Innholdsfortegnelse for #8 Photoshop & Lightroom i Improve Your Photography

Photography has been mostly a two-stage process ever since William Henry Fox Talbot created the world’s first paper negative in 1839. For most of photography’s history, the second stage of the process has been conducted in a darkened room filled with noxious chemicals, but the advent of digital photography took this process literally out of the dark and onto our desktops – or armchairs, or anywhere else we choose to be. Software editing started out emulating the techniques and language of the traditional darkroom, but over the years it has evolved to be so much more than that. Adobe Photoshop, the pioneer and still far and away the market leader, is now so complex and powerful that in order get the best out of it some learning is required. That’s…

The High Pass technique In Photoshop, hit Cmd/Ctrl+J to duplicate the layer. In the Layers Panel, right-click the layer, ‘Convert to Smart Object’, then go to Filter> Other>High Pass. Set to three pixels, hit OK, then change the layer Blend Mode to Overlay for a lovely sharpening effect. To tweak the strength, double-click the layer’s smart filter. Sharpening for print Always sharpen for print after resizing. The correct resolution for prints is 300 pixels per inch. So a 10in print should be 3,000 pixels wide. Prints have a higher crispness threshold than on-screen, so in general, push the sharpening effect slightly further than you would with an on-screen image. Settings for landscapes and portraits Several sharpening tools offer a Radius slider, which controls the distance from an edge in which…

Martin is a photographer with a commercial background in beauty photography. He is known for his in-depth knowledge of Photoshop and Lightroom. In 2008, Martin was inducted into the NAPP Photoshop Hall of Fame in Las Vegas. www.photoshopforphotographers.com Computer colour expert, the late Bruce Fraser once commented that Photoshop’s colour management was ‘push button simple’ so long as you know which of the 26 buttons you had to press and in which order. Thankfully, the colour-management system in Adobe programs is now much easier to work with. Even so, successful colour management will always be dependent on the quality of the viewing hardware. As with most things in life, you get what you pay for. Therefore, the choice of display is important, as cheaper monitors won’t help you to accurately…

1 Curves adjustment As you can see, this photograph has a noticeable blue cast in the midtone to highlight regions. To prepare the image to be colour corrected the first thing I did was to add a Curves adjustment layer, above the Background layer, and set this to the Normal blend mode. 2 Colour sampling Next, I selected the Color sampler tool from the Tools panel. As I rolled the cursor over the image, I referenced the Info panel to check the levels for the individual RGB channels. I clicked once in the shadows to add a Color sample point for the shadows and again in the highlights. 3 Channel adjustments By referencing the RGB readouts for the Color sample points #1 and #2, I was able to adjust the…

Setting new lens profile defaults You can fine-tune an auto lens correction using the Amount sliders. For example, if you have a lens profile correction that is correct for lens vignetting but not for a fisheye lens, drag the Distortion slider to the left to effectively disable the geometric lens correction component. If an auto lens correction is too strong or not strong enough, you can compensate the amount by dragging these sliders left or right. As you customise the Lens Corrections settings use the Setup menu to select the ‘Save new Defaults…’ option. This lets you set new Lens Correction settings as the default to use when an image with this particular EXIF lens data setting is selected. After you do this, in future, the Setup menu will show…

1 Suitable images Here is a colour photograph shot in Cathedral Grove on Vancouver Island. This was an ideal image with which to demonstrate how to apply a faux infrared effect as the photo contains a lot of green foliage. 2 Conversion To create a black & white infrared look, I first applied the B&W 10 profile to convert the photo to black & white. I followed this by applying a full negative Tint adjustment to the white balance. This made all the green colours (i.e. the leaf foliage) as bright as possible. 3 Infrared treatment To get the full infrared look, I went to the Black & White Mix panel. Here, I adjusted both the Yellow and Green sliders, setting these both to +50. Alternatively, try selecting the Target…

