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The post How to Create Grids and Guides in Photoshop appeared first on Digital Photography School. It was authored by Ana Mireles.

Did you know that Photoshop has grids and guidelines? If you’re eyeballing your lines every time you’re correcting a building’s perspective, straightening a horizon, or placing a logo on a photo, then Photoshop’s grids and guides can make a huge difference. (And that’s not even taking into account everything you can do with the tools if you create flyers or do any other graphic design work.) 

In this article, I offer a quick overview of Photoshop’s positioning tools. I explain what grids and guides actually are and how to create them, plus I share some tips and tricks for consistently great results.

Let’s dive right in, starting with the basics:

What is a grid in Photoshop?

A grid is a series of horizontal and vertical lines that covers Photoshop’s canvas, like this:

Grids are designed to make it easier for you to locate specific points on the screen. You can use grids to create symmetrical designs and align multiple elements, among other things. It’s worth noting that a grid is just a visual aid inside Photoshop; the gridlines aren’t saved or printed on the image.

What are guides in Photoshop?

Guides are individual lines that you can draw across the Photoshop canvas:

Guides can be used to create designs, straighten elements, control spacing, and much more. They can be horizontal or vertical lines, and like grids, they are only visual aids inside Photoshop; if you save your image without first removing your guides, the lines won’t appear in the final file.

How to create a grid in Photoshop

Creating a grid is easy. Simply head into the Photoshop menu, then select View>Show>Grid. Take a look at your image, and you should see a series of lines crisscrossing the page.

(Note: Once you’ve enabled grids, if you select View>Show, you’ll see a checkmark next to the Grid option. If you’re ever unsure about whether grids are enabled, simply go to View>Show and look for that checkmark!)

Photoshop’s grid has clear horizontal lines, which look like the graphing paper kids use in math class. By default, gray gridlines will appear every two centimeters with four subdivisions:

However, these settings can be modified. In fact, you can create as many or as few gridlines as you want! Simply go to Photoshop>Preferences>Guides, Grid & Slices. Once there, you can change the color of the gridlines, the type of gridlines, the separation between gridlines, and the number of subdivisions. 

A grid can act as a visual aid that helps you manually place elements on the canvas – but it’s also a great way to align existing elements by snapping them together. You see, Photoshop grids offer a snap feature. Simply select View>Snap to>Grid. Then whenever you move an element across the canvas, it’ll align with the closest gridline!

It’s important to remember: The grid won’t print. It’s a visual aid only, so you don’t need to worry about disabling it at the end of your project. (But it can be helpful to look at your final piece without a grid; that way, you can accurately analyze the end result.)

To disable the grid, simply choose View>Show>Grid. Your existing grid will disappear, and if you head back to the menu, the Grid option will be unchecked.

How to create a guide in Photoshop

As I explained above, guides are lines that you manually add to the Photoshop canvas. You can choose to cover the whole canvas with guides, but you can also create a single guide. In other words, you can create guides on an as-needed basis.

(Of course, you can always create both a grid and a few guides. In fact, you can use a grid to better position your guides! Also, note that guides, like grids, won’t be printed.)

To create a guide, you need to first have the rulers enabled, so go ahead and select View>Rulers. (You can also use the keyboard shortcut Ctrl/Cmd+R).

Once you’ve done this, you should see one ruler on the left and one on top of the canvas. To create a horizontal guide, click and drag from the top ruler; to create a vertical guide, click and drag from the left ruler.

Drag your guide into position, then let go of the mouse. The guide will remain in place, and you can continue on with your work (or you can choose to create additional guides). If you misplace the guide or wish to move it later on, activate the Move tool from the toolbar. Then hover over the guide until you see the cursor change into a double line with arrows. Click and drag to move the guide to a new position.

It’s also possible to create a new guide that appears directly on the Photoshop canvas. Select View>Guide>New Guide, which will open a pop-up dialog box. In it, you can set the line’s orientation, position, and color.

You can even use guides to create a custom grid. Head to View>Guide>New Guide Layout. A pop-up dialog box will appear, where you can indicate the number of columns and rows you want to create. You can also set the size, gutter, and margin. And the best thing about this option is that you can save each new layout as a preset and load it in future documents.

Note: Since you can move guides with the Move tool – which you can use to move other objects – they can be moved by accident. To prevent this, make sure you lock your guides in place. Just create all the guides you need, then select View>Guides>Lock Guides.

The guides also have a snapping feature, which you can use to accurately position elements on the canvas. Enable it by selecting View>Snap to>Guides.

If you wish to erase a guide, just drag it back to the ruler. Alternatively, you can click on the guide, then choose View>Guide>Clear Selected Guide. And if you want to delete every guide, click View>Clear Guides.

Creating grids and guides in Photoshop: final words

Photoshop may not be a dedicated graphic design program, but it does have many design-focused tools to improve your workflow – including, of course, grids and guides!

Plus, grids and guides aren’t just useful for graphic design; you can also use them to help you scale images, make photo composites, correct perspective, and more.

So practice creating a grid. Have fun with guides. And see what you can produce!

Now over to you:

How do you plan to use grids and guides in your photo-editing and/or design work? Share your thoughts in the comments below!

The post How to Create Grids and Guides in Photoshop appeared first on Digital Photography School. It was authored by Ana Mireles.

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

Looking to understand the ins and outs of Photoshop’s Overlay blend mode? You’ve come to the right place.

Overlay is a great way to add punch to otherwise flat images, plus it can be used to apply artistic effects such as color tints. It’s a very versatile blend mode, and it’s pretty popular, too – so it pays to understand what it is, how it works, and when you might want to use it in your photo editing.

Below, we offer a thorough guide to this powerful tool. Let’s get started!

What is Overlay blend mode?

Photoshop – and other layer-based editing programs – offer over two dozen blending modes, which determine how different layers interact. The Overlay blend mode belongs to the “Contrast” section of the blending mode menu, which means that it’ll increase the intensity of the blended layers.

Overlay is actually a mix of two other common blend modes: Screen and Multiply. When Overlay is applied to a layer, Photoshop uses the Screen blending mode to handle any tone that’s brighter than 50% gray. And Photoshop uses the Multiply blending mode to handle any tone that’s darker than 50% gray.

So unlike other Contrast blending modes, it takes effect according to the brightness level of the base layer. In other words, it doesn’t apply some distinct operation to the base color of the layer; instead, it Screens or Multiplies.

That said, if the technical underpinnings of Overlay blend mode are making your head spin, don’t worry. The Overlay effect is easy to understand on a visual level: It makes dark tones darker and bright tones brighter. Look at what happens when I take a normal array of gray tones (below the red line), duplicate the image, and apply the Overlay blend mode (above the red line):

The lightest tones (on the left) got even lighter. And the darkest tones (on the right) got even darker.

When should you use Overlay blend mode?

As I mentioned above, the Overlay blend mode is a mix of two other blending modes – Screen and Multiply – so it’s very versatile. You can use it in all sorts of scenarios, though here are a few of the most common:

• When you want to recover the contrast on a faded vintage picture
• When you want to add contrast to a flat picture
• When you want to add a color tint to a photo
• When working on certain composites (e.g., when adding lighting to a sky)
• When applying certain texture overlays

How to use the Overlay blend mode

Using Overlay isn’t especially difficult. Start by opening an image in Photoshop, then add a second layer.

