Color and Black & White Photography in Photoshop | Steve Weinrebe | Skillshare

Color and Black & White Photography in Photoshop

Steve Weinrebe, Photographer, Author, Instructor

Color and Black & White Photography in Photoshop

Steve Weinrebe, Photographer, Author, Instructor

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19 Lessons (44m)
    • 1. Non Destructive Editing

    • 2. How to work with Layers

    • 3. How to work with Channels

    • 4. How to work with Adjustments

    • 5. Power of the Hue/Saturation Adjustment

    • 6. Learn the basics of Layer Masks

    • 7. View and paint on Layer Masks

    • 8. Make Layer Masks From Selections

    • 9. When to use the Masks Panel

    • 10. When to change Adjustment Layer opacity

    • 11. The power of Blending Modes

    • 12. How to use Blending Options

    • 13. When to use Blend If Color

    • 14. Make versions with Layer Comps

    • 15. Create color tints with Hue Saturation

    • 16. How to blend in the Adjustment

    • 17. Use Color Fills for Tinting

    • 18. Master Color Fills and Blending

    • 19. Create Graduated Colors with Gradients

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About This Class

Learn Photoshop with Adobe Certified Instructor Steve Weinrebe, author of Photoshop & the Art of Photography (Cengage). Use Layers, Adjustments, Masks, Color Modes, and Blending techniques to create powerful Color and Black & White photographs. Bring your photography to a new level with Photoshop. 

You will learn:

  • How to use Layers
  • How to use Channels
  • How to use Adjustment Layers
  • How to use the Hue/Saturation adjustment
  • How to use Layer Masks
  • How to view and paint in Layer Masks
  • How to make Layer Masks from Selections
  • How to use the Masks panel
  • How to change Layer opacity
  • How to use Layer Blending Modes
  • How to blend layers with Blending Options
  • How to use Blending Options with colors
  • How to make multiple versions with Layer Comps
  • How to selectively Colorize an image
  • How use Color Fills to tint all or part of a photo, including split-toning
  • How to create a misty look
  • How to create graduated color looks

With sample files and guided projects you will walk through the Photoshop features that will transform your photographs into masterpieces. Whether you are a photographer, designer, or marketing professional, these are the tools and features that will make you a Photoshop Pro.

Note to absolute Photoshop beginners - check out my Photoshop orientation videos: 10 Steps to Mastering the Photoshop Workspace

Meet Your Teacher

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Steve Weinrebe

Photographer, Author, Instructor


Steve has been teaching photography for over 25 years, drawing on his professional background as a widely published advertising and corporate photographer. Author of 2 books on photography and Adobe Photoshop, Steve loves demystifying the art of photography for enthusiastic students. Steve has won a Videographer Award for video-based training. When not teaching Steve can be found photographing the coastline of New Jersey.


Steve Weinrebe
Adobe Certified Instructor (ACI, ACE, CompTIA CTT+)
Produced Photoshop's "Photographic Toning" presets
Author, Cengage Learning, "Irreverent Photo Tools for Digital Photographers"
Author, Cengage Learning, "Adobe Photoshop & the Art of Photography"

