Do you know how and when to use Screen blend mode in Photoshop to improve your images? While you probably realize that you can change the blending modes of your layers, determining which mode to use each time can be tough.

To make the most of Screen blend mode, it’s important to understand how it works. In this article, I start by explaining what Screen is and what it does to your images; I then share when to use it for the best results, and I give you some practical examples, too. I close with a couple of extra tips to help you master the blend mode and use it to improve your Photoshop editing.

So if you’re ready to become a Screen master, then let’s dive right in!

What is Screen blend mode?

First things first: Photoshop allows you to work with layers of different types (including image layers and adjustment layers). You can make each of your layers interact with one another – and blend modes are the mechanisms that guide this interaction. In other words, by choosing different blend modes, you can ensure that your layers interact in different ways.

Now, Photoshop’s blend modes are divided into categories. Screen belongs to the Lighten category because it lightens images (more about that in a moment!). Technically speaking, Screen inverts, multiplies, and once again inverts the value of the pixels. Let’s see what this means in practice:

As the examples show – in which white, gray, and black layers are blended with my original flower file – Screen generally lightens the original image. However, if you use Screen to blend an image with a black layer, the colors won’t change – and if you use Screen to blend an image with a white layer, you’ll get a pure white result.

When should you use Screen blend mode?

Screen is useful in two main situations: When you want to adjust or correct your image, and when you want to do photo compositing. Let’s take a look at both scenarios in turn:

1. For photo editing

As I mentioned above, Screen blend mode lightens your image – which means it comes in handy when you have underexposed (i.e., too dark) photos.

Simply duplicate your image layer, then change the blend mode to Screen. Your photo will immediately lighten:

It’s also possible to use the Screen blend mode – in combination with the Multiply blend mode – to add contrast.

You see, Screen and Multiply are opposites, so when you have an image that’s dull or flat, you can duplicate the image twice. Then change the blend mode to Screen on one of the duplicates and the blend mode to Multiply on the other!

All you need to do is duplicate the image two times. Change the blend mode to Screen on one of the duplicates and Multiply on the other, and your image will gain a bit of contrast.

2. For photo compositing

In the first section of this article, I showed you how black pixels won’t have any effect on your image when you use the Screen blend mode. And when you’re making a photo composite, this can certainly come in handy!

Why? Because when you paste a subject on a black surface, you won’t need to waste long minutes selecting and masking it. Instead, you can simply change the blend mode to Screen, and the black background will disappear. (Some common examples where this works well is when compositing smoke, lightning, and bokeh.)

How to use Screen blend mode: step by step

Working with Screen is extremely easy, and even Photoshop beginners should be able to grasp the basics.

Start by opening the image you want to edit in Photoshop. Then add a second layer (on which you’ll be using the Screen blend mode). It doesn’t matter if it’s a duplicate of the original file, a new image, or an adjustment layer; Screen is used the same way in each scenario.

For my example, I’m duplicating the Background layer. To do this, you can click on the layer and drag it to the Add New Layer icon at the bottom of the Layers panel, or you can use the Duplicate Layer command in the Layer menu:

Make sure your new layer is selected, then open the blend mode menu (you’ll find it at the top of the Layers panel). Scroll until you find Screen:

If you’re using Photoshop CC, you’ll see a preview of each blend mode’s effect as you hover over it in the menu. However, to apply Screen (or any other blend mode), you’ll need to click on it.

If the result is a little too intense, go ahead and adjust the opacity. You’ll find this option at the top of the Layers panel next to the blend mode menu:

By default, the opacity will be at 100%. To adjust it, click on the arrow next to it to open the slider. Then simply move the slider until you’re happy with the result!

Screen blend mode: A step-by-step example

As I mentioned above, there are many uses for the Screen blend mode. In this example, I show you how it can be used to recover underexposed photographs, then I explain how to combine it with the Multiply blend mode to add contrast.

By the time I’m finished, you’ll see how much detail you can recover from a poorly exposed photograph without losing any information.

Step 1: Duplicate your image layer

You’ll need to start by opening your image; by default, it will appear as a locked Background layer:

Go ahead and duplicate the original image. Remember, you can simply click and drag it to the plus sign at the bottom of the panel (i.e., the Add New Layer icon). Alternatively, you can select Layer>Duplicate Layer in the Photoshop menu.

Step 2: Apply the Screen blend mode

Next, you’ll want to change the blend mode to Screen. As I explained in the previous section, you can do this by opening the drop-down menu at the top of the Layers panel.

Click on Screen, then watch as the image brightens:

Step 3: Adjust the tones

The Screen blend mode did a great job of boosting the exposure of my image, but the highlights – that is, the brightest portions of the sky and the water- are a bit too bright. I want to lower the effect of the blend mode on those areas (and only those areas).

To do this, I’ll add a layer mask. You can create masks by selecting the relevant layer, then clicking the Add Layer Mask icon at the bottom of the panel. Then grab a Brush, set it to black, lower its opacity, and start painting over the lighter areas (while making sure your mask is selected).

The areas over which I’ve painted decrease in brightness, giving a nice result:

I like what I’ve produced, but I want to brighten the shadows further and add some contrast. To do this, I can create a Levels adjustment layer, then change the blend mode to Screen:

Just altering the blend mode will produce an immediate change – though you can fine-tune the effect using the sliders or the presets in the Levels property panel. In my case, I’ve used one of the presets to increase the contrast.

Note: If you think it’s necessary, you can lower the opacity of your Levels adjustment layer. I turned mine down to 50%, but you should always move the slider to choose a value that’s right for your image.

Step 5: Add some extra contrast

At this point, my image has details in shadows and highlights, and it’s definitely an improvement compared to the original. However, it looks rather flat. A dramatic sky would give it the extra oomph it needs.

I’ll merge and copy all the layers into a single new file by pressing Ctrl/Cmd+Shift+Alt/Option+E, then I’ll change the blend mode to Multiply.

Since Multiply is the opposite of Screen, the image will get darker. Unfortunately, while the sky is now exactly what I want, the rest is too dark again. So I’ll create a layer mask to fine-tune where I want the Multiply layer to appear and where I want the Screen layer to shine through:

And that’s it. Just look at the difference:

Screen blend mode: 2 quick tips

Like any other Photoshop tool, there’s more to Screen than meets the eye. Here are a few extra tips to help you out:

1. Apply Screen blend mode to a filter

When you’re working with Smart Objects, the filters you apply become Smart Filters – which allow you to change the blend mode (just as if you were working with layers).

