We have come up with the idea a long time ago that we should try to retain maximum editability, and a very important part of this is to retain the original image in the layer. But in actual operation, many tools have a destructive effect on the pixels in the layer. The same goes for color adjustment commands. We can demonstrate the damage color adjustments can do to the original image with a simple experiment. Open the original image below on the left in Photoshop. Then use the Brightness/Contrast adjustment command to lower the brightness to -100. After confirmation, the image effect is as shown in the middle picture. Then use the brightness/contrast adjustment command again to set the brightness to +100. The resulting image will look like the image on the right.
It is obvious that two addition and subtraction operations that seem to cancel each other out do not restore the image to its original state. We have also encountered similar operations when changing the image size in Course #02. This is because when the first operation is confirmed, the pixels in the image have changed, and the second operation is based on the changed image. The details that have been lost in the original image cannot be recovered. .
If only one or two color adjustments are made to the image, this image loss may still be acceptable, but if an image undergoes multiple adjustment commands, this loss will accumulate and cause serious distortion. This is the first problem you encounter when adjusting color.
The second problem also arises when performing multiple color adjustment operations. If the image is first adjusted for brightness and then adjusted for hue. If you find that the previous brightness adjustment is not effective, you must cancel the history record before the brightness adjustment and reset the brightness adjustment. Of course, doing so also cancels the effect of the hue adjustment, and the hue adjustment also needs to be reset.
But the question is not limited to whether to redo it or not. What we were dissatisfied with before was the combined effect of the two, so the original hue adjustment may not be able to match the reset brightness to produce a satisfactory comprehensive effect. According to this idea, if a variety of color adjustment commands are applied to an image, changing the settings of any one of them may cause a series of chain changes. This is of course very inconvenient. Unless we have a clear plan in mind when operating, we may have to face repeated modifications many times.
Using color adjustment layers can solve these two problems very well. It has the effect of color adjustment without destroying the original image. And multiple color adjustment layers can be combined to produce adjustment effects, and each can be modified independently.
0713 Now click 
button (red arrow in the left picture below), in the menu that appears Select “Brightness/Contrast” and this will create an adjustment layer. After the adjustment layer is created, the settings box will appear directly, just like what we saw earlier through [Image>Adjustment>Brightness/Contrast]. We set the brightness to -100 and confirm. The effect of the image is the same as the middle picture above. The Layers palette will look like the image below on the left (using the medium thumbnail). There is a chain sign and a white square. The white square is the content of the mask part, which we will introduce in future lessons. Ignore it for now.
If you want to change the brightness settings, you can double-click the thumbnail of the brightness/contrast adjustment layer (note that it is not the mask thumbnail), and the original settings box will appear, as shown on the right below. Note that the brightness is no longer 0. Instead, it stays at the -100 we last operated on. This means that the color adjustment layer will notLike ordinary color adjustment commands, they “disappear” after use. Instead, the previously set parameters are saved. This provides a good reference for future modifications. For example, if the effect of -100 is excessive, you can change it to -80 next time.
Use the same method to create a Hue/Saturation adjustment layer, so that the image shows the combined effect of the two adjustments, as shown on the left below. In the picture, the colorization option is used to convert the image to monochrome. You can also set other effects by yourself. There are two adjustment layers in the layers palette, as shown on the right (small thumbnail) below. The parameters of any one of the adjustments can now be changed individually by double-clicking, and the final adjustment effect can be seen at any time in the image window when changing. This is very convenient and successfully solves the problem mentioned earlier, which is the combined effect of multiple adjustment effects. Now we can adjust them individually and see the combined effect directly.
Does this solve the problem of protecting the original image? In fact, you can see through the layer palette in the picture on the right below that although the image currently exhibits a dark brown effect, the original image located on the background layer still has the original color. If you turn off (i.e. hide, by clicking on the layer eye icon) both color adjustment layers, you will see that the original image is still “unharmed”.
Although a color adjustment layer is a special type of layer, it still has some characteristics of a regular layer. Closing an adjustment layer disables the adjustment. You can use this feature to combine the final effect of multiple adjustments. You can also reduce the effect of the adjustment layer by lowering the opacity of the layer. Adjustment layers can also be deleted. The methods are consistent with the operations of ordinary layers.
