Tinting Images and High Contrast Effects


Adobe® Photoshop®: Adjustment Layers


Lesson Info

Tinting Images and High Contrast Effects

So we're in folder number eleven color tins if you're following along at home and we're going to go back to the photo that we saw in yesterday's deep deep dive and that isthe the new view that I made by creating several rectangular selections and then fine tuning this elections with the quick mask mode to account for the angle of the curtains there, and then we popped in a new view, okay, I happy like that one better than that. One theory only problem with our new view is that the light temperature is different between the new background in the foreground, okay, so several different ways to adjust that we looked at the color balance adjustment layer earlier that would work well, there's another one that would work that we haven't really talked about yet it's a very subtle change and it's called a photo filter and it really is the equivalent of you screwing on colored filter on the end of your lin's ok, so that's what we're going to do somebody go down here to our adjustments many and w...

e're going to choose photo filter and right off the bat photoshopped a soon's there we go that you want to add a warming filter because I guess that's just the most popular one and you can see is I talk with the visibility often on it's, a rather subtle effect okay it's not that we've got our preserve luminosity checkbox turned on so we're not changing brightness levels of our pixels here at all we're just adding a slight uh color overlay from this menu you've got a slew of different ones that you can add so when you're I'd say making a collage I don't really think of this image as a collage but it is it's a composite it's comprised of more than one image then the photo filter adjustment layer can be real handy for making the image colors of the color of light come in tow line with each other or if you just want to add a little bit of a color tint for a special effect it's good for that teeth so you can create through here and see all the different color tents that you can add from the presets but if you don't find a preset that you like you can click the little color swatch and you'll open the color picker and you can choose whatever color you want so that's a fun one and I'll throw the layer that I made for you away so what I did here was I created two of them and if I only wanted I duplicated and if I only wanted those changes to affect this image right here what would I do? I would double click the layer thumbnail and use that little button at the bottom left of the properties panel to clip it toe on lee the layer below so now I've changed on lee the water shot and not the windows okay, so there's our before and there's are after another way to add a color tint well back to our little mermaid shot here is through a black and white adjustment layer okay, so I'll go ahead and throw away two layers I made for you the only other thing we've got going on in here is our levels adjustment so you could created black and white adjustment layer tweak the sliders and turn on that tiny little tent checkbox case if we turn it on our photos immediately going to go to the most popular photo or color tint today which is c p a which is a fancy shmancy way of same brown if you don't want brown is your overlay all you have to do is click the little tent color swatch their single click it not double clint and you're going to open up the color picker so you can change that tend to any color you want I happen to love love love the blue tents I think they're gorgeous so when I'm doing this at home on my own photography I sometimes at a blue tents all click over here within the blue range of this rainbow bar and then I'm going to come over here and tell photo shop and I want a really light blue I mean, just a hint of blue. And so if you were looking at this photo, it would look pretty much like a black and white, but a little bit better, a little bit richer, a little bit more depth seeing. Click ok, another way to do that let's. Say you're a fan of creating your black and whites with the grading at math adjustment where, like we did so you could do the black and white part with the grady at math, I have my color ship set to the default black and white with black on top. Now I can choose grady it map from the adjustment list. Thank you for the shop. That's. Exactly what I wanted. Orange so let's say I like the contrast of that black and white better can I still add that color tin? Absolutely. Just go create yourself a black and white adjustment layer because we had already dropped out the color with the grady and math adjustment layer popping open, this black and white adjustment layer doesn't do a darn thing, but we can get at that tent checkbox show depending upon which black and white conversion method you like better. And this is a good time for a little segment on what is a black and white image. The black and white images that you're seeing me create or not true black and whites if you were to pop into the channels panel of this image and I'll make my thumbnails bigger scene actually see the darn things I've still got a red channel a green channel, a blue channel if you have been instructed to create a true grayscale image let's say to send to a printing press if you send this image of printing press while it may look like a black and why it's still going to print on four plates? Okay, all the color places on a printing press you've got cy image into yellow black ok, so we could convert this to seem like a and we could send that to the printer and it would print on all four colors even though it looks like a black and why to make a true black and white image that