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Creating a professional-level sepia tone

From: Photoshop CS3 Channels & Masks: Advanced Techniques

Video: Creating a professional-level sepia tone

In this exercise we are going take this custom black and white mix of this image from Alexander Heathman. And by the way if you are just joining me, once again I have got a catchup document for you. It's called B&WS.psd, which stands for Black and White Smushing, because this guy is smushing this woman right here, and it's found inside the 13 Channel Mix folder. We are going to be taking this custom black and white mix, and we are going to be imbuing it, actually we are going to be enhancing the contrast just a little bit. And then we are going to be imbuing the image with a little bit of color to create a professional quality Sepia tone. So subtlety is the game at this point.

Creating a professional-level sepia tone

In this exercise we are going take this custom black and white mix of this image from Alexander Heathman. And by the way if you are just joining me, once again I have got a catchup document for you. It's called B&WS.psd, which stands for Black and White Smushing, because this guy is smushing this woman right here, and it's found inside the 13 Channel Mix folder. We are going to be taking this custom black and white mix, and we are going to be imbuing it, actually we are going to be enhancing the contrast just a little bit. And then we are going to be imbuing the image with a little bit of color to create a professional quality Sepia tone. So subtlety is the game at this point.

All right, so let's bring up the Layers palette here. We've got this B&W Layer which is a Channel Mixer adjustment layer. Underneath if we were to turn it off, we have available to us the original RGB image, in case we ever want to come back to it, it's there. So let's go ahead and turn B&W back on. Now I want to add a little bit of contrast as I was telling you, and I am going to do that using a Curves adjustment layer. So I am going to press and hold the Alt key or the Option key on the Mac, click the Black White icon and choose Curves. Then I will ahead and name this layer contrast since we are going to add some contrast at this point and I'll click OK in order to bring up the Curves dialog box.

And I am going to darken the darks actually -- well you know what, I am just going to anchor the darks actually. I am just going to click at this point right here, at this lower quadrant in order to set a quarter point on the curve line. And you can see that both the output and the input levels are set to 64 at this point, at least for me, you can go your own way if you want to of course. Then I am going to click at this 3 quarter point up here and I am going to raise the highlights, I am going to increase them. Now notice here inside the Histogram if you have the Histogram palette up on-screen, you'll see that you are not in any way, shape or form clipping any highlights at this point, because the white point is still locked down in the upper right-hand corner. And if you want to make sure that's the case you can of course update that Histogram. Now you will see some breaks inside of the Histogram, that's okay. That's not the best news on earth but it's as good as we are going to do inside of this image, we are going to create some breaks at various points. So that's not the end of the world is basically what it comes down to. Something to bear in mind but not a horrible thing entirely.

And actually that's pretty good. We could set a half point here. We can set a mid-point inside of the graph as well and drag it down slightly if we want to. So your curves should have more or less this shape right here in order to just elevate the highlights a little bit more and some contrast to the image. Then I'll go ahead and click OK in order to accept that Contrast layer. So this is what the image looks like without that elevated contrast. This is what the image looks like with the elevated contrast. I am just offering this technique this Curves adjustment layer by way of an example of another way to add contrast to the image. So you don't have to do all of the work in other words with that Channel Mixer function.

The next step is to add a little bit of color to the image. And I am going to do that by once again pressing the Alt or Option key, clicking in this Black and White icon and choosing Solid Color. And we'll call this new layer, because I had the Alt or Option key down, we will call this new layer sepia, and then click OK. And that will bring up the Solid Color dialog box right here, the Color Picker dialog boxes as it's known. I want you to dial in this values, a Hue of 30% which is orange, and a Saturation value of 45% which is a little bit saturated. It's almost half saturated, and a little less than half. And then let's take the Brightness value very high indeed up to 80%.

