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Blending Options: Colorize Black and White Image

Lesson 104 from: Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

Blending Options: Colorize Black and White Image

Lesson 104 from: Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

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Lesson Info

104. Blending Options: Colorize Black and White Image

Next Lesson: Layer Comps

Lessons

Class Trailer
1

Introduction To Adobe Photoshop

04:05
2

Bridge vs. Lightroom

06:39
3

Tour of Photoshop Interface

18:21
4

Overview of Bridge Workspace

07:42
5

Overview of Lightroom Workspace

11:21
6

Lightroom Preferences - Saving Documents

08:19
7

How To Use Camera Raw in Adobe Photoshop 2020

05:10
8

Overview of Basic Adjustment Sliders

13:09
9

Developing Raw Images

30:33
10

Editing with the Effects and HLS Tabs

09:12
11

How to Save Images

03:37
12

Using the Transform Tool

04:48
13

Making Selections in Adobe Photoshop 2020

06:03
14

Selection Tools

05:55
15

Combining Selection Tools

07:37
16

Using Automated Selection Tools

17:34
17

Quick Mask Mode

05:07
18

Select Menu Essentials

21:28
19

Using Layers in Adobe Photoshop 2020

13:00
20

Align Active Layers

07:29
21

Creating a New Layer

06:15
22

Creating a Clipping Mask

03:02
23

Using Effects on Layers

11:24
24

Using Adjustment Layers

16:44
25

Using the Shape Tool

04:39
26

Create a Layer Mask Using the Selection Tool

04:39
27

Masking Multiple Images Together

15:15
28

Using Layer Masks to Remove People

10:50
29

Using Layer Masks to Replace Sky

10:04
30

Adding Texture to Images

09:11
31

Layering to Create Realistic Depth

05:35
32

Adjustment Layers in Adobe Photoshop 2020

05:29
33

Optimizing Grayscale with Levels

10:59
34

Adjusting Levels with a Histogram

03:37
35

Understanding Curves

06:18
36

Editing an Image Using Curves

18:41
37

Editing with Shadows/Highlights Adjustment

07:19
38

Dodge and Burn Using Quick Mask Mode

07:14
39

Editing with Blending Modes

08:04
40

Color Theory

05:59
41

Curves for Color

16:52
42

Hue and Saturation Adjustments

08:59
43

Isolating Colors Using Hue/Saturation Adjustment

13:33
44

Match Colors Using Numbers

16:59
45

Adjusting Skin Tones

05:25
46

Retouching Essentials In Adobe Camera Raw

10:52
47

Retouching with the Spot Healing Brush

07:53
48

Retouching with the Clone Stamp

06:51
49

Retouching with the Healing Brush

04:34
50

Retouching Using Multiple Retouching Tools

13:07
51

Extending an Edge with Content Aware

03:42
52

Clone Between Documents

13:19
53

Crop Tool

10:07
54

Frame Tool

02:59
55

Eye Dropper and Color Sampler Tools

08:14
56

Paint Brush Tools

13:33
57

History Brush Tool

06:27
58

Eraser and Gradient Tools

03:06
59

Brush Flow and Opacity Settings

04:17
60

Blur and Shape Tools

11:06
61

Dissolve Mode

09:24
62

Multiply Mode

15:29
63

Screen Mode

14:08
64

Hard Light Mode

14:54
65

Hue, Saturation, and Color Modes

11:31
66

Smart Filters

11:32
67

High Pass Filter

13:40
68

Blur Filter

05:59
69

Filter Gallery

07:42
70

Adaptive Wide Angle Filter

04:43
71

Combing Filters and Features

04:45
72

Select and Mask

20:04
73

Manually Select and Mask

08:08
74

Creating a Clean Background

21:19
75

Changing the Background

13:34
76

Smart Object Overview

08:37
77

Nested Smart Objects

09:55
78

Scale and Warp Smart Objects

09:08
79

Replace Contents

06:55
80

Raw Smart Objects

10:20
81

Multiple Instances of a Smart Object

12:59
82

Creating a Mockup Using Smart Objects

05:42
83

Panoramas

13:15
84

HDR

11:20
85

Focus Stacking

04:02
86

Time-lapse

11:18
87

Light Painting Composite

08:05
88

Remove Moire Patterns

06:11
89

Remove Similar Objects At Once

09:52
90

Remove Objects Across an Entire Image

05:46
91

Replace a Repeating Pattern

06:50
92

Clone from Multiple Areas Using the Clone Source Panel

10:27
93

Remove an Object with a Complex Background

07:49
94

Frequency Separation to Remove Staining and Blemishes

12:27
95

Warping

11:03
96

Liquify

14:02
97

Puppet Warp

12:52
98

Displacement Map

10:36
99

Polar Coordinates

07:19
100

Organize Your Layers

11:02
101

Layer Styles: Bevel and Emboss

02:59
102

Layer Style: Knockout Deep

12:34
103

Blending Options: Blend if

13:18
104

Blending Options: Colorize Black and White Image

06:27
105

Layer Comps

08:30
106

Black-Only Shadows

06:07
107

Create a Content Aware Fill Action

08:46
108

Create a Desaturate Edges Action

07:42
109

Create an Antique Color Action

13:52
110

Create a Contour Map Action

10:20
111

Faux Sunset Action

07:20
112

Photo Credit Action

05:54
113

Create Sharable Actions

07:31
114

Common Troubleshooting Issues Part 1

10:23
115

Common Troubleshooting Issues Part 2

07:57
116

Image Compatibility with Lightroom

03:29
117

Scratch Disk Is Full

06:02
118

Preview Thumbnail

02:10

Lesson Info

Blending Options: Colorize Black and White Image

