Software How To

Back in the “old days,” photographers determined winning images from losers by examining transparencies on a light table, or spreading out prints on a desk. In the digital age, this culling process is equally tedious, but it’s accomplished on a computer. In the video below you’ll see one pro’s unique approach to the task.

One of the frustrations with Lightroom has been the software’s lack of speed, at least until Adobe’s recent introduction of the new cloud-based Lightroom CC, and an update to the older non-cloud version of Lightroom CC (now called Lightroom Classic CC). 

Nighttime cityscapes always look spectacular, with their shimmering lights, colorful neon signs, and towering buildings. Unfortunately, it’s not uncommon to return home and discover that our images don’t appear as spectacular on the computer as they did on location. 

Most Photoshop users have heard about the power of Luminosity Masks for bringing out the best in a photograph, yet some are afraid to try the technique because they fear it’s too complicated. As you’ll see below, the difficulty of employing this tool is vastly overstated, if you follow the simple and effective method described in this tutorial.

Earlier this week we reported on Adobe’s introduction of Lightroom CC a new cloud-based subscription version of the popular software for processing and organizing images on both computers and mobile devices. There are also updates to the previous non-cloud app, now called Lightroom Classic CC, and the video below illustrates the most significant changes.

This post-processing tutorial from Nathaniel Dodson is a bit different from others we have shared. While Dodson typically devotes an entire video to demonstrating one specific technique, this one provides a cornucopia of 28 valuable Photoshop tips, tricks, and hacks in less than one minute each.

We’ve all been there: You shoot what you think is a really nice photograph, and then you get home, look at the image on a computer, and realize you overlooked a bothersome element in the scene. The culprit could be a bit of distracting foreground litter, or the proverbial telephone pole growing out of a subject’s head,