![]() To make John Wayne look more masculine, you need to add some five o’clock shadow. Then choose a pale blue (or whatever color your subject’s eyes should be) and paint the irises. Make another new layer, with its mode set to Color, and paint in the eyeballs. Set the foreground color to a very pale cream – I used 246R – 230G – 215B. With the brush set to this low opacity, you can build up the color as needed. Now paint the lips, and enlarge the brush to paint some blush on the cheeks, as well as a little on the forehead. Choose a small soft-edged brush, and set the opacity of the brush to just 5%. Set the mode of this layer to Multiply, so the color can deepen the tones. ![]() ![]() Don’t worry if it doesn’t look exactly right because it’s on a separate layer, you can always adjust it later.Ĭhange your foreground color to 216R – 99G – 66B, and make another new layer. A good color to start with is 255R – 214G – 188B. Using a hard-edged brush, paint a skin color over the face and hair. Make a new layer, and set its mode to Color. Use the Levels adjustment to lower the output white amount a little, to bring some tone back into the highlights. The trouble with most black and white shots is that they tend to be highly contrasted: the light areas are just too bright, which means they won’t hold a color tone well. This studio portrait of the actor John Wayne was shot in 1952. ![]() ![]() There are two tricks to making this technique work: color everything, including elements that are supposed to be either black or white and add all your colors on separate layers, so you can adjust them at the end of the process. Here’s a straightforward way to bring color into those images, making them seem that much more immediate and relevant. Photographs of figures from the past, shot in black and white, always have a historical distance that can make them harder to relate to. ![]()
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