0714Now we open a flower image, as shown below on the left, and drag it into the existing image. The image dragged in from the outside will be automatically created as a new layer on top of the previously selected layer. For example, if we selected the Hue/Saturation adjustment layer before, the dragged image will be on the top layer, as shown in the middle picture below. The effect is as shown on the right. Download the sample file sample0704.psd
forWhy didn’t the original two color adjustment layers work on the newly moved image? That’s because the image moved in from the outside is currently on top, and an adjustment layer can only have an effect on the layers below it. So if you want the flowers to have the same adjustment effect, you must lower the flower layer so that it is below the two adjustment layers. As shown in the left and right pictures below. If moved between two adjustment layers, only one adjustment effect will be applied to it.
Now we know one of the properties of adjustment layers, that is, they can only have an effect on the layers below them. As shown in the left picture below, the effective area of the hue adjustment layer starts from the brightness adjustment layer below it and goes all the way down to the bottom layer. All layers within this space (blue area) will be affected by it.
In addition, the gradation between multiple adjustment layers will also affect the effect of the image. Judging from the layer organization in the picture on the left below, for the background and layer 1, they are affected by the brightness adjustment first, and then the hue adjustment. In other words, the adjustment layer closest to the layer takes effect first. If we change the levels of the two adjustment layers, then the background and layer 1 will receive the hue adjustment first, and then the brightness adjustment. As shown on the right below. You can feel the difference in color by comparing it with the image above. Therefore, changing the levels of multiple adjustment layers may affect the final color adjustment effect.
Now we delete the two existing adjustment layers. The deletion method is the same as ordinary layers. Drag them to the trash can mark or directly press “DELETE” after selecting them. Now we get an image like the one below on the left. The layers palette is as shown on the right. You are now asked to use a color adjustment layer to change the yellow film layer to grayscale. But the green film color of the background remains unchanged. Okay, don’t look down now, try it yourself first.
How did it go? Are you encountering a barrier that you can’t get past? Let’s take a look.
First determine how to use the color adjustment layer to turn the layer into grayscale. It should be noted that not all color adjustment commands can be created as color adjustment layers. For example, the remove color command cannot create a color adjustment layer. We can use Hue/Saturation and reduce the saturation to the minimum to get a grayscale image. OK, let’s create a Hue (short for Hue/Saturation) adjustment layer and reduce the saturation to the lowest level.
Now comes the problem. This hue adjustment layer must be located above “Layer 1″ to have an impact on the film, but at the same time��”Layer 1” must be above the background layer. According to the characteristics of the adjustment layer, it will affect all layers below it, resulting in the following picture, both layers are converted to grayscale.
How to solve this problem? Some people may think of changing the layer level to prevent the path layer from being grayscaled (grayscaled means converted to grayscale). This idea comes about rightly because changing layers is the preferred way to solve such problems. But for this paradigm, changing levels doesn’t work. I believe everyone has already experienced this when doing it themselves.
What other methods can you think of? Can the problem be solved if the adjustment layer and “Layer 1” are formed into a layer group? Being able to think of this step shows that your thinking is very flexible, which is a good thing. But it still doesn’t solve the problem. Even within a layer group, an adjustment layer affects all layers below it, whether they are inside or outside the group.
By default, an adjustment layer is effective for all layers below it and is a “public adjustment layer”. If you can turn it into a “private adjustment layer” for a certain layer, this problem will be solved.
0715 First select the hue adjustment layer at the top, press [CTRL ALT G] or [Layer Create Clipping Mask], A unique indicator mark appears in front of the adjustment layer
(as shown at 1 in the left picture below), the hue adjustment layer becomes the exclusive adjustment layer of “Layer 1”. At the same time, the name of “Layer 1” will be underlined (2 places in the left picture below). Looking at the image again, we already have the effect we want, as shown in the middle picture below.
Hold down the ALT key and move the mouse to the seam of the two layers in the layers palette. The mouse cursor will change to 
mark, click at this time to also use the hue and saturation adjustment layer as “Layer 1” ” dedicated adjustment layer. As shown below on the right.
Through this method, we can create multiple dedicated adjustment layers for the flower layer, as shown below on the left.