Well here another picture. Karen. This time we're in Brazil. And sometimes I end up with a black and white photo that I want to colorize in. In this case, let's see here the color you're seeing and my wife skin is completely fake right now. I made it using these adjustment layers. And if I turn off the adjustment layers, you'll see there's her original skin and here's my fake skin original fake. I'm gonna make it. So it's half and half right now. She split right down the middle right here and half of its fake. Half of its were real. Let me show you how blending sliders are used and how it wouldn't look good had I not used them, I'm gonna turn off the blending sliders with them turned off. Right now I have the color rising, applying to all of Karen. Look into our eye sockets and it doesn't look natural. It shouldn't be that colorful in those areas. I'll click. OK, so this is just what we're applying, and I'll describe what's here, and, uh, we'll see if we can learn how to use it. First,...

let's turn off all adjustment layers and look at the original version of Karen with the original version of Karen. Look at how colorful the dark areas are. The shadowy areas in her eye sockets that's nowhere near its colorful is the cheek that's right out here. If you look at the shadowy area in here, that's nowhere near its colorful is the area that is here. And if you also look at the bright area, look at the highlight on her forehead. That's nowhere near its colorful. Is the area directly below it? If you look at the highlight right there, the highlight coming across here highlight right there. It contains less color than the areas that are not highlights. So what I did here is I'm ask Karen so that I just isolated her skin, and I threw in a black and white adjustment layer to pull all the color out just so I could experiment. Then, above that, I created what's called a solid color layer, which I'll do right now. I go to the adjustment layer icon. I choose solid color, and I can choose any color I want, and for now, I'll choose a terrible color. Then I can change the blending mode of that layer. And if I change the blending Moto a choice called color, it means apply the color from this layer to the brightness that's underneath. And when I do look at how colorful those areas are, I was pointing out the shady areas near her eyes. The shady area down in here. It's got a lot of color in it. Also, if you'll get the bright areas of the picture, thes highlights and thanks, they're very colorful. Well, if you wanted to add color to a black and white picture and you don't want it to look fake, then you need to use the blooding sliders. What you do is you come down here, choose FX blending options, and it doesn't matter which of these two you use, because the brightness of this layer in the brightness of what's underneath or about the same and what you want to do is say, Let's get this color rising off of the darkest part of the picture. And so you pull this in until you see the colorizing effect start to disappear. It might take a little while. They have to pull it over quite a distance, but eventually you should there happen instantaneously? Oh, I thought of something different. I was thinking this was an adjustment layer, and it's not. We can't use that this layer sliders, because this layer contains a single color, it's is if you painted with the paintbrush to it with an exact color. So at a certain point you'll get to the point where it I will just disappear. So I misspoke. We need to use the underlying image sliders, because that's where the image varies in brightness. So now this will work a little better. If I pull this in, watch the dark portion of the image, and eventually the colorizing effect should start disappearing. I see it's starting to go away now, so I'm gonna bring that in, and so it just starts to go away. Then I'll hold on the option key to split the slaughter, and I'll continue pulling it in. I'll pull it in quite a distance, and therefore it's not gonna be anywhere near a strong in the dark part of the picture. Then, in the bright part of the picture, I could start pulling this over until it disappears in the bright areas. But I think I can just start splitting it from the beginning. Pull this over, pull it over. Intel. We've limited it in the dark and the bright portion of the image. Now, the only thing is, we have a terrible color being used its vivid orange, and it should be a better skin tone. So I'm gonna throw that layer away because I already have one below it. That was a better color. And the only thing I need to do is get the blending sliders to be in there. So in order to get him to be in there, I'm actually gonna choose Revert to get me back to the original because I had the sliders applied, and I'll just turn him on. Here, take me just a sec. Okay? There we go. And, uh, let's see where they were. So here we're saying, fade out in the dark part of the picture on Lee, the tiniest bit brighter than black is where we should completely remove it and then fade out. Keep doing it less and less and less until you get to hear and do the same thing near the bright areas. So you could copy my sliders if you want to. I'll put him back to nothing so we can compare before and after. Here's with the sliders. Here's without look at the dark portion of the image and the bright I find that's essential to realistically. Adding color to a black and white image is limited, so you don't get as much color in the highlights. You don't get as much color in the shadows. I mean, just look at the yellow doors that air here and look at how much less colorful it is in the shadowy areas, and as you get towards black, the color pretty much disappears.

