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Photoshop CS5 One-on-One: Advanced, the second part of the popular and comprehensive series, updated for CS5, follows internationally renowned Photoshop guru Deke McClelland as he dives into the workings of Photoshop. He explores such digital-age wonders as the Levels and Curves commands, edge-detection filters, advanced compositing techniques, vector-based text, the Liquify filter, and Camera Raw. Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, and enhancing colors without harming the original image. Exercise files accompany the course.
Recommended prerequisite: Photoshop CS5 One-on-One: Fundamentals.
I'm still working away inside of California coast.dng and in this exercise I am going to show you how to infuse a black -and-white image with color using the Split Toning controls. Now a couple of notes upfront. First of all, we are not doing this for the sake of the special effects. We are doing this because we want to be able to render out as many luminance levels in print as possible. So by adding some color to our image, we bring in the other inks whether we are printing to an inkjet printer, or we are sending the image out for commercial reproduction, and so instead of relying on a single black ink which might render out maybe 50 or 60 luminance levels, we are bringing in a bunch of other inks as well, which vastly increases our dynamic range.
So if you are working along with me go ahead and click on the Split Toning icon, in order to bring up this panel of options here. Now I will say that this is not the most powerful method for infusing a black-and-white image for color. That would be the gradient map adjustment layer inside Photoshop. And as we discussed in the previous chapter, gradient map allows you to add colors to any luminance levels inside of the image. And you can add as many colors as you want theoretically. However, if you want to get all work done inside of camera, this option isn't half bad because Split Toning allows you to assign one color to the highlights, another color to the shadows, and then strike a balance between the two.
So what I am going to do is infuse the highlights with a yellowish orange and infuse the shadows with a low saturation blue. Now I could go ahead and dial the orange in is a Hue value and I want a Hue value 45 degrees here. Problem is that's not going to make any change to my image because the Saturation is currently set to 0, which always delivers gray. So let's go ahead and take that Saturation value up, and I don't want to go too high with it, but I will take it to 30% and then press the Tab key, and that will infuse those highlights as well as much of the Mid tones with a kind of sepia color.
All right now I am going to dial on a very low saturation color, just 5% saturation. And then I will change the hue value to 240 degrees and even though that infuses the shadows with a rich blue here, even though it's a low saturation blue. It's hard to see that inside of the image. The image almost has a green tone to it. And the reason for that is because you're ultimately painting a gradient across the image from this yellowish orange all the way to blue. And so by definition you have to travel through some very low saturation greens.
Anyway, and now when I strike a balance, and I want to emphasize the oranges, that is the sort of sepia color here, over the blues. I am going to do that by dragging this slider triangle over toward the highlights as you can see me doing here. And I am going to take this value all the way up to 75, which produces the effect you see here inside the image window. All right so that's almost it just one more thing if you take a look at the Histogram you can see by virtue of the fact that I've dialed in these various subjective colors into the gray scale mix and I've added this low saturation blue here to the shadows, I've made my shadows a little weaker.
So we are not seeing the Histogram about the left side of the graph, and that means I need to darken my blacks a little. So I'll switch back over to the Basic panel. And I am going to Alt+drag that black slider triangle until I come to a value of about 10. This would be an Option+drag on the Mac. So that I can see where the clipping is occurring, and at a value of 10 I am seeing just a little bit of single pixel clipping down there, in the lower left corner of the image. We'll go ahead and release, and I end up producing this effect here. So we have some much richer shadows. All right before we click the Done button, or we are going to do is open the image inside Photoshop ultimately.
Before we do that it's a good idea to go ahead and save off a snapshot. Because we already have a colored version of the image. Might as well have a black-and-white adjustment mixed as well saved and ready to go. So I am going to click on the snapshots icon to bring out my Snapshots panel. And I will click on the little Page icon, and I will go ahead and call the snapshot classic black-and-white. And I will click OK. And we now have these two snapshots to choose between. So here are my favorite color settings, great, and then here are my classic black and white settings. Notice that I can switch between these settings without changing the physical size of my image.
So these workflow settings are not saved along with the snapshot. And that will become important in just a moment when I show you how to open this image so it remains entirely editable inside Photoshop in the very next exercise.
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