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This course provides in-depth training on Camera Raw 7, the Photoshop CS6 component that enables photographers to open and manipulate raw format images. Raw images are minimally processed in the camera; they're effectively the exact data recorded by the camera's sensor. Author Chris Orwig shows you how to control a raw image's appearance—exposure, shadow and highlight detail, color balance, and sharpness—with far more precision than is possible with JPEG images. The course also introduces the new workflow procedures and technical concepts and issues associated with raw content, so that photographers can best leverage this powerful format.
In the previous chapter, we converted this image to black-and-white. Well, here in this chapter, I want to work with this same image and I want to talk about how we can add some toning to our photograph and how we can apply some split toning effects as well. So let's navigate over to the Split Toning panel. You can find this panel here. Once you click on the icon, you notice you have a few controls. You can either work on the highlights or the shadows or you can control the balance between the two. Well, how do these controls work? In order to understand how they work, let's just tinker with them a little bit and play, so that we can exaggerate the effects so that we can see how these different settings can affect our image.
Well, for starters, you can choose a Hue; let's say that we choose a Hue like this red or orange here. Next you can click and drag up the Saturation. In doing that, you can see that I'm bringing this color primarily into my highlights. If I drag this to another color, let's say like blue, you can see how that's affecting the brighter colors of my image. On the other side of the equation, we can work with our shadows. Here we can choose a color, let's say like red, and then click and drag this over. You can now see how I have this kind of interesting effect. Well, what about balance? How does that work? Well, if you drag the Balance slider to the left, it's going to prioritize the Hue and Saturation that you brought in via the shadows; drag to the right, well, it's going to then prioritize the highlights.
Alright, well so far these color effects aren't interesting really at all, but hopefully, by moving those sliders in that way, it's started to get you familiar with how you can work with them. Let's reset all the sliders by double-clicking the tabs; this will take these back to their default settings. How might we more realistically work with these controls? Well, one thing that we might want to try perhaps is some subtle toning. Perhaps we want to bring in some yellows into the highlights; we could choose a yellow there and then just slowly bring up our saturation. In this way, it's going to create just a little bit more of a warm black-and-white photograph or, on the other side of the equation, we could also bring in some colors into our shadows here; perhaps we want to go for a little bit of a sepia tone type of a look.
And in this way, we have this interesting color palette; here's the before, now here's the after. Or rather than apply a look like this, which really is just primarily one or two tones, which are similar to each other, maybe we want to do something which is a little bit more dramatic, a little bit more variety in regards to the color. Something we might try is to bring in some yellows into our highlights and then maybe the complementary color like the blues into the shadows and here you can see that we can create almost this dreamscape like of an ascetic here by dialing in this exact color here.
Let me just find a nice yellow for this. Also, the amount of saturation that we want in regards to working with the blues and also the yellows there, and in doing this, we can control this effect either by kind of backing it off and making it really subtle, or by cranking it up and in this case, we have this split tone type of an ascetic. Here it is, there is our before and now our after. So the split toning controls, as you can see here, allow you to apply interesting color combinations to your photograph. You can do this as we've done here on top of a black-and-white photograph or on top of a color image.
Well, now that we've seen how this works with a black-and-white picture, let's go ahead and take a look at working with color photographs and let's do that in the next movie.
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