How can you create and save presets in Lightroom?

In this article, I’m going to take you through the simple process, step by step. By the time you’re done, you’ll be able to confidently make presets of your own – and I’ll even show you how to make and apply import presets for high-quality, lightning-fast edits.

Let’s dive right in.

When should you create and apply Lightroom presets?

There are mundane edits in Lightroom that you should carry out on almost every photo.

And you can save time by creating presets that perform these jobs automatically upon import. That way, you don’t have to do editing later.

In other words: I highly recommend you apply presets to pretty much every photo you take.

(You can also apply presets during the editing process, but you’ll want to use these more sparingly.)

The fact is that RAW photos need edits to look good. And presets will help you do those edits faster than a standard editing workflow. Look at this unedited RAW file:

And look at it after applying a simple preset:

That’s what I’m going to teach you how to do in the next section:

Create a simple preset that you can apply upon importing. But note that you can use these instructions to create a preset of any type, whether you plan to apply it on import or not.

How to prepare a useful Lightroom preset: step by step

Now let’s take a look at the simple instructions for making a useful Lightroom preset:

Step 1: Open a photo in the Develop module

Start by selecting the photo you plan to use as your preset base. Open it in the Lightroom Develop module.

Hit the Reset button to zero out any existing settings:

(You may find it helpful to make a Virtual Copy of the photo first so you don’t undo any edits you have already made; you can do this by right-clicking on the image, then selecting Create Virtual Copy.)

Step 2: Set your Profile in the Basic panel

Next, you’ll need to pick a Profile. Think of this as a starting point or base layer, on top of which you’ll make all your edits.

So head up to the Basic panel and click to open the Profile fly-out menu:

Lightroom’s default Profile is Adobe Color, and this is where I often leave my photos – but if you’re a frequent landscape photographer, you might try Adobe Landscape, portrait photographers might try Adobe Portrait, and black and white photographers might try Adobe Monochrome. Really, it’s all about experimenting. Test out a few options and see what you like!

Remember that, even if you save a profile as part of a preset, you can always change it after applying the preset if you decide it doesn’t work for a particular shot.

(Also, note that your Profile options may vary depending on your camera, so if you can’t find one of the options I suggested, don’t worry; you probably have other cool Profiles to try out instead.)

If you shoot a number of different genres or in a number of different styles, or if you simply like several profiles, you might consider creating a preset for each one!

Step 3: Apply profile corrections and remove chromatic aberration

Most shots suffer from slight issues due to lens aberrations. The specifics depend on your lens, which is why Lightroom comes with profiles for a huge number of lenses:

So head down to the Lens Corrections panel and check Enable Profile Corrections:

If Lightroom offers a profile matching your lens’s make and model – and it almost certainly will! – the profile corrections will be applied automatically.

I’d also recommend checking Remove Chromatic Aberration, which will get rid of fringing (which you pretty much always want to do!).

Step 4: Make sure the Basic panel is ready to go

Now it’s time to look at the Basic panel. Make sure the white balance is set to As Shot:

And make sure all the other sliders are zeroed:

If you’re a fan of Lightroom’s automatic settings, you can hit the Auto button. This will automatically set the exposure, contrast, highlights, shadows, whites, and blacks, along with the vibrance and saturation. I don’t do this myself, but if it’s helpful to you, then go ahead and try it!

Also, if you shoot a mix of color and black and white, consider creating one preset for color photos and a second preset for black and white shots. Simply set the Treatment to Black & White:

Creating a preset in Lightroom

Now it’s time to actually make a Lightroom preset. The process is extremely simple:

Step 1: Click the Create Preset option

Make sure you’re in the Develop module, then click the Plus icon next to the Presets panel:

And select Create Preset:

Step 2: Determine which settings should be a part of your preset

The New Develop Preset window should come up:

Give your preset a name and select a folder to save it in:

Then select the settings you’d like to save as your preset. Hitting Check All works fine if you’re creating the preset I discussed above – though if you’ve decided to create a more targeted editing preset, you may want to only check certain boxes.

Step 3: Hit Create

Finally, once you’re ready to save your preset, press Create:

And that’s it! It’s a simple process that doesn’t take very long and can save you a lot of time when importing or editing your photos.

Applying presets upon import

To apply the preset you just created upon importing your photos, launch the Import window:

Then head over to the Apply During Import panel and set the Develop Settings menu to the appropriate preset:

(This is where creating several presets helps saves time, as you can pick the best preset for the photos you are importing.)

Then, when you click the Import button, Lightroom applies the settings from your selected preset!

Adding copyright info

While you’re in the Import window, it’s worth setting up another preset to automatically add copyright information to photo metadata upon import.

So go to the Metadata menu in the Apply During Import panel and select New.

Lightroom will open the New Metadata Preset window, where you can add information such as your name and copyright details:

So give the preset a name, then click the Check Filled button (so the relevant boxes are checked as you go along):

Under IPTC Copyright, set Copyright Status to Copyrighted and fill in the other fields appropriately (my entries are shown below).

Under IPTC Creator, add your name, website, email address, and any other appropriate details. Personally, I leave out my address – I move around a lot so it’s constantly changing (plus identity theft is a risk).

Click Done when you’re finished. Then, when you import photos, simply select the preset from the Metadata menu:

How to create your own Lightroom presets: your turn

Hopefully, you’re now ready to create Lightroom presets of your own (and you have some ideas for useful presets).

That way, you can save time and speed up your workflow!

Now over to you:

What kind of presets do you plan to create? How do you plan to use them on your photos? Share your thoughts in the comments below!

The post How to Create Your Own Lightroom Presets (Step By Step) appeared first on Digital Photography School. It was authored by Andrew S. Gibson.

Looking for Lightroom tips and tricks to improve your workflow, increase your speed, and enhance your edits? You’ve come to the right place.

I’ve been using Lightroom for over a decade, and in this article, I share my top advice for amazing results, including:

• The panel that everyone should use for beautiful, artistic edits
• An easy way to apply complex edits at high speeds
• The best tools for creating fine-tuned, professional effects

Let’s do this!

1. Create color harmonies using the HSL panel

If you’ve never worked with the Lightroom HSL panel, then you’re in for a treat. It’s a little option hidden underneath the Tone Curve that looks like this:

The panel works by targeting different colors independently. You can choose to tweak only the reds in an image; you can brighten only the greens; you can desaturate only the blues. You simply pick the corresponding color slider, then make the necessary adjustments.

Note that the HSL panel lets you adjust colors in three specific ways. You can:

1. Change color hues. You can make the reds more orange, the purples more pink, or the blues more green.
2. Change color saturation. You can make the blues more faded or the reds more intense.
3. Change color luminance. You can brighten up the greens, darken down the blues, or brighten up the yellows.

When you’re just starting out, I’d recommend simply experimenting with the different sliders until you get an effect that you like, but here are a few ideas to try:

• Remove all the cool colors from an image for a warm, cinematic look
• Saturate the color of the main subject while desaturating the colors in the background
• Push several different colors in the same direction for a simpler color palette (and a more harmonious result)

This image, for instance, features a warm color palette (which can be achieved by desaturating blues, greens, and magentas:

2. Try the automatic slider adjustments

Sometimes, it can be hard to know how to start (or continue) a Lightroom edit.

In such cases, I recommend a simple little trick:

Hold down the Shift key, then double click on the sliders in the Basic panel. Lightroom will analyze your image, then apply adjustments automatically.

No, the edits won’t always be perfect, but they often look nice – and if you hate the result, you can always double-click on the slider name to set it back to zero. Plus, you can always use the automatic settings as starting points, then edit from there.

By the way, if you want to see all of Lightroom’s automatic edits at once, just click the Auto button above the Exposure slider:

It’ll instantly adjust the sliders in the Basic panel!

Now, these automatic adjustments don’t work for all Lightroom sliders. They won’t work outside the Basic panel, and they won’t work on the Texture, Clarity, and Dehaze sliders.

But you can use it to automatically adjust the white balance, the exposure, the contrast, and even the saturation – so why not give it a try and see what you think?

3. Use the clipping masks (or the clipping warnings)

Clipping refers to a loss of detail in the highlights and/or the shadows of an image – and in general, clipping is pretty bad.

Unfortunately, it can be difficult to tell whether you’re actually clipping details while editing, and it’s possible to exacerbate clipping issues by pushing your sliders too far without realizing it. You can always keep an eye on the histogram, but it can be difficult to interpret, especially for beginners.

Fortunately, Lightroom has a solution: The clipping masks, which clearly indicate clipping in real-time.

Before you adjust the Exposure, Highlights, Shadows, Whites, or Blacks slider, simply hold down the Alt/Opt key. Then, when you increase or decrease the sliders, you’ll see a white or a black overlay, like this:

A mask that reveals zero clipping will be all white or all black. But a mask that shows some clipping will change colors over the problem areas:

(Note that, when adjusting the Blacks or the Shadows, clipping is indicated as color on white. On the other hand, when adjusting the Exposure, the Whites, or the Highlights, clipping is indicated as color on black.)

