How to Get Beautiful Color with the Infinite Color Panel

Even though I’ve come a long way as an artist, I still find it can be challenging to find the right color to enhance my image. That might be because I’m unsure which color to blend with existing color. Or perhaps I’m stuck in a rut and having a creative block. You might find that some of Photoshop’s adjustment layers (such as Selective Color or even using Curves to generate color) are a bit tricky.

My friend and professional portrait retoucher Pratik Naik has created an awesome software add on for Photoshop called the “Infinite Color Panel” (or “ICP”) to help get great color and creative inspiration. So in this tutorial, I wanted to demonstrate how it works and how you can take fully advantage of it it by customizing the results, including with the use of Lumenzia to generate luminosity masks or BlendIf for more targeted results.


I’ve also coordinated with Pratik to allow you to get ICP at a great discount (this also includes the bundle for his other similarly creative Black and White panel). Through April 7, use “GREG40” for $40 off ICP during checkout, or “GREGBUNDLE” for $15 off the ICP + BW bundle. Use the blue button above for more details or to get ICP or the ICP + BW bundle.


How to generate great color in ICP

ICP has several options below the “Create” button. Anything that is brighter white is selected. Here are the various options and how to use them:

  • Light / Medium / Intense controls the strength of the effect. If you are trying to get the result in one go, you might choose the lesser options – but I prefer to just always use “Intense”. I then use opacity as outlined below to reduce the effect if needed. And when using luminosity masks or BlendIf, the strength is naturally dialed down a bit, so it helps to use stronger adjustments to start.
  • Curves is great for adjusting both color and luminosity. This is an ideal starting point for adding some punch to the image.
  • Color Balance is somewhat similar to curves, but with less effect on the luminosity. This is a great way to create a more unified color across the image, and I like to start cycling through color balance variations after finding an ideal curve.
  • Selective Color adds a lot of color to the shadows. This is great if you want to create a stylized look, but it probably isn’t something you’ll use on a lot of landscape images and the opacity should generally be turned down.
  • Gradient Map has a lot in common with Selective Color, as it also affects the shadow color a bit- but also changes color more evenly across highlights and shadows. This is also something you may not use as much for landscape images.
  • Color Lookup is great for controlling contrast and tonality of the image. I like to cycle through the options here after setting Curves or Color Balance first.
  • Harmonize. This helps push the image towards a color triad based on the dominant highlight color. If you want to create a bit of that hipster color filter look you get on sites like Instagram, give it a try. This is a self-contained option that is otherwise unrelated to the other options.
  • The Shuffle column is a way to cycle through different versions of a specific layer you have already created (without changing all the layers in the ICP group), or to add an effect to an existing group. It is also not a setting that you turn off/on. See the demo video on this page to get a better feel for this.

Once you have the options you want, click “Create” to start generating the requested adjustment layers. Keep clicking the “Create” until you get a look that is headed in a good direction. It does not need to be perfect at this stage, the goal is a good starting point. And if you want to go back to a variation you blew past, just use the history panel in Photoshop (or undo shortcut keys).


How to refine the color

Once you have you have a group of layers that looks promising, you can start to tweak the results. Here are a few adjustments to consider:

  • If the overall result is too strong, turn down the opacity of either the group or of individual layers in the group for even more control.
  • If the color is close but perhaps too blue, magenta, etc: try turning off and on various layers to find which one is causing the unwanted color. You may then tweak its settings, reduce the opacity, or delete/hide it to remove it completely.
  • If you only need the effect in one part of the image, add a layer mask to the group (or a specific layer) and paint it in just where you want to reveal the adjustment. Great options to do this include soft brushes or the radial/linear gradients, as all of these allow you to create a soft transition for a natural look.

Of course, this last option for using a layer mask can be taken even further by using Lumenzia to create luminosity masks.


How to refine the color with Lumenzia

The sort of adjustments you get from the ICP often work even better if you apply them specifically to the shadows or highlights in the image. That makes the use of both ICP and Lumenzia a powerful combination. ICP helps you create great color and Lumenzia can help you apply it where it looks the best.

There are two key workflows I recommend here: luminosity masks on the group, or BlendIf on the individual layers in the group. Luminosity masks have the benefit of giving you additional control and can be applied in one place on the group (something that Photoshop does not currently support for BlendIf). And BlendIf gives you the benefit of smaller files that are more flexible (as you may need to update a luminosity mask if you change the image content in the layers below the ICP adjustment).

The basic workflow for using the group luminosity mask approach with Lumenzia is:

  1. Select the group layer
  2. Click on the various previews (D1-D5 or L1-L5) in Lumenzia to find the best targeting of highlights or shadows. You may use the slider or tweak the orange levels layer to further customize the preview.
  3. Once you have the preview you’d like to use, just click “Mask” to apply it as a mask on the group.

The basic workflow for using the BlendIf approach with Lumenzia is:

  1. Select the layer you wish to adjust. You may also apply the same BlendIf to multiple layers by holding <ctrl/cmd> or <shift> while clicking to select multiple layers.
    • Be sure you do not select the group. If you add any BlendIf to it, the result is that none of the adjustment layers in the group will have any effect on the image. This is like making the group invisible, and is unfortunately just how Photoshop treats BlendIf on groups (to be more specific, it treats the group as if you changed the blend mode to “normal”, where adjustment layers cannot affect anything outside the group).
  2. Either <shift>-click the desired BlendIf (D1-D5 or L1-L5) in Lumenzia, or change the panel mode to “If:under” and click on the same button. This will immediately apply the BlendIf.
  3. You may now customize the BlendIf by dragging the blue sliders in Lumenzia. (If you see a white slider, that is because the target layer’s layer mask is active and Lumenzia is trying to feather it. Just click on the layer outside the mask to stop targeting the mask, and the slider will turn blue for BlendIf adjustment).
  4. If you would like to visualize the BlendIf, you may click the red “If” button at the bottom of Lumenzia to see a color overlay of the affected areas. <shift>-click “If” to change the color of the overlay.
    • Alternatively (if you are more comfortable with viewing layer masks), you may <ctrl/cmd>-click the “Mask” button in Lumenzia to convert the BlendIf temporarily to the equivalent layer mask. (Just be sure to undo if you want to stick with using BlendIf, this is just a way to visualize the BlendIf, not a way to adjust it).


