How To Make A Photo Grayscale In Photoshop

Use a profile to your paradigm

Profiles allow you to control how colors and tonality are rendered in your photos. The profiles provided in the Profile surface area of the Basic panel are intended to serve as a starting point or foundation for making epitome edits.

Applying a profile on your photo doesn't change or overwrite the value of other edit control sliders. Therefore, you tin make edits to your photos equally yous like and then choose to utilize a profile on tiptop of your edited prototype.

Scan and apply profiles

In the Basic panel of the Develop module, locate the Contour area (below the Treatment area) at the top.

Employ the Profile popular-up carte du jour to quickly admission Adobe profiles and the profiles that yous've marked every bit favorite. (explained in Step iii below).

To browse and apply other creative profiles in the Contour Browser, do any of the post-obit:

Choose Scan from the Profile pop-upward card.
Click the profile browser icon on the right.

Profile area in the Basic panel

Profile expanse in the Bones panel

Profile Browser

When you import photos, Adobe Color and Adobe Monochrome profiles are applied by default to color and blackness-and-white photos respectively.

In Profile Browser, expand any of the profile groups to view the profiles available in that grouping.

To expand all the profile groups in Profile Browser, right-click (Win) / Control-click (Mac) any profile group and choose Expand All from the menu.

To collapse all the profile groups in Contour Browser, correct-click (Win) / Command-click (Mac) whatsoever contour group and choose Collapse All from the carte.

In Contour Browser, use the popular-upward menu above the Favorites profile groups to view the profiles every bit a List, as Filigree thumbnails, or Big thumbnails. Y'all can also filter the profiles to be displayed by 'type' - Color or B&W.

Favorites: Displays profiles that you lot've marked as favorite. Come across Add a profile to Favorites.

Profiles for raw photos

The following profile groups announced when you are editing a raw photograph.

Adobe Raw: Adobe Raw profiles significantly improve colour rendering and provide a proficient starting point for editing your raw images. Adobe Color profile─which is designed to provide a good colour/tone balance for whatever paradigm─is applied by default to the raw photos that yous import in Lightroom Classic.

Camera Matching: Displays profiles based on the camera make/model of your raw photo. Use Photographic camera Matching profiles if you prefer the color rendering in your raw files to match what you come across on your camera'due south display screen.

Legacy: Displays legacy profiles that were also provided in the earlier versions of the Lightroom app.

Adobe Raw profiles

Creative profiles for raw and non-raw photos

Artistic profiles work on whatever file blazon including raw photos, JPEGs, and TIFFs. These profiles are designed to create a sure style or event in your photo.

Artistic: Utilize these profiles if you want the colour rendering in your photo to exist more than edgy, with stronger color shifts.

B&W: Use these profiles to get optimal tone shifts required for black and white work.

Modernistic: Use these profiles to create unique effects that fit in with the modern photography styles.

Vintage: Use these profiles to replicate the effects of vintage photos.

Notation:

When you use any of the Creative, B&West, Modern, and Vintage profiles, Lightroom Archetype provides an additional Amount slider that allows to command contour intensity. For other profiles, the Amount slider is dimmed/inactive.

Move the pointer over any contour to preview its effect in your photograph. Click the profile to apply it to your photograph.

To go back to the Basic console, click Close at the upper-right corner of the Profile Browser console.

Import profiles

In the Basic panel of the Develop module, locate the Profile area (below the Treatment area) at the top.

Do whatever of the following:

Cull Browse from the Profile popular-upward menu.
Click the profile browser icon on the right.

In Profile Browser, click the plus (+) icon at the upper-left corner and choose Import Profiles from the menu.

Import profiles option in Profile Browser

In the import dialog that appears, select the profiles that you want to import. You tin can also import a .nothing file containing profiles.

Note:

Y'all tin can import XMP presets and profiles, DCP profiles, and LCP profiles as part of a zip file. However, .lrtemplate presets tin't be imported every bit part of a zero file.

Add together a profile to Favorites

To add a profile to Favorites contour grouping:

When browsing the profiles in the Grid or Large view, hover on the profile thumbnail and click the star icon that appears at the upper-correct corner of the thumbnail.
When browsing the profiles in the List view, hover on the profile and click the star icon that appears next to the profile's proper name.

You can too access your favorite profiles from the Profiles pop-carte.

