The V6 RapidMask2 Module: Any mask, any time

I recently completed an updated video (below) on using the V6 RapidMask2 module. This module is at the heart of the TKActions V6 panel and was designed to be a mask-making juggernaut. Its evolution can be traced to the original luminosity mask concepts, but it’s moved far beyond the confines of those earlier techniques. One compact module can now make any pixel-based mask with just a few mouse clicks. Color, channel, saturation, and vibrance masks are as easily generated with RapidMask2 as standard luminosity masks. The built-in Rapid Mask engine quickly turns pixel values into masks, and these masks are viewed on-screen at near real-time speeds so it’s easy to experiment with different masks and find the best one.

It’s worth noting that all RapidMask2 masks are created using calculations, which provide the smoothest masks of any method to generate them. I experimented with a Curves adjustment layer for generating masks and even created a prototype panel using this method. However, I abandoned Curves when I saw the obvious tonal separation for tones with low pixel density in the image histogram. Calculated masks in RapidMask2 automatically adjust to match pixel density in selected tones by varying mask brightness. This isn’t possible when a static Curves adjustment creates the mask. So I’ve stuck with calculations for making masks in RapidMask2 and am confident it produces the best possible masks.

These calculations also completely avoid 8-bit selections as masks are generated and deployed. While I previously described the calculations process for making 16-bit masks and built it into the Rapid Mask engine, the reality is that calculations always make masks that match the bit depth of the image. Even 32-bit masks are possible with Rapidmask2 if you’re using the 32-bit mode in Photoshop.

The video below walks you through the workflow for using RapidMask2 to create and use pixel-based masks. It’s basically a four-step process:

  1. Choose a data source (luminance/color/saturation/etc) in the SOURCE section.
  2. Click different masks in the MASK section to find the best one.
  3. Optionally adjust the mask using the MODIFY section.
  4. Deploy the mask using the OUTPUT section.

This video will show you that it’s actually quite easy to make and use pixel-based masks once you have a panel that does most of the work.

More information on using RapidMask2 and the other V6 modules can be found in Sean Bagshaw’s V6 Video Guide series on the Panels & Videos page.

Monochrome 2: Toning with TKActions V6

The first article in this monochrome series dealt with using the TKActions V6 panel to convert color images to black-and-white. This second article looks at another important aspect of monochrome images: toning. Proper toning can enhance the mood of the image. Warm-tones, like sepia, impart a vintage look, while cooler tones communicate a more modern feel. There are a variety of different ways Photoshop can be used for toning. The Solid Color and Hue/Saturation adjustment layers when combined with luminosity masks are two of my favorite methods. The video at the bottom demonstrates both techniques.

Toning Theory

Historically, toning in the darkroom was a secondary development process. After the initial development to reveal the latent image on the exposed paper, the print was immersed in another solution that would chemically react with the silver in the print to produce the toning color. The areas of the image that had more silver (the dark areas) would react more strongly with the toner. Areas with less silver (the light areas) reacted less. This is an important distinction. The entire print did NOT receive equal amounts of toning. Dark areas received more and light areas received less. Visually, this meant that light areas of the image would still retain much of their original whiteness and didn’t change color dramatically in the toner. Very dark grays and pure black toned the most, but a dark shade of any color is hard to distinguish from black, so the color change wasn’t necessarily all that visible in very dark gray and black tones of the image either. However, as the grays in the image got a little lighter and on into the midtones, the toning color became much more obvious in the print. Grays in this range showed a definite color change, but still in proportion to the amount of silver in the print. A Zone 4 gray, for example, would show more intense color than a Zone 6 gray, and this was important to maintaining the tonal separation that created the image in the first place.

untoned image

toned image

This concept of applying toning to the silver-rich areas of a monochrome image (the dark areas) is where luminosity masks really come in handy. The Darks-series masks do exactly this. They select dark tones in the image in proportion to how dark the tone is. The darker the tone, the more it is selected. Using Darks-series masks as part of the digital toning process simulates what happens chemically in the darkroom. However, I’ve also found Midtones-sereies masks quite useful for digital toning. Since the midtones are often where toning is most obvious in chemically-toned prints, using them in digital toning also makes sense, and the results often look good. Which mask works best depends on the image. It’s helpful to try several different luminosity masks to find the best one. One more corollary to all this is that the best monochrome images for toning generally have some good gray midtones. Images with strong contrast where most tones approach black and white won’t show the toning color as well as images that have a lot of gray midtone values.

