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Tutorial 10: Color & Shades of Gray Page 253

PRACTICAL PHOTOSHOP CS5, LEVEL 2

TUTORIAL 10: COLOR & SHADES OF GRAY

OVERVIEW

In the color theory you took a first look at the differences between RGB

and grayscale images. In this chapter, you will convert images from

RGB to grayscale, and acquire some practical techniques for making

grayscale look as good as possible.

Conversely, you will colorize grayscale images, and also use

colorization techniques to alter selections of RGB images.

As you work on these images, you will gain a better understanding of

blending modes.

OBJECTIVES

■ Use the following techniques to convert the same image from RGB

color to grayscale and compare the results:

• Straight conversion

• Desaturate image before conversion

• Base the conversion on an individual color channel

• Channel Mixer adjustment layer

• Black & White adjustment layer

■ Partially desaturate images with the Channel Mixer and Black &

White adjustment layers for special effects.

■ Experiment with Opacity settings and blend modes for more

special effects.

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■ Convert images from grayscale to RGB color, and then colorize the

resultant color image or parts of it by applying layer masks with:

• Color Fill, Gradient Fill, and Pattern Fill layers

• Hue/Saturation adjustment layers

• Hand painting on a blank pixel layer set to Color blend mode

• The Photo Filter adjustment layer

■ Employ the Match Color command to synchronize the tone and

color of a group of images.

■ Use the Color Replacement Tool.

CONVERTING FROM RGB TO GRAYSCALE

Sometimes you need a grayscale printout of a color image. For

example, you might need to include the image in a black and white

publication. Or, you just like the way some grayscale images look.Here are some techniques to achieve that conversion.

When you convert an image’s mode from RGB color to Grayscale, you

decrease image tonality from three color channels to one. Thus, before

you convert, you want to take some precautions:

1. Do as much editing as possible in RGB because you have more

tonal information and selections can be easier to make.

2. Duplicate the original image, and convert the duplicate to

grayscale. That way, you won’t accidentally lose your color

original.

3. If the source document has layers, flatten the image before

converting it. The interaction of colors between layer blendingmodes will change when the mode changes. However, flattening

will not delete any alpha channels the image contains.

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GUIDED EXERCISE 10.1:

EXPLORE RGB TO GRAYSCALE CONVERSION TECHNIQUES

In this guided exercise you will convert the colored iris image you

examined in an earlier tutorial into a variety of grayscale images. You may

be surprised to see how different these images will be from one another.

1. Either restore Photoshop’s default settings or reset its tools, colors,

and the Photography workspace.

2. In the location of your choice, make

a folder called irises where you will

save your iris images.

3. Open 10-iris.jpg. It is the same

image you used in an earlier tutorial

but renamed here.

4. Save the file as iris_rgb.psd in the irises folder.

5. Do a direct conversion of the image from RGB to grayscale:

a. Choose Image > Duplicate to

duplicate the image and save the

duplicate as iris_gr1.psd.

b. Choose Image > Mode >

Grayscale to convert the image

from RGB to grayscale.

Photoshop will

warn you that

direct conversion

is not the optimal

technique.

c. Click Discard and

then save iris_gr1.psd. (Remember, this is for experimentation.

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d. Compare the RGB and grayscale versions of the image.

Compared to the color version, the grayscale seems dull

and flat. This is a very typical problem when images are just

converted without taking some extra steps. Here, most of theimage is in the same tonal range, but the color flower is very

distinct from the foliage because the colors are so different.

In grayscale, the flower just blends into the foliage.

6. Desaturate before converting to produce different tones.

a. Activate iris_rgb.psd.b. Choose Image > Duplicate to duplicate the image and save

the duplicate iris_gr2.psd in the irises folder.

c. Choose Image > Adjustments > Desaturate to remove all

color from the image.

d. ChooseImage > Mode > Grayscale

to convert the image from

RGB to grayscale.

e. Save iris_gr2.psd.

f. Compare the two grayscale

versions of the image.

Desaturating before converting

gave better results. The

flower no longer blends into the foliage. That is because the

desaturation command takes into account the color balance

between the color channels in the original image.

7. Make a grayscale image from an individual color channel.

Each color channel in an RGB image is actually a grayscale document

that shows light in some places and not in others. Use that knowledge

advantageously when converting from RGB to grayscale.

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a. Activate iris_rgb.psd.

b. Choose Image > Duplicate to duplicate the image, name the

duplicate iris_gr3.psd and save it in the irises folder.

c. In the Channels panel, examine each of the color channels

individually.

Notice that the flower almost pops out of the background in

the Blue channel.

That is because this iris is

a blue flower. The floweris slightly more distinct in

the Red than the Green

channel, so the Red

channel may also be useful

down the road.

d. For now, click the Blue channel to activate it and choose Image > Mode > Grayscale

to convert the image from RGB to grayscale.

e. Click OK when you see

the discard other channels

warning. You are working

on a duplicate of theoriginal, right?

f. Save iris_gr3.psd and compare the RGB and grayscale

versions of the image.

g. Now the flower really shows

up in grayscale mode. Theonly problem is that the flower

itself is so light that it has lost

some richness of detail. But

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you can use your channel study for the next adjustment.