Manage profiles

Introduced in Lightroom Classic CC 7.four (June 2018 release)

Using the Manage Profiles pick, you can show or hide various profile groups that are displayed in the Profile browser - Basic, Adobe Raw, Camera Matching, Legacy, Artistic, B&W, Modern, Vintage, or any other profiles that yous've imported.

To show/hide profile groups, follow the steps below:

In Profile Browser, right-click (Win) / Control-click (Mac) any profile grouping and choose Manage Profiles from the card.

In the Manage Profiles dialog, select the contour groups that y'all want to show in Profile Browser. Deselect the profile groups that you desire to hide from Profile Browser.

Profile Browser now displays only those contour groups which you've selected using the Manage Profiles dialog.

To show all the subconscious profile groups, you tin right-click (Win) / Control-click (Mac) any profile group in Profile Browser and cull Reset Hidden Profiles from the menu.

Gear up the white balance

White Balance refers to the colour created in your photo from the temperature of your light source. For case, a noon day sun will bandage a very warm, yellowish color whereas some light bulbs will cast a very absurd, bluish color in your photo.

You tin can suit the white remainder of a photo to reflect the lighting conditions nether which it was taken—daylight, tungsten, flash, and and then on.

You lot can either choose a white remainder preset option or click a photograph surface area that you want to specify as a neutral color. Lightroom Archetype adjusts the white residual setting, and and so y'all can fine-tune it using the sliders provided.

White residual preset options are available only for raw and DNG photos. White rest for all photos tin be edited using the sliders.

Cull a white balance preset option

In the Basic panel of the Develop module, choose an pick from the WB pop-up menu. Every bit Shot uses the camera's white balance settings, if they are bachelor. Auto calculates the white balance based on the image data.

Lightroom Classic applies the white balance setting and moves the Temp and Tint sliders in the Basic console accordingly. Apply these sliders to fine-tune the color residue. See Fine-melody the white balance using the Temp and Tint controls.

If the camera's white balance settings are non available, then the Machine option is the default.

Specify a neutral area in the photograph

In the Basic panel of the Develop module, click the White Balance Selector tool to select it, or press the W key.

Movement the White Residuum Selector into an area of the photo that should exist a neutral lite gray. Avoid spectral highlights or areas that are 100% white.

Set options in the toolbar as needed.

Auto Dismiss

Sets the White Balance Selector tool to dismiss automatically after clicking merely once in the photograph.

Show Loupe

Displays a shut-up view and the RGB values of a sampling of pixels under the White Residuum Selector.

Calibration Slider

Zooms the close-upwardly view in the Loupe.

Washed

Dismisses the White Residual Selector tool, and the pointer changes to the Paw or Zoom-in tool past default.

The Navigator displays a preview of the color balance as you move the White Residual Selector over different pixels.

When y'all find an appropriate area, click it.

The Temp and Tint sliders in the Basic panel adapt to make the selected color neutral, if possible.

Fine-melody the white balance using the Temp and Tint controls

In the Bones panel of the Develop module, adjust the Temp and Tint sliders.

Temp

Temp or Temperature sets how xanthous/warm or blue/cool your photograph looks. Employ Temp to fine-tune the white balance using the Kelvin color temperature scale. Move the slider to the left to make the photograph appear libation, and right to warm the photo colors.

Yous tin can as well set a specific Kelvin value in the Temp text box to lucifer the color of the ambient light. Click the current value to select the text box and enter a new value. For example, photographic tungsten lights are oft counterbalanced at 3200 Kelvin. If you shoot nether photo tungsten lights and set the image temperature to 3200, your photos should appear colour counterbalanced.

One of the benefits of working with raw files is that you can adjust the color temperature as if you were changing a setting in a camera during capture, allowing a wide range of settings. When working with JPEG, TIFF, and PSD files, you piece of work in a scale of -100 to 100 rather than the Kelvin scale. Not-raw files such as JPEG or TIFF include the temperate setting in the file, so the temperate scale is more express.

Tint

Tint sets how dark-green or magenta your photo is. Use Tint to fine-tune the white residuum to recoup for a green or magenta tint. Move the slider to the left (negative values) to add green to the photo; motility it to the correct (positive values) to add together magenta.

Tip: If you see a greenish or magenta color cast in the shadow areas afterward adjusting the temperature and tint, effort removing information technology by adjusting the Shadows Tint slider in the Camera Scale panel.

Adjust overall epitome tonal scale

You lot conform the overall image tonal calibration using the tone controls in the Basic panel. Every bit you work, keep an middle on the end points of the histogram, or use the shadow and highlight clipping previews.