At this time, if you use the move tool to move and copy “Layer 1”, the adjustment layer will be transferred to be effective for the new layer, and the original layer will return to its original state. As shown in the middle and right pictures below. Note the difference in the layer names underlined. Underlined layers are incidental�Exclusive adjustment layer. Those without underlines are normal layers. Note that layers that are not copied using the above method (such as dragging the layer to the New button to copy) cannot inherit the color adjustment layer.
If you want to keep the adjustment layers after copying the original layers, you can first group them into a layer group and then copy the layer group.
If you change the layer level, the exclusive characteristics of the color adjustment layer will disappear, as shown in the left picture below. The solution is to select the layer and adjustment layer together and then change the level.
If the main layer is hidden, its dedicated adjustment layer is also hidden, as shown on the right below.
0716When I explained the selection earlier, I mentioned that you can make local color adjustments to the image by creating a selection. This method also works with color adjustment layers. First create a rectangular selection as shown on the left. Then select the background layer and create a brightness adjustment layer. The effect is as shown in the middle picture below. You can see that only the part within the selection is highlighted. At this time, the layer palette is as shown on the right (small thumbnail). You will see a grayscale image (red arrow) that is a bit like the channel for storing selections that you have learned before. This is what we will learn in the future. Layer mask.
Now we can use the masked color adjustment layer to complete the previous work. The method is to first create a selection with the same content as “Layer 1”, and create a color adjustment layer under the premise that there is a selection.
0717You can load the layer content as a selection by selecting the layer and then [Select>Load Selection], and then Select “Layer 1 Transparent” in the channel, as shown on the left below.
The fastestThe method should be to hold down “CTRL and click the layer thumbnail”, as shown on the right below. Note that after holding down the CTRL key, you must be in the thumbnail area (the mouse should be 
) can be clicked, and other places are invalid.
The selection is created as shown on the left. On this basis, create a color adjustment layer. The layer palette is as shown on the right. In order to let everyone see clearly, we use a medium-sized thumbnail. You can roughly see that the mask in the brightness adjustment layer is indeed very similar to the channel to store the selection learned in the previous course. The white square is exactly the size of the previously created selection.
You can use the same method again to create a selection and add additional adjustment layers. The operation of “CTRL Click on Layer Thumbnail” can also be updated to “CTRL Click on Layer (or Mask) Thumbnail”. You should understand the meaning. Even at this time, you can also use brightness adjustment. layer mask to create a selection.
Although this method can also achieve the previous local adjustment effect, the two are completely different in principle.
The former is to create an adjustment layer dedicated to the flowers, which only affects a certain layer and is a local effect. In this way, if you turn off the flower layer, the adjustment layer will lose its effect. It will not affect other layers. As shown below on the left.
The scope of the adjustment layer created by the latter method is still global and valid for all layers, but it is only limited in the effective area. If you turn off the flower layer, adjustments will still be made to the same areas on other layers. As shown below on the right.
In actual use, if you want to adjust a single layer, you can use the first method to create a dedicated adjustment layer. The advantage of this is that no matter you move the layer position or change the level, the adjustment effect is always maintained. The disadvantage is that it can only be effective for the entire layer, not just a certain area of the layer. If you want to make color adjustments to certain areas in a layer, you must use a masked adjustment layer created from the selection (you can also use vector paths, which will be introduced in the following content). The advantage of this is that you can create Adjust areas of any shape and don’t have to be limited to layers. The disadvantage is that there is no master-slave relationship between adjustment layers and layers. When performing operations such as moving or scaling, you must select both at the same time before continuing.
For the color adjustment layer that has been created, you can change the type of color adjustment through [Layer>Change Layer Content]. For example, change the brightness adjustment to curve adjustment, etc. The advantage of this is that you can retain the original exclusive relationship or mask shape.
The answers to the first section are: 1d, 2b, 3e, 4c, 5a, 6f. Among them, the effects of 2 and b, and 4 and c are not exactly the same, but similar.
The production steps of the second section:
Pay attention to the legend. The guide rails of the gantry crane do not change color along with the container. Therefore, when creating a selection, the gantry crane guide rails located under the container must be excluded, as shown in the left picture below. This is actually not a technical issue, but a test of whether everyone has carefully observed the question. After changing the container (after selecting Edit Red, change the hue to green and adjust the saturation and brightness appropriately), then invert the selection, and then remove the rail part to change the color of the tower crane and scattered cargo (the saturation will be the lowest, then Appropriately reduce the brightness).
