This week I am trying out a different method of colorization – this was really simple and I have to thank that wonderful guru Unmesh Dinka at PixImperfect for introducing me to this technique. I have always been a big fan of old vintage images, especially those that Shorpy posts and very old family shots. (See below for some other blog links on how to colorize using other methods.) The pictures are only black and white or sepia images.
Recently Unmesh had a short video called Free Tool to Auto Colorize Black & White Photos where a free program called Image Colorizer was used to create color images. If you watch the video, it shows the program taking a long time to process – it appears they have updated the program and it works much faster. To get this started, here are a couple things you need to know:
- The file must be less than 4 MB, less than 3000 px X 3000 px, and be in jpg, jpeg, or png format. So you may have to go in and reduce the size of your image before using this program. I found my images needed to be less than 3 MB to get it to work correctly – it still produced a pretty low res image no matter what the original size was.
- This does not create a perfect colorized image – but it does a really good job for a starting point so do not be disappointed if your image has color splotches on it – this can be fixed in Photoshop.
- The final image will be created by stacking the colorized image set to Color blend mode on top of the black and white image in PS.
Once you have the image set up to us in the software, go to the website – click on this link here. You just drag and drop your image into the square and watch the progress icon – it takes a few moments depending on the original size you put into the program. Then just download the image and open it up in Photoshop or Lightroom to post-process it. (There is also an app available for Apple and Android phones.)
The above photo was from a list of old 1800’s vintage images at a site I cannot now find. The image was 1200 px by 927 px so it fit the criteria just fine. I want to go over a couple of tricks that I found especially handy when using this program. Once the Image Colorizer has been run, place the image over the original black and white background image and set it to Color blend mode. Below is what the image looked like out of the Image Colorizer – it was not too bad but there are some color distortions along the sides of the road and in the water. It does not look that bad overall – just if you zoom in you can see the issues. I found it amazing that just adding this amount of color can create such a colorful final image after PS editing.
1. Run Image Colorizer and download the image.
2. In PS open the original black and white image.
3. Need to check the Image Size (Image -> Image Size) turn off the Resample button and set it to 300 dpi, then recheck the Resample box, and change the size amounts for the final image.
4. Place the Colorizer image on top and set to Color blend mode. Since the colorizer often introduces some color that is not too flattering in places, need to remove it where you do not want it. Two ways to remove color here:
The color in the above was removed by adding a New Layer on top and setting it to Saturation Blend Mode. Then used the Spotlight Brush (here is what I use – select a soft round brush set to 100 pixels and a Flow of 9% and turn on the “Enable airbrush-style buildup effects” icon). Select black (or any neutral color or else it will really saturate the color) and paint on layer where you want the color removed – build up the effect to remove more. This tip was from the great PS guru John Paul Caponigro – still has a DVD that includes this along with many other great tips.
A Hue/Sat Adjustment Layer could have been used also by setting the Sat to -100, inverting the mask to black and painting with white in the mask where color should be removed.
5. One way to remove the lines that do not look good is to go to Filter -> Blur -> Surface Blur and set the Radius to around 30 and the Threshold at 60, or less, – just experiment to see which looks the best. This was not used on this image. Also a good Smudge Brush can be used to even out color striations – there were lot of really funny lines in just the water area of this image. So a Smudge Brush was created from watching some YouTube videos by RArdell for painting watercolor in PS. Used a Smudge Brush set to soft round brush at 16 pixels and in the Options Bar set a Strength of 81% and Sample All Layers checked. Really simple but it creates some nice smooth lines for the water area to remove the subtle color lines. Increase the size if it is too small.
6. To add color in where the software missed it, just add a New Layer on top, set it to Color blend mode – then sample the color needed and paint.
To finalize this image, Luminar 4 (see sidebar at my Tidbits Blog for website link) and Viveza were used on stamped (CTRL+ALT+SHIFT+E) layers. Also two Color Lookup Adjustment Layers were added – one using Foggy Night at 23% opacity and another using a Heat Waver LUT from On1 at 87% opacity to really warm it up. Then some spotlight effect layers were used to add in that additional dodge and burning effect to really add the depth to the image. (See my How to Add a Spot of Light blog. Used White, Black, Yellow and Blue layers to paint in the colors where needed. Also on a separate layer, texture was added to give the water more of a flowing look using Grut NM Tack Ranker brush. The real trick was to add in a blue sky so a Gradient set to yellow and the Difference blend mode was added – just dragged down from the top and used a mask to remove from the sides but left a little light in the distance.