Next steps

I often create several ICP adjustments. Either to build on something I’ve started or because I want different effects in different parts of the image. The key is to create a new ICP group, and there are a few important things to know about how ICP and Lumenzia work:

  • If you have a group named “Infinite Color”, it will be used every time you click “Create”. If you like what you have created and want ICP to use a new group, just rename the group to anything else.
  • If you use Lumenzia to add a luminosity mask, it will rename the layer to add the name of the luminosity mask used. This will give you a name like “D2 Infinite Color”. As a result, clicking “Create” in ICP would then start generating a new group.
    • If you want to be able to mask the group and keep cycling through ICP options, you may rename the group back to “Infinite Color” (exactly with that spelling and no extra spaces).
    • Or, you may go to Lumenzia’s menu and uncheck the option labeled “add luminosity mask name to layer name via Mask”. Once that is unchecked, Lumenzia will stop renaming layers when you use the “Mask” button.



This article contains affiliate links and Pratik provided me with a free copy of ICP to evaluate. See my ethics statement for more information.


I’ve also coordinated with Pratik to allow you to get ICP at a great discount (this also includes the bundle for his other similarly creative Black and White panel). Through April 7, use “GREG40” for $40 off ICP during checkout, or “GREGBUNDLE” for $15 off the ICP + BW bundle. Use the blue button above for more details or to get ICP or the ICP + BW bundle.


How to sharpen and resize photos for the web in Photoshop

07-21-20 This free web sharpening utility has been released and now includes the ability to add film grain.


After you’ve spent all the time and effort to post-process a beautiful photograph, you’re probably going to want to share it online somehow. On your blog, on a social media site like Facebook or Instagram, or maybe just via email to friends and family. In all of these cases, there are some critical steps to make sure you are sharing an image which is easy to view, looks great on the viewer’s monitor, and is an appropriate size (since the full resolution image is rarely ideal because it makes too large a file, won’t look as sharp if you leave resizing up to a 3rd party, or you want to prevent theft of your full-resolution original).

I get questions regularly about web sharpening, including my preferred approach or how Photoshop’s “Export As” compare to “Save for Web (legacy)”. It’s an important topic with complicated answers. So I’m writing this post to not only help show my approach, but also provide a simple and free software tool for you to quickly and easily get better images to share online.

In this tutorial, you’ll learn how to use my free script to do the work for you, how to sharpen for the web manually, how my approach compares to other common approaches with Photoshop/Lightroom, and how web sharpening should be used in combination with capture and creative sharpening.


Free web sharpening script:

You can sharpen your own images using the workflow described below, or you can simply download and use my free web sharpening script. This script takes care of all the critical steps for you to get amazing results with minimal effort. Under its simple user interface, it uses an advanced/proprietary method that goes beyond the approach outlined below in order to provide more optimal results than would be practical to do manual. You can install it so that it shows up in Photoshop’s menus for easy access. And you can even assign it a shortcut key to run it anytime you need it.



How to use the web sharpening script:

This script is designed to create high quality images in the simplest way possible.

For those who want a little more control, hover over the “Sharpen” button and note that there are some extra options available by holding modifier keys. This gives you the ability to apply sharpening locally, use the “Save for Web” interactive controls to interactively optimize JPG compressions settings for the best file size and quality, or even convert to the P3 colorspace for Instagram (P3 is available on Photoshop CC for Mac only).

There are two ways to run the script. You can simply go to File / Scripts / Browse and run the script as needed. However, a much better option is to install it in Photoshop. Just follow the instructions that come with the script and you’ll see a new web sharpening option under the “Filter” menu in Photoshop. You can even assign a convenient shortcut to it (via Edit / Keyboard Shortcuts in Photoshop). For example, I have set <cmd><option><shift>-S to run my web sharpening script anytime I need it.


How to sharpen for the web manually:

Photoshop includes the “export as” and “save for web” utilities, but they do not take care of sharpening for you, and “export as” does not let you crop. Lightroom includes some convenient options, but again you can get better results using other methods and it does not give you control over cropping. If you want the best results, your best bet is to process the image manually or use a dedicated tool.


The general workflow for sharpening for the web manually involves several steps:

  1. Duplicate and flatten the image
  2. Convert to sRGB
  3. Resize
  4. Sharpen
  5. Crop
  6. Remove sensitive metadata
  7. Save as a JPG file with appropriate settings

Let’s walk through each of these steps in detail…


Step 1: Duplicate and flatten the image

Unless you are sharing with another Photoshop user, the preferred file format is nearly always JPG. And while saving as a JPG will flatten the image automatically, it is better to do this manually first. The reason is simple: resizing and converting color spaces on the flattened image creates better results than you get by doing those steps on the layered image. For example, if you have an adjustment layer like curves in your image and convert from ProPhoto to sRGB, the image will change because the points in the curve are specific to the ProPhoto or sRGB color spaces and cannot be automatically adjusted for you.

My free sharpening script does this for you, and it always does it on a duplicate copy of your image (the original is not changed).