To adjust a filter’s blend mode, double-click on the Adjustments icon next to the filter in the Layers panel. This will open a dialog box; simply open the Mode menu and choose Screen:

2. Use Screen to add a tint to your photos

You can use the Screen blend mode to add a tint or a touch of color to your images. Simply add a Solid Color or Gradient layer, then change the blend mode to Screen:

If the effect is a bit strong, you can always lower the opacity. Note that the result may be very subtle, yet it’s a great way to give your images that extra-polished look.

Screen blend mode: final words

Hopefully, you found this article helpful! Screen isn’t a hugely popular blend mode, but it’s actually very useful and versatile. Whether you’re adding clouds to a landscape, steam to a cup of coffee, or brightening an underexposed photo, Screen will make things so much easier.

So if you haven’t already, head into Photoshop and test it out. Try compositing two images, or see if you can subtly improve a photo by using Screen to alter the exposure.

Now over to you:

How do you plan to use the Screen blend mode? Do you have any additional tips? Share your thoughts in the comments below!

The post Screen Blend Mode: The Ultimate Guide appeared first on Digital Photography School. It was authored by Ana Mireles.

Did you know that you can apply a watercolor effect in Photoshop to any image?

That’s right. You can make any photo look like it was painstakingly painted by hand, which comes in handy if you’re looking to create an abstract effect, or you’re hoping to liven up an otherwise bland image.

In this article, I’ll explain how it works (in simple language that even a Photoshop beginner can understand). I’ll also show you how to use a Photoshop action to create the effect, so you can do it with just a few quick clicks.

Ready to make your photos look like watercolors? Let’s get to it!

What is a Photoshop watercolor effect?

Most of us have done a watercolor painting at some point in our lives. Watercolors are often used by children because, unlike other types of paints, they’re not at risk of being drunk. (Why? Because they’re blocks of pigments bound together by a water-soluble ingredient. This means that the paints are solid – until you rub a wet brush on the pigment block.)

Now, unlike actual watercolor painting, the watercolor effect is done in Photoshop. It’s a post-processing technique that lets you make your photographs look like they were created using watercolor paints.

Not only is it safe, but it’s also easier than painting, and it’s very flexible. You can take full control over the results by proceeding through the steps I share below, or you can use an action, which is basically a preset that lets you automate the process.

When is it useful to create a watercolor effect?

This is an easy question to answer. You should create a watercolor effect whenever you want!

You see, making your photograph look like watercolor paint is a personal choice. Maybe you like watercolors but you don’t know how to paint. Perhaps you simply feel like experimenting with different techniques. Or maybe you just want to create a cool, painterly effect.

In summary, you don’t do the watercolor effect in Photoshop because it’ll help you achieve some other result down the line. You do it because you like how it looks!

How to create a watercolor effect in Photoshop: step by step

There are many ways to create a watercolor effect in Photoshop. For instance, you could go to the Filter Gallery inside Photoshop and choose the Watercolor option.

That’s an easy and quick solution. However, if you want your watercolor effect to look its absolute best, you should probably invest a little more time. The process I explain below is the one I like most. It gives great results, and it’s easy to follow and customize.

Before you start

Before you can create a watercolor effect, you’ll need to download watercolor brushes. For this tutorial, I’ve used the brushes offered by Adobe since they’re included in your Photoshop subscription and they’re easy to use.

To download the relevant brush, activate the Brush tool. Then click on the hamburger menu icon – on the Brush panel – to open the menu. Go ahead and select Get More Brushes…

This will launch the Adobe brushes websites. Click Download on the Watercolor package and save it on your computer. Then go back to Photoshop, open the Brushes panel menu again, and choose Import Brushes.

Then select the file you just downloaded and click OK.

You’ll also need a paper overlay to give your piece that authentic watercolor look. You can download one from many online websites. However, I found it easier to photograph a piece of watercolor paper and use that. Whatever approach you use, have this file ready when you decide to make your Photoshop watercolor effect.

Step 1: Open your photo and duplicate the layer

Start by bringing your photo into Photoshop, then duplicate the layer. This isn’t a step that changes the outcome of the watercolor effect, but I always like to do this so that I have an original version to revert back to if anything goes wrong.

You can do this by tapping Ctrl/Cmd + J. Then, because you’ll be working on the duplicate, turn off the background layer by clicking on the eye icon.

You can duplicate your layer – or revert back to the original layer – at any time. You can also turn the background layer on whenever you want. It won’t affect your work.

Step 2: Convert the layer to a Smart Object

Go ahead and convert the layer into a Smart Object; that way, all the filters you apply to that layer will become Smart Filters, and you can adjust them anytime you like (even once the filter effect has been applied).

To do this, just right-click on the layer and select Convert to Smart Object. Alternatively, you can select Filter in the main menu, then choose Convert for Smart Filters.

Step 3: Add the Dry Brush filter

As I mentioned earlier in this article, you can technically create a watercolor effect by choosing Filters>Filter Gallery>Artistic>Watercolor. But the result won’t look top-notch; instead, I’d recommend using a series of filters, starting with Dry Brush.

So in the menu, select Filters>Filter Gallery>Artistic>Dry Brush. Then move the slider until you like the result. Click OK.

Remember that, because you turned the layer into a Smart Object, you can always go back to adjust the sliders later on. So if you’re not sure you like the look you created, don’t worry!

Step 4: Add (and adjust) the Cutout filter

The next filter you need to apply is called Cutout. To do this, you’ll need to go back to the Filter Gallery, so select Filters>Filter Gallery. Be careful not to click on the first Filter Gallery on the menu:

Now, go to Artistic>Cutout:

Don’t worry if your image looks weird – you’ll need to change the blend mode to get the effect we’re after. So click OK.

Now go to the Layers panel and click on the icon on the right side of the second Filter Gallery effect:

This will open the Blending Options window; use the Mode dropdown menu to select Pin Light.

Now you can double-click the Filter Gallery layer to customize the filter if you want. Unfortunately, you can only see the filter effect without the blend mode in the Filter Gallery window, so adjusting the effect may take some trial and error.