I attempted using Image Colorizer on a black and white low res image of some children, and found using a Frequency Separation method for the skin worked the best. Unfortunately it was taking a long time to get the results that looked good, so it is definitely a work-in-progress. This technique works great as a starting point, but PS filters need to be added to get the great color needed. On the other hand, this is a free program and it does look pretty good considering. Hope everyone has a chance to try it out – enjoy the hot summer days we are having!…..Digital Lady Syd
Digital Lady Syd Related Blogs:
How to Colorize an Old Photo
How to Convert Black and White Images to Colorful Painting with Topaz Studio 2
Giving a Vintage Young Lady a New Appearance
How to Hand Tint a Vintage Image and Create a Brush to Do This
As most of you know, I have been working on learning to paint in both Photoshop and Corel for a long time – it is a very challenging process and sometimes I do resort to using my favorite Topaz (for website link see my Tidbits Blog sidebar) filters to use with my paintings. While playing with Topaz Studio 2 recently, I discovered several filters that could be combined to create very colorful and painterly looking images out of black and white ones. I have blogged several times on how to colorize black and whites (see end of blog for lots of links), but with a few of the Topaz Studio filters, very nice painting effects can be achieved fairly quickly.
All the blog images used a Studio “Look” to get the colored effect. Looks can contain many different filters so different results can be achieved. The really cool thing is that each filter in the Look can be manipulated individually and additional filters can be added to get an effect. And these Looks are saved just like a Filter preset is saved so it can be used over several times. That is what I did with a Look I call my SJ BW to Painted Color. I would post it to their community, but I do not believe they are doing this at the moment. Therefore, I will share the settings below so if you want to create the Topaz Studio basic Look and save it, you are welcome to use it.
The top image is called “Cowhands Singing after Day’s Work” – Quarter Circle U Ranch roundup in June 1939 – thank you Shorpy for finding this gorgeous image! (If you love historical images, you have got to check out Shorpy.) Click the link to see the original black and white image. See Image 1 (Cowboys Image) for all the details on how this image totally post-processed.
IMPORTANT: With old images, the size and resolution needs to be reviewed first – most have resolutions like 3200 pixels/inch since they were probably scanned. Go to Image -> Image Size and set Resolution to 300 ppi – the size can go really crazy like 0.5 X 0.7 inches so uncheck Resample, next look at the sizes and change if needed, then recheck Resample before exiting – the image will downsize and upsize just fine in PS. And always do your Topaz Studio changes on a duplicate layer since it does not support Smart Objects.
Topaz Studio Basic Looks Settings for these Images
The screenshot shows a different image I am working on (a B&W Shorpy image called Cathedral Place at Charlotte Street, Plaza de la Constitucion, St. Augustine from 1906) where a screenshot of the settings was taken as they appear in Studio. See how there are 8 filters included and two additional filters added on top (Color Theme and Edges again). For the Cowboy image,
This could get long but here we go – wish the Community was available for downloading it. My Look is saved in a Look Category called My Looks and contains only ones I created since Topaz Studio 2 was introduced. I go in and automatically Apply the Look. Right away the image I am working on looks pretty good. At this stage, the Opacity could be adjusted and just use it as it is. I would normally start off adjusting the top AI ReMix filter and then go into Impression before changing the other filters. If the colors or effect still does not look right, another AI ReMix is added (turned on my Look’s since one is toggled on and other one is off in the Look). But since I am giving you my settings, lets start with the bottom filter and build it up.
Filter 1: All Clear – set to Opacity 0.10, Normal blend mode, Remove Noise Auto, Enhance Sharpness High, Recover Details 0.10, Exposure 0.31 and Clarity 0.85. Now if the image needs less sharpness or it looks crunchy, you can always adjust these settings or turn it off if not needed. Note that I set the Opacity very low as I felt it most images don’t need much with all the manipulation being done, but it is very easy to change this.
