Split Tone Color in Photoshop for Black & White Images
In a previous session, we talked about Blend If modes and isolating a certain area. So what I want to do now is make the highlights just stand out a little bit more in the image or the brighter tones. The way I'm gonna do that is with Blend If modes. So I'm gonna create a curves layer, okay? And what I'm gonna do is, I'm gonna label it highlights, or HL is my abbreviation for highlights. And I'm gonna double-click onto this, onto the layer itself, to bring up our Layer Style. Now remember what we learned from the previous lesson about blending modes is that this is an adjustment layer, so we are gonna be applying this change to the underlaying layer. So we basically want a curves layer that deals with the brighter tones of the image. So I'm gonna push this across to about 80 or thereabouts. Hit the Alt key on the keyboard to separate that little flag, which gives us the transition, gives us the feathering right through to the tonal range that we really want. So we bring it right down t...
o 255. We hit OK. And then what I'm gonna do is, I'm gonna leave the curve as it is, but I'm gonna change the blending mode. And the minute I change the blending mode to something like Screen, which is a lightening mode in Photoshop, okay, you see how the highlights are just ka-bow. I think it's genius. Just bring that back a little bit. So let's just bring that in a little bit more. So it's made our highlights a little bit brighter and it's given us that nice beautiful milkiness that we want across to where the skin is, okay? That's pretty good, just zooming in. Getting blind in my old age. Okay, so that's awesome. Okay, so we could bring the color information back, which we will, but then also with this, the color information, if we wanted a desaturated image, what we do is just decrease the amount of color that's already in the image, and we have this transitional color, black and white, but we can go a little bit further than that with the Blend If modes and tuning the image even more. So let's bring a warm highlight effect to this. And I'm gonna do this above the color layer, because if I do bring in the color information into the equation again, then it's gonna be sitting on top of the color layer, and it'll color the color information, which is what I, essentially what I really want. So hue saturation, okay, we're gonna hit Colorize, and we're gonna pick a nice warm tone, which is about there. And we're gonna call this our highlight tone. Okay, there it is. Double-click just on the outside of that to bring us into Layer Style. Once again, what is it? It is an adjustment layer. Underlaying layer is what we manipulate. Gonna move that to the side so we can see what's going on. We're gonna move that across, and there it is. It's going to look beautiful, and then Alt, and just feathering that out right to 255, altering the saturation of that just through, subtly through the highlight, okay? Now, at the moment, it's a tone black and white, but we can do a tone color print as well. And the way we do that is we introduce the color, right, with the color information being reduced, okay, and if I turn it on and off, you see how we're bringing a warm tone to the highlights. Now, let's switch the color information off, and let's bring an opposite or complementary color to the highlight, the warm highlight. Let's go for maybe a cyany blue kind of shadow. And let's go into hue and saturation again, Colorize. Let's deal with something around there, which I think will look pretty cool. Okay, double-click. And we're gonna take it the other way. We want our shadows, you see how it's being taken away from the highlight. Blend it through to shadow. So now we have this nice beautiful split tone. Let me just label that layer, and this is shadow tone, okay. And introduce the color information back. There we go. And reduce the opacity of the shadow tone to give us a nice beautiful toned image in color, okay, which looks pretty awesome, okay? And I can go back to my highlight layer here and just reduce the opacity of that ever so slightly. Just a little bit more just to lift it but not to the point where it's blowing up. So that's how we achieve that desaturated, you know, blue shadow, warm highlight kind of effect. And because these are adjustment layers, it's very dynamic. I can go back, I can adjust, I can increase saturation, I can decrease saturation, and so on.
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