James is as skilled a photo editor as he is a photographer. His work has appeared in countless magazines and books, and in 2014 he was appointed editor of Practical Photoshop magazine. His subjects range from portraits to landscapes, architecture and underwater scenes. For James, Photoshop is more than just a work tool. Visit www.patersonphotos.com Sharpening is a crucial part of the image-editing process. Not only does it allow you to crisp up details and enhance the important areas of an image, it also lets you optimise the image for specific types of output, such as a particular print size or for viewing on screen. Likewise, noise reduction is another important step for images captured with a high ISO. With the right noise-reduction techniques, you needn’t worry about pushing your…

Content-Aware Fill The following steps show how I was able to quickly and simply remove the distracting poster that was hanging outside this museum in Venice. By using the Content-Aware Fill mode in Photoshop, I was able to remove the poster completely and fill from the surrounding areas for a clean end result. Make a selection Select the Rectangular Marquee tool (M) and create a simple selection of the poster. Go to Edit> Content-Aware Fill. Here, you can see the selected area in the document window surrounded by a green overlay that represents the area the Content-Aware Fill was sampling from to fill in the selection. Fill Preview panel This screen shot shows the Content-Aware Fill panel controls alongside the Content-Aware Fill Preview panel. The initial fill using the default…

You can also use the Photomerge feature in Photoshop to create panorama images. The best way to do this is to use Bridge to select the photos you wish to process and then choose Photomerge via the Bridge Tools> Photoshop submenu. In most cases the Auto layout option is all you will need to get good-looking panoramas, although the Cylindrical layout option will again work best for panoramic landscapes, such as the example shown here. The Blend Images Together option completes the Photomerge processing as it adds layer masks to each of the Photomerged layers. The Vignette Removal option can help improve the result of the final image blending, especially if you are merging photos that were shot using a wideangle lens. When the Geometric Distortion Correction checkbox is enabled,…

1 Auto-haze removal This automatically boosts washed-out blacks and enhances detail. Go to Enhance>Auto Haze Removal to apply. 2 Remove a colour cast For colour prints go to Enhance>Adjust Color> Remove Color Cast then click on a point that should be neutral, like the headscarf here. 3 Dust and Scratches filter Found in Filter>Noise, this applies an automatic fix to remove small dust spots and can halve your retouching time. 4 Content-Aware Fill This fills in missing areas. Select the problem area with the Lasso tool then go to Edit>Fill Selection and choose Use: Content-Aware. 5 Unsharp Mask Use Enhance>Unsharp Mask to sharpen soft details. Adjusting the Threshold will exclude grain from the effects of the sharpening.…

1 Copy, paste and position Copy one image – or part of it – into another in Photoshop. The easiest way to do this is by dragging it in with the Move tool. Once done, we can roughly position it and use transform (Cmd/Ctrl+T) if it needs resizing or rotating. Temporarily lowering layer opacity can make positioning easier. 2 Make a selection A composite will only be a success if the seams are hard to detect, and this relies on a precise selection. The Quick Selection tool is one of the best at isolating complex areas – we simply paint over the area and the tool seeks out edges for us. If it goes wrong, we can hold Alt and paint to subtract areas. 3 Refine the edge The Select…

1 Silver Efex The gold standard of black & white apps, this comes as part of the Nik Collection. There’s an array of useful presets, film stocks and contrast controls, plus the excellent Control Point system for making selective adjustments. The grain and vintage effects are excellent, too. 2 Alien Skin Exposure This is a full-blown raw editor that features a huge variety of excellent film presets. After selecting a preset from the library of 500+ famous old films, you can go on to customise it to suit your image. It’s available both as a standalone app and as a plug-in for Photoshop and Lightroom. 3 Free Lightroom presets You can find tons of free Lightroom presets available online, many of which let you emulate different black & white films.…