Filter 2: AI ReMix – this is the turned off one. Mine is set to Opacity 0.71, Normal blend mode, Neon Rose Style, Style Strength High, Brightness -0.31, Contrast 1.26, Sat 0.75, Hue -0.10, Smooth Edge 0.20, Sharpness 0.64, Suppress Artifacts 0. These are probably the settings I was using on a different image a while ago and never reset the filter. But at least it is a starting point for adding some different effects. As you can see, ReMix is where the color is picked up by the image. For my image I will turn it off again as it was not too good on it.
Filter 3: AI ReMix – this is the ReMix filter I use most of the time but change the style. My default is set to Opacity 0.25, Overlay blend mode, Beige Sketch Style, Style Strength High, Brightness -0.61, Contrast 1.65, Saturation 1.69, Hue 0, Smooth Edge 0.20, Sharpness 0.82, and Suppress Artifacts 0. All these settings are changed depending on the image. The Ballerina image used the Cotton Candy Style and it gave a totally different color and overall effect.
Filter 4: Edges – this filter may or may not be useful – need to turn it on and off to see if it helps or if Dark edges are better than the Light ones. Here are the settings: Opacity 1.00, Screen blend mode, Edge Type Color Edge, Edge Tone Light, Edge Strength 0.51, Simplify Edge 0, Suppress Weak Edges 0.09, Suppress Small Edges 0.02, Edge Thickness 0.16, and Edge Resolution 1.00.
Filter 5: Glow – this filter can make a huge difference in your image so be sure to turn it on and off to see what it is doing. Currently set to Opacity 0.85, Overlay blend mode, Glow Primary, Primary Glow Type Dark, Primary Glow Strength 0.62, Primary Effect Sharpness 0.87, Primary Electrify 0.45, Primary Simplify Details 0.66, Primary Edge Color 0, Primary Detail Strength -1.00, Primary Detail Size 0.05, Primary Brightness 0, Primary Contrast 0, Primary Saturation 0.72, Primary Line Rotation 0, Primary Glow Spread 0.80; Finishing Touches – Effect Coverage 0, Coverage Transition, 0.50, Sharpness 0, and Sharp Radius 0.10.
Filter 6: HSL Color Tuning – Opacity 1.00, Normal blend mode, Color – Red Hue 0.29, Saturation -0.54, and Lightness 0.29; Orange Saturation 0.51, Yellow Sat -0.3, and Blue Hue -0.32; Details 0, Suppress Artifacts 0, and Color Sensitivity 0. These all need to be adjusted depending on how the image is getting colorized.
Filter 7: Impression – I believe this is Topaz default settings except I like Stroke Type 03; I will give the settings anyway as these are the ones I like. Opacity 1.00, Normal blend mode, Brush Type 03, Number of Strokes High, Brush Size 0.50, Paint Volume 0, Paint Opacity 0.50, Stroke Rotation 0, Rotation Variation 0, Stroke Color Variation 0, Stroke Width 0, Stroke Length 0, Spill 0, Smudge 0, Coverage 1.00, and Painting Progress 1.00; Color – no changes; Lighting – no changes; and Texture – no changes except Background Type set to Original.
Filter 8: Precision Contrast – I do not always use this one and often I will add Detail filter on top instead. Opacity 0.51; Normal blend mode; Contrast – Micro 0.30, Low 0.54, Medium 0.78, and High -0.54; Lighting – Shadow 0, Midtone 0, Highlight 0, and Equalization 0; and Color – Saturation -0.52, Vibrance 0, and Color Contrast 0.
Now you can add any individual Filters and maybe another Look on top of these settings if you want. You can also add new filters into the Look and save another Look. This is a very flexible process and has so many possibilities.
The above original black and white image was called “Ballerinas on Window Sill in Rehearsal Room at George Balanchine’s School of American Ballet” from 1936 – it was taken by Alfred Eisenstaedt for Life Magazine and appears to be a Getty image now. The original image used was very small so it was taken into Topaz Gigapixel to make it larger – 4 X was used (I mention this program as it is fabulous for this type of issue). Then the file was opened in Photoshop. Since it was still a very small image, the resolution was set to 300 and the size increased to roughly 6″ by 8″ (need to uncheck Resample to change the size, then recheck. Then Topaz Studio was opened on a duplicate layer and the “Look” applied. I have gone through all the individual steps in Image 2 below if you are interested. This one took a little more effort than the others – some just are easier to do.
