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Lightroom Super Resolution Explained (The Essential Guide)

20 Oct

The post Lightroom Super Resolution Explained (The Essential Guide) appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

One of the most exciting new Lightroom features is Super Resolution, which offers the type of image processing that previously existed only in science-fiction movies and TV shows.

Put simply, Super Resolution quadruples the resolution of your photos and turns low-megapixel images into high-resolution works of art. You can also use Super Resolution to crop in – way in – without losing details or turning your images into a blurry mess. It’s available for Lightroom and Lightroom Classic and it’s a tool that could quickly become central to your photo-editing workflow.

In this article, I’ll explain everything you need to know about Super Resolution, including how it works and how to use it to enlarge your images.

So if you’re looking to improve image resolution in Lightroom, or you’re simply hoping to understand this interesting new post-processing feature, then read on!

magnolia seed pod — Nikon D500 | 50mm f/1.8G | f/2.4 | 1/320s | ISO 280

What is Super Resolution in Lightroom, and how does it work?

In the words of scientist and author Arthur C. Clarke, “Any sufficiently advanced technology is indistinguishable from magic” – and that definitely feels like the case with Super Resolution. In reality, Super Resolution is a matter of advanced image processing and years of technological development as opposed to wands and spells, but the end result does feel a bit otherworldly.

Super Resolution works by effectively doubling the horizontal and vertical pixels in an image while filling in the extra space with data based on algorithms and machine learning. A photo with 6000 by 4000 pixels is 24 megapixels (because 6000 x 4000=24,000,000 pixels). But when processed with Super Resolution, that same image essentially becomes 12000 by 8000, or 96,000,000 pixels.

Yes, you read that right: Super Resolution transforms a 24-megapixel image into a whopping 96-megapixel image.

Super Resolution works best on RAW files because there is much more data to work with, but you can also use it on JPEGs and other files such as TIFFs. It’s built on a technology Adobe introduced in Photoshop called Enhance Details, but Super Resolution goes a step further by giving you many more pixels to work with, whereas Enhance Details was a way of sharpening image details without actually quadrupling the resolution.

cat on a fence post — Nikon D500 | 70-200mm f/2.8G ED VR II | 200mm | f/2.8 | 1/1000s | ISO 100

How to use Super Resolution: step by step

One key benefit of Super Resolution is that it’s very easy to use. It’s not buried in menus or complicated toolbars, and there aren’t many parameters you can configure, so it’s difficult to mess up. And because edits are nondestructive there is zero downside to trying it, though beware that quadrupling the resolution of an image also means you’ll need a lot of storage space. For that reason, I like to use it on a case-by-case basis rather than on an entire batch of photos, but if you have access to a vast amount of disk space then you might choose differently.

Step 1: Pick an image for enhancement

To use Super Resolution, start by selecting an image in the Develop module. While you can use the technology on any picture, I like to choose photos that were taken with old cameras such as my 10-megapixel Nikon D200, or on photos where extreme cropping was required, and as a result, some detail was lost.

For this example, I’m going to use a JPEG photo of a sunflower I shot with my D200 several years ago. It’s good in terms of composition and color, but the central part of the sunflower is somewhat blocky and pixelated if you look closely. Not to worry, though: Super Resolution is here to save the day!

Lightroom Super Resolution sunflower close crop — A close-up view of the sunflower reveals a muddled mess in the middle.

Step 2: Open the Super Resolution interface

After picking an image in the Develop module, hit Photos>Enhance in the top menu bar:

Alternatively, you can right-click (or Option-click on a Mac) on the image and select Enhance from the pop-up menu. You can also use the Ctrl+Alt+I keyboard shortcut (Ctrl+Option+I on a Mac) if you prefer to keep your fingers on the keyboard.

The Super Resolution interface is fairly straightforward:

View an upscale preview — The preview window on the left shows a close-up view of what the Enhanced image will look like.

If you are using a RAW file, the Raw Details option will be checked, but this obviously does not work on JPEG files. (The note about Bayer and X-Trans files applies to Fuji RAW files, which often have strange, worm-like artifacts, especially in photos of nature like grass or trees.)

Note that, after the process is finished, the original image file remains untouched, and a new DNG file is created of the upscaled photo. The Create Stack option shows both images in Lightroom as a single Stack, but if you want to keep the original and the Super Resolution version separate, you can leave this un-checked.

My favorite part about using the Super Resolution process is clicking on the image preview on the left side of the window. When clicking, you see the original image; when you release the mouse button, Lightroom shows the Enhanced version. You can click and drag to view this process at various portions of the image, and you can click the magnifying glass in the corner to see the whole image instead of a close-up preview. This click-and-release process reveals the astonishing power of Super Resolution, and gives you an idea of how impressive this process really is.

Lightroom Super Resolution Enhance dialog box — Click and hold to see a comparison to the original image; click and drag to move view different portions of the image.

Step 3: Add detail to the photo!

Finally, when you are ready to create the Super Resolution image, click Enhance.

It will take a few seconds to perform the process, and Lightroom does give you an “Estimated Time” within the Enhance dialog box. The resulting image is just what it sounds like: a high-resolution version of the original, all thanks to the magic of modern computing. Any edits you made to the original are transferred to the enhanced version, and your edits remain non-destructive so you can adjust color settings, cropping, and other parameters without worry.

Lightroom Super Resolution sunflower close improved — A close-up view of the sunflower, enhanced with Super Resolution. The center is much more clean and crisp thanks to the Super Resolution improvements.

How well does Super Resolution perform?

Any time you’re dealing with transformative technologies such as Super Resolution, it’s important to manage expectations. It’s great but not perfect, and while there are times when it makes sense to use it, there are other times when it’s best to hold off. I find that Super Resolution performs best with nature subjects: flowers, animals, landscapes, horizons, and the like. You will also get the best results if you work with RAW files and not JPEGs.

To offer another illustration of how useful Super Resolution is and how well it performs, here is a shot I took of a prairie dog with my 10-megapixel Nikon D200. This is from the unedited RAW file, straight out of the camera:

Lightroom Super Resolution prairie dog — Nikon D200 | 50mm f/1.8G | f/2.8 | 1/500s | ISO 100
This photo needs to be cropped, but that means a loss of detail. Or, rather, that any details not captured originally will be much more visible when the cropped image is enlarged.

The original file is 3872 x 2592 pixels, so when I crop in to show just the prairie dog, the resulting image is a paltry 1900 x 1272, or 2.4 megapixels. That might be fine for Instagram, but it would look pretty bad as a 4K computer desktop background or printed and hung on a wall.

The Enhance dialog shows just how much this image will be improved by Adobe’s special algorithms:

The dialog box shows a preview of the Enhanced image:

The resulting image is now double the resolution on both the horizontal and vertical axes, with final pixel dimensions of 3800 x 2544. Super Resolution has transformed this into a 9.6-megapixel masterpiece, ideal for printing and framing or showing on a giant 4K monitor:

A web-sized version of the Enhanced prairie dog image. It might not look like much when viewed on a small screen, but the finished file is dramatically improved in sharpness and clarity.

That said, there are some situations where Super Resolution doesn’t work as well as you might want, and it’s important to remember that, at the end of the day, this is math and not magic. Adobe’s algorithms do an amazing job of essentially creating pixels out of thin air where none existed before, but there are times when it’s best to leave well enough alone and stick with the original.

The image below is a portrait I shot with my 10-megapixel Nikon D200. While it certainly includes enough detail for printing and framing, Super Resolution might help squeeze even more out of this shot, which would certainly be good for keeping clients happy.

woman with child — Nikon D200 | 50mm f/1.8G | f/2.8 | 1/350s | ISO 200

Super Resolution would help this photo in a lot of ways, especially by bringing out some of the texture and details in the fabric. However, one way it would not help and could actually hurt is right where I would want it most: the eyes.

The Super Resolution algorithm does a good job of clearing up the reflection of the sky in the child’s eye, but it has the opposite effect on the eyelashes. The Enhanced version looks blurrier and less sharp compared to the original:

Lightroom Super Resolution works wonders, but Adobe can’t perform miracles and it won’t automatically improve every single image. Even so, I am thoroughly impressed by what the technology can do and I highly recommend trying it to see the results for yourself.

Downsides to using Super Resolution

As with most things in life, Super Resolution comes with some tradeoffs. So before you rush out and convert your entire image library, there are some caveats and drawbacks you may want to consider.

For one, Super Resolution files are huge. Massive. Enormous. So big, in fact, that you could quickly run out of disk space if you use Super Resolution too much. For example, a 10-megapixel RAW file from my Nikon D200 clocks in at about 9 megabytes of space. Naturally, one might expect that a Super Resolution version would be four times as large, but that’s not the case at all. In fact, a Super Resolution file is over 144 megabytes—sixteen times larger than the original file! You’re going to need a lot of disk space if you use Super Resolution frequently, especially if you apply it to higher-megapixel files from modern cameras.

Lightroom Super Resolution file size — Super Resolution files are absolutely massive. Be prepared to buy lots of additional storage space if you use this feature a lot.