8. Make a Channel Mixer adjustment layer.

The Channel Mixer desaturates images by combining specified

percentages of each of the original color channels.

a. Activate iris_rgb.psd.

b. Choose Image > Duplicate to duplicate the image and save

the duplicate as iris_gr4.psd in the irises folder.

c. Reveal the Adjustments panel, and click the Channel

Mixer button.

The Output Channel is

set to the Red channel by

default, and any changes

you make by moving the

sliders will affect only the

Red channel.

d. Just below Output

Channel, check

Monochrome to change

the Output Channel

to Gray to make your

adjustments to the image

tonality, not to its colors.

When you check

Monochrome, all

the Channel Mixer

percentages change to 40% Red, 40% Green, and 20% Blue because for many images these percentages work well. The

Blue channel is minimized because although Blue holds detail,

it is also the channel that is most likely to contain digital noise.

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e. Save iris_gr4.psd.

How do these numbers compare with our 100% Blue version?

100% Blue, shown on the top, has more contrast between the

flower and its background, but the lower default Monochrome version has more flower detail.

The Histogram panel shows

the loss of highlight detail in

the 100% Blue adjustment,

blown out highlights indicated

by the red rectangle here.

f. Adjust the Red, Green, and

Blue sliders so that the

final version is mostly Blue,

but with some Red to provide highlight detail.

We used 85% Blue, and 22% Red. Then, we lowered the Green

channel to -7%, so that the total percentage is 100%. Notice that

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the percentages are calculated right in the panel for you.

How does a negative value like

-7% Green affects the image?

The negative value inverts thesource channel before combining

it with the other channels to give

the output results.

Here is how we came up with

our percentages. Lowering

the Blue channel to 85% andraising the Red channel to

15% gave more highlight

detail, but it also lightened

the background so it diminished the contrast between the

flower and the leaves.

Lowering the Green

channel to -7%, and then

adjusting the Red channel

up to 22% still gave 100%

overall tonality, but with

nice detail throughout the

tonal range. The Histogram panel supports what we see

visually. Your values do not need to be exactly the ones used here.

As you adjust them, examine both the image on screen and the

Histogram panel to get the tonality you desire. The goal is to have

the flower be distinct from the background with as much flower

detail as possible, with no blown highlights.

g. Save iris_gr4.psd.

9. Note that iris_gr4.psd is still in RGB image mode. Here are the

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steps to make a grayscale version:

a. Save the Channel Mixer version you like the best.

b. Choose Image > Duplicate to duplicate the image and save

the duplicate as iris_gr5.psd in the irises folder.

c. Flatten iris_gr5.psd, and change its image mode from RGB

color to grayscale.

d. Save iris_gr5.psd.

10. Close all open documents.

THE BLACK & WHITE ADJUSTMENT PANEL

Now that you have struggled through the

Channel Mixer, let’s examine a much easier

way to convert color images to grayscale: the

Black & White Adjustment. Designed

specifically to maximize image detail, the

Black & White Adjustment analyzes not just

the Red, Green, and Blue components of an

image, but also its Cyan, Yellow, and Magenta

components to provide more precise

conversions than the Channel Mixer which

only uses Red, Green, and Blue.

The Black & White Adjustment panel opens

with the Default preset applied to the image, as

shown above. There are other presets that simulate

using a color lens on a camera when taking a

photo such as Blue Filter and Infrared. But

probably the most important element in the Black

& White Adjustment panel is the Auto button.

Auto analyzes the color values of the image, and

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produces a grayscale version that maximizes the distribution of tonal

values. In other words, Auto hunts out detail. In our experience, Auto

works really, really well.

To the far left of the Auto button is the On-image Adjustment Tool.When the On-image Adjustment Tool is active (click to toggle it on or

off) and dragged on the image, Photoshop identifies the predominant

color at that location, and highlights that color’s amount in the

Adjustments panel. Here, Blues were highlighted when clicking on

the iris flower. Dragging to the left will darken that color’s tones in the

image; dragging to the right will lighten the

tones.

GUIDED EXERCISE 10.2: USE THE BLACK & WHITE ADJUSTMENT PANEL

In this guided exercise you will use the Black & White Adjustment

panel to convert the iris photo to grayscale, and compare your results

to your Channel Mixer conversion.

1. Open iris_rgb.psd and save it as

iris_bw1.psd in the irises folder.

2. In the Adjustments panel, click the

Black & White Adjustment button to

view the Default adjustment.

This adjustment gives rich image detail, but does not optimally

differentiate between the flower and its leaves.

3. Click the On-image Adjustment Tool to

activate it and press and drag slowly to the

right to lighten the Blue regions of the image.