Step 5: Blur the image

Next, you’ll need to create a blur effect. This won’t be found in the Filter gallery; instead, simply go to Filter>Blur>Smart Blur. Adjust the settings in the dialog box, and when you’re satisfied, click OK to apply.

Now change the blending mode to Screen. You’ll be able to open the relevant dialog box just like you did the last time: by clicking the icon next to the filter. Lower the opacity to whatever looks best.

Step 6: Apply the Fine Edge filter

The final filter is called Find Edges, which will mimic pencil traces that show through the watercolor. To apply it, go to Filter>Stylize>Find Edges.

Change the blend mode to Multiply and adjust the opacity to your liking.

Step 7: Add a paper texture

Now you’ll need to add a paper texture to make your watercolor effect more realistic. This is where the photo of the paper comes in handy.

You can add your paper overlay by choosing File>Place>Embedded. Alternatively, you can open the paper on a different tab and select Ctrl/Cmd + C and Ctrl/Cmd + V to copy and paste it into the relevant workspace.

Whichever technique you used, the paper photo should now appear as the top layer of your watercolor image. Be sure to adjust the size of the canvas so that the paper covers the entire image.

Go ahead and change the blend mode to Multiply using the dropdown menu in the Layers panel.

Step 8: Paint on the image

Go back to the layer with your watercolor image. Add a black layer mask (you can do this by clicking on the Add Layer Mask button at the bottom of the layer panel, then hit Ctrl/Cmd + I on your keyboard to fill the mask with black).

At this point, you’ll only see the paper. That’s because the black layer mask is hiding the image. You need to make it visible using white brushstrokes; by doing this right, the image will look painted on the paper.

So grab the Brush tool from the toolbox or enable it by hitting the B key on the keyboard. Go to the Options bar and choose one of the Watercolor brushes you downloaded at the beginning of this tutorial.

Start painting on the layer mask to reveal the image. Make sure you change the brush size often (you can also change the brush tip after a while). This will make the watercolor effect in Photoshop look more real (plus, it’ll look different every time!).

How to create a watercolor effect using Photoshop actions

As I explained above, an action is a way to automate a Photoshop process, very much like a preset. There are already many Watercolor Effect actions available for Photoshop, and they’re very easy to use. Simply download them, import them into Photoshop, and run the action.

Of course, you won’t get much control over the final result. That’s the trade-off; sure, you save time, but you lose customizability.

That said, some Photoshop actions do let you customize the effect slightly. It depends on the action. (And if you like the watercolor effect an action creates, you might not want to customize it!)

In case you want to try creating the effect using an action, I’ll quickly share a step-by-step explanation of how they work. (Note that I’ve already downloaded a cool watercolor action from Adobe.)

First, install the action. To do this, go to the Actions panel. Open the hamburger menu, and choose Load Action. Then, click on the action you downloaded; it should have an ATN file extension.

Once the action is loaded, you’ll find it listed in the Actions panel. If you’re using Adobe’s watercolor action, you’ll see it as a folder because it has two steps. However, if you’re using another action that only has one step, simply click Play and the watercolor effect will appear.

To use the Adobe action, open the folder and select the first step, called Setup. Click on the Play button to start:

Read the instructions and accept:

Select the subject as instructed. I’ll be using the Lasso tool, but feel free to use the tool of your choice. Then click on Watercolor Artist in the Actions panel and click Play:

And that’s it! Your image should now look like a watercolor. Note that the Adobe watercolor action leaves all the layers available for you in case you wish to make adjustments:

How to create a watercolor effect: final words

As you can see, applying a watercolor effect in Photoshop is not very difficult. You can use a filter, a handful of filters, or even an action – and once you’re done, all your favorite photos with look like gorgeous watercolor art.

You can also print the photos on watercolor paper and hang them around the house! So pick a few photos, then test out the watercolor effect. I bet you’ll like the results!

Now over to you:

Do you have any Photoshop tips for achieving amazing watercolor effects? Do you have any images using the technique that you’d like to share? Leave your thoughts in the comments below!

The post How to Create a Watercolor Effect in Photoshop (Step-By-Step Guide) appeared first on Digital Photography School. It was authored by Ana Mireles.

What’s the easiest way to convert to black and white in Lightroom Classic and Lightroom CC? And how can you gain extra control over the conversion process so you can create beautiful black and white photos?

In this article, I explain everything you need to know about Lightroom black and white conversions, including:

• A simple, one-click method for quick conversions
• How to tweak your converted images using the B&W panel for pro-level results
• How to batch-convert dozens (or hundreds) of images in seconds

Ready to become a B&W master? Then let’s do this!

How to convert to black and white in Lightroom: the basics

In this section, I offer a quick method of converting your color photos to B&W in both Lightroom Classic and Lightroom CC:

Lightroom Classic B&W conversion

Lightroom Classic makes black and white conversions incredibly easy.

Start by opening your file in the Develop module.

Then simply click the Black & White option on the right-hand side, just above the Profile menu:

Your image will turn black and white, and – that’s it! – you’re done. This basic conversion process does a decent job, though I recommend you apply additional edits if you want the best possible results (as I explain below).

Lightroom CC B&W conversion

Black and white conversions in Lightroom CC are similarly simple.

Select a photo, then open the Edit panel.

Tap B&W, and your image will instantly convert. Again, for the best results, you should do further editing, which I explain in the next section.

How to convert to black and white in Lightroom: advanced options

Once you have a black and white image, you’ll need to carefully apply adjustments to really make your file shine.

Exposure and contrast edits

I’d recommend starting in your program’s basic editing panel; here, you can play around with the exposure, the contrast, the highlights, the shadows, and so on. (Note: These Lightroom Classic and Lightroom CC edits are essentially identical, so my instructions apply regardless of your software.)

Black and white images often benefit from a major contrast boost, so try increasing the Contrast slider until the different composition elements really pop. You might also try adding some Clarity to enhance the overall crispness – this is especially useful when working with architectural and street images, though you should generally avoid the Clarity slider when editing portraits – and if you want an extreme result, try cranking up the Dehaze slider.

I’d also recommend setting the overall Exposure slider so that your file includes plenty of detail. And move the Blacks, Whites, Shadows, and Highlights sliders back and forth until you get an effect you like. (A common edit is to reduce the Highlights and Blacks while boosting the Shadows and Whites, but it’s really up to you and will vary from image to image!)