Another drawback to Super Resolution is the time it takes to render, especially when working with a batch of files. Lightroom will need anywhere from 10-20 seconds per image to perform the enhancement algorithm, and that time can really add up. It might not seem like much, but three images will add one minute to your workflow. Ten images could easily add five minutes, depending on the size of the originals are and how fast your computer is. This added time is not necessarily a deal-breaker, but it is something to keep in mind.

Finally, Super Resolution cannot fix an out-of-focus image. Yes, it will make an already-sharp image look even better, but it cannot create sharpness where there was none to begin with. If you are expecting Super Resolution to save the day when you don’t nail the focus, you will be sorely disappointed.

black eyed susan flower — Nikon D500 | 50mm f/1.8G | f/2.8 | 1/350s | ISO 100
Super Resolution, as King Theoden of Rohan might say, has no power here. This out-of-focus photo is destined for the digital dustbin.

When should you use Super Resolution?

Despite the drawbacks, there are two key areas where Super Resolution absolutely shines and I can strongly recommend using it: for extreme cropping and low-megapixel originals.

If you like to crop your images, either to focus attention on one key area or simply because your lens wasn’t zoomed in close enough, Super Resolution can work wonders. It can bring out detail in key portions of your photos and transform images from rejects to portfolio shots.

squirrel on a trunck — Nikon D750 | 50mm f/1.8G | f/1.8 | 1/500s | ISO 100
I couldn’t get any closer to this squirrel for a better photo, so I had to do some really intense cropping – which resulted in a pixelated furry friend.

squirrel eating food — The cropped version is a muddy mess, especially in the tail. Even with a 24-megapixel RAW file, this much cropping generally is not a good idea.

Super Resolution is also a fun way to bring new life to old low-resolution images, provided they are sharp and not out of focus. I enjoy going back to my early digital photos that I shot with 3-megapixel pocket cameras and applying Super Resolution to see if I can extract details or create crisper images for printing. You might be surprised at how well this works for your old digital pictures, too.

Lightroom Super Resolution explained: final words

Super Resolution is one of the most exciting new Lightroom features in a long time. Adobe has created a practical, easy-to-use tool that works on almost all common image types and has the ability to dramatically improve your images.

I find the tool especially useful in some specific circumstances, like cropping and bringing older images to life, but if you have enough spare disk space, you might find yourself using it much more. While not perfect, it goes a long way toward solving a longstanding issue with digital photos and makes me excited to see where this technology will take us in the future!

Now over to you:

What do you think about Lightroom Super Resolution? Will you use it? Are you impressed? Share your thoughts (and Enhanced images!) in the comments below.

The post Lightroom Super Resolution Explained (The Essential Guide) appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

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Real Estate Photography: The Complete Guide

18 Oct

The post Real Estate Photography: The Complete Guide appeared first on Digital Photography School. It was authored by Charlie Borland.

real estate photography a guide

Do you want to capture beautiful, eye-catching real estate photos?

You’ve come to the right place.

Real estate photography might seem difficult and even high pressure, but with a little know-how, you can start creating outstanding images right away.

I’ve spent plenty of time learning the ins and outs of real estate and house photography, and today, I’d like to pass that knowledge on to you. So if you’re ready to learn how to photograph houses like a pro, then let’s dive in, starting with:

Real estate photography: key camera equipment

To get started with real estate photography, you’ll need a few basic items:

A camera
A wide-angle lens
A tripod

Your camera should allow you to add a cable release, a flash, different lenses, and wireless triggers. For cropped sensor cameras, a lens around 10-22mm or 12-24mm is perfect, and for full frame sensor cameras, a lens around 16-35mm will do the job.

Tilt-shift lenses help avoid converging vertical lines such as wall edges and door frames. There are a handful of tilt-shift lenses available, but while these lenses are wonderful to use, they are fixed focal length. So if you need more flexibility, a 16-35mm zoom lens is a great alternative (or companion) to a tilt-shift lens.

This image shows diverging vertical lines, seen best by the edge of the fireplace, from using a 16-35mm lens tilted down to add foreground and minimize ceiling.

Now, real estate shooting techniques can get pretty complex, from exposure blending, HDR, wireless flash, to light painting with multiple exposures. No matter your shooting style, the camera should not be moved (to guarantee image alignment of multiple exposures). The camera’s self-timer, a cable release, or wireless triggers help ensure no camera movement. Certain apps will also triggers the camera and provide a preview of the photo on your smartphone or tablet.

The best lighting for exterior real estate photos

exterior real estate photography

The first image a potential buyer (usually) sees when reviewing properties online is an exterior photo, so you must capture a beautiful outdoor shot. A big part of this is lighting, so you’ll need to carefully choose your time of day and lighting quality.

But what type of lighting is best for real estate photography?

Most exterior house photography benefits from lighting early and late in the day, when the light is soft and golden. The sun direction is also important, so you’ll want to use an app such as PhotoPills to determine the sun’s progression prior to the photo shoot. In general, aim to photograph with light hitting the front of the home, like this:

exterior real estate photography

In winter, some south-facing homes never have the sun hitting the front of the house. In such situations, I highly recommend keeping the sun at your back, even if it means shooting the home from an angle.

sidelit house

If you don’t like the result you get with morning or afternoon light, you might consider shooting on an overcast day. Cloudy skies can eliminate problems with the sun’s position, but discuss it with your client first, because white skies can lessen the impact of an otherwise great exterior image.

Also, if you’re struggling to find a good time to shoot the house during the day, you have one more option:

The dusk/dark technique, which gets you photos like this:

The dusk/dark technique

Simply head to the house around sunset and choose the best angle to showcase the home, ignoring the ambient light. Turn on all the lights or even add lights to the rooms; then wait until after sunset, when the sky’s exposure balances the room lights’ exposure. That’s when you can create a beautiful, pro-level image!

Getting started with interior photography: composition

After you’ve shot some stunning exterior shots, you’ll need to get on with the interior real estate photos. This can be tedious, but it’s essential you approach the task with care.

Homes come in all shapes, sizes, styles, and conditions. You want the house to look as good as possible, so I recommend you send your clients a task list for prepping the home prior to the photo session.

Once you’ve arrived, photograph the main rooms: the living room, kitchen, dining area, master bedroom, and master bath, all of which are “must shoot” rooms. There could also be a library, office, large walk-in closet, and more. The client can often tell you what they deem important; don’t be afraid to ask.

The master bathroom!

Once you’ve entered a room and are preparing to take a photo, seek out the best perspective. I like to use indoor elements – furniture, windows, and room layout – to create visual flow. I generally try to avoid including a large element in the foreground that prevents the eye from flowing through the room.

This is the first test shot I took of this room. The foreground chair blocked the flow!

modified composition of the interior shot above

By rotating the chair and lowering the camera height slightly, the eye flows through the room more easily. (This image also has its vertical lines corrected.)

Key composition tip: get the verticals rights

In interior house photography, there is broad agreement among clients and photographers: Verticals must be correct! Most interiors feature plenty of verticals, including edges and corners of walls, door frames, and windows, and these edges need to truly be vertical. And wide-angle lenses that are not level (e.g., they’re tilted slightly upward toward the ceiling or downward toward the floor) will make vertical edges converge or diverge and no longer appear straight.

If you use a tilt-shift lens, the problem is solved right off the bat, but not everyone likes TS lenses. So what do you do? How do you prevent converging and diverging verticals from ruining your photos?

One common approach is to level the camera – that is, ensure it’s not tilting up or down – because a perfectly level camera will record straight verticals. While this is a simple solution, it doesn’t always make for the best compositions; a level camera at chest height can cut off foreground subjects like furniture at the bottom and leave too much ceiling at the top. Lowering the camera height will improve this problem, but how low can you go and still have an effective photo?

This image by one of my online course students; Simone Brogini, illustrates this point. His camera is chest high and is leveled to avoid diverging verticals. But the foreground furniture is cutoff and there is too much ceiling that lacks interest.

Simone also shot this bedroom image the same way. It looks pretty good, but I advised him again that the camera height might be just a little too high, as the bed and furniture get only about 1/3 of the frame and the wall and windows use 2/3 of the frame.

So what is the perfect camera height? There are many opinions. Some suggest chest height while others suggest door knob height or even lower. I prefer chest height or close, and I also correct vertical lines using other methods, like a tilt-shift lens or the Lens Correction Tool in Photoshop (or Lightroom).

This image shows the use of the Lens Correction Tool. The bed and furniture cover 2/3 of the frame and provide a fuller view of the room, plus the verticals are straight!

Real estate photography settings: how to get the perfect exposure

Exposing for interior elements can be challenging, because you’re balancing bright window light with darker interiors.

You can deal with this contrast many ways; one is to shoot when outdoor light levels are lower, such as during or after sunset, or on a cloudy day. Turning on every light inside increases the interior brightness, and if the outdoor brightness is lower, a RAW file can often capture the scene in one frame. Alternatively, you can shoot a series of bracketed images, then blend them together in post-processing.

On a bright, sunny day, the room has a dark ceiling, a dark floor, window flare, and hot spots with too much contrast for one capture.