Toning vs. Tinting

As described above, toning was a chemical process that was strongest in the silver-rich parts of monochrome images. The effect is generally most obvious in the dark and midtone grays. The whites are largely unaffected due to their lack of precipitated silver. Tinting, on the other hand, can be thought of as a staining process that affects the entire image, not specific tones. With tinting, it’s the print substrate (the paper or emulsion) that is experiencing the color change. The midtone grays will still exhibit the color change, but so will the image’s whites. Both toning and tinting are ways to add color to the monochrome image, and in the digital darkroom, it’s possible to specifically target light tones as well as the darks and midtones. So in the digital realm, the distinction between toning and tinting is a bit less clear as it was in the traditional darkroom. One distinguishing characteristic is whether the color is applied uniformly across the image (tinting) or whether it’s restricted to specific tones (toning). The Photo Filter adjustment layer, for example, tends to be more of a tinting technique since it’s applied evenly across most tones in the image. For toning, Solid Color and Hue/Saturation adjustments tend to work best. The left image below shows toning accomplished with a Hue/Sat adjustment layer and a luminosity mask. The image on the right is a tinted image made with a Photo Filter adjustment layer.

tone vs. tint

Additionally, toning should be proportional within the selected tones where it is applied. The more selected tones should exhibit the most color change which then tapers off in tones that are less selected. Again, this is where luminosity masks really shine as they are able to isolate the color to specific tones in the image and in proportion to how much each tone is selected.

“Color” Blend Mode

Using the “Color” blending mode for the adjustment layer that adds the toning color is an additional technique that makes digital toning work well. It’s actually essential when using a Solid Color adjustment layer for toning, where it makes for a very nice toning effect when combined with a luminosity mask. It also provides a bit of a contrast boost when a Hue/Saturation adjustment layer is used for toning, so it’s definitely worth trying.

Summary: Toning is a way to add color and mood to black and white images. Solid Color and Hue/Saturation adjustment layers in combination with luminosity masks are a great way to digitally tone photographs that mimic the traditional darkroom process.

The video below demonstrates two good methods for using luminosity masks and adjustment layers to make digital toning easy and natural-looking with plenty of options for customizing the effect. If you want to practice along with the video, jpeg versions of images can be downloaded here.

NOTE: With the release of CC 2019 in October 2018, there is a blending mode bug on Windows computers. It can cause the wrong toning colors to appear and can also cause PS to crash. The workaround to fix this is to go to Preferences > Performance and make sure there is a check mark in the checkbox for “Legacy Compositing.” This post has more information about this bug and its current status.

TK Actions Quick Tip: Split toning

Sean Bagshaw posted another great Quick Tip video on his YouTube channel. Split toning is the topic this time and the new video shows how to customize the technique using luminosity masks. It goes well beyond the split toning capabilities of Light Room and highlights how the TKActions V6 panel and Photoshop provide a more refined approach to this process. Sean covers a lot of territory in this one. Here are some key steps to watch for in the video below:

  1. Separately tone two copies of the same image in Light Room/ACR−one warm, one cool.
  2. Open them as smart objects in Photoshop and stack them as one document.
  3. Use Layer Mask Mode in the V6 panel to make a luminosity layer mask for one of the images that correctly reveals the desired toning in that image.
  4. Modify the layer mask using things like a Curves adjustment and the Paint Brush tool.
  5. Use the smart objects to take the images back to LR/ACR to enhance the effect as needed.
  6. Fine-tune the split toning even more in Photoshop by adding adjustment layers specific to each images’ toning.

There’s an incredible amount of control possible with the steps Sean demonstrates here. I was impressed how the whole mood of the image changed as a result of the split toning process. The sun was above the background mountains in the original image, but not low enough to be casting a lot of warm light into the scene. However, with split toning, Sean essentially took this light and created an image that in the end has a strong golden hour feel to it, even creating some warm backlighting for the trees on the ridge. It’s a very pleasing transformation. I’m sure you’ll enjoy seeing how Sean does this.

Quick Tip: Split toning
Quick Tip: Cloud sculpting
Quick Tip: Exposure blending
Quick Tip: Favorite new V6 features
Be sure to subscribe to Sean’s YouTube channel for more tips on photography and post-processing.

