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Sepia Toning

Having spent time desaturating an image, some might consider it rather perverse to want to re-introduce colour again, but that is to miss the point. A monochrome image concentrates the mind on the tonal values, while colour often has an emotional impact. Being able to harness both is certainly a skill worth pursuing. Moreover, in the digital age it is worth reconnecting with increasingly forgotten darkroom techniques.

Sepia options to miss

Sepia is the classic of all toning techniques, and it is possible to achieve sepia effects without ever having to use Photoshop. Most DSLR cameras now offer a sepia option, as indeed do most Raw Converters, although I would give both these options a miss. Sepia is not a specific hue and can range from copper to ochre. Moreover, the strength of the toning needs to vary according to the image you are working with, while split toning is another option available to you; none of these subtleties can be achieved when using a default option. There are countless methods for achieving a sepia effect, but the following two are my favourite.

Start image. It certainly pays to think carefully about which images are likely to work best with this technique. Sepia introduces a suggestion of nostalgia so something aggressive or harsh would not be suitable. This informal shot of a bride has been desaturated in Photoshop using the Black and White command.

Method 1: Using Color Fill. Open the file, make an Adjustment Layer and select Solid Color. Scroll the colour bar and select a hue between yellow and orange and then use the Color Picker tool to fine-tune your selection; a good starting point is Red 210, Green 165 and Blue 90. The Solid Color layer will have at this stage completely obliterated the Background Layer, but by selecting Soft Light from the Blending Mode, the image re-emerges. Another alternative is to use Overlay. The strength of the sepia toning can often appear rather overwhelming, but by using the Opacity slider, the effects can be incrementally reduced.

Finished image. The naturally warm hue lends itself to this informal portrait.

Method 2: Using Curves.

Start image. While this image lacks the romantic feel of the previous portrait, it is still a suitable subject for sepia toning, although a slightly more ‘gritty’ approach is required. By split toning the image so that the toning is restricted to the darker tones, a greater sense of depth can be added.

Step 1. Start with your desaturated image in RGB mode. Make an Adjustment Layer, select Curves and by scrolling the RGB box, select the Red channel. To create a ‘split-toned’ effect (i.e. restrict the toning effect only to the darker tones), peg the lighter part of the curve, but then pull the remaining part of it upwards.

Step 2. In order to counter the red, scroll the RGB box again and select the Green channel. While containing the lightest part of the curve, gently pull it upwards until a pleasing sepia effect is achieved in the darkest parts of the image.

Finished image. A sepia split tone was difficult in the darkroom, but is easily applied using Curves.