We have come up with the idea a long time ago that we should try to retain maximum editability, and a very important part of this is to retain the original image in the layer. But in actual operation, many tools have a destructive effect on the pixels in the layer. The same goes for color adjustment commands. We can demonstrate the damage color adjustments can do to the original image with a simple experiment. Open the original image below on the left in Photoshop. Then use the Brightness/Contrast adjustment command to lower the brightness to -100. After confirmation, the image effect is as shown in the middle picture. Then use the brightness/contrast adjustment command again to set the brightness to +100. The resulting image will look like the image on the right.
It is obvious that two addition and subtraction operations that seem to cancel each other out do not restore the image to its original state. We have also encountered similar operations when changing the image size in Course #02. This is because when the first operation is confirmed, the pixels in the image have changed, and the second operation is based on the changed image. The details that have been lost in the original image cannot be recovered. .
If only one or two color adjustments are made to the image, this image loss may still be acceptable, but if an image undergoes multiple adjustment commands, this loss will accumulate and cause serious distortion. This is the first problem you encounter when adjusting color.
The second problem also arises when performing multiple color adjustment operations. If the image is first adjusted for brightness and then adjusted for hue. If you find that the previous brightness adjustment is not effective, you must cancel the history record before the brightness adjustment and reset the brightness adjustment. Of course, doing so also cancels the effect of the hue adjustment, and the hue adjustment also needs to be reset.
But the question is not limited to whether to redo it or not. What we were dissatisfied with before was the combined effect of the two, so the original hue adjustment may not be able to match the reset brightness to produce a satisfactory comprehensive effect. According to this idea, if a variety of color adjustment commands are applied to an image, changing the settings of any one of them may cause a series of chain changes. This is of course very inconvenient. Unless we have a clear plan in mind when operating, we may have to face repeated modifications many times.
Using color adjustment layers can solve these two problems very well. It has both sex and color�Adjustment effect without destroying the original image. And multiple color adjustment layers can be combined to produce adjustment effects, and each can be modified independently.
0713 Now click button (red arrow in the left picture below), in the menu that appears Select “Brightness/Contrast” and this will create an adjustment layer. After the adjustment layer is created, the settings box will appear directly, just like what we saw earlier through [Image>Adjustment>Brightness/Contrast]. We set the brightness to -100 and confirm. The effect of the image is the same as the middle picture above. The Layers palette will look like the image below on the left (using the medium thumbnail). There is a chain sign and a white square. The white square is the content of the mask part, which we will introduce in future lessons. Ignore it for now.
If you want to change the brightness settings, you can double-click the thumbnail of the brightness/contrast adjustment layer (note that it is not the mask thumbnail), and the original settings box will appear, as shown on the right below. Note that the brightness is no longer 0. Instead, it stays at the -100 we last operated on. This means that the color adjustment layer will not “disappear” after use like ordinary color adjustment commands. Instead, the previously set parameters are saved. This provides a good reference for future modifications. For example, if the effect of -100 is excessive, you can change it to -80 next time.
Use the same method to create a Hue/Saturation adjustment layer, so that the image shows the combined effect of the two adjustments, as shown on the left below. In the picture, the colorization option is used to convert the image to monochrome. You can also set other effects by yourself. There are two adjustment layers in the layers palette, as shown on the right (small thumbnail) below. The parameters of any one of the adjustments can now be changed individually by double-clicking, and the final adjustment effect can be seen at any time in the image window when changing. This is very convenient and successfully solves the problem mentioned earlier, which is the combined effect of multiple adjustment effects. Now we can adjust them individually and see the combined effect directly.
Does this solve the problem of protecting the original image? In fact, you can see through the layer palette in the picture on the right below that although the image currently exhibits a dark brown effect, the original image located on the background layer still has the original color. If you turn off (i.e. hide, by clicking on the layer eye icon) both color adjustment layers, you will see that the original image is still “unharmed”.
Although a color adjustment layer is a special type of layer, it still has some characteristics of a regular layer. Closing an adjustment layer disables the adjustment. You can use this feature to combine the final effect of multiple adjustments. You can also reduce the effect of the adjustment layer by lowering the opacity of the layer. Adjustment layers can also be deleted. The methods are consistent with the operations of ordinary layers.