This image taken by Jean Eugene Auguste Atget of the “Passage des Singes, seen towards rue Vieille-du-Temple, 4th arrondissement, Paris” in 1911 and was provided by the City of Paris Museum. This is the original image used to create my Looks settings above – it was taken from a Topaz Studio 1 preset and migrated over to Topaz Studio 2. For more info, check Image 3 (Paris image) below. Basically wanted to show what a nice landscape type image can be obtained using these same basic settings.
I hope you will try this – it really amazed me how realistic the painting results were. I do think I get better results in Corel Painter, but it does have a very large learning curve and takes a while to get the brushes down. I am not sure PS has these effects down, although they are making great strides toward getting it. And the interesting thing is that Topaz packed all these creative filters together for you – you cannot get these type results without combining Topaz ReMix, Impression, Glow and mixing in a few others. And don’t forget the to try the Topaz ReStyle filter. I will be working on a few more images to show you but for now, if you own Topaz Studio 2, give it a try. (And actually you might be able to do it with Topaz Studio 1). This is really so much fun to do! Have a great week……Digital Lady Syd
Image 1 (Cowboy Image): After duplicating the background layer in Photoshop, the image was opened in Topaz Studio 2 where my Look was applied. The following changes were done to my Look: AI ReMix: Changed Style to Market Street at 0.23 filter Opacity and Overlay blend mode; Glow: Opacity 0.85, Primary Glow Strength 0.42, and Primary Electrify 0.11; Edges: turned off; Impression: 50% Opacity; and the Additional Filters – Color Theme filter: changed the second color swatch to more of a red color (37400c); and Detail: Overall – Overall Small Detail 0.61. Note that the second AI ReMix was not used as it is turned off but present in my Look since sometimes I need two of them. Back in PS the biggest problem facing the image was the color of the grass in the front – it was blown out. Color was added by setting a layer to Color blend mode and painting with a soft round brush a sampled tan color over all the grass – tried not to go into the face areas. Next one of my favorite Color Lookup Adjustment Layer presets called Foggy Night (a PS preset) was set to 43% layer opacity. This really softened down the overall effect. Then a Levels Adjustment Layer was added to add some contrast in the midtones (0.78) and clip a little of the black (Output Levels 0/229). Next a Hue Saturation Adjustment Layer (Master: Sat +62 and Lightness +3) was used to add just a bit of color into the skin areas of the cowboys – the layer mask was inverted to black and just areas needed were painted back. Last step was a Color Balance Adjustment Layer (Midtones +17/-12/-55, Highlights 0/-12/-55, and no change to Shadows) for the grass – black layer mask and grass painted back.
Image 2 (Ballerina Image): Going to go into detail here so you can what can be done to get a really nice painterly effect. After resizing the black and white image, Topaz DeNoise AI was applied on a New Layer. On another New Layer changes were made in Studio to my Look preset: AI ReMix: 0.30 Opacity, Overly blend mode, Cotton Candy Style, Style Strength High, Brightness -0.61, Contrast 1.65, Saturation 1.69, Hue 0.04, Smooth Edge 0.20, and Sharpness 1.00; Edge: Set Opacity to 0.76; Impression: In layer mask, painted back the 2nd ballerina’s face and part of the closest ballerina’s back – used a brush in layer mask set to 0.69 transparency; Precision Contrast: Opacity 0.10; and added Filter: Texture: Opacity 0.24; Selected Rainbow Leak 4; Brightness 0.06, and Contrast -0.02. Back in PS, Topaz ReStyle was used to adjust the color tone a little. Created a preset called Ballerinas using the colors now in image and placed it in my Colors from Images collection: ReStyle Opacity 68% and Color blend mode, Color Style Sat Primary 0.06, Secondary 0.08, Fourth -0.09, and Fifth 0.22; and Lum Secondary -0.02, Third 0.63, Fourth 0.33 and Fifth 0.31; and Texture 1.00; Basic Color Temp 0.23 and Sat -0.16; Tone Black Level 0.09, Midtones 0.33 and White Level -0.06; and Detail Structure 0.36 and Sharpness 0.30. A Color Lookup Adjustment Layer was added using Joel Grimes Soft and Desaturated preset set to 30% opacity. Some clean up layers were used to even out some of the face distortions caused by Studio Impression. A Red Channel Curves Adjustment Layer was used and set to 57% layer opacity. A Selective Color Adjustment Color was opened and the Whites and Neutrals were used to add a little cyan to the sky outside the window. Viveza 2 was used to sharpen up the paint strokes in the ballet skirts. a Hue/Saturation Adjustment Layer at 12% layer opacity was added on top to adjust the color – had trouble getting the effect just the way I wanted it. Then a Black and White Adjustment Layer set to Luminosity blend mode and 47% layer opacity was added. A Levels Adjustment Layer was the last step and a Gradient Tool was applied to the layer mask going from black to transparency so only the front two ballerinas were affected by these changes – it also emphasized the stroke more on the front ballerinas.
