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Photoshop tutorials are all over the internet, ready to help you edit your images in all sorts of ways — from simple crops to incredibly complex techniques involving layers, masks and more. Here, we've picked out some top tips covering every area of Adobe Photoshop CC opens in new tab 's enormous photo editing capabilities, from raw processing to retouching, from layers to luminance.
They are a mixture of video walkthroughs, image editing examples and quick-fire tips, shortcuts and modifier keys to make your Photoshop editing as fast, efficient and productive as possible. We've split our tips up to sections so that you can jump to the tips you're most interested in straight away, or you can simply scroll or swipe down this article to see all our Photoshop tips. Sometimes menus, buttons and dialog options can be quite small and hard to make out, especially on a small display — but you can click on the gadget in the top right hand corner of these images to zoom in on a larger version.
We hope you find these Photoshop tips useful. We've kept them short, sharp and to the point — so let's get going! If you don't yet have Photoshop but you'd like to try it out to see what all the fuss is about, you can get a 7-day trial version of the Adobe Creative Cloud Photography Plan.
Find out how the Adobe Photography Plans work opens in new tab to make sure that you choose the best option. If you want to subscribe to a plan or just download the trial version, you can choose any of the options in the panel below.
We've put a simple guide together on how to download Photoshop opens in new tab. The new Texture adjustment in Camera Raw or Lightroom works wonders over skin. Grab the adjustment Brush and dial in a negative value, then paint over skin for a nice softening effect that retains the texture of the skin, while smoothing out any imperfections and rough patches.
Often skin tones will benefit from a gentle lift to the luminance of the red, yellow or orange color range. A contact sheet can be a quick and easy way to display a set of photos on a single print or image file. Use Thumbnail to control how many images go on each sheet.
The Texture command in Camera Raw and Lightroom is perfectly suited to boosting the sharp details in macro photos. This is down to the way it targets a narrow band of mid-frequency detail without affecting high or low frequencies. Sometimes you might want to make templates to use over and over, such as this simple three-image page template. The problem is, you might accidentally save over the template after editing it, rendering it useless.
A Black and white adjustment layer can be useful for adding punch to your color photos. For portrait images, try tweaking the red and yellow sliders to fine- tune the look of the skin.
Once done, you can use the 3D panel to add materials to the object, rotate the view, add lighting and much more. This fun feature is great for drawing patterns and interesting shapes. Grab the Brush tool, then click the butterfly icon in the tool options at the top to choose from different symmetrical painting options.
This time-saving tool analyzes your image and attempts to select the subject for you. Complex selections are usually a several-step process, and this gets you started quickly.
You can then go on to improve the results with the powerful Select and Mask command. Lightroom for web has an intriguing Best photos button that uses AI to analyze a set of photos and pick the best one for you. A slider to the top right of the interface makes the command more or less choosy in picking the favorites. Holding Alt while dragging any layer, selection, text, shape or layer style allows you to make a quick copy of it. Alt-click any layer mask thumbnail to toggle on or off a handy black-and- white mask view.
Shift-click a layer mask thumbnail to disable it, and shift-click again to enable. Alt-click the eye icon on any layer to hide all other layers, and Alt-click it again to reveal the rest.
To hand-color old monochrome photos, simply make a new layer and set it to the Color Blending mode, then grab the Brush tool, choose a color and start painting over the image. For a simple double exposure effect reminiscent of the classic film effect, drag one image onto another with the move tool, then set the Blending mode to Screen.
To add stars to a night-time sky, make a rough selection of the night sky with the Lasso Tool, and copy and paste it into another image. If necessary, darken the layer with Levels and add a mask to control what is visible. To blend textures. Now you can dodge and burn on this layer to affect all the layers underneath. Several Blending Modes have an opposite counterpart. Using Fill often gives better results. Press Shift and the plus or minus keys to cycle up or down through the entire list, enabling you to compare results quickly.
These are animations that explain how certain tools work. They can be useful for beginners, but quickly become annoying if you already know how the tool works. When you use the Crop tool, you can check Content-Aware in the tool options, then crop outside of the original image bounds. Photoshop will attempt to fill in the missing areas based on the surrounding details.
If you need to quickly smooth out rough patches in skin or tone down eye bags, try using the Clone tool set to the Lighten Blending Mode. If any light areas still hold detail, grab the Dodge tool, set it to Range: Highlights and uncheck Protect Tones, then paint over the backdrop.