On a overcast day, the interior exposure is quite good, as is the window exposure.

Even in low-contrast lighting situations, I’d recommend you take a few extra shots to ensure you have all the necessary exposures for a great image. First, determine your base exposure, the image that has most of the data centered in the histogram. Then bracket in +/- one stop increments of varied exposures. You may not need these extra images, but if the dynamic range of the scene turns out to be too much, they can really save the day (i.e., you can blend them into a great final image!).

bedroom

Real estate photography: interior lighting

While some real estate photographers stick to ambient lighting, just like a finely lit portrait, interiors can benefit greatly from carefully styled external lighting. Bracketing and blending can manage scene contrast, but it cannot create highlights and shadows in areas that have no directional light – for instance, if you have a dark cabinet against a dark wall, adding supplemental light can bring out the much-needed detail.

Most interiors have two light sources: window light and interior lights. You can add continuous lights or use strobes/flashes. Personally, I recommend flashes or strobes, which provide flexibility when lighting interiors.

Before I dive into the basics of interior lighting, I’d like to emphasize its purpose: to bring out detail, balance the overall lighting effect, prevent distracting dark spots, and emphasize the key parts of the scene. Always think in terms of what the ambient lighting conceals and what your studio lighting will reveal.

Now, photographers shooting for architects or magazines often have plenty of time to photograph a property with finely crafted lighting techniques, but a real estate photographer’s time is usually limited, making flash the perfect tool. You can master the balancing act of using direct on-camera flash to fill in a scene, or you can bounce on-camera flash for great results.

Feel free to take a test shot without flash, then review the image on your LCD and determine the areas that require fill light. That’s what I did for the scene below:

Here, the only light is coming from a window on the left and the ceiling fixtures, leaving dark areas in front.

kitchen real estate photography better lighting

Adding bounce flash, handheld just to the right of the camera, filled in those darker areas effectively.

Also popular are multi-flash wireless set ups allowing the flash to be placed around a room for styled lighting. Oh, and you might try the light-painting approach, where areas are selectively lit across several exposures, then all exposures are blended in post-processing.

This image uses the light painting approach for a balanced, detailed result.

By the way, you’ll need to be aware of lighting color temperatures and color balance, which can become a problem when indoor lighting (studio or otherwise) is combined with ambient outdoor lighting.

When you have mixed light, such as daylight-colored window alongside tungsten-colored ceiling lights, plus you then throw in a fluorescent kitchen light, you’ll end up with a palette of different light colors in your image. Walls closest to windows will be blue while the walls closest to the tungsten ceiling lights will be amber and the ceiling in the kitchen will have a green tint.

Here’s an image with mixed lighting:

There is a blue color cast around the window and on the floor on the left.

So what do you do about mixed lighting? Two things:

Do as much as you can to minimize mixed lighting by color-matching your studio lights to the lights in the scene.
Use selective color adjustments in Lightroom, Photoshop, or another post-processing problem to neutralize the unwanted color casts after the fact.

Here’s a corrected version of the previous image:

The final image shows color correction, as well as corrected verticals and the removal of window flare.

Providing the client with the final images

Once you have photographed the house and done the necessary post-processing, you will need to deliver the image files. Clients usually request low resolution files for the web and high resolution files for print publication.

Be sure to save your files in the proper file format and size for the intended use. Most online listing services specify their accepted formats and acceptable sizes. I use low-resolution JPEGs and high-resolution TIFF files, then I make a final delivery of the images via Dropbox or a comparable online service.

Real estate photography: final words

Now that you’ve finished this article, you’re ready to rock some real estate photos! Here are a few items to remember before heading out to your first house:

You are not photographing for yourself; you are photographing for clients who will expect professional quality work.
Don’t get all the best gear; only buy what is required to do the job well.
Master the creative side of photography, such as angles, perspectives, and composition.
Master the technical side of photography, such as exposure, HDR, supplemental lighting, color matching, and exposure blending.
Be careful when processing real estate images; don’t misrepresent the property.

And above all, have fun!

exterior image real estate

The post Real Estate Photography: The Complete Guide appeared first on Digital Photography School. It was authored by Charlie Borland.

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The Best Landscape Photography Settings: A Guide

14 Oct

The post The Best Landscape Photography Settings: A Guide appeared first on Digital Photography School. It was authored by Simon Bond.

In this article, you’ll discover the best landscape photography settings to take your photos to the next level.

Landscape photography is one of the most popular photographic genres, and it’s why many of us pick up a camera in the first place. However, determining the perfect settings for great results can be a struggle, which is where this article comes in handy.

Below, I share plenty of settings advice. I explain how to select the perfect camera mode, shutter speed, aperture, and white balance, plus plenty more – so if you’re ready to improve your landscape photography, then read on.

sun rising over the landscape — Canon 5D Mark III | Canon 17-40mm f/4L | f/22 | 1/8s | ISO 100

The best camera mode for landscape photography

Your camera has several modes, ranging from Automatic through to Manual. These are the common modes available to you:

Automatic: With Auto mode, your camera chooses the aperture, ISO, and shutter speed. All you need to do is compose and take the photo.
Landscape: This is also a type of automatic mode, but is a step up from the standard Auto mode mentioned above. In Landscape mode, your camera knows you’re photographing a landscape, so it will choose a more standard “landscape” aperture.
Aperture Priority: Aperture Priority mode allows you to set your aperture and (if you wish) the ISO, while your camera selects the shutter speed. You can adjust the exposure value – to darken or lighten the photo – with your camera’s Exposure Compensation feature.
Shutter priority: Shutter Priority mode lets you choose a specific shutter speed while your camera picks the aperture. This can be useful for long exposure landscape images.
Manual: Manual mode lets you control all your settings – the aperture, shutter speed, and ISO – to get the correct exposure. This will take longer, but in landscape photography, you have the time.

As a beginner, you maybe tempted to use the camera’s automatic features, but I highly recommend you learn your camera setting and use Manual. Your results will pretty much always be better!

river and blue sky — Canon 5D Mark III | Canon 17-40mm f/4L | f/8 | 1/400s | ISO 100

The best aperture, shutter speed, and ISO for landscape photography

The three key settings for any photographer, no matter the type of photo, are aperture, shutter speed and ISO. Together, these settings determine the final exposure of your image, which is why they’re often referred to as the exposure triangle.

In landscape photography, you’ll want to adjust these settings very carefully. Let’s take a closer look, starting with:

Aperture

Aperture is arguably the most important setting in landscape photography. It controls sharpness, depth of field, and at smaller apertures can create a starburst effect.

Sharpness: Landscape photos are best when they’re both focused and sharp. Using the wrong aperture for your landscape can result in a softer image. You’ll want to select an ultra-sharp aperture somewhere between f/8 and f/11, but the specifics depend on the lens you have. Generally, your lens’s sharpest aperture is three stops down from its widest aperture, so feel free to use this as a guideline (though you can always do a few tests!).
Depth of field: When you have foreground elements close to the camera, depth of field is especially important. You’ll need a deeper depth of field to maintain sharpness across the frame, which is achieved in one of two ways: with a narrow aperture (around f/8 and beyond), or with focus stacking, where several photos are taken then merged in post-processing to produce focus throughout the photo.
Starburst effect: A small aperture can produce a pleasing starburst effect when you shoot toward points of light like street lights or a partially covered sun.

beautiful sunrise landscape photography — Canon 5D Mark III | Canon 17-40mm f/4L | f/8 | 1/100s | ISO 500

Shutter speed

Another very important landscape photography setting is the shutter speed. In fact, it can dramatically change the type of landscape photo you capture. Based on your shutter speed, you can create a crisp photo (fast shutter speed) or a softer, long exposure (slow shutter speed). Note that any shutter speed over half a second is considered long exposure, and you’ll need a tripod for the best results.

The long exposure effect

Long exposure has a transformative effect on photos when applied in the right place and at the right time. You can easily carry out long exposures at night, thanks to the lack of light; during the day, you’ll need a strong neutral density filter to achieve a long shutter speed without overexposing the image. You might choose to use a long shutter speed in any of the following scenarios:

Coastlines: Use at least ten second exposures to flatten the water.
Moving water: Use exposures of one second or higher around white water for the “silk effect”
Traffic light trails: Use exposures long enough to capture car light trails along the length of the road you’re photographing. Aim to keep the shutter speed over 15 seconds or so.
Windy days: You can capture cloud movement across the sky with exposures of 30 seconds or longer.
Intentional camera movement: Try moving your camera body or adjusting the focal length during a long exposure. These type of photos can last anywhere between five to thirty seconds in length.

black and white landscape — Canon 5D Mark III | Canon 17-40mm f/4L | f/8 | 20s | ISO 1000 | Hoya infrared filter

ISO

Your ISO setting will brighten your photo, but the higher the ISO, the worse the image quality.

As a landscape photographer, you should shoot with a tripod for the best results, so in most conditions you’ll be able to use an ISO of 100 (or your camera’s base ISO setting).