As long as you have no clipping, you’re good to go – but as soon as you start to see a loss of detail, you’ll want to dial back the intensity of your edits. Make sense?

One more quick Lightroom tip: If you want to identify clipping but you don’t want to spend time looking at the masks, you can always click the arrows at the top of the histogram:

This will activate the clipping indicators, which will cause clipped shadows to turn blue and clipped highlights to turn red:

4. Use the copy-paste shortcut to speed up your workflow

Say you’re editing a large volume of photos from an event, a wedding, or a portrait photoshoot. You need to move through the photos quickly, so you don’t want to edit each file individually.

You could create presets, but each one takes time to produce, and if the presets are photoshoot-specific, you may never use them again.

Instead, why not use Lightroom’s copy-paste option?

You see, after you edit an image, you can always select Edit>Copy (or press Ctrl/Cmd+C). A window will pop up, asking you which settings you want to copy:

Then, once you’ve chosen the relevant settings, select your to-be-edited photos, then choose Edit>Paste (or press Ctrl/Cmd+V).

The settings from your original photo will be pasted onto the selected images, and your editing work will be done!

This can be a great way to handle complex photoshoots. For instance, if you captured images in multiple types of light, you might edit the first front-lit image, copy the settings, and paste them across all the remaining frontlit images. You could do the same for the backlit images, the shaded images, and so on – and if you require even more control over your results, you can make slight adjustments to your settings as you go, then copy again and paste as required.

I do have one recommendation, though:

Even if you think you’ve done a successful copy-paste job, quickly go through the edited images and make sure everything looks okay. You don’t want to send images to a client, only to realize that you cropped all the files by accident!

5. Use Lightroom’s local adjustment tools

Lightroom offers a handful local adjustment options – referred to as masking tools – and they are insanely powerful. You can find them toward the top of the editing panels, just underneath the histogram:

Unlike global adjustments, which affect the entire image, local adjustments only change a portion of a file.

So while you can brighten up an entire image using the Exposure slider, you can brighten up just the foreground using a local adjustment; while you can sharpen the entire image using Lightroom’s Detail sliders, you can sharpen only the main subject using a local adjustment. They’re a great way to create fine-grained, detailed edits that add depth, enhance color, and push the viewer’s eye toward the main subject.

I like to use local adjustments for all sorts of things, but here are a few ideas:

• Use a Radial Gradient to add a vignette (i.e., a darkening effect) around the edges of the frame
• Use a Radial Gradient to boost the exposure of the main subject
• Use a Linear Gradient to decrease the exposure and increase the contrast in the sky
• Use a Linear Gradient to darken the foreground

Really, when it comes to local adjustments, the sky is the limit. Feel free to use the suggestions I provided above, but also make sure you experiment. That way, you’ll get a deep sense of how the masking tools work and what they can do for your photos!

Lightroom tips and tricks: final words

Well, there you have it:

Five tips to take your Lightroom editing to the next level.

So try out these suggestions. See how you like them. And let us know in the comments how they work out!

The post 5 Lightroom Tips and Tricks (to Revolutionize Your Editing) appeared first on Digital Photography School. It was authored by Kunal Malhotra.

Photo editing is simpler than ever thanks to the power of a graphics tablet! Explore our top 10 tips to level up your skills.

If you’re just getting started with post-processing and retouching, you’re probably using a mouse and keyboard combo. You can get by with this setup, sure. But when the tasks become more intricate, the precision required can make the process pretty tedious.

That’s where a graphics tablet, like those from Wacom, comes into play. With a tablet, you can gain a whole new level of control and precision. You might even find that your editing workflow gets a significant speed boost.

Using a graphics tablet for photo editing can be pretty intuitive. Unfortunately, you might stumble a bit when it comes to the subtler aspects – but don’t fret, because this article will arm you with handy tips to help you unlock your tablet’s full potential.

Let’s dive right in!

1. Set up your tablet carefully

Your first order of business? Setting up your graphics tablet the right way.

While many devices come with a plug-and-play feature and seem to work as soon as you plug them in, for graphics tablets, that’s not the whole story.

Truth be told, you might be able to use the pen, but the full functionality of your tablet isn’t unlocked until you install and configure the necessary software. Make sure to install all relevant drivers for your tablet, and if it comes with a software suite, explore all the options to optimize it to your liking.

Your tablet might seem fully functional without any software, but trust me: If you don’t want to miss out on any features, installing the provided software is crucial.

Over time, your preferences may evolve. If you feel that something could be improved, dive back into the software settings. There might be a solution to your issue just a few clicks away.

2. Program those shortcut buttons

Once the basic setup is done, it’s time to turn your attention to the shortcut buttons.

The number of programmable buttons on your graphics tablet can vary based on the model. The budget-friendly ones might have only a few, while the pricier ones could be dotted with buttons.

How to customize these buttons is completely up to you. A smart approach is to reflect on your usual photo-editing workflow. What actions do you perform the most? Which of these could be executed more conveniently with a simple button click?

Once you’ve figured that out, setting up the buttons to suit your preferences is a breeze.

Remember, you have complete control over your shortcut button configurations. Make them work for you, not the other way around.

I’ll be honest, I don’t find myself using the shortcut buttons all that much. The only one I find handy is for rotating the canvas. You might feel the same, and that’s perfectly okay. Don’t feel pressured to use something that doesn’t mesh with your style or needs.

3. Learn keyboard shortcuts

Even when you have a graphics tablet at your disposal, the keyboard remains a crucial partner in crime, especially when you want to speed up your workflow with quick keyboard shortcuts. Make it a point to read through each and every shortcut offered by your favorite editing program, write down the most useful ones, and ideally commit them to memory.

You might be wondering: If you have a graphics tablet for photo editing that features a handful of programmable buttons, why are keyboard shortcuts necessary at all?

Whether you work in the world of Lightroom, Photoshop, or other editing software, there’s such a rich array of features that it’s impossible to map all their functionality onto a few buttons. This is why it’s worth your while to program a few buttons, then spend time learning as many keyboard shortcuts as you can – particularly the ones that align with your usual editing workflow.

Admittedly, using a stylus in one hand and tapping keyboard shortcuts with the other might seem a little odd to begin with. But go ahead and persevere; you’ll soon find that it’s not as daunting as it first appears.

4. Understand the magic of “undo”

Among all the keyboard shortcuts at your disposal, there’s one you likely lean on more than any other. That’s the “undo” function, which reverses your last action and can be accessed by hitting Ctrl+z (or Cmd+z)

A pen enables you to make precise strokes, but just like sketching, not every stroke will turn out exactly as you want on the first go. There’s absolutely no harm in hitting “undo” repeatedly until you achieve the result you’re after. So get familiar with the Ctrl+z (or Cmd+z) and Ctrl+Alt+z (or Cmd+Alt+z) shortcuts.

If it makes your life easier, you could even set up this function as a shortcut button on your tablet.

5. Customize your brush settings

When you bring a graphics tablet into your photo editing journey, you also unlock some nifty features in Photoshop that were previously off-limits.

The brush settings – and more specifically, the pen pressure settings – are arguably the most impactful of these. By activating these, you gain the ability to control the brush pressure simply by varying how hard you press down on the tablet.

For instance, if you have the “Always Use Pressure for Size” option selected, your brush size will vary in accordance with the force you apply with the pen.

If you’re using the opacity option, a light touch will result in a low-opacity brush stroke. Activate both settings, and the effects become compounded.

Mastering the pressure settings is, in my opinion, one of the most powerful advantages of using a graphics tablet for photo editing. In fact, in isolation, these settings provide a compelling case for using a tablet if you’re still unsure. My advice? Get well-acquainted with these settings – they will shape your graphics tablet editing experience.

6. Try tilting brushes

Don’t be surprised if you find yourself rarely using tilt-sensitive brushes for photo retouching. But, hey, they’re there, so why not get acquainted with them? You don’t want to accidentally stumble onto these tools and suspect a malfunction in your tablet.

A charcoal pencil brush, for instance, reacts based on how you position your pen. All the lines you see below were crafted simply by altering the pen’s hold, all while keeping the pressure settings at zero:

In other words, these tilt-sensitive brushes change their shape and texture based on your pen hold, mimicking how an artist varies their brush or pencil strokes. It’s a playful feature to experiment with. If you manage to incorporate it into your photo editing process, well, that’s quite a bonus!

7. Explore digital art tutorials

Using a graphics tablet for retouching can feel both intuitive and bafflingly counterintuitive. If you have some art experience, you’ll likely find it easier to adapt. But if you’re like me – with zero art background – do yourself a favor and spend some time watching digital painting tutorials.

