How to Use Luminosity Masks with ANY Photography Software

A lot of photographers ask me how they can use Lumenzia or luminosity masks with software other than Photoshop. In many cases, a 3rd party filter might make part of an image better while making other parts worse off. This is a perfect opportunity to use luminosity masks to combine the best parts of the original image with the best parts of the adjusted image. It would be nice if luminosity masks were a part of every photography program, as they make any photography software by allowing you to use that particular platform in a much more precise way.

However, we’re unlikely to ever get comprehensive luminosity masking options in every photography program, given the complexity and development it would take. In fact, I have yet to see anything that approaches the full capabilities of Photoshop. While there are some 3rd party programs which include “luminosity masks”, most do not include any support – and those that do typically offer only a tiny fraction of the luminosity masking capabilities available in Photoshop (ie, you’re often getting more of a marketing gimmick that real luminosity masking support). Thankfully, you don’t actually need native support for luminosity masks to do this, and that’s a good thing given limited native support.

There’s a simple way to extend the power of luminosity masks from Photoshop to ANY 3rd party software: Luminar, Topaz, Nik, OnOne, etc. All you need is Photoshop, and then you can use the workflows below to enabled dramatically more powerful and targeted ways to use 3rd party programs, plugins and filters. This is probably the ideal scenario, as it lets each of these companies focus on what they do best, and you can then put everything together to post-process your photos exactly the way you’d like.

In this tutorial video, you’ll see how Luminar’s Artificial Intelligence filter can be used to create an interesting effect in the ice, but it also causes problems in the sky and a strong blue case in the shadows. Using Lumenzia to create luminosity masks, you can easily blend that filter into just the highlights of the foreground ice – which increases the ice detail in a much more beautiful and natural way.

This is just one simple example, you can extend this approach to work with any 3rd party software to blend its results naturally with the original image to make much more targeted adjustments.


Workflow #1: Smart Objects / Smart Filters

If you’re using a plugin that appears under the Filter menu in Photoshop, you can apply it as a “Smart Filter” on a Smart Object. This has the advantage of allowing you to change either the original layer(s) or the filter settings at any time, and is my preferred workflow. The steps to use this workflow are:

  1. Convert your layer(s) to a Smart Object (you can put a Smart Object into a Smart Object if you need to).
  2. Use your 3rd party plugin on the Smart Object, which will be applied as a Smart Filter.
  3. Click the eyeball icon on the new Smart Filter mask to hide the new Smart Filter. This allows you to make your luminosity mask based on the original image, which is typically the best approach.
  4. Create and customize your luminosity mask preview (such as by clicking on L2 to select highlights).
  5. Select the Smart Object and click “Mask” and choose to have the preview applied to the Smart Filter. Do not apply it to the Layer Mask, as this would simply make parts of the image invisible. The goal is to selectively reveal the Smart Filter, not the layer itself.
  6. Click the eyeball icon on the new Smart Filter mask to finally reveal the new Smart Filter through the new mask.

If you are using my free panel, replace steps 4-5 with the following:

  • Create the luminosity masking channels.
  • Click on the filter mask to make it the target (should have white brackets around it).
  • Image / Apply Image: set the channel to the desired mask and blending to “normal”, then click OK.


Workflow #2: Layers / Layer Masks

If you have software that does not support the first approach, or you simply prefer not to use Smart Objects, you can use layers and regular layer masks instead. To do that, use this workflow instead:

  1. Use the software (Nik, Luminar, etc) to create a new layer or document. If you create a new document, you’ll need to import it as a layer on top of your image. Just open both in Photoshop, then right-click the newly adjusted image and duplicate it to the other document with the original image.
  2. If it isn’t already, move the new layer above the original layer(s).
  3. Hide the new layer, so that the luminosity mask is based on the original content.
  4. Create and customize your luminosity mask preview (such as by clicking on L2 to select highlights).
  5. Select the new layer and click “Mask” to have the preview applied as a layer mask.
  6. Click the eyeball icon on the new layer to reveal the adjustment through the layer mask.

If you are using my free panel, replace steps 4-5 with the following:

  • Create the luminosity masking channels.
  • Select the new layer and add a layer mask to it.
  • Click on the layer mask to make it the target (should have white brackets around it).
  • Image / Apply Image: set the channel to the desired mask and blending to “normal”, then click OK.

Exposure Blending Master Course

I started blending exposures with luminosity masks years ago in an attempt to get the dynamic range that HDR promised, but without the compromises in quality. At first, my results were pretty embarrassing and I kept using HDR for a while. Then I started to get some better looking results, but was still frustrated with bad tree edges and other blending issues. And then finally everything started to click. It took me a long time because I was figuring most of the process out on my own. There’s no reason you should go through the same struggles.

To help you benefit from years of hard work in just a few hours, I’ve created a comprehensive course to help you tackle those challenges, the Exposure Blending Master Course.

How to blend exposures with luminosity masks in Photoshop

This comprehensive course includes:

  • Over 7 hours of training videos showing how to blend single or multiple RAW files to expand dynamic range and extract maximum detail from your RAW files.
  • Chapters focusing on blending technique, sky replacement, subject-specific considerations, fixing common issues. See the course page for a full outline.
  • The RAW files used in all the videos. This includes 9 different scenes to address a variety of challenges in landscape, cityscape, and real estate interiors/windows.
  • Written course material designed to augment the videos, as well as provide links to numerous additional free resources and videos.
  • Written summaries of all the videos with time-codes to make it easy to follow along, no matter what style of learning you prefer.
  • Quizzes to help ensure understanding and retention of key concepts.
  • Access to the course via iOS app, including offline viewing of the videos.
  • Lifetime access to the course.
  • Hosting on a professional learning management system to facilitate learning. This helps tie all the various aspects of the course noted above into a navigable interface.