(Optional) In the Tone area of the Bones panel, click Automobile to fix the overall tonal calibration. Lightroom Classic sets the sliders to maximize the tonal scale and minimize highlight and shadow clipping.

Adjust the tone controls:

The tone controls that are available depend on whether you are working in Process Version 2012, 2010, or 2003, as noted.

You can increment the slider values by selecting the value and using the Up and Down arrow keys. Double-clicking the slider control resets the value to cypher.

Exposure

(All) Sets the overall paradigm brightness. Conform the slider until the photo looks adept and the image is the desired brightness.

Exposure values are in increments equivalent to discontinuity values (f‑stops) on your photographic camera. An aligning of +ane.00 is similar to opening the aperture one stop. Similarly, an aligning of ‐one.00 is like to closing the aperture 1 cease.

Contrast

(All) Increases or decreases image dissimilarity, mainly affecting midtones. When you lot increase dissimilarity, the center-to-dark image areas go darker, and the eye-to-light image areas become lighter. The image tones are inversely affected as you lot decrease contrast.

Highlights

(PV2012) Adjusts bright image areas. Drag to the left to darken highlights and recover "blown out" highlight details. Drag to the right to burnish highlights while minimizing clipping.

Shadows

(PV2012) Adjusts night image areas. Elevate to the left to darken shadows while minimizing clipping. Drag to the right to brighten shadows and recover shadow details.

Whites

(PV2012) Adjusts white clipping. Elevate to the left to reduce clipping in highlights. Drag to the right to increase highlight clipping. (Increased clipping may be desirable for specular highlights, such as metal surfaces.)

Blacks

(PV2012) Adjusts black clipping. Elevate to the left to increase blackness clipping (map more shadows to pure black). Drag to the right to reduce shadow clipping.

Blacks

(PV2010 and PV2003) Specifies which epitome values map to blackness. Moving the slider to the right increases the areas that go black, sometimes creating the impression of increased image contrast. The greatest event is in the shadows, with much less change in the midtones and highlights.

Recovery

(PV2010 and PV2003) Reduces the tones of extreme highlights and attempts to recover highlight detail lost because of camera overexposure. Lightroom Archetype can recover detail in raw image files if one or two channels are clipped.

Fill Light

(PV2010 and PV2003) Lightens shadow to reveal more than detail while maintaining blacks. Take care not to over apply the setting and reveal prototype racket.

Effulgence

(PV2010 and PV2003) Adjusts image brightness, mainly affecting midtones. Adapt Brightness later on setting Exposure, Recovery, and Blacks sliders. Large brightness adjustments can affect shadow or highlight clipping, and then you lot may desire to readjust the Exposure, Recovery, or Blacks slider after adjusting brightness.

Adjust the tonal scale using the histogram

About histograms

A histogram is a representation of the number of pixels in a photograph at each luminance percentage. A histogram that stretches from the left side of the panel to the right side indicates a photo that takes total advantage of the tonal calibration. A histogram that doesn't use the total tonal range can result in a tedious image that lacks contrast. A histogram with spikes at either end indicates a photograph with shadow or highlight clipping. Clipping tin result in the loss of image detail.

Lightroom Classic CC tonal scale using the histogram — The left side of the histogram represents pixels with 0% luminance; the right side represents 100% luminance.

A histogram is made up of three layers of color that represent the Red, Green, and Blueish color channels. Greyness appears when all 3 channels overlap; yellow, magenta, and cyan announced when two of the RGB channels overlap (yellow equals the Cherry-red + Green channels, magenta equals the Red + Blue channels, and cyan equals the Green + Blue channels).

Adjust images using the histogram

In the Develop module, specific areas of the Histogram panel are related to the tone sliders in the Basic panel. You tin can make adjustments by dragging in the histogram. Your adjustments are reflected in the Basic console sliders.

Lightroom Classic CC adjust images using histogram — Dragging in the Exposure expanse of the histogram adjusts the Exposure slider in the Basics panel.

Move the arrow into an area of the histogram you desire to accommodate. The affected area is highlighted, and the affected tone control is displayed in the lower left of the panel.

Elevate the pointer left or right to conform the respective slider value in the Basic console.

View RGB color values

The surface area under the histogram in the Develop module displays the RGB color values for private pixels appearing under the Hand or Zoom tool when you lot move information technology over the photo.

