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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.
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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