Wildlife Photography How To

One variable that can make or break a photo is how the color in your scene is represented. Typically, the goal is natural-looking tones (unless a special effect is what you're after). And that's OK too.

One variable that can make or break a photo is how the color in your scene is represented. Typically, the goal is natural-looking tones (unless a special effect is what you're after). And that's OK too.

When making color adjustments in post-processing, Saturation plays a big role, whether you're after a realistic representation or something more unusual. We have some good news for those of you who use the Curves Adjustment tool to refine Saturation: Earlier this month Adobe added a very small adjustment that can pay big dividends by tackling a common problem with this approach.

Instructor Matt Kloskowski is a specialist in all things Adobe, who says his goal is "to provide straightforward tutorials to help photographers get the results they've always wanted," and this episode fits the bill. He jumps right in to Lightroom's Tone Curve panel and demonstrates how the new capability works.

Kloskowski begins by demonstrating the most common approach, that involves boosting the highlights and mid-tones a bit and then dropping the shadows by grabbing the relevant points on the Curve. This method, unfortunately, often results in oversaturation.

But here's the trick, now you'll find a simple Refine Saturation slider beneath the Curves graph that simplifies the fix because it's no longer necessary to employ Blend modes to get Saturation right. Kloskowski uses a tight shot of a vibrant hummingbird against a green background to demonstrate how easy this is to do.

This quick trick works with all sorts of photos, and Kloskowski pulls up a pretty seascape scene to prove this point. As you'll see, in this case he's able to retain the desired amount of contrast, without oversaturating the shot—simply by moving the slider. Whether you prefer light pastel colors, or a more vibrant look, the new tool gets the job done in a hurry.

After watching the video how about pulling up a few images you've already processed and see what you can create by using Kloskowski's advice. We think you may be surprised at how simple and effective this is to do.

You can find a wide range of editing tips and tricks on Kloskowski's instructional YouTube channel, so be sure to take a look.

We also recommend watching the tutorial we posted from another accomplished pro, with an in-camera technique for using complimentary colors to capture eye-popping photographs.

Image noise can really ruin an otherwise nice photo with ugly artifacts that appear as random speckles of grain and unsightly variations in the brightness and colors of your shot. It's a rather common occurrence, shrouded in a common misconception, that's demystified in the tutorial below.

If you always limit yourself to one specific genre of photography your editing workflow may be pretty well defined. But most shooters have a more eclectic approach to our craft, requiring different processing methods depending up the type of image at hand.

If you’re thinking about giving wildlife photography a try, our feathered friends provide a great place to start. You don’t have to travel to exotic locations, and all you really need is a telephoto lens, along with the beginner tips you’ll learn in the tutorial below.

How often have you captured what you thought was a great photo, only to view it on the computer and discover it’s not sharp? If you’re like the rest of us, the answer is “more than one or twice.”

Photographing our feathered friends can be difficult for those new to the game, and editing the results can be equally challenging if you’re not confident about your post-processing skills. If your past results are disappointing, the tutorial below will be a big help.

OK, be honest: How often have you skipped past the Color Calibration tool when processing images in Lightroom or Adobe Camera Raw (ACR)? If you’re like most photographers, the answer is something along the lines of “quite often.”