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Camera Profiles and Split Toning

Lesson 33 from: Adobe Photoshop 101

Ben Willmore

Camera Profiles and Split Toning

Lesson 33 from: Adobe Photoshop 101

Ben Willmore

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Lesson Info

33. Camera Profiles and Split Toning

Next Lesson: B&W Toning


Class Trailer

Day 1


Adobe Bridge Basics


Sorting Images in Adobe Bridge


Processing Images in Adobe Camera Raw Part 1


Processing Images in Adobe Camera Raw Part 2


Image Processing Q&A


Contrast and Color


Adjustment Brush and Auto Mask


Lesson Info

Camera Profiles and Split Toning

Let's look at a few other things in camera I find that a lot of people who are used to shooting j peg images they switch over to shooting raw because somebody talked him into it I'm not trying to talk you into it I'm just telling you why I do and then if you happen to like those reasons, then go for it but otherwise shoot whatever you're comfortable with. But when some people that are used to seeing j pegs switched to raw, they find their images look somewhat dollar when they first opened him that's because j peg images are processed in your camera in their settings, in your camera for contrast, saturation sharpness they're only applied to j peg files processed in the camera when you open in camera hasn't been processed, all the sliders and here are usually set to zero and it looks somewhat dull compared to what a j peg would because a j picks processed this hasn't been well if you want your images toe, look closer to what a j peg would cause you're just switching over here's how you c...

