Topics Covered in This Photoshop Tutorial:
Fixing Over-saturation, the Calculations Command, Applying Hue/Saturation Only to Over-saturated Areas
Exercise Preview
Ensure you have the boxer.jpg file from the Photoshop Adv Class folder. Close any other open files before beginning this exercise for optimal performance.
Exercise Overview
The vibrant, oversaturated colors in this image may look stunning on your monitor, but they present a classic print production challenge—what you see isn't what you'll get. These intense hues will never translate accurately to print, creating a jarring disconnect between your digital vision and the final output. The solution requires strategic desaturation, but here's the crucial point: we need surgical precision, not a sledgehammer approach.
A global desaturation would drain the life from your image, creating a washed-out result that defeats the purpose entirely. The real challenge lies in targeting only the most problematic oversaturated areas while preserving the image's overall impact and tonal balance.
Traditional selection methods fall short here. Color range selections across multiple areas become tedious and yield inconsistent results—a workflow nightmare for busy professionals. Channel duplication seems logical but creates another problem: it selects whites and grays along with your target colors, making your mask virtually useless. The elegant solution lies in Photoshop's often-overlooked Calculations command, which leverages the mathematical relationships between color channels to create precisely the selection mask we need.
Let's dive into this advanced technique that will transform how you handle color correction for print production.
Start with a clean workspace by closing any open files.
Navigate to the Photoshop Adv Class folder and open boxer.jpg.
If Photoshop displays a missing profile dialog, select Use the embedded profile and click OK to maintain color integrity.
Access Image > Calculations. Keep this dialog open—we'll configure the settings systematically before executing the command.
Configure Source 1 by verifying the menu displays boxer.jpg, then apply these settings:
Layer: Background Channel: Red Invert: Leave unchecked Configure Source 2, ensuring it's also set to boxer.jpg:
Layer: Background Channel: Blue Invert: Leave unchecked Complete the configuration with these critical settings:
Blending: Difference Opacity: 100% Mask: Leave unchecked Result: New Channel Alternative Selection Methods
ProsCalculations command provides precise color-based selectionsAutomatically excludes neutral tones from selectionCreates reusable alpha channels for future adjustmentsMaintains natural skin tones during color correctionConsColor ranges selection is time-consuming and imperfectOverall desaturation washes out entire imageDuplicating color channels selects unwanted whites and graysManual selection methods yield inconsistent resultsCalculations Setup Process
1Configure Source 1
Set to boxer.jpg file, Background layer, Red channel with Invert unchecked
2Configure Source 2
Set to boxer.jpg file, Background layer, Blue channel with Invert unchecked
3Set Blend Mode
Use Difference blending at 100% opacity with Result set to New Channel
Why Did We Choose That?
The Difference blend mode is the secret sauce in this technique. When Photoshop compares the Red and Blue channels using Difference, it mathematically isolates areas where these channels vary significantly. Here's the brilliant part: vibrant, saturated colors show dramatic differences between channels, while neutral whites, grays, and blacks remain virtually identical across all channels. This creates a natural mask that targets exactly what we want to desaturate while protecting neutral tones—something that would be nearly impossible to achieve manually with traditional selection tools.
Execute the command by clicking OK.
Return to the composite RGB view using Cmd–2 (Mac) or Ctrl–2 (Windows).
Create a duplicate for comparison by choosing Image > Duplicate, then click OK.
Arrange both images for easy comparison using Window > Arrange > 2-up Vertical.
In the duplicate image, add a Hue/Saturation adjustment layer and reduce Saturation to −40. Notice how this global adjustment creates an undesirable "washed out" appearance—exactly what we're trying to avoid.
Switch to the original image and open the Channels panel. Cmd–click (Mac) or Ctrl–click (Windows) on the newly created Alpha 1 channel to load it as an active selection.
Hide the alpha channel if it's currently visible to better evaluate your work.
Invert the selection using Cmd–Shift–I (Mac) or Ctrl–Shift–I (Windows). This targets the oversaturated areas rather than the neutral zones.
Add a new Hue/Saturation adjustment layer with the selection active.
Apply the same −40 saturation adjustment and observe the dramatic difference.
Compare the results: the targeted desaturation preserves the image's punch while taming only the problematic oversaturated areas. Pay particular attention to the skin tones, where you'll see natural color retained in areas that would have been destroyed by global desaturation.
Vibrant colors differ radically between channels while whites, grays, and blacks are virtually the same from channel to channel.Channel Behavior Comparison
| Feature | Vibrant Colors | Neutral Tones |
|---|---|---|
| Red Channel Values | Varies significantly | Similar across channels |
| Blue Channel Values | Differs from red | Matches other channels |
| Difference Result | High contrast mask | Low contrast mask |
Final Implementation Steps
Create Image Duplicate
Duplicate the original image and arrange both images in 2-up vertical view for comparison
Load Alpha Selection
Cmd-click or Ctrl-click the Alpha 1 channel to load it as an active selection
Inverse and Apply
Invert the selection and create Hue/Saturation adjustment layer with -40 saturation
The final image should show desaturation only in oversaturated areas, with skin tones and other natural colors remaining balanced and realistic.