Toning / tinging an image with a color can mean very different things to different people, and can be done in Photoshop by a huge number of different techniques, tools, plugins, etc.
So, to try to avoid spending too much time playing around with all the different possibilities, when I realize that I need / want to do something like that, the first thing I do is try to be more specific about exactly what I want: So, assuming the tint is to appear throughout the entire image, not just some area that was selected, I then try to figure out if I want the tint to appear only in the highights (do I include pure whites in this?), only in the shadows (do I include blacks in this?), only in the mid-tones, do I want it to occur only in areas that are only weakly saturated, or only in areas that are strongly saturated, do I want to turn the image into a B&W and from there, into a duotone or tri-tone, or, might I want some combination of the previous possibilities, etc. etc. Once I have done the preceding analysis, my life is vastly simpler because then I can usually go right to the tools and techniques that I need instead of trying the zillions of different tools (and settings for each) to see which ones I like.
Anyway, I put together two GIF animations about this. The first illustrates the analysis process I favor; the second shows some of the tools that one might have to consider if you don't do a bit of analysis ahead of time.
BTW, my apologies ahead of time. It was a few hours between when I first read your post and when I constructed the GIF animations, and in that time, I forgot that you asked for a gold tint, and instead thought you requested a red tint. Anyway, by the time I caught my error, I had already spent time constructing the examples, and I wasn't about do it over, so, again, my apologies.
Of course, everyone has different ways of working and approaching a problem, so just regard this as my personal preference.
Method 1 - First, classify the goal on the basis of whatever visual, optical, and artistic fundamentals you think are important. Some examples are below:
Method 2 - Try to figure out which of the many, many different techniques for adding red to an image is the closest to what you want:
You're quite welcome. The examples I posted were not at all meant to be a solution for you, for this one particular case, but rather, a general way of thinking about such problems -- an approach based on visual analysis, not specific tools.
For example, in the image that you just posted as a goal / example, the first, huge clue is that there are no other hues than yellows and some traces of hues moving towards the red in your image, but the saturation of the gold tint does vary from point to point, becoming more saturated and more red hued in the darker tones. In addition, the contrast was carefully controlled -- probably much less than in the original, so that the sky wouldn't be blown out while preserving details in the shadows of the buildings.
These observations first tell me that whomever processed that image almost certainly desaturated it in an early step (...otherwise the natural hue variations of the actual scene would be present). He/she then adjusted the strength of the application of the gold tint between highlights, mid-tones and shadow areas and possibly use a local contrast reduction algorithm such as Topaz Adjust or Topaz detail to control contrast.
Anyway, applying the analytical approach to the considerably different image (ie, middle-of-the-day, stormy, no-man-made lights) that I used in my example, within seconds I came up with this:
Use a solid color fill layer with the gold color tone of your choice. When you add the layer it will come with a mask. Set the blend mode to color. You can adjust the fill amount and opacity to suit. With the layer mask you have your choice of painting in or painting out. To paint in, invert the mask. (this step is optional of course)
Great idea, Mike. It turns out that is *exactly* how I generated 3 of the 4 examples in my first GIF, "add color to the highlights", "add color to the shadow areas", "add color to the mid-tones", but I didn't want to just repeat them in my 2nd GIF, so I didn't bother putting the color gradient map techniques in the 2nd GIF.
They are indeed a very powerful and very easy method to use to do this sort of work.