Heavy vignetting often occurred in old film cameras because early lenses struggled to draw in as much light around the edges of the frame as they could in the centre, resulting in darker corners. So by adding a vignette, we can give our black & white treatment a vintage feel. Aside from this, a vignette can be a powerful way to draw attention to our subject and away from the edges of the frame. The viewer’s eye is naturally drawn to the lighter areas of an image, so by darkening the edges we can guide the eye towards the more important areas nearer the centre of the frame. To add a vignette in Lightroom, use the Radial Filter tool and drag a circular adjustment over the image (or double-click to…

James is as skilled a photo editor as he is a photographer. His work has appeared in countless magazines and books, and in 2014 he was appointed editor of Practical Photoshop. His subjects range from portraits to landscapes, architecture and underwater scenes. For James, Photoshop is more than just a work tool. Visit www.patersonphotos.com 1 Get it right from the start Pick an organisation method that works for you and then stick to it. I like to save images to folders named YYYY-MM-DD and add keywords while importing. Then, once in the Library Module, I rate my images and use a combination of Collections, Collection Sets and Smart Collections to organise and categorise the shots I want to take further. 2 Master the import Do as much as you can…

James is as skilled a photo editor as he is a photographer. His work has appeared in countless magazines and books, and in 2014, he was appointed editor of Practical Photoshop magazine. His subjects range from portraits to landscapes, architecture and underwater scenes. For James, Photoshop is more than just a work tool. Visit www.patersonphotos.com 1 In-camera or in Lightroom? Some photographers prefer to set their white balance in-camera before taking the shot, so that the colours look natural upon capture. Others may prefer to use Auto white balance, and adjust the temperature afterwards using Lightroom. As long as you shoot in raw there’s little difference between the two, other than timing. 2 Choose a WB preset The White Balance drop-down menu in Lightroom’s Basic Panel lets you select a…

James is as skilled a photo editor as he is a photographer. His work has appeared in countless magazines and books, and in 2014 he was appointed editor of Practical Photoshop magazine. His subjects range from portraits to landscapes, architecture and underwater scenes. For James, Photoshop is more than just a work tool. Visit www.patersonphotos.com 1 Quick-start cropping The Crop tool is found in Lightroom’s Develop Module. Either grab it from the toolbar or hit R (even if you’re in the Library Module, pressing R takes you to the Develop Module’s Crop tool). You can also press Cmd/Ctrl+Alt+R to reset a crop. Pressing A locks or unlocks the aspect ratio. 2 Non-destructive cropping Lightroom’s Crop tool is completely non-destructive. You have the freedom to return to it at any stage…

James is as skilled a photo editor as he is a photographer. His work has appeared in countless magazines and books, and in 2014, he was appointed editor of Practical Photoshop. His subjects range from portraits to landscapes, architecture and underwater scenes. For James, Photoshop is more than just a work tool. Visit www.patersonphotos.com 1 What’s in a name? Long-term users and beginners alike may be confused about their Lightroom options. Lightroom exists in two main forms: Classic and CC. Lightroom Classic (previously LR CC) is the same app many LR users have been enjoying for years. By contrast, LR CC departs from the traditional method of storing photos on a local drive. Instead, original photos are uploaded to online cloud storage so they can be accessed, edited and synced…

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Martin is a commercial photographer, best known for his knowledge of Photoshop and Lightroom and as an author on digital imaging. His books include The Adobe Photoshop Lightroom Classic CC Book and Adobe Photoshop CC for Photographers 2018. Visit www.photoshopforphotographers.com Camera Raw first began life as a plug-in for Adobe Bridge; it allowed photographers to process their raw photos via Bridge, rather than rely on proprietary raw-processing software. Since then, Camera Raw has evolved to become a sophisticated image editor in its own right, as well as providing the core image processing in Lightroom. Since the first release of Photoshop CC, it has also been possible to apply Camera Raw as a filter to RGB or greyscale images, in place of regular image adjustments such as Curves or Hue/Saturation. Some might…