TKActions Quick Tip: Cloud sculpting

Sean Bagshaw’s back and he’s posted another great Photoshop tip, this time on creating dramatic skies. He calls the technique “cloud sculpting” since its net effect is to bring improved texture and contrast in cloudy skies. Basically, it involves luminosity painting (painting through luminosity selections) to burn the darker parts of the clouds darker and to dodge the lighter parts lighter. The process is done on burn/dodge layers in order to non-destructively use black and white paint to accomplish this. Painting black through a “Darks” luminosity mask to darken and painting white through a “Lights” luminosity mask to lighten guarantees improved contrast since the further tones are from middle gray, the more paint they receive during luminosity painting. It’s just necessary to choose a luminosity mask that properly targets either the light or dark tones in the image.

Sean makes quick work of the image he demonstrates in the vid, but I took my time trying this as I definitely wanted to get a feel for how it worked and experiment with some variations. Below is the result of my first effort for an image I’m currently working on. You can roll the mouse over the image to see where I started from before employing this technique. NOTE: The image and the rollover might not be visible on the email feed. You may need visit the blog site if you want to see both images.

I had already worked to get a lot of drama in the storm cloud in my initial version, but cloud sculpting seemed to offer the promise of making it even better . . . and it did! There is certainly a better sense of the lightning lighting the cloud internally after cloud sculpting. I also learned a few things along the way.

  1. Zone masks are worth a try. I used “Zone” masks selected with the “Pick” button along with a higher opacity brush for burning (instead of “Darks” masks) and felt it gave me good control. I used a “Lights -3” for dodging, and that seemed to work well for me.
  2. Don’t modify the masks. While it may be tempting to modify the mask to make it more specific for either light or dark areas, clouds have a lot of softness that needs to be maintained. The straight masks generally will do a good job of keeping the clouds properly soft since they’re perfectly feathered based on the underlying tones in the image. So just try this technique first with a straight Lights, Darks, or Zone mask and don’t crank up the mask contrast before turning the mask into a selection.
  3. Smaller brushes can really target the effect. Sean used a large brush in the vid, but adding successive brushstrokes using a smaller brush worked best for me. That’s possibly because I was already working with a developed image and really wanted to “sculpt using a finer chisel.” It might make sense to start with a big brush but then decrease the size as the sculpting takes shape. The small brush also offered finer control than I could have ever achieved with an adjustment layer.

I was pleasantly surprised at what I was able to pull out of these clouds once I got started. Definitely a fun technique and worth a try.

Quick Tip: Cloud sculpting
Quick Tip: Exposure blending
Quick Tip: Favorite new V6 features
Be sure to subscribe to Sean’s YouTube channel for more tips on photography and post-processing.

Saturation Masks 2: How to make and use “true” 16-bit saturation masks

The first blog in this saturation masks series reviewed why Photoshop’s HSB/HSL filter is NOT a good way to create saturation masks because it consistently overstates the saturation of dark colors in the image. This post will review the method to make “true” 16-bit saturation masks that accurately map saturation in both light and dark colors. This results in perfectly feathered saturation masks for all colors in the image at all brightness levels. The best methods for using these true saturation masks, and their vibrance mask counterparts, will also be discussed. The video at the bottom of this blog reviews all the information on saturation and vibrance masks in this and the previous blog.

The image below is from the video. To see its true saturation mask, roll the mouse over the image. (The mask may take a couple of seconds to load and the rollover might not be visible in the email feed.) Notice how just the most saturated colors (orange clouds) are light in the mask. Unsaturated and dark colors are dark in the mask. Colors of intermediate saturation (blue in the sky) are shades of gray. This is a very accurate saturation mask, and it’s the starting point for making adjustments to control saturation that are equally precise. NOTE: The Granger Chart image will also be used in this blog. Copies of these images are included in the assets download folder for this blog.