4. With the On-image Adjustment Tool active, click on one of the darker areas in the

background and drag slowly to the left to

darken the background. Much better!

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5. Hide the Black & White 1 layer, activate the Background

layer, and click the Black & White Adjustment button in the

Adjustments panel.

These steps produce a second Black & White adjustment layerwith the Default settings.

6. Click the Auto button the Adjustments panel.

On-image Adjustment Tool Auto

The Auto results are very similar to what we achieved manually

using the On-image Adjustment Tool, but Auto was simpler.

7. Fine tune your Auto black and white conversion with the

On-image Adjustment Tool.

We chose to lighten the flower a bit

just like we did in step 3 above.

8. Save iris_bw1.psd and leave it openfor the next guided exercise.

BLACK & WHITE ADJUSTMENT SUGGESTIONS AND ISSUES

The Black & White adjustment only works on RGB images.

When working with CMYK or LAB images (we have not used those

here) you would need to convert the source image to RGB Color mode before you could make a Black & White adjustment.

Images with Black & White adjustment layers cannot be opened in

very early versions of Photoshop.

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Duplicate the source image, and merge or flatten the Black &

White adjustment layer as appropriate. The duplicate should open

just fine in older versions of Photoshop.

No matter what you do, the Black & White conversion looks lousy.

■ Black and white images need lots more contrast than color images

because grayscale images have fewer tones to provide their detail.

■ Adjust your image to increase its contrast applying the Black &

White command.

PARTLY DESATURATED IMAGES

An effective design technique is to

desaturate an entire image using a Black

& White, Hue/Saturation or Channel

Mixer adjustment layer, and then to paint

on the adjustment layer mask to bringback some or all of the color in chosen

parts of the image.

GUIDED EXERCISE 10.3: MAKE A PARTLY DESATURATED IMAGE

In this guided exercise you will mask some of the Black & White 2

adjustment layer in image iris_bw1.psd.

1. Open iris_bw1.psd if it is not already open and save it as

iris_mixed.psd in the irises folder.

2. Delete the Black & White 1 adjustment layer because you don’t

need it.

3. Click the Black & White 2 layer mask to activate the layer and its mask.

Make sure the mask thumbnail is

outlined.

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4. Choose the Brush Tool and set its brush options to 50 px soft

brush at about 35% Opacity.

5. Reset the Foreground and Background colors to the defaults and

paint with black on just the flower to lightly restore some of its color.

As long as you don’t release the mouse button, you will continue to

remove 35% of the mask as you paint with light gray. If you release

the mouse and then paint over an area a second time, it becomes

twice as dark, or about 70%. Here is

the image view on the left side and

the mask view on the right.

6. Continue painting on the mask until you have revealed a pleasing

amount of color in the flower.

7. Feather the layer mask to give it softer

transitions.

a. Make sure the mask thumbnail is still active.

b. Choose Filter > Blur >Gaussian Blur.

You will see the grayscale mask in the

filter window and the color image in the

document window.

c. Blur the mask just enough to soften the transitions, but not somuch that it leaks color out beyond the flower, and click OK.

A Radius of 6 pixels worked for us.

8. Save iris_mixed.psd.

BLENDING DESATURATED LAYERS

Layer blending modes can give very

interesting effects when blended with

the gray version of the same image.

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Guided Exercise 10.4:

Apply Layer Blend Modes to a Partly Desaturated Image

In this guided exercise you will experiment with blend mode options

to further change the look and feel of the iris image.

1. Open iris-mixed.psd if it is not already open and save it as iris-

mixed2.psd in the irises folder.

2. Click the Black & White 2 layer mask to activate the adjustment

layer and its mask.

3. Shift + Click the layer mask to

disable it.

The entire document will be in

shades of gray.

4. Experiment with the Overlay

blend mode.

a. Shift + Click the layer mask

again to enable it.

b. Change the layer blend mode

from the default Normal to

Overlay.

Notice that the flower is deeper in color and its colors have moregradual transitions from one shade to another.

5. Experiment with other blend modes to see how they affect the

document’s appearance.

6. Save one or more new versions of

the iris document, naming them

iris-mixed3.psd, etc.

This version uses Color Burn at

60% to darken the iris a little and

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the background more but still preserves some background detail.

ADOBE BRIDGE: OUTPUT TO PDF

In the first four guided exercises in this tutorial you made multiple versionsof the iris image. The Output panel in Adobe Bridge will allow you to

combine these images onto one or more pages of a PDF document,

depending on how large you wish to display each image. You can then

print the PDF, email it to someone, or upload it to a web page.

GUIDED EXERCISE 10.5: USE ADOBE BRIDGE TO COMBINE THE IRIS IMAGES

INTO A S INGLE PDF FILE FOR PRINTING

In this guided exercise you will make a PDF from all the images in your

irises folder. In this case, all the images have the same pixel

dimensions, but you could apply the same technique to any group of

images that you placed into a folder. They do not need to be the same

size; Bridge will resize duplicates when assembling the PDF.