Martin is a photographer with a commercial background in beauty photography. He is known for his in-depth knowledge of Photoshop and Lightroom and as an author on digital imaging. In 2008, Martin was inducted into the NAPP Photoshop Hall of Fame in Las Vegas. His recent books include Photoshop CC 2018 for Photographers and The Adobe Photoshop Lightroom Classic CC Book. Visit www.photoshopforphotographers.com We all want to get the best from our lenses. You can do so by selecting the optimum lens aperture for best image sharpness and careful focusing, but neither of these strategies can help you combat the effects of vignetting, optical distortion or chromatic aberrations. As with everything, you mostly get what you pay for. With the more expensive lenses, you should expect to achieve more or…

1 Sharpening Amount This controls the overall strength of the sharpening effect. In essence, it’s a contrast slider for edges. An edge is anywhere in the image where light pixels meet dark pixels. This control makes the light side of the edge brighter and the dark side of the edge darker. 2 Radius This controls the distance from edges in which the sharpening occurs. The higher the radius, the further the sharpening is pushed out from edges. A higher radius is suitable for images with lots of smooth areas, such as portraits, while a low radius suits detailed scenes such as landscapes. 3 Detail and Masking Detail dictates how the high-frequency details are affected. Low detail is best for noisy images as it’ll help prevent amplifying the noise. Masking lets…

The Blur Gallery filters offer a more simplified interface for applying Lens Blur effects. Overall, these are a lot quicker to work with than the Lens Blur filter, have fewer controls to bother with, and the blur effects can easily be edited. The Blur slider controls the strength of the blur effect and allows you to apply much stronger blurs than you can with the Lens Blur filter. The Effects panel contains the Blur Effects controls. For example, the Tilt-Shift blur filter can mimic both the blur and distortion effect you would get when shooting with a view camera, where you can tilt the film plane and also the effect you can get when shooting with a Lens Baby lens. Whenever you apply a Tilt-Shift blur, you’ll see a pin…

THE EASIEST way to apply a Content-Aware Fill is via the Fill dialog. Make a selection, choose Edit>Fill and apply using the ContentAware Fill mode. A basic Content-Aware Fill such as this can’t be modified in any way, but may well produce an acceptable ‘instant’ result. In this example, I used the Lasso tool to create a selection that defined the outline of the staples that were keeping the giant pot together. With a regular Content-Aware Fill feature you have no control over how the fill is applied. After applying the Content-Aware Fill and hiding the original selection, you can see that the Content-Aware Fill did a good job. However, the edges around the original selection border could be further improved by working with the Spot Healing Brush tool to…

Martin is a photographer and is known for his in-depth knowledge of Photoshop and Lightroom and as an author on digital imaging. His recent books include Photoshop CC 2018 for Photographers and The Adobe Photoshop Lightroom Classic CC Book. www.photoshopforphotographers.com For those times where you find yourself squeezed for space, or lacking a wide enough lens, panorama stitching is a great technique to use if you wish to extend the angle of view, or you simply want to capture more pixels or create sharper images. There are a number of programs, including smartphone apps, and not least the highly acclaimed PTGui. But both Photoshop and Lightroom have powerful panorama-building features, including the Panorama Photo Merge in Camera Raw. When photographing a sequence of individual photos that you intend to stitch…

1 Merge to Panorama Select your raw image files and open them all in Photoshop. As they are raw files, they will automatically open in the Camera Raw hosted plugin. Click on the Filmstrip fly-out menu and choose Merge to Panorama. This will open the Panorama Merge Preview dialog box. 2 Select Projection Select the desired projection and preview the result before committing to a full Photo Merge. Here, I selected Cylindrical, which ensured the photos were correctly aligned to the horizontal axis. This mode is particularly appropriate when merging single rows of photographs that make up a super-wide panorama. 3 Boundary Warp You can adjust the Boundary Warp slider to make the boundary of the panorama fit more closely to the edges of the frame. In my example, I…