does not contain any color channels at all, you have to change the images mode to gray scale when you do that, then you end up with one channel, which means if you send that image to a printer, you will not get charged for all for thanks that makes sense, okay, we'll look at how to do that in a minute, so what I'm creating here is a black and white image that's really still made up of color hey, if you're printing on an ink jet printer, that doesn't mean a hill of beans to you. If you're sending this thing tio web offset press, it will mean a heck of a lot or a digital press it'll mean a heck of a lock is we'll still get charged for all the colors, even though you'll get a black and white print. Okay, so depending upon and in the realm of color, tents and so on, depending upon which way you like to do your black and white conversion and you could just roll with the black and white adjustment layer turned on the tent, or you could create the grady and map adjustment layer and then add a black and white adjustment layer for the tent. I'll go ahead and throw away that tent layer for just a moment, let's say you really did want to drop out the color channels and make this a true grayscale document. You could still do your black and white conversion in the method of your choice right here in photo shop, grady at math suggested layer or black and white adjustment layer. Your next step is to trot up to the image menu, choose mode and grey scale when you do flood shop is going to say, hey, we've got some layers here, would you like for me to merge them? Absolutely not. Hey, I also see that are you really seriously asking me to delete the color information in this image? Yes I am okay so that lets you handle the conversion of the black and wine because if you didn't do that photo shot would just simply d saturate your image when you change image moods and you wouldn't get you and end up with a near is a high contrast black and white as you would buy handling the black and white part of it yourself through an adjustment layer okay, so if you really do have to drop out your color channels for use on a printing press then after you've done your black and white with the adjustment layers and you need to come up to image mode gray scale and that will produce a true grayscale document meaning there are no color plates that you're gonna get charged for it the printer so I know we've got some graphic designers in the audience so I thought that would be good to mention now let's take a look and another use for grady in't map adjustment layer here's our original image we all just say yeah what if you wanted to really accentuate that sunset give it a bit more color you can do that with grady and map adjustment layer we're gonna load another set of grady it's called color harmonies they're built into the program been there for a lot of years and then we're going to change the blend mode of that layer to something that's going to allow us to keep the color that's coming from that grady int but allow us to see the detail in the shadows of the image underneath it so if your son's that picture is not spectacular, this is the way that you can fix it so I'm going to come down here and she's a great at math adjustment layer we don't really care what our color chips are because we're going to go load a wholenother set of radiant presets so we do that by clicking this little downward pointing triangle here next to the grady and preview and then we're going to click this whole gear sprocket right here I'll skip this down so you guys can see it a little bit better okay so click the old year sprocket you get this wonderful menu that we've seen before when we loaded all those photographic toning presets and six but for the sunset fix or the sunset pop everyone to call it let's go get the color harmonies to category ok again for the shop is going to ask what do you want me to do with the presets that are already in the panel? Should I throw him away or do you want to add these to the bottom? Well we would like to add these to the bottom now we're going to scroll down and the one that works well for this sunset pop technique is this one right here and if you point your cursor at it you can tell that it's an orange to yellow radiant you could also create your own custom grady it's for your own custom sense it's you're not limited as you can see with these presets right here you're not limited to grady it being just two colors I mean my goodness look at that ok so let's choose this one right here or is she yellow and again that came from me color harmonies too set of grady and process now we can close this guy up pretty huh well what we need to do is change this layers blend mode to something that is going to let us see the shadows on the on the image below so we're going to come up here to the blame of pop up menu and we're going to come all the way down to color and that gives us a really nice uh sense it and if it was a little too strong what would we do drop the capacity a little bit so now there's our before and now theres are after all kinds of ways to take the image you have and turn it into the image you want or need now we saw this image before when we did our little impromptu colorizing a grayscale image but what I want to show you here are a couple more options for color tins we've been using that grady at map adjustment layer you know all day long and you can indeed use all those wonderful photographic toning isn't that gorgeous photographic toning presets and c s six for really beautiful color overlays that look a whole lot like some of the priest says that you can access when you put your image indio tone mode there's eagles and gobs of presets and do a tone mode that air just gorgeous so this