At that point, you can call it a day – or you can continue down to the B&W panel (Lightroom CC calls this the B&W Mixer), which lets you do further fine-tuning.

The B&W panel

The B&W panel, also known as the B&W Mixer panel, is located below the basic editing options:

Using the Mixer, you can increase and decrease the brightness of specific colors in an image. By boosting the Orange slider, for instance, you brighten up areas of the black and white image that were previously orange; by dropping the Red slider, you darken down areas of the image that were previously red; and so on. This is pretty powerful, because it offers a ton of flexibility for adjusting image tones.

Now, I’d recommend two simple approaches here:

The first approach – and the most fun – is to simply move the sliders back and forth, one at a time, until you like the result. This is a great way to work as a beginner, and it can be useful for serious photographers, too.

The second approach is to identify areas of the image that should stand out, such as a portrait subject, a tree in the foreground, or a person walking through a street scene. Determine the corresponding color sliders, then brighten up those colors. (You might also darken down the background colors while you’re at it.)

So if you were editing an image of a yellow flower on a green background, you might boost the Yellow slider while decreasing the Green slider. Make sense?

Pro tip: If you want even finer control when working with color channels, you can use the targeted adjustment eyedropper (located next to the color sliders):

Select the dropper, then hover over the portion of your image you want to lighten or darken. If you drag upward, the relevant color channels will lighten – and if you drag downward, the relevant color channels will darken.

You can even see this reflected in the sliders, which you can further modify in the Mixer panel.

Keep in mind, however, that you shouldn’t push the sliders too far. Black and white images can generally handle pretty significant adjustments, but if you add major color shifts, you may introduce unwanted artifacts and halos into your files, like this:

The effect may be subtle, but it does matter, so I recommend you avoid it whenever possible. It’s a bigger problem with JPEGs than RAWs, but it can happen to both types of files. Always keep an eye out for issues, and always be prepared to dial back your edits as required.

How to convert multiple files to black and white

If you’ve taken several (or several hundred) photos you want to convert to black and white, then you have the option to batch-process the files.

Start by converting one file to black and white – you can make exposure, contrast, or even Mixer adjustments, too – then select Edit>Copy.

If you’re working in Lightroom Classic, you’ll see a Copy Settings window, where you’ll need to select all the edits you’d like to apply to your photos. If you only wish to do a simple black-and-white conversion, just check the Treatment & Profile option; if you wish to copy over contrast or B&W Mixer adjustments, check those boxes, too.

If you’re working in Lightroom CC, however, all adjustments from the first image will be copied automatically.

Hold the Ctrl/Cmd key on your keyboard and select the images you’d like to convert.

Finally, choose Edit>Paste, and all the images will convert to B&W!

How to convert to black and white in Lightroom: final words

Now that you’ve finished this article, you’re ready to quickly and effectively convert your files to black and white.

So head over to Lightroom. And do some high-quality editing!

What type of images do you plan to convert to black and white? Which adjustments will you make? Share your thoughts in the comments below!

The post How to Convert to Black and White in Lightroom (Quick Guide) appeared first on Digital Photography School. It was authored by Andrew S. Gibson.

Lightroom is a fantastic program that’s designed for fast and efficient editing, but if you make all your adjustments using your mouse, you may notice that each little operation starts to add up – until you’ve spent hours upon hours moving your cursor, clicking the mouse, and more.

Fortunately, Adobe built in plenty of handy Lightroom keyboard shortcuts, all of which aim to make life easier for photographers and photo editors. Below, I share a few of the most critical shortcuts, which will allow you to speed up your workflow, improve your editing efficiency, and even access hidden features.

Ready to become a Lightroom shortcut expert? Then let’s dive right in, starting with:

1. Reveal all shortcuts

Lightroom offers dozens of shortcuts, many of which are difficult to remember – especially if you don’t use them often.

Fortunately, you can always tap Ctrl/Cmd+/, and a list will pop up that displays all of the shortcuts available in the current module. Therefore, if you’re working in the Library module, this shortcut will reveal the Library module shortcuts:

And if you’re working in the Develop module, this shortcut will reveal the Develop module shortcuts:

(Once you’re done with this article, I highly recommend you head into Lightroom and read through the shortcuts available for both the Library and Develop modules. You’re practically guaranteed to learn something new!)

When you’ve finished checking out your shortcut options, click anywhere on the list to hide it.

2. Tap “R” to access the crop function

This shortcut is a simple one, but it’s a big timesaver. Whenever you need to crop an image, simply head into the Develop module, then hit the R key. The crop overlay will immediately appear:

And you can get to work cropping your file!

Additionally, if you don’t like the direction of the crop overlay, just tap X, then watch as it’s rotated:

This can be especially useful if you’re trying to crop a portrait image with a landscape aspect ratio and vice versa because Lightroom automatically creates crop overlays that match the orientation of the image file.

3. Use the “/” key to resample the image

Lightroom has several healing modes, all of which can be accessed with the Q key. Each of these modes approaches the healing process – which replaces content from the image by sampling content from elsewhere in the image – differently.

The wonderful thing about the Lightroom Healing tool is that it’s quite good at guessing which part of the image it should sample to create a natural-looking result. It’s a great way to correct dust spots, unwanted facial blemishes, and distracting dirt or rocks on the ground around your subject.

However, despite the Healing tool’s impressive capabilities, it doesn’t do a perfect sampling job all the time. That’s where this shortcut comes in handy!

Start by selecting one of the healing modes and clicking on your image. If you don’t like the sampling choice, just press the / key, and Lightroom will choose a different area of the image to sample. You can repeat this as often as you like until you get a satisfactory result!

For this next (zoomed-in) image, I wanted to get rid of this distracting dark blob in the background:

However, Lightroom’s first guess didn’t really work:

I hit the shortcut key, Lightroom resampled the image, and the result was much better:

Pro tip: If you keep resampling the image and you can’t do any successful healing, you can always sample the file manually by using your cursor (though this does take longer than using the shortcut).

4. Use the “Shift” key to set the white and black points

RAW files often appear a bit flat, and an easy way to add some pop is by carefully setting a white and a black point – that is, by adjusting the Whites slider until the brightest tones stretch to the right side of the histogram, and by adjusting the Blacks slider until the darkest tones stretch to the left side of the histogram.