(Why is this necessary? Remember that blending modes tell Photoshop how layers should interact. Changing the blending mode of a single layer doesn’t have any effect; instead, to see a difference in your image, you need a second layer that can interact with the first.)

The type of layer you add doesn’t really matter. It can be a Smart Object, another picture, a solid color, an adjustment layer, etc.

Next, go to the Layers panel, which should be on the right-hand side of the screen. If you can’t see it, select Window>Layers or press F7.

Select the top layer in the layer stack. Then open the blending modes menu by clicking the down arrow next to the current blending mode:

Navigate to the Overlay blend mode. In Photoshop CC, you can see the blend mode’s effect on your image just by hovering over it. In Photoshop CS6, however, you won’t be able to see the effect until you’ve applied it to your image.

That’s it! If you want, you can adjust the layer’s opacity using the slider next to the blend mode menu.

Overlay blend mode: A step-by-step example

As I mentioned, one of the most common reasons photographers and retouchers use the Overlay blending mode is to add contrast. So that’s what I’ll show you in this example.

My sample photo is a bit underexposed and lacks contrast:

So I’ll click on the Create new fill or adjustment layer button and select Levels. (Alternatively, I could select Layer>New Adjustment Layer>Levels in the menu.)

Without ever touching my Levels adjustment, I can simply change the blending mode to Overlay and watch as the contrast is increased:

But if I want to modify the effect, I can use the Levels sliders to adjust the highlights, midtones, and shadows:

If I like the look but feel it’s too strong, I can always decrease the opacity of the Levels layer:

Note: Once you’re done adding contrast via the Levels panel, you can always add more adjustment layers (Curves, Color Balance, Hue/Saturation, etc.) to fine-tune your image, or you can save it as it is.

Overlay blend mode tips

Enjoying the power of Overlay blend mode? Here are a few extra tips so you can really explore its potential!

1. Try adding a tint to your photo

If you’re looking to add a tint, a texture, or some other type of final color grade, Overlay can be very useful.

For this next image, I wanted to add a blue tone to mimic cyanotype printing:

All I did was convert the photo to black and white. Then I added a Solid Color adjustment layer, chose a nice blue color, and changed the blending mode to Overlay. That’s how I got the effect shown above!

2. Don’t forget about the Hard Light blend mode

Photoshop has several commuted blending mode pairs. With a commuted blending mode pair, you get the same result when applying one blend mode to the top layer as when applying the other blend mode to the bottom layer (and reversing the layer order).

Overlay and Hard Light are commuted blending mode pairs, so if you apply the Overlay blend mode to the top layer, your image will look exactly the same as if you applied the Hard Light mode to the underlying layer before switching the layer order. (Just a useful little tidbit to keep in mind!)

3. Add a cool glowing effect

Here’s a fun technique: You can use the Overlay blending mode to add a glowing effect – sometimes called an Orton Effect – to any photo.

Start by duplicating your original layer. You can do this by dragging the layer over the Plus sign at the bottom of the Layers panel.

Then convert your duplicate layer to a Smart Object. (Simply right-click on the layer and choose Convert to Smart Object from the menu. Alternatively, go to Filter>Convert for Smart Filters.)

Technically, the Smart Object conversion step is optional, but it will allow you to go back and adjust your glow effect later on, which can come in handy.

Now select Filter>Blur>Gaussian Blur in the menu, which will open a dialog box where you can set the intensity of the blur (this will directly affect the intensity of the glow effect). Note that there’s no correct blur amount; it depends on the photo and your taste, so you’ll have to use the trial-and-error method.

Once you get a result you like, simply change the blending mode to Overlay, adjust the opacity as needed, and check out your image’s beautiful glow!

Overlay blend mode: final words

I hope you found this guide to the Overlay blend mode useful. As you should now be aware, it’s a helpful blend mode that can be applied in plenty of different situations.

And if you’re not sure whether Overlay might work for a certain scenario, just try it! There’s no harm in experimenting.

How do you plan to use Overlay when editing photos? Do you have any tips? Share your thoughts in the comments below!

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

The post The Lightroom Transform Panel: A Comprehensive Guide appeared first on Digital Photography School. It was authored by Erin Fitzgibbon.

While Lightroom’s Transform tools often go unnoticed by casual editors, they offer an incredibly powerful solution to a problem that has plagued many a photographer: perspective distortion. In fact, perspective distortion is one of those subtle issues that can significantly harm an otherwise-great photo, yet most shooters don’t know how to recognize its signs or (more importantly!) correct it.

In this article, I offer a comprehensive guide to the Transform panel. I cover all the key elements:

• What Transform actually is (and what it does)
• When the Transform tools are useful
• How each and every button and slider works
• How you can handle perspective distortion with a few quick adjustments

Ready to take your Lightroom skills to the next level? Then let’s dive right in, starting with the basics:

What is the Lightroom Transform panel?

The Transform panel is buried near the bottom of Lightroom’s array of Develop module tools and sliders, and it’s designed to correct perspective distortion in your photos.

But what is perspective distortion? In practical terms, it’s when lines – either horizontal or vertical – that are supposed to look straight start to converge. You’ll often see perspective distortion in photos of buildings; the sides of the building, instead of climbing straight up into the air, converge toward one another, giving viewers the sense that the building is falling backward.

Perspective distortion is often unavoidable no matter the quality of your equipment. It’s caused by your position relative to the subject, and while you can technically prevent distortion by keeping your camera perfectly level and parallel to your subject, this is often impractical.

(Note that perspective distortion is different from lens distortion, which is caused by lens optics and can be removed in the Lightroom Lens Corrections panel.)

Fortunately, the Transform panel offers two broad methods for handling perspective distortion:

• Upright corrections (via six easy-to-use buttons)
• Transform corrections (via seven handy sliders)

In general, the Upright options do a great job – but if these buttons don’t give you what you’re after, you can always apply additional manual corrections using the Transform sliders.

When should you use the Transform panel?

As the Transform panel is designed to combat perspective distortion, it’s generally a good idea to use it whenever you’ve captured an image with obvious vertical or horizontal lines. Perspective distortion is one of those elements that is rarely noticed until it’s pointed out, so even if your image seems fine, I’d still recommend trying a few Transform buttons to be safe.

In particular, Transform is useful when editing photos of:

• Building exteriors
• Building interiors
• Trees
• Telephone poles and lampposts

When you apply the Transform tools to images, the goal is often to create a natural result – that is, a photo that matches how our eyes and brains would perceive the scene in three dimensions. But bear in mind that you can use Transform to do the opposite: exaggerate certain elements for an unnatural, even a surreal, effect.

You can also choose to leave a photo with all its distortion intact, and while I generally don’t recommend this, it can certainly look dramatic!

How to use the Transform panel: The Upright options

When you’re tackling a new image, start by testing out several of the Transform panel’s Upright buttons for handling perspective distortion.

Quick aside: To better illustrate the effects of each option, I’ll use this image, which is plagued by moderate perspective distortion:

By default, the Off button will be selected, so go ahead and click on Auto instead:

Auto attempts to analyze the entire scene and make corrections that take into account perspective distortion along both the vertical and horizontal axes (while also adding in a few other calculations for natural-looking results). As soon as you click on the Auto button, watch your image, paying careful attention to any vertical or horizontal lines.

Note that these distortion corrections will always crop – or force you to crop – into your image when making the adjustment. In most cases, this shouldn’t be an issue, but if you’re photographing a scene and the edge elements are important, I encourage you to leave a bit of extra space along the edges so you can make successful perspective distortions later on.

