Click on any phrase to play the video from that point.
[♪♪] [ADOBE TV Presents]
[♪♪]
[The Complete Picture with Julieanne Kost]
Hi and welcome. My name is Julieanne Kost.
On today's episode of The Complete Picture
we're going to talk about how to add a little bit of a color tone to a black and white image.
We're going to start in Lightroom in the Develop module.
I am here in the Split Toning panel, which is a great way to add a color tone
that has a little bit more control than maybe just using the Temperature or Tint slider.
Here we can see that the image is broken into your Highlights area and your Shadow area,
and you've got a Hue and Saturation slider for each one of these 2 different areas.
You can select a hue by simply moving the Hue slider,
but we don't see anything actually happening in the image.
If you hold down the Option key, now we get a preview of the color
or the hue that you're picking at 100% opacity so that you can pick the right color.
Then when you let go of the Option or the Alt key,
you can then dial in the amount of saturation that you want for that tone.
You can also use the Color Picker right here.
You can click and then just click anywhere inside this color area
in order to select a tone.
You can also enter in numeric values or use the scrubby sliders here to move left or right,
and you can dial in the amount of saturation.
When you're finished, just click on the X to close that.
That's a great way to add a tone.
In this case we added it to the shadows.
If you're thinking of adding something like a sepia tone to your image,
if you want to mimic the traditional toning, you would definitely add that color to the shadows.
If, on the other hand, you were trying to create an antique-looking image,
then we wouldn't add the color to the shadows but instead we would add it to the highlights.
Let me quickly reset my shadows.
I'll just double click on the word Shadows, and everything is reset to 0,
hold down the Option or the Alt key in order to pick the yellow color that I want
in my highlights, and then dial in that amount of color using the Saturation slider.
You can see now that this image looks a little bit more antique
because I'm adding the color in the highlights.
And what makes an antique photo of course is the yellowing of the paper over time,
and it would yellow in the highlight area.
That's where we would see that toning.
There's also a Balance slider here, though.
That's not used very often but it's really, really important. Let me show you why.
I'm going to reset my highlights by double clicking on it,
and then let's add back in a little bit of sepia tone into the shadows.
You can see as I increase the amount of saturation,
I'm really getting a lot of color up into the midtones.
I use the Balance slider in order to suppress that by moving the Balance slider to the right.
Now you can see that I still have quite a bit of red.
It's quite saturated, but it's not affecting the midtones.
Of course if you find a certain combination of sliders and balance that you like,
then you would want to make a preset.
We'll do that over on the left-hand side by clicking the + icon and then naming our preset.
This could be called Sepia in Shadows because it's a sepia tone there,
and I would want to make sure that the only thing that I'm checking is the Split Toning
because I personally would have taken the image to black and white already
probably using a preset as a starting point and then refining the sliders
probably in Hue, Saturation, and Luminosity
in order to get the custom black and white conversion.
All I want here is to have a preset that affects the split toning.
If I want to make sure that this is going to look the same in future versions of Lightroom,
I would also check on the Process Version here.
And then of course I can choose which folder to save this in.
For now we'll use the User Presets and I'll click on Create.
Now I could make any number of changes to any of these sliders here,
Highlights and Shadows, but if I wanted to return back to the sepia look that I like,
all I need to do is click that preset in the Preset panel.
Of course if I find another image and I want to apply the same settings,
I would just select the image and click on the preset.
The balance also plays an important role when you're trying to add color
to both the shadows and the highlights.
For example, if I wanted to add just a slight warming,
what I might want to do is I might want to add a little bit different of a hue
to the shadows and highlights.
In this case, let's go ahead and add maybe a hue of, say, 25 here in my shadows.
That's going to be a redder color.
And then I'm going to add a hue of maybe 45 in my highlights.
That's going to be a little bit more yellow.
Typically, I will add a little bit more saturation in my highlights.
Let's say we go up to maybe even 40 in my saturation,
and I'll come down to about 20 in my saturation of the shadows.
But it starts to look a little bit muddy, and that's because the balance is off here.
Now you can use the Balance slider in order to determine
where the highlights and shadows cross over one another.
Obviously, this is far too much, but I wanted to make sure
that you could see the changes that I was making when the video is compressed.