Class Materials

Bonus Materials with Purchase

Lessons 1 - 6 - Handbook 1: Introduction to Adobe Photoshop
Lessons 7 - 12 - Handbook 2: How to Use Camera Raw
Lessons 13 - 18 - Handbook 3: Making Selections
Lessons 19 - 24 - Handbook 4: Using Layers
Lessons 25 - 30 - Handbook 5: Using Layer Masks
Lessons 31 - 38 - Handbook 6: Using Adjustment Layers
Lessons 39 - 44 - Handbook 7: Color Theory
Lessons 45 - 51 - Handbook 8: Retouching Essentials
Lessons 52 - 59 - Handbook 9: Tools Panel
Lessons 60 - 64 - Handbook 10: Layer Blending Modes
Lessons 65 - 70 - Handbook 11: How to Use Filters
Lessons 71 - 74 - Handbook 12: Advanced Masks
Lessons 75 - 81 - Handbook 13: Using Smart Objects
Lessons 82 - 86 - Handbook 14: Photography for Photoshop
Lessons 87 - 93 - Handbook 15: Advanced Photo Retouching
Lessons 94 - 98 - Handbook 16: Warp, Blend, Liquify
Lessons 99 - 105 - Handbook 17: Advanced Layers
Lessons 106 - 112 - Handbook 18: Actions
Lessons 113 - 117 - Handbook 19: Troubleshooting Issues
Practice Images 1: Introduction to Adobe Photoshop
Practice Images 2: How to Use Camera Raw
Practice Images 3: Making Selections
Practice Images 4: Using Layers
Practice Images 5: Using Layer Masks
Practice Images 6: Using Adjustment Layers
Practice Images 7: Color Theory
Practice Images 8: Retouching Essentials
Practice Images 9: Tools Panel
Practice Images 10: Layer Blending Modes
Practice Images 11: How to Use Filters
Practice Images 12: Advanced Masks
Practice Images 13: Using Smart Objects
Practice Images 14: Photography for Photoshop
Practice Images 15: Advanced Photo Retouching
Practice Images 16: Warp, Blend, Liquify
Practice Images 17: Advanced Layers
Practice Images 18: Actions
Practice Images 19: Troubleshooting Issues

Ratings and Reviews

Noel Ice
 

I am an avid reader of photoshop books, and an avid watcher of photoshop tutorials. I have attended (internet) several hundred of presentations. In the course of this endeavor, I have found my own favorite photoshop websites and instructors. Creative Live is probably the bargain out there as well as among the top three internet course sites. I have to say with great enthusiasm that the best Photoshop instructor is Ben Willmore. There are many great ones, but truly, he is the best I have come across, and, as indicated above, I have watched literally 100s of tutorials on Photoshop. I have seen all of Ben's courses, I think, and among them, this one is the best by far, and that is saying a lot, because that makes this course the best course on Photoshop to be found anywhere. I am going back and watching it twice. Not only is it comprehensive, but Ben is so familiar with his subject that he is able to explain it like no other. This is crème de la crème of Photoshop classes. I have been wanting to write this review for some time because I have been so thoroughly impressed with everything about this class!

ford smith
 

Highly recommended if you want to take your Photoshop skills to the next level. Ben Willmore is clear, concise, and professional. He also has a good speaking voice that is not distracting but also keeps you engaged. Lastly, I would recommend that as you become more advanced, increasing the speed of the video (one of the options given on the menu)...especially if you've gone through the course once before and maybe want to watch it again. The double speed is very efficient as you become more advanced in Photoshop. Thanks for the help Ben!

a Creativelive Student
 

Wow. I cannot communicate the value of this course!! The true value in this course is how the instructor identifies workflows you'll need before you'll ever realize it, repeats important information without it becoming annoying, and explains the "why" behind the techniques so well that even if you forget the exact method, you can figure it out via the principles learned. Excellent value, excellent material, excellent instructor!!!

Student Work

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