In my experience, Auto does a good job about 70% of the time. If you don’t like the result (or you want to try out alternatives), press the Vertical button, which is designed to correct only for converging vertical lines. This can sometimes be a good way to handle subtle distortion of buildings while losing less of the scene to cropping.

Another option is the Level button, which corrects only for converging horizontal lines. I don’t use this tool very often, but it can come in handy if you’re shooting, say, storefronts from an angle.

Note that issues with the Level option may arise when you are working with vertical lines and diagonal lines. This combination of lines can fool the software, and Lightroom may choose to adjust the diagonal lines and skew the rest of the image. In such cases, you’ll need to use a different Upright correction or even rely on the Transform sliders discussed below.

You should also see Full; it applies corrections for vertical and horizontal lines, so it’s also worth trying out. Personally, I’m not a huge fan of the Full option because it tends to overcompensate and create unnatural-looking effects. That doesn’t mean it won’t work for you, but be aware that it’s very aggressive.

Finally, you can use the Guided option. Guided combines manual inputs and automatic adjustments for a highly customized effect, so if you’re struggling to get a natural result, this can be a great tool to try.

In fact, while the Guided option does take an extra minute or two to get right, it’s probably the best way to ensure a good result. The problem with the other automatic options is that Lightroom has to determine the vertical and horizontal lines it uses to adjust perspective – and in reality, these may not be the best lines to use! That’s where the Guided tool shines; as the photographer, you know which lines need straightening, and you can direct Lightroom accordingly. Here’s how it works:

When you select the Guided button, your cursor will turn into crosshairs, and you’ll be able to draw lines (i.e., guides) on your image. Start by drawing your guides across two converging verticals.

The image will immediately adjust, but you can then add a third and even a fourth guide across horizontal lines in your image. (You cannot add a third vertical guide; if you do, the Transform panel will give you an “Invalid guide configuration” warning.)

Once you’re done drawing guides, go ahead and click on the circular guide icon above the buttons, and you’re done!

One final piece of advice: After you’ve applied distortion correction, check the edges of your image to ensure there is no white space. Sometimes, the Transform panel will crop this excess space for you, but other times, you’ll need to remove the space yourself. (If you would like Lightroom to always crop away excess space, you can check the Constrain Crop button at the bottom of the panel. But I’m not a huge fan of its approach, so I recommend cropping manually instead.)

How to use the Transform panel: The Transform sliders

The Upright tools discussed above should get rid of perspective distortion quickly and effectively. But if you prefer to make adjustments manually, or if you don’t like the results given by the Upright tools and you want to make modifications, the Transform sliders are a great alternative.

The Vertical and Horizontal sliders are the most useful; they allow you to correct distortion along the vertical and horizontal axes, respectively. Therefore, if you’re dealing with converging verticals, simply adjust the Vertical slider in either direction until the lines appear parallel. And if you’re dealing with converging horizontals, tweak the Horizontal slider instead.

The Rotate slider allows you to rotate the image and can be a precise way to ensure your image is straight.

Then there’s the Aspect slider, which is a good way to handle unwanted compression or expansion in your photos after you’ve applied a different distortion correction.

Finally, you’ll see the Scale, X Offset, and Y Offset sliders, which I essentially never use (they basically crop your images in specific ways). Feel free to test them out, but don’t be surprised if you rarely use them moving forward.

Used on their own, you may find that the sliders don’t actually achieve much. However, when used in combination and in subtle amounts, you can effectively adjust the sliders to obtain the perspective you see in your mind’s eye.

Lightroom Transform panel: final words

Well, there you have it:

Everything you need to know to successfully correct perspective distortion using the Transform panel.

Hopefully, you can now confidently transform your photos in Lightroom, but I’d encourage you to pick a few images with perspective issues, then see if you can make corrections. If you struggle at first, don’t give up; pretty soon, you’ll be able to handle distortion like a pro.

Now over to you:

How do you plan to use the Transform panel? Do you have any tips or tricks for improving your results? Share your thoughts in the comments below!

The post The Lightroom Transform Panel: A Comprehensive Guide appeared first on Digital Photography School. It was authored by Erin Fitzgibbon.

The post HDR Photography: A Step-By-Step Guide appeared first on Digital Photography School. It was authored by Barry J Brady.

The HDR technique is a great way to capture well-exposed images of high dynamic range scenes. In fact, it’s an approach used by many professionals, including landscape, travel, real-estate, and architectural photographers.

But the technique can be a bit tricky, and that’s where this article comes in handy. Below, I explain everything you need to know to get started with HDR imaging, including:

• What HDR photography is
• Step-by-step instructions for taking HDR photos in the field
• The best HDR software (both free and paid)
• Tips and tricks for top-notch results

So if you’re ready to unlock the full potential of this powerful approach, let’s dive right in!

What is HDR photography?

HDR photography is a technique where multiple bracketed images are blended together to create a single beautifully exposed photo.

In other words, you capture several photos with different exposures, then combine them – in a program like Lightroom or Photoshop – to create a highly detailed file.

Why is this necessary?

Your camera can only capture a limited range of lights and darks (i.e., it has a limited dynamic range). If you point your camera at a dark mountain in front of a bright sunset, no matter how much you tweak the image exposure, your camera will generally fail to capture detail in the mountain and the sky; you’ll either capture an image with a beautiful sky but a dark, detailless mountain, or you’ll capture an image with a detailed mountain but a bright, blown-out sky.

High dynamic range photography aims to address this issue. Instead of relying on the camera’s limited dynamic range capabilities, you take multiple photos that cover the entire tonal range of the scene.

Then you combine the detailed sections of each photo and finish with a file full of well-exposed shadows, midtones, and highlights.

In the case of the mountain at sunset, you could take three images:

• A darker image to capture detail in the sky
• A brighter image to capture detail in the mountain
• A “standard” image to capture detail in the midtones

Then you could blend the three files, using the sky from dark image, the mountain from the bright image, and the midtones from the middle image.

When should you use the HDR approach?

Most scenes don’t require HDR techniques. Cameras have limited dynamic range capabilities, sure, but they’re still capable of handling most standard situations; in other words, you don’t need to do high-dynamic range photography all the time.

And HDR techniques come with significant limitations. To use the HDR process, you need to take at least two “starter” images, and neither the scene nor the camera can shift from shot to shot. You should (almost) always use a tripod, and you should aim to capture stationary scenes with little-to-no movement.

Therefore, I don’t recommend HDR photography when shooting action, such as sports, wildlife, birds, or even portraits; your subjects will move frequently, and you’ll struggle to get two bracketed images that can be effectively blended together.

On the other hand, HDR techniques are great for landscape photography, real estate photography, architectural photography, and cityscape photography. These genres allow for slow, tripod-based shooting, and the scenes feature limited movement, too.

More specifically, you should use HDR photography when you encounter stationary scenes with very light and very dark tones. Here are a few common scenarios where HDR techniques can be a big help:

• Sunrise and sunset landscape and cityscape scenes (with a bright sky and a dark foreground)
• Real-estate and architectural interior scenes (with bright windows and/or artificial lighting)
• Twilight and night scenes (with artificial lighting and deep shadows)
• Landscape scenes with a mix of bright light and shade

Of course, it’s impossible to say for sure whether a scene will benefit from an HDR treatment, and camera sensors are steadily getting better at handling high dynamic range scenes. But when in doubt, you can always shoot a few bracketed exposures; that way, when you arrive home, you can decide whether you captured enough detail in one of your shots or whether you need to blend the files together.

