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Adding tint and color

From: Photoshop CS5 One-on-One: Advanced

Video: Adding tint and color

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.

Adding tint and color

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.

Show transcript

This video is part of

Image for Photoshop CS5 One-on-One: Advanced
Photoshop CS5 One-on-One: Advanced

247 video lessons · 33173 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 2s
    1. Welcome
      2m 1s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 6s
  2. 1h 5m
    1. What you can do with Photoshop
      1m 46s
    2. The mission-critical eyes
      2m 44s
    3. Copy Merged and Paste in Place
      6m 52s
    4. Sharpening details to match
      4m 34s
    5. Masking eyes
      9m 22s
    6. Working with clipping-mask layers
      9m 5s
    7. Shading with layer effects
      8m 10s
    8. Color and highlight effects
      4m 2s
    9. Refining layer masks
      5m 43s
    10. Fabricating the highlights in the pupils
      7m 33s
    11. Using a merged copy to sharpen
      5m 34s
  3. 2h 14m
    1. Highlights, shadows, and midtones
      1m 16s
    2. Introducing the Auto commands
      7m 23s
    3. Adjusting Cache Level settings
      6m 8s
    4. Reading a channel-by-channel histogram
      6m 21s
    5. How the Auto commands work
      5m 22s
    6. Auto Tone, Auto Contrast, and Auto Color
      7m 7s
    7. Blending the Auto results
      4m 4s
    8. Introducing the Levels command
      6m 15s
    9. Using Levels as an adjustment layer
      3m 12s
    10. Applying custom Levels adjustments
      6m 8s
    11. Understanding the gamma value
      7m 39s
    12. The futility of Output Levels
      2m 56s
    13. Selections and adjustment layers
      5m 48s
    14. Opening up the shadows
      3m 40s
    15. Previewing clipped pixels
      4m 51s
    16. The black, white, and gray eyedroppers
      5m 7s
    17. Gray card tips and tricks
      6m 5s
    18. Making channel-by-channel adjustments
      7m 29s
    19. Introducing the Curves command
      7m 44s
    20. Curves dialog box tricks
      7m 16s
    21. Curves adjustment layer tricks
      5m 45s
    22. Correcting an image with Curves
      5m 32s
    23. Filling in the highlights
      5m 42s
    24. Neutralizing casts and smoothing transitions
      5m 37s
  4. 1h 46m
    1. The art of enhancing edges
      1m 26s
    2. How sharpening works
      6m 2s
    3. The single-shot sharpeners
      6m 7s
    4. Introducing Unsharp Mask
      6m 19s
    5. Radius and Threshold
      6m 24s
    6. Sharpening colors vs. luminosity
      5m 56s
    7. Gauging the ideal settings
      8m 59s
    8. Unsharp Mask vs. Smart Sharpen
      7m 1s
    9. Using the Remove settings
      9m 30s
    10. The More Accurate checkbox
      6m 8s
    11. Saving your Smart Filter settings
      5m 31s
    12. The Advanced sharpening settings
      7m 52s
    13. Accounting for camera shake
      6m 18s
    14. Sharpening with the Emboss filter
      6m 43s
    15. Sharpening with High Pass
      9m 23s
    16. The new and improved Sharpen tool
      6m 22s
  5. 1h 34m
    1. Edge's evil twin: noise
      1m 12s
    2. Color vs. luminance noise
      7m 21s
    3. Reducing color noise
      7m 45s
    4. Reducing luminance noise
      4m 59s
    5. Relegating an effect to the shadows
      6m 27s
    6. Switching between layer and mask
      6m 59s
    7. The Dust & Scratches filter
      4m 56s
    8. Adjusting shadow saturation
      5m 52s
    9. Combining High Pass with Lens Blur
      6m 57s
    10. Masking a layer of Lens Blur
      7m 34s
    11. Painting away High Pass sharpening
      8m 22s
    12. Building up a noise pattern
      6m 40s
    13. Converting noise to texture
      4m 24s
    14. Bleeding colors into paper
      6m 16s
    15. Matching different noise levels
      8m 31s
  6. 1h 32m
    1. We are the stuff of light
      1m 24s
    2. Applying automatic lens correction
      5m 53s
    3. Introducing Shadows/Highlights
      3m 44s
    4. Shadows/Highlights in depth
      7m 59s
    5. Creating a "bounce" with Gaussian Blur
      4m 43s
    6. Sharpening on top of blur
      7m 3s
    7. Sharpening the merged composition
      6m 16s
    8. Grouping and masking layers
      5m 40s
    9. Adjusting the density of a mask
      7m 14s