James is as skilled a photo editor as he is a photographer and an award-winning journalist. His work has appeared in countless magazines and books, and in 2014, he was appointed editor of Practical Photoshop. Visit www.patersonphotos.com to see more of his work. It’s never been easier to combine two or more photographs into a single image. Whether creating fantastical images or barely noticeable alterations, image editors like Photoshop have made the impossible possible. In fact, the prevalence of compositing – where we routinely see landscapes with replaced skies, portraits with modified backdrops and all manner of other digital trickery – has fundamentally altered the relationship between photography and truth. To some this might seem like cheating, but like it or not, compositing has become an integral part of modern…

1 Messy borders A messy border gives your monochrome image a vintage look. We used a wet plate border here, created by using a scan of an old photograph found on Wikimedia commons. Search for wet plate, then erase the middle of the frame and drop on top of your image. 2 Washed-out shadows For a retro-toning effect add a Curves layer; drag the bottom left point on the curve line upwards to wash out the shadows, and the top right point downwards to dull the highlights. You can also use Curves for colour toning. Target the Blue channel and flatten the line as shown for a blue-yellow effect. 3 Hidden toning tools There’s an excellent array of toning presets hidden within Photoshop’s Gradient Map tool. Add a Gradient Map…

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James is as skilled a photo editor as he is a photographer. His work has appeared in countless magazines and books, and in 2014 he was appointed editor of Practical Photoshop magazine. His subjects range from portraits to landscapes, architecture and underwater scenes. For James, Photoshop is more than just a work tool. Visit www.patersonphotos.com 1 Why organise? Perhaps you’re just starting out and building your image library, or maybe you have a huge, disorganised mess of folders, duplicate images and garbled file names that would take days to sort. Either way, now is the time to get on top of your image library. It’ll save you time and stress, safeguard your images and allow you to find whatever photo you need, whenever you need it – ideal for finding…

James is as skilled a photo editor as he is a photographer. His work has appeared in countless magazines and books, and in 2014 he was appointed editor of Practical Photoshop magazine. His subjects range from portraits to landscapes, architecture and underwater scenes. For James, Photoshop is more than just a work tool. Visit www.patersonphotos.com 1 Boost with curves An ‘S’ curve boosts contrast and colour saturation, so it can be useful for giving your portraits extra punch. We usually want to make the curve top heavy, as this lifts the highlights while pinning the shadows in place. Go to the Tone Curve Panel, click the Point Curve tab, and then drag the line up and down to create the ‘S’ shape. 2 Vibrant colours The Vibrance slider in the…

THE CAMERA Raw Filter is not restricted to single layers. You can apply the Camera Raw filter to as many layers as you like. To do this they must first be grouped together within a Smart Object/Smart Filter. In the example shown here, I grouped together all the layers that were used to create the neon sign effect, and merged these into a Smart Object that could then be filtered using the Camera Raw filter (the easiest way to do this is to choose Filter>Convert for Smart Filters. Once merged as a Smart Object, it is easy to expand these layers again by double-clicking the Smart Object layer to reveal the nested layers, all appearing within a separate, new image document. 1 Here is a layered image photograph that had…

James is as skilled a photo editor as he is a photographer. His work has appeared in countless magazines and books, and in 2014 he was appointed editor of Practical Photoshop magazine. His subjects range from portraits to landscapes, architecture and underwater scenes. Visit www.patersonphotos.com Sharpening is one of those image-editing tasks that can be frustratingly ambiguous. For those new to it, several questions arise: When do we sharpen? What tools do we use? And crucially, what is the optimum amount to apply? The sharpening tools in Photoshop and Lightroom can be powerful, but for the uninitiated, the terms can seem confusing. For instance, ‘Unsharp Mask’ – one of the best tools – sounds like the opposite of what we’re trying to achieve (in fact, it’s called this because it…