Step 2: Convert to sRGB

Even though color management and web browsers have been around for more than 25 years now, we still do not have broad support for proper color management on the internet. Many images are treated as if they are in the sRGB colorspace, regardless of whether that is true or not. As a result, sharing images that have not been converted to sRGB can easily cause some terrible results, particularly dull colors.. So even though many monitors support more expansive color gamuts (such as P3 or Adobe RGB), it is nearly always best to convert to sRGB when exporting to the web.

One exception to this is sharing images on Instagram, as they have built support for the P3 color profile into their platform. You can safely upload images in P3 there. However, you wouldn’t want to send that same file elsewhere and you may be setting yourself up for frustration if you try using different colorspaces for sharing images from a phone. If you want simplicity, stick with sRGB.

Conversion to sRGB can occur anytime after you flatten the document, but I prefer to do it early. That way, if you decide to play with different approaches to sharpening, you won’t have to redo this step.

If you use my free sharpening script, conversion to sRGB is automatic. You may alternatively hold <shift> while clicking “Sharp” to have the image output in Display P3 for enhanced color on services like Instagram (the filename will indicate that P3 has been used).


Step 3: Resize

There are several reasons to reduce the size of your image when exporting to the web. This reduces file size significantly. You’ll frequently get higher quality results when you upload the exact sizes recommended for a particular service than if you leave resizing to their system. And you may wish to protect your high quality originals from theft or misuse.

To resize in Photoshop:

  • Go to Image / Image Size
  • Leave the link icon on to constrain the aspect ratio
  • Choose the desired height or width in pixels. The other dimension may not match exactly, so let one of the dimensions go longer than needed for now. You should not force the dimensions in this step, as you’ll distort the image by squishing it here instead of cropping it in the next step.
  • Select “Bicubic (smooth gradients)” or “Bicubic sharper“. Use the sharper version if you want to retain greater detail before sharpening, or the smooth gradients version to help suppress halos. You can safely ignore the other methods for downsizing (see the Adobe site for more details).
  • Ignore the resolution, it has absolutely no effect.

There are an endless number of optimal sizes for sharing online. The best choice depends on which platform you’re using (Facebook, Instagram, etc). It also depends on what your doing there (normal post, page banner, etc). And the best choices tend to change as these platforms evolve. For that reason, I recommend you simply Google something like “best image size for Instagram” to get the latest advice. For what its worth, 1080 pixels wide and 566-1350 pixels tall for Instagrame is ideal for Instagram at this time.

If you use my free sharpening script, just type in the desired final dimensions for width and height. If you have the “maintain aspect ratio” option checked, the height will be automatically set if you change width (and vice versa) so that the full image is used.


Step 4: Sharpen

When you reduce the size of the image, it may naturally appear more soft. So sharpening after resizing is an important step to maintain quality. You may also use this as an opportunity to give you image a bit more pop by adding sharpening. Deconvolution sharpening or creative sharpening such as high pass that you may do on the high resolution original is generally fine, but if you have done a lot sharpening, you may wish to use less sharpening at this phase. Regardless of any capture or creative sharpening you do on the master image, it is critical that you do this final output sharpening step after resizing to get the desired results.

There are several good options for sharpening:

  • Unsharp mask.
    • Start with 100 amount, 1 pixel radius, and threshold of 5.
    • If you need to emphasize larger details, you may try a larger radius. Or if you are concerned with halos, try 0.5.
    • You may increase the threshold to 10 if you wish to suppress sharpening of noise in smooth details.
    • You may then increase or decrease the sharpening amount to get the desired amount of sharpening.
  • Smart Sharpen offers a little more control over suppression of sharpening halos, if you’re willing to get comfortable with the highlight/shadow controls.
    • Start with 100 amount, 1 pixel radius, reduce noise of 10-20%, and “remove” set to “lens blur”.
    • If you wish to reduce halos, open the shadow and highlight controls (use shadow controls for dark halos and highlight controls for bright halos). Use the fade amount to control the amount of halo suppression, tonal width determine how far from black/white you want to suppress, and the radius controls how far from the edge to suppress (so 1-2 pixels is generally a good choice).
  • Multi-stage sharpening via Filter / Sharpen / Sharpen. With this approach, you don’t resize directly to final dimensions in step #2. Instead, resize to 1.67x the final dimensions and run Sharpen (this filter has no options). Then resize to final dimensions and run Sharpen again. This is a popular technique amount many landscape photographers.
  • Note: With any of these methods, the amount of optimal sharpening is affected by your resizing algorithm. For example, if you choose “Bicubic sharper”, the image will naturally need less sharpening to get to a similar result.

If you want to get more sharpening in some parts of the image (such as foreground details) and less elsewhere to avoid noise (such as the sky), you may wish to apply the sharpening locally. To do this, just duplicate your flattened layer and sharpen the top layer. Then use a layer mask to reveal the sharpening wherever desired.

If you use my free sharpening script, you may control the amount of sharpening using the sharpening amount slider in the script. Everything else is optimized for you automatically. This slider is set at the default recommended value of 100%, but you may increase or decrease it as desired for your specific image.

If you wish to sharpen locally with the script, hold <ctrl/cmd> while clicking “Sharpen” and a layered document will be created (but not saved) for you. Just paint black on the white mask of the sharpening layer to reveal the original (not sharpened version) underneath. So paint black on the mask in smooth areas like sky and water. Then save as a JPG with your preferred quality settings (you do not need to worry about flattening this document, as the limitations mentioned above do not apply in this simple scenario).


Step 5: Crop

There are many situations where you should crop your image. Resizing for platform-specific sizes to optimize quality often requires it. Or you may have other goals, such as cropping a landscape image to a square format to display better on Instagram. If you don’t crop the image, it will likely be cropped for you, often with a centered crop that gives poor results. If your image is close to the final dimensions, just go to Image / Canvas Size, type in the desired dimensions, and click OK. This will give you a centered crop. But if you are making a more significant crop, you should use a custom crop.