an do that you know how we have all these tabs? Well, if you click on the tabs, one of them is supposed to look like a little camera right there and that's the tab called camera calibration when you go in there if you have a raw file you're going to find a pop up menu in here called camera profile and if you click on it, you're going to find a bunch of settings and the top most setting is the default that's the adobe standard that's the way it would usually open and so we can choose that but these other ones are going to change based on what brand of camera you have because these air trying to simulate the look of a j peg image in your camera oftentimes you have pre sets you can choose for the j peg processing things on a cannon called faithful landscape newt neutral and so on and by choosing these is it going to shift the colors in your image to look more like a jpeg file would render this so we can come in here and switch between these and you'll see the colors look different on each one and you could see if there is one in particular that you seem to prefer on a regular basis and then you could use that one from then on I always find canons case that landscape looks ridiculous if you've ever moved any the sliders already uh it makes the colors crazy so any way you can do that with this particular problem menu but it's in one of those areas where most people stay away from this guy that looks scary it's like channels in photo shop they're people just like, no, I don't do channels well, most people don't do camera calibration in photo shop, but that one little poppet menu's pretty easy to use. You just click on it, switch between them and you see your image change. So I just want to make sure that I'd mentioned it. Now if you find that you really like one of these settings and you want to use it for every image from now on, then make sure that you do the next. Well, only back up. Let me show you how to say that as your default setting before you say that as your default setting, make sure that the image you're working on has not been adjusted, because any settings that have been applied to this picture are going to be saved is the defaults in a moment, and so we need to make sure we don't have, like the saturation or some other thing cranked up for this particular image because it's going to be now applied to every image I open from now on, you gotta be careful. So the first thing I would do is go near the upper right and right here is an icon that's you see a little triangle next to an icon, that means there's something hidden there. Remember, if you click and hold on anything that has a tiny triangle it means that something will pop up well that's a menu and I want to first choose camera defaults in all that means is get this image to its default settings a ziff I have not moved any of the sliders at all then change on ly the setting that you want a change in your default settings so choose whatever it is here that you liked go back to that side menu and there is a choice called save new camera raw defaults and that means save the settings that are currently applied to this image and make him the defaults so therefore now it would always use camera faithful as my default setting. Now there are some things that would be useful to do that with one of them is do you remember when we were in the lens corrections tab there was a checkbox in here called remove chromatic aberration and what that did is it got rid of these tiny little halos of color around the edges of objects in those halos are never anything that are enjoyable you're always cursing about it and sometimes you forget how it is you fix it well if you just turn on that check box and then you go to the side menu and say save new camera defaults now it's going to be on for every image open or if you find that let's say under sharpening you don't always want you're masking it zero you find that you needed to be up a little bit in order to get it to prevent it from sharpening all your skies you're straight blue skies so you bring it up a little and then you go to the side menu and you say save new camera defaults and now all of the settings that are on this particular photograph are now the defaults just make sure before you do that on whatever image it is you opened you first chose default so you're starting from the defaults because who knows if you open a random picture if it's been adjusted but in the past before we don't want to just randomly get weird settings in there now you might freak out though that you're kind of messing with the defaults what if you screw it up well don't worry about it if you go to the side menu there's also a choice down here that's called reset camera defaults that means reset it back to the factory defaults you know the one you came with photo shop and therefore you can experiment with this thing you find that you messed up on it all you got to do is choose thatyou're back tio in the beginning how you were then and camera one thing that we didn't have time to get into before but I used all the time and I would rather not have to use photoshopped always do because I like to finish a huge number of my image is writing camera without ever opening them into photo shop is I find that oftentimes they need to fine tune the colors in the picture and in this image you can see some rather distinct colors greens, reds, oranges and all that but I always looked at great when I'm just done with the basic sliders they're there so if you look here we have all these different tabs if you ever want to know what one of the tabs is supposed to mean usually can hover over an icon and pause and it will give you a tool tip but we're going to go to h s l slash grayscale hs l stands for hugh saturation in lieu eminence h s l and in rumor luminescence is just a fancy word for brightness so hugh saturation and brightness is what it means so in here I can come in now in dia linn saturation or how colorful that's what saturation means it's how colorful something is uh all these different colors are and so I can come in here into me the reds in this image look almost artificially red they're so colorful some people would like that but I find that my eye is drawn to this red and it's actually thinking about why is this so red instead of just enjoying the image that's just me though uh and so I can come over here and take the reds and I have a slider where aiken mellow him out or I can make him really colorful and if you ever look at a history ram and you see a really tall colored spike on the end it means that you might have your color so colorful that you're losing detail in those areas that really tall colored spike on the end is a indication of what's known as possible saturation clipping which means you push something so colorful that the details started going away because he went beyond one hundred percent of what it was capable of and you're asking for more and when that happens the on ly way it can make it look more colorful is a throw the detail away and that might be happening to the tongue if so I'm gonna take the red spring the saturation down and as I do I don't know if you noticed or not a little bit more detail comes into like the nose of the of the dragon that's there and if you look at the history gram that's there watched that spike on the end of the history graham as I bring the reds down do you see the spike getting shorter and shorter? That means less in smaller and smaller area eyes losing detail you don't no one else is going to see your history graham so don't adjust your image until the history and looks good I never do that the history ram was like your speedometer on your car you glance at it quick to see if it's useful it's not something stir out when you're driving if you do, you're not going to be a good driver and if you start a history graham and that's what you try to get to look perfect and some people talk about doing that it's like, print your history, ram six feet in size and then put your image as a reference in the corner you know the history, graham it's just a useful little thing it doesn't matter if there's a spike in the end it matters she is what your picture looks like, so I'm going to bring down my red's right there just a little bit too much can find to another colors maybe in here I want one of the other colors to become more prominent were less prominent maybe the yellows are a little too much because I want the other colors to stand out so I could doubt that down a little bit then I can go to the huge tab hugh means basic color and I can shift the basic color of any one of these choices that are here that means I can shift the reds and now they're going more orange or if I go the other way, they're getting it. I don't know what you call that kind of more pinkish guess, uh, and so I can shift them around to fine tune it. And oftentimes I need to do that with greens and yellows, green trees and bushes and things sometimes I just don't like the look of the color that's there. And so here I can take the greens and aiken sliding around, making it more of a pure green, make it more of a yellow, a screen, whatever I want and just dial it in just my yellows. Just get that right where I like it. So hugh means basic color saturation means how colorful and then luminant is how bright or dark and so if I want the tongue to be darker, the tongue is reddish. So I grabbed the red slaughter and I could move it up or down. And the combination of those three kinds of adjustments you saturation and luminous makes it so you could make all sorts of adjustments. You, khun, do the luminous on blues and your blue skies will get darker, but try not to do it to two large oven extent, because oftentimes the transition between the blue sky that you massively darkened in the trees that are touching the blue sky suddenly won't look appropriate because the blue sky wasn't anywhere near that dark and you're suddenly making it dark but you're not doing anything of the trees to get them to blend into that dark sky now uh so be a little careful with this uh when you're adjusting them also with this there's something nice and that is up at the top left we have our tools in one of those tools is this guy which if you look at it, what the heck is that? I kinda does not look weird it's like okay it's across a circle in a triangle well hover over it if he ever don't know what something means just hover over the icon that's called the targeted adjustment tool let's click on it and what? See what it's going to do for us here? Well, watch what happens if I click on the tongue and then I drag left or right look at the sliders on the right side of my screen the ones that were playing with before you see him moving what it's doing is it's figuring out what color that is incense the tongue on this dragon is not perfectly red it's a little bit orange and so it moves the red slider and it moves the orange slider a little bit because just a hint of orange in there and so then I could switch over here to saturation and now I'm going to make that maura or less colorful and again it's moving two sliders but it's not moving them in equal amounts because it was the tongue might be mainly red with a hint of orange mixed in and so it figures that out warm and that could do the same thing of course with you so if I want to change the hue of whatever this background is maybe I don't know if that's considered to be yellow or orange or what? Well, just grab that targeted adjustment tool up there click on the area you're thinking of moving back and forth it will grab the appropriate slider for you now if you look at that particular I can't you see a triangle next to it remember any time you see a little triangle it means there's more to that if you click and hold on it and so there are right here where you can switch between the comb into switching between those tabs on the right you could switch between right here and this also works with this thing called grayscale mix which is when you convert your image to gray scale this thing works or if you learn how to use curves in camera this gun can be used for it but just so you're aware of that clique done in so off sometimes I find too in the colors in my image with those sliders it's very common to come in and see something like this that's what it happened to be adjusted with this particular one here's what it looked like without the sliders here's what it looked like with you see the colors of the shoes and I didn't want the um I didn't want the wall to compete with the tree in the shoes so that you see that mellowed out the wall but it's not unusual for me to do that and if you use that targeted adjustment tool up at the top you knew pretty quickly because you just end up clicking on your picture dragon left or right on various colors now let's see how we can use that same h s l tab to convert something to black and white to make sure have these all it defaults first. Okay, uh there's a checkbox simply at the top called converted grayscale and if I turn it on it's going to pull all the color out and it also moves these sliders for you and it's simply trying to make the various colors that would be in your image look different than each other. If these were all centered blues and greens and yellows, they would look very similar instead of being different in brightness but now what we can do is go back up to that same tool we use before and just move our mouse on top of the image click and now it's going to brighten their dark and everything in the picture that was the color that this area used to be and if I need to see what color that area used to be I could turn off the convert to grayscale checkbox or I can click on this little icon and lower right of kamerad to see without this in with and then I could do things like brighton this one but it's not isolating a building it's trying to isolate a color and so it's not going to be just that one building that changes if there's anything else with a hint of that color and it's going to shift as well I don't know if there's a blue building in there we'll find out because maybe some blue in the sky so we could do that so it's the other time it's useful question the raw data files keeping the black and white yes anytime you do anything in camera it's just saved this text attached to your picture and so this is not permanent it all when I clicked on anything ever do to a raw file never permanent because all it is a saving it is text attached to the picture and all you'd have to do is open up the picture go to the side menu over here and she was camera defaults and you would see the images if you'd never processed it before in your life time so you never have to worry about hitting that that's why this says done instead of save uh you just saying I'm done adjusting her for now, but it didn't actually change the raw file it changed him text that's enough uh in there one other thing that can be related to black and white but doesn't have to be s o we'll look at it first with color picture and then we'll move on to using it on black and white. Is that another one of the tabs that has found here it's this guy? And if you hover over it, you'll see it's called split town ing remember, if you double click on a slaughter, you'll reset it to its defaults because right now this is not a default settings I'm in a double click on these just to get him there. All zeroed out would split tony news is split toning allows you to shift the color of the bright area of your picture or the dark area of your picture were both bright, dark or both, so oftentimes when it comes to landscape images, you'll find that the areas that are in the shade look bluer than the areas that are being lit by the sun because if you think about what color sunlight is it's somewhat warm but the shaded areas are being lit by the blue sky that would be up there if it's a not overcast day. But if there's a blue sky it's the light coming from the blue sky, this lighting the shadows, making them feel more blue than where the sunlight khun directly hit, at least that's the way I think about it, I don't know absolutely for sure if that's how it is but that's what I think about, uh, and so we could. If we had an image where we noticed the shadowy areas looking to blue, we could try to force a different color in there into the dark portion of the image. Every color has an opposite, and if you can figure out what the opposite color is, you could absorb some of the blue. The opposite of blue happens to be yellow. So, uh, but there's also, some times when I just want to push a color into the bright or the dark portion of my picture.