You can use this information to determine whether any areas of the photo are clipped, such every bit whether an R, G, or B value is 0% black or 100% white. If at least one aqueduct in the clipped area has color, then yous might be able to use it to recover some particular in the photo.

View RGB and LAB colour values in Reference View

While working in the Reference View in the Develop module, the area nether the histogram displays the RGB/LAB color values for individual pixels appearing under the Manus or Zoom tool when yous movement it over the Reference/Active photo.

If the dimensions of the Reference photo and the Active photo/cropped Active photo lucifer, the readings are displayed in the following fashion:

Reference/Active R [Reference value]/[Active value] G [Reference value]/[Active value] B [Reference value]/[Active value] %

RGB color value readings in Reference View

If the dimensions of the Reference and Active photos do not match, only the color value for the epitome yous are currently hovering on is displayed. The colour value for the other epitome is displayed equally '- -'.
If either the Reference photograph or the Active is not prepare currently, its colour value is displayed as '--'.

When you lot toggle the Before view of the Agile photo, the color values are displayed in a similar manner for the Reference/Active (Before) photos.

Reference/Active (Before) R [Reference value]/[Active Earlier value] G [Reference value]/[Active Before value] B [Reference value]/[Active Earlier value] %

By default, RGB color values are displayed. To brandish the LAB color values, correct-click the histogram and choose Testify Lab Color Values.

For more details virtually the Before view, see View Before and After Photos.

Preview highlight and shadow clipping

You tin can preview tonal clipping in a photograph every bit you work on it. Clipping is the shifting of pixel values to the highest highlight value or the lowest shadow value. Clipped areas are either completely white or completely black, and have no image detail. You can preview clipped areas as you adjust the tone sliders in the Bones panel.

Clipping indicators are located at the top of the Histogram console in the Develop module. The black (shadow) clipping indicator is on the left, and the white (highlight) indicator is on the correct.

Move the Blacks slider and sentinel the black clipping indicator. Move the Recovery or Whites sliders and sentry the white clipping indicator. An indicator turns white when clipping in all channels occurs. A colored clipping indicator means one or two channels are clipped.
To preview clipping in the photo, move the mouse over the clipping indicator. Click the indicator to keep the preview on.
Clipped blackness areas in the photograph become blue, and clipped white areas become red.
To view clipped image ares for each channel, press Alt (Windows) or Option (Mac OS) while moving a slider in the Basic panel of the Develop module.
For the Recovery and Whites sliders, the image turns black, and clipped areas appear white. For the Blacks slider, the image turns white and clipped areas appear blackness. Colored areas signal clipping in one color channel (ruby-red, dark-green, blueish) or 2 color channels (cyan, magenta, xanthous).

Set overall color saturation

In the Presence area of the Bones panel, modify the color saturation (vividness or color purity) of all colors by adjusting the Clarity, Vibrance, and Saturation controls. (To arrange saturation for a specific range of colors, use the controls in the HSL/Color/Grayscale panel.)

Clarity

Adds depth to an epitome by increasing local contrast. When using this setting, it is best to zoom in to 100% or greater. To maximize the event, increase the setting until you lot encounter halos well-nigh the edge details of the image, and and then reduce the setting slightly.

Dehaze

Controls the amount of brume in a photograph. Drag to the right to remove brume; elevate to the left to add haze.

Dehaze is also available as a local adjustment. While working with the Radial Filter, Graduated Filter, or the Aligning Brush, adjust the Dehaze slider command. For more than information, see Employ local adjustments and Use the Radial Filter tool.

Vibrance

Adjusts the saturation then that clipping is minimized as colors approach full saturation, changing the saturation of all lower-saturated colors with less effect on the higher-saturated colors. Vibrance also prevents skin tones from becoming over saturated.

Saturation

Adjusts the saturation of all image colors equally from ‐100 (monochrome) to +100 (double the saturation).

Video tutorial: Work with Clarity, Vibrance, and Saturation

Fine-tune the tonal scale using the Tone Curve panel

The graph in the Tone Curve console of the Develop module represents changes made to the tonal scale of a photograph. The horizontal axis represents the original tone values (input values), with black on the left and progressively lighter values toward the right. The vertical axis represents the inverse tone values (output values), with black on the bottom and lighter values progressing to white at the top. Apply the tone bend to tweak the adjustments you make to a photo in the Bones console.