1. Launch Bridge.

2. Using the

Essentials

workspace,

navigate to your

irises folder.

3. Choose the

Output workspace. If its name does not show in the Application bar,

you will need to click the Workspace menu arrow to choose it.

4. Examine the Output panel. At the

top of the panel, you have two

output choices: PDF and Web Gallery. Choose PDF.

PDF output is used for making contact sheets, printing multiple

copies of the same image on a page, and for making PDF slideshows.

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You will be making a CONTACT SHEET, a set of multiple images

printed at the same size on one or more page.

The Output panel contains a series

of panes where you can configureyour contact sheet.

5. Begin by picking 4 x 5 Contact

Sheet from the Template drop-

down menu.

The 4 x 5 Contact Sheet template will place 20 images on a page,

5 rows of 4 images each printed portrait or tall.

In the Output workspace, there is a big Preview pane in the center of

the window, and a filmstrip of images beneath it in the Content pane.

6. Click one of the

thumbnails in the

Content paneand then choose

Edit > Select All

(Command/Ctrl

+ A) to select all

the thumbnails in

the folder, eventhe ones you

can’t see without

scrolling.

7. Click Refresh

Preview in the

Output paneland wait while Bridge

creates the preview.

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The preview shows how the Contact Sheet will look.

8. Configure the Document tab, just

below the Refresh Preview button.

a. Change the Page Preset from

International Paper to U.S. Paper (8.5 x 11

inches) and click Refresh Preview.

Notice that each image in the

Preview pane enlarges slightly

because U.S. Paper is larger than

International Paper.

b. Observe the default Portrait

button to the far right of Height.

Notice the two Quality settings.

The top or Output Quality is set

in ppi (pixels per inch) for printedor screen PDF s. The default 300 ppi is for print.

The lower or JPEG Quality is like the Save for Web and

Devices dialog box. The default 70 is High, good for most

screen purposes. When a document will only be printed,

you may want to drag the slider all the way to the right , for

maximum quality. Likewise, you can drag the slider to the left to reduce file size, but that will increase JPEG artifacting in the

images.

The Document tab also gives you the opportunity to

password protect your PDF, and to allow it to be viewed on

screen but not printed. This option is useful for professional

photographers to permit a client to view photographs on

screen (at low resolution) but not to be able to print them.

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c. Click the triangle to the right of the Document tab to collapse it.

9. Configure the Layout tab to

customize your image layout.

a. Change the Columns from 4

to 3 and click Refresh Preview

to enlarge each image in your

Contact Sheet.

b. Click the triangle to the right of

the Layout tab to collapse it.

Rotate for Best Fit is typically used to print images of different

sizes on one sheet of paper. Each image will be of maximum size

for the PDF layout, and you can cut them apart after printing.

Repeat One Photo Per Page will fill a page with the same image.

Check this option if you want multiple copies of the same image,

again to cut apart after printing. Refresh Preview will only show thefirst page of the PDF.

Typically you should only have one photo active in the

Contents panel when choosing this option. Otherwise you

would generate multiple pages, one for each source image.

But that could be useful, such as when printing photographs

for sharing among, say, a kids sports team.

10. Examine the Overlays tab. We are not going to change these

settings, but you can on your own to format file names or to hide

them. Likewise, you can format

page numbering for multiple page

PDFs.

11. Add a header to the PDF.

a. Minimize the Overlays tab and

view the Header tab under it.

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If necessary, use the scroll bar on the right side of the Output

panel to see the settings.

b. In the Text box, type the

title of your PDF,Iris Gallery here.

c. Set the Font, Size, and

Color as desired.

d. The Divider is a solid

horizontal line, 1-5 px thick.

We set ours to white to give a little more white space. On white

paper the divider will not print.

e. Click the Refresh Preview button to view the header’s

appearance. To adjust it, make changes in the Header tab, and

Refresh Preview until you are pleased with your results.

12. Add a footer to the PDF.

a. Minimize the Header tab and view the Footer tab under it. If

necessary, use the scroll bar on the right side of the Output

panel to see the settings.

b. In the Text box, type the

your name.

c. Set the Font, Size, and

Color as desired.

d. It isn’t shown here, but we

set our divider to None.

e. Refresh Preview and tweak as desired.

13. Save and view your PDF.

The bottom of the output panel has two items:

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The View PDF After Save checkbox and the Save button.

The Save button works like in other applications. We saved our

PDF as irises.pdf . Bridge let us know when it was completed.

When View PDF

After Save is

checked, your PDF

will open in the

default PDF VIEWER

for your computer, typically either Adobe Acrobat or Adobe Reader.