There are good reasons for wanting to make saturation masks better than those created by the HSB/HSL filter. The primary one is accuracy. Creating saturation masks that properly reflect pixel-based saturation makes it very easy to use them to modify saturation in the image. Increasing or decreasing saturation, either globally or locally, can be precisely controlled once an accurate saturation mask is available. Many people have found HSB/HSL saturation masks less than useful because they end up with masks that include too many unsaturated dark colors. Inaccurate masks lead to flawed adjustments. Once a precision saturation mask is available, though, saturation adjustments become a standard part of the workflow since they offer consistent, predictable results. Another reason to make a better saturation masks is to aid in decision making. An HSB/HSL saturation mask is so obviously inaccurate that it’s hard to decide whether or even how to modify it to make it work. Once true saturation masks are available, it’s easy to quickly look at them and decide which one to use or how to make an adjustment to the mask to make it fit the image.

True saturation masks are actually quite easy to make, though the method is not entirely obvious. Start with a Selective Color adjustment layer and set the color change to “Absolute” in order to make sure the necessary adjustments are independent of the amount of color actually present in each pixel. Then for all the colors in the “Colors:” drop-down menu (Reds, Yellows, Greens, Cyans, Blues, Magentas), move the “Blacks” slider all the way left to -100%.

Selective color adjustment

For all the non-colors in the “Colors” drop-down menu (Whites, Neutrals, Blacks), move the “Blacks” slider all the way right to +100%.

Selective color adjustment

This Selective Color adjustment drains all the color from the image. So it’s now essentially a gray-scale image even though it’s still in RGB Color mode. But this gray-scale image is what the true saturation mask looks like. In order to make an actual mask of it, simply duplicate any of the color channels on the Channels panel since they’re all identical at this point. Once the duplicate channel is available, the actual Selective Color adjustment layer used to create it can be deleted. A Photoshop action to complete these steps is included in the assets download for this tutorial.

This duplicate channel is the true 16-bit saturation mask. This is the process carried out in the background when the RapidMask2 module creates a saturation mask. It results in a very accurate saturation mask that can be further modified using the buttons on the panel if adjustments are needed to better target specific colors or parts of the image.

The image below shows the Granger chart with its true saturation mask. Notice the smooth transition from saturated to unsaturated colors in both the light and dark tones in the image.

Granger chart plus saturation mask

Saturation masks, however, are really only half the story. Just like there are two main types of luminosity masks, lights and darks, there are also two types of saturation masks: saturation and vibrance. And, again, just like with luminosity masks, they are the inverse of each. Inverting a saturation mask creates the vibrance masks, and both masks are useful when balancing saturation in an image.

Granger chart plus saturation mask

Armed with these two types of saturation masks that accurately reflect true saturation in the image, it’s quite easy to become a saturation ninja, expertly controlling image saturation to your liking. There are just two main techniques to master:

  • Saturation painting through a saturation mask, and
  • Using vibrance masks as a layer masks on a Hue/Saturation adjustment layer

However, knowing which technique to use is important.

SITUATION #1: OVER-saturation

TECHNIQUE TO USE: Saturation painting through a saturation mask.

RATIONALE: Usually there are just isolated areas of over-saturation in an image, often as a result of aggressive processing. Rather than making a global saturation change to correct this, it’s often easier, and more precise, to simply paint it away with saturation painting. This is the equivalent of dodging using luminosity painting and is described in more detail in this tutorial.

HOW TO DO IT:

  1. Create a blank pixel layer set to Saturation blend mode.
  2. Create a true saturation mask and load it as a selection.
  3. Select the brush tool and set the foreground color to gray and the opacity of 5 to 10%.
  4. Paint through the active selection on the over-saturated parts of the image. The active selection of the true saturation mask will restrict the paint to landing on just the most saturated areas of the image, partially removing saturation in the process.
  5. Add additional brushstrokes until the desired level of saturation is achieved.

WHY IT WORKS: Saturation blend mode combines the saturation of the saturation painting layer with the hue and luminosity of the underlying layers. Gray paint has a saturation of 0%. So if gray paint is painted on the saturation painting layer at 100% opacity, the result would be that the underlying color would now be 0% saturated. In other words, all color would be removed. Painting with a brush opacity of 5 to 10% means that the saturation of the underlying colors will be decreased proportionally. A true saturation selection can be used to expertly confine the paint to just the most saturated colors in the images. Painting through a saturation selection with a low opacity brush and multiple brush strokes then provides a very controlled method for lowering the saturation of just the over-saturated parts of the image, which are defined by the active saturation mask selection.

SITUATION #2: UNDER-saturation

TECHNIQUE TO USE: Use a Hue/Saturation adjustment layer with a vibrance mask as the layer mask.