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1. Non Destructive Editing: adjustments, air, very powerful feature and Photoshopped. We're going to talk about adjustment layers and the masks that are attached to adjustment layers. They're called layer masks. And then we're also going to talk about blending modes and blending options between the masks, the blending modes and the blending options. We have very powerful controls over where, in an image, what colors would tones, how colors air applied to an image and create different effects in images. When we tent in tone images with different colorations and different tone, allergies will also talk about multi views of images. How we can taken image, apply different versions, basically coloration tonal values and also have before and after views or be able to toggle through those different versions so that we can see not only for our own work but also have different interpretations of an image that we can then go back to again and again. Let's jump to photo shop, and I'm going to expand our discussion again, working for beginner to more advanced topics. We're going to in this section talk about layers and channels and adjustments. Then we're going to get into blending modes, blending options and the tools that will be using not only on a mackerel level but on a micro level to adjust intent in tone are images that give us just tremendous control as much as possible, working non destructively, which means always being able to take back what you did. Readjust something without permanently altering the original image. So we'll be talking about our nondestructive workflow as well as we go. 2. How to work with Layers: working in photo shop we have when we open an image generally, especially if you open a J Packer process of raw image in a photo shop, you're going to have one background layer. As we add new layers to an image like adjustment layers, for example, we will be creating new layers, but this background layer will always remain on the bottom. The background layer doesn't have to be on the bottom, nor does it have to be a background layer. You could just quick the padlock to turn the background layer into a regular floating layer or in earlier versions of Photoshopped than Sisi. It's CS six and earlier. You can drag that padlock down to the trash can to get rid of it. We're just double click and rename the layer. But in this case, I'll just click on that tab lock icon to remove the padlock. And now this background layer has become a floating layer regular layer that has all the properties of any layer. For example, layer opacity. One thing that we can do with layers a spate opacity and we see under this layer simply transparency. Those air, gray and white checks in Photoshopped in owning transparency. As we fade the opacity up, we seem warm or that layer any layer has that attributes of opacity. But we also have something called blending modes, which I want to get into in a moment. 3. How to work with Channels: I want to differentiate layers from channels. Some people, beginners, especially s. What's the difference between layers and channels, layers or the pixels in your image of the vector elements if you're working with vector portions of Photoshopped, but layers are the actual visual composite image in a photo shop that were working with, and layers work hierarchically layers that are above in the layers panel cover up layers that are below in the layers. Panel channels are the building blocks of your image in the colors of your image in this case and RGB image. So we have three channels of Red Channel, a Green Channel and a blue channel, and what's on top is simply the composite of the three channels. The way RGB works in the channels is that the more of the color, the lighter the color. So in the Red Channel we have a lot of red in the top of the balloon, so the top of the balloon is very light in this image, whereas in the Blue Channel we don't have much blue in the top of the balloon, so that's dark. But we have a lot of blue in the sky. That's like the way the channels work is where the channel is light. There's a lot of that color and where the channel is very dark, there isn't much of that color. There's not a lot of red in the sky. So the Red Channel very dark in the sky and again we have the composite at the top. 4. How to work with Adjustments: back to layers, and we have adjustments, and we confined our adjustments as layers to places, either in the adjustments panel or in the adjustment layer menu at the bottom of the Layers panel. The adjustment panel is broken up into sections, as is the list from the Adjustment Layer menu. The adjustment layers are broken up into tonal adjustments, color adjustments and then sort of a mishmash. They're very useful adjustments in that mishmash, though the adjustments panel doesn't quite it here exactly with list down here, so you're going to see a little bit of a difference. So most of the top row are our tonal adjustments. Albeit we have vibrance here, which is a color adjustment. So from vibrance through the middle row are color adjustments. And then again, in the bottom, we have sort of a mish much the adjustments that we're really concerned with out of these 16 adjustments there really 11 that we care about and that is levels and curves vibrance. We're going to talk about hue, saturation, color balance and the black and white adjustment as well as the photo filter will touch on the Channel mixer, and we have our color look up adjustment and then in the bottom row we have selective color ingredient map, which are two very powerful. Adjustments will be using the Grady in map, mostly for black and white, as well as the black and white adjustments that will be turning to those two, as well as some of our other adjustments to tent in tone. Black and white images. And the tonal adjustments aren't necessarily color adjustments, but because