14. Leave Bridge open for the

next guided exercise

GUIDED EXERCISE 10.6: USE

ADOBE BRIDGE TO COMBINE THE

IRIS IMAGES INTO A S INGLE PDF

FILE FOR SCREEN VIEWING

In this guided exercise you will

tweak the Output settings

from your initial PDF to make a

version for screen viewing.

1. Document tab changes:

a. Orientation from

Portrait to Landscape.

b. Output Quality lowered to

72 ppi for screen viewing.

c. Background color changed

from the default White toBlack (or whatever other

color you prefer).

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COLORIZING

GRAYSCALE

IMAGES

Sometimes you have a

grayscale image that you

wish to colorize, such as

an old photograph, or

one that has such “bad” or

distracting colors that youdecide to start neutral and just place the color where you choose. This

next section will provide several techniques for grayscale colorization.

But first, practice grayscale conversion one more time.

GUIDED EXERCISE 10.7: CONVERT FROM RGB TO GRAYSCALE AND BACK

In this guided exercise, you will open a color image and make agrayscale version of it. Then you will convert the grayscale back to RGB.


and the Essentials workspace.

2. In the location of your choice, make a folder named snails.

3. Open 10-snail.jpg and save it inside the snails folder as snail-gr.psd.4. Select the snail and save your selection as an

alpha channel named snail.

It is much easier to make selections on color than grayscale images

because you can use the Quick Selection Tool and other tools and

commands that select by both color and tone to help make and

refine your selection. Alpha channels are retained when the image

is converted to grayscale.

5. Add a Black & White adjustment to snail-gr.psd to remove all

iris_bw1.psd

iris_gr2.psd

iris_gr5.psd

iris_mixed3.psd

iris_bw2.psd

iris_gr3.psd

iris_mixed1.psd

iris_rgb.psd

iris_gr1.psd

iris_gr4.psd

iris_mixed2.psd

Barbara Heiman

Iris Gallery

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color from the image but keep as much tonal detail as possible.

We began with Auto and then fine-tuned

the adjustment with the On-image

Adjustment Tool.

6. Change the Image Mode to Grayscale.

a. Choose Image > Mode > Grayscale.

You will see a dialog box asking

whether or not to flatten the

image because image modeconversion of layered documents

is more precise when the document is flattened first.

b. Click Flatten to flatten the image before conversion.

A second dialog box appears confirming that you want to

discard the image’s color information as it will be permanently

removed from the image.

Notice that Adobe

recommends using the Black

& White adjustment first, as

you have already done.

c. Click Discard to complete the image mode conversion.

d. Save the image to update its changes.

7. Confirm that snail-gr.psd really is a grayscale image.

a. Examine the image’s title bar to read where it says Gray/8meaning it is an 8-bit Grayscale image.

b. View the Channels panel to observe that there are only two

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channels: the Gray color channel and the snail alpha channel.

c. Sample a red

Foreground color to

attempt to paint on theimage in Red. The Foreground color

shows up in gray because snail-gr.psd is a

grayscale image.

8. Make an RGB version of snail-gr.psd.

a. Duplicate snail-gr.psd and name the duplicate snail-gr-rgb.psd.

b. With snail-gr-rgb.psd the active

document, choose Image > Mode > RGB

Color.

Although the image looks exactly the

same, it now has three color channels

plus the composite, and the foregroundcolor is red, not gray.

c. Save snail-gr-rgb.psd so that you have

its RGB version.

9. Examine the properties of your three snail files in Adobe Bridge.

a. Close any open images and then click the Go to Bridge buttonin the Options bar, and wait until Bridge opens.

b. Within Bridge, choose the Essentials Workspace, and then

choose Reset Standard Workspaces from the Workspaces drop

down menu in the Application bar so that your Bridge panels

resemble the ones described here.

c. Navigate to the snails folder, and open it to display your three

snail files inside the Content pane.

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d. Click the image named 10-snail.jpg, and reposition the otherpanes if necessary so that you can see the Metadata pane.

The Document Type is JPEG File, the File Size is 611 KB, and

the Color Mode is RGB.

e. Next activate snail-gray.psd inside the Content pane and

examine its File Properties.

The Document Type is Photoshop document, the File Size is

509 KB, and the Color Mode is B & W.

f. Finally, activate snail-gr-rgb.psd inside the Content pane and

examine its File Properties.

The Document Type is Photoshop document, the File Size is

1.18 MB, and the Color Mode is RGB.

The psd image, even with all its colors gone, in larger than the

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original color JPEG which has compression applied to it.

When you are converting images, Bridge’s Metadata pane lets you

compare the File Properties of images without having to open

them in Photoshop. That way, when you have a number of similar

images, you can open the one you need.

10. Double-click the snail-gr-rgb.psd thumbnail inside the BridgeContent pane to open that image in Photoshop.

11. Save it as snail-rgb.psd and leave it open for the next guided

exercise.