0714Now we open a flower image, as shown below on the left, and drag it into the existing image. The image dragged in from the outside world will be automatically created as a new layer and placed on it.above the previously selected layer. For example, if we selected the Hue/Saturation adjustment layer before, the dragged image will be on the top layer, as shown in the middle picture below. The effect is as shown on the right. Download the sample file sample0704.psd
Why don’t the original two color adjustment layers work on the newly moved image? That’s because the image moved in from the outside is currently on top, and an adjustment layer can only have an effect on the layers below it. So if you want the flowers to have the same adjustment effect, you must lower the flower layer so that it is below the two adjustment layers. As shown in the left and right pictures below. If moved between two adjustment layers, only one adjustment effect will be applied to it.
Now we know one of the properties of adjustment layers, that is, they can only have an effect on the layers below them. As shown in the left picture below, the effective area of the hue adjustment layer starts from the brightness adjustment layer below it and goes all the way down to the bottom layer. All layers within this space (blue area) will be affected by it.
In addition, the gradation between multiple adjustment layers will also affect the effect of the image. Judging from the layer organization in the picture on the left below, for the background and layer 1, they are affected by the brightness adjustment first, and then the hue adjustment. In other words, the adjustment layer closest to the layer takes effect first. If we change the levels of the two adjustment layers, then the background and layer 1 will receive the hue adjustment first, and then the brightness adjustment. As shown on the right below. You can feel the difference in color by comparing it with the image above. Therefore, changing the levels of multiple adjustment layers may affect the final color adjustment effect.
Now we delete the two existing adjustment layers. The deletion method is the same as ordinary layers. Drag them to the trash can mark or directly press “DELETE” after selecting them. Now we get an image like the one below on the left. The layers palette is as shown on the right. You are now asked to use a color adjustment layer to change the yellow film layer to grayscale. But the green film color of the background remains unchanged. Okay, don’t look down now, try it yourself first.
How did it go? Are you encountering a barrier that you can’t get past? Let’s take a look.
First determine how to use the color adjustment layer to turn the layer into grayscale. It should be noted that not all color adjustment commands can be created as color adjustment layers. For example, the remove color command cannot create a color adjustment layer. We can use Hue/Saturation and reduce the saturation to the minimum to get a grayscale image. OK, let’s create a Hue (short for Hue/Saturation) adjustment layer and reduce the saturation to the lowest level.
Now comes the problem. This hue adjustment layer must be above “Layer 1” to have an impact on the film, but at the same time “Layer 1” must be above the background layer. According to the characteristics of the adjustment layer, it will affect all layers below it, resulting in the following picture, both layers are converted to grayscale.
How to solve this problem? Some people may think of changing the layer level to prevent the path layer from being grayscaled (grayscaled means converted to grayscale). This idea comes about rightly because changing layers is the preferred way to solve such problems. But for this paradigm, changing levels doesn’t work. I believe everyone has already experienced this when doing it themselves.
What other methods can you think of? Can the problem be solved if the adjustment layer and “Layer 1” are formed into a layer group? Being able to think of this step shows that your thinking is very flexible, which is a good thing. But it still doesn’t solve the problem. Even within a layer group, an adjustment layer affects all layers below it, whether they are inside or outside the group.
By default, an adjustment layer is effective for all layers below it and is a “public adjustment layer”. If you can turn it into a “private adjustment layer” for a certain layer, this problem will be solved.
0715 First select the hue adjustment layer at the top, press [CTRL ALT G] or [Layer Create Clipping Mask], A unique indicator mark appears in front of the adjustment layer (as shown at 1 in the left picture below), the hue adjustment layer becomes the exclusive adjustment layer of “Layer 1”. At the same time, the name of “Layer 1” will be underlined (2 places in the left picture below). Looking at the image again, we already have the effect we want, as shown in the middle picture below.
Hold down the ALT key and move the mouse to the seam of the two layers in the layers palette. The mouse cursor will change to mark, click at this time to also use the hue and saturation adjustment layer as “Layer 1” ” dedicated adjustment layer. As shown below on the right.
Through this method, we can create multiple dedicated adjustment layers for the flower layer, as shown below on the left.
At this time, if you use the move tool to move and copy “Layer 1”, the adjustment layer will be transferred to be effective for the new layer, and the original layer will return to its original state. As shown in the middle and right pictures below. Note the difference in the layer names underlined. Underlined layers come with their own adjustment layers. Those without underlines are normal layers. Note that layers that are not copied using the above method (such as dragging the layer to the New button to copy) cannot inherit the color adjustment layer.