The process of setting the white and black point can be arduous – unless you know a handy little shortcut!

Normally, if you double-click on the Whites and Blacks sliders in the Basic panel, Lightroom resets them to zero. But if you hold Shift while double-click on these sliders, Lightroom calculates where to position both sliders so that the histogram stretches all the way from the left side of the graph (shadows) to the right (highlights):

This quick fix makes most photos look better right away!

5. Use the apostrophe key to invert a Linear Gradient

Lightroom offers an array of local adjustment tools, including the Brush, the Radial Gradient (formerly known as the Radial filter), and the Linear Gradient (formerly known as the Graduated filter).

The Linear Gradient allows you to apply natural-looking adjustments to a portion of the image, such as the sky or the foreground of a landscape, without modifying the rest of the scene. Normally, you would create a Linear Gradient (you can tap Shift+W to open the Masking panel), then drag it over the foreground or sky of your shot as you see fit.

But what if you want to reverse the direction of the effect? Just press the apostrophe key – ‘ – and the Linear Gradient will flip!

Here’s a great way to use this shortcut:

1. Create a Linear Gradient over the sky of a landscape. Drop the Exposure slider to darken that area.
2. Right-click on the Gradient’s pin. Select Duplicate to create a new Linear Gradient with the same settings as the first.
3. Press the apostrophe key to flip the Gradient. The negative Exposure setting will be applied to the foreground, but you probably don’t want to make the foreground darker; instead, double-click the Exposure slider to return it to zero.
4. Now you’re ready to use this new Linear Gradient to enhance the foreground. Boost the Clarity slider to emphasize foreground texture. You might also subtly darken the foreground by dropping the Exposure slider (which will help retain a sense of drama and depth).

Once you’ve made all the above adjustments, you’ll have a beautiful file modified by two Linear Gradients!

Lightroom keyboard shortcuts: final words

Now that you’ve finished this article, you’re ready to head into Lightroom, create some stunning edits, and speed up your workflow with these handy shortcuts.

So what are you waiting for? Get post-processing!

Now over to you:

Which of these keyboard shortcuts do you plan to use? Do you have any favorite shortcuts we missed? Share your thoughts in the comments below!

The post 5 Lightroom Keyboard Shortcuts Everyone Should Know appeared first on Digital Photography School. It was authored by Andrew S. Gibson.

The Photoshop twirl effect is a cool editing trick that can turn bland images into abstract art. Even if you haven’t heard of it by name, I’m sure you’ve seen it around – it’s very popular among Photoshop lovers.

But how does it work, and how can you apply it to your own photos? In this article, I explain how to create a twirl effect in Photoshop, and I also offer several tips and tricks to ensure you get the best possible results!

Let’s dive right in.

What is the twirl effect?

The twirl effect is a post-production technique that stretches and “twirls” an image, like this:

In this article, I focus on creating the twirl effect in Photoshop, but note that it’s not a PS-exclusive technique; you can apply it using a variety of comprehensive editing programs.

During the process, your image loses all detail and figurative references. First, you turn your photograph into an abstract scene formed by colored lines, which you then warp to create a twirl effect.

When is a twirl effect useful?

The twirl effect is a great way to achieve dreamy, abstract art, no matter the underlying image. I’d recommend using it whenever you’re looking to create some digital artwork; while the result won’t look natural, it’s often quite spectacular!

One of the good things about this technique is that you can apply it to pretty much any photo. You might have a few images lying around that, on their own, are nothing special. Perhaps they aren’t technically correct – for example, they’re blurry. However, by applying the twirl effect, you can create something beautiful.

How to create a twirl effect in Photoshop: step by step

It’s very easy to create the twirl effect, even if you have zero editing experience! Simply follow these steps and experiment with each filter until you get a solid result.

Step 1: Select and open your photo

Start by opening a photo in Photoshop. It doesn’t matter which image you use – the twirl effect can be applied to any subject or composition. And if you’re struggling to decide between a few different shots, why not try them all?

Step 2: Prepare a second layer

Next, you’ll want to duplicate the background layer (i.e., your photo). Drag it to the plus sign at the bottom of the Layers panel or simply choose Layer>Duplicate Layer in the menu.

Then convert the new layer to a Smart Object. You can right-click the layer and choose Convert to Smart Object, or you can choose Filter>Convert for Smart Filters.

That way, you can go back to each filter later on and make adjustments again without having to start over.

Step 3: Add a Mezzotint filter

To create the twirl effect in Photoshop, you need to apply a series of filters to your image. The first one is Mezzotint.

In the main menu, choose Filters>Pixelate>Mezzotint. This will open a dialog box. Beneath the preview window, you can open the Type menu and pick your preferred type.

At this point, choosing between the different types won’t make much sense unless you’ve done the twirl effect before. So don’t worry too much about it. You can also come back and change it once you’ve applied the next filters because you converted the layer into a Smart Object.

In this case, I’m using the Medium Strokes type, but don’t feel that you have to do the same.

Step 4: Apply the Radial Blur filter

The next filter you need to apply is a Radial Blur, so head into the menu and select Filters>Blur>Radial Blur.

In the dialog box, set the Blur Method to Zoom. As for the Quality: You can choose Draft to speed things up, or you can use Good or Best if the file isn’t too big. At this point, you still have to apply more filters, so it’s not a problem to keep the value as Draft.

I’d suggest setting the amount to 100. You can always come back later and experiment with different numbers to see how they influence the final effect.

Then add the Radial Blur filter again. When you open the Filters menu, you’ll find the last filter you used at the top, so go ahead and select it:

The Radial Blur dialog box will open once more, and it should feature the same settings as before. Simply click OK.

Finally, apply the filter a third time, but make sure you change the Quality to Best:

Step 5: Add the Twirl filter

At this point, your photo should be looking pretty abstract, which means it’s time to start the twirling process! In the main menu, select Filter>Distort>Twirl.

In the dialog box, boost the Angle slider to add the twirl effect. There isn’t a magic Angle value that works for every image. Simply move the slider until you like what you see in the preview window, then click OK.

Go ahead and duplicate your twirled layer using the same process discussed in Step 2.