is definitely one way and you could experiment with all the different radiance I mean, these aren't really working after this image, but you get my point in experimenting now you'll notice that we're getting a little bit of a negative effect here if you click outside of this great and preview to close that menu up, you've got a reverse check box here so you can reverse the colors of your radiant so that what what into the greedy it was affecting the shadows is now affecting the highlights and vice versa. So if you're clicking around and loading a bunch of grading process and you see your photo looking like a negative don't panic just click that reverse button and then continue to experiment with some of those other things and you might find something that's um incredibly useful or not at all fell that experimenting okay so we'll get rid of that layer the next wade at a color tint that I want to show you involves the huge saturation adjustment layer so we're going to click to create a huge saturation adjustment layer and I don't know if you'll notice I was surprised we didn't get a question about it but there's a colorized check box at the bottom if you turn that on you will be able to add a color overlay okay, so there's a color over lace and now you can use the hugh slider to change the color of the overlay you can adjust the saturation and you can adjust the lightness values so again that's just by turning on the cul arise check box at the bottom of ah hugh saturation adjustment layer pretty much does the same thing as a black and white adjustment later if you turned on the tent but it's all about flexibility here in photo shop would you rather try to figure out what color tint you want by clicking around in that color picker or would you rather drag hugh slider around? One of those ways is going to feel more comfortable teo and they're not right or wrong one versus the other so again all we did let's go grab a huge saturation adjustment lee or turn on the colorized check box and then we can play all day long we've got a great at math on it there that's why we can't see it then you can play all day long with the different colors in saturation values to produce something that looks pleasing to you but do be cognisant of layers stacking so the reason we weren't seeing that color show up a second goes because I had that black and white layer of their turned on so of course I'm not going to see the effects of the anything down here because that one is sitting on top of it okay, now let's take a look at another image this is a black and white that I created from great at math adjustment layer and I just want to take a moment to point out this style of photography actually comes from my very, very, very, very, very favorite photographer ah hungarian from budapest named andre cortez and he's widely considered to be one of the most amazing photographers of the twentieth century he died back in the seventies but you might recognize the image I'm about to reveal on the layer below it was a seriously famous image that was taken back in nineteen seventeen okay look at his style that's being recreated all over the place still today andre cortez was one the first photographers tio be playful with his photography he he played paid a lot of attention to shadows to reflections two things that photographers of his day never ever thought to shoot ever this is an incredibly famous picture and I'm continually astounded to see it show up in start photography all over the place okay, so if you want to find out more about andre curtis he is the photographer that I go to for inspiration you can't do a google search for him but this is how you spell his name that's why I brought up this wikipedia page because andre kurt says people are going to go how do you spell that? So anyway this is him um he was just amazing and when I need inspiration for my own photography I looked andre curtis because he was so creative in what he captured especially in shadows and reflections it's just amazing creative cropping tio some of his images are just incredible crops and I'm not there's any of the rest of them here's another one of his image he would capture still lives taken from the early twenties just really amazing stuff so he's my guy for inspiration so I couldn't resist sharing that with you guys and when I had the pleasure of this past december teaching on a river boat crews through hungary and austria and germany and lo and behold in budapest his entire exhibit which usually lives in paris france had come to buddha pash national museum for one week and I happen to be there that week so I got to see not only this original but most of his other work which was just incredibly inspiring I went out on a photo shoot after that and you should have seen me every time we went to a restaurant I was stacking it plays stack and force and shoot napkins you know all these inanimate objects and stuff because I was doing well home aj toe andre curtis so anyway so here we have and an andre ish photo and a really beautiful in black and white and you could add color tends to that with another black and white adjustment layer all kinds of wonderful things okay the next thing we're going to cover is some high contrast effects but do we have any questions on the partial color effects with the color tins or grading it map or um colorizing and in color and relays before we move on when you convert something to black and white or guessed this would go for color too are you in the habit of making sure that nothing is ever one hundred percent black or one hundred percent white for different output um printing purposes I don't know where I heard or maybe it's maybe it's on lee for offset printing that if you look at your