So you shot wide, but now you (or your customer) would like the photo cropped aggressively for a tighter composition. How far can you go and still be printable? I’ve written before about “The six megapixel guideline”. There’s a school of thought that any file over six megapixels can be printed at any size you […]

So you shot wide, but now you (or your customer) would like the photo cropped aggressively for a tighter composition. How far can you go and still be printable? I’ve written before about “The six megapixel guideline”. There’s a school of thought that any file over six megapixels can be printed at any size you […]

There’s a real art to making, editing and managing actions, which you’ll develop over time. I’d like to give you a brief tour of the panel, and discuss some simple methods of altering and personalising your actions. (These screenshots have been taken in CS4, but there’s very little difference in other versions. None of this […]

Recently I've seen many people asking how to avoid channel clipping during editing in Photoshop. After some playing around, I've created an action for warning of impending blowouts. You can download it a little further down this page. First, let's discuss clipping (particularly highlight clipping) .

I’ve written a great deal in the past about non-destructive editing, and its importance for a sensible Photoshop workflow. In essence, all adjustment layers go on top, and pixel layers at the bottom. This is because pixel layers block out any layers beneath them, rendering them un-re-editable (ok, not a real word, I know!) Mostly, […]

I’ve written a great deal in the past about non-destructive editing, and its importance for a sensible Photoshop workflow. In essence, all adjustment layers go on top, and pixel layers at the bottom. This is because pixel layers block out any layers beneath them, rendering them un-re-editable (ok, not a real word, I know!) Mostly, […]

I’ve written a great deal in the past about non-destructive editing, and its importance for a sensible Photoshop workflow. In essence, all adjustment layers go on top, and pixel layers at the bottom. This is because pixel layers block out any layers beneath them, rendering them un-re-editable (ok, not a real word, I know!) Mostly, […]

What is soft-proofing? It’s how we can see what our prints will look like, before we print them, by simulating the print colours in Photoshop. (Not available in Elements, sorry.) How accurate is it? If it’s done well, it should be very accurate. There are a few factors which can cause variance (not least of […]

What is soft-proofing? It’s how we can see what our prints will look like, before we print them, by simulating the print colours in Photoshop. (Not available in Elements, sorry.) How accurate is it? If it’s done well, it should be very accurate. There are a few factors which can cause variance (not least of […]

What is soft-proofing? It’s how we can see what our prints will look like, before we print them, by simulating the print colours in Photoshop. (Not available in Elements, sorry.) How accurate is it? If it’s done well, it should be very accurate. There are a few factors which can cause variance (not least of […]

Where and when? Cloning in the workflow All adjustment layers must be above all pixel layers in a good layer-based workflow. Curves or Levels or Hue/Saturation/Photo Filters edits change appearance of pixels and are done with adjustment layers and masks. Pixel edits - Whenever you're ready to do some pixel editing, you must make a new layer immediately above the Background layer and must be done on bottom and they must be performed directly to the pixels. These edits change the pixels

Where and when? Cloning in the workflow All adjustment layers must be above all pixel layers in a good layer-based workflow. Curves or Levels or Hue/Saturation/Photo Filters edits change appearance of pixels and are done with adjustment layers and masks. Pixel edits - Whenever you're ready to do some pixel editing, you must make a new layer immediately above the Background layer and must be done on bottom and they must be performed directly to the pixels. These edits change the pixels

Create beautiful composites and learn how to merge and blend photos together in the Layers module of ON1 Photo RAW 2018. Get an overview of all the tools and...

(Please note: This article also applies to the “Camera Raw” filter in the Filter menu of Photoshop CC.) For the last few versions of Photoshop and Lightroom (not Elements), there has existed the ability to open photos from raw to Photoshop as Smart Objects. If you do this, the base layer appears as the filename, […]