The most beneficial types of tutorials to seek out include:

• Drawing lines: These exercises are about mastering control over your stylus and familiarizing yourself with your tablet’s pressure sensitivity. They’ll help you make more precise movements, ultimately enhancing the quality of your output. Watching these tutorials and practicing line drawing will boost your confidence and experience with your tablet.

• Rendering: Digital painting tutorials that focus on painting with values can be highly useful, especially when you want to apply techniques like dodging and burning. These methods will improve your blending skills and encourage more controlled adjustments.

8. Practice with your graphics tablet stylus

You’ve watched the tutorials. Great! Now, it’s time to roll up your sleeves and get your hands dirty.

Set up a blank canvas and work on those brush strokes using different pressure settings. This is the key to mastering your tablet quickly.

Similarly, it’s essential that you practice blending values, especially if you plan to incorporate certain retouching techniques into your workflow. Practice relentlessly, both within and beyond the scope of retouching.

Bottom line: Don’t stop at watching the tutorials. Practice fervently, and make it a point to revisit these exercises periodically. Regular practice is your golden ticket to becoming proficient with your tablet.

9. Warm up before you start

This one is entirely optional, but if you’re feeling stiff and not getting the results you want, you can borrow another technique from traditional artists and do some warm-up exercises.

You don’t need anything fancy here. Just fire up Photoshop, open a blank canvas, and spend a few minutes – say two or three – honing your line work and rendering, or any other skill you plan to use in your editing session. Simple yet effective!

10. Practice, practice, practice!

How do you truly master your graphics tablet? The answer’s as old as time: practice! And then practice some more.

Every skill in life demands repetition and patience, and using a graphics tablet is no different. The more you use it, the better you’ll get. So don’t hold back. Dive in and start racking up those hours. The early hiccups you encounter will soon be a thing of the past.

How to use a graphics tablet for editing: final words

There you go: 10 nuggets of wisdom to guide your journey into the world of photo editing with a graphics tablet. I didn’t share anything too complex, but you’ve hopefully found a tip or two to help you get off to a good start.

So remember the advice I’ve offered, set up that tablet, and have fun. A graphic tablet genuinely can revolutionize your editing workflow; you just have to be open to it!

Now over to you:

Do you have any additional tips or tricks for using a graphics tablet? Share your thoughts in the comments below!

The post How to Use a Graphics Tablet to Edit Photos: 10 Powerful Tips appeared first on Digital Photography School. It was authored by John McIntire.

The Photoshop twirl effect is a cool editing trick that can turn bland images into abstract art. Even if you haven’t heard of it by name, I’m sure you’ve seen it around – it’s very popular among Photoshop lovers.

But how does it work, and how can you apply it to your own photos? In this article, I explain how to create a twirl effect in Photoshop, and I also offer several tips and tricks to ensure you get the best possible results!

Let’s dive right in.

What is the twirl effect?

The twirl effect is a post-production technique that stretches and “twirls” an image, like this:

In this article, I focus on creating the twirl effect in Photoshop, but note that it’s not a PS-exclusive technique; you can apply it using a variety of comprehensive editing programs.

During the process, your image loses all detail and figurative references. First, you turn your photograph into an abstract scene formed by colored lines, which you then warp to create a twirl effect.

When is a twirl effect useful?

The twirl effect is a great way to achieve dreamy, abstract art, no matter the underlying image. I’d recommend using it whenever you’re looking to create some digital artwork; while the result won’t look natural, it’s often quite spectacular!

One of the good things about this technique is that you can apply it to pretty much any photo. You might have a few images lying around that, on their own, are nothing special. Perhaps they aren’t technically correct – for example, they’re blurry. However, by applying the twirl effect, you can create something beautiful.

How to create a twirl effect in Photoshop: step by step

It’s very easy to create the twirl effect, even if you have zero editing experience! Simply follow these steps and experiment with each filter until you get a solid result.

Step 1: Select and open your photo

Start by opening a photo in Photoshop. It doesn’t matter which image you use – the twirl effect can be applied to any subject or composition. And if you’re struggling to decide between a few different shots, why not try them all?

Step 2: Prepare a second layer

Next, you’ll want to duplicate the background layer (i.e., your photo). Drag it to the plus sign at the bottom of the Layers panel or simply choose Layer>Duplicate Layer in the menu.

Then convert the new layer to a Smart Object. You can right-click the layer and choose Convert to Smart Object, or you can choose Filter>Convert for Smart Filters.

That way, you can go back to each filter later on and make adjustments again without having to start over.

Step 3: Add a Mezzotint filter

To create the twirl effect in Photoshop, you need to apply a series of filters to your image. The first one is Mezzotint.

In the main menu, choose Filters>Pixelate>Mezzotint. This will open a dialog box. Beneath the preview window, you can open the Type menu and pick your preferred type.

At this point, choosing between the different types won’t make much sense unless you’ve done the twirl effect before. So don’t worry too much about it. You can also come back and change it once you’ve applied the next filters because you converted the layer into a Smart Object.

In this case, I’m using the Medium Strokes type, but don’t feel that you have to do the same.

Step 4: Apply the Radial Blur filter

The next filter you need to apply is a Radial Blur, so head into the menu and select Filters>Blur>Radial Blur.

In the dialog box, set the Blur Method to Zoom. As for the Quality: You can choose Draft to speed things up, or you can use Good or Best if the file isn’t too big. At this point, you still have to apply more filters, so it’s not a problem to keep the value as Draft.

I’d suggest setting the amount to 100. You can always come back later and experiment with different numbers to see how they influence the final effect.

Then add the Radial Blur filter again. When you open the Filters menu, you’ll find the last filter you used at the top, so go ahead and select it:

The Radial Blur dialog box will open once more, and it should feature the same settings as before. Simply click OK.

Finally, apply the filter a third time, but make sure you change the Quality to Best:

Step 5: Add the Twirl filter

At this point, your photo should be looking pretty abstract, which means it’s time to start the twirling process! In the main menu, select Filter>Distort>Twirl.

In the dialog box, boost the Angle slider to add the twirl effect. There isn’t a magic Angle value that works for every image. Simply move the slider until you like what you see in the preview window, then click OK.

Go ahead and duplicate your twirled layer using the same process discussed in Step 2.

Step 6: Modify the duplicated layer

Identify your duplicate layer in the Layers panel. Note that the duplicate layer will contain all the Smart Filters you’ve applied so far. So double-click on the Twirl filter to open its dialog box:

Drag the Angle slider to the left until you reach the negative of the number you previously chose. I used an initial value of 197, so I’ll use an Angle value of -197.

(Pro tip: To quickly reverse the value, just click inside the value box and type a hyphen before the number.)

Now the twirl should go in the direction opposite that of the first layer. Click OK to apply it.

Step 7: Adjust the layer blend mode

At this point, you should have two layers, each featuring opposite twirls. However, the top layer will be completely blocking the layer underneath, and we need both layers to interact.

Simply open the Blend mode menu on the Layers panel, then pick a mode! Feel free to experiment with different modes to create different effects (and if you’re using Photoshop CC, you can preview the result as you hover over different blending options).

And that’s it; your twirl effect in Photoshop is done!

Tips and tricks to improve your twirl effect images

Once you can create a nice twirl effect, try a few of these tips to improve your workflow and level up your results:

1. Create an action

Making the twirl effect in Photoshop is very easy. However, it does involve a handful of steps. If you want to streamline your workflow and quickly apply the effect to any photo, you can create an Action.

Start by opening the image you want to modify. Then open the Actions panel. At the bottom, you’ll find a Plus symbol; that’s the New Action button.

Choose a name and start recording. Then follow the steps shared above to create the twirl effect. Once you’ve finished, stop the recording.

The next time you want to apply the twirl effect to an image, simply play the Action and Photoshop will automatically follow all the steps.

2. Apply the mirror effect

The twirl effect is nice, but if you want to get even more creative, you can apply the mirror effect to your image. To do this, you flip the image and put it next to the original.

You can even create a variety of different copies of the image, each rotated and cropped, and blend them together. There’s no limit to your creativity!

3. Use a mask to reveal part of the original image

Another creative application of the twirl effect? Combine the twirled file with part of the original image. You’ll need to use a layer mask to cover and reveal the different parts. Here’s how:

Create a new Group with the two layers that have the twirl effect. You can do this by selecting the layers and clicking on the folder icon at the bottom of the Layers panel.

Make sure the Group is selected, then click on the Layer Mask button. You’ll see a blank thumbnail appear next to the folder. Here, anything that you paint in black will be covered up, revealing anything that lies below (on the original background layer).

So use the Brush tool to paint black over the layer mask and reveal the unmodified shot underneath. And if you mess up while painting, don’t worry; you can always switch to a white Brush and paint over the mistake.