How to get a custom crop:

  • Use the crop tool (shortcut <C>).
  • Enter the desired image ratio in the toolbar to force the exact right ratio. Since you’ve already resized the image, the crop tool should be touching either the long or short edge perfectly and showing a centered crop of the other dimension.
  • Simply click and drag on the image to achieve your desired crop. If you see the crop rectangle jump off the edges (because you didn’t more in a straight line vertically or horizontally), just slowly move back and it should snap into place on the edge.
  • When everything looks good, just click <enter> to commit.
  • Note that you can click on the grid icon in the toolbar to select helpful overlays, such as “golden ratio”.

I prefer to do this step after resizing and sharpening, at least when using a multi-stage approach to sharpening where you don’t get to the final resizing in one step.

If you use my free sharpening script, you must uncheck “maintain aspect ratio”  in the script if you wish to crop the image. Otherwise, the image will be resizing proportionally and used in full. If the dimensions you then choose are not proportional to the original height and width, the image will be cropped. If a very slight crop is needed, it will be done for you. If a larger crop is needed, you will be be provided with an option and instructions to customize the crop after you click “Sharp”. The image is never stretched, just cropped when necessary.



Step 6: Remove sensitive metadata

Your camera records a lot of information about shutter speed, aperture, etc as “metadata”. Most of this is fine or even preferable to share. However, you may also be sharing information you wish to keep private, such as the GPS location, the date the image was taken, serial numbers for your camera or phone, etc. While you may edit some of this data under File / File Info in Photoshop, much of it cannot be changed there. A simple solution is to use File / Export As or File / Save for Web in Photoshop. While these tools also allow you to resize the image, they do not have sharpening tools built into them, so I would still do the other steps above before using Photoshop’s export tools.

Another option is to create an export action in Lightroom that has metadata settings set to “Copyright only”. You can use such a Lightroom export to flatten and resize the image as well if you like, and then simply sharpen in Photoshop.

If you use my free sharpening script, just use the checkbox option to control whether the image is saved with all metadata or just your copyright information.


Step 7: Save as a JPG file with appropriate settings

There are many file formats used on the web, the most common are JPG, GIF, and PNG. GIF is useful for making animations, but should be avoided for sharing photos online due to its generally low quality. PNG has some advantages such as 16-bit depth (which is unnecessary compared to a properly prepared JPG) and transparency (which is useful for marketing images on a website but generally not something you’d want to share photos), but are typically 5X larger or more.

JPG is the way to go. It provides very high quality, small file sizes, and is the most compatible. When you save as JPG in Photoshop, there are several choices and I would generally recommend the following:

  • Leave embed color profile checked. If you have converted to sRGB, most browsers and applications will correctly assume what do for this missing profile, but why leave it to chance? The sRGB profile changes the file size of your image by less than 1%, so there is no reason not to embed it. And if you are outputting your image in Display P3 or some other color space, it is critical that you embed the colorspace.
  • Quality = 6-10 is generally ideal. Using 6 is fine for most use, but higher values will help reduce some artifacts which may be particularly useful if you expect the user will zoom into view your image larger than 100%.
  • Format = Baseline Optimized. This should reduce the size of your image by about 7% and is widely compatible. I am not aware of any modern browsers or social media services that have problems with this format. But if you want to ensure 100% compatibility with every conceivable piece of outdated software, you may choose to use Baseline Standard instead for a slightly larger file.


If you use my free sharpening script, all of this is taken care of for you by the quality dropdown option.

  • Good creates the smallest file size and should be indistinguishable from the other options in most cases.
  • High is great if you are concerned that viewers may zoom in more than 100% when viewing your work.
  • Ultimate offers the best quality compression as well as dithering, making this the ideal choice if you see any compression artifacts with the other options, if you are concerned with possible banding in the sky or other smooth gradients, or if you just want to ensure the best quality and do not care about file size. Files saved with “ultimate” quality are typically 4x larger than those saved using “good”.


How should does this approach compare with using Photoshop’s “Export As” or “Save for Web”?

Photoshop includes a couple of relevant utilities under the File / Export menu (CS6 just have “Save for Web” under the File menu). However, neither includes sharpening, which should be done after resizing. That’s a serious issue if you want to create the best-looking photos. Neither give you any control over cropping. It’s possible, but you always get a centered crop. And both interfaces include an intimidating number of choices which aren’t important for most photography. These are ultimately tools optimized for people who create websites, iOS apps, etc.

On the other hand, both Export As (in CC 2020 or later) and Save for Web include a very nice “2-up” preview where you can compare the image quality degradation for different levels of compression and resulting file size. If you are trying to make a website load a few hundred milliseconds faster by creating the smallest files possible, this may be a helpful way to find the perfect quality setting for your image. Otherwise, if you’re just uploading to Instagram and such, I wouldn’t worry about it. **

There are some important differences between these tools.

  • Export As offers a simpler interface (it also offers the ability to save files with dimensions larger than 8192 pixels, but that’s not relevant for 99.9% of web files).
  • Export As also offers a “Quick Export” that lets you define your preferred JPG settings and then you can assign a shortcut key to this menu option for one-click export. Note that there is no option to have the sRGB profile embedded. Probably not a big deal since it is generally assumed, but I generally prefer to leave it embedded as it adds almost nothing to the file size and helps avoid potential display issues if some software or browser doesn’t assume sRGB.
  • Save for Web offers a little more control over JPG settings (whether “progressive” or “optimized” options are used for support of legacy browsers) and the ability to use a 4-up mode if you really want to nerd out on compression optimization. It’s also the only option for 2-Up display on any version of Photoshop older than CC 2020.