they give us the ability to go into individual channels, they become color adjustments that will be using those tonal adjustments as color adjustments as well. 5. Power of the Hue/Saturation Adjustment: through this image, I'm going to add a hue saturation adjustment layer. And when I click on the hue saturation adjustment icon in the adjustments panel, we see a hue saturation layer become added to the layers panel. In this image, that hue saturation adjustment exists over the underlying layer, so it effects the layer or layers below it in the layers panel. When I make a change to the hue in the hue saturation adjustment that changes the layer below now, I'm going to get very deep into the hue, saturation adjustments and all its options shortly. But for now, I just want to concentrate on where the adjustment layers are and layer masks and how they work. So I'm going to make an adjustment to the Reds in this image, and I'm going to change the hue and we see dominantly the Reds on Lee. The Reds in the underlying image are adjusted, and I'm going to disk elapse that properties panel if you have a much earlier version of Photoshopped in CC, by the way, I just want to mention you won't have a Properties panel when you add an adjustment. The adjustments panel sort of flips around and you'll see the Adjustment properties. And then to get back to the adjustments panel, we'll click an arrow at the bottom of the properties in that same panel, and that will bring you back to the adjustments panel, so 6. Learn the basics of Layer Masks: activity layer mask you'll see attached to the layer is this white thumbnail, and that is called a layer mask. You have to pay attention to that sort of picture frame highlight around it. If the adjustment is active, we see the adjustments. But if I click on the mask, the mask becomes active. And actually the content of the properties panel changes. That mask is something we can paint on because we can paint on the masked, masked being just a grayscale document. We paint on it with the brush tool. The brush tool is this tool over here in the toolbar, and we have a brush palette up in the options bar or I showed you earlier. You can simply right quick in your document to bring up the brush palette and the size slider. You can also know just again, make sure we're working with the soft round brush. You can also use the right bracket keys. Were the left bracket keys on your keyboard to make your brush bigger or smaller? With our brush tool, we can paint black or white, and I'm going to go to the default black and white little icon here next to the foreground and background colors where you could just tap the D key on your keyboard for D for default . And that will give you black and white as your foreground and background colors. And I'm going to flop those with a little curved arrow here, next to the foreground background colors. Or I could tap the X key on the keyboard, the X key flops, your foreground and background colors. Painting black on a layer mask. And remember, the mask is what's active over here. And let me just collapse the properties panel so we can see what we're doing. Painting black on the mask hides the layer. It's a simple as that. So I'm going to paint black on the underlying image and you see, is they do that. Color change goes away. All I'm doing is I'm painting black on the mask. I'll paint black down here and over this portion of the image, and again the adjustment goes away. We still see the adjustment where the mask is white, but not where the mascots black 7. View and paint on Layer Masks: I'm going to option or all too quick on the mask to view it, and we see that the mask is indeed simply black worry painted black with the brush tool and white everywhere else in wherever I painted black, I'm going to option or alter. Click on the mask again to view the image in color or hide the mask, and we see that the adjustment is hidden where I painted black. If I flop my foreground and background colors, so the white is the foreground color. I could paint white on the mask and reveal the adjustment. Paint white back in. And, as you might imagine, if I paint 50% I'll goto opacity up here in the auctions bar and make black my foreground color. If I paint black a 50% I blend the adjustment layer in with the underlying layer by virtue of annul press option or altogether to view that masked by virtue of painting 50% gray on the mask, I partially hide the underlying layer, and again I'm going to option or ault. Click on the mast thumbnail to hide it, and we see the image in color again. The layer mask is something that you could also simply fill with white or fill with black to hide or view it completely. So if I go to the edit menu and choose Phil and I choose, white is my foreground color and quick. Okay, the mask becomes filled with white, and now we see the entire adjustment again. So I don't have to paint white over everything if I want to get rid of that little bit of black that I painted on the adjustment. So that's the weight layer. Masks work there. Very simple. The lack of a layer mask hides the layer. In this case, an adjustment layer and white on the layer mask reveals layer, and it concede the entire adjustment in this case, if that mask is white. 