GUIDED EXERCISE 10.8: USE COLOR, GRADIENT, AND PATTERN F ILL

LAYERS WITH LAYER BLENDING OPTIONS

This guided exercise and the ones that follow provide a sampling of

colorization techniques for you to try. Once you practice them here,

you will probably want to try them on your own images.

1. Begin in Photoshop (not Bridge) with snail-rgb.psd open and the

Foreground color set to red.

2. Add color with a Color Fill layer.

a. Click the Create new fill or adjustment layer button and

choose Solid Color from the top of the pop-up menu.

b. Click OK in the Color Picker to create a solid red fill layer.

Photoshop displays the Color Picker to let you choose a

different color from your foreground color. When you click OK,

the solid red layer fills the document window.

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c. Change the blend mode of the Color Fill 1 layer to Color.

Although you can see the

image, but the red is very

bright.

d. Experiment with other blend

modes.

Here are Overlay, which brings

out some of the darker tones,

and Soft Light, which gives a

gentler colorization.

e. Double click the Color Fill

thumbnail to open the Color

Picker and sample a different

color.

Here we sampled a warm brown

tone by sliding to an orange

tone in the Hue slider in the center of the Color Picker, and then

sampling the tone from inside the Color Field to the left.

This shows the new color at

100% Opacity with Soft Light

blending mode. Lowering

the Opacity of the Color Fill

layer provides more subtle

colorization.

Color Blend Mode

Overlay Blend Mode

Soft Light Blend Mode

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3. Combine a Gradient Fill layer with a layer mask to colorize only

the snail.

a. Hide or delete the Color Fill 1 layer, activate the Background

layer, and load the snail alpha channel as a selection.

b. Click the Create new fill or

adjustment layer button and

choose Gradient Fill from near the

top of the pop-up menu, and click

OK to use the default settings.

c. Change the Gradient

Fill 1 blend mode to

Multiply.

The mask is not as precise

as it should be, leaving a

sloppy light gray edge.

d. Zoom in to 300%, and

paint on the edges of

the mask with white

using a small, soft brush

at 100% Opacity to

enlarge the selected area. Swap your colors to black to add tothe mask as needed.

4. You will need to use the saved selection again. Update the alpha

channel to include your refinements:

a. Alt/option + click the mask

thumbnail to reveal it in the

document window.

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b. Choose Select > Select All (Command/Ctrl + A) and then

Edit > Copy (Command/Ctrl + C).

c. In the Channels panel, activate the snail alpha channel and

then choose Edit > Paste (Command/Crtl + V) to replace theold mask with the new one.

d. Deselect and return to the Layers panel.

5. Save the document as snail_rgb2.psd.

6. Change the Gradient Fill settings:

a. Double click the Gradient Fill thumbnail in the Layers panel

to reopen the Gradient Fill

dialog box.

b. Change the Gradient to

Rainbow, its Style to Radial,

and uncheck Align with

Layer to place the gradient into the center of the image.

c. Adjust the Angle and Scale until you get

interesting results and click OK.

d. Adjust layer Opacity and Blend Mode

to soften the colorization. We used SoftLight at 50% Opacity.

7. Combine a Pattern Fill layer with the Gradient Fill layer.

a. Command/Ctrl + click on the mask thumbnail in the Gradient

Fill layer to simultaneously activate that layer and load the

mask as a selection.

b. Click the Create new

fill or adjustment

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layer button and choose Pattern Fill from near the top of the

pop-up menu.

c. Choose the bubbles pattern, and scale it big so that it makes

the snail surface less uniform, and click OK.

d. Change the blend mode of

the Pattern Fill 1 layer to

Overlay.

Now this colorization is

starting to get interesting. If

only we could position the

Gradient and Pattern Fills

better within the confines of

the snail. Let’s try one more

tweak.

By default, the contents of

each layer, as shown in the

layer thumbnail, is linked to

its mask so that they move

together when the Move Tool

is chosen. This link, shown on

the Gradient Fill 1 layer here, is

a toggle. We clicked the link in the Pattern Fill 1 layer to allow

the layer contents and the mask to move independently.

e. Click the link icon to unlink the contents and mask thumbnails

of the Pattern Fill 1 layer.

f. With the layer thumbnail

active, not the mask , choosethe Move Tool and drag the

pattern around until you are

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happy with its position.

8. Save the image again to update your changes, and leave it open

for the next guided exercise.

You might be asking if you can use the unlinking trick to independently

move the Gradient Fill within its mask . We tried it unsuccessfully. The

gradient moved temporarily, but then jumped back.

Next you will try a few different colorization techniques for the image

background.

GUIDED EXERCISE 10.9: COLORIZE WITH HUE/SATURATION ADJUSTMENT LAYERS WITH MASKS

Photoshop has many, many techniques for colorization. In this

guided exercise you will use just two. First you will use a Black &

White adjustment layer to colorize the overall background. Then you

will paint on a blank pixel layer

set to Color Blend mode tocomplete the colorization.

1. Open snail_rgb2.psd if

necessary.

