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Learning how to use Adobe Photoshop efficiently and effectively is the best way to get the most out of your pixels and create stunning imagery. Master the fundamentals of this program with Julieanne Kost, and discover how to achieve the results you want with Photoshop and its companion programs, Bridge and Camera Raw. This comprehensive course covers nondestructive editing techniques using layers, masking, adjustment layers, blend modes, and Smart Objects. Find out how to perform common editing tasks, including lens correction, cropping and straightening, color and tonal adjustments, noise reduction, shadow and highlight detail recovery, sharpening, and retouching. Julieanne also shows how to achieve more creative effects with filters, layer effects, illustrative type, and the Photomerge command for creating panoramas and composites.
Traditionally photographers could use special printing techniques in the dark room in order to tint a print. And we could emulate many of those techniques in Camera today. So let's select the BasaltColumns and then use Cmd+R on the Mac or Ctrl+R on Windows in order to open this in Camera Raw. Now in order to get a good visual of what I'm doing I'm going to convert this image to gray scale irst. And to do so I'll select the hue saturation grayscale panel and then check convert to grayscale. You can add tints to color images I just would prefer to show this on a black and white image because its going to be more dramatic.
Now we'll move over to the split toning panel, and if I wanted to mimic, maybe, a traditional sepia tone print, then I want to add my color or my hue in the shadow area. There's two ways that we can do this. We can either move the saturation slider up and then pick our hue, or we can start with the hue, but you'll notice that I can't see the hue unless I hold down the Option or the Alt key. Now camera raw is going to preview the hue at 100%. It just makes it a lot easier, I think, to pick the right color.
So, once Ive got a color that I like I will let go of the option, or the ALT key, release my mouse and then we'll dial in the amount of saturation. Now by default the balance slider is set right to the center but I can change this and what this'll change is the amount of color that we see either in my shadows or my higlights. So right now we're seeing this saturation amount this color basically in the shadows and the mid tones. If I move this over to the right, you can see that I'm isolating the color to only affect the darker values in my image. If I move the balance slider over to the left, now I'm getting color not only in the shadows, but also up into the mid tones.
So, if we want to restrict this we'll just move it over to the right. All right, let's reset this by decreasing the amount of saturation, and double clicking on the balance slider. Now what I want to do is emulate kind of an antique look, and in order to do that I would be adding color into my highlight areas. So we're going to use the two sliders on top. I'll hold down the Option or the Alt key and drag the hue to pick the kind of antique yellow that I want. And remember, this is kind of the antique color of the paper. Right? Because as the paper ages, it's turning yellow.
I'm going to increase my saturation, although probably not as high as I would've with my sepia tone. And then we can use the Balance slider to either restrict that to just the very high light areas of my image, or we can bring it down into the mid-tone range. At this point, it's really an aesthetic or a creative decision that you will make. And we can also use both of these sliders, together. So, let's reset the highlights and reset the balance and let's kind of create a more, chocolate tone in our image. In order to do this, we'll start with the shadow area here and I'm going to move my hues, somewhere around maybe 30.
And then I'll just dial in the amount of saturations somewhere. Maybe around 25. So it's just going to give me kind of a warm tone in my shadow areas. And then we'll move to highlights, and I'm going to move by hue to right around 60 where it is now. And then my saturation up to about 20. I just want to make sure that the saturation in my high lights is less than the saturation in my shaddows. But I don't really like the look right here. So what I'm going to do is I'm going to change the balance.
And I'm actually going to bring it down to a negative number, pretty dramatically, maybe down into the 60s or so. And you can see that it really kind of warms up this image. With almost a chocolate tone, it's a little bit more red-brown, but we could make a change to that if we want to by moving the hue a little bit closer towards orange and then decreasing the saturation and doing the same here in the highlights, just decreasing that saturation for a little bit more subtle effect. Of course, these digital effects aren't exactly like the results that you would be able to achieve in the traditional dark room.
But I suppose there are benefits to not having to work with some of those chemicals that we've had to use in the past.
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