Image 3 (Paris Image): Well this image took a while to complete since I was experimenting and trying to get a nice “Look” together that would be somewhat useful to all types of black and white images. I started with a Look using a Cartoon Look I had created in Topaz Studio 1 that contained the HSL Color Tuning, Glow, Edges, AI ReMix twice and AI Clear filters. (See my Best Friends Tidbits blog for where I used it first.) The settings are slightly different from the above Looks settings so I will list them. HSL Color Tuning: Red – Hue 0.29, Sat -0.54, and Lightness 0.29; Orange – Sat 0.50; Yellow – Sat -32; and Blue – Hue -0.32. Glow: Set to Overlay at 0.85 Opacity; Primary – Glow Type: Dark; Primary Glow Strength 0.62; Primary Effect Sharpness 0.87; Primary Electrify 0.45; Primary Simplify Details 0.66; Primary Detail Strength -1.00; Primary Detail Size 0.05; Primary Contrast 0.29; Primary Saturation 0.72; and Primary Glow Spread 0.80. Edges: Set to Screen blend mode; Edge Type – Color Edge; Edge Tone Light; Edge Strength 0.51; Simplify Edge 0; Suppress Weak Edges 0; Suppress Small Edge 0.02; Edge Thickness 0.02; and Edge Resolution 1.00. First AI ReMix: Set to 0.25 Opacity and Overlay blend mode; used Beige Sketch preset; Style Strength – High; Brightness -0.61; Contrast 1.65; Sat 1.69; Smooth Edge 0.20; and Sharpness 0.82; Second AI ReMix: turned off; AI Clear: Opacity 0.19, Remove Noise Auto, Enhance Sharpness High; Recover Details 0.10; Exposure 0.31, and Clarity 0.85; and on top of the Look, added Impression filter with my SJ Basic Favorite preset (Stroke: type 03; Number of Strokes – High, Brush Size 0.50; Paint Opacity 0.50; Coverage 1.00 using Original Background Type in Texture section). Next Filter: Precision Contrast – Opacity 0.50; Contrast – Micro 0.30, Low 0.54, Medium 0.78 and High -0.55; and Color Sat -0.50. Back in PS French Kiss Spring Impasto texture was added and set to Linear Light at 45% opacity. A Hue/Saturation Adjustment Layer was clipped (ALT+click between the layers to clip) to the texture and Master-Saturation was set to 100. A Levels Adjustment Layer was clipped on top of it to contrast back to the image (Midpoint set to 0.92 and white tab Output Levels set to 174). (See my How to Add Texture to an Image without Adding Its Color blog and short video.) Then a Light Gesso layer style I had purchased from Kyle Webster before he became famous at PS was used to add some extra painterly strokes into the image. A Curves Adjustment Layer was added last.(See my How to Create an Impasto Texture Layer Style blog and video.)
Digital Lady Syd Related Blogs:
How to Colorize an Old Photo
Giving a Vintage Young Lady a New Appearance
How to Hand Tint a Vintage Image and Create a Brush to Do This
Colorizing NASA Photos and Using Topaz Studio (And Check out Updated Detail)
Get the Boy Something He Wants
Abandoned Texaco Station
A Cowboy in Montana
Topaz ReMix – Update and Better Than Ever!