** If you are using my free script, hold <shift> while clicking “Sharpen” to invoke the “Save for Web” interface. You will need to manually set your preferred settings for each comparison version of the image. If you used <ctrl/cmd> to create a layered file for local sharpening, just run the script again with the image open and it Save for Web will be invoked automatically. This allows you to combine the best of both to get optimal sharpening from the script and use Save for Web’s handy interface to determine how much JPG compression you would like to use.


How should does this approach compare with using “Lightroom”?

Lightroom’s export has some very good tools for exporting that include resizing, converting to sRGB, and even sharpening. However, you cannot crop (unless you make and virtual copies before exporting, and its still hard to get perfect crops to hit specific pixel dimensions for Instagram, etc). And while the three levels of sharpening are pretty good, you cannot apply the sharpening locally and sometimes an image benefits from more sharpening than the “high” amount allows in Lightroom.

If you are using Lightroom, create an export preset with appropriate File Settings (JPEG, sRGB, preferred quality), Image Sizing, and Output Sharpening (screen / standard).


How should web sharpening be used with other forms of sharpening?

Proper sharpening generally falls into three categories: capture sharpening, creative sharpening, and output sharpening.

Capture sharpening

You may also hear this type of sharpening referred to as “input sharpening”, “camera sharpening”, or “RAW sharpening”. You may also hear it referred to by the name of a specific technique (such as deconvolution sharpening). But don’t get confused, they all refer to the same concept aiming to improve the quality of fine detail of your original image. This is a technical form of sharpening designed to offset the limits of our equipment. This helps offset some natural softness caused by filters, lenses, etc. When done correctly, capture sharpening can help you get higher quality enlargements for print. However, because this improves fine detail of the full resolution file, this has no significant effect on web sharpening and isn’t very important in the the context of this article.


Creative sharpening

Unlike the other forms of sharpening which compensate for limitations of our equipment, this phase of sharpening is purely intended for creative purposes.  A simple way to think of this is the sharpening you would apply locally (after capture sharpening) in order to get the best looking image at its original resolution. As this is an artistic process, there aren’t as many standard “rules”, but techniques such as “high pass sharpening” are common in creative sharpening.


Output sharpening

This category includes the web sharpening we are doing here, as well as print sharpening. Unlike capture sharpening, creative sharpening is likely to affect the low resolution image you create for sharing online, so the amount of web sharpening you need may likely be affected by this stage of the process. If you process your images with a consistent style, you can probably use the same output sharpening settings for most of your work – but it still depends on the image content and you may wish to apply output sharpening locally if you wish to fully optimize the results. By “locally”, I mean to enhance sharpness where it is really needed as in step #4 above. Also note that by applying the output sharpening locally, I’m also making output sharpening a somewhat creative process.

Web sharpening is also very different from print sharpening. In print sharpening, the softening occurs after you have saved your file (during printing). So you need to compensate and add more sharpening that looks ideal on your monitor. That’s not the case with web sharpening, where the softness is created when the image is resized.

With web sharpening, it is generally best to evaluate the sharpening at 100%. If you think your audience is going to zoom into the image, you may wish to view at 200% or so and add a little more sharpening. Or your audience may be viewing on a screen where the physical size of the pixels are larger than the screen on which you are editing. But don’t fall into the trap of zooming further into your image, as that is not how it will be viewed and it may cause you to make some sub-optimal choices. The most likely result of “pixel peeping” is that you’ll waste a lot of time worry about or fixing issues that no one will ever be able to see. When you’re done, be sure look at the image at 100% for a final check.


To get the free web sharpening script, sign up for my free newsletter to get the download link, or check the bottom of the latest newsletter if you’re already a subscriber.

Be sure to also see the updated version with support for adding film grain.


Lightroom now natively supports massive PSB files!

Adobe just made it dramatically easier to use Lightroom to manage large files created with exposure blending, Smart Objects, images enlarged for print, and anything that creates a file larger than the 4GB limit for TIF files.

Until now, if you wanted to use PSB files you’ve had to use workarounds to be able to view large documents in Lighroom (such as the “convert layers to linked PSB” utility built into Lumenzia) or something like Adobe Bridge to view PSB files. That’s no longer the case, as Lightroom v9.2 now has native support for the PSB file format.

The default settings in Photoshop take care of everything. That means:

  • PS Preferences / File Handling /Disable Compression of PSD and PSB Files should be unchecked.
    • Unlike TIF files (where you can choose compression settings during “save as”), compression for PSB files is either turned off or on via this general Photoshop preference and used for all “save as” operations with PSB files. Lightroom will support PSB files either way, but using compression typically saves about 50%.
    • However, if you want Photoshop to save files as fast as possible and don’t care about larger files, disabling is a good option for you. The speed benefit is substantial, with compressed files taking roughly 17X longer to save on my 2018 Macbook Pro’s internal SSD. that means the difference between 12.9. I can save a 2.3GB uncompressed file in 4 seconds, while the 1.3GB compressed version takes 63 seconds.
    • If you wish to switch from compressed to uncompressed or vice versa, you must use “save as” after changing the Photoshop preference. Anytime you use the simple “save” option, the image will be resaved with the same compression settings that were in the file when it was opened.
  • PS Preferences / File Handling / Maximize PSD and PSB File Compatibility should be set to “always“.
    • PS always saves with the same compatibility settings used when the image was originally saved. So if you have a file that was saved without the compatability layer, just make sure this preference is set properly and do a full “save as” to update the file. If your image does not have


PSD vs TIF vs PSB – Which should you use?

All three of these formats are capable of saving your working files with layers, masks, BlendIf, notes, etc. The only important differences are in the maximum size of the image you can save and some limits on creating PSB files noted below.

The PSD format (aka “Photoshop” when using the save as dialog) has no benefits for photographers. It has a 2GB limit, while TIF can be used for files as large as 4GB. The choice here is clear, TIF is always a better choice than PSD.

