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Traditionally, photographers could use special printing techniques in the darkroom in order to tint a print. Depending on the preference, color could be added in the shadow area of the image or in the highlights, and it really depended on the process that was used. So if you're trying to mimic a traditional sepia tone, which the sepia tone can vary from kind of a red brown to a deeper purple, you need to add the color in the dark areas of the image. But first, we need to convert the image to grayscale. So let's click on the HSL Grayscale panel and then choose to convert this to grayscale.
Then we'll click on the Split Toning panel, and to get the sepia tone color, we're going to want to use the Hue and Saturation in the Shadows area. There are two ways you can do this. You can either increase your saturation until you get about the amount of saturation you think you want, and then you can change the Hue slider; or you can use a little shortcut which is holding down the Option or the Alt key. When you do this and you move the Hue slider, you can see a preview of the color that you're selecting at 100%.
If you don't hold down the Option or the Alt key and you move the Hue slider, you won't see any color. So it's the Option or the Alt key that gives you that full-on 100% Saturation view that's really helpful because that way, you can choose the color that you want. Then you let go of the Option or the Alt key and just dial in the amount of saturation. And you can see that the saturation, the color, is actually being added in the dark areas of the image. If we wanted to achieve a different effect--maybe we wanted to achieve an antique-looking image-- well, an image looks antiqued because you've added color into the highlights of the image, similar to maybe the paper fading over time.
So I'm going to remove the saturation from my shadows, and instead hold down the Option or the Alt key, pick a yellow color, let go of the Option or Alt key, and then dial in the saturation. You can see how the color is being added in the highlight areas here. It's a very, very different look. Of course, one of the benefits of working with Camera Raw and working digitally is that you can also create some really excellent cross-process techniques, in which case, you would be adding different colors to the shadow as well as the highlights.
So let's say, for example, I wanted to add a bluish tint to my shadows. I've got the Option or the Alt key held down, I select the color, I let go of the modifier key, and then I just dial in the amount of saturation. There is one additional feature, and that is this Balance Option, and it kind of splits the image in half, and you can define where the shadows cross over to the highlights. So for example, if I move the slider down to the left, you'll notice that I get a lot more blue and a lot less yellow in my highlights.
If I move the balance over to the right, I'm splitting it in the other direction. I get less areas that are blue and more areas that are tinted with that yellow. Of course, these digital effects aren't exactly like the results that you'd be able to achieve in the traditional darkroom, but I suppose that there are benefits to not having to work with some of those chemicals that photographers have had to use in the past.
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