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I have gone ahead and saved off that marriage between channel mixer and black-and-white as Merged CM+BW.psd found inside the 18_black-white folder. I have also got another version of this file that I'd like you to open, it's called Enhanced gothic.psd and the difference here is that we just have the Shadows/Highlights layer working together with the original, and a black-and-white layer on top, and that's it, and these are those same black-and-white settings, reading from Reds down the Magentas we have got 60 for Reds, 130 for Yellows, 130 for Greens, 100, 50 and 70 for Cyans, Blues and Magentas and the reason I am bringing back this version of the image is because I want to answer a couple of questions.
First of all, how do you tint the image? So in other words, how do you infuse it with a little bit of color. Like you might want to warm it up to create sepia tone or you might want to cool it down to create a bluish version of the image. Also how do you reveal some colors that were associated with the original image? So for example, back here in the original, if I turn off the BW layer for a second, you can see that this forward woman is wearing this red fake fur or whatever it is, and let's say I want to bring out that red color, I think it will go well with the final black-and-white version of the image.
How do I paint down to it? Well, let me go ahead and answer both of those questions. I will turn the BW layer back on. Now tinting can be a really good idea, because consider this, if you were to print this image to either a black-and-white printer or send it out for commercial reproduction using just one ink, black, and that's it, you are going to get a fairly flat print, and that's because one ink by itself is capable of representing probably depends on your printer's capabilities. But most likely less than a hundred different luminance levels, from white, paper white, all the way to black and I am using quote fingers here, because when you are just using black ink, your black isn't all that dark.
So it's going to be a fairly lightweight image. Whereas, if you go ahead and render the image out using all of the process ink, Cyan, Magenta, Yellow and Black working together, then you can create some extremely rich blacks and you have all sorts of luminance levels in between that you can render out as well. So a little bit of tint goes a long way where a black-and-white output is concerned, I definitely recommend this approach. Now you don't want to go too crazy with it, you don't have to scream color, because after all you want black and white, but if you infuse the image with just a little bit of color, you can work out very nicely.
So there is a couple of different ways to do it. You have this Tint option that's available to you inside of the black-and-white adjustment that's one way to go, but that gives you just one color to work with. You are just basically infusing the mid tones with a color, and you are using neutral black-and-white as your ultimate highlights and shadows. Whereas, if you want to infuse some other colors into the image, you are going to need to take up the Gradient Map adjustment, which I will show you before this chapter is done. Anyway, the advantage of tint is very easy to apply. So go ahead and turn on this check box, and by default you are going to see this sort of ultra sepia tone right here, which is quite yellow as well.
I think it's way too much color quite frankly. To adjust the color, go ahead and click on this color swatch to the right of the word tint, that brings up the Color Picker dialog box, and if you wanted to, you could adjust that hue, I could send it down to 35, for example, in order to warm up the colors a little bit, so they are not quite so yellow, and they have a little bit more orange in them or a little bit more of a wood color if you like. But in my case I am going to leave that set to 42 degrees and the reason is, because I want some nice contrast with that frock in the background.
I am however going to lower the saturation like crazy, I will go ahead and press Shift+Down Arrow to lower that value to 10%, and then I will actually arrow it down to 6%, like so. So we have just a little hint of color going on. All right, click OK in order to accept that modification, if you like it. You can go your own way of course. Now let's scroll up so that we can see all of this woman's fake fur right there. I am going to turn off this black-white adjustment for just a moment so we can see the original colors, and I will click inside the Shadows Highlights layer to make it active.
And then I will grab my Quick Selection tool which fares the best for this particular technique. You could also just try bushing in a mask if you want to but Quick Selection works pretty well. I am going to increase the size of my brush. Now it is going to take some back-and-forth work here, so I will go ahead and paint along the entire frock. That selects too much, so I will Alt+Drag or Option+Drag over these details to deselect them, and I will Alt+Drag or Option+Drag here to deselect this area as well. Now I need to reduce the size of my cursor and paint in this region, and if you are not careful, you get this, I shouldn't say, if you're not careful, there's no way to avoid that, this is the Quick Selection tool after all.
It does whatever it wants to do. Anyway, let's go ahead and Alt+Paint around these details to get rid of them and that looks pretty good, I might actually reduce the size of my cursor further by pressing the left bracket key of course, and just drag, you may recall that by default the Quick Selection tool is set to add to the existing selection, so I don't have to press the Shift key, and I will just paint in there a little more. Now it's not worth grabbing this little bit of red under her nose, because nobody is going to miss it and adding it in there, based on my experience, doesn't do us any good.
All right now, let's switch over to the black-and-white layer, click on it to make it active. Let's hide these options here so that we can see the entire Layers panel, by double-clicking to the right of the word masks, and then I will dropdown with black-and-white active, I will dropdown to the Add a layer mask icon, and instead of clicking on it, I will Alt+Click or Option+Click, because we want to mask to away the selected portion of the image and that ends up working out pretty nicely. You know what, I think I want to just apply a little bit of blur to that mask, actually we should check the mask out, Alt+Click or Option+Click on it.
Yeah, it's got a little bit of a weird line; you may see more weird line than that. To get rid of the weird line, simplest thing to do is, just grab your Lasso tool right there and just select around this region like so, and assuming white as your background color, which it is for me, press the Backspace key or the Delete key on the Mac. Then get out of town, let's go ahead and Alt+Click or Option+Click once again on that layer mask to return to the composite image, press Ctrl+D, Command+D on a Mac to make sure you deselect your image, and now with the layer mask active let's go ahead and blur it.
Blurring is another thing that you can do on-the-fly from that Masks panel. So I will go ahead and bring up the Masks panel, like so. So I have showed you Density, now I will show you how feather works, we can go ahead and feather this layer mask on-the-fly, which is to say we can blur it on the fly. And by on-the-fly I mean, parametrically we can change your mind any time we want to. So we can blur it today, un-blur it tomorrow, totally up to us what we want to do. I am going to take it to four; four pixels actually work out pretty well for this effect here.
If you felt like you didn't get enough of the redness over on the left hand side, then you could paint in a little bit of layer mask as well, if you like, but actually feel like this is pretty great. I will go ahead and fill the screen with the image once again by pressing the F key a couple of times this time around, and we will go ahead and zoom in. This is that version of the image, a little bit of sepia tone added. We have brought back the Reds from the frock as well, I could spend a little more time painting in there, but that's actually where the Red ends.
So that just happens be the way the color renders out inside the image. In the next exercise I am going to show you a better way to infuse a black-and-white image with color using Gradient Map.
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