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Photoshop CC One-on-One: Intermediate
Illustration by John Hersey

Grayscale and Split Tone in Camera Raw


From:

Photoshop CC One-on-One: Intermediate

with Deke McClelland

Video: Grayscale and Split Tone in Camera Raw

In this movie, I'll show you the final way to convert an image to black and white, and that's to use Camera Raw. And that means we'll need to switch to the other program that ships along with Photoshop, which is Bridge. So assuming you're working in Photoshop, go up to the File menu and choose Browse and Bridge. Or press Ctrl Alt O or Cmd Opt O on the Mac. Then, navigate to the 20 black white folder, and find that file swift current lift dot jpeg. Then right click on it and choose open in Camera Raw, or you can press the keyboard shortcut.
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  1. 2m 4s
    1. Welcome to One-on-One
      2m 4s
  2. 29m 46s
    1. The best of Photoshop automation
      35s
    2. Introducing the Patch tool
      3m 43s
    3. Using Content-Aware Patch
      5m 42s
    4. Retouching with Content-Aware Patch
      2m 5s
    5. Using the Content-Aware Move tool
      3m 9s
    6. Using Content-Aware Extend
      2m 4s
    7. The Content-Aware Scale command
      6m 35s
    8. Scaling in multiple passes
      2m 22s
    9. Protecting skin tones
      3m 31s
  3. 32m 55s
    1. Editing the histogram
      1m 50s
    2. The new automatic Levels adjustment
      4m 33s
    3. Customizing a Levels adjustment
      4m 53s
    4. Understanding the Gamma value
      2m 7s
    5. Opening up the shadows
      2m 48s
    6. Previewing clipped pixels
      3m 40s
    7. Retouching with Output Levels
      4m 25s
    8. Making channel-by-channel adjustments
      2m 19s
    9. Faking a gray card in post
      2m 51s
    10. Assigning shortcuts to adjustment layers
      3m 29s
  4. 57m 43s
    1. How sharpening works
      1m 38s
    2. Introducing the Smart Sharpen filter
      6m 56s
    3. Understanding the Radius value
      5m 20s
    4. Gauging the best sharpening settings
      5m 45s
    5. Addressing color artifacts and clipping
      5m 49s
    6. The Remove and Reduce Noise options
      4m 22s
    7. The Shadows/Highlights options
      7m 36s
    8. Correcting for camera shake
      6m 47s
    9. Sharpening with the Emboss filter
      5m 45s
    10. Sharpening with the High Pass filter
      4m 44s
    11. Painting in sharpness
      3m 1s
  5. 1h 9m
    1. Vector-based type
      1m 35s
    2. Creating and editing point text
      5m 58s
    3. Font and type style tricks
      7m 10s
    4. Type size and color tricks
      6m 42s
    5. Kerning and tracking characters
      8m 7s
    6. Creating and editing area text
      3m 50s
    7. Selecting and formatting paragraphs
      6m 36s
    8. Setting text inside a custom path
      5m 32s
    9. Creating text along a path
      6m 12s
    10. Adjusting baseline shift
      4m 45s
    11. Creating and stylizing a logo
      6m 49s
    12. Masking text into image elements
      6m 14s
  6. 57m 13s
    1. The other vector-based layer
      1m 39s
    2. Dotted borders and corner roundness
      8m 14s
    3. Drawing and aligning custom shapes
      3m 55s
    4. Creating your own repeatable custom shape
      5m 43s
    5. Selecting paths and isolating layers
      4m 11s
    6. Combining simple shapes to make complex ones
      5m 59s
    7. Cropping, adjusting, and merging shapes
      5m 50s
    8. Creating a soft, synthetic sparkle
      6m 22s
    9. Saving a resolution-independent PDF file