Step 6: Modify the duplicated layer

Identify your duplicate layer in the Layers panel. Note that the duplicate layer will contain all the Smart Filters you’ve applied so far. So double-click on the Twirl filter to open its dialog box:

Drag the Angle slider to the left until you reach the negative of the number you previously chose. I used an initial value of 197, so I’ll use an Angle value of -197.

(Pro tip: To quickly reverse the value, just click inside the value box and type a hyphen before the number.)

Now the twirl should go in the direction opposite that of the first layer. Click OK to apply it.

Step 7: Adjust the layer blend mode

At this point, you should have two layers, each featuring opposite twirls. However, the top layer will be completely blocking the layer underneath, and we need both layers to interact.

Simply open the Blend mode menu on the Layers panel, then pick a mode! Feel free to experiment with different modes to create different effects (and if you’re using Photoshop CC, you can preview the result as you hover over different blending options).

And that’s it; your twirl effect in Photoshop is done!

Tips and tricks to improve your twirl effect images

Once you can create a nice twirl effect, try a few of these tips to improve your workflow and level up your results:

1. Create an action

Making the twirl effect in Photoshop is very easy. However, it does involve a handful of steps. If you want to streamline your workflow and quickly apply the effect to any photo, you can create an Action.

Start by opening the image you want to modify. Then open the Actions panel. At the bottom, you’ll find a Plus symbol; that’s the New Action button.

Choose a name and start recording. Then follow the steps shared above to create the twirl effect. Once you’ve finished, stop the recording.

The next time you want to apply the twirl effect to an image, simply play the Action and Photoshop will automatically follow all the steps.

2. Apply the mirror effect

The twirl effect is nice, but if you want to get even more creative, you can apply the mirror effect to your image. To do this, you flip the image and put it next to the original.

You can even create a variety of different copies of the image, each rotated and cropped, and blend them together. There’s no limit to your creativity!

3. Use a mask to reveal part of the original image

Another creative application of the twirl effect? Combine the twirled file with part of the original image. You’ll need to use a layer mask to cover and reveal the different parts. Here’s how:

Create a new Group with the two layers that have the twirl effect. You can do this by selecting the layers and clicking on the folder icon at the bottom of the Layers panel.

Make sure the Group is selected, then click on the Layer Mask button. You’ll see a blank thumbnail appear next to the folder. Here, anything that you paint in black will be covered up, revealing anything that lies below (on the original background layer).

So use the Brush tool to paint black over the layer mask and reveal the unmodified shot underneath. And if you mess up while painting, don’t worry; you can always switch to a white Brush and paint over the mistake.

How to create the twirl effect: final words

I hope you liked this twirl effect tutorial! It’s a great way to produce plenty of interesting abstract effects – and you can apply them to pretty much any image, no matter their original quality.

So spend some time adding the twirl effect to your photos. Maybe even create an action. Good luck!

Now over to you:

Do you have any twirl effect photos that you’re proud of? Do you have any tips or tricks for better results? Share your thoughts in the comments below!

The post How to Create a Twirl Effect in Photoshop: A Quick Guide appeared first on Digital Photography School. It was authored by Ana Mireles.

Photo editing is simpler than ever thanks to the power of a graphics tablet! Explore our top 10 tips to level up your skills.

If you’re just getting started with post-processing and retouching, you’re probably using a mouse and keyboard combo. You can get by with this setup, sure. But when the tasks become more intricate, the precision required can make the process pretty tedious.

That’s where a graphics tablet, like those from Wacom, comes into play. With a tablet, you can gain a whole new level of control and precision. You might even find that your editing workflow gets a significant speed boost.

Using a graphics tablet for photo editing can be pretty intuitive. Unfortunately, you might stumble a bit when it comes to the subtler aspects – but don’t fret, because this article will arm you with handy tips to help you unlock your tablet’s full potential.

Let’s dive right in!

1. Set up your tablet carefully

Your first order of business? Setting up your graphics tablet the right way.

While many devices come with a plug-and-play feature and seem to work as soon as you plug them in, for graphics tablets, that’s not the whole story.

Truth be told, you might be able to use the pen, but the full functionality of your tablet isn’t unlocked until you install and configure the necessary software. Make sure to install all relevant drivers for your tablet, and if it comes with a software suite, explore all the options to optimize it to your liking.

Your tablet might seem fully functional without any software, but trust me: If you don’t want to miss out on any features, installing the provided software is crucial.

Over time, your preferences may evolve. If you feel that something could be improved, dive back into the software settings. There might be a solution to your issue just a few clicks away.

2. Program those shortcut buttons

Once the basic setup is done, it’s time to turn your attention to the shortcut buttons.

The number of programmable buttons on your graphics tablet can vary based on the model. The budget-friendly ones might have only a few, while the pricier ones could be dotted with buttons.

How to customize these buttons is completely up to you. A smart approach is to reflect on your usual photo-editing workflow. What actions do you perform the most? Which of these could be executed more conveniently with a simple button click?

Once you’ve figured that out, setting up the buttons to suit your preferences is a breeze.

Remember, you have complete control over your shortcut button configurations. Make them work for you, not the other way around.

I’ll be honest, I don’t find myself using the shortcut buttons all that much. The only one I find handy is for rotating the canvas. You might feel the same, and that’s perfectly okay. Don’t feel pressured to use something that doesn’t mesh with your style or needs.

3. Learn keyboard shortcuts

Even when you have a graphics tablet at your disposal, the keyboard remains a crucial partner in crime, especially when you want to speed up your workflow with quick keyboard shortcuts. Make it a point to read through each and every shortcut offered by your favorite editing program, write down the most useful ones, and ideally commit them to memory.

You might be wondering: If you have a graphics tablet for photo editing that features a handful of programmable buttons, why are keyboard shortcuts necessary at all?

Whether you work in the world of Lightroom, Photoshop, or other editing software, there’s such a rich array of features that it’s impossible to map all their functionality onto a few buttons. This is why it’s worth your while to program a few buttons, then spend time learning as many keyboard shortcuts as you can – particularly the ones that align with your usual editing workflow.

Admittedly, using a stylus in one hand and tapping keyboard shortcuts with the other might seem a little odd to begin with. But go ahead and persevere; you’ll soon find that it’s not as daunting as it first appears.

