This tutorial begins with a surprising self-effacing admission for someone who has been teaching and using Lightroom for years: "I'm so stupid I thought this was a Lightroom bug; but it's actually an obscure tool." We encourage you to watch the four-minute explanation, just in case you've made the same mistake.
The easy-to-use Clarity tool is extremely helpful when editing outdoor images in Lightroom, Lightroom Classic and Adobe Camera Raw. In the tutorial below you'll learn how it works, why you should consider applying positive or negative Clarity, and the circumstances in which this straightforward tool should be used.
There are numerous reasons for poorly exposed photos when shooting in the field under difficult lighting conditions, including harsh light, dark foregrounds, and bright washed-out skies to name a few. When you're faced with challenges like these, photos often turn out to be a compete mess.
Most photographers would rather be out shooting than sitting at the computer editing their work, which is why it's great to discover a fast and effective processing technique that makes a big difference in your results. That's exactly what you'll learn in the straightforward tutorial below from the popular Photoshop Café YouTube channel.
Nighttime photography can be a real challenge for a variety of reasons, not the least of which is arriving at a correct exposure. Other problems include specular highlights, color casts caused by streets lamps of varying temperature, and important subjects lurking in the shadows.
Adobe included plenty of great improvements in the last Lightroom update that make image editing faster and more effective than ever. One of the new features we haven't covered in detail is how to use the new AI Denoise tool, and that's what you'll learn about in the quick tutorial below from the popular PHLOG Photography YouTube channel.
Adobe is constantly at work updating Photoshop and Lightroom with effective new features. Some familiar tools may fall by the wayside, but as you'll see in today's tutorial from the Photoshop Café YouTube channel, these are usually replaced with more powerful options.
We repeatedly discuss the concept of sharpness because it's such a critical component of all really good images. But there's an oft-ignored concept that you may not have heard until now; revealing why some sharp images appear soft to you and the viewer .
So you photographed a gorgeous landscape scene with a great sky and beautiful colors throughout the frame, only to return home, view your "money shot" on the computer, and discover that the tones in the photo only vaguely resemble what you saw through the viewfinder.
Some of us miss out on great opportunities to capture images with maximum impact because we always shoot in color. One reason for this is that some scenes cry out loudly for a monochrome approach.
If you've ever spent hours searching for a photo that you know is somewhere in Lightroom or on your hard drive, you understand the pitfalls of sloppy organization. We're going to fix all that today with some great tips from British landscape pro Jethro Stebbings.
Ever since Photoshop introduced the beta version of their new AI-based Generative Fill capability there's been a heated debate about what this means for photographers and the craft as a whole. Some folks greeted the news with excitement as a remarkable innovation, while others unabashedly say it spells doom for everyone with a camera.
We've all captured bland landscape photos with unimpressive cool tones, and that's usually because the light just wasn't right. While it's often impossible to return on a better day, today's Lightroom tutorial explains a simple Lightroom technique for giving these images an eye-popping Golden Hour look.
All effective photographs have several things in common, whether they're captured indoors or outside. In the eye-opening tutorial below you learn what one accomplished pro says are the essential "building blocks" to consider.
We've all come upon a beautiful scene only to discover that our images look flat and lifeless. Sometimes that's because the light wasn't quite right, while other times the culprit was operator failure, i.e. we used the wrong camera settings or techniques.