When it comes to TIF vs the  PSB format (aka “Large Document Format” when using the save as dialog), things are a bit more complicated. PSB is clearly a better format, as it can save anything a TIF can, but allows you to save files of effectively unlimited size. If you use Photoshop and Adobe Bridge, PSB is clearly a better choice than TIF. If you use Photoshop and Lightroom, PSB is still a much better format, but due to the limitations below, you may prefer to use PSB only when your files run into the 4GB file size limit. If/when Lightroom allows you to use the “Edit In” and “Export” commands to create new PSB files, exclusive use of the PSB format would be the way to go.  For now, TIF offers a simpler workflow and remains perfectly fine for files up to 4GB in size. However, PSB allows you to save files which are dramatically larger. So, PSB is clearly preferable to TIF for large files, but it may not always be worth the effort to create PSB files with the current design of Lightroom.


How to create PSB images from RAW files in Lightroom v9.2

While LR can now be used to view PSB files, it still cannot create them automatically. That means that you cannot use choose PSB for either “Edit In” nor “Export”. Similarly, if you choose to “edit a copy using LR adjustments” on a PSB image, the new image created for Photoshop will be a TIF/PSD (whatever your default is for “edit in”). As a result, you’ll need to send your image from LR to PS the same way you always have, and then you’ll need to use “save as” from Photoshop to create the desired PSB file.

The workflow to create PSB files from your RAW images via Lightroom is pretty simple:

  • In Lightroom, right-click your RAW image and choose “Edit In / Edit in Adobe Photoshop 2020” or “Edit In / . This will open the image directly in Photoshop (if you see options to edit original, copy, etc then you are not opening a RAW file). ***
  • In Photoshop, click “File / Save As / Large Document Format” and save it into the same folder as the original. As the original folder is the default, the default format should show as “Large Document Format”, and all the options should be correct (ie embed color profile is checked), you should be able to simply click <enter>. To make things even easier, you can use the shortcut <shift><cmd/ctrl>-S to open the “Save as” dialog.

So in summary, instead of clicking <cmd/ctrl>-S to save, simply use <shift><cmd/ctrl>-S followed by <enter> to use the “Save As” dialog to automatically save the new document as a PSB. This is easy and creates no unwanted TIF/PSD files.

While it would be great if LR could export PSB right now, the ability to view and manage then is what’s most critical and this is a very welcome update to LR. It avoids the need for using Bridge or stuffing PSBs as linked Smart Objects in TIF files. Hopefully we’ll have it all in the future.

If you’d like to convert existing TIF/PSD images, please see the workflows listed further below.

*** If you see a popup saying that “This version of Lightroom may require the Camera Raw plug-in version 12.2…”, you may choose the “Open Anyway” option and upgrade your version of Camera RAW as soon as possible (via the CC installer or standalone installation). Do not use the “render using Lightroom” option, or this will immediately create an unwanted TIF/PSD file, even if you do not save the file at all in Photoshop.


Limitations of PSB (and TIF/PSD) files in Lightroom v9.2

There are a few more minor limitations you should know. I say minor because very few people will be affected by these. However, while LR now supports any file size for PSB, it does not support the same full 300,000 pixel dimensions that Photoshop does. So files that surpass any of the following limits will create an error when you try to sync or import them (nothing is wrong with the image, you just won’t be able to view it in LR once it exceeds these limits):

  • 65,000 pixels on the longest side (linear dimension).
    • That sounds like enough for a massive 18 foot wide print at 300dpi. But as you’ll see under the next limit, that would only work if you print it a little over 2 feet tall… So this probably isn’t the limit you need to worry about.
    • This is nothing new, the same limits always applied to TIF files in Lightroom.
    • For comparison, Photoshop can save PSB files as large as 300,000 pixels wide/tall.
  • 512 megapixels (total pixels).
    • For example, this would allow you to make a 63×94″ (a little over 5 x 7.5 feet) print at 300dpi.  That is less than 30,000 pixels on the long side and should give you a good idea that this total pixel limit is more likely something you’ll run into than the longest-side limit.
    • This is based on the pixel dimensions of the overall image. The details of of the layers do not matter.
    • Considering you’d almost certainly view such a print from much further away, there are enough pixels here for a larger print if you don’t increase the dpi to 300 (which is fine for many large prints, especially if you’re going to have a pro lab resize and print for you). Certainly some people are still going to run into this limit, but it won’t be an issue for most photographers.
    • This is nothing new, the same limits always applied to TIF files in Lightroom (even though a single layer TIF file with larger dimensions can be saved within the 4GB file size limit for TIFs). It’s just a limit of the underlying image processing (regardless of file forma). I would assume increasing those limits is probably a very big task for Adobe.
  • Cannot use cloud sync. Given the massive size of these images, that wouldn’t be a great workflow for most people. Maybe in a few years when the typical internet connection is much faster.

If you run into these limits, it seems that the error message either says “the file is too big” (during import) or “there was an error working with the photo” (during sync), so it is important to know these limits to understand what happened if you run into them after updating images in Photoshop.

While it would be nice if Lightroom would support such massive files, it has never supported such large pixel dimensions with TIF or PSD files either. In fact, these are limits in the underlying engine and have always applied to ACR in Photoshop as well. You cannot use an image with >536.9 million pixels with the Adobe Camera RAW filter. If you create an image 53,687 x 10,000 pixels wide, you can edit it with ACR. But increase that width by one more pixel and you’ll see the following error when you go to Filter / Camera RAW Filter:


If you’re one of the rare people making such massive images for panoramas, gargantuan prints, etc; the solution remains to use Adobe Bridge or another viewer.

