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Using Photoshop to 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 is that a masking we’re going to use it to adjust the colors. And it’s something that I do a lot more and of masking it’s more just adjusting things like if you have a look at the leaves. They are kind of brown and green and now you beautiful green. And let’s look at the sea. It’s come from a blue to a kind of a nice tropical holiday cyan color. So basically we are 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. They jump in now and learn how to do it. Right 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 get a file open and open up your exercise files and we’re using color range 3. Basically we combine coloring three with one and two of those kind of like composition now. So what I’m going to do is just in the eyeball often both of these guys can 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 love and color ranges and amazing quick and easy way to isolate those things to make those adjustments. Very different from the last video where we’re using it to completely mascot. So Becker on selected select. Let’s go to color range and depending on what you were last doing you might have to switch back to nine months to turn off localized color and you get yours looking something like mine was that at a hundred fuzziness ish. I’m going to work on the C here and it’s got a very some a color to the sky so I’m happy to work on both of those. Going to take once in here you can see it’s click quite a big chunk of it. Let’s switch it to the selection preview to gray scale so we can kind of see it. Now it’s grabbed most this see except for this chunk here. Grab the plus button and it’s this but and it’s got most of it. The only trouble is it’s got quite a lot of guys the middle of the fuzziness. OK so when I was using my mosques 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 magic 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 works for me. Let’s click on OK. Basically got a selection of all the kind of blue ish bits and I want to make them more cyan instead of making a mosque on their own land. The easy way now is to get on adjustments and it’s click on hue and saturation and what it does is it takes that selection you head and applies it to this hue and saturation adjustment. So I can turn on and off and make adjustments to it without destroying the background. We love a bit of non destructiveness. You know all I’m going to do is I love you know blue skies of blue. But actually they look really nice when they’re Suyin they look tropical holiday. So I do that often with all my landscape is I’ll go through a just more of the science rather than the blue. How much. So for me I might bump up the situration just a tiny bit waitress on it somewhere in here to the GO ON OFF. So just a really easy way to isolate Kulas especially generic ones like sky where maybe making a selection can be quite tough. We do the same thing for these leagues. We have our photograph kind of foliage it always like I know it should be green but it always has this kind of like Motley brown yellow color. That’s just the way of the world. But what I wanted 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 cook all my background land grab my slicked color range what am I need to do is switch it back to none and they pick on one of these and it’s picked up so many different kind 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 he and Grace go to work you actually need to have this joke on the plus K just clicking and dragging across it with his first show doesn’t work. You going to go back to none. I’m going to say you my friend and I click and drag across there. And now we’re going to go back to grayscale and you can see I’ve got a pretty good selection of this. It’s got paroli a lot too much of the same as well. The Browns out of the leaves same the same Browns that are in the same. I mean a lot of the fuzziness about OK you know grab my minus I over to click once and have once again just to get rid of the sains in here. And we’re getting pretty close. All right let’s click OK. OK so I’ve got my selection. Same as before it’s go to adjustments. Scott hue and saturation. What I’m going to 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. OK so I want to pick it green that’s not too green. Green or blue or green. Well something in the middle. Nice and rich and then I can lower this down to kind of make it believable ish. It’s in the eyeball on and off on that layer. And you can see what I’m doing here. Just moving that kind of brown greens into a bit more lush green and 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 going to do is get slicked on the mosque grab my before I brush to my knee need black as my foreground color but X toggles back and forth brush size when these are all cut and I’m just going to get rid of this and make my fuzziness a bit higher because it’s quite out of focus or slows down just a touch up. I might have lowered the capacity of this brush so it’s not such a drastic change because now I feel like it is completely brown. I really had to get in here. I could get in with a really small paintbrush to fix us up. Probably what I’d do is probably just lower the opacity of my brush before I painted the roll out and kind of faded it into here. So let’s do it before I go. I’m going to go undo a billion times to my islands back. Not too far area. So with this last selected with the muscle acted presto. See you a new little shortcut. We’ve learned the size left and right up and down for the hardness. Another cool one is see the Pasotti. So if you look at your keyboard the numbers one two three four five along the top are the ones on the number keypad you might not have one of those but the ones that are above the letters on your keyboard which up here were his capacity by type the two key because 20 percent 5 is 50 percent. Nine is not. Zero is back to 100. You want to do at super fast like five five together. You see it changes the capacity here so it’s just an easy way of picking an opacity without having to go you know jump up here and slide it up and down you see I’m doing here I’m just snookering revert all mainly so I can save the trouble of having to go through and paid up between this kind of crossover of the leaves and the island to my banana on. Am i amazing blueberries. And that is an easy way to select a particular hue. Often I really get the 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 mosque for its own. Then you can turn on and off later on and on destructively on its own life and is some art that is it for this video I will see you in the next one.

Bernard Jenkins

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