8. Make Layer Masks From Selections: If you first have a selection, the layer mask will be applied on Lee to the selection. In other words, photo shop will create a layer mask based on the selection for you. Let me show you how that works. I'll delete this, you saturation adjustment layer, and I'm going to take the Magic Wand tool, which is one of our selection tools. The magic wand makes a selection based on color samples, so I'm going to from our sample size up here, choose that five by five average. The magic wand is actually tied to the sample size of the eyedropper tool, so whatever you have set in one is set in the other, and I'm going to set my tolerance high to an amount of 50 and click in the blue sky and then hold the shift key down, which allows me to add to my selection and select other parts of the blue sky. Then I'm going to lower my tolerance to 20. In other words, the to was less tolerant of similar colors that it's choosing, and I'm going to hold down the option or Ault key and click in the blue of the balloon that got added to subtract that, and you could use the little widgets up here in the options bar option or Alz tracks from selections or makes your selection tool going to subtract from selection mode. And the shift key would make your selection to will. Go into the add to selection. And I love those shortcuts. But in any case, now I have a selection of the sky. Now, when I add a hue saturation adjustment, it will only affect the sky. And that's one of our mantras with voter shop. When you have a selection, whatever you do only affects the selected area, and you can see that this Hugh adjustment is only affecting the sky. Why? Because the layer mask is only white, where the sky was when we greeted the selection and then added the adjustment layer layer mask was created. All option are all too quick on it to view the mask. We see the mask is black or masked, hiding everywhere but the selected area and wait where our selection was. So we see the adjustment where our selection was, and everywhere else is masked 9. When to use the Masks Panel: Theo option or alter quick to hide that mask again and get back to our color image. And remember what we know about adjustment layers. First of all, you can paint on them, so if you pain white, you'd reveal the adjustment. And if you paint black would hide the adjustment. I'm gonna grab the brush tool and paint white, and that would reveal the huge change in the year. Let me go back to our saturation adjustment and make a little bit more of an adjustment so we can really see that in practice. And if I again go back to the mask and paint black on the mask, go back to 100% opacity here for my brush tool, something that doesn't reset itself. So if you had an a partial opacity, you have to go back up to the options. Barnes set that to 100% opacity, and I paint in here. You see that masks the adjustment or hides theater just mint from that portion of the image . I'll delete that hue saturation adjustment layer, and I'm going to back up in my history panel, Teoh, where I made that selection and I'm going to add a new hue saturation adjustment layer. So same thing we see the adjustment. Where are images unmasked or where the layer mask is white and we don't see the adjustment where the mask is black. We see the adjustment where we have this selection. If I quick on the mask, the properties panel switches views to the masks view, and you can also toggle back and forth up here in the top of the properties panel between the two. This gives us a couple of interesting options. I'll be honest with you. I don't use he's very much, but I want to point them out if you see it. One is mass density. That's the ability to fade a man. So it's a fade. The Maskell option. They're all clicking a master view it. You could see the mass goes from black in the hidden areas or the mask areas to gray or partially masked to white. We're not nasty at all, so you conveyed a mask. That's one trick here. You can also feather a mask. When you feather a mask, you make the edges soft. You get a fade from black to white, nose graze in that feathered area mean that the mask is going to be applied partially. Look at our image in color again and is going to be applied partially to the edges so the mask or the effect fades from unmasked to mask. And that's the way that you can actually blend in your coloration if we play an adjustment layer and our masters and perfect, or we just want to soft blending along edges, weaken, feather that mask and thereby lend that adjustment in from the masked area to the unmasked area. 10. When to change Adjustment Layer opacity: way. Also, let me just drag that feather slider down to zero and collapse the properties panel, and we also have layer opacity. If I want to fade the adjustment, I have another option. Besides going into the adjustment layer and changing the value of the adjustment, I can change the opacity of the adjustment. Aiken paid the opacity of the layer by fading the opacity of the layer. I'm fading the adjustment. If the layer opacity is zero, I don't see the adjustment at all. If I want to see the adjustment at 10% all I need to do is drag up to 10% opacity to see the adjustment. Felipe drag up to 100% opacity, and I see the adjustment at 100% so you can fade adjustments very easily by simply fading the opacity of the layer. 11. The power of Blending Modes: blending modes affect the way a layer. In this case, an adjustment layer blends in with the underlying layer. And I'm just going to switch to a different image. We're going to go over here to this scarves image, and I'm going to this image. Add a hue saturation adjustment, and I'll just make a change to the Q here, and we see quite a change from those scarves that were originally yellow and orange and blue, purple to white, A different portion of the spectrum. Now up here a the top of the layers panel. We have this menu where we see the word normal. This is where we confined our blending modes. If I cycled down through the splendid modes, we don't see a change. We actually have to click on a blending mode in order to see the change. The most useful blending modes ones I'm going to talk about the most are darkened. Lighten, a soft light color and luminosity. Now we have lots of blending modes. They're broken somewhat into sections, so this whole section appear are darkening, blending modes. In other words, choosing any one of those will darken. I'll choose multiply, which is a classic darkening blending mode darkens the underlying layer. This section are all lightning blending