A key problem: avoiding the HDR look

While HDR photography is a perfectly legitimate technique frequently used by professionals, it has unfortunately gained a negative reputation in many photography circles. When HDR first became popular, photographers often utilized the technique in an obvious and over-the-top manner. The resulting images appeared extremely unnatural, with grungy tones, excessive contrast, and an abundance of detail in the highlights and shadows. To make matters worse, these photos sometimes featured unpleasant artifacts such as halos and noise.

This tarnished the reputation of HDR photography as a whole. However, it’s crucial to recognize that there are many flavors of HDR editing, and it is very possible to use HDR processes to create images that accurately reflect what your eyes saw when you originally captured the shot.

Yes, it’s important not to take your HDR editing too far, but the good news is that modern post-processing programs excel at producing natural and realistic-looking results. Keep this in mind as you embark on your HDR editing journey, and you can easily avoid the pitfalls of the “bad HDR” look.

How to do HDR photography: step by step

In this section, I offer clear, step-by-step instructions for creating an HDR image, including both file capture and processing.

Step 1: Set up your camera

As I emphasized above, it’s important to keep your camera steady when shooting HDR, so if you’re planning to use HDR techniques, make sure you own a decent tripod.

Once you find a scene that could benefit from a high dynamic range treatment, mount your camera on your tripod and determine your composition (the way you would when capturing a normal, non-HDR shot).

Then select your camera settings. First, adjust your camera mode to Manual; you don’t want the exposure changing from shot to shot.

Set your ISO at its lowest value to prevent noise, and choose an aperture that gets you your desired depth of field (I often shoot at f/8 to f/11, but you can go wider or narrower depending on your goals). Choose a shutter speed that gives you a balanced exposure (that is, make sure you expose for the midtones, not the highlights or the shadows). Here, it can help to look at your camera’s exposure bar, which is generally visible at the bottom of the viewfinder.

Switch your lens over to manual focus – you don’t want the point of focus changing between shots! – and adjust the focus ring until you get the result that you’re after.

Step 2: Take a “correctly” exposed image

Once you’ve set up your shot, take one last look at your camera settings. If your shutter speed is below 1/60s or so, make sure you use your camera’s two-second timer or a remote release to prevent camera shake.

Finally, take your first shot. Review the results on the back of your LCD. The midtones should be well exposed, while the highlights and shadows are much less important.

If your image is very dark or very bright (i.e., exposed for the highlights or the shadows, respectively), I’d recommend adjusting your shutter speed and reshooting. Once you’ve successfully captured a file with detailed midtones, move on to the next step:

Step 3: Take an overexposed and an underexposed image

Keep your ISO, aperture, and point of focus consistent. Then reduce your shutter speed by a stop or two and take a photo.

The result should look overexposed, but the darker portions of the scene should feature plenty of detail. (You can check this on your LCD or your camera’s histogram.)

Next, raise your shutter speed several stops, then take a photo. This time, you should get an underexposed image, one that is missing lots of shadow detail but that accurately exposes the brightest parts of the scene.

Step 4: Consider the results (and take more photos if necessary)

At this point, you should have three photos: a standard (midtone) image, an overexposed image, and an underexposed image.

In many cases, this will be enough for a nice HDR blend, but if your scene features an extremely high dynamic range, you may want to shoot five photos, seven photos, or even nine photos. Simply keep adjusting the shutter speed for increasingly lighter and darker photos until you’re satisfied with your results.

Over time, you’ll get a sense of the number of shots you need to create a good HDR file, but I always recommend you review your images – and their corresponding histograms – on your LCD. If you find that you’ve captured sufficient detail across your sequence of photos, you can move on to the next step:

Step 5: Blend the files together

After an HDR shoot, you’ll need to blend the files together for a well-exposed composite image. The specifics will depend on your choice of post-processing software, but most programs make it pretty easy to create good-looking HDRs. Here’s how to create an HDR blend in Lightroom:

First, import your photos. Select all the files you need to blend together, then right-click and choose Photo>Photo Merge>HDR.

An HDR window will appear. I’d recommend checking the Auto Align box, especially if you shot handheld or your tripod moved from shot to shot. You can also check the Auto Settings box.

If your scene had moving elements (such as blowing branches or people walking), select the Medium or High deghosting option.

Finally, hit Merge, and wait while Lightroom processes your image! It might take a few seconds (or minutes, depending on your computer and the number of images you tried to blend), but you should soon see an HDR file appear.

Step 6: Enhance your HDR file

At this point, you have a high dynamic range file, but what should you do with it?

One option is to simply export it as a JPEG for sharing online, but I’d really recommend you first apply some additional post-processing. Tweak the exposure, the shadows, and the highlights; add (or subtract) contrast; add saturation and play around with color grading; and sharpen the shot as required. Then export it as a JPEG for viewing.

The best HDR software

If you’re serious about bringing out the full potential of your HDR images, using the right processing program is crucial. While I’ve explained how to process bracketed files in Lightroom as an example, there are several other fantastic options to consider.

For instance, Capture One, ON1 Photo RAW, and Photoshop are all comprehensive editing programs that include HDR blending capabilities alongside their normal features. The advantage of these programs is that you can incorporate the HDR merge into your standard workflow without needing to rely on a second editor, but the disadvantage is that they offer somewhat limited control over the blending process.

If you want more control, consider downloading a dedicated HDR program. Photomatix and HDR Efex are two prominent examples that offer advanced features specifically for HDR editing. With these programs, you can dive deeper into adjusting tones, merging exposures, and achieving the look you’re after.

While most HDR software comes at a cost, there are a few free options available, as well. Luminance HDR offers a range of features and is a great option for those who want to explore HDR photography without committing to a paid program.

At the end of the day, selecting the right HDR program largely depends on your personal preferences, workflow, editing goals, and budget. Experimenting with different options can help you find the one that resonates with your style and allows you to unleash your creative vision.

HDR camera modes

Some cameras offer dedicated HDR shooting modes. That way, you don’t have to do any manual bracketing or blending – you can set your camera to its HDR mode, press the shutter button, and end up with a fully merged HDR shot.

But before you jump on board, let me explain the pros and cons of relying on your camera’s HDR mode.

First, let’s talk about convenience. HDR camera modes can save you time and effort by automating the entire process. Gone are the days of meticulously capturing multiple shots and spending extra time blending them together during post-processing. With a simple click, you can capture a bracketed sequence, and the camera does the rest.

However, convenience often comes at a price, and HDR camera modes are no exception. One of the major drawbacks is the limited control over the process. While this varies depending on your camera model, you may find yourself unable to choose the number of bracketed shots, modify the bracketing intervals, or determine how the images are blended. This lack of control can be frustrating, especially for photographers who prefer a hands-on approach.

Another potential downside is the file format. Many cameras that offer HDR modes only create JPEG HDR files. While JPEGs are convenient and widely compatible, they lack the editing flexibility of RAW files. If you want to create the best possible results, I highly recommend working in RAW.

Considering these limitations, I generally advocate for manual HDR photography. Although it requires more effort, it grants you unparalleled control over the outcome. By manually capturing and blending your bracketed shots, you can carefully adjust each step of the process to achieve the desired result. The extra work is well worth the artistic freedom and control it provides!