Still taking it easy and enjoying just learning a few new techniques and passing them along as I go. This image is from Shorpy.com of Miss E. G. Winship (this links to the original image if you would like to try out the technique yourself) from 1909 who was a 22-year old living in Philadelphia. I have always enjoyed tinting old images so when I found a class on this on Udemy, I decided to check it out. Udemy has many classes and runs specials often where the whole course is offered for $10 or $15 (note – you do not get to download the videos but will always have access to them if purchased). This course was called Photoshop Design: Colorize Historical Photos in Photoshop by Phil Ebiner. Previously I had posted a How to Colorize an Old Photo blog which uses a similar technique as this class – using Solid Color Fill Adjustment Layers to add localized color to each of the different components in your image. This course was pretty basic, but he had one thing that really caught my attention. He showed you how to layer several different fill colors on top of each other to achieve natural looking skin, mainly to the face and a few other skin skin areas. Phil also supplied color charts to use for different skin tones if the one he suggested does not match up correctly. By being able to apply localized color to the face and parts of the skin, it gives a more accurate effect to the overall colorization. This can be very beneficial if trying to hand-tint personal scanned images. With the course information I was able to create a fairly simple Photoshop Action to set up the different colored adjustments layers for a quicker set up.
The image below was completed before the one above. I felt like the one above is the more traditional look and is probably closer to what the dress color was and possibly the skin tone. By just changing out the Solid Color Fill Adjustment Layers, the dress and hair color could easily be changed out. The skin and background took a little longer. Part of the problem with this image is that it is not of a very high resolution. The initial image had to be adjusted to get a nice size to work on. Some parts of the image are hs lost detail and there is not a lot that can be done. On the top image, some hand painting on the upper left bodice area with a regular brush tool to add more detail and remove some of the really dark shadows. On the one below, this was not taken.
If no info was available on the young lady or where she was from, a story could have been built into the image. That is what I attempted to do. By giving her a green toned dress, red hair, and a different skin tone, I hoped a bit of Irish flare could be given to the image. Also, Anthropics Smart Photo Editor was used to add an interesting border and vignette to the image. I forget I have this plug-in, but it contains lots of great effects including many border and vignette effects, which is one of the reasons I bought it a few years ago.
Another one of my blogs on this same subject uses a special brush to paint in the color on New Layers instead of using Solid Color Fill Adjustment Layers. Sometimes it is easier to do this on a new layer if a problem comes up with the adjustment layer color or definition of a subject. (See my How to Hand Tint a Vintage Image and Create a Brush To Do This blog.) The brush was used on a couple layers after I had finished colorizing to touch up parts that were not smooth, especially in the arms. Also the Mixer Brush was used to blend in areas where the photo was a little grainy looking on the skin. It seems like you could spend as long as you want to get the image looking really great. If the image is scanned, the resolution of the photo can be set higher and a better quality colorized image will result. If you are interested in trying out this technique, check out both my Colorize blog and this course. It is actually a lot of fun to do! Well I guess that is all for this week. Later!…..Digital Lady Syd
Loved this vintage image from Shorpy.com, my favorite site for the old historical images, taken in 1902 at the National Cash Register Company‘s restaurant in Dayton, Ohio. I wonder what they are talking about? I found an older tutorial on hand-painting a vintage image and decided to share the technique. Previously I created a blog called How to Colorize an Old Photo blog using Solid Color Adjustments Layers, but this blog technique produces a more subtle hand-painting result. I guess this is why I have a hard time getting rid of my old resources – you never know when something will catch your eye!
Below are the basic steps to create this effect:
1. This technique was found in a book called Special Effects – Restouching and Restoration by Tim Daly in the Chapter Restoring Hand Tints. Basically he suggest you scan your image, or in my case I downloaded an image from Shorpy’s – select an image that is more light-toned rather than dark-toned. As you can see in the original below, this fits the criteria. To lighten your image a little more, use a Levels Adjustment Layer and move the center tab called the Midtone slider so image is lighter.
Also, be sure to go to Image -> Image Size and check out the size and resolution of the image – the B&W above was set to a Resolution of 980 ppi and a Width of 0.837 inches and Height of 1.521 inches. The image was changed to a Width of 8 inches and a Height of 6.627 at a Resolution of 300 ppi.