modes, and I'll choose screen screen lightens. The underlying layer blends in the hue saturation adjustment but lightens. The underlying layer basically takes pixels that are above 50% gray and makes them much lighter. Multiply takes pixels that are darker than 50%. Grain makes them much darker if I choose darkened, which is very useful. Blending mode that lends in our adjustment layer by affecting pixels at are lighter than the Hugh or the adjustment that we've apply. Lighten effects. Pixels that are predominantly darker than our hue saturation layer is affecting. Soft light is a wonderful contrast blending mode noticed toggle that visibility of that layer on and off. And you could see that soft light just gives us instant contrast. Boost by taking pixels that are above 50% gray and making them lighter and pixels that are darker than 50% gray and making them darker, thereby increasing the contrast of the image. But softly isn't quite as intense or hit you over the head as hard light lending mode, which does something similar. So I like soft late a lot more. Then at the bottom of the winning mode menu, we have color and luminosity. We really see hue, saturation, color and luminosity, but color is especially useful now. Color would be a combination of hue and saturation color. Blending mode affects the pixels by changing the color or the hue and saturation, but not the luminosity of the underlying pixels. So we use color mode. We're changing the color of the underlying pixels, but not delude Minahasa T or the brightness of the underlying pixels. Contrast with luminosity, which changes thebe brightness of the underlying pixels. But not the color will work with luminosity mode. That will really help us out when we're working with curves that when war coloring pictures color mode can have a very powerful effect and will work with color mode quite a bit in coloring images as I'll show you how we can colorize images and apply tents and tones to images. And Photoshopped will use color mode throughout to do something similar in a very simple and transparent way way 12. How to use Blending Options: Let's dismiss the blending mode menu, and I'll just drag that hue saturation adjustment to the trash. And let's take a look at this image called Blend If this is an image I created just to show you a feature we have in Photoshopped called blending Options, blending options are something we can get to from our FX menu down here, a the bottom of the Layers panel and simply choose blending options up here. And that pops open the layer style dialogue. Let me cancel out of here again really chilly what you're looking at your looking at an image that is simply three layers, an underlying layer of grey and then a layer on top of that with white bars and a layer on top of that with black bars. When I go into blending options with blending options, allow me to do, and I'm looking at this section at the bottom with blending options. Allow me to do is blend an overlying layer in with an underlying layer based on the tone ality of the underlying layer. If this blending is if gray or by the color of the underlying layer, by virtue of using color channels this top most layer is black, where the underlying layer is gray or white Aiken blend that black in. So I'm going to take this black points lighter and drag to the right. And as I get up to a tone where that underlying layer is a gray and I get up to that great own in this gray ramp here of the underlying layer, you can see that layer completely blends in. It just disappears. It's knocked out by the underlying layer, but we have a way that we can fade that in, and that's by option or alter clicking noticed that little arrow is split down the middle. I can hold down the option, or Ault Chiappe, Jackie Mac all key windows and split half of that arrow off. And it's a drag to the right, and I get up to that area where the underlying gray is. You'll see that paid in so that black fades in with the underlying layer, and Aiken control both of these portions of that triangle to control how much of that overlying layer is fading in, and what portion of the underlying layer with tones of the underlying layer at overlying layer is fading into, in this case, fading into just the gray tones. Now let me drag those sliders back off to the left, and I'm going to fade the overlying layer in with the underlying layer where the underlying layer is white. You can see as I dragged at white points, lighter to the left it instantly. Those black bars get knocked out by the underlying white bars because it just is fading instantly into the white. But again, if I option or alter quick the left hand side of that triangle, Aiken fade. The black bars into the white, by option, are all dragging that left half over and control how much is fading in. That's one way that we can use. Blend, if very powerfully, to control fading and on overlying layer into one underlying layer will be doing that when we're blending colors into shadows and highlights in an image because that's effectively with this great ramp. Is the dark end being the shadows in an image, the light and being the highlights and then middle gray in the middle? That ability to fade our adjustments into an underlying layer by virtue of fading into the shadows or the highlights gives us tremendous control over tinting and toning or images will be doing that in practice. But I just wanted to introduce you to blend dips. 13. When to use Blend If Color: Another option we have here is blending if we have an underlying color. So let me just cancel here and turn on this layer group, which is simply a blue underlying layer when it collapsed. That layer group. This is a blue underlying layer, a set of green bars, and then on top of that, a set of red bars, and I'll click on the red bars to make that the active portion of the layer and then go to the blending options. And in the blending options