    10. Creating a Shadows/Highlights shortcut
      5m 47s
    11. Restoring detail with Shadows/Highlights
      6m 23s
    12. Changing the Shadows/Highlights defaults
      6m 21s
    13. Smoothing skin details with Gaussian Blur
      3m 56s
    14. Smoothing with High Pass
      5m 44s
    15. Lowering contrast with Gaussian Blur
      7m 4s
    16. Inverting a sharpening effect
      7m 5s
  7. 2h 32m
    1. Color becomes monochrome
      1m 31s
    2. Converting an image to grayscale
      6m 49s
    3. Extracting luminance information
      7m 37s
    4. Introducing the Channel Mixer
      10m 23s
    5. Aggressive channel mixing
      9m 42s
    6. Proofing CMYK colors
      7m 49s
    7. Color settings and intent
      7m 6s
    8. Practical Channel Mixer variations
      4m 30s
    9. Saving variations as layer comps
      7m 57s
    10. The default grayscale recipe
      8m 55s
    11. Creating a custom black-and-white mix
      6m 59s
    12. Shadows/Highlights in black and white
      4m 58s
    13. Introducing the Black & White command
      5m 55s
    14. Adjusting Black & White settings
      9m 39s
    15. Mixing a Black & White portrait
      6m 32s
    16. Black & White vs. Channel Mixer
      9m 21s
    17. Adding tint and color
      8m 0s
    18. Introducing the Gradient Map
      7m 10s
    19. Loading custom gradients
      4m 32s
    20. Editing gradient color stops
      9m 58s
    21. Colorizing with blend modes and Opacity
      7m 13s
  8. 2h 10m
    1. Two great commands working great together
      1m 18s
    2. Introducing the Color Range command
      5m 13s
    3. Setting key colors and Fuzziness
      5m 38s
    4. Predefined vs. sampled colors
      3m 57s
    5. The Localized Color Clusters option
      5m 41s
    6. Defining a selection with care
      4m 44s
    7. Introducing the Quick Mask mode
      5m 20s
    8. Testing edges with the Magic Wand
      5m 14s
    9. Hand-brushing a selection
      5m 39s
    10. Saving and loading an alpha channel
      4m 35s
    11. Converting a selection to a layer mask
      2m 46s
    12. Switching between an image and a layer mask
      6m 58s
    13. Protecting elements with a layer mask
      8m 5s
    14. Duplicating and editing a layer mask
      7m 34s
    15. Introducing the Refine Edge command
      4m 46s
    16. Accessing the various Refine Edge options
      5m 35s
    17. Refine Edge's preview options
      6m 21s
    18. The Adjust Edge values
      4m 11s
    19. Edge Detection and Smart Radius
      6m 5s
    20. Using the Refine Radius tool
      8m 8s
    21. Using the Decontaminate Colors option
      7m 30s
    22. Old-school masking adjustments
      7m 7s
    23. Four micro mask adjustments
      8m 33s
  9. 3h 13m
    1. Photoshop's vector exceptions
      1m 11s
    2. Making text in Photoshop
      6m 18s
    3. Creating and editing a text layer
      6m 56s
    4. Font and type style
      7m 35s
    5. Type size and color
      7m 52s
    6. Combining layer effects and type
      10m 57s
    7. Drawing a custom shape layer
      8m 34s
    8. Side bearing, kerning, and tracking
      10m 36s
    9. Point text vs. area text
      8m 26s
    10. Selecting and formatting a paragraph
      5m 19s
    11. Copying and pasting unformatted text
      7m 45s
    12. Creating text inside a custom path
      6m 26s
    13. Creating text along a path
      8m 13s
    14. Adjusting baseline shift
      6m 16s
    15. Drawing a fading arrowhead
      7m 29s
    16. Fading a shadow with a layer
      5m 32s
    17. Logo creation and Fill Opacity
      7m 44s
    18. Stretching a background element
      6m 9s
    19. Drawing with shape outlines
      6m 18s
    20. Combining vector-based shapes
      6m 42s
    21. Masking vector-based shape layers
      6m 7s
    22. Correcting spacing problems
      7m 44s
    23. Drawing the ultimate specular sparkle
      8m 45s
    24. Preparing text for commercial output
      5m 9s
    25. Saving a high-resolution PDF file
      7m 11s
    26. Inspecting the final PDF document
      7m 8s
    27. Saving large poster art
      9m 32s
  10. 2h 36m
    1. What filters ought to be
      1m 25s
    2. Layer effects vs. filters
      6m 14s
    3. Carving with an Inner Shadow effect
      7m 45s
    4. Selling an effect with Drop Shadow
      7m 17s
    5. Creating blurry shadow type