Tips for creating breathtaking HDR images

Now that you’re familiar with the basics, let’s explore a few tips and tricks to elevate your HDR photos:

1. Choose your compositions carefully

As you may have already realized, creating an HDR image requires more effort than capturing a standard photo. It involves capturing multiple files and blending them together during post-processing. To make the most of your time and energy, it’s crucial to be deliberate in your shooting approach.

While it may be tempting to go trigger-happy and capture dozens of bracketed shots from every angle, I urge you to exercise restraint. Overloading yourself with excessive files will only lead to a daunting and time-consuming post-processing phase. Quality over quantity is the mantra here!

So instead of capturing HDR shots left and right, take a moment to pause and think about each scene. Work on identifying a single good composition, refining it, then capturing one sequence of bracketed files that you then blend together.

Of course, there may be instances when you find yourself torn between two slightly different compositions. In such cases, capturing multiple versions can be a good idea. However, strike a balance and avoid going overboard. The key is to maintain restraint in your shooting so that each shot is purposeful and intentional.

2. Explore manual exposure blending

If you merge together your HDR shots using an automated process (like I did in my Lightroom example), the result is usually good. But it’ll occasionally look disappointing, or it’ll be decent but not up to your standards. That’s when you should consider delving into the world of manual exposure blending – a technique that allows you to craft stunning HDR images through careful fine-tuning and adjustment.

Manual exposure blending may sound intimidating, but it opens up a realm of possibilities and gives you the power to create truly exceptional results. By utilizing a process known as luminosity masking, you can blend different parts of each image based on their unique light and dark values. This level of precision empowers you to elevate your results like never before.

Now, I’ll say it upfront: Manual exposure blending isn’t a walk in the park. It requires some effort and has a real learning curve. However, if you do a lot of HDR shooting, it’s worth the effort. You probably won’t need it all the time, but it’s great to have in your back pocket for those times when your editing program struggles to create a nice blend.

3. Don’t be afraid of handheld HDR

While I’ve stressed the importance of using a tripod for capturing bracketed shots, I want to let you in on a little secret: It’s possible to achieve stunning handheld HDR images.

You simply need to capture your bracketed shots while keeping your camera as steady as possible. It helps to brace yourself against a solid object, like the ground, a car, or a tree, to minimize any camera movement.

Once you’ve captured your handheld photos, it’s time to bring them into your processing program. The good news is that most modern software is equipped with powerful algorithms that can align and merge the elements in each image, compensating for any slight movements you might have made.

However, it’s important to be aware that there are some trade-offs to consider. The more your camera moves between shots, the greater the chance of losing pixels around the edges of the frame because the program may need to crop in for alignment purposes. So it’s best to be as stable as possible during the handheld shooting process.

While shooting HDR images with a tripod is generally the superior option, there are times when circumstances prevent you from using one. In those situations, don’t hesitate to try the handheld approach. You might be surprised by the results!

HDR photography: final words

Congratulations – you’ve made it to the end of our ultimate guide to HDR photography! Now that you know how to use this powerful technique, it’s time to unleash your creativity and take your images to a whole new level.

Remember, HDR photography isn’t just about merging exposures and adjusting sliders. It’s an art form that requires careful composition, thoughtful shooting, and skillful post-processing. Make sure you work hard, push the boundaries, and see what you can produce.

So head out with your camera. Practice your bracketing. And create some HDR magic!

Now over to you:

Do you have any HDR tips or techniques that we missed? Share your thoughts in the comments below!

HDR Imaging FAQ

The post HDR Photography: A Step-By-Step Guide appeared first on Digital Photography School. It was authored by Barry J Brady.

The post How to Mirror an Image in Photoshop (Step By Step) appeared first on Digital Photography School. It was authored by Ana Mireles.

Photographers and photo editors often need to mirror an image in Photoshop. Perhaps they’re doing a photo composite or a pattern. Or maybe it fits with the graphic needs of a magazine or a poster.

Whatever the reason, if you need to flip an image, simply follow the step-by-step guide I share below! I also show how you can create a pattern using the mirror effect. Sounds good? Then keep on reading.

What is a Photoshop mirror effect?

Mirroring an image in Photoshop involves flipping it horizontally or vertically to create a reflection.

But the mirror effect takes this further; it’s when you use a mirror technique to create patterns or kaleidoscopic images, like this:

A mirror effect is very artistic, and it can be a great way to have plenty of creative fun in Photoshop!

When should you mirror an image in Photoshop?

You might mirror an image in Photoshop for many reasons. The first and most practical one is to correct an image that you may have done through a mirror (e.g., a selfie).

But there are also more creative reasons for mirroring an image. If you simply flip your photo – without creating any doubling or kaleidoscopic effect – you can create a sense of unease in the viewer. Try flipping a portrait, and you’ll instantly notice how swapping the sides of the face will make your subject look very different. You can also mirror images that feature reflections, flipping the “real” object and its reflection.

If you want to make your images look more surreal, you can create a mirror, but then combine the mirrored and original versions in the same file to produce interesting patterns.

Finally, you can multiply your flipped images to create a kaleidoscopic effect. This is great if you’re after abstract art, patterns, or graphic work.

How to create a mirror image in Photoshop

It’s very easy to mirror an image in Photoshop. Here are two easy techniques:

1. Flip Canvas

This feature works when you want to mirror a single-layer document, such as a JPEG. It’s also useful if you want to flip all the layers of a document at once.

Simply go select Image>Image Rotation>Flip Canvas Horizontal or Flip Canvas Vertical. (The axis that you choose depends on the effect you’re trying to achieve.)

If you want to mirror a layer separately from the rest, see the next technique:

2. Flip

This technique is different from the Flip Canvas option shared above because it allows you to mirror individual layers.

First, click on the layer you wish to flip, then select its contents using the keyboard shortcut Ctrl/Cmd+A. Alternatively, click Select>Select All.

Then choose Edit>Transform>Flip Horizontal or Flip Vertical.

Alternatively, tap Ctrl/Cmd+T. The marching ants from the selection will disappear, and a border with handles on each side will appear in their place (indicating that the Transform tool is active).

Right-click inside the image to open the menu. Choose Flip Horizontal or Flip Vertical. To save the effect, click the checkmark at the top of the window.

Note that you can also do this with a single-layer document. When you first open your image in Photoshop, the Transform tool won’t be available because the layer will be locked. But you can unlock it by clicking (or double-clicking) on the lock icon on the right side. This will open a dialog box where you can rename the layer. Click OK, then follow the rest of the steps as if you were working with more than one layer.

(It’s worth noting that on single-layer documents, Flip and Flip Canvas offer the same result.)

Mirror reflections: A step-by-step example

Now that you know how to mirror an image, it’s time to create an artistic pattern.

Start by opening your image in Photoshop. You can choose any photo, but if it already has a clear pattern, you’ll often get better results. Abstract images work very well, too. For this example, I’m using a photo of a palm tree that was captured from below:

When you first open your image, it’ll appear as a locked layer called “Background” (see the example above). To create interesting mirroring effects, however, you need to unlock it. Double-click the image layer in the Layers panel; this will open a dialog box where you can rename the layer:

I’d suggest calling it Layer 1 because, in a moment, you’ll create another layer to go underneath. Alternatively, you could name it “Original” or choose another name that makes sense to you.