How to create the twirl effect: final words

I hope you liked this twirl effect tutorial! It’s a great way to produce plenty of interesting abstract effects – and you can apply them to pretty much any image, no matter their original quality.

So spend some time adding the twirl effect to your photos. Maybe even create an action. Good luck!

Now over to you:

Do you have any twirl effect photos that you’re proud of? Do you have any tips or tricks for better results? Share your thoughts in the comments below!

The post How to Create a Twirl Effect in Photoshop: A Quick Guide appeared first on Digital Photography School. It was authored by Ana Mireles.

Lightroom is a fantastic program that’s designed for fast and efficient editing, but if you make all your adjustments using your mouse, you may notice that each little operation starts to add up – until you’ve spent hours upon hours moving your cursor, clicking the mouse, and more.

Fortunately, Adobe built in plenty of handy Lightroom keyboard shortcuts, all of which aim to make life easier for photographers and photo editors. Below, I share a few of the most critical shortcuts, which will allow you to speed up your workflow, improve your editing efficiency, and even access hidden features.

Ready to become a Lightroom shortcut expert? Then let’s dive right in, starting with:

1. Reveal all shortcuts

Lightroom offers dozens of shortcuts, many of which are difficult to remember – especially if you don’t use them often.

Fortunately, you can always tap Ctrl/Cmd+/, and a list will pop up that displays all of the shortcuts available in the current module. Therefore, if you’re working in the Library module, this shortcut will reveal the Library module shortcuts:

And if you’re working in the Develop module, this shortcut will reveal the Develop module shortcuts:

(Once you’re done with this article, I highly recommend you head into Lightroom and read through the shortcuts available for both the Library and Develop modules. You’re practically guaranteed to learn something new!)

When you’ve finished checking out your shortcut options, click anywhere on the list to hide it.

2. Tap “R” to access the crop function

This shortcut is a simple one, but it’s a big timesaver. Whenever you need to crop an image, simply head into the Develop module, then hit the R key. The crop overlay will immediately appear:

And you can get to work cropping your file!

Additionally, if you don’t like the direction of the crop overlay, just tap X, then watch as it’s rotated:

This can be especially useful if you’re trying to crop a portrait image with a landscape aspect ratio and vice versa because Lightroom automatically creates crop overlays that match the orientation of the image file.

3. Use the “/” key to resample the image

Lightroom has several healing modes, all of which can be accessed with the Q key. Each of these modes approaches the healing process – which replaces content from the image by sampling content from elsewhere in the image – differently.

The wonderful thing about the Lightroom Healing tool is that it’s quite good at guessing which part of the image it should sample to create a natural-looking result. It’s a great way to correct dust spots, unwanted facial blemishes, and distracting dirt or rocks on the ground around your subject.

However, despite the Healing tool’s impressive capabilities, it doesn’t do a perfect sampling job all the time. That’s where this shortcut comes in handy!

Start by selecting one of the healing modes and clicking on your image. If you don’t like the sampling choice, just press the / key, and Lightroom will choose a different area of the image to sample. You can repeat this as often as you like until you get a satisfactory result!

For this next (zoomed-in) image, I wanted to get rid of this distracting dark blob in the background:

However, Lightroom’s first guess didn’t really work:

I hit the shortcut key, Lightroom resampled the image, and the result was much better:

Pro tip: If you keep resampling the image and you can’t do any successful healing, you can always sample the file manually by using your cursor (though this does take longer than using the shortcut).

4. Use the “Shift” key to set the white and black points

RAW files often appear a bit flat, and an easy way to add some pop is by carefully setting a white and a black point – that is, by adjusting the Whites slider until the brightest tones stretch to the right side of the histogram, and by adjusting the Blacks slider until the darkest tones stretch to the left side of the histogram.

The process of setting the white and black point can be arduous – unless you know a handy little shortcut!

Normally, if you double-click on the Whites and Blacks sliders in the Basic panel, Lightroom resets them to zero. But if you hold Shift while double-click on these sliders, Lightroom calculates where to position both sliders so that the histogram stretches all the way from the left side of the graph (shadows) to the right (highlights):

This quick fix makes most photos look better right away!

5. Use the apostrophe key to invert a Linear Gradient

Lightroom offers an array of local adjustment tools, including the Brush, the Radial Gradient (formerly known as the Radial filter), and the Linear Gradient (formerly known as the Graduated filter).

The Linear Gradient allows you to apply natural-looking adjustments to a portion of the image, such as the sky or the foreground of a landscape, without modifying the rest of the scene. Normally, you would create a Linear Gradient (you can tap Shift+W to open the Masking panel), then drag it over the foreground or sky of your shot as you see fit.

But what if you want to reverse the direction of the effect? Just press the apostrophe key – ‘ – and the Linear Gradient will flip!

Here’s a great way to use this shortcut:

1. Create a Linear Gradient over the sky of a landscape. Drop the Exposure slider to darken that area.
2. Right-click on the Gradient’s pin. Select Duplicate to create a new Linear Gradient with the same settings as the first.
3. Press the apostrophe key to flip the Gradient. The negative Exposure setting will be applied to the foreground, but you probably don’t want to make the foreground darker; instead, double-click the Exposure slider to return it to zero.
4. Now you’re ready to use this new Linear Gradient to enhance the foreground. Boost the Clarity slider to emphasize foreground texture. You might also subtly darken the foreground by dropping the Exposure slider (which will help retain a sense of drama and depth).

Once you’ve made all the above adjustments, you’ll have a beautiful file modified by two Linear Gradients!

Lightroom keyboard shortcuts: final words

Now that you’ve finished this article, you’re ready to head into Lightroom, create some stunning edits, and speed up your workflow with these handy shortcuts.

So what are you waiting for? Get post-processing!

Now over to you:

Which of these keyboard shortcuts do you plan to use? Do you have any favorite shortcuts we missed? Share your thoughts in the comments below!

The post 5 Lightroom Keyboard Shortcuts Everyone Should Know appeared first on Digital Photography School. It was authored by Andrew S. Gibson.

What’s the easiest way to convert to black and white in Lightroom Classic and Lightroom CC? And how can you gain extra control over the conversion process so you can create beautiful black and white photos?

In this article, I explain everything you need to know about Lightroom black and white conversions, including:

• A simple, one-click method for quick conversions
• How to tweak your converted images using the B&W panel for pro-level results
• How to batch-convert dozens (or hundreds) of images in seconds

Ready to become a B&W master? Then let’s do this!

How to convert to black and white in Lightroom: the basics

In this section, I offer a quick method of converting your color photos to B&W in both Lightroom Classic and Lightroom CC:

Lightroom Classic B&W conversion

Lightroom Classic makes black and white conversions incredibly easy.

Start by opening your file in the Develop module.

Then simply click the Black & White option on the right-hand side, just above the Profile menu:

Your image will turn black and white, and – that’s it! – you’re done. This basic conversion process does a decent job, though I recommend you apply additional edits if you want the best possible results (as I explain below).

Lightroom CC B&W conversion

Black and white conversions in Lightroom CC are similarly simple.

Select a photo, then open the Edit panel.

Tap B&W, and your image will instantly convert. Again, for the best results, you should do further editing, which I explain in the next section.

How to convert to black and white in Lightroom: advanced options

Once you have a black and white image, you’ll need to carefully apply adjustments to really make your file shine.

Exposure and contrast edits

I’d recommend starting in your program’s basic editing panel; here, you can play around with the exposure, the contrast, the highlights, the shadows, and so on. (Note: These Lightroom Classic and Lightroom CC edits are essentially identical, so my instructions apply regardless of your software.)

Black and white images often benefit from a major contrast boost, so try increasing the Contrast slider until the different composition elements really pop. You might also try adding some Clarity to enhance the overall crispness – this is especially useful when working with architectural and street images, though you should generally avoid the Clarity slider when editing portraits – and if you want an extreme result, try cranking up the Dehaze slider.

I’d also recommend setting the overall Exposure slider so that your file includes plenty of detail. And move the Blacks, Whites, Shadows, and Highlights sliders back and forth until you get an effect you like. (A common edit is to reduce the Highlights and Blacks while boosting the Shadows and Whites, but it’s really up to you and will vary from image to image!)

At that point, you can call it a day – or you can continue down to the B&W panel (Lightroom CC calls this the B&W Mixer), which lets you do further fine-tuning.

The B&W panel

The B&W panel, also known as the B&W Mixer panel, is located below the basic editing options:

Using the Mixer, you can increase and decrease the brightness of specific colors in an image. By boosting the Orange slider, for instance, you brighten up areas of the black and white image that were previously orange; by dropping the Red slider, you darken down areas of the image that were previously red; and so on. This is pretty powerful, because it offers a ton of flexibility for adjusting image tones.