RATIONALE: Under-saturation in an image is often more global. The image simply looks dull when it doesn’t have enough color. While additional saturation could be painted in with saturation painting (by painting with saturated red instead of gray through a vibrance mask), large parts of most images can usually benefit from a global increase in saturation as long it’s restricted to less saturated colors, which is exactly what a vibrance mask does. So it’s often better to do a global adjustment with an adjustment layer rather than a precision adjustment with a paintbrush.

HOW TO DO IT:

  1. Create a true vibrance mask. The initial vibrance mask will usually be too revealing, so narrow the range. I like using a Zone 8-½ or Zone 9 vibrance mask as my starting point for enhancing under-saturated colors.
  2. Create a Hue/Saturation adjustment layer with the chosen vibrance mask as the layer mask.
  3. Open the Hue/Saturation properties and drag the saturation slider to the right to achieve the desired degree of saturation across the image.

WHY IT WORKS: The vibrance layer mask insures that the adjustment only targets the less saturated tones in the image. More saturated colors will NOT receive the adjustment so they won’t over-saturate with this process. The saturation boost only affects dull colors in the image because the vibrance mask controls which pixels are affected.

SUMMARY: True 16-bit saturation masks are easy to create with a Selective Color adjustment layer. Once the initial saturation mask is created, it can be inverted to create a vibrance mask. With these two masks, there are two main methods for balancing image saturation.

  1. Saturation painting with gray paint through a saturation mask is a precision method for addressing over-saturation of specific colors or elements in an image.
  2. A Hue/Saturation adjustment through a vibrance mask is a great way to bring additional saturation to under-saturated tones while sparing more-saturate colors from the adjustment.

Saturation changes to an image can be subtle, but I usually experiment with both techniques when the image is nearing completion. It’s often surprising how specifically addressing saturation in this manner can improve the image.

It’s worth remembering that saturation and vibrance masks made with the Selective Color adjustment are pixel-based masks, which makes them completely self-feathering. This means that any change you make using these techniques always blends seamlessly into the final image.

The video below reviews and demonstrates all this information about saturation masks. If you would like to practice along, a jpg of the image used in the video is located in the assets download.

Saturation Masks 1: The problem with Photoshop’s HSB/HSL filter

In addition to my work advancing luminosity masks, I’ve also been a big proponent of saturation masks. I’ve used them since 2007 when I first started writing about saturation masks and saturation painting. The way I originally recommended making them was Adobe’s HSB/HSL filter. However, Adobe stopped including the filter in Photoshop for a number of years, so I changed to a different and ultimately better method to make saturation masks. Adobe has again included the HSB/HSL filter in the Filter menu of Photoshop CC. Now that it’s returned, this is probably a good time to review why it should NOT be used to make saturation masks.

TK Basic V6 panel

The way to run the HSB/HSL filter is to create a stamp-visible layer of the image and then convert it to HSL (Hue, Saturation, Lightness) with the filter. Once this is done, the new “Green” channel is used as a saturation mask. Sounds easy, but it’s flawed. A saturation mask created by this process poorly matches the saturation in the image, especially for dark colors.

This first blog covering saturation masks will take a closer look at the HSL/HSB filter and the asymmetry problem associated with it. It’s helpful to understand the problem before moving on to the solution. To do this, I’ll use a Granger Chart, shown below, for illustration since it makes the HSB/HSL problem quite obvious. A copy can be downloaded here. (NOTE: There are some color artifacts in the image on this blog as a result of converting from ProPhoto to sRGB for display on the web.)

TK Basic V6 panel

In the Granger Chart, the most saturated colors zigzag across the vertical center of the image. Saturation will vary somewhat depending on hue, but moving vertically, either up or down away from the center, leads to colors with decreased saturation. The saturated colors in the middle gradually transition to 100% white on the top and 100% black at the very bottom. Black and white have no color at all and so, by definition, are completely unsaturated (saturation = 0%). In other words, pixels close to the center are highly saturated, and saturation decreases in a gradual manner as you move towards the top and bottom edges.

And this is indeed what happens according to Photoshop’s Color Picker when moving vertically from the center to the top edge. The image below shows saturation values from the Color Picker at evenly spaced points along the vertical axis. As you move up from the center (Saturation = 100%), saturation values decrease progressively as distance from the center increases. Exactly as expected.