And to help you make the most of the course, it comes with several great bonuses:

  • Bonus #1: Complete luminosity masking workflow video and written outline. This is designed to help show exposure blending in the context of a complete workflow, as well as provide a generalized approach you can use when working with luminosity masks. This addresses one of the most common requests I receive.
  • Bonus #2: Lightroom Develop presets to facilitate RAW processing for blending.
  • Bonus #3: Keyboard shortcuts reference for luminosity masking.

Please see the Exposure Blending Master Course web page for more details.


Lumenzia v6

The Lumenzia luminosity masking panel for Photoshop has advanced rapidly over the past few years. The goals with Lumenzia v6 are more evolutionary than revolutionary. This is the largest update ever, with over 130 new features, updates, and big fixes in total. Yet changes to the interface are extremely minimal, so as to avoid disrupting your workflow and allow you to benefit immediately. In short, your Lumenzia experience is improving, without having to think about it or learn new techniques.

Lumenzia v6 is also featured extensively in my new Exposure Blending Master Course (and Lumenzia can be purchased for 50% off when bundled with the course).


Highlights of the new updates to Lumenzia include:

  • Numerous improvements to tutorials and their organization.
    • The main Lumenzia panel has a new “?” button which may be used to quickly get to support videos on any button in the panel. Just click “?” and then click on the button you wish to learn more about. [Note that this feature requires Photoshop CC, but CS6 users will also find a much more detailed list of links to more quickly navigate to support on specific buttons.]
    • 10+ legacy tutorials have been updated to show the latest interface and better clarify how to use some of the oldest and most important features in the panel.
    • Lumenzia Basics now has a Tutorials button for reference material on how to use it.
  • Improved masking
    • Zone pickers may now be used while viewing the new zone maps from v5.
    • Saturation/Vibrance masks are now much faster and offer improved results.
    • Dodge and burn the orange preview layers. With this approach, you are able to darken or lighten gray parts of the preview before you even create your mask. It’s a great way to control transition areas. This option can be enabled in the panel menu (see the written manual in the ZIP download for more details).
  • Improved Sharpening
    • “Sharp” now offers Deconvolution Sharpening. This type of sharpening greatly increases fine detail and is designed to help offset softness at the capture stage (lenses, anti-alias filter, etc).
    • “Sharp” now offers High Pass sharpening as a Smart Object, so that you may work more efficiently and non-destructively.
  • New visualizations
    • Dodge/Burn visualization. Select an existing transparent or gray Dodge/Burn layer and click “Dodge” to see the actual pixels, and then click Dodge again to clear it.
    • Hue. <shift>-click “✓L” to view only the hue in the image. This is especially helpful for making color corrections and compositing.
    • Saturation. <alt/option>-click “✓L” to view only the sauration in the image. This is especially helpful for making color corrections and compositing.
  • Further refinement of new features introduced in v5
    • Choose layer or vector masks at the time of creation. This replaces the previous general menu setting, and allows you to pick the option you need as you work.
    • A new menu option to “Keep independent layer/vector masks when possible”. This allows you to easily try different layer or vector masks, without replacing both on the same layer.
    • “Convert layers to linked PSB” has been substantially upgraded. You may now export and import channels and paths to and from an external PSB.
  • PreBlend now allows you to add new layers to an existing blend
  • CS6 support has been greatly expanded to include many features which were previously only available in the CC panel menu. This includes: paint on orange previews, convert layers to external PSB, the ability to permanently dismiss dialogs, Lumenzia Actions, and more. CS6 users should -click the Tutorials button to access these new features.
  • Enhancements to the Basics panel, including a new Isolation feature to easily view a layer’s pixels without the distraction of other layers, masks, BlendIf, etc.
  • And so much more, with over 130 updates in all. See the release notes for a complete list of all changes.


Lumenzia v6 is available now and is another free update for all customers. Update links have already been sent to all customers via the email addresses used for purchase. If you need help to find yours or request a new one, please visit the Lumenzia Updates page.

The Citadel

Landscapes are sometimes assumed to be best shot with wide-angle lenses. These days, I find myself reaching for my telephoto lens more and more. It’s a great way to change up the composition in dramatic ways, create an abstract, or isolate a subject from chaos.

This particular morning, I started shooting with a wide-angle lens. But as the sky evolved, the sun was quickly retreating to a small portion of the sky, leaving my wide composition with a lot of gray. I had been looking at this incredible pyramid shape the whole time I was shooting my primary composition for the morning. As soon as the sky started to turn, I swapped out the 14mm for a an 80mm to capture this stunning scene near Moab, Utah.


Sunrise over pyramid-shaped mountain

How to Create a Stunning Cityscape in Photoshop with Luminosity Masks (full workflow)

The canals of Amsterdam have a certain serenity at any hour, but there is nothing like strolling along them in the quiet early morning hours. After days of exploring and a few failed attempts to capture the beauty of Amsterdam, I found the composition I was after and perfect conditions. Just as the sky began to light up with beautiful clouds, the wind calmed for just a few seconds for me to capture the mirror-like reflection of these gorgeous old buildings. It was just a moment. Out of dozens of frames, only these four seconds had both the clouds and water I was seeking – but it was all I needed in the RAW image.

In the tutorial below, you’ll learn the complete complete post-processing workflow I used to finish the image. You’ll see the RAW processing in Lightroom and luminosity masking and other final edits in Photoshop and Lumenzia.



Here’s the original RAW:

Original RAW


And the finished image:

How to create a stunning cityscape in Photoshop with luminosity masks (Amsterdam full workflow)


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