Now, I’d recommend two simple approaches here:

The first approach – and the most fun – is to simply move the sliders back and forth, one at a time, until you like the result. This is a great way to work as a beginner, and it can be useful for serious photographers, too.

The second approach is to identify areas of the image that should stand out, such as a portrait subject, a tree in the foreground, or a person walking through a street scene. Determine the corresponding color sliders, then brighten up those colors. (You might also darken down the background colors while you’re at it.)

So if you were editing an image of a yellow flower on a green background, you might boost the Yellow slider while decreasing the Green slider. Make sense?

Pro tip: If you want even finer control when working with color channels, you can use the targeted adjustment eyedropper (located next to the color sliders):

Select the dropper, then hover over the portion of your image you want to lighten or darken. If you drag upward, the relevant color channels will lighten – and if you drag downward, the relevant color channels will darken.

You can even see this reflected in the sliders, which you can further modify in the Mixer panel.

Keep in mind, however, that you shouldn’t push the sliders too far. Black and white images can generally handle pretty significant adjustments, but if you add major color shifts, you may introduce unwanted artifacts and halos into your files, like this:

The effect may be subtle, but it does matter, so I recommend you avoid it whenever possible. It’s a bigger problem with JPEGs than RAWs, but it can happen to both types of files. Always keep an eye out for issues, and always be prepared to dial back your edits as required.

How to convert multiple files to black and white

If you’ve taken several (or several hundred) photos you want to convert to black and white, then you have the option to batch-process the files.

Start by converting one file to black and white – you can make exposure, contrast, or even Mixer adjustments, too – then select Edit>Copy.

If you’re working in Lightroom Classic, you’ll see a Copy Settings window, where you’ll need to select all the edits you’d like to apply to your photos. If you only wish to do a simple black-and-white conversion, just check the Treatment & Profile option; if you wish to copy over contrast or B&W Mixer adjustments, check those boxes, too.

If you’re working in Lightroom CC, however, all adjustments from the first image will be copied automatically.

Hold the Ctrl/Cmd key on your keyboard and select the images you’d like to convert.

Finally, choose Edit>Paste, and all the images will convert to B&W!

How to convert to black and white in Lightroom: final words

Now that you’ve finished this article, you’re ready to quickly and effectively convert your files to black and white.

So head over to Lightroom. And do some high-quality editing!

What type of images do you plan to convert to black and white? Which adjustments will you make? Share your thoughts in the comments below!

The post How to Convert to Black and White in Lightroom (Quick Guide) appeared first on Digital Photography School. It was authored by Andrew S. Gibson.

Did you know that you can apply a watercolor effect in Photoshop to any image?

That’s right. You can make any photo look like it was painstakingly painted by hand, which comes in handy if you’re looking to create an abstract effect, or you’re hoping to liven up an otherwise bland image.

In this article, I’ll explain how it works (in simple language that even a Photoshop beginner can understand). I’ll also show you how to use a Photoshop action to create the effect, so you can do it with just a few quick clicks.

Ready to make your photos look like watercolors? Let’s get to it!

What is a Photoshop watercolor effect?

Most of us have done a watercolor painting at some point in our lives. Watercolors are often used by children because, unlike other types of paints, they’re not at risk of being drunk. (Why? Because they’re blocks of pigments bound together by a water-soluble ingredient. This means that the paints are solid – until you rub a wet brush on the pigment block.)

Now, unlike actual watercolor painting, the watercolor effect is done in Photoshop. It’s a post-processing technique that lets you make your photographs look like they were created using watercolor paints.

Not only is it safe, but it’s also easier than painting, and it’s very flexible. You can take full control over the results by proceeding through the steps I share below, or you can use an action, which is basically a preset that lets you automate the process.

When is it useful to create a watercolor effect?

This is an easy question to answer. You should create a watercolor effect whenever you want!

You see, making your photograph look like watercolor paint is a personal choice. Maybe you like watercolors but you don’t know how to paint. Perhaps you simply feel like experimenting with different techniques. Or maybe you just want to create a cool, painterly effect.

In summary, you don’t do the watercolor effect in Photoshop because it’ll help you achieve some other result down the line. You do it because you like how it looks!

How to create a watercolor effect in Photoshop: step by step

There are many ways to create a watercolor effect in Photoshop. For instance, you could go to the Filter Gallery inside Photoshop and choose the Watercolor option.

That’s an easy and quick solution. However, if you want your watercolor effect to look its absolute best, you should probably invest a little more time. The process I explain below is the one I like most. It gives great results, and it’s easy to follow and customize.

Before you start

Before you can create a watercolor effect, you’ll need to download watercolor brushes. For this tutorial, I’ve used the brushes offered by Adobe since they’re included in your Photoshop subscription and they’re easy to use.

To download the relevant brush, activate the Brush tool. Then click on the hamburger menu icon – on the Brush panel – to open the menu. Go ahead and select Get More Brushes…

This will launch the Adobe brushes websites. Click Download on the Watercolor package and save it on your computer. Then go back to Photoshop, open the Brushes panel menu again, and choose Import Brushes.

Then select the file you just downloaded and click OK.

You’ll also need a paper overlay to give your piece that authentic watercolor look. You can download one from many online websites. However, I found it easier to photograph a piece of watercolor paper and use that. Whatever approach you use, have this file ready when you decide to make your Photoshop watercolor effect.

Step 1: Open your photo and duplicate the layer

Start by bringing your photo into Photoshop, then duplicate the layer. This isn’t a step that changes the outcome of the watercolor effect, but I always like to do this so that I have an original version to revert back to if anything goes wrong.

You can do this by tapping Ctrl/Cmd + J. Then, because you’ll be working on the duplicate, turn off the background layer by clicking on the eye icon.

You can duplicate your layer – or revert back to the original layer – at any time. You can also turn the background layer on whenever you want. It won’t affect your work.

Step 2: Convert the layer to a Smart Object

Go ahead and convert the layer into a Smart Object; that way, all the filters you apply to that layer will become Smart Filters, and you can adjust them anytime you like (even once the filter effect has been applied).

To do this, just right-click on the layer and select Convert to Smart Object. Alternatively, you can select Filter in the main menu, then choose Convert for Smart Filters.

Step 3: Add the Dry Brush filter

As I mentioned earlier in this article, you can technically create a watercolor effect by choosing Filters>Filter Gallery>Artistic>Watercolor. But the result won’t look top-notch; instead, I’d recommend using a series of filters, starting with Dry Brush.

So in the menu, select Filters>Filter Gallery>Artistic>Dry Brush. Then move the slider until you like the result. Click OK.

Remember that, because you turned the layer into a Smart Object, you can always go back to adjust the sliders later on. So if you’re not sure you like the look you created, don’t worry!

Step 4: Add (and adjust) the Cutout filter

The next filter you need to apply is called Cutout. To do this, you’ll need to go back to the Filter Gallery, so select Filters>Filter Gallery. Be careful not to click on the first Filter Gallery on the menu:

Now, go to Artistic>Cutout:

Don’t worry if your image looks weird – you’ll need to change the blend mode to get the effect we’re after. So click OK.

Now go to the Layers panel and click on the icon on the right side of the second Filter Gallery effect:

This will open the Blending Options window; use the Mode dropdown menu to select Pin Light.

Now you can double-click the Filter Gallery layer to customize the filter if you want. Unfortunately, you can only see the filter effect without the blend mode in the Filter Gallery window, so adjusting the effect may take some trial and error.

Step 5: Blur the image

Next, you’ll need to create a blur effect. This won’t be found in the Filter gallery; instead, simply go to Filter>Blur>Smart Blur. Adjust the settings in the dialog box, and when you’re satisfied, click OK to apply.

Now change the blending mode to Screen. You’ll be able to open the relevant dialog box just like you did the last time: by clicking the icon next to the filter. Lower the opacity to whatever looks best.

Step 6: Apply the Fine Edge filter

The final filter is called Find Edges, which will mimic pencil traces that show through the watercolor. To apply it, go to Filter>Stylize>Find Edges.

Change the blend mode to Multiply and adjust the opacity to your liking.

Step 7: Add a paper texture

Now you’ll need to add a paper texture to make your watercolor effect more realistic. This is where the photo of the paper comes in handy.

You can add your paper overlay by choosing File>Place>Embedded. Alternatively, you can open the paper on a different tab and select Ctrl/Cmd + C and Ctrl/Cmd + V to copy and paste it into the relevant workspace.

Whichever technique you used, the paper photo should now appear as the top layer of your watercolor image. Be sure to adjust the size of the canvas so that the paper covers the entire image.

Go ahead and change the blend mode to Multiply using the dropdown menu in the Layers panel.

Step 8: Paint on the image

Go back to the layer with your watercolor image. Add a black layer mask (you can do this by clicking on the Add Layer Mask button at the bottom of the layer panel, then hit Ctrl/Cmd + I on your keyboard to fill the mask with black).