4. Understand the magic of “undo”

Among all the keyboard shortcuts at your disposal, there’s one you likely lean on more than any other. That’s the “undo” function, which reverses your last action and can be accessed by hitting Ctrl+z (or Cmd+z)

A pen enables you to make precise strokes, but just like sketching, not every stroke will turn out exactly as you want on the first go. There’s absolutely no harm in hitting “undo” repeatedly until you achieve the result you’re after. So get familiar with the Ctrl+z (or Cmd+z) and Ctrl+Alt+z (or Cmd+Alt+z) shortcuts.

If it makes your life easier, you could even set up this function as a shortcut button on your tablet.

5. Customize your brush settings

When you bring a graphics tablet into your photo editing journey, you also unlock some nifty features in Photoshop that were previously off-limits.

The brush settings – and more specifically, the pen pressure settings – are arguably the most impactful of these. By activating these, you gain the ability to control the brush pressure simply by varying how hard you press down on the tablet.

For instance, if you have the “Always Use Pressure for Size” option selected, your brush size will vary in accordance with the force you apply with the pen.

If you’re using the opacity option, a light touch will result in a low-opacity brush stroke. Activate both settings, and the effects become compounded.

Mastering the pressure settings is, in my opinion, one of the most powerful advantages of using a graphics tablet for photo editing. In fact, in isolation, these settings provide a compelling case for using a tablet if you’re still unsure. My advice? Get well-acquainted with these settings – they will shape your graphics tablet editing experience.

6. Try tilting brushes

Don’t be surprised if you find yourself rarely using tilt-sensitive brushes for photo retouching. But, hey, they’re there, so why not get acquainted with them? You don’t want to accidentally stumble onto these tools and suspect a malfunction in your tablet.

A charcoal pencil brush, for instance, reacts based on how you position your pen. All the lines you see below were crafted simply by altering the pen’s hold, all while keeping the pressure settings at zero:

In other words, these tilt-sensitive brushes change their shape and texture based on your pen hold, mimicking how an artist varies their brush or pencil strokes. It’s a playful feature to experiment with. If you manage to incorporate it into your photo editing process, well, that’s quite a bonus!

7. Explore digital art tutorials

Using a graphics tablet for retouching can feel both intuitive and bafflingly counterintuitive. If you have some art experience, you’ll likely find it easier to adapt. But if you’re like me – with zero art background – do yourself a favor and spend some time watching digital painting tutorials.

The most beneficial types of tutorials to seek out include:

• Drawing lines: These exercises are about mastering control over your stylus and familiarizing yourself with your tablet’s pressure sensitivity. They’ll help you make more precise movements, ultimately enhancing the quality of your output. Watching these tutorials and practicing line drawing will boost your confidence and experience with your tablet.

• Rendering: Digital painting tutorials that focus on painting with values can be highly useful, especially when you want to apply techniques like dodging and burning. These methods will improve your blending skills and encourage more controlled adjustments.

8. Practice with your graphics tablet stylus

You’ve watched the tutorials. Great! Now, it’s time to roll up your sleeves and get your hands dirty.

Set up a blank canvas and work on those brush strokes using different pressure settings. This is the key to mastering your tablet quickly.

Similarly, it’s essential that you practice blending values, especially if you plan to incorporate certain retouching techniques into your workflow. Practice relentlessly, both within and beyond the scope of retouching.

Bottom line: Don’t stop at watching the tutorials. Practice fervently, and make it a point to revisit these exercises periodically. Regular practice is your golden ticket to becoming proficient with your tablet.

9. Warm up before you start

This one is entirely optional, but if you’re feeling stiff and not getting the results you want, you can borrow another technique from traditional artists and do some warm-up exercises.

You don’t need anything fancy here. Just fire up Photoshop, open a blank canvas, and spend a few minutes – say two or three – honing your line work and rendering, or any other skill you plan to use in your editing session. Simple yet effective!

10. Practice, practice, practice!

How do you truly master your graphics tablet? The answer’s as old as time: practice! And then practice some more.

Every skill in life demands repetition and patience, and using a graphics tablet is no different. The more you use it, the better you’ll get. So don’t hold back. Dive in and start racking up those hours. The early hiccups you encounter will soon be a thing of the past.

How to use a graphics tablet for editing: final words

There you go: 10 nuggets of wisdom to guide your journey into the world of photo editing with a graphics tablet. I didn’t share anything too complex, but you’ve hopefully found a tip or two to help you get off to a good start.

So remember the advice I’ve offered, set up that tablet, and have fun. A graphic tablet genuinely can revolutionize your editing workflow; you just have to be open to it!

Now over to you:

Do you have any additional tips or tricks for using a graphics tablet? Share your thoughts in the comments below!

The post How to Use a Graphics Tablet to Edit Photos: 10 Powerful Tips appeared first on Digital Photography School. It was authored by Christina N Dickson.

Looking for Lightroom tips and tricks to improve your workflow, increase your speed, and enhance your edits? You’ve come to the right place.

I’ve been using Lightroom for over a decade, and in this article, I share my top advice for amazing results, including:

• The panel that everyone should use for beautiful, artistic edits
• An easy way to apply complex edits at high speeds
• The best tools for creating fine-tuned, professional effects

Let’s do this!

1. Create color harmonies using the HSL panel

If you’ve never worked with the Lightroom HSL panel, then you’re in for a treat. It’s a little option hidden underneath the Tone Curve that looks like this:

The panel works by targeting different colors independently. You can choose to tweak only the reds in an image; you can brighten only the greens; you can desaturate only the blues. You simply pick the corresponding color slider, then make the necessary adjustments.

Note that the HSL panel lets you adjust colors in three specific ways. You can:

1. Change color hues. You can make the reds more orange, the purples more pink, or the blues more green.
2. Change color saturation. You can make the blues more faded or the reds more intense.
3. Change color luminance. You can brighten up the greens, darken down the blues, or brighten up the yellows.

When you’re just starting out, I’d recommend simply experimenting with the different sliders until you get an effect that you like, but here are a few ideas to try:

• Remove all the cool colors from an image for a warm, cinematic look
• Saturate the color of the main subject while desaturating the colors in the background
• Push several different colors in the same direction for a simpler color palette (and a more harmonious result)

This image, for instance, features a warm color palette (which can be achieved by desaturating blues, greens, and magentas:

2. Try the automatic slider adjustments

Sometimes, it can be hard to know how to start (or continue) a Lightroom edit.