2. Load the snail alpha channel as a

selection, being sure to check Invert

to select everything but the snail.

3. Activate the top layer, click the

Black & White button in the

Adjustments panel, and check Tint in the Adjustments

panel to add a sepia tint to the background.

4. Click the Color Box next to the word Tint to open the ColorPicker, and sample a different color if you like.

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No matter what color you sample, keep it light to avoid

overpowering the image.

5. Mask the rocks beneath the snail

as they are gray in color.

a. Click the mask of the Black & White 1 layer to activate it.

b. Choose the Brush Tool and paint on the rocks with a soft 50

px brush set to 35% Opacity to gradually remove color from

the rocks.

c. While you are at it, also partiallymask the barrel staves, which

are iron not bronze.

6. Colorize the foliage.

a. Make a new blank pixel layer at

the top of the layer stack and

name it foliage.

b. Set the blend mode of the foliage layer to Color.

c. Sample a first foliage green color for your foreground color.

HINT: to find appropriate colors for colorization, locate another

image that has appropriate

colors and sample from it to

pick the color(s) you like.

d. Keeping the same Brush Tool

settings as before, paint on

what looks like leaves and

stems of the plants in the barrel

and on its side. It’s OK to be a

little abstract.

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PHOTO FILTER ADJUSTMENT

When you take a picture, its colors can be greatly affected by the

scene’s lighting conditions. The overall color cast provided by the

lighting conditions is called the COLOR TEMPERATURE. Traditionally,photographers have used colored lens filters to change the color

temperature, to warm up or cool down the scene. Photoshop’s Photo

Filter adjustment is designed to work like a colored lens filter, with

presets for the commonly used color lens filters. You can either apply a

Photo Filter adjustment from the Image > Adjustments submenu, or

as an adjustment layer. Of course, we prefer the latter.

More flexible than a colored lens, you can adjust the Density slider

to set the opacity of the warming or cooling tint, or change its color

altogether.

GUIDED EXERCISE 10.10:

EXPERIMENT WITH THE PHOTO F ILTER

In this short guided exercise you will apply different

Photo Filter settings to a picture of “Hamlet’s”

Castle, in Denmark.

He was apparently never there.

1. Open 10-arch.jpg and save it as arch.psd.

2. In the Adjustments panel, click the Photo Filter button to activate

the adjustment.

3. The Photo Filter

opens with its first

preset, Warming

Filter (85). The Filter menu

includes a number

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of other common filters and settings.

4. Choose Cooling Filter (80).

Compare both of these

adjustments to the original.

Each changes the “feel” of the

photograph.

On your own, experiment with

the other two settings. Color

lets you choose your own color

with which to alter the overall image; Density lets you

control how strongly the chosen color or filter should be applied.

THE MATCH COLOR COMMAND

Occasionally, you need to use a set of images together, such as in

a magazine, web site, or photo exhibit. The images look their bestwith consistent tonal values. The Match Color command will let you

synchronize the tonality for the images so that they display better as

a group.

GUIDED EXERCISE 10.11: MATCH THE COLORS OF A GROUP OF IMAGES

In the dinosaurs folder you will find three images taken with different

camera settings. In this guided exercise you will use Match Color to

better synchronize them.

1. Open dino1.jpg, dino2.jpg, and dino3.jpg inside the dinosaurs

folder.

2. Arrange the windows of the three images so that you can see most

of each image on your monitor.

a. In the Application bar, locate the Arrange Documents

button, and click it to see its visual menu of document setups.

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b. Choose the three up version that has

a portrait image on the left side and

two landscape images on the rightside.

3. Decide which image has the colors you

like the best.

4. We prefer dino2.jpg

although dino1.jpg and

dino2.jpg look similar

enough that we only need

to synchronize dino3.jpg

in the lower right corner,

which appears very blue.

5. Activate dino3.jpg.

6. Duplicate the

background layer

because Match

Color works on

actual pixels, not on

an adjustment layer.Rename the new

layer Match Color.

7. Activate the Match

Color layer and

choose Image >

Adjustments >Match Color.

8. Near the bottom of

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the dialog box, choose dino2.jpg from the Source pop-up menu.

Any open document may be used as a matching source. If a

document has more than one layer, you need to specify which

individual layer to use as your source.

9. If desired, you can make other adjustments in the Image Options

section of the dialog box.

Luminance adjusts the overall brightness of the image. Make

sure to watch the histogram panel as you change luminance to

preserve good image tonality.

Color Intensity adjusts saturation.

Fade can be used to lessen the effects of the adjustment.

The Neutralize check box can be used to remove color casts.

10. Click OK to match the image with its source.

Match Color can alsobe used on selections,

to match a single

area of color between

two photos. This is

particularly useful

for advertisers, whowant the same color

item, like a sweater, to

appear in a series of

shots or to quickly change the sweater to match several different color

swatches.