That said, there are times – especially at night – when you might want to use a higher ISO. For example, if you’re using an aperture of f/11 and you’re not getting enough light for a correct exposure even at 30 seconds, you may want to boost your ISO to get a reasonable shutter speed.

Also, if you do astrophotography, you’ll definitely need a high ISO, assuming you want to freeze the stars (which are always moving across the sky, or at least appear to be!). Consider shooting at ISO 12600 or even more, if your camera can handle it. In fact, standard Milky Way settings are an aperture of f/2.8, an exposure of 25 or 30 seconds, plus an ISO as high as you can reasonably go.

colorful orange and red trees in a landscape scene — Canon 5D Mark III | Canon 17-40mm f/4L | f/16 | 1/200s | ISO 640

The best focusing settings for landscape photography

When it comes to landscape photography, you have two choices for the proper focusing mode:

Autofocus or manual focus.

In my opinion, the best results come from manual focus, though it is somewhat dependent on the equipment and the scenario. Let’s take a closer look at these two options:

Autofocus

With autofocus, your camera where automatically focus, though you do get the option to specify where you want your camera to focus.

So set your camera to its single-point focus mode (where it uses a single AF point to determine the proper focus). Then compose your shot, select an object in the middle ground, and position your single focus point over that object.

Press your shutter halfway to achieve focus, then take the shot.

river rushing water — Canon 5D Mark III | Canon 17-40mm f/4L | f/11 | 13s | ISO 250 | ND1000 filter

Manual focus

Manual focus will often given you sharper images, though it’s a little trickier. You’ll need a tripod, or at least a steady location where the camera remains still. Here’s what you do:

Place your camera on a tripod and compose your shot.
If your lens has image stabilization, be sure to switch it off.
Set your lens to manual focus; that way, you’ll be focusing the lens with your lens focus ring.
Turn on your camera’s Live View function. If you’re using a DSLR, the mirror will lock up.
Use your Live View’s zoom function to zoom in on an area of your composition. Note: Don’t zoom with your lens, only with the Live View zoom.
Once you have zoomed in, use the lens focus ring and focus sharply on your desired object.
Zoom back out, check your composition, and take your photo.

wheat with a city in the background — Canon 5D Mark III | Canon 17-40mm f/4L | f/8 | 1/125s | ISO 100

The best white balance for landscape photography

White balance is an important setting for any photographic situation, and landscape photography is no different. You have a few choices, including a manual and an automatic option. But depending on your image file format, you can make further adjustments in post processing.

Why does white balance need adjusting?

When photographing during the day, you’ll likely get good results from the automatic settings on your camera. However, photographing at night with cold or warm street lights can cause the automatic option to fail, in which case you may prefer to use a semi-automatic or manual white balance option.

Automatic white balance

The Auto White Balance setting, or AWB for short, tells your camera to make the white balance decisions for you. It’s certainly usable during the day, and today’s cameras will give good AWB results.

White balance presets

Your camera will also have a number of preset white balances. These include settings like Tungsten and Fluorescent, which counteract he warm or cold light produced by the corresponding light sources. White balance presets are useful for nighttime cityscape photography, when you want to cool your image and remove the orange glow a city produces.

Manual white balance

The white balance can be quantified using Kelvin, a measure of temperature. Cameras generally offer a white balance Kelvin scale ranging from around 2500K to 15000K, where the lower the Kelvin number in your camera, the cooler the resulting image, and vice versa.

To set the white balance on your camera, you can use the camera’s custom white balance setting. Aim your camera at a gray or white card, then take a photo. Then use this photo to set your camera’s custom white balance. Alternatively, use the camera’s Kelvin adjustment buttons to choose the correct setting.

long exposure water scene — Canon 5D Mark III | Canon 50mm f/1.2L | f/8 | 20s | ISO 100

File type

There are two main file types to choose from when taking photos (TIFF is another popular option but is more relevant to post processing). These are RAW and JPEG:

JPEG

This file type is designed to be a finished product. If you’re not interested in a lot of editing work, a JPEG might suit you. The size of file is also a lot smaller than its RAW counterpart, which can be helpful in certain situations.

When capturing JPEGs, it’s best to get the image right in camera, because you have much less flexibility in post-processing. If you’re happy to work this way, then JPEGs are a good path.

RAW

The vast majority of landscape photographers photograph in RAW, also referred to as the digital negative. RAW file sizes are larger, but the ability to enhance your image in post processing is so much greater.

Adjusting settings after the fact, like temperature, sharpness, and exposure levels, give much better results when the file was shot in RAW. You’ll also find that adjusting (and recovering) shadows and highlights will be improved.

city at night — Canon 5D Mark III | Canon 50mm f/1.2L | f/8 | 10s | ISO 100

Additional landscape photography settings to know

There are a handful of other landscape photography settings that can improve your results, including:

Mirror lock-up

Mirror lock-up only applies to cameras with mirrors (e.g., DSLRs). It can improve the sharpness of your photo if you’re using slow shutter speeds, because it prevents the camera mirror from causing vibrations when you hit the shutter button.

Image stabilization

If you’re taking a photo handheld and your lens or camera has image stabilization, it’s a good idea to turn it on. Stabilization technology counteracts camera shake, and will therefore allow you to photograph at a slower shutter speed.

However, when your camera is on a tripod and you’re shooting at slow shutter speeds, make sure to turn off all image stabilization technology; in such cases, the image stabilizer will actually cause image blur.

Bracketing

If you wish to do any HDR or digital blending in post-processing, then bracketing is an important setting to get right. When your camera is set up for bracketing, it will take three photos of the same scene (you should use a tripod for this) with different exposure values, typically +1, 0 and -1. Though you can vary the exposure values, the idea is to create a dark, normal, and light image, which you can later blend together for improved dynamic range.

long exposure beach rocks — Canon 5D Mark III | Canon 17-40mm f/4L | f/8 | 1/3s | ISO 400

Landscape photography settings: final words

Landscape photography is an exciting genre, and it’s great to get out and capture those epic scenes! Now that you’ve finished this article, you should be a landscape settings expert – so get out to some great places near you and apply your new knowledge.

Over to you:

What settings have you been using for your landscape photos? How will your workflow change in response to this article? Share your thoughts in the comments below!

The post The Best Landscape Photography Settings: A Guide appeared first on Digital Photography School. It was authored by Simon Bond.

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How to Remove Glare in Photoshop: A Step-By-Step Guide

14 Oct

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.

How to remove glare in Photoshop using ACR

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

How to remove glare using shadows/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.

How to remove glare in Photoshop using dodge and burn

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.

Before/after of glare removal in Photoshop

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

How to remove glare in Photoshop using the clone tool

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!

Canon camera on a tripod with a lens hood

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.

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Rule of Thirds in Video: The Essential Guide

05 Oct

The post Rule of Thirds in Video: The Essential Guide appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

The rule of thirds is a simple composition technique that can instantly enhance your videography, but how does it work? And how can you use it to improve your videos in post-production?

In this article, I’ll explain everything you need to know about the rule of thirds, from the basics – what it is and how to follow it – to more advanced techniques, such as how to apply the rule to real estate footage, landscape footage, wedding footage, and more.

I’ll also explain how to adjust your compositions in VideoProc Vlogger, the just-launched, beginner-friendly video editing software from the company behind the popular VideoProc program. (Bonus: It’s completely free!)

So if you’d like to improve your videos in the field and in the editing room, then let’s dive right in, starting with the essentials:

What is the rule of thirds in videography?

The rule of thirds is a compositional guideline designed to make your visuals more balanced and dynamic.

Specifically, the rule states that the best compositions position key elements a third of the way into the frame. It comes with helpful gridlines:

The idea is simple, at least in theory. When faced with a scene, you – the videographer – should position key elements somewhere along the gridlines, and when possible, at the intersection of two gridlines.

(These intersections are known as power points, because they improve your compositions even further.)

So if you’re shooting a mountain at sunset, you might position the horizon line along the lower horizontal gridline, then make sure that the camera pans until the main mountain peak falls across a power point. Make sense?

The rule of thirds isn’t really a rule – just a guideline. But it is a great way to make your videos look professionally composed, and it’s a technique used all the time in movies, TV, commercials, and more.

In other words: You don’t need to follow the rule of thirds religiously. But if you can learn to incorporate it into your shooting – if you can learn to think in terms of the rule of thirds gridlines as needed – then your footage will improve dramatically.

Now, you can apply the rule in two basic ways:

You can plan out your shots using the rule of thirds, then keep your subjects aligned with the gridlines while recording.
You can record, then crop to satisfy the rule of thirds (when editing).

If possible, it’s best to nail the composition in camera; that way, you don’t lose resolution during post-production. However, if you’re shooting at high resolutions and exporting at low resolutions, or you aren’t too obsessed with pixel-perfect quality, you can always adjust your footage to use the rule of thirds after your shoot is over, as I discuss in the next section:

Applying the rule of thirds in VideoProc Vlogger: step by step

VideoProc Vlogger is a powerful new program designed to make video post-production quick, easy, and intuitive, plus it costs nothing. You can download the software here.