At this point, you’ll only see the paper. That’s because the black layer mask is hiding the image. You need to make it visible using white brushstrokes; by doing this right, the image will look painted on the paper.

So grab the Brush tool from the toolbox or enable it by hitting the B key on the keyboard. Go to the Options bar and choose one of the Watercolor brushes you downloaded at the beginning of this tutorial.

Start painting on the layer mask to reveal the image. Make sure you change the brush size often (you can also change the brush tip after a while). This will make the watercolor effect in Photoshop look more real (plus, it’ll look different every time!).

How to create a watercolor effect using Photoshop actions

As I explained above, an action is a way to automate a Photoshop process, very much like a preset. There are already many Watercolor Effect actions available for Photoshop, and they’re very easy to use. Simply download them, import them into Photoshop, and run the action.

Of course, you won’t get much control over the final result. That’s the trade-off; sure, you save time, but you lose customizability.

That said, some Photoshop actions do let you customize the effect slightly. It depends on the action. (And if you like the watercolor effect an action creates, you might not want to customize it!)

In case you want to try creating the effect using an action, I’ll quickly share a step-by-step explanation of how they work. (Note that I’ve already downloaded a cool watercolor action from Adobe.)

First, install the action. To do this, go to the Actions panel. Open the hamburger menu, and choose Load Action. Then, click on the action you downloaded; it should have an ATN file extension.

Once the action is loaded, you’ll find it listed in the Actions panel. If you’re using Adobe’s watercolor action, you’ll see it as a folder because it has two steps. However, if you’re using another action that only has one step, simply click Play and the watercolor effect will appear.

To use the Adobe action, open the folder and select the first step, called Setup. Click on the Play button to start:

Read the instructions and accept:

Select the subject as instructed. I’ll be using the Lasso tool, but feel free to use the tool of your choice. Then click on Watercolor Artist in the Actions panel and click Play:

And that’s it! Your image should now look like a watercolor. Note that the Adobe watercolor action leaves all the layers available for you in case you wish to make adjustments:

How to create a watercolor effect: final words

As you can see, applying a watercolor effect in Photoshop is not very difficult. You can use a filter, a handful of filters, or even an action – and once you’re done, all your favorite photos with look like gorgeous watercolor art.

You can also print the photos on watercolor paper and hang them around the house! So pick a few photos, then test out the watercolor effect. I bet you’ll like the results!

Now over to you:

Do you have any Photoshop tips for achieving amazing watercolor effects? Do you have any images using the technique that you’d like to share? Leave your thoughts in the comments below!

The post How to Create a Watercolor Effect in Photoshop (Step-By-Step Guide) appeared first on Digital Photography School. It was authored by Ana Mireles.

Do you know how and when to use Screen blend mode in Photoshop to improve your images? While you probably realize that you can change the blending modes of your layers, determining which mode to use each time can be tough.

To make the most of Screen blend mode, it’s important to understand how it works. In this article, I start by explaining what Screen is and what it does to your images; I then share when to use it for the best results, and I give you some practical examples, too. I close with a couple of extra tips to help you master the blend mode and use it to improve your Photoshop editing.

So if you’re ready to become a Screen master, then let’s dive right in!

What is Screen blend mode?

First things first: Photoshop allows you to work with layers of different types (including image layers and adjustment layers). You can make each of your layers interact with one another – and blend modes are the mechanisms that guide this interaction. In other words, by choosing different blend modes, you can ensure that your layers interact in different ways.

Now, Photoshop’s blend modes are divided into categories. Screen belongs to the Lighten category because it lightens images (more about that in a moment!). Technically speaking, Screen inverts, multiplies, and once again inverts the value of the pixels. Let’s see what this means in practice:

As the examples show – in which white, gray, and black layers are blended with my original flower file – Screen generally lightens the original image. However, if you use Screen to blend an image with a black layer, the colors won’t change – and if you use Screen to blend an image with a white layer, you’ll get a pure white result.

When should you use Screen blend mode?

Screen is useful in two main situations: When you want to adjust or correct your image, and when you want to do photo compositing. Let’s take a look at both scenarios in turn:

1. For photo editing

As I mentioned above, Screen blend mode lightens your image – which means it comes in handy when you have underexposed (i.e., too dark) photos.

Simply duplicate your image layer, then change the blend mode to Screen. Your photo will immediately lighten:

It’s also possible to use the Screen blend mode – in combination with the Multiply blend mode – to add contrast.

You see, Screen and Multiply are opposites, so when you have an image that’s dull or flat, you can duplicate the image twice. Then change the blend mode to Screen on one of the duplicates and the blend mode to Multiply on the other!

All you need to do is duplicate the image two times. Change the blend mode to Screen on one of the duplicates and Multiply on the other, and your image will gain a bit of contrast.

2. For photo compositing

In the first section of this article, I showed you how black pixels won’t have any effect on your image when you use the Screen blend mode. And when you’re making a photo composite, this can certainly come in handy!

Why? Because when you paste a subject on a black surface, you won’t need to waste long minutes selecting and masking it. Instead, you can simply change the blend mode to Screen, and the black background will disappear. (Some common examples where this works well is when compositing smoke, lightning, and bokeh.)

How to use Screen blend mode: step by step

Working with Screen is extremely easy, and even Photoshop beginners should be able to grasp the basics.

Start by opening the image you want to edit in Photoshop. Then add a second layer (on which you’ll be using the Screen blend mode). It doesn’t matter if it’s a duplicate of the original file, a new image, or an adjustment layer; Screen is used the same way in each scenario.

For my example, I’m duplicating the Background layer. To do this, you can click on the layer and drag it to the Add New Layer icon at the bottom of the Layers panel, or you can use the Duplicate Layer command in the Layer menu:

Make sure your new layer is selected, then open the blend mode menu (you’ll find it at the top of the Layers panel). Scroll until you find Screen:

If you’re using Photoshop CC, you’ll see a preview of each blend mode’s effect as you hover over it in the menu. However, to apply Screen (or any other blend mode), you’ll need to click on it.

If the result is a little too intense, go ahead and adjust the opacity. You’ll find this option at the top of the Layers panel next to the blend mode menu:

By default, the opacity will be at 100%. To adjust it, click on the arrow next to it to open the slider. Then simply move the slider until you’re happy with the result!

Screen blend mode: A step-by-step example

As I mentioned above, there are many uses for the Screen blend mode. In this example, I show you how it can be used to recover underexposed photographs, then I explain how to combine it with the Multiply blend mode to add contrast.

By the time I’m finished, you’ll see how much detail you can recover from a poorly exposed photograph without losing any information.

Step 1: Duplicate your image layer

You’ll need to start by opening your image; by default, it will appear as a locked Background layer:

Go ahead and duplicate the original image. Remember, you can simply click and drag it to the plus sign at the bottom of the panel (i.e., the Add New Layer icon). Alternatively, you can select Layer>Duplicate Layer in the Photoshop menu.

Step 2: Apply the Screen blend mode

Next, you’ll want to change the blend mode to Screen. As I explained in the previous section, you can do this by opening the drop-down menu at the top of the Layers panel.

Click on Screen, then watch as the image brightens:

Step 3: Adjust the tones

The Screen blend mode did a great job of boosting the exposure of my image, but the highlights – that is, the brightest portions of the sky and the water- are a bit too bright. I want to lower the effect of the blend mode on those areas (and only those areas).

To do this, I’ll add a layer mask. You can create masks by selecting the relevant layer, then clicking the Add Layer Mask icon at the bottom of the panel. Then grab a Brush, set it to black, lower its opacity, and start painting over the lighter areas (while making sure your mask is selected).

The areas over which I’ve painted decrease in brightness, giving a nice result:

I like what I’ve produced, but I want to brighten the shadows further and add some contrast. To do this, I can create a Levels adjustment layer, then change the blend mode to Screen:

Just altering the blend mode will produce an immediate change – though you can fine-tune the effect using the sliders or the presets in the Levels property panel. In my case, I’ve used one of the presets to increase the contrast.

Note: If you think it’s necessary, you can lower the opacity of your Levels adjustment layer. I turned mine down to 50%, but you should always move the slider to choose a value that’s right for your image.

Step 5: Add some extra contrast

At this point, my image has details in shadows and highlights, and it’s definitely an improvement compared to the original. However, it looks rather flat. A dramatic sky would give it the extra oomph it needs.

I’ll merge and copy all the layers into a single new file by pressing Ctrl/Cmd+Shift+Alt/Option+E, then I’ll change the blend mode to Multiply.

