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The third part of the popular and comprehensive series Photoshop CS6 One-on-One follows industry pro Deke McClelland as he plunges into the inner workings of Adobe Photoshop. He shows how to adjust your color, interface, and performance settings to get the best out of your images and the most out of Photoshop, and explores the power of Smart Objects, Shadows/Highlights, and Curves for making subtle, nondestructive adjustments. The course dives into Camera Raw to experiment with the editing toolset there, and returns to Photoshop to discuss toning, blur, and blend modes. Deke also teaches tried-and-true methods for sharpening details and reducing noise, as well as creating quick and accurate selections with Quick Mask, Color Range, and Refine Edge commands.
In this movie I'll introduce you to Gradient Map, which allows you to infuse your black and white image with as many colors as you like. Now I'm looking at a variation on that black and white effect that uses a black and white adjustment layer as opposed to a channel mixer layer. And the reason is, I want you to see the difference between just going with something like Tint and creating a full on duotone. So, I'll turn on the Tint checkbox and in order to get the same effect as we were seeing a moment ago, or something similar anyway, I'll click on that Color Swatch to bring up the Color Picker dialog box and I'll change the Hue value to 30, I'll take the Saturation value down to 15 and I'll set the Brightness to 30% and I'll click OK.
Certainly that's an easy way to work and we now have a tinted photograph. However, if you go ahead and compare that to the true sepia tone that we saw in the previous movie, you'll notice that it is a pretty different effect. We have more neutral highlights going on inside the sepia tone, the colors are full on burned into the shadows whereas where the tinted image is concerned we're just taking a low saturation color, basically colorizing the entire image with it, it's the same as doing this for example. I'm going to double-click on the Black & White layers thumbnail in order to bring up the Properties panel, and I'm going to turn-off the Tint checkbox for a moment, and then I'll hide the panel, and press the Alt key or the Option key on the Mac, click the Black & White icon at the bottom of the panel, choose Solid Color, we'll go ahead and call this guy sepia once again and I'll go ahead and dial-in those same color values 30, 15, and 30, and then we'll set the Blend mode from Normal to Color, and I'm just doing this by way of demonstration here.
We are now seeing the same effect as we achieved using that Tint checkbox associated with the Black & White layer, so if I double-click on the thumbnail for the Black & White layer once again and turn this checkbox on, we don't see any difference on screen and then turn this layer off, it's the exact same thing, so you're just infusing the entire image with a color. We can do better than that using either that sepia tone technique that I showed you in a previous movie which is quite straightforward or, with little more work, we can apply Gradient Map.
So, I'm going to go ahead and turn that Tint checkbox off, we don't need it, and it'll just get in our way and then I'll click on the contrast layer at the top of the stack here and I'll press the Alt key or the Option key on the Mac, click the Black & White icon once again at the bottom of the Layers panel and choose the second command up, Gradient Map. And I'll go ahead and name this guy colorize, because that's what we're going to do, even though instead of colorizing using a single color will infuse the image with multiple colors then I'll click OK. Now what we're seeing here is a Gradient strip inside the Properties panel, going from black to white, and what Gradient Map does is it goes ahead and replaces the luminance levels inside the image with that gradient.
So it starts with black on the left-hand side and ends with white under right-hand side, so in another words we're replacing the black and white image with the colors found in the black to white gradient. So that means we're not going to see much difference at this point. I'll go ahead and turn the layer off for a second and then turn it back on, it's just increasing the contrast of the image, and that's because of the Gaussian distribution of the colors inside that gradient. So the colors ramp slowly in the dark areas I think quickly in the middle and then slowly again and the highlights, which squeezes the luminance range inside the image again thereby increasing the contrast.
You can switch to a different gradient. Now there aren't a lot of gradients that are included along with Photoshop by default, you do have some other gradients that ship with the program and you can get to them by clicking on that little gear icon and then choosing any one of these gradient libraries and then experimenting with them, but none of them are really truly designed to serve as duotones for a photograph. Probably the closest one would be something like copper and when I first select Copper you'll think I'm insane, it goes ahead and replaces the blacks with this light brown, so starting on the left that's where black is, and then we get into the dark gray region and we get some very light browns and then we go back into the highlights here and we get some very dark browns and then we end with some light browns for white, but we can change how the colors are mapping, and you know, I'm a go ahead and decrease the height of this Properties panel, so we can see the model's eye.
We can merge this gradient better into the image if we go ahead and change the Blend mode. So I'm going to click on Normal in the upper left corner of the Layers panel and change that Blend mode from Normal to Color, and then it'll go ahead and infuse the image with that color, and then if I want, I could reduce the opacity of the layer as will. For example I'll press 2 to reduce the Opacity to 20% and we end up with a halfway decent duotone, let's go ahead and compare that to the sepia tone that we created in the previous movie here it is, so it's pretty different, it's yellower effect than what we're using right now, and then when I switch back you can see that we have something of an orange or reddish effect.
But the truth of the matter is that we're blending very subtle color variations throughout the shadows, midtones, and highlights inside this image. If you want to see a more radical color variation double-click on the thumbnail for that Gradient Map layer once again the one that's called colorize, and I'll switch it to something like Violet, Orange, for example, and then I'll hide the Properties panel again and I'll press the 3 key to bring the Opacity up to 30%. And now you can see that we've managed to infuse the shadows with violet, we've got oranges and the midtones and the highlights and so forth.
So that's how you use a Gradient Map adjustment to infuse a black and white image with a rich array of colors. However, we can do better by loading some custom gradients that I've created for you and I'll show you how that works in the next movie.
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