And in VideoProc Vlogger, literally anyone can use the rule of thirds to enhance their photos; all it takes is a few simple clicks. Here’s how it works:

Step 1: Prepare your footage for editing

Once you’ve launched VideoProc Vlogger and started a new project, you’ll need to bring your clips into the Media Library.

Simply drag and drop the relevant files onto the Library panel:

Or tap Add Video and browse through your files for the relevant footage:

Then drag the clips down to the Timeline:

And you’re ready to go.

Step 2: Add horizontal and vertical guides to approximate the rule of thirds

VideoProc Vlogger allows you to easily create guides on your preview screen. Our goal is to recreate the rule of thirds gridlines, like this:

First, you’ll need to identify the dimensions of your frame. For this example, I’m working with a 1920 x 1080 (HD) video. (If you’re not sure, you can always check the desktop file, or you can click the little i Info button on the clip thumbnail in VideoProc.)

Second, take the width and divide it by 3. Do the same for the height.

To use my example, 1920 divided by 3 equals 640, and 1080 divided by 3 equals 360.

Next, make sure the Show Rulers button is selected:

Tap the Horizontal Guide button:

Then place two horizontal guides: one at around 640 pixels, and the other at around 640 x 2 (1280) pixels.

Finally, tap the Vertical Guide button and place two vertical guides: one at around 360 pixels and the other at around 360 x 2 (720) pixels.

And there you have it: a rule of thirds grid, right in your Preview panel.

If you’re worried about accidentally adjusting your guides, you can always hit the Lock Guide button:

Step 3: Use the rule of thirds to evaluate (and crop) your footage

Once you have your rule of thirds gridlines in place, I recommend playing through your footage, paying careful attention to key elements, including:

Horizon lines
People
Bright, eye-catching objects
Any other main subjects

Ask yourself: Are these key elements frequently aligned with the rule of thirds gridlines? If the answer is “Yes,” then you’re doing great – but if you come across a clip where the answer is “No,” you can simply select the Crop tool:

Then adjust your footage until it’s rule-of-thirds compliant.

Pro tip: If possible, ensure the aspect ratio of the crop matches the original aspect ratio of the footage; otherwise, you’ll need to scale the footage (and you’ll lose parts of the frame in the process).

When should you apply the rule of thirds in VideoProc Vlogger?

While you can technically use the rule of thirds at any stage in your editing process, I highly recommend you add the gridlines and evaluate your composition at the very beginning of your workflow.

Compositional arrangement tends to affect everything about a recording, from its mood to its ideal color grade to its ideal speed, so it pays to determine exactly how your composition will look before proceeding with any other edits.

Case studies: how to apply the rule of thirds in real-life situations

Up until this point, I’ve explained how to use the rule of thirds, but I haven’t talked much about common situations you’ll run into when filming and how you can use the rule of thirds to enhance your footage.

Let’s take a look at a few likely scenarios:

Real estate videography

In real estate filming, you’ll want to pay careful attention to a few features, including major appliances, eye-catching furniture, wall lines (i.e., the point where one wall ends or intersects with another), and floor lines (i.e., the point where the floor intersects with the wall).

Aim to position wall lines along vertical gridlines and floor lines along horizontal gridlines:

real estate videography with rule of thirds

You can also position appliance and furniture edges along the gridlines and (ideally) at power points, like the kitchen island in the example above.

By the way, it’s generally better to pan than to capture static shots, but make sure you move into the final composition. In other words, pan until the scene meets the rule of thirds, then cut.

Night videography

Shooting at night can go many different ways, but I do recommend you think about the horizon line; as I discuss in the next section, you’ll want to position it along the top or bottom horizontal gridline.

This clip could use a bit of rule-of-thirds adjusting:

For instance, I might crop at the top to emphasize the foreground (and get rid of the boring sky).

I can also align interesting subjects with the horizontal gridlines, like the busy road on the left-hand side.

Landscape videography

When filming landscapes, always check the horizon line. In rare cases, it can work to place this dead-center – but in general, I recommend positioning it along the top or bottom horizontal gridline.

Which option is better? That depends on the scene. If your footage includes a lot of foreground interest, such as a river, rocks, or even a rustic cabin, then you’ll want to minimize focus on the sky by positioning the horizon along the top gridline:

mountain landscape scene with rule of thirds

But if your footage contains very little foreground interest and/or a beautiful sky, the reverse is the way to go.

Food videography

In general, your food compositions should feature a main dish or main food item, often surrounded by other supporting dishes, food items, or utensils.

You’ll want to position your main subject along a gridline or at an intersection point. You’ll also want to pay attention to the table edge; if it’s present in your composition, it may sit most naturally along a horizontal gridline.

Here, you can see the pitcher of syrup, which sits along the top gridline, positioned above the dessert, which sits along the bottom gridline:

Wedding videography

While wedding scenes include a lot of variation and can be somewhat unpredictable, you might aim to put the happy couple along the two vertical gridlines. Check out this clip, where the bride and groom start in the center of the screen…

…but eventually align perfectly with the rule of thirds gridlines:

Starry sky videography

As with landscape videography, you’ll need to check your horizon lines. You’ll likely want to position the horizon along the lower horizontal gridline; that way, you can emphasize the beautiful sky:

However, in situations with especially interesting foreground elements, you might position the horizon along the upper horizontal gridline instead.

Rule of thirds in video: final words

Now that you’ve finished this article, you are well equipped to use the rule of thirds in your own videography.

Just remember my tips on composition, and be sure to download VideoProc Vlogger so you can evaluate (and adjust) your compositions after shooting!

Digiarty, the creator of VideoProc, is a paid partner of dPS.

The post Rule of Thirds in Video: The Essential Guide appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Program Mode: Everything You Need to Know (Ultimate Guide)

31 Aug

The post Program Mode: Everything You Need to Know (Ultimate Guide) appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Program mode: everything you need to know (ultimate guide)

What is Program mode on your camera, and when should you use it?

Program mode is one of those “odd one out” camera settings – one that most folks never try because they simply don’t understand how it can help their photography.

Yet once you get the hang of it, Program mode is actually pretty darn useful. That’s why, in this article, I aim to share everything you need to know about this mode, including:

What it actually is
How it works
How to use it for great results

So if you’re ready to become a Program mode master, then let’s get started.

people sitting at a table in a restaurant; photographed with Program mode

What is Program mode?

The camera mode dial operates on something of a continuum. On one end, you have Manual mode, which gives you complete control over the three elements of exposure: shutter speed, aperture, and ISO. On the other end, you have Auto mode, which gives you almost no control over exposure.

camera mode continuum Program mode Auto mode Manual mode

As you can see in the diagram above, other modes exist in the middle of the spectrum. These modes – Shutter Priority, Aperture Priority, and Program mode – give you some degree of control, but your camera does significant work, as well. For instance, Aperture Priority lets you control the aperture and ISO while the camera determines the proper shutter speed for a good exposure.

So what about Program mode? What does it do?

Program mode exists somewhere between Aperture/Shutter Priority and Auto mode, and it works like this:

You set the ISO, while your camera sets the aperture and shutter speed.

(Remember: The ISO refers to the sensitivity of your camera sensor, the aperture refers to the lens diaphragm size, and the shutter speed refers to the length of time the shutter captures light.)

Program mode also gives you control over other camera features, such as exposure compensation, but I’ll discuss that in a later section. For now, just remember that Program mode gives you ISO control, but leaves the aperture and shutter speed up to your camera.

(In fact, Program mode is sometimes referred to as “ISO Priority.”)

When is Program mode useful?

While Program mode isn’t nearly as popular as Aperture Priority or Shutter Priority, it can make a big difference to your photography – you just have to know when to use it.

In essence, Program mode works best when you care about the ISO, but you don’t care about the shutter speed and the aperture. This is either because you know that your camera will automatically give sufficient shutter speed and aperture values or because these settings won’t affect the final result in a meaningful way.

So if you’re shooting outdoors and you want to produce minimal noise in your photos, you might select Program mode, dial in a low ISO, and then let your camera do the rest.

I shot this using Program mode, which let me tweak my exposure settings on the fly.

Or if you’re photographing under powerful artificial lights, you might tell your camera to keep the ISO low, then trust it to nail the remaining exposure variables.

Bottom line:

If all you want to do is adjust the ISO, you’re set. Put your camera in Program mode, change the ISO, and focus on composing and framing your shots rather than thinking about the aperture, shutter speed, and overall exposure.

But that’s not Program mode’s only use. You see, Program mode is also a great transition mode. If you’re aiming to improve your photography skills but you’re still stuck on Auto mode, you might try leveling up to Program mode; you can then use it as a stepping stone to Aperture Priority, Shutter Priority, and beyond.

Program mode: beyond the basics

At this point, you should be comfortable with the Program mode basics: You set the ISO, and your camera does the rest.

But if you dig a little deeper, you’ll find more useful features to unlock. Many of these can help you get the shot you want, instead of the shot your camera thinks you want. In this way, Program mode is like the late-night infomercial version of Auto; it handles all the nitty-gritty complicated stuff for you, but ends with a, “Wait, there’s more!”