If you want to use Adobe Bridge, you’ll need to do a couple of things:

  • Go to Preferences / Thumbnails and change “do not process files larger than” from the default 1000MB (that’s 1GB) to something much larger. Probably 100,000MB is a good choice if you are working with files too large for Lightroom.
  • You may then need to right-click the image and choose “generate high quality thumbnail” (which is an option only shown when available, right under the “batch rename” option).
  • Be patient, it takes a while for these large thumbnails to render and it isn’t always clear that Bridge is processing in the background.

Adobe Bridge will let you browse images with larger dimensions, but you still won’t be able to use ACR on files with that many pixels. There is no other workaround to open images with larger pixel dimensions in either Lightroom or ACR in any file format. But you can save files of any size within those pixel limits when using PSB (well, technically 4 “exabytes” is the limit of a PSB file, but it’s probably safe to assume you won’t own a hard drive with 4 million terabytes of free space anytime soon).


How to convert existing images to PSB

The simplest solution for converting TIF/PSD files is:

  • In Lightroom, right-click “Edit In / Edit in Adobe Photoshop 2020 / Edit Original”. Do not use the option to edit a copy, as this will make another TIF or PSD that you’ll need to delete later.
  • In Photoshop, click “File / Save As / Large Document Format” and save it into the same folder as the original. If prompted, choose “maximize compatibility” (this is required to see PSB images with Lightroom).
  • Close the image in Photoshop.
  • In Lightroom, right-click the folder where you just saved the image and choose “Synchronize folder”
  • In Lightroom, you may now optionally delete the original TIF/PSD since you now have the same image as a PSB file.


If you have been using Lumenzia’s “convert layers to linked PSB” utility and wish to merge the files into a single document:

  • Open the image
  • Click again on that same Lumenzia menu option to “convert layers to linked PSB” or click “SmartObj” in the Basics panel. Choose the option to “extract” the Smart Object contents back into the parent document. Once you do that, you may now save the parent document as a PSB using the steps above.
  • Alternatively with the newest version of Photoshop CC, you may also right-click the Smart Object and choose “convert to layers”. However, note that the native utility in Photoshop will not re-import any paths and channels inside the Smart Object (but the Lumenzia options will re-import any paths/channels).
  • Once you have finished converting to a new single PSB, you may delete the original TIF/PSB pair. Be sure to close and re-open your new PSB to confirm you imported everything properly before deleting the originals.


How to remove exposure blending halos

One of the biggest frustrations I hear when photographers try to use exposure blending with luminosity masks to get beautiful skies is that they frequently get halos around hard edges such as the point where trees or mountains touch the sky. In my Exposure Blending Master Course, I teach several techniques on how to avoid halos in the first place. However, there are many times when you may still encounter halos for a variety of reasons, and it is important to know how to remove those halos easily.

With Lumenzia v8, you can now use the “Edge” button to do just that. It will quickly help you select the edge of any mask or selection so that you can paint white or black on your mask to remove the halos. See the video and the written summary below to learn how to save time and cleanly edges in your exposure blends.



Here’s a summary of the workflow to remove halos from the luminosity mask using Lumenzia:

  1. First, identify the cause of the halo.
    • Are you seeing too much of the dark layer on top? Too much of the bright layer below? It’s critical to understand exactly what the issue is in order to know what fix you’ll need. Toggling the layers and masks off and on is an easy way to check.
  2. Once you know the problem, identify the solution you will need to do to the luminosity mask to remove the halo.
    • Do you need to paint more white to reveal the dark sky layer, or black to remove some of the sky?
  3. Next, <ctrl/cmd>-click the luminosity mask to load it as a selection.
    • The marching ants will show you roughly where the current edge of your mask is. Remember that the marching ants do not show pixels darker than 50% gray in the mask.
    • Compare the rough edge of the selection to the solution you identified in the previous step. Do you need to select pixels which are inside or outside the existing edge? By how much?
  4. Use the “Edge” button in Lumenzia to convert the selection of the masked area into a selection of just the edge where you need to paint black or white.
    • In the left side of the popup dialog, make sure “edges” is selected.
    • Select a radius of about 1 or 2 pixels. It’s typically best to try starting with just 1 pixel, as painting outside the edge of the existing halo will likely just create a new halo.
    • Select the number of pixels to expand (positive numbers) or contract (negative number) based on your evaluation from the previous step. Something between -2 and +2 is typically ideal. Due to the nature of this tool (with the radius and feathering), the edges tend to grow a little from where you think they are to begin. You also want to err on the safe side (so the center of the new selection shouldn’t go right over the halo, or the edges of the selection will go beyond it). Therefore, you will likely need to subtract about two pixels from what you would otherwise expect. For example, in the demo above would probably have guessed +1 pixel, but the correct choice was -1 to properly target the edge. So be sure to experiment with things a bit to find the best settings for your image.
    • Click “Selection” to create the edge selection.
    • You will be prompted to choose how much to blur the selection. The default generally works well, but you might try up to 1 or 2 pixels if you aren’t getting the results you like in the following steps.
  5. Given the work you’ve done to create this selection, now is a good time to click “Sel” and save the selection. If you need to create a couple different edge selections, this will be very helpful to switch back and forth.
  6. Now paint black or white as needed onto the layer mask through the edge selection you have created.
    • If you aren’t getting the desired results in general, deselect and start over from step 3.
    • If the selection works in some areas, but not others, repeat steps 3-5 as needed to create multiple different edge selections. If you have a complicated sky or foreground where the tonality changes a lot, you will likely need to use different selections for different areas of the halo.
  7. If you find a few pixels that stray outside your selection, don’t be afraid to paint free hand. This is quick and easy to do for small problems in the image. Just deselect (<ctrl/cmd>-D) and re-select (<shift><ctrl/cmd>-D) as needed to temporarily paint without the selection.