Since Multiply is the opposite of Screen, the image will get darker. Unfortunately, while the sky is now exactly what I want, the rest is too dark again. So I’ll create a layer mask to fine-tune where I want the Multiply layer to appear and where I want the Screen layer to shine through:

And that’s it. Just look at the difference:

Screen blend mode: 2 quick tips

Like any other Photoshop tool, there’s more to Screen than meets the eye. Here are a few extra tips to help you out:

1. Apply Screen blend mode to a filter

When you’re working with Smart Objects, the filters you apply become Smart Filters – which allow you to change the blend mode (just as if you were working with layers).

To adjust a filter’s blend mode, double-click on the Adjustments icon next to the filter in the Layers panel. This will open a dialog box; simply open the Mode menu and choose Screen:

2. Use Screen to add a tint to your photos

You can use the Screen blend mode to add a tint or a touch of color to your images. Simply add a Solid Color or Gradient layer, then change the blend mode to Screen:

If the effect is a bit strong, you can always lower the opacity. Note that the result may be very subtle, yet it’s a great way to give your images that extra-polished look.

Screen blend mode: final words

Hopefully, you found this article helpful! Screen isn’t a hugely popular blend mode, but it’s actually very useful and versatile. Whether you’re adding clouds to a landscape, steam to a cup of coffee, or brightening an underexposed photo, Screen will make things so much easier.

So if you haven’t already, head into Photoshop and test it out. Try compositing two images, or see if you can subtly improve a photo by using Screen to alter the exposure.

Now over to you:

How do you plan to use the Screen blend mode? Do you have any additional tips? Share your thoughts in the comments below!

The post Screen Blend Mode: The Ultimate Guide appeared first on Digital Photography School. It was authored by Ana Mireles.

White balance. It’s a term that’s thrown around a lot in the world of photography, yet it’s unfortunate how many photographers are left scratching their heads when trying to explain or understand it.

Because here’s the thing: if you want to capture a scene as the human eye perceives it, then white balance should be on your radar. Mastering white balance, both during your shoot and in post-processing, can be the key to more natural-looking photos.

Therefore, in this article, I’m going to share everything you ever wanted to know about white balance, including:

• The white balance camera settings you should use for consistently good results
• How white balance can instantly improve your shots
• How you can use white balance for gorgeous creative effects in your photos

I’m also going to explain key related terms, such as color temperature, white balance presets, and more.

And I promise you: by the time you’ve finished this article, you’ll be an absolute WB expert! Let’s get started.

What is white balance in photography?

White balance refers to the process of removing or neutralizing color casts in your images – because at its core, white balance is about ensuring the colors in your photograph appear as they do in real life.

You see, different light sources emit light with various temperatures and/or tints. Ever noticed how a photo taken under fluorescent lighting sometimes has a blueish hue? Or how shots by candlelight can seem overly warm or yellow? That’s the effect of these different light sources on your images.

Since photographers often want to produce images that look natural, white balancing involves carefully adjusting your camera settings or editing tools to counteract these color casts. It’s about taking an image like this, full of distorted, too-blue colors:

And adding warm colors until you balance out the color cast, so you get a final result like this:

You might be wondering: If lights have such strong color casts, how come I never notice them?

It’s a good question with a simple answer: human eyes are pretty good at correcting for color casts in real time, but a camera captures the subject as it looks in life. Sometimes, the subject will have neutral tones, but other times it’ll be very blue (as in the pear photo above) and sometimes very yellow (as in the pear photo below). In both the blue and the yellow cases, white balancing is necessary to create a neutral image.

Here’s a too-yellow pear photo, which requires significant cooling during the white balancing process:

Note that, during white balancing, you’re adjusting the colors along two spectrums:

• The blue-yellow spectrum, also known as the color temperature
• The green-magenta spectrum, also known as the color tint

In general, natural light only requires correction along the blue-yellow spectrum, but certain types of artificial lighting may produce a noticeable color tint, in which case you’ll need to correct for that, too.

Color temperature explained

The bulk of white balancing in photography consists of color temperature correction. You’re correcting for a cast produced by the color temperature of the light, which lies along the blue-yellow spectrum.

Think of it this way: some light sources exude a more yellowish glow, while others lean towards a bluish hue. When we encounter the former, it’s termed a “warm” color temperature. Conversely, the bluish tint signals a “cool” color temperature.

Photographers refer to different color temperatures using the Kelvin scale. Warmer color temperatures, such as those produced by a candle flame or a setting sun, have a low Kelvin value, such as 3000 K. Neutral color temperatures, such as midday sunlight, have a medium Kelvin value – around 5000 K. And cooler color temperatures, produced by clouds or shade, have a high Kelvin value of 6000 K and beyond.

Cooler light has a high Kelvin value? Warmer light has a low Kelvin value?

Yes, you read that right, and it can be confusing, especially if you’ve never encountered the color temperature scale before. But you’ll get used to it over time (and it can help to think of the color temperatures as simply the opposite of what you’d expect).

Why is white balance important?

Color casts cause a couple of problems in photography.

First, they prevent you from capturing accurate, true colors in a scene. If you want to photograph a beautiful red sunset exactly as it appears to your eye, you’ll need to neutralize any color casts; otherwise, your image won’t match the real-life conditions you experienced.

This can also be an issue if you’re doing product photography or real-estate photography, where the goal is to portray the subject as true to life as possible.

Second, color casts tend to look bad. They can mess with portrait skin tones, they can create muddy shadows and sickly highlights, and they can create unwanted moods in your photos.

As I explain later in this article, you can use a color cast for creative effect – but it’s important that you do this carefully and deliberately, rather than as a failure to properly white balance a scene. Make sense?

The two white balancing methods

You can adjust the white balance of your images in two broad ways:

1. In camera, before taking a shot
2. Afterward, in post-processing

Both approaches can work, but there are some important caveats to keep in mind:

In-camera white balancing

Most cameras allow you to adjust your white balance settings before ever taking a photo.

For instance, you can select a white balance preset (such as Tungsten, Flash, Cloudy, etc.), which allows your camera to roughly understand and compensate for the lighting conditions.

Some cameras also allow for a custom white balance. Here, you simply dial in a Kelvin value (remember the color temperature scale I shared above?). A high Kelvin value will balance out cooler light and a low Kelvin value will balance out warmer light.

Your camera may even be capable of white balancing off a gray card. Put the gray card in front of your camera, select the right function in the menu, take a picture, and – voila! – your camera will create an accurate color temperature profile of the scene.

But while these white balance options allow you to handle color casts in the field, they come with some drawbacks:

1. Unless you’re in an enclosed environment, the light will likely change over the course of your shoot. You’ll need to periodically update your white balance preset or redo the gray card process as the sun goes behind clouds, as it sets, etc.
2. White balance presets, while easy to use, are only approximate. They often won’t produce a perfect result.
3. If you’re shooting action from a distance, taking a gray card reading is impossible.

That’s why some photographers prefer a different method of white balancing:

White balancing while editing

White balancing in post-processing is pretty simple:

Just set your camera to its Auto White Balance function when out shooting.

Then, when you get back home, open your photos in your editing program of choice.

Most editors offer a similar process, which involves using the white balance eyedropper to identify a neutral tone and fine-tuning via the Temperature and Tint sliders. (Below, I give a step-by-step process for white balancing photos in Lightroom.)

You can white balance each photo individually, or you can create a white balance adjustment for one (or a handful) of photos, then sync the adjustment across the entire set.

After-the-fact white balancing is nice, but like in-camera white balancing, there are a few points you need to keep in mind.

1. You’ll need to set aside extra time in post-processing to do your white balancing. And while you can save time with batch processing and presets, if you’re capturing lots of images under different lighting conditions, you may prefer the relative ease of in-camera white balancing.
2. Unless you take photos with a gray card in the frame, you may struggle to get a perfect white balance result with editing. In many cases, that’s fine – the color cast may be barely perceptible – but if you’re photographing products, your client may require literally perfect colors.
3. For complete white balancing flexibility in editing, you must shoot in RAW. While JPEGs allow for some white balance adjustments, you’ll be limited an often-unacceptable amount – whereas RAW files let you completely set and reset the white balance.

So while post-processing and in-camera white balancing are both serviceable, you’ll ultimately need to choose the option that works best for you.

How to white balance using in-camera presets

While white balance presets aren’t the most accurate way to color correct, they’re an easy way to get started (and if you’re simply capturing photos to share on social media, they may be all you require).

Simply pull up your in-camera white balance menu. You should see several presets, such as:

• Sunny, which works for mid-morning and mid-afternoon sun
• Shade, which works for scenarios with heavy shade (e.g., portraits under a tree)
• Cloudy, which works for outdoor scenes featuring overcast lighting
• Flash, which works for scenes lit by standard off-camera speedlights and pop-up flashes
• Incandescent, which works for indoor scenes lit by standard warm bulbs
• Fluorescent, which works for indoor scenes lit by fluorescent bulbs

Then pick the preset that most closely matches the lighting conditions you’re experiencing and start taking photos! You will need to pay close attention to the light as you continue shooting; if it changes significantly, you should switch presets to reflect the new conditions.

