Split Toning Explanation
So then we have the split tony area split toning I told you is really really useful not just in black and white I think everybody knows that if you turn this toe black and white and you grab the saturation and bring it up and you can choose you know whether you want it to be a c p a tone and what's happening is it's doing in the shadows so there are two parts to this there's the highlights and then there's the shadows so the highlights is what is? You know the sun area basically the paper the highlights is the paper the shadows is the silver so when you're printing actually on paper anything that's black or dark is silver being laid down on paper or inc and anything that's why is just the paper showing third? And so if you want your pain and here's the best way to think of the split toning if you want your paper toe look like it's old put yellow in the highlights and now the paper will look like it's getting old because that's what happens to paper when he gets older gets yellow? If yo...
u want your silver toe look like it's on old style, then you start playing with warmth in the silver which would be in the shadows and so in this case, if I take this and I choose and I like to bring the saturation all the way up so that I can actually see the color I'm working with and then I'll go up and down until I find where is c pia they're right about there is that cpi a tone and now I'm going to grab it and bring it back to zero and then just totally sneak it in there that's a really beautiful subtle see peotone you see it in the shadows but the highlights are still bright and white now watch what happens to this though it looks nice and crisp and clean but watch what happens to it when I take the same tone so I'm going for the same hue I'm gonna type it in thirty seven so it's exactly the same tone or hugh and then I'm going to take the saturation up and watch what happens now now it's going to start to look old because the paper got hold on us if I want to then change this here's a really is an interesting way to make a very, really rich black and white leave your highlights warm and then take your shadows and turn them toe blue so you want your your shadows to be super blue you gotta find blue and now we're going to take them both down to zero and I'm gonna bring in blue shadows I'm gonna bring in warm highlights and suddenly your image has even mohr contrast than it had before, because color is a contrast, all right? So as you and darkness, the shadows and white to the highlights, it becomes contrast. And then, as you add color toe one in the other, then that contrast even further increases, and if you make it super subtle, the people looking at it won't know what you've done, but then we like, this is a really rich photograph. I don't know why it's so rich and comparison other things that I've been seeing, but it's so subtle that they can't tell that there's a blue shadow on a warm highlight because just barely there but their mind, khun see it, and so they see this contrast. So I like that I do that a lot on black and white, especially on architectural, black and whites, and things just add a little bit of blue in the shadows, a little bit of warm from the highlights, but if we want to do this to a color image, I reset all the the highlights and shadows, and I'm going to go to back to our color image color images if you were to take the saturation of or let's say, I wanted to make this sunset warmer, and if I take the temperature up, look what happens to them see how they get warmer and it starts to yeah, the sunset looks really warm, but they also look warm and I don't like it. So instead of going for temperature to get your son set to occur, try doing it in the split toning and go into the shadows and again remember we gotta do saturation, we're going toe just find warm and then we're going to just back it out and start bringing it in and as we do that it starts to warm up the shadows, but it doesn't affect them quite a cz much and so now we have this beautiful warmth in the sunset, but we don't have that overly saturated orange that happens when you start playing with the temperature and the reason that works is that when you have sunset, the son stops hitting things directly and starts bouncing around so there's less direct light and more bounce light and then the shadows start filling in with warm light and so that's why everything starts to warm up because the shadow stopped being cold and start being warm. So with all that bouncing light that's happening because of dust, especially in arizona it's all dust it's just like dust everywhere and so the the light is shining through the dust and the dust is refracting light all over the place and it's bouncing in the shadows off of warm dusty particles, whose all orange so the shadows stop being cold. Start being warm, so all you have to do is take your shadows and turn them warm. And in the color print, you have sunset, even if it's not ok. So it's. A good way to fake a sunset really easily.
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Software Used: Adobe Lightroom 5