      5m 30s
    6. Saving custom default settings
      6m 22s
    7. Creating a custom contour
      7m 3s
    8. Introducing Bevel and Emboss
      7m 35s
    9. Adjusting Angle and Altitude
      7m 8s
    10. Exploiting global light
      8m 11s
    11. Gloss and edge contour
      5m 8s
    12. Applying and creating layer styles
      6m 45s
    13. Loading, saving, and merging styles
      6m 17s
    14. Creating a textured bevel effect
      6m 56s
    15. Using shadows as highlights
      7m 39s
    16. Combining filters and effects
      6m 58s
    17. Working with random effects
      6m 55s
    18. Smoothing with Gaussian Blur and Levels
      6m 13s
    19. Masking blacks from whites
      4m 37s
    20. Applying liquid styles
      4m 36s
    21. Simulating liquid reflections
      8m 12s
    22. Finessing and cropping a liquid effect
      7m 25s
    23. Initiating a displacement map
      6m 17s
    24. Applying a displacement map
      7m 37s
  11. 1h 12m
    1. Two words: Free Transform
      34s
    2. Scale, rotate, and constrain
      6m 30s
    3. Using the transformation origin
      7m 42s
    4. Applying a slant (aka skew)
      3m 37s
    5. The four-point "perspective" distortion
      7m 51s
    6. Two ways to make gradient text
      5m 59s
    7. Building complexity from a simple shape
      4m 42s
    8. Duplicating a series of transformations
      6m 3s
    9. Rasterizing a layer with its effects
      6m 41s
    10. Applying a custom warp
      7m 24s
    11. Blending and softening a warped layer
      4m 39s
    12. Creating spherical highlights
      6m 30s
    13. Using a center-source inner glow
      3m 51s
  12. 2h 42m
    1. Distorting reality
      1m 33s
    2. Extracting a foreground element
      6m 45s
    3. Introducing the Puppet Warp command
      7m 20s
    4. Setting and manipulating pins
      7m 48s
    5. Rotating pins and switching warp modes
      6m 41s
    6. Expanding and contracting the mesh
      6m 11s
    7. Changing the Density setting
      8m 0s
    8. Adjusting the pin depth
      5m 18s
    9. Winding an image into a pretzel
      6m 2s
    10. Applying Puppet Warp to type
      6m 30s
    11. Warping single characters
      6m 25s
    12. Editing puppet-warped text
      8m 24s
    13. Extending an image with Free Transform
      8m 46s
    14. Extracting from a white background
      10m 5s
    15. Tracing a shape with Puppet Warp
      9m 1s
    16. Introducing the Liquify command
      5m 4s
    17. Warp, Twirl, Pucker, and Bloat
      8m 53s
    18. Saving and loading a mesh
      5m 59s
    19. Push, Mirror, and Turbulence
      11m 49s
    20. Lifting and slimming details
      8m 22s
    21. Warping fabric, arms, and legs
      7m 1s
    22. Masking and finessing the results
      10m 8s
  13. 3h 3m
    1. Welcome to the digital darkroom
      1m 44s
    2. Introducing Camera Raw
      7m 40s
    3. Adjusting white balance
      7m 0s
    4. Selecting and synchronizing images
      6m 9s
    5. Making automatic adjustments and saving changes
      7m 19s
    6. Creating and managing snapshots
      8m 23s
    7. Adjusting the Exposure value
      6m 24s
    8. Working with clipping warnings
      5m 5s
    9. Adjusting Brightness and Contrast
      7m 35s
    10. Vibrance, Saturation, and Clarity
      9m 25s
    11. Recovery and Fill Light
      6m 57s
    12. Using the Graduated Filter tool
      7m 2s
    13. Painting edits with the Adjustment Brush
      9m 44s
    14. Straighten, crop, and geometric distortions
      7m 49s
    15. Applying manual lens corrections
      7m 19s
    16. Vignette and chromatic aberrations
      6m 21s
    17. Introducing the Tone Curves
      6m 9s
    18. Parametric curves and targeted adjustments
      6m 26s
    19. Correcting a low-noise photograph
      7m 35s
    20. Sharpening and high-noise photos
      8m 25s
    21. Selective Hue/Saturation adjustments
      5m 34s
    22. Selective Luminance adjustments
      5m 39s
    23. Adding grain and vignetting effects
      5m 23s
    24. Mixing a subjective black-and-white image
      7m 53s
    25. Colorizing with the Split Toning options
      4m 29s
    26. Opening a raw image as a Smart Object
      5m 39s
    27. Camera Raw wrap-up
      8m 38s
  14. 55s
    1. Until next time
      55s

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