Here are a few essential Pen Tool shortcuts: drag to add curved lines and alt-click points to remove the outer handle, allowing you to make sharp corners. The Brush Tool has hundreds of tips to choose from, and you can also make your own. The new tip will be selected next time you use the Brush tool. Simply drag your little-used tools to here, then access them through this dialog if you need them.
There are no default or standard settings for sharpening with the Camera Raw Detail panel — it depends on image resolution and content. But as a rule of thumb, with detailed images like landscapes you typically want a fairly high Amount of and a low Radius of 0. With less detailed images like close-up portraits or macro, a higher Radius and lower Amount is a good starting point. You can then go on to fine-tune the sliders to suit your adjustment.
Right-click with the Targeted Adjustment Tool to choose Hue, Saturation or Luminance from a pop-up menu, then drag over the image to change the targeted colors based on the selected parameters. Choose Enhance Details from the Filmstrip dropdown menu, and Photoshop will apply advanced demosaicing, which corrects artifacts and addresses color discrepancies in your photos.
This can sometimes result in finer detail and less noise, but often there will be no discernible difference. Use this to open the image in Photoshop as a Smart Object. Now you can bring the image back to Camera Raw at any time by double-clicking the smart object thumbnail in the layers panel. You can copy settings made in Camera Raw from one image to another — or a set — without opening the images.
With the Exposure, Highlights, Shadows, Whites or Blacks sliders it gives you a grayscale view that displays clipping. The Masking slider in the Detail panel can be hugely useful for restricting sharpening just to the detailed areas that need it — excluding soft or out-of-focus areas where sharpening is not only unnecessary, but might also amplify image noise.
After applying sharpening to your image with the Amount and Radius sliders, hold down Alt and drag the Masking slider for a view that shows black areas appear as you drag across.
These black areas will be excluded from the effects of the sharpening. Drag the eight color ranges to fine-tune the conversion by altering the brightness of these colors. You can fine-tune the effect further by tweaking the Temperature and Tint control in the Basic panel. The best way to give an image extra punch is with a simple S-curve. Drag one control point upwards near the top-right of the line, and a second downwards near the bottom-left.
The more pronounced the S is, the greater the contrast and color saturation. An optional third point in the middle of the line lets you anchor the midtones. You can also experiment with different Blending Modes in this dialog.
A faded Gaussian Blur set to Screen can result in a lovely soft-glow effect on monochrome images. If you drag the bottom-left point all the way up to the top-left and the top-right point down to bottom-right, you invert all the tones for a negative effect.
You can also create an authentic solarized effect by plotting a V shape, or an inverted V as shown. If you need to quickly remove a pure white backdrop to comp one image into another, simply copy it over and double-click the layer to enter the Blending Options, then drag the This Layer White slider inwards. If necessary, hold Alt and drag half the slider to split it up for a gentler transition. Each affects your image in a slightly different way.
Auto Contrast takes the darkest pixels to pure black and the lightest to pure white. Auto Tone does a similar thing, but to each individual color channel rather than the composite RGB. Auto Color is similar to Auto Tone but attempts to make the midtones neutral, correcting color casts. For handy cropping overlays, grab the Crop Tool and click the Overlay icon in the tool options at the top.
Choose Always Show Overlay, then press O to cycle through the overlay options, each of which adheres to a different compositional rule. Photoshop supports non-destructive cropping if Delete Cropped Pixels is unchecked in the tool options at the top. You can even mix up your measurement units.
While cropping, you can right-click to choose from different common crop ratios like If you're interested in using Adobe Photoshop CC opens in new tab , we thought you might also be interested in some of our photo editing hardware buying guides:.
Join now for unlimited access. The lead technique writer on Digital Camera Magazine opens in new tab , PhotoPlus: The Canon Magazine opens in new tab and N-Photo: The Nikon Magazine opens in new tab , James is a fantastic general practice photographer with an enviable array of skills across every genre of photography.
Whether it's flash photography techniques like stroboscopic portraits, astrophotography projects like photographing the Northern Lights, or turning sound into art by making paint dance on a set of speakers, James' tutorials and projects are as creative as they are enjoyable. As the editor of Practical Photoshop magazine, he's also a wizard at the dark arts of Photoshop, Lightroom and Affinity, and is capable of some genuine black magic in the digital darkroom, making him one of the leading authorities on photo editing software and techniques.
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