Now that's going to give us a very light sort of low saturation orange. But that's what we want, because we are going to multiple this color into the image. So we want to start light. Go ahead and click OK in order to accept that new layer. Now I want you to change the blend mode for the layer from Normal to Multiply right here. And that's going to go ahead and multiply sepia throughout the image. Now I just want to affect the darkest colors inside the image. So I want to imbue the shadows with sepia. I also want to add a little bit of sepia to the mid-tones, but I don't want to affect the highlights at all. And so I am going to add a Density Mask. Turns out we've already got a Density Mask inside of this image. Let's go ahead and collapse the Histogram palette so that we can see it, it's down here. We've got a Density Mask already assigned to the High Pass Filter.

Now what I would like to be able to do is just drag that Density Mask on to the layer at this point, or Alt+Drag it or Option+Drag it in order to clone it, but you can't do that. You can't move a mask from a filter on to a layer. I don't know why, but Photoshop doesn't let you do it. I think it's an over side quite frankly. So here is what we have to do instead. Go ahead and Ctrl+Click or Command+Click on the Mac on that Filter Mask right there in order to load it as a selection outline. Then with the sepia layer selected, go down to the bottom of the Layers palette and click on this circle on the Rectangle icon right there in order to convert the selection to a mask.

So we have identical Density Masks assigned to the High Pass Filter and to the sepia layer. And this is the result that we get right there. A very nice subtle sepia tone, thanks to this combination of the Curves adjustment layer, and of course that's Solid Color Dynamic Fill layer here inside of Photoshop.

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This video is part of

Image for Photoshop CS3 Channels & Masks: Advanced Techniques
Photoshop CS3 Channels & Masks: Advanced Techniques

