In general, the dramatic boost to the Saturation value holds up
nicely. The wood looks terrific, but the sky is too vivid and too
violet. In a lesser piece of software, we’d have to settle on com-
promised Hue and Saturation values that split the difference
between wood and sky. Fortunately, Photoshop lets us address
the sky independently of the wood.Adjust targeted
color range- Isolate the blues. The second pop-up menu in the Hue/Satura-
tion dialog box (the one labeled Adjust targeted color range in
the figure) is set to Master. This tells Photoshop to transform all
colors in an image by equal amounts. To limit your next round
of changes to just the sky, set the option to Blues instead. Notice
that the Hue and Saturation values reset to 0, informing you
that you’re about to add another layer of color modifications.
Just because you select Blues doesn’t mean you’ve isolated the right
blues. The blues of this particular photo might match Photoshop’s
definition of blue, but just as likely they lean toward ultramarine or
indigo (again, see page 185). Although the pop-up menu doesn’t offer
these colors, it lets you identify them by moving your cursor into the
image window and clicking a color. The following step explains how.Figure 6-18.190 Lesson 6: Adjusting Color and Luminance