menu I fight, drag the white point of the underlying layer to the left to blend the red end with the tonal values of the underlying layer. This is set on blend of gray after dragged us quite a bit to the left before those red bars get knocked out by the underlying tones. But if I blend if green, those red bars get knocked out instantly because it's very sensitive to the Green Channel and it's knocking out by the green. If I hold the option or all key down, Aiken paid that knockout again. If I blend into the blue, those red bars get knocked out instantly by the underlying blue where is setting to blend in by virtue of the tonal range of the colors. Then it takes quite a bit before those red bars get knocked out at all. But if I go into the blue and I can option or all drag to control that fade, so you have tremendous control using the blend. If to choose how much of the overlying layer is blending in with the underlying layer based on the tone, as I showed you with the black and white bars but also based on the color of the underlying layer, that gives us a little extra advanced level of control. 14. Make versions with Layer Comps: I'm going to cancel out of here and let's go back to our moon's image. And let's say that we made a hue saturation adjustment that we kind of like. And maybe that's not the hue saturation adjustment we want. Maybe I'll give myself more of a sunset color there in the sky and lighten up the sky a little bit. And then I think, you know, that's one possibility. I want to keep that possibility, but I want to add a different version so I can simply hide that adjustment layer and and go back to my adjustments panel or the Adjustment layer list at the bottom of the layers panel and add in another adjustment layer. So I'll add in another hue saturation adjustment. And with this you saturation adjustments on in how many existing selection I'll just do an adjustment overall to the entire image. Maybe I'm just looking for a very feedback version of this image sort of faded film. Look that I'll say OK, that's one interpretation. Now let's hide that layer. And maybe I like the colors in this image. Maybe all I really need is a little contrast boots, so I'll give myself a contrast boost with a curb, and I'll add yet another version. I want a black and white versions, so I'll just add it black and white adjustment layer. And there's a black and white versions. Now I have four different versions of this image, and, sure, I could view them by clicking the little eyeballs and going back and forth. Now hide that one and view that one, but that's kind of a pain. So we have this great panel in our window menu called Layer Comes and will use Layer CONST to our advantage. When you just drag that over here in our iconic panel group, Layer calms our panel that allow us to create multi views of a document based on layer visibility as well as some other attributes. So what I'm going to do with this first hue saturation adjustment layer as the only adjustment layer visible, isn't going to click. The new icon at the bottom of the layer calms dialogue. This dialogue applies to layer visibility. I don't care about a position and appearance because of not changing the position of the layer, nor my adding a layer style, although in this case but we're adding blending options. I might want to, but I'm not, so I'm going to just click. OK, then I'm going to hide the visibility that layer. Make the next layer visible, create a new mayor. Come by the visibility there, make visibility of this layer, curves, layer active and another layer comp quick. Okay, and then hide that layer. Make the visibility of the black of white adjustment layer active and at a new layer. Com and click. OK, you could change the names of the layer comp simply by double clicking on the name in the layer. Comp dialogue and type in whatever name you want and make that a little more available to us. A. Sfar as if we came back to this image in a week or a month. We know what that layer comp waas been indicates. To cycle through these different versions or interpretations of this image, all I need to do is click the forward or backward button. So when you have multiple versions of an image, great idea to just bring up the Layer Cops panel from the window menu and create a layer com for each version, and you'll be well rewarded. If you do now, if in San one version, I want two layers. What I can do is if to that hue saturation layer in Atlanta's curves layer that's a little more appealing. And I have the hue saturation and the Kurds layer both active, and I want those to be the contents of this first layer. Come with that is the highlighted layer. Com Click The circular arrow here, which resets that layer. Com basically says, Okay, I'll make whatever layers you have visible now that layer come so that's layer comes in a nutshell. Layer cops a great feature. Just again if I come to layer cops and start adding them or introducing them, I wanted you to know how I'm doing that. Let's talk about what we've discussed. We went over adjustment layers, adjustment layers or adjustments that exists over the underlying pixels in your image. Adjustment layers could be stacked. We can use multiple adjustment layers. We have tonal adjustments and color adjustments, and all our adjustment layers have a layer mask attached to them so we can use a layer mask to control what portion of the underlying image the adjustment is affecting. We can also use layer opacity to fade a layer. We can use blending modes and blending options to blend adjustments in with the underlying pixels overall or incrementally, and have very powerful control over our adjustments in the way the effect images that way with blending modes and blending options. And then we talked about multiple views and I showed you the great layer calms panel, sort of a hidden feature hidden jamming photo shop. 15. Create color tints with Hue