First, Program mode allows you to use exposure compensation to correct any exposure mistakes. By adjusting the exposure compensation in one direction, you can force your camera to take brighter images, and by adjusting it in the other direction, you’ll get the reverse.

Say you take a photo of snow and it turns out too dark. With a little exposure compensation, you can bring back the snow’s natural brightness (note that you can’t do that in Auto mode).

And you can adjust plenty of other camera settings while in Program mode, including white balance, metering mode (full/center/spot), point of focus, and whether your camera should use its flash.

(Contrast this with Auto mode, and you should start to see the usefulness of the humble little “P” marker on your camera’s mode dial.)

Of course, Program mode isn’t always the way to go. Sometimes, you’ll want to independently adjust your shutter speed or your aperture, in which case one of the Priority options, or even Manual mode, is the right choice.

But when ISO is all that matters, give Program mode a try.

Shooting in Program mode gave me a good overall exposure, but I didn’t like how the microphone was so dark.

I switched to spot metering, retook the shot, and got what I wanted. Program allows for this flexibility, whereas Auto does not!

Program mode: final words

Program mode is a handy little option, even if it’s often eclipsed by Manual, Aperture Priority, and Shutter Priority.

So the next time you don’t want to give up all control over your camera but also don’t want to do everything yourself, consider Program mode. You might ask yourself, “Do I need to adjust the aperture? And do I need to adjust the shutter speed?”

If the answer is “No,” then Program mode is probably your best option!

Now over to you:

Do you use Program mode? Do you plan to start using it? Why or why not? What do you think of it? Share your thoughts in the comments below!

Program mode person with camera

The post Program Mode: Everything You Need to Know (Ultimate Guide) appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

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Photoshop Eraser Tool: A Comprehensive Guide (2021)

26 Aug

The post Photoshop Eraser Tool: A Comprehensive Guide (2021) appeared first on Digital Photography School. It was authored by Ana Mireles.

Are you wondering how to use the Photoshop Eraser Tool? And more importantly, are you wondering when you should use it?

You’ve come to the right place. In this guide, I’ll show you how the Eraser Tool works – and I’ll give you some tips that’ll help you master it. You’ll also learn when to use the Eraser Tool, along with several helpful alternatives.

Let’s get started!

The Eraser Tool: 3 different versions

Nearly every tool in Photoshop comes in several different versions; to reveal these options, click and hold a tool icon. A menu will appear with each tool variation:

In the case of the Photoshop Eraser Tool, you’ll find three variations:

The regular Eraser Tool
The Background Eraser Tool
The Magic Eraser Tool

Let’s see what each can do and how they are different from each other, starting with the standard Eraser Tool:

1. Eraser Tool

The standard Eraser Tool is as straightforward as it gets. It erases the pixels underneath the cursor – whatever they are.

You can determine whether to use the Eraser Tool as a Brush, a Pencil, or a Block. For the Brush and the Pencil, you can choose the size, hardness, and opacity of your cursor’s brush.

Click once, and you’ll erase whatever is underneath the cursor (though a big brush will delete more than a small brush, of course).

Make sure the layer you’re working on is unlocked, and that transparent pixels are unlocked, too (the transparent pixels can be locked or unlocked via the checker icon on top of the Layers panel; see the circled icon in the image above).

2. Background Eraser Tool

The Background Eraser Tool tends to confuse and disappoint Photoshop beginners. The name suggests that it automatically erases the background of your image, thus eliminating the tedious work of selecting – but I’m afraid that’s not how it works.

Instead, the Background Eraser Tool samples whatever is underneath the middle of the cursor (marked with a +) and deletes areas that match the sampled color.

You can adjust how the Background Eraser Tool conducts its sampling. Continuous Sampling means that it will update the sample as you move the cursor. On the image above, for example, I can drag the Tool along the edge between the sky and the trees and it will delete only the blue from the sky. However, if I touch the branches, the Background Eraser will start deleting the trees.

Switch the sampling to Once, and the Background Eraser will erase anything with the color it sampled upon your first click. This is ideal when you want to remove intricate areas like sky between leaves.

Finally, the Background Swatch sampling mode will delete anything matching Photoshop’s current Background Color. This is best used with solid colors because a graduated blue – like the one in the sky, above – will leave a lot of areas untouched.

The Background Eraser Tool is only available as a brush, but you can adjust the Limits and Tolerance to fine-tune according to your needs.

3. Magic Eraser

using the Magic Eraser Tool — With one click on a sample point, the Magic Eraser deletes bigger areas where the pixels have the same or a similar color.

The Magic Eraser works like the Magic Wand selection tool, except it erases pixels instead of selecting them; one click, and it erases anything that matches the color under the cursor.

You can adjust the Tolerance to delete more or fewer shades of the sampled color. You can also determine if you want to erase only adjacent areas or if you want to delete anything with that color, regardless of its location in the image. Check the Anti-alias option if you want to minimize jagged edges.

How to use the Eraser Tool: the basics

Using the Photoshop Eraser Tool is dead simple. Just follow these steps:

Unlock the layer you want to eraser. Make sure transparent pixels are unlocked, too.
Select the Eraser Tool you want to use (regular Eraser, Background Eraser, or Magic Eraser).
Customize the tool. Depending on the type of Eraser you’ve selected, you’ll have different customization options.
Click and drag to erase the desired area.
Check for any remaining pixels. If necessary, go back and erase over areas again.
Save the image as a PNG file to preserve the transparency of deleted pixels.

Tips for using the Photoshop Eraser Tool

Now that you’re familiar with the Eraser Tool basics, I’d like to share some simple tips and tricks to improve your results:

1. Always keep an original backup

creating a backup layer — The Photoshop Eraser is a destructive tool, so *always* work on a copy.

The Eraser is a destructive tool. In other words, if you delete pixels, they’ll be gone for good. You can bring them back with the Undo command, but that’s only if you haven’t closed and re-opened the file.

So before using the Eraser, always, always, always make a backup of your work.

For instance, you can duplicate the layer you plan to Erase; that way, if you mess up, you can always delete your worked-on version and start over with the duplicated layer.

Another option is to work with a copy of your file, rather than the original. Then, when things go downhill, you always have the original to save the day.

2. Use the keyboard shortcuts

To move more efficiently through your editing process, you can use the ‘E‘ key to activate the Eraser Tool.

Then tap ‘Shift + E‘ to toggle between the different types of Erasers.

3. Erase to History

If you’ve saved a state or made a snapshot, the Erase to History option will erase the changes made since that last save.

You can find this feature in the Options bar of the Erase tool.

When should you use the Eraser Tool in Photoshop?

The Photoshop Eraser Tool has limited applications. But for those few times when you need it, you’ll be happy it exists!

Here are several situations when the Eraser Tool can make a big difference:

1. When you need transparency

Sometimes, it’s not enough to hide pixels in the current document – you actually need to keep the area empty and transparent for use on images elsewhere.

This can happen when you’re preparing several images for a photo composite, or when you’re creating a logo to place on top of other images.

(Remember to save your file as a PNG. Otherwise, the transparent areas will be filled with white pixels by default.)

saving as a PNG file — Always use a PNG format to save a partially erased image.

2. When you need to fine-tune channel masks

When you make a layer mask, you’ll notice that a new channel is created.

If you head to this new channel and use the Eraser Tool in Block mode, you can make adjustments to the black pixels to modify the mask (though make sure you zoom in for better results).

Eraser Tool alternatives

Not sure if the Eraser Tool is the right way to go? Here are several alternatives to the Eraser Tool that will help you achieve similar results.

Photoshop Layer Masks — Layer masks hide the pixels instead of deleting them.

1. Layer masks

Layer masks are a non-destructive way of “erasing” parts of your image. Technically, you’re not deleting those pixels – that’s why it’s non-destructive.

Instead, you’re just hiding the pixels you don’t want. If you change your mind and decide to make them visible again, you can disable the layer mask – or unmask the parts that you want visible.

2. Auto Erase

Despite the name, this isn’t a feature found as part of the Photoshop Eraser Tool. Instead, you’ll find it in the Pencil tool.

When you activate the Pencil and enable the Auto Erase option, you paint – with the background color – any pixels that have the foreground color. And if you paint over an area that doesn’t have the foreground color, you replace that color with the foreground color.

The Photoshop Eraser Tool: final words

I hope this article clarified your doubts about the mysterious and often underestimated Photoshop Eraser Tool. Go ahead and test it out the next time you’re in Photoshop. See how it goes. Yes, it has something of a niche effect, but it’s occasionally very helpful.

Now over to you:

Do you have any tips or advice for using the Eraser Tool? Share them in the comments below!

The post Photoshop Eraser Tool: A Comprehensive Guide (2021) appeared first on Digital Photography School. It was authored by Ana Mireles.

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Camera Lens Universality Guide: What Works and What Doesn’t?

21 Aug

Lens mounts are an integral part of understanding whether or not a lens will work with your camera system. Most often we are not given that choice because entry-level cameras come bundled with a kit lens. However, once we want to go beyond a kit lens and want to buy an extra lens comes the inevitable question – will this Continue Reading
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A Beginner’s Guide to Buying a Camera (2021 Edition)

16 Aug

The post A Beginner’s Guide to Buying a Camera (2021 Edition) appeared first on Digital Photography School. It was authored by Jeremie Schatz.

a beginner's guide to buying a camera

Are you searching for your first real camera? Do you want to know what to look for and how to choose?