2. Next need to create a brush to use for adding the color tint. Open the Brush Engine (Windows -> Brush). Select a 45 px soft round brush. Down the side check the Buildup section – this turns on the Airbrush effect in the Options bar (or can just turn on the Airbrush icon in the Option Bar itself). Smoothing should be on in the Brush Panel. In the Options Bar, set the Mode to Color – this preserves the underlying image detail while painting. Set Opacity to 40% and Flow to 100% to start. At this point, I would definitely save the brush by clicking on the Create New Brush at the bottom of the brush Panel (it looks like a piece of paper with a bottom corner folded up). Since there are changes in the Options Bar, I also saved the brush as a Tool Preset – just go to the first (Brush) icon in the Options Bar, click on the down arrow next to it, and select Create New Tool Preset Icon and name it. The brush will now appear at the bottom of your list with the correct settings for both the Brush Panel and the Options Bar.
3. Now the image should be turned to a sepia color, or whatever overall tint that is pleasing. For me a Hue/Saturation Adjustment Layer was opened and the Colorize box was checked – the Hue was set to 27, Saturation 18, and Lightness +9. A stamped layer was created on top (CTRL+ALT+SHIFT+E) to incorporate the two adjustment layers, and the layer blend mode was changed to Color and the Layer Opacity can be lowered to taste.
4. Time to paint using using the new brush. Open the Swatch Panel, select a color, and paint in your image – I painted directly on the image above, but individual layers for each color is a much better way to control the color shades (as done in the tint image below). If the color is too bold, reduce the Opacity and the Flow sliders of the brush in the Options Bar. Tim Daly recommended starting to tint with the smaller areas with similar colors first. In my image above, only the focal point area was painted.
That is all there is to it! Very fun and relaxing. To finish up, add your own effects to the image. In the above, on a New Layer a hatch texture was set added to the brush in the Brush Engine and it was set to Multiply blend mode. The table cloth was then painted to give it a little subtle pattern effect. This is where you can add some of your own creative ideas into the image. A Color Fill Adjustment Layer set to white was used to make the hatched brush texture really white. Adjustments Layers can add all kinds of interesting effects to these tinted images. This image also used Topaz (see sidebar at my Tidbits Blog for website link) Texture Effects – based upon their Crisp Morning Run preset. Just added the oval Border and a white Color Overlay with a low 0.31 opacity.
TIP FOR WORKING WITH VINTAGE GRANULATED IMAGES: You might notice that some of the vintage images have a lot of grain in them, especially in the shadows. A great way to remove this problem is to use a Noise Reduction filter, then add a black layer mask and paint back over just the really obvious areas where the noise is bad. In the above, the faces had a lot of noise. Topaz DeNoise 6 was used, but Nik’s Dfine plug-in which is now free, or Photoshop’s Camera Raw filter-the Detail Section could be as effective. Just adjust to where the really noisy areas look good even if the whole image gets blurry. By adding a black mask (CTRL+I in the white mask) to this layer and using a very low opacity regular soft round brush, paint with white back in the really noisy areas.
Thought I would show you what a landscape type image looks like color-tinted. This image is of the Raleigh Hotel in Miami Beach, Florida on March 4, 1941. I think one of the reasons I am enjoying this technique is that it gives me a chance to really look at the image and see a story in it. To me this is really fun – and it gives a vintage postcard effect to the image. I look at all the people at this resort back during WWII and wonder who these people are – and this hotel is still very popular. What is also interesting about this image is that it is not all hand tinted – mainly just the foreground area has been painted in. Below is the original image so you can see what can be done with this type of image.
Instead of a sepia tone image to begin the process, this one used a cyan-toned tint. Since the image detail is rather obscure the further back one looks, it is not so noticeable that the color is missing. In fact, the palm trees in the center back were actually lightened a little by clipping a New Layer on their layers where the color was applied and light dots of white were applied to softly blend them into the background just a little. Also after painting this image, Topaz Glow was used to make the tint colors stronger in the image – the cyan was to be the main color since it reminds me of resorts and warm water. Topaz Lens Effects was used to add a slight Golden Reflector effect from the right side to play on the palm tree fronds and a very soft cyan vignette was placed around the image as a last step. This image used 22 layers for the different colors and objects. Several mistakes were made using the wrong color and it was easy to just clip (ALT+click between the layers or click on the first icon at the bottom of the panel) a Hue/Saturation Adjustment Layer to the layer and change the color to match perfectly. Therefore I would recommend using separate layers for colors. And do create the brush – it is very useful for this technique!
Hope you give this a try on one of your scanned black and white images or an old vintage image. Lots of fun here! Have a great week!…..Digital Lady Syd
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