If I tap the Y key we can see the before and after,
and to me this just looks really, really over-toned.
So let's take a look at a few of the single color presets that I've created.
You're more than welcome to download these.
Here I have kind of an antique look. Again, it's really subtle.
You can see I've only got the whites in the top 10% here,
so my balance is set all the way down to -90,
and it's just a slight saturation of a yellow color here.
If we go to this blue preset,
now we can see this is only a single tone,
meaning that I've only added color to the shadows.
But again, the balance is set way up to the right, up near 85,
so that I've only got that blue really in those shadow areas and not in the midtone.
This is kind of a more mustard look. It's a little bit warm.
This actually works well if you're just trying to warm up an image.
Here I have a sepia. This used to be my favorite sepia tone here.
But I'm going to go with this one now.
It's very subtle if you look at the difference between the before and the after,
but you can notice that red sepia in the shadows.
There's also just some general presets here for blue versus cyan
if you simply want to move through these and see each one of the different color ranges--
magenta, orange, purple, and red--
and see what those colors would look like just as a starting point.
If we look at the Split Toning, meaning that there's both color added
in the Shadows and the Highlights, then we will move to this next set.
We can see this is more of kind of a chocolate stain.
I called this the Coffee Stain here.
It's got a lot more yellow in the highlight area.
I have a very bold Cyan Yellow Split.
We've got what's called Forest Horror.
It's kind of a green cast that you might see if you're looking for that kind of mood.
And we've got an Orange Yellow Split, quite strong,
a Red Cyan Split, very strong,
and then we've got these 3 that add warmth.
We've got the really strong warmth, we've got a medium warmth,
and then a really, really subtle effect just to kind of warm up an image.
Of course some of these can also be used with color images.
You don't necessarily have to take your image to black and white.
And then finally, I've also got some presets, but these don't use the Split Toning panel.
So obviously, there's more than 1 way to add a color tone to your image.
In fact, let's reset this using the Snapshot to black and white and scoot up here.
Instead of using Split Toning we'll use the Tone Curve.
Let's reset this to a linear curve right now.
This is the RGB, so this is the composite channel,
but if I go into any of the individual channels--Red, Green, or Blue--
then I can add a color tone.
Before I go there, in case this is what your tone curve looks like,
you might want to scroll down to the bottom of the Tone Curve panel
and click here to display the point curve.
That's what I'm using, and that's where you have access to red, green, and blue.
For example, if I went to the blue curve, clicking anywhere and lifting up
is going to increase the amount of blue;
clicking and dragging down does the opposite.
The opposite of blue is yellow, so it's going to give me a yellow tone.
Of course I can add any number of points here,
which actually gives me a lot more control than the Split Tone panel.
If I drag these points off, don't forget you can also move the endpoint.
If I simply move the curve up a little bit at the end,
you can see now that I have a nice blue tone in those shadows.
If I want it only to affect the shadows and not the midtones,
I could add another point here and bring the curve down
so that now only this area here is being affected
and only that area is having the blue tone added to it.
I might want to add 1 more here. I can see a little bit of yellow.
See how a little bit of yellow is being introduced?
I'll just make sure that that part of the curve stays straight
so that those highlights are not affected by my curve.
Of course you can go in and use a combination of any of these.
I could use the green with the blue to make it either green or magenta.
I could go in here with red, and again we could isolate just a certain area
if I just wanted to add cyan in the highlights or if I wanted to add a little bit of red.
In order to reset that, I'll double click on where it says Point Curve.
And then we'll come back over here to the presets, and there's just 3 here.
I've got a Stark Winter Blue preset, a Warm Chocolate preset,
and then a Weathered Marble.
These presets--I'll just show you here--when I click the + icon in order to save my preset,
I was not saving the Split Toning but instead I was saving the Tone Curve options.
Excellent.
As you can see, adding a subtle tone to any of your images--
black and white or they could even be color--is really, really very easy in Lightroom.
Simply use either the Split Toning panel or come into the Tone Curve
and use the individual channels to alter the color.
My name is Julieanne Kost. Thanks for watching.
[♪♪] [ADOBE TV PRODUCTIONS]