In 2021, you have plenty of options, but talk of megapixels, mirrorless technology, viewfinder type, and other technical terms can get very confusing, very fast. That’s why, in this camera buying guide for beginners, I’m going to break it all down for you.

Specifically, I’m going to cover the different types of cameras and the key features to look for, plus I’m also going to share some simple tips for getting the right model for your needs.

Let’s dive right in.

Price

Brace yourself: High-quality photography equipment often requires a significant investment.

All cameras cost money, and sometimes lots of it – so determining your budget is a good place to start.

In my experience, the easiest approach to camera budgeting is to come up with a narrow price window. If you think you want to spend under $ 1,000 USD, you’ll be overwhelmed with choices, but if you aim for the $ 800-$ 1,000 range, your options will be much more manageable.

While you’re mulling over your camera budget, consider what other accessories you may need or want. Don’t blow your entire budget on a camera body with no lens. And depending on the type of photography you plan to do, you may want to acquire a tripod, external flash, extra batteries, and memory cards.

Types of cameras

Now that you’ve (hopefully) determined your budget, it’s time to figure out which camera type is right for you.

Generally speaking, you have four main options:

Point-and-shoot cameras
Bridge cameras
DSLRs
Mirrorless cameras

many cameras in a group

Point-and-shoot cameras are compact and convenient. In general, they’re designed for beginners, and they feature automatic modes for easy, no-knowledge-required photography. Unfortunately, the lenses are built in and non-interchangeable, though they usually cover a wide zoom range. Quality-wise, point-and-shoots run the gamut from cheap and uninspiring to pro-level compacts.

Bridge cameras take the point-and-shoot concept and kick it into high gear; while bridge cameras don’t offer interchangeable lenses, they do offer more control over camera settings, along with larger grips, improved ergonomics, and more rugged bodies.

DSLRs are the classic, fancy-looking cameras with all the buttons and big lenses. Lower-end DSLRs offer good image quality and give users a ton of control, while higher-end DSLRs include an array of advanced features, such as lightning-fast continuous shooting, complex autofocus tracking, and an ultra-rugged frame. You’ll find a mind-boggling assortment of lenses and flashes, as well as a myriad of other gadgets for all sorts of creative effects.

Mirrorless systems are all the rage these days, packing the features of DSLRs into smaller bodies. They offer a great compromise of quality and versatility, and thanks to advances in mirrorless sensor technology, many photographers view mirrorless as the future.

Of course, at the end of the day, none of these camera types are obviously best – rather, they’re good for different users and different types of photography. Choosing a camera type is about recognizing what you want to photograph and how you want to photograph it, rather than grabbing the option with the flashiest features.

So if you’re after an ultra-compact model designed for beginners, I’d suggest picking a point-and-shoot camera, especially if you don’t ever plan on moving past the basics. On the other hand, if your goal is to do serious photography, an entry-level DSLR or mirrorless camera is probably best; these cameras offer excellent image quality at a reasonable price.

Of course, if money is no object, you might consider purchasing a high-level DSLR or mirrorless camera, though these models mainly distinguish themselves in terms of high-level features that you may not have much use for, so think long and hard before you spend thousands on a body like the Sony a7R IV.

Sensor

Once you’ve picked the perfect camera type, you’ll need to understand how to compare different sensors, which vary in three key ways:

Size
Resolution (megapixels)
High-ISO capabilities

Let’s take a closer look at each characteristic in turn:

Sensor size

buying a camera with a sensor

The bigger the sensor, the better the image quality (all else being equal). For this reason, big sensors tend to be pricey, and they also tend to make their way into the hands of professionals rather than beginners.

In fact, the largest consumer sensors are known as full frame and are the size of a 35mm film negative. But the majority of cameras on the market pack sensors smaller than full frame; these are usually referred to as cropped, or APS-C. Then there are smaller sensors still, known as Four Thirds, and even smaller sensors (though once you get below Four Thirds, you’ll be looking exclusively at compact and bridge cameras).

If capturing sharp, clean images is your main goal, then I’d recommend purchasing a Four Thirds sensor at the very least (and I’d urge you to consider APS-C and even budget full-frame options). That said, larger sensors do correspond to larger camera bodies, so a smaller sensor is a tradeoff worth considering, especially if you plan to travel frequently or you like the idea of carrying a camera around in your pocket.

Note that larger sensors often offer more megapixels, the importance of which I discuss in the next section:

Resolution (megapixels)

These days, high-megapixel cameras are all the rage. You have cameras like the Canon EOS R5 and the Nikon Z7 II packing 45 megapixels, the Sony a7R IV reaching to a whopping 61 megapixels, and talk of an 80+ megapixel model from Canon.

But what do all those megapixels get you? Two things: big prints and cropping latitude.

In other words, a 61 MP camera will let you produce gigantic prints with tons of detail, or it will let you crop in on your subject for a magnified view.

Unfortunately, higher megapixel counts do come with several significant drawbacks. For one, more megapixels tend to reduce high-ISO capabilities so that you’ll capture noisy, messy images in low light. Also, resolution is directly correlated with file size, so you’ll fill up your memory cards and computer hard drive much quicker with a high-resolution camera.

Before you go out and buy that 40+ megapixel camera, ask yourself: do I really need that many megapixels? Sometimes it pays to skimp!

High-megapixel cameras come at a price: they eat up storage on your memory cards and hard drive.

High-ISO capabilities

Some cameras can shoot at ISO 3200, ISO 6400, and beyond without producing significant noise, whereas others struggle to produce usable images past ISO 800.

Here, the difference is partly a function of size, where larger sensors offer better low-light performance, but also a function of sensor technology, where certain sensor types (often found in the most expensive cameras) outperform others.

Unfortunately, it’s difficult to determine a camera’s high-ISO capabilities from its specification sheet alone, so it’s important to read hands-on reviews before purchasing any particular model, especially if low-light photography interests you.

Lens quality (and lens selection)

A sensor is only as good as the lens you put in front of it. If your lens is blurry, then you could have the best sensor in the world, but your photos will turn out blurry, too.

If you’re aiming to purchase a point-and-shoot or bridge camera, compare the zoom range of different models. Ask yourself: How much zoom do I need? Some lenses cover huge ranges and can therefore handle many genres of photography from landscapes to birds and everything in between. Other lenses feature more limited zoom ranges, which might be fine or might become an issue, depending on your interests.

camera lens

With DSLRs and mirrorless models, you must purchase at least one lens – otherwise, your camera can’t capture photos. Fortunately, the lens options are nearly endless, and there are lenses for pretty much every photographic genre, from portraits to street to wildlife and beyond. Many cameras are offered as kits that come with the camera body and lens. These “kit” lenses are usually lower quality but can certainly produce good results.

Some lenses are more expensive than others, based on several main factors: they let in a lot of light, for one, and they produce very sharp, undistorted images. They also might feature longer focal lengths or large zoom ranges and are often built to more exacting and durable standards.

Really, choosing the perfect lens is often as hard as choosing the perfect camera. As a beginner, though, it often makes sense to start with a kit lens, spend time developing your photographic interests, and then upgrade to more specialized lenses as needed.

Additional key features

Up until this point, I’ve focused on the camera essentials – the characteristics that you should always think about before picking a camera.

But there are plenty of additional features worth considering, depending on the genres that interest you. In this section, I’ll highlight a few of the big ones, starting with:

Autofocus and drive speeds

If you want to photograph action – sports, wildlife, or birds – then you need a camera with advanced autofocus and high continuous shooting speeds.

Look for models that feature complex tracking algorithms (e.g., human or animal eye AF). Also look for 10+ frames per second, as well as a deep (50+ frames) buffer.

Durability

Some cameras are built to last, whereas others struggle to handle a light rain.

If you plan to shoot most of your photos indoors, durability may not matter to you. But if you’ll be capturing landscapes, wildlife, sports, or even outdoor events, the more weather-sealed your camera, the better.

Ergonomics and handling

Some cameras are comfortable to hold plus they’re easy to operate, thanks to helpful features such as fully articulating screens, touch functionality, and autofocus joysticks.

man with a camera pointed upward

For each camera you consider, make sure to look carefully at the specification list. If there’s a feature you desperately want – such as a fully articulating touchscreen – make sure you grab a camera that includes it!

Other

Here’s a long list of other features worth considering:

Wireless connectivity
Built-in flash
Hot shoe (for an external flash)
Dual memory card slots
Image stabilization
RAW file support
Video capabilities (HD, 4K, etc.)
External microphone support
Shooting modes (for creative effects)
Battery life
Weight

Guide to buying a camera: final words

Buying a digital camera can be intimidating, and it often feels like the choices never end. Hopefully, this article has offered you some clarity – and you’re now ready to make your first camera purchase.