TK Basic V6 panel

But look what happens as colors get darker. Saturation values, again extracted from the Color Picker, do NOT decrease when moving downward from the center. As colors get more black and contain less color, saturation values don’t change. Saturation remains at 100% even though the amount of color present is gradually decreasing. Even the very bottom pixel of the Granger Chart still has a saturation value of 98% according to the Adobe Color Picker. Strange, huh? Why does saturation remain unchanged as color intensity decreases and black increases? And why are the dark colors different than the light colors?

The actual saturation mask produced using the HSB/HSL filter (the “Green” channel after converting to HSL) matches values from the Color Picker. It is shown below. As a quick review, a saturation mask shows white or light gray in saturated colors and shows black or dark gray in unsaturated colors. For light colors, the HSB/HSL-produced saturation mask shows a smooth decrease in saturation, fading from white to black when moving from the center towards the top edge. This is exactly as expected. The central intensely colored pixels are highly saturated and show as white in the saturation mask. When moving towards the top, saturation decreases, so the mask turns gradually darker gray until it is entirely black at the top border, which is white in the image (and therefore 0% saturated).

TK Basic V6 panel

But look what happens with this HSL mask in the dark colors. The dark colors in the image remain pure white in the mask (indicating very high saturation) even though they contain less and less color when moving from the center towards the bottom. Yes, this matches the saturation values derived from the Color Picker, but it ignores the obvious fact that color saturation actually decreases gradually as you move lower from the center of the Granger Chart. There is no corresponding smooth transition in the saturation mask of the dark colors like in the light colors as would be expected.

This is the asymmetry problem that comes from using the HSB/HSL filter to produce saturation masks. Light colors show appropriate saturation and feathering in the HSB/HSL saturation mask, but dark colors show exaggerated saturation and no feathering at all.

The important thing to take away in all this is that a saturation masks created using the HSB/HSL filter significantly (and sometimes grossly) overstate saturation in dark colors of the image. Dark colors end up being mapped as more saturated than they really are. This is also demonstrated in the image below. Its HSB/HSL saturation mask is shown beside it. Notice how the letters and numbers, even though they are nearly black, are showing as a very light gray in the saturation mask created using the HSB/HSL filter. This indicates they contain highly saturated colors. But this is obviously wrong. No way does a color this dark have the degree of color saturation indicated by the mask. Black is 100% UNsaturated, and any colors approaching black should be very dark in a mask that accurately maps color saturation. But in this mask, the characters in “OPEN” and “7 TO 7” are very light. Based on these tones in the mask, their color saturation in the image should exceed that of the deep blue sky (which is a darker gray) and approach that of the reds and yellows in “GRILL” (which are also very light gray). Even worse, the black word “GEARHART” is mapped in the mask as being more saturated than the magenta background behind the hamburger bun. These characters are clearly less saturated than this. So this isn’t just a theoretical concern that happens in a mathematical image like the Granger Chart. The same problem of the mask showing over-saturation of dark colors is also quite obvious and quite extreme in an actual image.

TK Basic V6 panel

NOTES:

  1. The question can fairly be asked as to why these dark colors aren’t actually pure white in this saturation mask of the image as the dark colors are in the Granger Chart? I’m not entirely sure, but I think this probably relates to the way the Granger Chart is created. It’s made from two gradients: one of completely saturated colors and the other of black-to-white tones. I have a feeling that the colors it produces are only a subset of all colors (even though it creates what appears to be a spectrum of all color) and it’s these specific dark colors that get mapped to 100% saturation by Adobe’s Color Picker. Although, it may also be related to how Photoshop converts from RGB to HSL. Or it could be some other reason entirely. The Granger Chart happened to be what I was using when experimenting with saturation masks, and was what tipped me off to the HSB/HSL problem of dark colors appearing more saturated than they really are. But the over-saturation of dark colors has been apparent in all “real” photos that I’ve made saturation masks for using the HSB/HSL filter. The over-saturation of dark colors is seldom 100%, like with the Granger Chart, but it is always very obvious once you’re aware of it and start comparing the saturation of dark colors with other, truly more saturated colors in the image.
  2. It is also worth noting that there is still some self-feathering of the of the over-saturation in HSB/HSL-produced saturation masks in “real” images. There is no abrupt cutoff like with the Granger Chart HSB/HSL saturation mask. So using these HSB/HSL masks would still lead to a smooth blending of whatever is adjusted through such a mask. However, visually evaluating these HSB/HSL-created masks to decide where saturation is truly present in the image is nearly impossible since the dark colors end up being so light in the mask that they frequently outshine actual saturated colors. The bottom line is that any adjustment through such a mask intended to affect actual saturated colors in the image disproportionately affect darker colors in the image instead.