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a Creativelive Student

Ben, thanks again for this course. I have taken and purchased quite a few of your courses to date. I keep thinking I will only watch to make sure I am on the right track and you always bring more to the table than the last course. Your teaching methods are the best, sorry to all the other instructors from Creative Live, but you are very easy to understand and you speak in layman's terms so we all can understand. I am following your instructions and working along with your files and it is the best! It is hard to keep up with you even when I watch you on one computer and work with the same files on another computer, to do what you are doing...impossible but I gain so much by trying. You provide so much info on each topic, it is amazing. Thanks to Karen for the PDFs, she does a fantastic job and also, for her templates/layout documents. Thanks again and to anyone who thinks this is too much money for all the videos, the exercise files and the instruction PDF, I am sorry to say but you are mistaken.

John Taylor

Like all of the Creative Live courses, excellent training. Ben does a great job of explaining the entry part of Photoshop. A lot of things cleared up in my head and i like his easy pace into this complex program. Thanks Ben.


I had several "lightbulb" moments with this class, after many years of photography and when you think you know it all, you don't :) Ben Willmore is an excellent tutor, with his many years of experience teaching PS, he obviously knows the types of things a lot of us struggle to understand. I learnt a lot about Bridge, and have since implemented these things into my everyday workflow, so much easier to sort out what I want to keep etc.. Thanks so much Ben and Creative Live. Thanks also to Ben's wife for her amazing work creating the Guide etc. Even though being in Australia, I pay more for the courses (the conversion rate, the aussie dollar is low at the moment) it's very worth it to me. I have paid more for courses here, and learnt next to nothing. Thanks again.

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