Also, it’s important to remember: While camera choice does matter, pretty much every model out there is capable of great shots. So don’t stress too much!

camera silhouette at sunset

The post A Beginner’s Guide to Buying a Camera (2021 Edition) appeared first on Digital Photography School. It was authored by Jeremie Schatz.

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How to Correct White Balance in Photoshop: A Guide

04 Aug

The post How to Correct White Balance in Photoshop: A Guide appeared first on Digital Photography School. It was authored by John McIntire.

When you think of white balance corrections, Photoshop probably isn’t the first program that comes to mind. In most cases, white balance is dealt with early in the workflow. And because the tools in Lightroom and other RAW processing suites do a great job, Photoshop isn’t necessary.

That said, there are occasions when you might need to alter your white balance in Photoshop – which is where this article will come in handy.

Specifically, I’m going to share four non-destructive methods of correcting the white balance.

And by the time you’re done, you’ll be able to adjust white balance in Photoshop like a pro.

Let’s dive right in.

Disclaimer: As you are no longer working on a RAW file in Photoshop, when you use these tools, you are technically not altering the white balance data in your images. Instead, you are altering the colors and tones of a PSD, JPEG, etc. Even so, the end result will appear the same as a white balance adjustment, and I will refer to it as such for the purposes of this article.

Why correct the white balance in Photoshop

There are many reasons you may want to alter the white balance in Photoshop, rather than in a standard RAW processor (such as Lightroom).

Perhaps you’re halfway through your workflow and you change your mind about some of the choices you made at the RAW stage.

layers in Photoshop — One reason you might want to alter your white balance in Photoshop is if you need to make changes in the middle of a workflow. Instead of heading back to your RAW processor and starting from scratch, you can make the adjustments in Photoshop.

Perhaps another adjustment altered the image colors in a way that you don’t like, and you want to make white balance corrections.

Perhaps you don’t shoot in RAW at all, so you only edit your files in Photoshop.

Whatever the reason, Photoshop offers a huge variety of tools that will let you deal with this task easily and without needing to scrap any of your previous edits.

Four (non-destructive) ways to adjust the white balance in Photoshop

non-destructive adjustments in Photoshop — All of the techniques mentioned in this article are non-destructive – three by way of adjustment layers and one by making use of Smart Objects.

Below, I outline four simple techniques to correct the white balance in Photoshop.

Note that every technique is non-destructive – or it can be, as long as you use layers and Smart Objects.

Starting with your very first option:

1. Camera Raw filter

Let’s get this one out of the way right off the bat.

After all, when it comes to altering your white balance in Photoshop, the Camera Raw filter might be the most obvious option. Why? The filter opens an interface that allows you to use Adobe Camera Raw inside of Photoshop.

If you use ACR or even Lightroom, you’re already familiar with the filter interface, and it should be a piece of cake to work with.

the Camera Raw filter in Photoshop — If you’re already familiar with Lightroom, finding your way around the Camera Raw Filter is going to be easy.

To get started with the Camera Raw filter, create a new layer, then use Ctrl+Alt+Shift+E (Cmd+Alt+Shift+E on a Mac) to copy all of your previous layers and place them into your just-created layer. If you want this adjustment to be non-destructive, right-click the new layer and select Convert to Smart Object.

Now, from the filter menu, select Filter>Camera Raw Filter.

selecting the Camera Raw filter from the menu

This will open the Camera Raw filter window:

the Camera Raw filter window in Photoshop

From here, all you have to do is locate the sliders labeled Temperature and Tint:

adjusting the Temperature and Tint — Assuming the white balance was close to accurate, any changes you make at this point will be quite minor.

Adjust these sliders as you see fit – this is your opportunity to make white balance corrections – then press OK. Job done!

a white balance adjustment in Photoshop before and after — Easy and intuitive, the Camera Raw Filter might be all you need for a quick white balance adjustment in Photoshop.

Note: The Temperature slider in Camera Raw does not correspond to the white balance Kelvin scale. Remember, as you are not using a RAW file, there is no white balance data for you to manipulate at this stage of your workflow.

2. Color Balance

The Color Balance adjustment is the least intuitive option in this article, and its sensitivity takes some time to get used to. Once you get your head around it, however, it can be a quick and powerful way to make changes to white balance in Photoshop.

To get started, create a new Color Balance adjustment layer:

Photoshop Color Balance adjustment layer

You’ll see a selection of sliders, like so:

Color Balance in Photoshop — Although the Color Balance sliders seem intuitive, they can cause *massive* changes to your images with minor tweaks.

There is also a dialogue box labeled Tone; by clicking the box, you can switch between altering the shadow, midtone, and highlight colors.

Now, to warm up your image, select a tonal range and move your sliders toward the reds, magentas, and yellows. To cool down your image, push the sliders toward the cyans, greens, and blues. Adjust the shadows, midtones, and highlights until you’re happy with the results.

Color Balance sliders in action — Here, you can see how small changes make a huge difference. I barely moved the sliders, and yet look at the effect on the image below.

before and after Photoshop Color Balance — Color balance: before and after.

Tip: The sliders in the Color Balance adjustment are very sensitive. To get your desired effect, you may only need to move them a tiny amount. Also, because of this sensitivity, altering the midtones can lead to drastic results very quickly. Keep a close eye on your image and don’t be afraid to dial it back if you go too far. Also, don’t forget: if the effect does seem too strong, you can always lower the opacity of the adjustment layer when you’ve finished.

3. Photo Filter

The Photo Filter adjustment is a bit of a wild card and you may never choose it over the other options outlined here, but it’s a good example of Photoshop’s incredible versatility. Plus, who knows? Maybe you’ll like the effect.

The Photo Filter tool aims to replicate the effect of various filters used in film photography to manipulate white balance in camera. Common examples of these filters are warm-up and cool-down filters (which add warm and cool tones to your images, respectively).

To get started, create a new Photo Filter adjustment layer:

Photo Filter adjustment layer in Photoshop

Then, in the Filter dialog box, you will find several options, including warming and cooling filters:

Photo Filter in Photoshop — Altering the Photo Filter settings can change your results drastically. Apart from the Filter presets and the density, you can also choose a custom color to apply as a filter.

In this example, I chose a warming filter to (you guessed it!) warm up the image. Note that the photo was taken during the blue hour, and that’s deliberate – I want to show you just how powerful the Photo Filter adjustment can be.

The initial effect will almost always require some adjustment; move the Density slider left to reduce the filter’s impact, and move the Density slider right to strengthen the filter.

adjusting the white balance on a mountain landscape — Here you can see a dramatic result from the Photo Filter; this blue hour shot instantly became far more neutral.

That’s pretty much all there is to it.

4. Curves

The Curves adjustment layer is one of the most powerful tools that Photoshop offers. You can use a Curves layer to adjust exposure, contrast, dodge and burn, color grade, and adjust your white balance in Photoshop.

In short, if you are not yet familiar with the Curves adjustment, I recommend taking the time to learn it in depth.

Using Curves to alter white balance is fairly straightforward. To start, create a new Curves adjustment layer:

Click the box labeled RGB to see options for Red, Green, and Blue:

To warm up your images, select the Red curve. Drag it slightly upward to increase the red tones in your images. Do the same to the Green curve. Then drag the Blue curve downward to de-emphasize any cool tones:

Curves RGB adjustments — Although these adjustments seem slight, they’ve had a huge impact on the image. This should show you just how powerful the Curves adjustment can be.

This process can be finicky, so keep adjusting each curve by small amounts until you get your desired effect.

If you want to cool down your image, the process is the same, but you will simply move each of the three curves in the opposite directions.

before and after Curves adjustment — The original image (left) was cooled down a bit with some minor tweaks in a Curves layer.

Correcting white balance in Photoshop: conclusion

Now that you’ve finished this article, you should be able to see that altering the white balance in Photoshop needn’t be a complicated process.

You now know four simple ways to make white balance adjustments, and while Photoshop probably shouldn’t be your first choice when working with white balance, it’s good to have a few tricks up your sleeve just in case.

Now over to you:

Which of these methods of adjusting white balance in Photoshop do you plan to try first? Do you have a favorite? Share your thoughts in the comments below!

White balance in Photoshop FAQs

Can you use Photoshop to change the white balance for an image that isn’t a RAW file?

Yes and no. Technically speaking, only RAW files grant you the ability to change white balance settings. However, you can use Photoshop tools such as the Camera Raw filter, Curves, Photo Filter, and Color Balance to alter the colors of your images – and the effect is similar to a white balance adjustment.

What’s the easiest tool for altering the white balance in Photoshop?

The Camera Raw filter. This tool offers an interface similar to Lightroom and features easy-to-use sliders.

How do I use Curves to correct colors in my images?

Work on the Red, Green, and Blue curves individually. Drag each curve until your colors look exactly as you want them.

Why would I want to use Photoshop to correct my white balance?

Maybe you’ve already started post-processing an image and only later decide you want to alter the white balance. Instead of starting over, you can use tools in Photoshop to get the job done in the middle of your workflow.

The post How to Correct White Balance in Photoshop: A Guide appeared first on Digital Photography School. It was authored by John McIntire.

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