190 video lessons · 26379 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 2h 13m
    1. The Odyssey Continues
      2m 39s
    2. Mapping one image onto another
      7m 12s
    3. Making a custom contrast mode
      7m 10s
    4. Luminance blending
      8m 40s
    5. Forcing the visibility of underlying layers
      4m 4s
    6. Adjusting the appearance of clipped layers
      4m 34s
    7. Selecting a Blend If channel
      6m 12s
    8. Enhancing highlights by hiding them
      5m 9s
    9. Smart Object first, layer mask second
      7m 22s
    10. The Fill Opacity Eight
      4m 30s
    11. Blending Smart Filters
      7m 24s
    12. Cleaning up edges
      7m 39s
    13. More fun with luminance blending
      6m 22s
    14. A first peek at the Calculations command
      12m 11s
    15. Masking a softly focused model
      11m 46s
    16. Moving layers and masks between images
      7m 35s
    17. Matching colors
      9m 13s
    18. Building transitional blended layers
      6m 33s
    19. Restoring normal colors
      6m 50s
  2. 2h 33m
    1. Layer masks, clipping masks, and knockouts
      1m 20s
    2. Rotating and stretching
      7m 54s
    3. A jet of motion blur
      9m 18s
    4. Keyboard tricks
      5m 4s
    5. Merging sky and landscape
      6m 3s
    6. Masking an adjustment layer
      6m 37s
    7. Creating two windows into an image
      7m 42s
    8. Whitening teeth and adding other highlights
      3m 46s
    9. Mapping a texture onto an image
      4m 1s
    10. Isolating a texture with a layer mask
      6m 44s
    11. Welcome to the glass composition
      3m 18s
    12. Balancing shadows and highlights
      5m 51s
    13. Masking the glass
      7m 24s
    14. Masking the text
      9m 23s
    15. Adding and blending the goldfish
      8m 45s
    16. Assembling the perfect group photo
      5m 12s
    17. Aligning photographs automatically
      5m 26s
    18. Masking in each person's best shot
      5m 18s
    19. Masking densely packed people
      6m 17s
    20. Crafting the perfect final poster
      5m 16s
    21. From the improbable to the impossible
      1m 56s
    22. The fantastical "world of clones" effect
      10m 0s
    23. Upsampling and blurring a background
      8m 39s
    24. Adding a knockout mask
      8m 3s
    25. Choking edges with Gaussian Blur and Levels
      3m 46s
  3. 2h 27m
    1. The corrective power of masking
      1m 6s
    2. The amazing luminance mask
      7m 22s
    3. Brightening and neutralizing the eyes
      8m 22s
    4. Adjusting a nondestructive composition
      5m 52s
    5. Creating a corrective mask
      6m 4s
    6. Averaging away irregular flesh tones
      3m 52s
    7. Modifying specific colors
      7m 46s
    8. Initiating the color mask
      6m 0s
    9. Refining the color mask
      6m 40s
    10. Adjusting the edges around fabric
      7m 56s
    11. Perfecting hair
      9m 35s
    12. Sharpening with a High Pass layer
      10m 12s
    13. The also-amazing density mask
      4m 48s
    14. Adjusting the knockout depth
      8m 48s
    15. Fashioning a depth map
      6m 12s
    16. Invoking a depth mask from Lens Blur
      6m 38s
    17. The perfect depth-of-field effect
      6m 25s
    18. Sharpening an archival photograph
      7m 7s
    19. Creating an edge mask
      8m 29s
    20. Making a High Pass sandwich
      7m 46s
    21. Applying the edge mask
      6m 2s
    22. Customizing your sharpening effect
      4m 6s
  4. 2h 3m
    1. Channel Mixer, I am your father!
      1m 39s
    2. Three ways to gray
      7m 49s
    3. Meet the Channel Mixer
      8m 26s
    4. Mixing a custom black-and-white image
      7m 10s
    5. Creating a professional-level sepia tone
      5m 36s
    6. Employing the Black & White command
      8m 1s
    7. Extreme channel mixing
      4m 50s
    8. The infrared photography effect
      6m 43s
    9. Taking shadows to the brink of black
      3m 56s
    10. Elevating highlights, leeching saturation
      5m 58s
    11. Deepening a black-and-white sky
      5m 49s
    12. Infusing luminance levels with color
      5m 44s
    13. Creating an opposing colorization scheme
      4m 58s
    14. Bolstering contrast with the Green channel
      5m 37s
    15. A tiny improvement to a terrific technique
      7m 39s
    16. The simple (but wrong) approach to red-eye correction
      6m 39s
    17. Channel-mixing red pupils
      9m 18s
    18. The expert approach to red-eye correction
      5m 20s
    19. Fixing problem coronas (pupil edges)
      8m 9s
    20. Making pupils match
      4m 8s
  5. 2h 33m
    1. Chops are dead; long live maskops
      1m 37s
    2. The Calculations command
      8m 16s
    3. Blue Screen blending
      7m 40s
    4. Refining the Blue Screen mask
      5m 53s
    5. Brushing away color fringing
      7m 24s
    6. Locking the transparency of a layer
      6m 22s
    7. Nondestructive layer painting
      7m 36s
    8. How the Add blend mode works
      8m 40s
    9. How the Subtract blend mode works
      6m 43s
