https://www.shutterbuggs.com/ - In the previous video, we took an in-depth look at the HSL/Grayscale Panel and how you can utilize it to control Color within your images. In this video, I’d like to take a slightly different direction and show you how to convert your images to grayscale using the HSL/Grayscale Panel and then use the split toning feature to create some unique effects, such as sepia tones for your images.
So to begin with, you can see that I have one of my images open. Now, I actually have done a fair amount of work to this image. And to begin with, what I first want to do is go to the HSL/Grayscale Panel and I want to convert my image to grayscale. Then, I want to go to the Split Toning Panel. And what you’ll notice is I have a highlight section and a shadow section. Now this will effectively allow me to add individual colors to the highlights, or an individual colorcast, I should say, to the highlights, and an individual colorcast to the shadows. So, for example, if you had a sepia tone, you’d have a very yellow highlight and you’d have a very sort of copper, bronze, slightly redder shadow area. As you can see here, you can choose the hue you’d like to add to the highlights.
Now I am going to choose a warm yellow, and you can see nothing is effectively happening. And you might also notice, if you’ve got a really good eye, is I already actually have a colorcast in my image. Now I’m just going to point this out to you, because it’s actually quite interesting, you can see by looking at the red, green, and blue values that are up near the histogram, that it’s not a perfect black and white.
Now this is primarily because I’ve actually done some work with the adjustment brush, which we’ll just take a quick look at. It’s a slight detour, but I just wanted to point this out, because the image doesn’t quite have that black and white appearance to it. If I click on that, what you’ll notice is I’ve actually got a couple of different selections here, and one of them is on the actual cliff wall. Now when I select that, you’ll actually see I’ve actually got a colorcast here, I’ve got sort of a low intensity red that I’m actually filling out through that selection right there. So that’s primarily why there’s actually a colorcast in the black and white. So, ordinarily, if I didn’t have this selection there, you wouldn’t actually have that colorcast, and it’d be more like this tone here, it’d be much more black and white, as you can see. But that’s a quick detour.
What I’m going to do now is jump back to the split toning panel, as you can see here, and we’ll go back to adding, changing the hue value to sort of a warm yellow, around 50. There we go. Now, what I’m going to do, as you can see here, just adjusting the hue itself doesn’t actually change the color in the highlights. What you need to do then is actually increase the saturation in order to add that color to the highlight. So, as you can see now, the more saturation I add, the image starts to take on quite the yellow sort of tone. So we’ll just drop that back a little bit.
Now what I’ll do is I’m going to go to the shadows. Now the shadows I’m going to keep very high up in the red areas, because I’d really like to have an orangey-red feel to it. Just like a sepia tone image, but that’s probably slightly more towards the orange. Now, I’ll increase the saturation here. Now it’s adding that saturation to, adding that hue to the darker areas of the image, as you can see there. And that actually looks quite nice. I really quite like that effect. It’s very close to a sepia, but you can see throughout the highlights up the top, it’s not quite as yellow as I’d probably like, but it is quite nice. So that’s what you can do with split toning.
And you also have the balance slider in the middle here, and this allows you to balance the two hues that you are using within your image, and actually choose to have them weighted in your image. So, for example, if I wanted the yellow that is in the highlights, if I wanted that to come throughout the image a bit more, as opposed to, and come into more of the mid-tone, darker areas in the mid-tones, what I can do then is actually just make some adjustments to the slider.
And you can see that if I go-sorry, wrong direction-if I go across to the right hand side, into the highlights, you’ll notice that the yellow starts to take dominance over that orangey-red that I added to the shadows. And vice versa, if I go to the darker areas of the balance, you’ll notice that that more redder, copper color sort of comes through into the overall side of that image.
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