SAT mask menuWith the problem described, the question becomes how to make a more accurate saturation mask, one that treats light and dark colors equally so that the saturation in darker colors gradually tapers off as saturated colors are replaced with unsaturated black. What that mask looks like for the Granger Chart is shown below and was generated using the “SAT” mask option in the TK RapidMask2 panel. It shows perfect saturation feathering in both light and dark tones. This is easily achieved when using a better method than HSB/HSL to generate TRUE saturation masks.

TK Basic V6 panel

Below is the test image along with the more accurate saturation mask generated from the RapidMask2 panel. The most colorful areas are now the brightest shades of gray in the mask and elements with little or no color (the words “OPEN”, “7 to 7”, and “GEAHART”) are very dark gray. This is exactly the way it should be in a pixel-based mask that accurately maps color saturation.

TK Basic V6 panel

I’ve been using this more advanced method for making saturation (and vibrance) masks in my panels and developing workflow for close to a decade and wouldn’t return to using the old HSB/HSL filter at this point even though Adobe once again makes it available. I’ll explain how to create these TRUE saturation masks in an upcoming blog.

SUMMARY: Saturation masks produced using Photoshop’s HSB/HSL filter display asymmetrical saturation when comparing light and dark colors. Light colors show a perfectly feathered saturation transition as colors get lighter and less saturated while dark colors get mapped as being more saturated than their color would suggest. A better method for making saturation masks would take into account pixel brightness as well as saturation.

FINAL NOTE: I’m not an expert in color models and do not know why the HSL/HSB filter maps saturation the way it does or why the Saturation values in the Color Picker remain at 100% for dark colors. I just know that pixel-based masks need to accurately display the pixel-based values I’m looking to adjust if they are to be useful. That way I can properly evaluate the mask and modify it, if need be, to match my image. In the case of saturation masks, the HSB/HSL filter is definitely substandard for creating the type of masks I want to use.

New Complete Workflow video series by Sean Bagshaw: Lake Bled

I’m very pleased to let folks know that Sean Bagshaw has released his third Complete Workflow video series. This one covers his “Lake Bled” image from Slovenia from start-to-finish and uses the new TKActions V6 panel. Exposure strategy, development planning, RAW file adjustments, mask making, exposure blending, fine-tuning, and creative development are all covered. Sean makes some intricate masks for this workflow that are an important part of the blending and development process. The last two chapters are my favorites since they do a nice job highlighting the creative control possible with the V6 panel. But there’s a lot to watch and learn in all the chapters, and Sean uses the V6 panel nearly constantly as he works.

Lake Bled photo

Sean has been regularly recording Complete Workflow videos for each new version of the TKActions panel, and starting now they are all bundled into one very economically priced product. The older series feature older versions of the panel (Secret Beach–V4 panel and Northland–V5/V6 panel) , but they still demonstrate the huge variety of different techniques Sean employs to create his dramatic images. If you don’t have the previous videos, the new three-volume set is essentially a guidebook to creative development.

Sean is one of the leading instructions in landscape photography today, and I’m happy to be working with him and being able to offer his high-quality instructional videos on my website. If you’re looking for photographic inspiration, these Complete Workflow vids offer hours of ideas both for working in the field and then in Lightroom and Photoshop. The sample videos below are from the Lake Bled series.

The new 3-series bundle of Complete Workflow videos (Secret Beach, Northland, and Lake Bled) is available on the Panels & Videos page for $45. Blog readers can also use the following code for a 10% discount on this product: CWFLB10

NOTE: I’ve contacted previous customers with private update information for receiving the new Lake Bled video series at a special price. If you’re a previous customer and haven’t received the email, please contact me and I’ll forward the information. Also, there was initially some server issues downloading the new series, but these have been resolved. If you purchased the new series but are still having download issues, definitely contact me and we’ll get it fixed.