1 Sharpening amount Head to Lightroom’s Develop Module (or open it in Photoshop’s Camera Raw) and go to the Detail Panel. Sharpening is best judged at 100% view (double-click the Zoom tool in Camera Raw or click 1:1 in Lightroom’s Navigator Panel). Begin by dragging the Amount slider across to increase the sharpening strength. But note that too much sharpening will increase noise. 2 Control the edges Sharpening is essentially a very localised shift in contrast – where dark edges meet light edges, the dark side becomes darker, the brighter side lighter. The Radius slider determines the area in which this shift in contrast occurs. For instance, when set to 1.0, the contrast change happens for a distance of one pixel from the edge. I tend to keep the value…

Martin is a photographer with a commercial background in beauty photography. He is known for his knowledge of Photoshop and Lightroom. His books include The Adobe Photoshop Lightroom Classic CC Book and Adobe Photoshop CC for Photographers 2018. Visit www.photoshopforphotographers.com There is much to be said for deferring the black & white conversion process to the image-editing stage. While it is possible to shoot in black & white mode directly and have the camera do the conversion, this normally produces a fixed JPEG image, which leaves you with no further options to modify the black & white result. I therefore recommend you shoot in raw mode. This means your options are left completely open as to how you interpret an image using Adobe Camera Raw. Now, a default black &…

Profiles have now been given centre stage in Camera Raw and Lightroom, making the available profiles more obvious. There are 18 specific black & white profiles for you to work with. Clicking on the Black & White radio button at the top of the Basic panel converts the image to black & white and applies the Adobe Monochrome profile by default. If you then click on the four little squares in the Profile section, this opens the Profile Browser with the profiles filtered, so you just see the black & white profile options. Click to select a different profile and this becomes the new default if you toggle between the colour and black & white modes. Adobe monochrome is based around the new Adobe Color default profile to provide a…

Martin is a photographer with a commercial background in beauty photography. He is known for his in-depth knowledge of Photoshop and Lightroom and as an author on digital imaging. His recent books include Photoshop CC 2018 for Photographers and The Adobe Photoshop Lightroom Classic CC Book. Visit: www.photoshopforphotographers.com. Selective focusing, or the ability to restrict the lens focus, doesn’t always have to be carried out in camera. There are several Photoshop techniques that can be particularly useful when working with images shot using small-size sensors, or lenses that don’t have ultra-wide apertures, where the objective is to achieve, for instance, a shallow focus. Various Photoshop filters allow you to do this at the post-processing stage, though how well you can match a true de-focused lens look still depends on which…

Martin is a photographer with a commercial background in beauty photography. He is known for his in-depth knowledge of Photoshop and Lightroom and as an author on digital imaging. His recent books include Photoshop CC 2018 for Photographers and The Adobe Photoshop Lightroom Classic CC Book. Visit www.photoshopforphotographers.com The Content-Aware Fill feature can be used to fill selected areas by blending them with the surrounding textures. It does this by analysing the colours and textures outside the selected area, and randomly filling the selection. At the same time it creates a Healing brush-type blend around the selection edges so that the filled area merges seamlessly with its surroundings. Content-Aware Fill is used in tools such as the Spot Healing Brush and Patch tool. It is also available as a finishing…

James is as skilled a photo editor as he is a photographer. His work has appeared in countless magazines and books, and in 2014, he was appointed editor of Practical Photoshop magazine. To see more of his work visit www.patersonphotos.com. Few Photoshop tasks are as rewarding as restoring an old photo. There’s something deeply satisfying about breathing new life into damaged prints, so that they can be cherished for years to come. Whether you’re restoring snaps from your own family album or as a favour for someone else, it leaves you with a glow as warm as the gorgeous sepia tones in these treasured old mementos. For users of Photoshop Elements, there is a host of powerful restoration tools on offer. Retouching tools such as the Healing brushes and Clone…