      6m 42s
    10. Turning a small image into a huge one
      8m 38s
  7. 1h 14m
    1. Depth, contour, and texture
      1m 28s
    2. Imparting depth with a layer effect
      9m 9s
    3. The power of the drop shadow
      7m 37s
    4. Modifying a layer and its effects
      6m 21s
    5. Saving custom default settings
      4m 12s
    6. Creating a custom contour
      8m 5s
    7. Introducing Bevel and Emboss
      8m 8s
    8. Multiple effects and multiple layers
      7m 45s
    9. Global Light and rasterizing effects
      8m 5s
    10. Gloss and surface contour
      6m 4s
    11. Adding texture to Bevel and Emboss
      7m 21s
  8. 34m 48s
    1. Styles store settings
      1m 38s
    2. Creating and applying a paragraph style
      3m 41s
    3. Redefining a style and styling a word
      5m 38s
    4. Creating and styling a placeholder style
      5m 43s
    5. Applying and creating layer styles
      5m 45s
    6. Loading and customizing layer styles
      5m 42s
    7. Merging and saving layer styles
      6m 41s
  9. 56m 48s
    1. Meet the transformations
      1m 55s
    2. Transformations and Smart Objects
      5m 46s
    3. Adjusting the interpolation setting
      5m 10s
    4. Rotating a layer with Free Transform
      5m 22s
    5. Scale, duplicate, and repeat
      4m 30s
    6. Creating a synthetic star field
      5m 20s
    7. Warping a logo with Arc and Flag
      5m 34s
    8. Distort, perspective, and skew
      4m 15s
    9. Using transformations to draw and correct
      7m 0s
    10. Bolstering text with layer effects
      5m 43s
    11. Adding highlights with Lens Flare
      6m 13s
  10. 43m 36s
    1. Removing the weight that the camera adds
      1m 7s
    2. The Warp and Reconstruct tools
      6m 44s
    3. Brush size, hardness, and opacity
      4m 29s
    4. The Pucker, Bloat, Push, and Twirl tools
      7m 12s
    5. Saving and reapplying Liquify settings
      4m 9s
    6. Lifting and slimming details
      9m 42s
    7. Warping legs, arms, and fabric
      5m 33s
    8. Improving a model's posture
      4m 40s
  11. 58m 46s
    1. Shoot in color, convert to black and white
      1m 55s
    2. Three ways to grayscale
      5m 36s
    3. Mixing a custom black-and-white image
      7m 31s
    4. Simulating an infrared photograph
      6m 39s
    5. Creating a sienna-infused sepia tone
      5m 38s
    6. Creating a hyper-saturated image
      5m 26s
    7. Introducing the Black & White command
      3m 16s
    8. Customizing the Black & White settings
      4m 50s
    9. Black & White meets the Channel Mixer
      7m 29s
    10. Infusing an image with tint and color
      5m 9s
    11. Grayscale and Split Tone in Camera Raw
      5m 17s
  12. 41m 34s
    1. The many ways to print
      1m 41s
    2. Using the test document
      3m 18s
    3. Print, position, and size
      5m 57s
    4. Description and printing marks
      3m 3s
    5. Establishing a bleed
      3m 44s
    6. Getting reliable color
      5m 54s
    7. Special printing options
      5m 1s
    8. Previewing an image at print size
      4m 16s
    9. Creating contact sheets
      4m 49s
    10. Creating a multipage PDF
      3m 51s
  13. 31m 9s
    1. Making Internet imagery
      1m 6s
    2. Introducing Save for Web
      4m 39s
    3. Creating the perfect JPEG image
      5m 14s
    4. Creating a high-contrast GIF image
      6m 23s
    5. The two varieties of PNG
      3m 57s
    6. Downsampling for the web
      5m 59s
    7. Adding copyright and contact info
      3m 51s
  14. 1m 3s
    1. Until next time
      1m 3s

