Perfekte Farben erzeugen mit einer Sättigungsmaske | Photoshop Tutorial Deutsch

If we increase the saturation in a picture, we quickly come across some problems. Many colors seem to be over-saturated, while there may even be other colors that could tolerate a little more saturation. On the other hand, there are also problematic areas, such as here, where individual pixels are shown very strangely. Of course, we absolutely want to avoid such problems. That's why we'll take a look at how we can increase the saturation in this video and achieve a result that is as natural as possible. To increase the saturation in this picture, I will first delete this adjustment layer. This way we get our original picture, which I have also linked in the video description. What we want to do is create a real saturation mask. A mask that ensures that the result looks natural. To do this, we start by adding a selection layer to the layers. In the properties, we first set it to absolute. Then we have a list of colors up here, in which we can select individual colors. For all colors, except for white, gray and black, we want to pull the black slider all the way to the left, to minus 100%. Starting with the red colors, we move on and pull this slider all the way to the left for all colors. We do this once completely, so that we always set this slider to minus 100%. Magenta colors will be the last color we pull to the left. Then we come to white. For white, gray and black, we want to do it the other way around. Here we pull the black slider all the way to the right, to plus 100%. I think you can already see what happens here. We get a gray layer map. The image is now displayed in different gray layers. From this, we now create our saturation mask. To explain what this does, the following is the case. The areas that are darker will receive less saturation. The areas that are brighter, i.e. closer to white, will receive more saturation. This ensures that the colors do not over-saturate and that each area can only receive as much saturation as it can tolerate. Let's take a look at how to create the saturation mask. We simply have to go to the channels. Here we have our red, green and blue channel. These channels are all identical at the moment. We now want to load a selection from one of the channels. To do this, we simply hold down the control key and click on the preview image of one of these channels. This now displays a selection. Let's go back to the layers. We can now hide the selective color correction. The selection is still active. If we now add a setting layer, e.g. color tone saturation, then a mask is automatically created from this selection. We can see that when I click on it, the selection disappears. However, this has now been added as a mask to the color tone saturation adjustment. We can now see that if we increase the saturation in this adjustment, we get a nice, natural result. Let's hide it. This is what it looked like before and this is what it looks like now. If we click on the mask again, we can hide it in the properties. This is what the adjustment looks like without our mask and this is what it looks like with our mask. An extreme difference. A saturation mask that ensures that no area receives more saturation than it can actually tolerate. As a little explanation of how this works, if we now hide the mask, then we see certain areas like here, where the whole thing looks really bad, where individual pixels are recognizable and are shown strangely. If we now notice this area here, if we pay attention to this area here and I now hide the mask itself by holding down the ALT key and clicking on the mask, then we see that this area here is black. As I explained to you before, the areas that are darker will receive less saturation. The areas that are lighter will receive more saturation. And you can see that the areas where you shouldn't really increase the saturation, that they are really black, because they wouldn't tolerate it anymore, because they would then look strange, oversaturated and so on. The areas that can tolerate saturation are lighter, they are gray or almost white and as I said, they receive more saturation. One or the other might now say, isn't this exactly what the dynamic setting does? And I have a little comparison here for you. I have here in the upper group the result with our saturation mask and in the lower group, as you can see here, I have set the dynamic to plus 100. And now let's compare the whole thing. This is what the whole thing looks like with the saturation mask. If I hide the dynamic instead, then you can see here, I think, a relatively clear difference in the result. Yes, the dynamic also does a good job, but compared to the saturation mask, it looks significantly different. This is how the whole thing works. And finally, a little tip for you. If you click on the Selective Color Correction again, then you can save the whole thing as a template here in the properties. Because it is of course a bit of work to set all these controls here every time. Instead, you can do that now, where you have set it once, save it here on the right as a template for Selective Color Correction. You can give the whole thing a suitable name. I have already done that and you can see here, when I unfold my templates, then I have simply named the whole thing with saturation mask, can select it at any time and then all the controls are already set appropriately. And of course that saves you a lot of work. But that's it. I hope it was understood. If you want to learn more about Photoshop, I would be very happy if you look in the video description, because there you will find the link to my detailed complete course. And otherwise I hope to hear from you again soon in one of my next videos.