Lightroom Classic CC Develop module Tone Curve panel — Editing the Parametric Curve in the Tone Curve panel

Editing the Point Curve in the Tone Curve panel — Editing the Point Curve for Blue Channel in the Tone Curve console

If a bespeak on the curve moves up, it becomes a lighter tone; if information technology moves downwardly, it becomes darker. A straight, 45-caste line indicates no changes to the tonal scale: The original input values exactly friction match the output values. Yous may meet a tone bend that isn't directly when you first view a photo that yous oasis't adjusted. This initial curve reflects default adjustments that Lightroom Classic applied to your photo during import.

The Darks and Lights sliders affect mainly the middle region of the curve. The Highlight and Shadows sliders affect mainly the ends of the tonal range.

To make adjustments to the tone curve, do whatsoever of the following:

Click on the curve and elevate up or down. Every bit you drag, the affected region is highlighted and the related slider moves. The original and new tonal values are displayed in the upper-left of the tone curve.
Drag any of the iv Region sliders left or right. As you drag, the curve moves inside the afflicted region (Highlights, Lights, Darks, Shadows). The region is highlighted in the tone curve graph. To edit curve regions, elevate the split controls at the lesser of the tone bend graph.

Click to select the Targeted Aligning tool in the upper-left of the Tone Bend panel so click on an area in the photo that you want to suit. Drag or press the Up and Down Arrow keys to lighten or darken the values for all like tones in the photo.
Cull an option from the Point Curve menu: Linear, Medium Contrast, or Strong Dissimilarity. The setting is reflected in the bend but not in the region sliders.

Note: The Signal Bend menu is blank for photos imported with metadata and previously edited with the Adobe Camera Raw tone curve.

To make adjustments to individual points on the tone curve, choose an option from the Point Curve menu, click the Edit Signal Curve button, and practise whatever of the post-obit:

Choose an option from the Channel pop-upward carte du jour. You can edit all three channels at once, or cull to edit the Ruddy, Green, or Blue channel individually.
Click to add together a betoken.
Right-click (Windows) or Control-click (Mac OS) and choose Delete Control Bespeak to remove a point.
Drag a point to edit it.
To return to a linear curve at any time, right-click (Windows) or Command-click (Mac OS) anywhere in the graph and cull Flatten Curve.

Video tutorial: Adjustments with the Tone Curve

Fine-tune prototype colors with HSL sliders

Use the HSL and Colour panels in the Develop module to adjust individual color ranges in your photo. For example, if a red object looks too vivid and distracting, you tin adjust it using the Saturation slider for Red. Note that all like reds in the photo will be affected.

The adjustments you lot make in the HSL and Color panels produce similar results, but the two panels organize the sliders in unlike ways. To open a panel, click its proper name in the HSL/Colour/B&W console header.

The slides in these panels work on specific colour ranges:

Hue

Hue adjusts the tone of each individual colour and changes the colour. For example, you lot can change a blue sky (and all other blue objects) from cyan to purple.

Saturation

Changes the color vividness or purity of the color. For instance, yous tin change a blue sky from grayness to highly saturated blue.

Luminance

Changes the brightness of the color range.

Make adjustments in the HSL console

In the HSL panel, select Hue, Saturation, Luminance, or All to display the sliders you want to work with.

Elevate the sliders or enter values in the text boxes to the right of the sliders.
Click the Targeted Aligning tool in the upper-left of the panel, move the pointer over an area in the photo that you want to conform, and and so click the mouse. Drag the pointer, or press the Upward and Downward Arrow keys to make the adjustment.

Make adjustments in the Color console

In the Color panel, click a color bit to display the range of colors you lot want to arrange.

Drag the sliders or enter values in the text boxes to the right of the sliders.

Accommodate the colour calibration for your camera

Offset with Lightroom Classic CC vii.iii (Apr 2018 release), the Profile option has been moved from the Scale panel to the Basic console at the top. For more than information, see Use a contour to your image.

Select a photo, and then set options in the Calibration panel.

Procedure

The process version corresponds to the version of Camera Raw in which the contour commencement appeared. Choose an ACR profile if you want consistent behavior with legacy photos.

Shadows

Corrects for any green or magenta tint in the shadow areas of the photo.

Red, Green, and Blue Chief

The Hue and Saturation sliders adapt the crimson, green, and blueish in the photo. In general, adjust the hue first, and and so conform its saturation. Moving the Hue slider to the left (negative value) is like to a counterclockwise movement on the colour cycle; moving it to the right (positive value) is like to a clockwise move. Moving the Saturation slider to the left (negative value) desaturates the color; moving it to the right (positive value) increases saturation.