James is as skilled a photo editor as he is a photographer. His work has appeared in countless magazines and books, and in 2014, he was appointed editor of Practical Photoshop. Visit www.patersonphotos.com Why is the appeal of black & white photography so enduring? Perhaps it’s because a monochrome treatment lends our photos a nostalgic, timeless feel that’s difficult to achieve in this pristine, high-resolution digital age. It creates an aesthetic link to an earlier time and a rich heritage of film photography. Or maybe it’s because the absence of colour can draw attention to other things, such as the stark shape of a building or the texture of a person’s skin. Whatever the reason, it’s clear that, as a medium, black & white photography is as strong and popular…

Portraits are a classic choice for monochrome treatment. Colour can sometimes be an unnecessary distraction in a portrait, especially in close-ups. By stripping it out, we can draw attention to an expression or emphasise the texture of a person’s skin. Here, for example, while the colour version is certainly vibrant and eye-catching, the black & white treatment arguably reveals more about the subject. Besides, with portraits, we already know what skin colour looks like, so the presence of colour isn’t always necessary. You could argue that the necklace and beads here are stronger in colour, but the lack of colour highlights the patterns and textures instead. There’s no right or wrong; it’s about understanding how the choices we make in post-processing affect not just the look of an image, but…

James is as skilled a photo editor as he is a photographer. His work has appeared in countless magazines and books, and in 2014 he was appointed editor of Practical Photoshop magazine. His subjects range from portraits to landscapes, architecture and underwater scenes. For James, Photoshop is more than just a work tool. Visit www.patersonphotos.com 1 Fix overexposed photos Lightroom offers a range of tonal tools for correcting overexposure, but which should you use? Begin in the Develop Module’s Basic panel and tweak exposure to darken the image. Next, move on to the Highlights slider, which lets you pull back detail. Finally, adjust the Whites slider to rein in the very brightest parts. 2 Save underexposed images This is where shooting in raw really helps, as raws retain greater detail…

James is as skilled a photo editor as he is a photographer. His work has appeared in countless magazines and books, and in 2014 he was appointed editor of Practical Photoshop magazine. His subjects range from portraits to landscapes, architecture and underwater scenes. For James, Photoshop is more than just a work tool. Visit www.patersonphotos.com 1 What are Profiles? Designed to be applied at the beginning of your editing workflow, Profiles are useful starting points for editing your photos. The range of Profiles on offer give your image a specific ‘look’ by processing the data from your camera in different ways. Each Profile results in a particular mix of contrast and colour. 2 How to apply a Profile The Profile Browser is found within the Develop Module’s Basic Panel (and…

James is as skilled a photo editor as he is a photographer. His work has appeared in countless magazines and books, and in 2014 he was appointed editor of Practical Photoshop magazine. His subjects range from portraits to landscapes, architecture and underwater scenes. For James, Photoshop is more than just a work tool. Visit www.patersonphotos.com 1 Where to start The Lens Correction Panel in Lightroom’s Develop Module is the place to apply automatic and manual fixes for inherent problems present, to some extent, in every lens. By contrast, to fix perspective problems like keystoning, use the Transform Panel. 2 Manually fix distortion If the lens you used to take your photographs is not automatically detected by Lightroom, then you may be able to find it manually in the long list…

James is as skilled a photo editor as he is a photographer. His work has appeared in countless magazines and books, and in 2014 he was appointed editor of Practical Photoshop magazine. His subjects range from portraits to landscapes, architecture and underwater scenes. For James, Photoshop is more than just a work tool. Visit www.patersonphotos.com 1 Get started Lightroom’s Photomerge command makes it easy to create natural-looking HDR images or stitch panoramas. Simply Cmd/Ctrl+click to select a set of photos, right-click them and choose Photomerge> HDR or Panorama; then work through the simple settings. Upon completion, a brand new DNG file will be saved alongside your original photos, with the suffix *-HDR or *-Pano. 2 Shoot HDRs the easy way To make an HDR image we ideally need a set…