Split Toning
Feb 26, 2017 09:07:44 #
Feb 26, 2017 11:22:34 #
I usually split my tones between black and white. The only other times is when someone, for whom I'm doing a photograph, wants a particular look, such as cinematic.
--Bob
--Bob
brucewells wrote:
I'm curious how many use split toning techniques. I've been doing some research/study on the process, and although it's something that won't benefit every photo, it brings some images to life.
I'd like to hear your experiences.
I'd like to hear your experiences.
Feb 26, 2017 12:19:31 #
rmalarz wrote:
I usually split my tones between black and white. The only other times is when someone, for whom I'm doing a photograph, wants a particular look, such as cinematic.
--Bob
--Bob
Interesting. If I understand correctly, it was from B&W that split toning emerged.
Feb 26, 2017 14:57:43 #
abc1234 wrote:
How does this differ from changing the luminosity in the HSL\Color\B&W panel? What do the color pickers and balance do?
In Lightroom the HSL tool works globally. For example, if you want it to change blue it'll change all blue in the shot, whether it's dark blue (as in the shadows) or bright blue (as in the sky) or anything else in the shot that's blue. And likewise, you can't use the HSL tool to target the brights. There could be much in the shot that's yellow but dark.
Looking at it from the brightness point of view, when the light from the sun makes stuff bright, its yellowness causes a tint-shift, and the blue skylight causes a tint-shift in the shadows. Both of those tint-shifts happen regardless of the colour of the stuff that's being tint-shifted. The only way to counteract those tint-shifts is to target the bright and the dark areas.
Feb 26, 2017 15:02:58 #
R.G. wrote:
In Lightroom the HSL tool works globally. For exa... (show quote)
I agree with you that the HSL tool is global. I get away with foreground and sky adjustments becauses most of the greens are limited to the foreground as are the blues to the sky. Not as specific as you approach but still helps. I will try your approach. Thanks for the answer.
Feb 26, 2017 15:08:47 #
abc1234 wrote:
.....I get away with foreground and sky adjustments because most of the greens are limited to the foreground as are the blues to the sky.....
If I was using the split toning technique I would still give the image an HSL work-over. The HSL tool is still the best option for bringing out the best in the sky and toning down garish vegetation etc. But for targeting extreme lighting affecting the whole image - regardless of colour - split toning is the simplest way to do it.
Feb 26, 2017 15:27:18 #
R.G. wrote:
If I was using the split toning technique I would still give the image an HSL work-over. The HSL tool is still the best option for bringing out the best in the sky and toning down garish vegetation etc. But for targeting extreme lighting affecting the whole image - regardless of colour - split toning is the simplest way to do it.
Thanks again.
Mar 2, 2017 06:57:09 #
brucewells wrote:
You aren't alone! I've been doing Google searches on the subject and reading some nicely composed articles. I've been 'playing' with some images, and a couple of them were visibly more appealing.
Could you post some before and after so we can all enjoy the process with you.
Mar 2, 2017 08:30:23 #
infocus wrote:
Could you post some before and after so we can all enjoy the process with you.
I certainly don't mind, but I would remind you that I'm still toying with/learning these adjustments. The image is not much to brag about, but the effects are visible. I would appreciate any recommendations.
Mar 2, 2017 09:51:04 #
Mar 2, 2017 12:08:22 #
brucewells wrote:
I certainly don't mind, but I would remind you that I'm still toying with/learning these adjustments. The image is not much to brag about, but the effects are visible. I would appreciate any recommendations.
I would say your adjustments are definitely an enhancement. I think one of the reasons split toning works as well as it does is because it mimics what ambient light does to a scene. If the sky had been made more purple but not the sea it would look fake.
You've probably found that working on yellow and orange in the HSL section had a very limited effect. However, I wouldn't forget the HSL tool when working on a shot like this. If you found the yellows and oranges getting too solid and heavy, the HSL tool is the best option for lightening them. Using split toning to add colour can make some of the original colours too strong or heavy. I would say that yellow and orange in your edited shot are on the limit, and if it was mine I'd lighten them both and possibly desaturate a touch to keep it looking real. Some people seem to be very tolerant of that effect, but my preference is to err on the side of realism.
Mar 2, 2017 12:43:23 #
R.G. wrote:
I would say your adjustments are definitely an enh... (show quote)
I truly appreciate your insight, and agree wholeheartedly about using the saturation slider sparingly. I shall skip over to HSL to see what more can be done with this image. Thank you!!
Mar 2, 2017 12:51:04 #
R.G. wrote:
I would say your adjustments are definitely an enh... (show quote)
I like this better. Thanks again!! -25 on yellow and orange in HSL.
Mar 2, 2017 12:54:33 #
brucewells wrote:
I like this better. Thanks again!! -25 on yellow and orange in HSL.
Cool. Did you try brightening them first? Sometimes with sunsets you can add to the glow by brightening yellow and orange, and when you do you sometimes find that that's all they needed and they don't need desaturating. Whatever you did, the result is totally believable.
Mar 2, 2017 13:16:03 #
R.G. wrote:
Cool. Did you try brightening them first? Sometimes with sunsets you can add to the glow by brightening yellow and orange, and when you do you sometimes find that that's all they needed and they don't need desaturating. Whatever you did, the result is totally believable.
No, I didn't, but will continue to play with that. Thanks again!
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