Saturation: we're going to cull arise images in photo shop, using some straightforward colorization tools but also more advanced. Using blending options and blending moves. We're going to color images with the hue saturation adjustment. We're going to use color fill layers, and we're also going to use grade Ian's. Let's get started in photo shop, and I'm going to add to this image a hue, saturation adjustments in hue saturation. We actually have a check box called colorize. When I choose, cull arise that instantly adds a single tent to the image, and I can adjust the hue slider to change whatever tent that is. In other words, I'm remapping the hue of all the pixels around the color wheel. By dragging that Hugh slider, I'm going to come up to a sort of a burnt orange yellow hue, and I'm going to ads and saturation. I'm going to go up to about 50% saturation and really at a strong colorization to this image. Then I'm going to change the blending mode of this layer to color mode. So in the blending mode menu, with layers panel going to change that to color mode, and that just changes the hue and the saturation of the underlying pixels but leads the brightness of the underlying pixels intact 16. How to blend in the Adjustment: from here, I'm going to go into our blending options. So I'm just going to collapse the properties panel so we can see our image. And I'm going to go down to the layer styles menu at the bottom of the layers panel and choose blending options in the blending options down at the bottom. I can fade that, Hugh, that we've added that colorization the human saturation and color mode. I can fade that by dragging from the underlying layer. Actually, let me go into the white Would I want to do is I want to first fade the sky. So I want to take the color out of the sky and because the sky is light by removing the blending in the brightest parts of the underlying layer. And I could just drag that white slide to the left, and we can just pull that color right out of the white. Then I'm going to take out a little further and try to pull that out of it is pulled us aside a little bit, trying to pull that out of the greys to, and I could see the grease air getting up pretty much towards that middle and water is really when I'm trying to pull this out of. So I'm going to hold down the altar option key all key Windows Option Key Mac and just split these sliders apart and paid that amount off to see if I can pull some of that just any of that out and got to keep that wait there to keep that out of the sky. So that's having a little bit of an effect year in the water in front. But it's really not pulling the color out of the water as much as I like. What I can do next is they can go to the blend if and instead of blending with all the channels, I can go into the Blue Channel because there's a lot of blue in the water and a lot of blue in the sky. We've already taken care of the sky. I'm going to go into the Blue Channel, and I'm going to pull the blending out of the Blue Channel on. Derrick could just pull the right out of the blue water by pulling that White Point slider to the left, leaving the darker tones. We see her in the shadow of the rocks that we see the nice golden hue that we've added and that just blends that color in nicely a quick okay, and then I'm just going to drop the opacity down a tiny bit. I'm going to come down to about 90% and just to introduce a little bit of the original coloration back into the rocks. If I wanted, I could come back into the blending options and play around with my other channels that could come into the red or Green Channel and try to pull some of that color out of the out of the tree trees up above the rocks. But I want to be careful. I don't want to pull the color out of the rocks. I've got to try to find that mid tone where the trees are, but I've pulling color out of the trees. I'm also starting to pull color out of the rock, so I think I'm gonna leave that well enough alone. And I could always come in here and just mask the trees out on the layer mass by taking the brush tool painting a little black on the trees of myself. A smaller brush just mass that out a little bit. Take down this little tree here, and that simply masked the effect out of trees. Anyway, that's much easier than trying to tweak the trees out with the blending options. So there is a simple colorization technique using the hue saturation adjustment in colorized mood. But then, using our blending options to concentrate the colorization into specific tonal regions and color regions in the image. 17. Use Color Fills for Tinting: next, we're going to talk about a color film layer. We're going to add to this image a color film layer. Actually, colorful layers have two names have always found that kind of interesting. But if we go to the Adjustment layer menu at the bottom of the Layers panel at the very top , we cease, um, Phil layers and you can access Phil layers from here or from the layer menu at the top of the screen. You'll see this many right here new film layer, and I find the menu at the bottom of the layers panel to be much more accessible. So I'm just going down there, and I'm going to choose a solid color layer. When I choose solid color layer, you think you get a solid color layer and you do. I'll just pull this aside, but we see that actually, we have a layer that's called a color film. Mayors, whether you want to call it a solid color layer or color film layer is entirely up to you. I'm going to choose a kind of burnt orange color when he does come down here more into the oranges, and I'm going to just pull down the saturation and the brightness of that color and click OK, and then I'm going to change the blending mode of that layer to Hugh. So I'm going to the blending mode menu, and I'm just going to choose Hue. And that applies that color film layer to Hugh Onley, meaning that we're not affecting the saturation or the brightness of the underlying pixels , only the hue of the underlying pixels. And that just adds a very nice early morning. Maybe a little bit of a cloudy, hazy morning glow to this image looks very attractive. 