How to white balance your photos in Lightroom

Lightroom color correction is a quick and painless process.

First, open an image in the Develop module, then find the WB section on the right-hand side:

Next, select the Eyedropper icon:

Then click on a part of your image that should look a neutral gray or white. (Don’t be afraid to click in a few different places, especially if you’re not sure what counts as “neutral.”)

If you can’t find a neutral area to sample, or you don’t like the results, you can always head over to the Temp and Tint sliders:

You probably won’t need to adjust the Tint slider much, but feel free to drag the Temp slider back and forth until you get a neutral image.

How to creatively use white balance for different effects

While it’s always important to start by color correcting your photos, you can sometimes enhance images by deliberately pushing the white balance in the wrong direction. This generally works best when applied in a post-processing program, not in camera (though you can technically do it either way).

The idea here is simple:

By applying a too-cold white balance to your photos, you can create a somber, moody effect.

And by applying a too-warm white balance to your photos, you can create a welcoming, inviting, even nostalgic effect.

I don’t recommend you push the white balance too far – at some point, your photos may look unnatural – but a bit of cool or warm color is often nice when added carefully.

Note that you can also use an “incorrect” white balance to exaggerate the conditions of the scene. Adding cool hues will give images a shady or night effect, while adding warm hues will give images a sunrise or sunset effect. Again, use this technique with care. It’s easy to go overboard and end up with garish, unpleasant results.

White balance in photography: final words

Now that you’ve finished this article, you’re ready to start adjusting the white balance in your photos so you can capture truly lifelike, authentic images.

Remember, however: don’t be confined by the idea of “correctness.” As with many elements in photography, white balance can also be a tool for artistic expression. Explore, experiment, and embrace the power of white balance to transform the mood and atmosphere of your shots.

So go out with your camera. Practice working with white balance. And make your images shine!

Now over to you:

What do you think about white balance in photography? Do you have any tips for improving your results? Share your thoughts in the comments below!

White balance FAQ

The post White Balance in Photography: The Essential Guide appeared first on Digital Photography School. It was authored by Darren Rowse.

Multiply is one of Photoshop’s most popular blend modes. If you’ve ever followed the steps in a Photoshop editing tutorial, you’ve probably used it yourself, and if you’ve ever watched a Photoshop expert apply edits to their work, you’ve probably seen it in action.

But why is Multiply so common? What makes it such a popular choice among Photoshop artists and photographers? It’s because the Multiply blend mode is very versatile; it can be used to create all sorts of interesting effects.

In this article, I offer a comprehensive overview of Photoshop’s Multiply blend mode. I discuss what it is and how you can use it, plus I offer a step-by-step tutorial so you can see it in action.

Let’s dive right in.

What is Multiply blend mode?

As you probably know, Photoshop allows you to work with layers. And on each layer, you can put different elements: text, an image, an adjustment, and so on.

Now, Photoshop’s blending modes allow you to change how a layer interacts with the layers underneath. The blending modes are divided into categories (you’ll see a line dividing each category in the blending mode menu).

One of these blending mode categories is Darken, which includes the mode featured in this article, Multiply. As the name of the category suggests, by applying a Darken blend mode, you darken the overall file.

In the case of Multiply, the image is darkened by multiplying (hence the name) the color values from one layer by the layers underneath.

Don’t worry about the math, though. Photoshop takes care of that! What you need to know is that multiplying any layer by a black layer will create a black image, and that multiplying any layer by a white layer will cause the white layer to disappear. However, if you multiply a midtone layer by another midtone layer, you’ll end up with a combination of the two layers – but as darker versions of themselves.

When should you use Multiply blend mode?

The answer to this question is very straightforward: You should use Multiply blend mode when you want to darken your image.

What does this mean in practical terms? Here are a few common cases in which you might apply Multiply:

• When you want to recover faded color from vintage photographs
• When you’re fixing an overexposed image
• When you want to include a shadow on a cutout
• When you want to color under a traced drawing so that the lines remain black

Of course, there are plenty of other uses for Multiply, so don’t feel restricted by my list; these are just some scenarios to keep in mind.

How to use Multiply blend mode

The Multiply blend mode is very easy to use! Here’s how it works:

First, open any image in Photoshop. It’ll become the base layer (by default, it’ll appear as a locked layer called “Background”).

Next, add a second layer. The layer type doesn’t matter; just do what works for your file. It can be a text layer, an adjustment layer, etc. I’ve used a raster layer that contains this image:

By default, the layer will completely cover the original layer beneath it.

Next, go to the Layers panel. (If you can’t see this, you’ll need to open it. To do so, simply choose Window>Layers or press the F7 key on your keyboard.)

Toward the top of the Layers panel, you’ll find the blending options. You should see the blend mode on the left and the opacity on the right. By default, any layer will be set to Normal blend mode at 100% – but to use the Multiply blend mode, just click on the arrow next to the word “Normal” to open the drop-down menu:

Find “Multiply” on the list. (Remember, you’ll always find it in the Darken section of the menu.) If you’re using Photoshop CC, you’ll see a preview as you hover over the Multiply option – but in Photoshop CS6, you’ll need to actually click to apply the mode before you can see the effect.

Now click on the arrow next to the percentage value to open the Opacity slider. Simply drag the handle of the slider to adjust the layer opacity. You can also input a value directly:

Note: If these options aren’t enabled, it might be because your layer is blocked. Make sure your layer is selected and visible!

Do keep in mind that you need a layer underneath for the Multiply blend mode to have an effect. If you have a single layer and you change the blend mode from Normal to Multiply, you won’t see any difference. (The same is true if the layer underneath is a pure white background!)

Multiply blend mode: a step-by-step example

As I mentioned above, one of the common uses of Multiply blend mode is to fix an overexposed photograph. That’s what I’ll do for my example image:

I’ve already opened my image on a new layer, so I’ll start by adding a Curves adjustment layer. You can do this by clicking on the “Create a new fill or adjustment layer” button at the bottom of the Layers panel:

Without making any adjustments in the Curves properties panel, I’ll simply change the blending mode to Multiply, and the image will immediately darken:

You can already see the difference, but if you want, you can also make some adjustments to the Curves layer:

After adjusting the curve, it’s clear that the darker areas have become too dark. So I’ll lower the opacity a bit:

In my opinion, the brightest areas are too bright, so I’ll duplicate the Curves layer. (Duplicating a layer preserves its blending mode settings; in this case, my duplicate Curves layer is still in Multiply mode at 90% opacity.)

But I don’t want to darken the entire shot – just the too-bright areas – so I’ll fill the layer mask with black so that the second multiply effect isn’t visible. Then, using a white brush, I’ll paint over the brightest areas to reveal the darkening effect.

Here’s a before and after comparison:

Multiply blend mode tips

Here are a few quick tips so you can fine-tune the Multiply effect according to your needs:

1. Try using Blend If

The Blend If feature allows you to adjust how layers blend according to their content.

For example, let’s say that the shadows of my image turn out too dark due to the Multiply mode. I can use Blend If to tell Photoshop to blend my top layer only with the brightest parts of the base layer. That way, I can darken the highlights without losing details in the shadows.

You can find the Blend If feature inside the Layer Style dialog box. To reach this, go to the Layers panel. Then double-click on the layer that you want to adjust. (Make sure you click in the blank space next to the layer’s name. Otherwise, you’ll open a different menu or feature!)

The Layer Style box will pop up, and you should then find the Blend If section. Here, you’ll see two gradients; the top one refers to the layer on which you’re working, and the bottom one refers to the layer underneath.

Simply click and drag the handles along these gradients to modify the blending effect. Note that each handle has a line in the middle, which allows you to split the handle and create a smoother transition. To do this, simply hold the Alt/Opt key and drag along the handle!

2. Use Multiply with brushes

The Multiply blend mode is not only available for layers; it can also be used with brushes. All you need to do is select the Brush tool, then head to the Options bar at the top of the screen.

Then open the Blend drop-down menu (next to the word “Mode”). Scroll down and click on Multiply:

Then go ahead and paint with your brush! Whatever you paint will interact with the layer underneath by following the Multiply blend mode rules.

Multiply blend mode: final words

Now that you’ve finished this article, you know all about using the Multiply blend mode, so go ahead and try it out! See what you can create, and have some fun experimenting with different effects.

Note that, while I talked about using the Multiply blend mode in Photoshop, you’ll also find this effect in other editing programs that work with layers. And in most cases, it’ll behave in the exact same way!

How do you plan to use Multiply? Do you have any tips or tricks that I didn’t discuss in the article? Share your thoughts in the comments below!

The post Multiply Blend Mode: A Comprehensive Guide appeared first on Digital Photography School. It was authored by Ana Mireles.