In such cases, I recommend a simple little trick:

Hold down the Shift key, then double click on the sliders in the Basic panel. Lightroom will analyze your image, then apply adjustments automatically.

No, the edits won’t always be perfect, but they often look nice – and if you hate the result, you can always double-click on the slider name to set it back to zero. Plus, you can always use the automatic settings as starting points, then edit from there.

By the way, if you want to see all of Lightroom’s automatic edits at once, just click the Auto button above the Exposure slider:

It’ll instantly adjust the sliders in the Basic panel!

Now, these automatic adjustments don’t work for all Lightroom sliders. They won’t work outside the Basic panel, and they won’t work on the Texture, Clarity, and Dehaze sliders.

But you can use it to automatically adjust the white balance, the exposure, the contrast, and even the saturation – so why not give it a try and see what you think?

3. Use the clipping masks (or the clipping warnings)

Clipping refers to a loss of detail in the highlights and/or the shadows of an image – and in general, clipping is pretty bad.

Unfortunately, it can be difficult to tell whether you’re actually clipping details while editing, and it’s possible to exacerbate clipping issues by pushing your sliders too far without realizing it. You can always keep an eye on the histogram, but it can be difficult to interpret, especially for beginners.

Fortunately, Lightroom has a solution: The clipping masks, which clearly indicate clipping in real-time.

Before you adjust the Exposure, Highlights, Shadows, Whites, or Blacks slider, simply hold down the Alt/Opt key. Then, when you increase or decrease the sliders, you’ll see a white or a black overlay, like this:

A mask that reveals zero clipping will be all white or all black. But a mask that shows some clipping will change colors over the problem areas:

(Note that, when adjusting the Blacks or the Shadows, clipping is indicated as color on white. On the other hand, when adjusting the Exposure, the Whites, or the Highlights, clipping is indicated as color on black.)

As long as you have no clipping, you’re good to go – but as soon as you start to see a loss of detail, you’ll want to dial back the intensity of your edits. Make sense?

One more quick Lightroom tip: If you want to identify clipping but you don’t want to spend time looking at the masks, you can always click the arrows at the top of the histogram:

This will activate the clipping indicators, which will cause clipped shadows to turn blue and clipped highlights to turn red:

4. Use the copy-paste shortcut to speed up your workflow

Say you’re editing a large volume of photos from an event, a wedding, or a portrait photoshoot. You need to move through the photos quickly, so you don’t want to edit each file individually.

You could create presets, but each one takes time to produce, and if the presets are photoshoot-specific, you may never use them again.

Instead, why not use Lightroom’s copy-paste option?

You see, after you edit an image, you can always select Edit>Copy (or press Ctrl/Cmd+C). A window will pop up, asking you which settings you want to copy:

Then, once you’ve chosen the relevant settings, select your to-be-edited photos, then choose Edit>Paste (or press Ctrl/Cmd+V).

The settings from your original photo will be pasted onto the selected images, and your editing work will be done!

This can be a great way to handle complex photoshoots. For instance, if you captured images in multiple types of light, you might edit the first front-lit image, copy the settings, and paste them across all the remaining frontlit images. You could do the same for the backlit images, the shaded images, and so on – and if you require even more control over your results, you can make slight adjustments to your settings as you go, then copy again and paste as required.

I do have one recommendation, though:

Even if you think you’ve done a successful copy-paste job, quickly go through the edited images and make sure everything looks okay. You don’t want to send images to a client, only to realize that you cropped all the files by accident!

5. Use Lightroom’s local adjustment tools

Lightroom offers a handful local adjustment options – referred to as masking tools – and they are insanely powerful. You can find them toward the top of the editing panels, just underneath the histogram:

Unlike global adjustments, which affect the entire image, local adjustments only change a portion of a file.

So while you can brighten up an entire image using the Exposure slider, you can brighten up just the foreground using a local adjustment; while you can sharpen the entire image using Lightroom’s Detail sliders, you can sharpen only the main subject using a local adjustment. They’re a great way to create fine-grained, detailed edits that add depth, enhance color, and push the viewer’s eye toward the main subject.

I like to use local adjustments for all sorts of things, but here are a few ideas:

• Use a Radial Gradient to add a vignette (i.e., a darkening effect) around the edges of the frame
• Use a Radial Gradient to boost the exposure of the main subject
• Use a Linear Gradient to decrease the exposure and increase the contrast in the sky
• Use a Linear Gradient to darken the foreground

Really, when it comes to local adjustments, the sky is the limit. Feel free to use the suggestions I provided above, but also make sure you experiment. That way, you’ll get a deep sense of how the masking tools work and what they can do for your photos!

Lightroom tips and tricks: final words

Well, there you have it:

Five tips to take your Lightroom editing to the next level.

So try out these suggestions. See how you like them. And let us know in the comments how they work out!

The post 5 Lightroom Tips and Tricks (to Revolutionize Your Editing) appeared first on Digital Photography School. It was authored by Neil Creek.

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

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

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

What is a grid in Photoshop?

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

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

What are guides in Photoshop?

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

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

How to create a grid in Photoshop

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

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

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

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

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

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

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

How to create a guide in Photoshop

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

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

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

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

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

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

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

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

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

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

Creating grids and guides in Photoshop: final words

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

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

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

Now over to you:

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

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

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

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

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

What is Overlay blend mode?

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

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

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

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

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

When should you use Overlay blend mode?

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

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

How to use the Overlay blend mode

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

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

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

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

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

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

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

Overlay blend mode: A step-by-step example

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

My sample photo is a bit underexposed and lacks contrast:

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

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

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

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

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

Overlay blend mode tips

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

1. Try adding a tint to your photo

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

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

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

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

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

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

3. Add a cool glowing effect

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

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

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

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

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

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

Overlay blend mode: final words

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

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

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

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

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

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

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

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

What is the Lightroom Transform panel?

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

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

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

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

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

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

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

When should you use the Transform panel?

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

In particular, Transform is useful when editing photos of:

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

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

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

How to use the Transform panel: The Upright options

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

How to use the Transform panel: The Transform sliders

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

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

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

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

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

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

Lightroom Transform panel: final words

Well, there you have it:

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

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

Now over to you:

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

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