It looks blue and white, brown and tan, or whatever color combination that you select. On a color image, split toning adds to the existing colors. Using the split toning options, you can choose subtle toning. Or you can choose toning that starts to overpower the other colors in the image. If you want to correct the white balance , add a color film effect, or tint a photo without wrecking the original colors, stick with a color photograph.
This is at the very top of the basic panel. Unless you already switched to black and white but have changed your mind. If the panel is minimized, click the triangle right after split toning. This will expand the different tool options. Start working with split toning by choosing a color for your highlights.
First, you can click on the gray rectangle next to the highlights label. This will open up a pop-up. You can use the mouse to click on a color in the rainbow of options provided. If I wanted to create a more golden hour glow, I would pick orange.
If I wanted a sepia effect, I would choose brown tones on a black and white image. The other option to choose a color — or to make minor adjustments to the color you selected from the first option — is to use the hue slider. The image will adjust in real time. This makes it easy to see the effect that your color choice has on the image. You can also hold down the ALT or option key while dragging the slider.
This can be helpful when working with more subtle color toning. Finally, use the saturation slider to adjust how much of that color appears in the shadows.
Positioned to the left, the effect will be subtle. The color appears more obvious and bolder as you drag the slider to the right. On desktop applications, the first view is 3-Way, which shows the Shadows, Midtones, and Highlights all in one view. Mobile apps do not have a 3-Way view — it would be a little too small to be useful.
The detail views are just larger versions of each color wheel by itself. The last icon is for the Global color wheel. The Global control is a little different from the three range-based wheels, so it does not appear in the 3-Way view. More on Global below. A quick summary of color wheels: The handle inside the wheel controls both hue and saturation.
The distance from the center controls the saturation. There is an additional handle on the edge of the wheel; this is a dedicated hue-only handle. To see the connection between the Split Toning sliders and the color wheels in a very concrete way, go to one of the single-wheel detail views by clicking on any of the icons in the row across the top of the panel. Then open the disclosure triangle under the wheel to show the hue and saturation sliders.
First, click the circled Shadows icon. Then click the circled disclosure triangle to reveal the Hue and Saturation sliders. Move the saturation slider back and forth while watching the handle on the wheel. Leave the handle somewhere in the middle of the wheel and now move the hue slider in the same way.
This is why the disclosures with the sliders are closed by default — you can use the wheel to choose your colors more quickly. Using the color wheel allows you to quickly and easily explore different colors to apply to the image.
The other obvious addition is the Midtone control. Split Toning allowed you to apply a color tone to the shadows and another one for the highlights. Color Grading adds the ability to apply a third color tone to the midtones. With Split Toning, you could shift the division between the two ranges with the Balance slider; moving Balance to the left made more pixels get treated as shadows, moving it to the right made more pixels get treated as highlights.
Which pixels should be considered midtones is now also defined by the Balance slider. Take a moment here and experiment a bit on some of your images. The best way to understand is to experiment and explore on your own. So, take a break, go play with the three wheels and the Balance slider, and see what you can do! Okay, I hope you had fun! As you can see, the three wheels and the Balance slider by themselves are very powerful, but with three ranges to manage, the Balance slider could use a hand to enable even more control.
Enter the Blending slider. Blending allows you to control how much the three tone ranges overlap each other. On some images, changes to Blending will be very subtle; on others it can be quite dramatic.
The default value is 50, which gives a nice amount of smoothing and independence to the ranges. Each range is largely free from the other ranges; if you set the midtones to have a green toning, you will see the green no matter what toning you have set in the shadows or highlights. When Blending is set to , the three ranges all overlap each other.
This provides a very smooth look, but the color tones all mix and blend together. Start with a monochrome image. Color grading, like Split Toning, works well for tinting black and white images. Lucy, really nicely done tutorial - like the no-nonsense fast enough pace.
I appreciate her stuff, but what is the strategy here? How do you guys pick and choose these guys who cover topics that are a dime a dozen online? Excellent tutorial on a portion of LR that most people just skip right over. The concept of applying the split tones to multiple images to keep a specific look is helpful. Much appreciated on the straight forward, well paced tutorial, not too much self promotion or reflective rambling that some of these tutorials consist of.
Analogous colors — i. Golden hour sunshine can be enhanced with red in shadows and orange in the highlights. Adding teal to your shadows and orange to your highlights will give your images a cinematic feel that for some reason works really well on social media. You can download see our guide to editing portraits using Lightroom for more tips. You can add blue to an image to make it feel cold and impersonal, or perhaps try some red or orange to give it some warmth, which can be a nice look for vintage photography.
You can split-tone a black and white image using the highlights and shadows, or apply Global toning. Split toning and color grading can feel a bit chaotic and unpredictable when you first start experimenting.
These tips will help you get started. Color grading should be the last part of your creative process when editing a photograph , allowing you to bring an extra layer of refinement and give your image a finishing touch.
As such, you should do all your other edits — including exposure, white balance, etc — before you think about adding any split toning. In the Color Grading panel, set a hue and saturation for your shadows and your highlights by using each wheel as a color picker. If you need more control, switch from the 3-Way view to one of the larger color wheels specific to Shadows, Highlights, etc.
Having chosen your hues and saturation, now experiment with the Blending and Balance. You can also go back to the specific color wheels and adjust the luminance.
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