Then click OK. You’ll see that the layer is now unlocked and has your chosen name.

Next, create a new empty layer by clicking on the New Layer icon at the bottom of the Layers panel or by selecting Layer>New>Layer in the Photoshop menu. Name the new layer “Background” or “Layer 0” – whichever you prefer. Drag this new layer beneath your original layer.

You’ll need to increase the size of the canvas so that it has room for mirrored images. Click on Image>Canvas Size:

The most traditional way to create a mirroring pattern is with four versions of the original photo. (You flip it on one axis, then you flip it on the other.) To do this effectively, you’ll need to double the size of your canvas both vertically and horizontally.

So change the Canvas Size units to Percent. Then type “200%” in the Width and Height boxes. Click OK.

Now click on your foreground layer, then drag the image to one of the canvas corners. (Pick the best corner based on how you want your pattern to look.) I want the palm tree trunks to converge in the center while covering the border with leaves, so I’ll drag the photo to the top right corner:

Now you have to duplicate and flip the layer. Duplicate it by dragging the layer to the New Layer icon at the bottom of the Layer panel or by selecting Layer>Duplicate Layer.

Now, select the duplicate layer by tapping Ctrl/Cmd+A. Then select Edit>Transform>Flip Horizontal.

You’ll now have a mirrored layer, which you can drag to the corner opposite the first layer:

Next, head to the Layers panel and select both image layers. (To select multiple layers, hold Ctrl/Cmd as you click.)

Click on Layer>Duplicate Layers. Your Layer panel should now be populated with four separate images. With the two newest layers selected, choose Edit>Transform>Flip Vertical. The layers will flip, and you can drag them to cover the rest of the canvas:

That’s it! You’ve made a pattern with mirrored images. To create a bigger pattern, simply increase the canvas size and repeat the process. You can also scale the pattern and use the Rotate tool to make a more complex image. Experiment with different blending modes, too!

Pro tip: The more layers you use, the more important it is to keep a tidy Layers panel. Therefore, it’s useful to name layers as you create them. You can also group or merge the layers as you go along.

How to mirror an image in Photoshop: final words

As you can see, mirroring an image in Photoshop is pretty easy; it only requires a few clicks.

So have fun. Try creating different mirror patterns, and see what you can come up with.

Now over to you:

How do you plan to use the mirror effect? Share your thoughts (and images!) in the comments below.

The post How to Mirror an Image in Photoshop (Step By Step) appeared first on Digital Photography School. It was authored by Ana Mireles.

The post How to Remove Glare in Photoshop: A Step-By-Step Guide appeared first on Digital Photography School. It was authored by Ana Mireles.

Are you looking to understand how to remove glare in Photoshop? While glare does have its creative uses, when it’s just distracting from the main subject, it’ll only harm your images – and that’s where this article comes in handy.

Glare presents in many ways, so it can be removed with different techniques. Below, I’ll share the most popular methods to reduce or remove glare in Photoshop – as well as some tips to prevent it in the first place!

Let’s get started.

What is glare?

Glare is when light impairs visibility. For example, if you’re driving and the sun bounces off the metallic surface of the car in front of you so you can’t see, that’s glare.

Sometimes, glare occurs when the light reflects off a subject in the frame, such as water, glasses, or a metal object. That’s why you often encounter a glare effect when you’re photographing people wearing eyeglasses.

Other times, glare is caused by light bouncing around inside the lens. This usually happens when you photograph toward the light source (e.g., the sun). In such cases, you’ll often hear the term “lens flare” – but from a retouching perspective, it’s really all the same thing and can be fixed with some of the techniques mentioned throughout this article.

Glare on a photograph can be a single bright spot, a number of circles and shapes in different colors, or a light haze. Sometimes, glare can be used as a creative effect; other times, glare can ruin your picture.

So let’s see how to remove glare in Photoshop!

How to remove glare in Photoshop: 4 methods

Let me start with a quick clarification: Completely removing glare from a photo is very difficult. Most of the time, you can just reduce the glare, though it all depends on the amount of detail you have to work with.

Each photo will require a slightly different approach, so I recommend you learn all of these methods. Then, with each new image, you can apply different techniques or even combine them as needed.

Method 1: Adobe Camera Raw

Adobe Camera Raw is a digital darkroom where you can develop all the unprocessed data from a photograph taken in RAW format. It offers the best chance to recover glared-out detail because you still have plenty of information available from the shot.

By default, if you open a RAW file in Photoshop, ACR launches automatically. Here, you can develop the picture before moving on to Photoshop. Of course, while ACR is designed for standard post-processing, there are a couple of tools that are particularly helpful when dealing with glare.

Dehaze: Sometimes, glare presents as a glow in the overall image, like there’s a fog (haze) over the shot. Here, Dehaze is your best friend. Simply move the Dehaze slider, and watch how the contrast increases (and the glare disappears!).

Whites: In the Basic panel, you’ll find the Whites slider. It adjusts the whitest whites in your image (also known as the white point). So by working with this slider, you can darken the brightest areas of your shot to regain some of the details.

By the way, if you’re not working on a RAW file, you can still launch ACR from within Photoshop. Just go to Filters and choose Camera Raw Filter. This will give you access to the same tools as ACR, but keep in mind that your photo’s information will be reduced compared to an original RAW file.

Method 2: Adjust Shadows and Highlights

Shadows and Highlights is a tool that allows you to fix images with high contrast or restore details in overexposed and underexposed areas.

You can find this option in the menu Edit>Adjustments>Shadows/Highlights. I recommend you duplicate the background first; that way, you keep the original image intact, plus you can mask out different areas.

When you choose Shadows/Highlights, a pop-up window appears, which lets you control your adjustments. For further control, select Show More Options.

Then simply move the sliders to eliminate the glare in your image. Remember to check the Preview option to see the effects of your adjustments in real-time.

The Amount sliders control how much correction you’re applying. To remove glare, you’ll want to work on the Highlights. Of course, you’re welcome to change the Shadows as well, to decrease the contrast and make the glare less noticeable.

The Tonal Width controls the range of tones that will be affected by your adjustments. To fix glare, set a small value in the Highlights Tonal Width to restrict the changes to the brightest parts of the image.

The Radius changes the size of the area considered around each pixel when Photoshop considers whether it belongs to the highlights or the shadows.

Pro tip: If you want the adjustments to be applied to the glare and nothing else, add a Layer Mask. Then, fill it with black and paint white over the glare. That way, you’ll see the original image – but the layer with the Shadows/Highlights adjustment will be visible only on top of the glare.

Method 3: Dodge and burn

There are different techniques for dodging and burning in Photoshop. In fact, there is a Dodge and a Burn tool, but I prefer to use layers.

Here, I’ll show you a couple of ways to do this. You can use these dodging and burning methods on their own, but for my example image, I use both for a better result.

Dodging and burning with Curves

The goal is to darken areas where glare is present, so you’ll need to do some burning.

Add a Curves adjustment layer on top of the original photo. Pull the center of the Curve down to darken the glare. It doesn’t matter if the rest of the image becomes too dark – you’ll fix that in the next step.

When you have sufficiently dark glare, select the Curves mask, go to Edit>Fill and choose Black. That way, the Curves adjustment will be hidden. Then grab the Brush tool, with white as the foreground color, and paint over the glare. This will reveal the burning effect in select places.