blacks you move it over a little bit so that it's not one hundred percent that's a great question that used to be a really big problem it's not as much of a problem anymore especially not with digital presses but you could certainly do that if you it requires knowing a little bit about your press if they're known for, you know, messing up the blacks and definitely you might wantto come off of those blacks it's a little bit to account for the extra darkening you know that that particular printing press is going to add to your image, but it seems to me to be less of a problem these days and it was it used to be a big honkin problem and in fact did you guys see in the levels adjustment that we did earlier? Did you see these two boxes down here? Output levels that's exactly what that's for so zero stands for pure black two hundred fifty five stands for pure white I could do on my levels adjustment, you know, however you want to do that with the eye droppers of the shadows and highlight sliders. But then if I change these numbers down here, I've now told photoshopped that what it thinks is pure black really isn't pure black maybe it's ten, which is slightly off of pure black, slightly lighter than pure black. So that's, what you're doing with the's fields right here is your changing the output levels you're changing the color of pure black and pure white for that exact reason great question yes, since we're talking about printing in your eyes wants to know is grayscale still rgb file as my pro lab only accept arguably files or what I have to convert it before submitting a grey scale file is just a grey scale file I believe so we could take this one will turn off that layer in that layer and he come appear to image mode grayscale we'll just let emerge this time too scarred if we come over here chart channels panel we've got one channel only and it's gray so it's not that it's rgb versus seem like hey it's gry really? So it's just got one channel black really great great questions, guys and isn't that a pretty thing in black and white is a pretty thing you know like your story too. But andre thank you. Well, you know, people find inspiration and in several different places I just got back from photo shot world last week actually and I was on a panel called women and photography with two incredible photographers helling, glassman and judy host um and we all were supposed to talk about our inspiration how we came to do what we do and you know, he's my inspiration and it's great to have somebody to go to you that's creative, you know in way back then and to the early nineteen hundreds I mean amazing okay, so here's an image that we've been playing with earlier looks a little bit different then so what I've added here where we're in the high contrast folder now if you're following along and there isn't definitely or called pasta rise posterized whatever you want to say it and it is fabulous for changing soft gradations of color into solid blocks of color kind of like turning it into cartoon art a little bit so you can see the effects of it okay, so that's what it off and that's with it on this is just another way to create artwork from your photographs, possibly something that you can sail so what I did here was I, uh, added a levels adjustment layer then we added our gravy a map adjustment layer for our black and white and then we use that layer mass to reveal the color on the flowers. Now we can come down here, I'll go in through that layer away to our adjustment layer menu and choose posterized and immediately we get this cartoon art kind of look, you can use this level slider tio change the effect that it has on your photo to get something that looks interesting to you. Okay, so really what you're doing here is telling it which brightness levels to effect I think it's a cool effect, so that's one possibility with it you've seen other possibilities in some of the artwork that we've been using but let's take a look at using it in an incredibly subtle way again why these people are in their bathtubs and snorkel gears beyond me that does make for a funny image so let's say you're designing an ad or you're preparing some photography for client that you want a little bit of a fun whimsical look teo you just want to draw a little bit more attention you could also create a threshold adjustment layer okay so we used pasta rises second go now we're going to use threshold threshold if you remember from if you're in the selections class we did yesterday we turned a whole bunch of seashells high contrast black and white okay and we also used to threshold adjustment layer to make a high contrast black and white out of the lady's photo ok to make a sarah graphic like the andy warhol famous you know marilyn monroe's well we can do that here too so what I'm going to do is adjust the threshold is a little bit so I get details in his face and then we're going to drop the opacity of it to bring back most of the color from the layer below so here's our before and here's our after it's just a different artistic effect that's all so it's slightly pasta rised posterized but not completely to the extent that the subject is no longer recognizable it's just a completely different kind of half cartoony almost like the effect of that and it wasn't one of my favorite movies a scanner darkly there were that maybe it was one of the first ones that did this kind of look throughout the maybe which we're going to do tomorrow in our smart objects class, because by using smart objects, we can apply filters to video clips. Yes. So anyway, this is this is a neat effect again, and all we did was at a threshold or a pasta rise adjustment layer, and I just dropped the capacity of it. So interesting artwork to be