Salvage the adjustments as a Develop preset. Run into Create and use Develop presets.

You can employ this preset to other photos taken with the same camera, under similar lighting weather.

You lot tin can also customize camera profiles using the standalone DNG Contour Editor utility. The gratis DNG Profile Editor and documentation for it are available for download at DNG Profiles - Adobe Labs.

Leave the Photographic camera Calibration panel sliders ready to 0 when adjusting camera profiles with the DNG Profile Editor.

Save default settings for cameras

You tin can save new camera raw defaults for each camera model. Change preference options to make up one's mind whether the camera serial number and ISO settings are included in the defaults.

Open Presets preferences, and so select whether yous want the camera serial number and the photographic camera ISO setting to be included in the defaults.

In Develop module, select a raw file, change settings, and choose Develop > Fix Default Settings.

Choose Update To Current Settings.

In Presets preferences, yous can choose Reset Default Develop Settings to revert to the original settings.

Work in grayscale

Convert a photograph to grayness tones

Blackness & White Mix in the B&W panel converts colour images to monochrome grayscale images, providing control over how individual colors convert to grey tones.

Catechumen the photograph to grayscale past selecting Black & White in the Treatment surface area of the Basic panel or past pressing Five.

Adapt the photograph's tonal range using the settings in the Bones and Tone Curve panels.

In the HSL/Color/B&W panel, darken or lighten the gray tones that represent colors in the original photo.

Drag the individual color sliders to conform the grey tone for all similar colors in the original photo.
Click Auto to set up a grayscale mix that maximizes the distribution of greyness tones. Automobile often produces excellent results that can exist used as a starting point for tweaking grayness tones using the sliders.
Click the Targeted Adjustment tool in the upper-left of the B&W panel, move the pointer over an area of the photo you lot want to adjust, and click the mouse. Drag the tool, or press the Upward and Downward Arrow keys, to lighten or darken the grays for all similarly colored areas of the original photo.

To apply grayscale mix automatically when converting photos to grayscale, select the Apply Motorcar Mix When Start Converting To Black And White in the Presets surface area of the Preferences dialog box.

Tone a grayscale photo

Use the colour wheels in the Color Grading console to colour a grayscale photo. You can add one color throughout the tonal range, such equally a sepia effect, or create a split tone effect in which a unlike colour is applied to the shadows and the highlights. The extreme shadows and highlights remain black and white.

You lot can also employ special furnishings, such as a cross-processed look, to a color photograph.

Open a grayscale photo in the Develop module.

Select Colour Grading from the console on the correct.

In the Color Grading panel of the Develop module, adjust the Hue and Saturation for the Highlights, Midtones, and Shadows. Hue sets the color of the tone; Saturation sets the strength of the event.

Color Grading

Adjust theBlendingslider to prepare the amount of overlap between shadows and highlights. Drag the slider towards the correct to maximize the overlap and drag it left to minimize the overlap.

Set theRemainderslider to balance the effects of highlights, midtones, and shadows. Values greater than 0 will increment the effect of the highlights, values less than 0 volition increase the effect of the shadows.

Press the following keys while dragging on the color wheel to become into unlike modes:

Alt (Windows)/Option (macOS): Fine Adapt mode. It gives more control to fine tune Saturation and Hue.
Shift: Saturation only mode.
Ctrl (Windows)/Command (macOS): Hue just mode.

You can too accommodate the Hue and Saturation past using the following keyboard shortcuts while hovering over the color wheels.

Keyboard shortcut	Outcome
Option/Alt + Upward	Increase Saturation past 1
Option/Alt + Down	Decrease Saturation by one
Option/Alt + Shift + Upwards	Increment Saturation by 10
Option/Alt + Shift + Down	Decrease Saturation by x
Selection/Alt + Left	Increment Hue by i
Option/Alt + Right	Decrease Hue past 1
Choice/Alt + Shift + Left	Increase Hue by 10
Selection/Alt + Shift + Correct	Decrease Hue by 10

Piece of work with single-channel grayscale images

Grayscale mode images from Photoshop take no color data, but you lot can brand tonal adjustments to them in Lightroom Classic using the tone adjustments in the Basic panel or Tone Curve panel. You can also apply color toning furnishings using the options in the Colour Grading panel. Lightroom Classic handles the photo as an RGB prototype and exports it as RGB.

Video tutorial: Work with B&W adjustments

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Source: https://helpx.adobe.com/lightroom-classic/help/image-tone-color.html

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