Dodging and burning with Soft Light

Add a new layer on top of the original and change the blending mode to Soft Light. Now, everything you paint with white will get lighter and everything you paint with black will get darker – so paint over the glare with a black brush!

Remember: If you make adjustments and you don’t love the results, you can reduce the opacity to make the effect less evident.

Method 4: Clone and Heal

If the glare completely overexposes certain pixels, leaving you without any information at all, or if you’re having a hard time matching the colors and level of luminosity, you can try the Clone Stamp and Healing tools. These take information from surrounding areas and either blend or replace the information for each given pixel.

The Clone tool copies the information from an area that you select and pastes it on top. There’s no blending, so you need to be careful about visible borders or creating patterns.

The Healing tools grab information from a different area and blend it with the existing information. If you use the Spot Healing Brush, Photoshop gathers the information for you, though the Healing Brush allows you to choose the source point.

Usually, a combination of both tools gives you the best results, though it really depends on the situation.

How to prevent glare in your photos

Now that you’ve learned how to remove glare in Photoshop, I’d like to go back to the beginning. Because the best way to improve glare? Knowing how to avoid it right from the start.

So here are a few quick ways to prevent glare in-camera!

Use a lens hood

You can attach a hood to the front of your lens to block the light coming in from the sides. There are plenty of great options: cylindrical and petal hoods, rigid and rubber hoods with collapsible segments, and more. The specifics don’t matter much; no matter which hood type you choose, it’ll help you prevent glare in your images.

Position yourself in the shade

If you don’t have a lens hood, consider adjusting your position so you can shoot from the shade. If the glare is coming from a reflection of an object in the scene, this won’t help you. However, it will prevent light from coming into the lens from an angle.

Change your angle of view

Don’t be afraid to move your camera from side to side or even up or down. Try different positions that won’t majorly affect the framing of your shot but will change the angle at which the light is hitting your lens. This usually helps to prevent glare!

Use a polarizing filter

A circular polarizing filter helps reduce or remove glare. Just attach it to the lens and turn it until you see the glare disappear. Keep in mind that you will need to adjust the camera settings to let in more light.

How to remove glare in Photoshop: final words

Learning how to remove glare is a useful skill – after all, even if you’re highly vigilant, it tends to find a way into your photos!

So I hope this article was helpful, and that you can now confidently deal with glare in your own images.

Now over to you:

Which of these glare-removal methods do you plan to try? Do you have any tips of your own? Share them in the comments below!

The post How to Remove Glare in Photoshop: A Step-By-Step Guide appeared first on Digital Photography School. It was authored by Ana Mireles.

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

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.

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

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.

The post Lightroom Star Ratings: A Quick Guide appeared first on Digital Photography School. It was authored by Ian Johnson.

Let’s face it: Sorting and culling your pictures after a shoot can feel like a never-ending task. Whether you’ve spent a wild weekend capturing wildlife or a bustling day capturing a wedding, sifting through hundreds or even thousands of photos to figure out which ones to keep, edit, and store can drive you crazy.

Fortunately, Adobe Lightroom’s star-rating system is a superhero tool that helps you efficiently organize and store your precious images. If you’ve been struggling to keep your photos well-managed, then it’ll be an absolute game-changer – as long as you know the right approach.

In this article, I’ll explain everything you need to know about using star ratings in Lightroom, including what star ratings are and how they work, plus some handy tips and tricks to keep your workflow fast and efficient.

Ready to get your photos organized? Let’s dive right in!

What are Lightroom star ratings?

Star ratings refer to one of Lightroom’s handiest image organizational features: the ability to apply a rating (from 0-5) to each and every image in your catalog.

The star rating option will appear underneath your photos in the Library module:

You can click to apply a rating (and if you choose a rating by mistake, you can always click on the stars again to remove it).

You can also apply star ratings in Grid View. Simply click the dots at the bottom of a photo:

And you’re done! Note that you can always use the Lightroom Sort option to sort photos by rating:

Or you can filter based on specific ratings (e.g., 3 stars and above):

How to improve your workflow with Lightroom star ratings: 4 tips

Star ratings have the power to revolutionize your editing process. In this section, I’ll share a handful of valuable tips to supercharge your workflow, starting with:

1. Embrace the magic of hotkey stars

Earlier, I talked about assigning ratings by clicking on the corresponding stars underneath your images. And sure, it’s an effective approach – but did you know that you know you can assign star ratings from 0 to 5 using your keyboard? These awesome hotkeys are what make the star rating system incredibly convenient.

In fact, if you have hundreds of photos to edit, this can dramatically cut down your time spent in Lightroom. Simply open an image in the Loupe View, press a hotkey to assign a star rating, then press the right arrow key to advance to the next file. You can blow through entire batches of images in seconds!

And if you want to go even faster, enable Lightroom’s Auto Advance feature by selecting Photo>Auto Advance. That way, once you rate an image, you won’t even need to press an arrow key; the program will automatically advance to the next photo.

2. Use star ratings to prioritize your photos

So you’ve just imported a bunch of photos, whether they’re wildlife shots, wedding moments, sports highlights, or captivating portraits. Now comes the burning question: Which ones are worth keeping? When you’re out in the field, you may capture multiple shots of similar subjects in slightly different settings or poses. At a wedding, for instance, you’ll have tons of dance photos, but only a select few will make the final cut.

This is where the star rating system swoops in to save the day. By assigning different ratings depending on the quality of each image, you can quickly categorize your shots and make sure that the best photos get shared and edited and the worst end up in the “delete” pile.

(By the way, here’s why I prefer the ratings system over the flag system: With star ratings, you get to be far more granular. Not only do you select the images to edit and delete, but you can also identify which images to edit first and which to edit down the line. You’re not limited to the binary “yes” and “no” of the flags.)

Now, you can assign rating values that align with your personal preferences, but here’s a suggestion: Let “0” (no rating) be your delete category. Then, designate “1” as the keep-but-low-priority-for-editing category—these could be your b-roll shots for applying general presets. Then, when you set an image to “2,” you’re saying it deserves immediate development, and when you assign a “4,” you’re signaling that it’s one of your absolute best shots. This tiered rating system ensures you only have to go through your images once – and ideally not more than twice. Trust me, it’s a massive time-saver, especially when you’re dealing with a large volume of files!

Quick note: I strongly advise against using “5” in your workflow. Reserve that rating exclusively for your top-notch, highest-quality images.

Once you’ve rated your shots, go ahead and sort them by rating. Then dive into the editing process as needed!

3. Use Smart Collections to create a portfolio

No doubt you’ll capture some amazing shots that you’ll be proud of and will want to keep for future reference, printing, or showcasing in your portfolio. As I mentioned earlier, these exceptional images deserve a five-star rating. (Remember: Only a select few shots should achieve this!)

To gather all your best shots in one place and create a stunning portfolio, Lightroom offers a nifty feature called Smart Collections. Think of it as your personal assistant that automatically gathers all images in your catalog with a specific attribute.

Here’s how you set it up: In the Collections tab, choose the Plus icon, then select Create Smart Collection:

Next, give your Collection a name (such as “Portfolio”), and add some selection criteria. You can base it on any attribute you assign in Lightroom – whether it’s stars, flags, keywords, or more. In our case, we want to collect images with a five-star rating, so we’ll create a single rating rule:

Finally, hit Create, and watch as your Smart Collection – with all your five-star images – appears!

