Thank you ex Teacher for a wonder and detailed example.I just had a message on this exact same thing so I'll duplicate it and post here.
Turning a white vehicle into black is the worst. I almost didn't do it because of that
As you know its all about reflections and I tried to use the existing ones in the white. I started out cutting out the body shell, duplicating it and then processing it with curves or levels to turn the darkest 'whites; into very dark gray and the lightest 'whites ' into somewhat lighter darkish colors or tones as appropriates. At that point it was flat and I duplicated that layer and processed those two with differing localized contrast enhancement (camera RAW clarity +fiddling and a Topaz clarity to taste) striving to accentuate those tonal changes. I had a nose + the rest of the car then and processed another middle layer for the side door insert with the interesting reflection. That's actually overlaid by changing transparency.
My screen looked like this:
View attachment 122832That was V1 and I ended on V10 but the essence of the project was already there. The ensuing saves were cleanup and adding more substantive but fake reflections, The sky reflection in the rear quarter was borrowed from a black panel van and massaged in. The burn tool was my friend and used a lot .
Thank you Bruce...You are very welcome, Ray.
On the offside chance you didn't know this, please note the procedural layers with those little bent arrow thingies that point down. That's a clipping mask and my one example doesn't really show how much I used them in this particular project. As I see it, the key to success here is delineating highlights. The problem is that one area of the car required much different treatment than another but these pieces are all stacked. The clipping mask allows us to modify one layer without the layers below being affected. It makes for an incredibly powerful workflow and I'm surprised when someone is not using them.