In this series of featured videos, you're going to learn how to use smart objects in Photoshop to boost your photography workflow.
In this video, you will learn how to fix ghosting in Photoshop by clever layer masking, blending and cloning.
In this video tutorial, I will show you how to create a perfect sky selection even in difficult cases, using Channels, Levels and an Overlay Brush.
Photoshop' content-aware tools are incredibly powerful whenever you need to push pixels around. In this series of featured videos you'll learn it all.
In this video tutorial, I'm going to show you how to apply noise stacking to your HDR workflow. This will enable you to shoot hand-held at high ISO settings and come away with clean images without applying a high dose of noise reduction in post-processing.
In this excerpt from my Ultimate HDR Master Class 2017, I am showing you a method that I call 'double masking' to blend two exposures manually.
You may put many hours into editing an image to get everything perfect in Photoshop. But once you export and upload it to the web, you may be shocked to see that the colors are all wrong, the sharpening is too strong, and it just does not look good at thumbnail size. Sounds familiar, eh? In this video tutorial, I will show you how to get a live web preview of the images you edit in Photoshop. You can also download the tools I created to achieve that.
In this video tutorial, I am going to show you how to use any sharpening method (including your own favorite one) and make it non-destructive so that it works in exactly the same way as High-Pass sharpening but with much higher sharpening quality.
In this tutorial, I will show you a very effective workflow for reducing the noise in your images using Topaz DeNoise 6. Topaz Labs have released the latest version of their noise reduction software recently. And while they did not update the core noise reduction functionality over the previous version, it is still one of the best if not the best noise reduction software out there.
Adobe Camera Raw (ACR) is the first stop in your raw workflow when you bring a raw image into Photoshop. Did you know that this little application has the exact same raw image editing features as its much bigger brother - Lightroom? If you are not already doing it, you should start using this power. One example where ACR can really serve you well is input sharpening and noise reduction. In this video, I'll show you how to use ACR's noise reduction and sharpening capabilities to prepare an image before you bring it into Photoshop for more complex processing work.
Editing images in Photoshop involves a lot of masking. For example, you'll have to create layer masks for adjustments that you want to confine to a specific region of your image. Creating those masks can be a long and tedious process. In this video, I'll be showing you how to build on the masks that you already have in your Photoshop project to create a new mask for other areas very quickly. This can really speed up your Photoshop work and lets you spend more time on the fun part.
When you work on an image in Photoshop, are just doing things spontaneously and intuitively, or are you planning your work? If you don't have a goal, you can never reach it. That's also true for photo editing. Creating a piece of art from a photo can be a complex process that requires you to take lots of decisions along the way. Doing some prior planning can help tremendously with this process. In this article, I will show you briefly how I go about analyzing my images before I start processing them. Then, I'll give you a list of things to look out for when you do the planning for your own images.
If you're editing a raw image file in Photoshop, your first stop in most cases is Adobe Camera Raw (ACR), Adobe's raw development software for Photoshop. In a typical workflow, you will apply some basic adjustments to your raw image in ACR before you send it from ACR to Photoshop to create more complex, layered adjustments. Both ends are pretty well understood and documented in thousands of online tutorials. But what is the best way to transfer the image from ACR to Photoshop? It turns out that there are a few things you have to consider in this process. In this video tutorial, I'll show you how to set up ACR such that you can bring your images into Photoshop at the highest possible quality and to allow for a fully non-destructive workflow that also enables you to go back to ACR and change your settings there at any time.
Creating a perfect selection of clouds in Photoshop can be a real challenge. They're fuzzy and have no well defined edge in most cases. How do you create a good selection (or layer mask) in this case, for example, in order to process the blue sky and the white clouds differently? In this video tutorial, I'll show you a technique for achieving this. We will use Photoshop's Channels panel to create a base mask. Then I will use the Brush tool in overlay mode to work on the mask and make the blue sky parts darker and the clouds brighter. Bit by bit, we will get a perfect mask that allows us to apply selective editing to the sky.
In landscape photography, you often need to process the sky separately from the rest of your image, for example to give it more color and definition. But selecting the sky in a complex scene can be really difficult. You have to deal with all kinds of objects that you need to exclude, like trees that create extremely complex shapes. In this video tutorial, I'll show you how to create a perfect selection of the sky in these situations using Photoshop's Channels palette.
When you photograph into the sun, you often have areas in your image that lack color and look washed out due to the sun overpowering those regions. Getting the color and saturation back in those areas can be quite hard. If you simply increase the saturation, you'll get a wash of colors that do not resemble those that you saw at the actual scene. In this video tutorial, I'll show you how to use a Photo Filter layer in Photoshop to bring back color into theses regions. This technique also works in other situations where color is lacking in some areas of your image.
Enhancing the details in your images is one aspect of your editing work that Photoshop traditionally does not excel in. That's why numerous plugins have been created that you can use from within Photoshop to increase mid-tone contrast and enhance the edges in your image. In the video below, I'll be showing you a simple technique for doing this right from within Photoshop without requiring any plugin. This technique gives you lots of control over the details in your images without having to buy, install and fire up a plugin each time. You also get to change the strength of the effect in isolation, independently from the rest of the pixels which is a big bonus over the use of plugins that typically create an entire new image layer with the effects backed in.
Creating an interior panorama does not only require great precision when you shoot the source images - it also requires some advanced techniques for stitching and post-processing the final panorama image. The close proximity of the different elements in the interior to your lens and the geometry of most interiors reveal even small mistakes in this process. In this video tutorial, I will show you how to correct these mistakes by using powerful techniques for transforming and cropping your final image. You will learn how to create perfect interior panoramas - images that you can be proud of. The techniques will even work for single images.
Blending selective adjustments into an image in Photoshop is one of the key skills you need to master. But what are the tools and techniques you need to really control the area and the intensity of an adjustment you blend in? In this video tutorial, I am going to show you a simple and yet powerful technique to gently blend in any adjustment layer and give it just the right strength. I am going to use a Quick Selection and the Brush tool to brush in a Curves layer in a very controlled way.
There are a thousand ways to create a layer mask in Photoshop. Many of them will yield a gray-scale mask with many shades of gray, and it can be a bit difficult to get the contrast of such a mask just right so that you have solid black where you want to hide the layer and solid white where you want to reveal it. In this excerpt from my Mask It Like a Pro! video course, I will show a neat little trick that allows you to get the perfect mask in such cases. I am using the Brush tool with Black and White as the color. The trick here is to set the mode of the brush to Overlay.