As you continue your photographic journey, your five-star collection will keep growing, beautifully documenting your progress and telling your unique story!

4. Use stars to categorize subjects

This method of using star ratings is quite unique, but it can work wonders, especially if you’re keen on keywording your images.

Imagine you’re a bird photographer. Throughout the day, you’re constantly switching subjects, photographing different bird species left and right. When you import those images into Lightroom, the daunting task of keywording awaits you. Well, fear not! The star rating system comes to the rescue, making it a breeze to sort through your feathered friends in no time.

Here’s how it works: Mentally assign star ratings to particular species, and then use hotkeys to swiftly assign the corresponding star rating to each image. Once you’re done “coding” your species with stars, simply filter them in Grid View.

Now you can focus on completing your keywording, knowing that you’ve effortlessly organized your shots. And if you want to remove the star ratings afterward, it’s as easy as highlighting the images and pressing the “0” key.

Note that this technique isn’t limited to bird photography alone; you can apply it to various photography scenarios!

Lightroom star ratings: final words

Lightroom star ratings are like the secret sauce to streamlining your photo editing game. With just a few clicks, you can assign ratings to your images. That way, your photos will be neatly organized and ready to be edited. No more endless scrolling through folders and scratching your head trying to remember which shots were your favorites.

So embrace the power of Lightroom star ratings. Let them be your guiding stars in the vast universe of digital images. Take control of your workflow, save precious time, and unleash your creative genius!

Now over to you:

How do you plan to use Lightroom ratings? Share your thoughts in the comments below!

The post Lightroom Star Ratings: A Quick Guide appeared first on Digital Photography School. It was authored by Ian Johnson.

The post Editing Aurora Photos in Lightroom: 8 Essential Tools appeared first on Digital Photography School. It was authored by Ian Johnson.

One of the most amazing phenomena of the night sky is the aurora borealis (also known as the northern lights). For as long as humans have existed, the dancing, brilliant curtains of light have dazzled the viewers below.

The opportunity to see the aurora is often a bucket list item, and the opportunity to view and photograph the northern lights draws thousands of people to polar regions every year.

Advancements in digital cameras and photo editing software have created an incredible opportunity for you to edit your shots after a night out under the stars and lights. However, post-processing technology has, in my opinion, resulted in many aurora photographs that are over-processed to bring out a level of saturation and contrast that did not exist in the original scene. Because many of the colors of the aurora are so pure and contrast so intensely with the sky, it is easy to inject the equivalent of pixel-steroids into your images, resulting in an eye-catching but ultimately false effect.

It is my goal when editing aurora shots to enhance but not over-enhance. Understanding how each of the basic Lightroom editing tools impacts an aurora image can help you tell the story of a night out by making your file look like the sky did when you originally witnessed that beautiful light show. Below, I walk you through the different tools that are useful for aurora editing in Lightroom, and I do my best to explain how you can use each to your advantage.

Lightroom basic sliders

To illustrate how my favorite Lightroom sliders – Contrast, Clarity, Dehaze, Tint, Saturation, Vibrance, Shadows, and Highlights – affect an Aurora image, it is easiest to look at how extreme values for each setting impact the image.

For each tool, I will walk you through how the slider impacts any type of image (i.e., I will explain what the slider does in general terms). I will then apply it at an extreme level to the same aurora image to show a before (no edits) and after (extreme applied) comparison.

1. Contrast

Contrast is a very useful slider and a fundamental one for editing. By definition, the Contrast tool darkens the darkest midtones in the image and lightens the lightest midtones.

In an aurora image, many darker midtones appear in the aurora itself. As you slide the contrast to 100%, you’ll see that the colors in the aurora darken, giving the image a more saturated look:

2. Clarity

The Clarity slider adds contrast to the midtones without adding much noise. The tool is often used to bring out texture and details.

As I said above, aurora colors generally fall into the midtones of your image, so a Clarity boost impacts them strongly. Boosting the Clarity to +100 adds definition to the banding of the sample aurora shot below because there are vertical dark lines in the sky. You may like the Clarity slider for aurora shots because it doesn’t add as much contrast as the contrast slider and can make stars in the image pop and seem crisper.

3. Dehaze

Similar to Clarity, the Dehaze slider increases midtone contrast and shadows to give the images a slightly darker and more saturated look.

The Dehaze slider was built to remove haze from a scene. However, when you apply its technology to an aurora shot, it adds a lot of contrast and saturation to the image. It’s a slider to use gently (if at all) for aurora image editing.

4. Saturation

The Saturation slider deepens, intensifies, and brightens the colors throughout the image.

In an aurora photo, you’re often dealing with very intense colors, so you will find it is very, very easy to overdo the Saturation slider. Use Saturation sparingly.

When pushed to +100, the Saturation slider gives the northern lights an almost neon appearance:

At -100, on the other hand, it strips all color from the shot:

It might seem counterintuitive, but there are times when bringing the saturation out of your aurora image by -5 or -10 can help improve the file’s appearance and make it easier for the eye to comprehend the intensity of the northern lights.

5. Vibrance

Vibrance is essentially a less aggressive version of saturation. It’s a tool that increases saturation selectively, with an emphasis on cooler rather than warmer tones.

In aurora shots, the Vibrance slider provides a more realistic enhancement of the aurora’s colors. You can see in the examples below that there is still a real danger of going too far. A Vibrance value of +100 creates neon colors similar to overusing Saturation:

However, at -100, you can see a distinct difference from -100 Saturation. The -100 Vibrance adjustment does not remove all color from the sky:

When editing my aurora shots, I like to decrease the saturation slightly before increasing the vibrance; it’s a powerful technique to subtly improve the colors!

6. Shadows

The Shadows slider increases luminosity in the darkest parts of the image.

With a picture of the aurora, you have a distinct advantage in that the Lightroom program interprets almost any part of the image that is not the aurora to be a shadow. The Shadows slider, therefore, lets you brighten or darken your foreground very easily.

You can see in the +100 shadow example below how details were brought out of the shadows in the silhouettes of the trees:

7. Highlights

The Highlights slider is the opposite of the Shadows slider and increases the luminosity of the brightest parts of the image.

Lightroom interprets any part of the image with the aurora to be a highlight. That means an increase in the Highlights to +100 effectively increases the exposure of the aurora. On the other hand, if you over-expose an aurora image in the field, decreasing the highlights can help you reclaim lost detail.

8. Tint

The Tint slider is meant to be used for color correction in correspondence with the Temp slider.

When editing your northern lights photos, you can use the Tint slider to neutralize the snow, which tends to turn green during intense aurora displays. I like to use a Graduated Filter (i.e., a Linear Gradient mask), coupled with increased pink tints and decreased saturation to make the snow closer to white.

Often this helps your eye focus on the aurora and can restore balance to the shot.

Put it all together for a final edit!

Now that you know how each slider impacts your overall image, it’s time to combine each in moderation to achieve a final edit.

For the shot below, I wanted to make sure the banding in the aurora was enhanced along with the purples. My final edit brings out features of the image without over-enhancing it:

Now I want you to experiment with editing aurora images! Please pick your favorite aurora photo, then do some post-processing based on the advice I’ve shared. Then share the results in the comments below! As I always say, pixels are cheap – so I hope you make lots of pixels while photographing the aurora and have fun editing them!

The post Editing Aurora Photos in Lightroom: 8 Essential Tools appeared first on Digital Photography School. It was authored by Ian Johnson.