    10. Focus, noise, and other masking challenges
      5m 33s
    11. The Add mode in action
      7m 51s
    12. The Subtract mode in action
      8m 25s
    13. Comparing two channels with Difference
      5m 24s
    14. Enhancing the contrast with Curves
      9m 11s
    15. Gathering details with Apply Image
      9m 43s
    16. Dodge highlights, burn shadows
      6m 6s
    17. Dodge and Burn in action
      8m 24s
    18. Painting in the scalp
      10m 1s
    19. Painting away the face and chin
      4m 53s
    20. Compositing complementary images
      4m 13s
    21. Multiply, Minimum, Blur, and Apply Image
      6m 40s
    22. Crafting the final composition
      7m 7s
  6. 1h 57m
    1. Mark of the Pen tool
      1m 35s
    2. The big paths project overview
      6m 51s
    3. How to make a path
      8m 25s
    4. Corner points and freeform polygons
      8m 6s
    5. Editing paths with the arrow tools
      5m 2s
    6. Adding and deleting endpoints
      5m 15s
    7. Adding and deleting interior points
      6m 6s
    8. Converting a path to a selection
      3m 35s
    9. Converting a path to a mask
      6m 38s
    10. Smooth points and control handles
      8m 57s
    11. Making cusp points
      6m 0s
    12. Combining paths in a vector mask
      7m 55s
    13. Turning a path into a shape layer
      8m 57s
    14. Combining paths to make a layer mask
      7m 52s
    15. Mixing layer and vector masks
      10m 14s
    16. Editing character outlines as paths
      8m 39s
    17. Using the Convert Point tool
      7m 8s
  7. 3h 17m
    1. Where there's a will, there's a way
      1m 18s
    2. Masking natural cast shadows
      4m 10s
    3. Applying the cast show
      4m 2s
    4. Creating a difference mask
      3m 7s
    5. Applying an arbitrary map
      3m 50s
    6. Making the flesh mask
      7m 17s
    7. Roughing in an object mask
      6m 49s
    8. Drawing missing details with the Lasso tool
      4m 7s
    9. Combining flesh and object masks
      3m 53s
    10. Amplifying the cast shadow
      4m 10s
    11. Selectively choking edges
      3m 58s
    12. Power duplication in Photoshop
      7m 9s
    13. Masking blond hair
      5m 48s
    14. Using Levels to mask iterations
      3m 14s
    15. Drawing an iteration boundary
      4m 55s
    16. Merging the best of two Levels iterations
      4m 4s
    17. More fun with Dodge and Burn
      6m 14s
    18. Fixing edges with the Pen and Stamp tools
      7m 29s
    19. Pulling from another file with Apply Image
      4m 52s
    20. Blending clipped layers independently
      5m 43s
    21. Building the flame mask
      9m 22s
    22. Amplifying the flame
      3m 53s
    23. Masking an image against a busy background
      5m 15s
    24. The Freeform and Magnetic Pen tools
      6m 52s
    25. Masking with arbitrary maps
      9m 32s
    26. A more deliberate approach to arb maps
      10m 51s
    27. Combining arb maps with paths
      9m 28s
    28. Masking with the help of the History brush
      11m 38s
    29. Creating a High Pass mask
      7m 25s
    30. Coloring in the outlines
      8m 31s
    31. Mastering Calculations
      7m 29s
    32. Subtracting and merging the beak
      11m 6s
  8. 1h 33m
    1. The meaning of bit depth (and why you care)
      2m 50s
    2. Scanning line art in 8-bit and 16-bit
      5m 9s
    3. Measuring the 16-bit difference
      8m 9s
    4. Correcting 8-bit images in the 16-bit space
      9m 31s
    5. Opening a raw image directly in 16-bit
      6m 13s
    6. Editing in Camera Raw, opening in 16-bit
      8m 22s
    7. 16-Bit/channel vs. 32-bit/channel (HDR)
      8m 18s
    8. Working with auto-bracketed photographs
      5m 6s
    9. Using the Merge to HDR command
      6m 0s
    10. Adjusting the HDR preview
      6m 0s
    11. Building a 32-bit sky mask
      6m 29s
    12. Properly exposing land and sky
      4m 25s
    13. Modifying a layer mask in 32-bit
      4m 56s
    14. Converting to and correcting in 16-bit Lab
      12m 7s
  9. 2h 8m
    1. Photoshop flirts with the third dimension
      1m 13s
    2. The displacement map
      8m 24s
    3. Making custom waves
      7m 14s
    4. Creating a Gaussian distribution
      4m 32s
    5. Using a two-channel displacement map
      6m 28s
    6. Creating a rustic edge effect
      8m 21s
    7. Distorting and shading with a DMap
      6m 34s
    8. Moonlight reflecting off water
      8m 48s
    9. Mapping the reflection onto the water
      7m 7s
    10. Dipping the moon into the water
      6m 18s
    11. Turning flesh into stone
      7m 55s
    12. Wrapping the stone around the face
      7m 27s
    13. Softening a displacement map
      8m 5s
    14. Making a repeating watermark pattern
      9m 22s
    15. 3D embossing with Lighting Effects
      10m 48s
    16. The amazing credit card type effect
      6m 56s
    17. Lightening the credit card letters
      6m 16s
    18. Wrapping the background around the text
      6m 27s
  10. 1m 43s
    1. Goodbye
      1m 43s

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