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Photoshop CC One-on-One: Intermediate
9h 51m Intermediate Aug 19, 2013

Viewers: in countries Watching now:

Photoshop CC One-on-One is back, and this installment teaches you how to build on your basic knowledge and achieve next-level effects with this premiere image-editing program. Industry pro Deke McClelland shows you how to seamlessly move and patch areas of a photo with the Content-Aware toolset; stretch the brightness of a scene with automatic and custom Levels adjustments; create intricate designs with text and shapes; and morph an image with layer effects and transformations. Deke also shares his techniques for sharpening details, whether addressing noise and highlight/shadow clipping or camera shake, and converting a full-color image to black and white. The final chapters show you how to best print and save images for the web, making sure all your hard work pays off in the final output.

Topics include:
  • Performing automatic retouch, scaling, and more with the Content-Aware tools
  • Editing the histogram
  • Customizing a Levels adjustment
  • Making channel-by-channel Levels adjustments
  • Sharpening with the Smart Sharpen, Emboss, and High Pass filters
  • Working with vector-based type
  • Kerning and tracking characters
  • Creating text on a path
  • Drawing and customizing shapes
  • Creating depth, contour, and texture with layer effects
  • Liquifying an image
  • Simulating an infrared photo
  • Adjusting print position, size, and color
  • Creating the perfect JPEG image
  • Downsampling for the web
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Grayscale and Split Tone in Camera Raw

In this movie, I'll show you the final way to convert an image to black and white, and that's to use Camera Raw. And that means we'll need to switch to the other program that ships along with Photoshop, which is Bridge. So assuming you're working in Photoshop, go up to the File menu and choose Browse and Bridge. Or press Ctrl Alt O or Cmd Opt O on the Mac. Then, navigate to the 20 black white folder, and find that file swift current lift dot jpeg. Then right click on it and choose open in Camera Raw, or you can press the keyboard shortcut.

Control R here on PC or Command R on a Mac. And now I'm going to zoom in by pressing Control + or Command + on a Mac and then I'm going to switch over to the HSL grayscale panel by clicking on the fourth icon in. Then you turn on convert to grayscale, in order to convert the image to black and white And now notice, as opposed to the six sliders, included with a black and white adjustment layer, we have a total of eight sliders, and some of them are different. So in between reds and yellows, we have oranges.

Then we have greens. Instead of cyans, we have aquas, then blues. And then between blues and magentas, as have purples. So instead of being equally spaced increments around the color wheel They're more subjective color ranges. Now you still have access to the target adjustment tool, only it's located up here in the tool bar. And notice, if you click and hold on that tool, by default, it will be set to gray scale mix, as long as you're working inside this gray scale mix tab. So, I'm going to start things off by dragging in the sky to the left in order to darken the image.

And then ended up changing both the blues and the aquas value. So the Camera Raw is capable of changing multiple values at the same time, that I changed both purples and magentas down here in the lower right region in the window. Which is interesting, given that I wouldn't have thought those trees were either purple or magenta. But that ends up being what I change. And also drag to the right from these slats, in order to increase the reds and oranges values.

Alright. So, I've got a few specific values for this image. I'm going to start off by increasing that blues value to negative 40. Because I had it so low. And then I'm going to shift tab back to the aquas value. And change it to negative thirty. Again I'm trying to keep neighboring values no more than about a hundred apart from each other. To avoid posterization and noise. I'll shift tab back to greens which again doesn't have much impact on this specific image. As you can see here. But I'm just going to go ahead and change it to 50, and then I'll take the yellows values up to 100, I'll shift tab to the oranges values take it up to 15, and same with the reds values.

And then I'm going to highlight the magentas values take it up to 40, and match it with the purple value, so that we end up with this effect here. Now then let's say that you want to tint the image, well, you have better control for tinting here in Camera Raw than you have in black and white. Because you've got what's called split toning. So if you click on that next icon up there, you'll switch to the Split Toning panel, which allows you to infuse colors independently into the highlights and shadows. In order to see those colors, you need to increase the saturation value.

So I'm going to start off with some pretty ridiculous settings here. I'll go ahead and change the hue value for the highlights to 40. I'll set the saturation value to, let's say, 50 for now. And then I'll also go ahead and increase the saturation of the shadows to 50. And let's try a hue value of 210, let's say. So we've got some blues in those shadows. This Balance option defines whether you're going to emphasize the highlights of the shadows. So if you increase this value, you're taking that highlights color into, and beyond the mid-tones into some of the darker shadows, and then if you decrease that value, you're taking the shadows' color beyond the mid-tones, and into the darkest highlights.

In my case, I want that balance value to be 64, because I want to emphasize the sepia over the blue. And then I'm going to take both of the saturation values down to 10. And we end up with this effect. So, now I don't want to ruin my original image. So I'm going to Press the Alt key or the Option key on the Mac and Click on this Open Copy button. And that'll protect that original JPEG file, which will still appear in color for you. All right, now I'm going to Press Shift > F in order to switch to the full screen mode.

And also zoom in a little bit. So for the sake of comparison, this is the black and white version of the image that I created with Camera Raw, and this is the version that I created using a black-and-white adjustment layer. The thing I want you to note is that the black and white version here has darker shadows than the one I created in Camera Raw, and yet we've got more noise in the sky where the Camera Raw version is concerned. Then the one that I created using black and white. So, I would have to say, for this specific image, the black and white Adjustment layer was a more successful approach.

However, Camera Raw does do a fantastic job, and I imagine that your results will vary from one image to the next.

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