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[♪♪] [ADOBE TV Presents] [♪♪] [The Complete Picture with Julieanne Kost] [♪♪] Hi and welcome. My name is Julieanne Kost. In today's episode of The Complete Picture, we're going to take a look at two different ways to achieve a selective coloring effect so that part of the image remains in color and part of the image is in grayscale. I'm going to do this in Bridge and Photoshop, but of course this could also all be done in Lightroom. Both Lightroom and Photoshop share the same Camera RAW technology, so I just chose to do it in Photoshop this time. Let's go ahead and select these first two images. I'm going to use the keyboard shortcut Command R or Control R in order to launch them into Adobe Camera RAW. So in the first example, very basic. We have a red bicycle against a kind of yellowish background. We have a little bit of green weeds and grass in the image as well. I simply want to remove all of the color except for the red in the bicycle. So let's take a look at our different panels over here. I'm going to use the HSL/Grayscale panel. Certainly I could click on any of these tabs, the Hue, Saturation, or Luminance, and I could use any of the sliders. So I could just drag, for example, the reds to make them darker or lighter, or we can go to Saturation and drag the reds less saturated or more saturated. But there's an even easier way to do this, and that's with using the Targeted Adjustment tool. And what's really nice in Photoshop and Adobe Camera RAW is that there are separate keyboard shortcuts for Hue, Saturation, and Luminance, and they're very obvious--H, S, and L-- and basically, all of the other keyboard modifiers. So on Mac it would be Command, Option, Shift and on Windows it would be Control, Alt, Shift. So we just have to remember that plus the letter. So in this case I'm going to try to desaturate the yellow. So Command, Option, Shift. And what are we looking for? Saturation. So the S key. Then I click in the yellow area that I want to desaturate. It's a little different between Lightroom and Photoshop. In Lightroom you would drag up and down, and in Photoshop you drag left to right. So to desaturate I'm going to drag to the left. You can see over there in my Saturation panel the oranges and the yellow sliders have decreased all the way to -100. Then there's a little bit of green down here. I could click and drag that as well. And just to be on the safe side--maybe there's a little piece of garbage or we can see there's some kind of blue tones here in the cement-- we could also just manually go over here and decrease these other sliders to make sure that we're really only left with red. When I decrease all of the other color, the red seems a little washed out to me. So I'm going to do two things. I'm going to move the red slider over a little bit to saturate it, and I'm going to go to Luminance and decrease the red slider, make it a little bit darker and a little bit punchier. I have a feeling that someone will probably ask, "What if you don't want the other colors to go all the way to grayscale?" Then you can simply come back to Saturation and instead of taking the sliders down to 100, just pick a number for each of them and just take them down a little bit. This is how you would achieve that kind of screened back, kind of antique look in one area but still have full vibrance and saturation of the main subject in your image. All right. So this works great on an image where there is one red bicycle and you want that one red bicycle to be red and everything else to not be saturated. But what happens in a case like this? I know a lot of you know that I don't photograph very many people, so this is as close as I could get to some kind of person or wedding photography is this little dude. I want to decrease the saturation again. I want to keep the red bow tie, and I want to keep the color in the eyes, but I want to get rid of all the other color. It's really not going to work if I go ahead and decrease all of these other colors because you can see what's happening. We've got red still remaining in the cheek areas. So that's not really going to work. Plus the yellow in the eyes is gone as well. So obviously we could bring back some of those oranges, but now I've got the flesh tone back as well-- well, as flesh tone as this is flesh. So what do I do instead? Let's reset this. I'm just going to hold down the Option key, and look what happens when I do that. I get a little Reset option down here at the very bottom. Of course that would be the Alt key on Windows. And I'll change it all back. I don't really care about the bike, so let's change that. Okay. What am I going to do instead? Instead of using this HSL option, I'm going to come over here and I'm going to use my Adjustment Brush. The minute you select the Adjustment Brush, you have all the different parameters that you can manipulate. And in this case I'm going to take out the saturation. I'm going to get a really big brush by simply clicking on the right bracket key. It gives me a huge brush. I'm just going to take the saturation out of the entire image, just to be quick. But I haven't really turned it to grayscale. This is not the same as using the Hue, Saturation adjustment to remove the color. This is different because this is selective. What this means is that I can now go in and instead of using the brush, I can use the eraser. Let's get a decent size eraser there. Now I can come in and erase that selective adjustment from any area. So I can go ahead and just bring back the bow tie here. I won't be too exact, but we'll get it basically covered. And then I can come in here and we could just bring back the eyes. I know that looks a little weird because I'm using a round brush. But watch. If we just go back to the Add, get a smaller brush here, sometimes it's just easier to remove things in a full circle and then trim away what you don't want. Of course if we zoom in there a little bit, you can see now we've got the brown in the eyes and we've got the red bow tie, but everything else has been taken to grayscale. So a really, really easy way to have select objects in your image, whether it's this image or if it's a wedding with a bouquet of flowers. You might be asking, "When might you do this in Photoshop?" because obviously you can. You can use your adjustment layers and you can use your masks. I would just say that I would try to do this in Camera RAW in either Photoshop or in Lightroom if I needed a really precise selection tool. If I didn't want to paint in and out, if I wanted to use one of the dozens of selection tools that Photoshop has to offer, like the Magnetic Lasso tool or Color Range, something like that, that's when I would do this technique in Photoshop. If I were to do that, I would open my original image as a smart object into Photoshop, though, so that I could always come back and return to Camera RAW if I needed to fine-tune maybe some contrast or some tonality in the image. Excellent. That wraps up this episode of The Complete Picture. My name is Julieanne Kost. I hope you'll join me again next time. [♪♪] [Executive Producer - Bob Donlon] [Producer - Karl Miller] [Director - Kush Amerasinghe] [Post Production - Erik Espera] [ADOBE TV PRODUCTIONS] [♪♪]