If you want to keep the adjustment layers after copying the original layers, you can first group them into a layer group and then copy the layer group.
If you change the layer level, the exclusive characteristics of the color adjustment layer will disappear, as shown in the left picture below. The solution is to select the layer and adjustment layer together and then change the level.
If the main layer is hidden, its dedicated adjustment layer is also hidden, as shown on the right below.
0716When I explained the selection earlier, I mentioned that you can make local color adjustments to the image by creating a selection. This method also works with color adjustment layers. First create a rectangular selection as shown on the left. Then select the background layer and create a brightness adjustment layer. The effect is as shown in the middle picture below. You can see that only the part within the selection is highlighted. At this time, the layer palette is as shown on the right (small thumbnail). You will see a grayscale image (red arrow) that is a bit like the channel for storing selections that you have learned before. This is what we will learn in the future. Layer mask.
Now we can use the masked color adjustment layer to complete the previous work. The method is to first create a selection with the same content as “Layer 1”, and create a color adjustment layer under the premise that there is a selection.
0717You can load the layer content as a selection by selecting the layer and then [Select>Load Selection], and then Select “Layer 1 Transparent” in the channel, as shown on the left below.
The fastest method should be to hold down “CTRL and click on the layer thumbnail”, as shown on the right below. Note that after holding down the CTRL key, you must be in the thumbnail area (the mouse should be ) can be clicked, and other places are invalid.
The selection is created as shown on the left. On this basis, create a color adjustment layer. The layer palette is as shown on the right. In order to let everyone see clearly, we use a medium-sized thumbnail. You can roughly see that the mask in the brightness adjustment layer is indeed very similar to the channel to store the selection learned in the previous course. The white square is exactly the size of the previously created selection.
You can use the same method again to create a selection and add additional adjustment layers. The operation of “CTRL Click on Layer Thumbnail” can also be updated to “CTRL Click on Layer (or Mask) Thumbnail”. You should understand the meaning. Even at this time, you can also use brightness adjustment. layer mask to create a selection.
Although this method can also achieve the previous local adjustment effect, the two are completely different in principle.
The former is to create an adjustment layer dedicated to the flowers, which only affects a certain layer and is a local effect. In this way, if you turn off the flower layer, the adjustment layer will lose its effect. It will not affect other layers. As shown below on the left.
The scope of the adjustment layer created by the latter method is still global and valid for all layers, but it is only limited in the effective area. If you turn off the flower layer, adjustments will still be made to the same areas on other layers. As shown below on the right.
In actual use, if you want to target a certainFor individual layer adjustments, you can use the first method to create a dedicated adjustment layer. The advantage of this is that no matter you move the layer position or change the level, the adjustment effect is always maintained. The disadvantage is that it can only be effective for the entire layer, not just a certain area of the layer. If you want to make color adjustments to certain areas in a layer, you must use a masked adjustment layer created from the selection (you can also use vector paths, which will be introduced in the following content). The advantage of this is that you can create Adjust areas of any shape and don’t have to be limited to layers. The disadvantage is that there is no master-slave relationship between adjustment layers and layers. When performing operations such as moving or scaling, you must select both at the same time before continuing.
For the color adjustment layer that has been created, you can change the type of color adjustment through [Layer>Change Layer Content]. For example, change the brightness adjustment to curve adjustment, etc. The advantage of this is that you can retain the original exclusive relationship or mask shape.
The answers to the first section are: 1d, 2b, 3e, 4c, 5a, 6f. Among them, the effects of 2 and b, and 4 and c are not exactly the same, but similar.
The production steps of the second section:
Pay attention to the legend. The guide rails of the gantry crane do not change color along with the container. Therefore, when creating a selection, the gantry crane guide rails located under the container must be excluded, as shown in the left picture below. This is actually not a technical issue, but a test of whether everyone has carefully observed the question. After changing the container (after selecting Edit Red, change the hue to green and adjust the saturation and brightness appropriately), then invert the selection, and then remove the rail part to change the color of the tower crane and scattered cargo (the saturation will be the lowest, then Appropriately reduce the brightness).
<!–Collectio
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