm going to work on the sea here and it's got a very similar color to the sky. So I'm happy to work on both of those. I'm gonna take once in here. You can see it's clicked quite a big chunk of it. Let's switch it to the selection preview to grayscale. So we can kind of see it now. Let's grab most of the sea except for this chunk here, grab the plus button and let's add this bit and it's got most of it. The only trouble is it's got quite a lot of this guy. So I'm gonna love the fuzziness. Okay, so when I was using my masks, I don't use the fuzziness very often, but when I'm doing this kind of like subtle hue saturation changes now, I'm getting mine down ish and there's no right or wrong. There's no magical number. What you'll find is whenever I'm doing this, I'll do it once and see if I've gone too far or too little and then come back and change it. So that's worked for me. Let's click on. Ok, basically we've got a selection of all the kind of bluish bits and I want to make them more cyan instead of making a mask on their own layer. The easy way now is to click on adjustments and let's click on hue and saturation and what it does is it takes that selection you had and applies it to this hue and saturation adjustment layer so I can turn it on and off and make adjustments to it without destroying the background. We love a bit of non destructiveness and all I'm gonna do is I love, you know, blue skies are blue, but actually they look really nice when they're cyan, they look tropical holiday. So I do that often with all my landscape is I'll go through it just a bit more of the cyan rather than the blue. How much it's working for me. I might bump up the situation just a tiny bit, go way too far, but somewhere in here turn the eyeball on off. So it's just a really easy way to isolate colors. Especially generic ones like sky where maybe making a selection can be quite tough. We do the same thing for these leaves whenever I photographed kind of foliage, it always like, I know it should be green, but it always is this kind of like motley brown, yellow color and that's just the way of the world. But what I want to do for this promotional image, I wanted to be a lovely green and nice, rich but believable green. It's the same thing. I click on my background layer. I'm gonna grab my slicked color range. What I might need to do is switch it back to none and then click on one of these and it's picked. There's so many different kinds of green browns going in here. I'm going to click hold and drag across a few of these where I know it's kind of a it's a good representation of the whole document and click back into here into grayscale and for that to work. You actually need to have this eyedropper on the plus. Okay, just clicking and dragging across it with his first tool doesn't work. I'm going to go back to none. I'm gonna say you my friend, I'm gonna click and drag across there and now I'm going to go back to gray scale and you can see I've got a pretty good selection of this. It's got probably a lot too much of the sand as well. The browns out of the leaves are the same. The same browns that are in the sand. I'm gonna lower the fuzziness a bit. Okay, grab my minus eyedropper tool, click once in here, click once again just to get rid of these sands in here and we're getting pretty close. Alright, let's click Ok okay, so I've got my selection same as before, let's go to adjustments. Let's go to hue and saturation and what I'm gonna do is going to yank out the saturation really high way past where I need it. Just that I can know that I've got the right colors. Okay, so I want to pick a green that's not to that green, okay, not too blue green on something in the middle, nice and rich. And then I can lower this down to kind of make it believable. Ish let's turn the eyeball on and off on that layer, and you can see what I'm doing here. Just moving the kind of brown greens into a bit more lush green in trouble with this. I find that this island here is probably oversaturated now. Often color range gets used in a combination. So what I'm gonna do is I'm going to select on the mask, grab my beaky for my brush tool, I need black is my foreground color. Remember X toggles it back and forth brush size? We're gonna use our shortcut and I'm just going to get rid of this, I'm gonna make my fuzziness a bit higher because it's quite out of focus, brush slides down. Okay, just to touch this up, I might have lowered the capacity of this brush, so it's not such a drastic change because now I feel like the island is completely brown, it's really hard to get in here. I could get in with a really small paintbrush to fix this up, but probably what I'd do is probably just lower the capacity of my brush before I painted it all out and kind of faded it into here. So let's do that before I go. I'm going to go undo a billion times two of my islands back. Not too far. Here we go. So with this layer selected with the mass selected brush tool, I'm going to show you a new little shortcut. We've learned the size left and right up and down for the hardness. Another cool one is the the capacity. So if you look at your keyboard, the numbers 12345 along the top, not the ones on the number keypad, you might not have one of those, but the ones that are above the letters on your keyboard. Watch up here where it says capacity. If I type the two key it goes to 20% 5 is 50% nine is 90% zero is back to 100. Well if you want to do it super fast, like 55 together, you can see it changes the opacity here. So it's just an easy way of picking and capacity without having to go jump up here and slide it up and down. You see what I'm doing here. I'm just not getting river. It'll mainly so I can save the trouble of having to go through and paint out between this kind of crossover of the leaves and the island. I'm gonna turn my banana on and my amazing blueberries and that is an easy way to select a particular hue. Often really good for landscapes. So skies and kind of grasses, trees and stuff make a selection. And with that selection you just click on your adjustments panel and that adjustment takes that selection and turns it into a mask for its own layers. Then you can turn it on and off later on non destructively all on its own layer and is awesome. Alright. That is it. For this video. I will see you in the next one.