18. Master Color Fills and Blending: keeping in that hazy morning theme. I want to take this a step further, so I'm going to add another color film there and going down to the Adjustment Layer menu at the bottom of the layers panel, and I'm going to add a color film layer in soft light mode. Now to add a color film layer in a blending mode before you actually bring it up, all you need to do is hold down the altar key on Windows or the option key on a Mac. And I'll do that here, holding down the Alte windows or Option Key Mac when I choose the adjustment layer. So I'm going to go back up here and by holding down alter option. When you choose the adjustment layer, you get this dialogue, which allows you to change the blending mode, and I'm going to change the blending mode for this layer too soft light mood, and I'm going to just use white. So I'm going to over here in the left of the color picker. Just drag off the upper left corner. What I want to see is to 55 to 55 to 55 in the RGB values. That's just maximum brightness. Zero saturation. Click OK, and that adds a white still layer, which just sort of adds a milky haze to the image. Overall, by virtue of this being in soft light mode, and I'm going to drag the opacity down to about 50% I could come down more if I just want to reduce the amount of that Hayes and we could toggle the visibility of the layer on and off to see how much days we have. But I'm gonna bring that up to about 50%. Really. Make that a nice, hazy morning, and that's a nice look for that bridge photo at hazy sort of early morning damp air. You want to go out for a run or something and just a great feeling. So that's a technique we can use with our color film layers 19. Create Graduated Colors with Gradients: Let's move on and talk about greedy INTs. Let's take a look at this image and we're going. Teoh adds another kind of fill layer called a greedy int Phil Layer. We're going to add this layer in color mode. So again, I'll hold down the altar option key and choose the Adjustment Layer menu and come up here to the second item, the second film layer called Ingredient Layer. And choose that and in the mode menu, I'm going to choose color mode, click OK and the Grady and fill dialogue comes up and we can choose very simple radiance. But we're going to change our greedy, and I'm just going to choose a foreground and background radiant, and then click in the radiant preview. Let me do that a little slower in this tree view of the Grady in right here in the Grady and fill dialogue where we see this yellow to blue. I'm clicking right in there, and that brings up the Grady, an editor and in the Grady and Editor. What we care about are these bottom stops, and I'm going to double click the first stop, and that brings up the color picker and I'm going to change that color to. That's not bad, actually, but I want kind of Ah, yellow gold color. I'm going Teoh, keep the saturation up and just dark and that a little bit. He pulled that down a little more towards the orange part of the spectrum and click OK, And then for the second color, that blue is working pretty well and I might take this saturation of that blew down a little bit and click OK, so now we have ingredient going from yellow to blue and I can change the midpoint with this slider This little diamond If any one of the two stops is active, you'll see that diamond midpoint slider and you can change dynamically and you'll see the change update in your document with ingredient film layer. So maybe I'll just leave that a little above center and click OK, and then what is really interesting ingredient filled dialogue is this scale because the scale is how much we see of the Grady in. In other words, we zoom out a little bit. I'm gonna press commander Control minus If I started the greedy int from just above center to just below center would get a very tight, greedy INTs. I'm gonna drag the scale slider way down and you'll see a very tight, greedy and across the middle. But if I dragged ingredient from above the image way into the Photoshopped canvas and down below the image, then arg radiant occurs over that range and what we see in the images that faded area the mid points. I'm going to drag the scale slider up to around three or 400 that really fades. That great. In other words, Ingredient starts down here and goes up there, and this is all we see of it. Look. OK, let's soon back in, and that is a very attractive look for this image. I could play around with colors. Still, they're going back into the greedy in Phil, back into the grading editor. Change the colors. If I want or change the midpoint of the colors, they'll grab that midpoint. Pull that down a little bit about middle, like okay, click OK again and this is applied in color mode. We could reduce the intensity by applying this inhuman mode, affecting instead of both the hue and saturation, only the hue going to Hugh Mode, and we get a much more subtle version of those colors dating into the image when we just toggle that on and off. So this image was very monotone als after sunset photo and just toggle that visibility back on. And we had a nice you to both the ground and the sky. So there's a few different techniques. You can use them to add color to your images by adding blending modes and using your blending options. You have tremendous control and can get very powerful moods in your images. Let's review where we've been. We talked about colorizing with the hue saturation adjustment, colorizing with color film layers and colorizing images with Grady INTs and with all of those we use blending modes and or we used blending options to control where those colorization is occurred in color or total regions in the image