sure. Let's, take a look at another photo. This is an image that I created for the class and you can see over here my layers panel, I've got a levels adjustment layer that's clipped to the photo layer here, so it's not affecting my backgrounds is a background that I downloaded from a stock photography side. This threshold adjustment layer right here is what's changing the woman's photo two high contrast, black and white ok, and I've also changed the blend mode of the photo layer tio blend though that's in the dark and category because I wanted all those light colors of that photo to drop right out so let's, go ahead and build back, I'll go ahead and leave my other background layer in there. Though I think I actually provided it in your files I'll go hunt for it okay so what we're going to do let's say we've combined both of these images can we've got our new background and we've got our photo that we're working with let's go ahead and create a threshold adjustment layer immediately that photograph goes to high contrast black and white now I'm gonna drag the threshold slider slightly rightward so that I get a little bit more detail coming back in her face because that's just weird though that looks like a good alien so my monster ok so let's say that is good the only other thing I need to do to this image to make that blue background show through and just take a second to look at the colors that I'm dealing with ok I've got really high contrast black and white on this layer black is the most important thing on that layer right that's our focal point our subject if I look at the colors on the photo layer I've got a lot of light colors back there that I want to get rid of and if I look at my name background it's predominantly dark if I want the light colors to get the heck out of dodge and on lee keep the dark colors throughout these layers all I need to do is change the blend mode of this layer to something in the dark and category because another way to think about at least these two categories right here. The one that starts in the dark and the one that starts with lytton is that when you choose something in the darkened category photo shot looks the colors on this layer in the colors on this layer and only the darkest colors remain it's kind of like a war between colors the darkest colors of the only ones that hang around if we were trying to drop out light colors if we're trying to drop out dark colors in favor of light colors, we would choose something in the latin category because in that color war the lightest colors win and that's what's so handy to really pay attention to the first mode in these two categories because it tells you which colors are going to win the color war dark colors, light colors for this particular composite or collage I want dark colors to hang around so you could take a spin through all those blend moves on one of them will look better to you than the other okay he's pretty much like the same though so that's how I dropped out the rest of that photo without making a single selection without doing anything like that. Okay, so just to recap I'm gonna throw away those layers again change her blend moved back to normal so we've brought in two pieces of art we're going to activate the photo layer, we're going to add a threshold adjustment layer so that we make her a super high contrast black and white you get sell this in a photography business. This is how you can create silhouettes and things like that or one way to do it rather but it's a really neat piece of art. Now we're going tio clip that threshold layer to just the photo layer and you know we can come over here to our diver and change her blend mode to something in the dark and category and call it done last but not least, there's that original r and your head in there somewhere, the last adjustment layer that I want to share with you before we take some questions and then call today a rap is the invert adjustment layer and there's probably five people on the planet who very used that darn thing before. Okay, it is great for graphic designers, because if you ever need tio exactly reverse the colors in an image on you need to do is create an invert adjustment layer because what it does is it takes the colors and it flip flops into the opposite colors on that color wheel say orange is opposite of blue on the color wheel or complimentary, so we're going to click the half black, half white circle choose, invert and immediately, our colors flip flop to their color will opposite. So if you've got something that artwork that's predominantly blue, that needs to be orange, you're done with the invert adjustment layer. Ok, if you've got something that's, black and white here's armor made that we use yesterday, what if she was perfect? But man, she needs to be. Why in the background needs to be black, heaven forbid. You should come in here with the magic launder the quick selection tool, trying to create a selection of all that select similar go up and add another layer. You know, phil, that with color and so on and so forth into madness and, you know a good solid hour of trying to make it look right, which the exit edges would get all pixelated from selecting them and then filling in color unless you really smooth them out with a refinance dialogue. So what you need to do is just create an invert adjustment layer, and you're done.

Class Description

Learn how to use adjustment layers for exposure and color correction, changing color, how to apply various color effects, and more.... they're one of the most versatile tools in Adobe® Photoshop®, and in this 1-day Deep Dive, Adobe® Photoshop® Missing Manual author Lesa Snider will teach you all about Adjustment Layers!

Software Used: Adobe Photoshop CS6