How to Edit a Bright Building against a Bright Sky

When your subject has similar luminosity and color to its surroundings, simple luminosity masks often struggle to get the job done. Neil Williams ran into this scenario when he shot the image below. He emailed me asking how he could use Lumenzia to help brighten this white temple against this relatively bright sky. This is a great example of a common problem, and he offered to let me use him image for this tutorial.

Luminosity masks are well suited to a challenge like this because the building is slightly darker than the sky, and alternatives like manual brushing or the pen tool would be a nightmare with all of the fine detail along the temple and trees. However, no single luminosity mask will adequately separate the temple from both the sky and trees. So we need to use a more advanced combination of custom luminosity masks and some hand painted layer masks to get the job done.

Here’s a summary of the workflow used to edit the image:

  1. Remove dust spots and distractions. This should ideally be done first, to avoid including dust spots in the luminosity masks
    • Click “✓dust” in Lumenzia to visualize the dust, as well as create a blank layer for cloning and activate the spot healing brush.
    • Paint with the spot healing brush to remove the dust spots.
    • Click “✓dust” again to cycle through the various visualizations to check for anything that was missed.
    • Click “X” to clear the dust visualization.
    • Use the spot healing brush to remove the lamp.
  2. Lighten the building. The masks involved here are the trickiest part of the edit.
    • Create a new levels adjustment layer. Because the brighter sky makes the histogram useless for determining how much you can safely bring in the white point to edit the building, a good way to safely brighten the building is to hold <alt/option> while bringing in the white point and watch to see when the temple starts to clip and then back off a little. Note that waiting to adjust levels until after you add the layer/luminosity masks won’t improve the histogram, as it is based on the layers below and ignores the masking on the levels layer (you could mask the underlying image, but then the transparent pixels show as lots of white in the histogram).
    • Temporarily hide the adjustment layer (so that it does not affect the luminosity mask in the next step).
    • Add a midtones mask by clicking “(c)” and then “Mask”. This mask helps achieve a few goals. It avoids lightening the shadows of the temple, which creates better contrast when lightening. It also minimizes any targeting of the dark trees or bright sky (it does not eliminate them on its own, but is a simple way to help reduce targeting of the sky).
    • Make the adjustment layer visible again to be able to see its impact.
    • Add a group with a black layer mask. This allows us to selectively paint white to reveal the adjustment where needed. A simple soft, white brush is all that is needed here. The adjustment will spill into the sky and cause unwanted lightening, but we’ll fix that in the next steps.
    • Add another group, but with a white layer mask this time. We will use this to paint out the sky, which should not be lightened. This is the most important mask for separating the building from the sky.
    • Temporarily hide the adjustment again while creating any luminosity selections (as the building is better separated before lightening it). Create sky selections as needed (you’ll frequently need more than one to paint out all critical sky areas).
    • I clicked (e), adjusted to 9.99 gamma, and clicked “Sel” to make the first sky selection. The gamma adjustment helps create a stronger selection, without clipping at the sky edges. Paint with a soft, black brush on the white group mask to stop brightening the sky. You should have the levels layer visible while brushing to see what effect the mask is having.
    • I then clicked L3, adjusted white levels, and clicked “Sel” to make a secondary sky selection to be able to paint black on a few pixels that weren’t included in the first sky selection. I choose to use the whites slider in the levels adjustment here because the mask was starting from a darker point and didn’t have as much risk of clipping.
    • It is frequently helpful to use “Sel” to save your luminosity selections when working advanced/custom selections, so that you can reload and reuse them later if you find any areas that need adjustment in the mask.
  3. Enhance sky color.
    • Create a new HSL adjustment layer
    • Set the targeting to red, set saturation to +51, and drag out the blue slider to include the entire sky with a natural look.
  4. Keep the building relatively neutral. The sky enhancement has also affected the building. Rather than going through the trouble of creating a new sky selection, we can simply adjust the saturation of the building through the masks we have already created.
    • Create a new HSL adjustment layer right above the levels adjustment. This is inside the two groups and therefore has nearly the same masking as the levels layer. In this case, the midtone Z(c) mask isn’t needed for color adjustment, but you could also create another group to put both adjustment in and this would give you the exact same mask for HSL that we already created for Levels.
    • Set saturation to -45.
  5. Crop the image as needed. I like to do this late in the process to keep options open to change the crop later if needed, such as to optimize for a specific print size.
  6. Add a vignette by using the lasso selection tool and clicking “Vignette”. I should have ideally done this before cropping.


Here are some additional optional steps you might need to use in your own images if you run halos or some dark spots that should have been lightened:

  • If you find halos (bright pixels at the edge), you can quickly repair those with the “Edge” tool in Lumenzia v8+. This is particularly helpful for eliminating small issues which may become visible in large prints. The key to fixing them is to expand the area blacked out of the sky. The steps include**:
    • <cmd/ctrl>-click the top group mask layer mask (“”Group 2”, the one blacking out the sky). This loads it as a selection.
    • Click “Edge” in Lumenzia and choose to isolate edges with a radius of 1 and -1 to contract by 1 pixel. This selects the halo area by pulling in from the existing edges.
    • Click on the “Group 2” layer mask to target it and paint with black through the halo selection you just created. This paints out the edge pixels to remove the halo.
  • If you find dark spots in the building, this indicates that the top group mask (“Group 2”) blacked out some areas that were not sky. Just paint white free-hand on the that “group 2” mask to fill in any gaps. No luminosity selections are needed to safely paint this isolated interior problems in the mask.


I’ll try to add a demo of this use of the “Edge” button in the future. If you are in my Dodging & Burning Master Course, you can see such an example in section 9.3 video 9h where I use “Edge” to remove some halos created while dodging.

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