Another use of Match Color is to predetermine important colordecisions, such as what color roof to put on a home. Here, you would

take pictures of the house at different angles and at different times

8/9/2019 PS2_10



of the day. Then you would go to the roofing company web site, and

download their roofing color swatches. Finally, you would select the

roof on your roof photos, and match the color to various samples to

determine which color looks best.

THE COLOR REPLACEMENT TOOL

In Course 1, you worked with the

Replace Color command to create a

temporary mask around specific

image colors and then replace thosecolors by adjusting their hue, saturation, and lightness. The Color

Replacement Tool, grouped with the Brush and Pencil Tools, works

similarly but it provides a lot more control because you paint the new

colors with a brush. As the Color Replacement Tool paints a new

color, it attempts to preserve the original image tone and detail.

GUIDED EXERCISE 10.11: USE THE COLOR REPLACEMENT TOOL

In this exercise, you’ll use the Color Replacement Tool to quickly

change the color of several elements of an image.


& panel locations.

2. Open 10.foxes.jpg. It is a group of

three foxes made from Legos.

They are awfully red. Let’s changethem to a nice fox-like color.

3. Click on the Color Picker and choose a reddish-brown color, such

as R 120, G 61, B 8.

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your own images to:

■ “Develop” color photos into black and white images

like a Photoshop digital darkroom

■ Colorize grayscale images

■ Change specific colors in an image

■ Unify the colors and tones of a group of images

RESOURCES

RGB TO GRAYSCALE CONVERSION

Jeff Schewe: Color to Grayscale in Photoshop

http://www.pixelgenius.com/tips/schewe-color-bw.pdf

Subtitle: why black and white film is dead. It’s old, but valuable.

Photoshop RGB to Black & White: Which Images Should You

Convert? http://thediscerningphotographer.com/2010/07/15/photoshop-rgb-to-grayscale/

7 Black and White Photoshop Conversion Techniques

http://photo.tutsplus.com/tutorials/post-processing/7-black-and-

white-photoshop-conversion-techniques/

Covers more techniques than we did. Gorgeous examples.

CHANNEL M IXER ADJUSTMENT LAYER

■ Mix Color Channels Adobe Help

http://help.adobe.com/en_US/photoshop/cs/using/WSfd1234e1c4

b69f30ea53e41001031ab64-7653a.html

■ Photoshop black white Channel Mixer Video Tutorial

on an older version of Photoshop, but very clear

http://www.youtube.com/watch?v=7QH1ho8Dv98

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■ Monochrome from Colour, Ian Lyons

Lovely example, uses an earlier version of Photoshop

http://www.computer-darkroom.com/tutorials/tutorial_2_1.htm

BLACK & WHITE ADJUSTMENT LAYER

■ Converting Color Photos to Black & White Russell Brown

On Photoshop CS3, but appropriate for us

http://www.adobe.com/designcenter/video_

workshop/?id=vid0017

■ Black & White Adjustment Layers, Richard Harrington

A variety of interesting techniques, not all covered in our Tutorial 10

http://tv.adobe.com/watch/photoshop-for-video/black-white-

adjustment-layers/

■ Convert a color image to black and white Adobe Help

http://help.adobe.com/en_US/photoshop/cs/using/WS1B7B60D9-

C2BF-4706-862C-B539CB8A5C3Ca.html

IMAGE MODE CONVERSION

■ Convert an image to another color mode Photoshop Help

http://help.adobe.com/en_US/photoshop/cs/using/WSfd1234e1c4

b69f30ea53e41001031ab64-73d4a.html

COLORIZE GRAYSCALE IMAGES

■ Colorizing a Grayscale Image

http://www.planetphotoshop.com/colorizing-a-grayscale-image.html

■ How To Add Color To Black and White Photos in Photoshop

Uses the Color Balance adjustment in an older version of

Photoshop, but the steps are very clear and can be applied to

other adjustments.

http://emptyeasel.com/2008/04/29/how-to-add-color-to-black-

and-white-photos-in-photoshop/

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PHOTO F ILTER

■ Photo Filters: Wikipedia chart

http://en.wikipedia.org/wiki/Wratten_number

MATCH COLOR

■ Photoshop: Match Color nice video, Iceflow Studios

http://www.youtube.com/watch?v=cYp1KDaGlDg

■ Match Color in Photoshop CS3 PhotoshopMama video

Shows how to use Match Color to make two portrait photos have

similar color and tonehttp://www.youtube.com/watch?v=lntDEmdjuCU

THE COLOR REPLACEMENT TOOL

■ Photoshop CS5 Tutorial The Color Replacement Tool video,

careful explanation of each option in the Color Replacement Tool,

but, horrible example, ends up with dark green tulips--the flowers,

not the foliage

teachucompinc http://www.youtube.com/watch?v=D7sXLMV5IhI

■ Photoshop - Color Replacement Tool good video, but I could not

find the image to download to follow along

http://vimeo.com/10823388

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