Lightroom

Generative Upscaling using Topaz Gigapixel now in Lightroom

Adobe Lightroom version 9.2, released on 20th February 2026, brings with it a significant new feature: generative upscaling powered by Gigapixel from Topaz Labs.

If you've ever needed to enlarge an image whilst maintaining sharpness and clarity, this update is going to be very welcome indeed.

Here's a comprehensive look at what it does, how to use it, and what you need to know before you get started.

What Is Generative Upscale with Gigapixel?

Generative upscale is an AI-powered image enlargement tool built directly into Lightroom, using technology from Topaz Labs' well-regarded Gigapixel application. It works by analysing your image and intelligently increasing its resolution, improving quality, sharpness, and clarity in the process. The key advantage over Lightroom's existing super resolution feature is both the degree of upscaling available and the range of file formats it supports.

How Does It Differ from Super Resolution?

Lightroom has offered super resolution for some time, but it comes with two notable limitations: it only upscales by 2x (200%), and it only works on RAW files. The new Gigapixel-powered generative upscale removes both of those restrictions. You can now upscale by either 2x or 4x, and crucially, it works on RAW files and other file formats too, making it far more versatile.

How to Access Generative Upscale

There are three ways to access the feature within Lightroom:

From the menu bar, go to Photo and select Generative Upscale. Alternatively, right-click on your image in the editing view and choose Generative Upscale from the context menu. You can also right-click on a thumbnail in the grid view to find the same option.

What Happens When You Upscale?

Once you select generative upscale, a dialogue box appears showing your upscaling options (2x or 4x), along with the resulting pixel dimensions and file size in megapixels. You'll also see how many generative credits the process will consume, and a real-time display of your current monthly generative credit balance, which is a very handy addition.

The processing itself takes place in the cloud, regardless of whether your images are stored locally or in Adobe's cloud. This means an active internet connection is required every time you use the feature. In testing, the process took around 30 seconds, though this will depend on your connection speed.

Once complete, the upscaled image is saved as a new DNG file alongside your original. This is an important point: no matter what file format you send for upscaling, the returned file will always be a DNG. The filename will reflect that Gigapixel was used and will indicate the upscaling factor applied (2x or 4x).

An Important Tip: Edit First, Then Upscale

This is perhaps the most important thing to be aware of when using generative upscale. When the upscaled DNG file is returned, all of your existing Lightroom edits, including masks and adjustments, are baked into it. The new file will not retain any editable Lightroom settings. For that reason, you should always complete your editing first before running the upscale. The good news is that your original edited file is preserved, so you will always have access to make further adjustments to it should you need to.

Generative Credits

Using generative upscale consumes generative credits from your monthly allowance. The cost is either 10 or 20 credits, depending on the size of the output, with a maximum of 20 credits per upscale. The dialogue box shows exactly how many credits will be used before you commit, and you can see your remaining balance at the same time.

The Stacking Option for Cloud Images

If you are working with images stored in Adobe's cloud, there is one additional option available: the ability to create a stack. Rather than the upscaled file appearing as a separate thumbnail alongside your original, it will be grouped together with it as a stack, keeping your library neat and organised. This option is not available for locally stored images.

Maximum Output Size

The maximum output size is an impressive 65,000 pixels on the longest edge, making this suitable for very large print work indeed.

Where Generative Upscale Is Most Useful

This feature is particularly well suited to a number of scenarios. It's excellent when you've made a significant crop to an image and want to recover detail and sharpness in the enlarged result. It can also be used to improve low-resolution scans, or to breathe new life into images from older cameras with lower megapixel counts.

Quick Summary of Key Points

  • Available in Lightroom version 9.2 and later

  • Powered by Topaz Labs' Gigapixel technology

  • Upscale options: 2x or 4x

  • Works on RAW files and other file formats (unlike super resolution)

  • All processing is done in the cloud; an internet connection is required

  • Returns a new DNG file regardless of the original format

  • Consumes 10 or 20 generative credits (maximum 20 per upscale)

  • Maximum output: 65,000 pixels on the longest edge

  • Edits are baked into the upscaled file, so always edit first

  • Stacking option available for cloud-stored images

  • Your original file is always preserved

For photographers looking to get the most from their images, whether recovering detail from a tight crop or improving older files, this is a genuinely useful addition to Lightroom's toolkit.

Come on Adobe 🙏🏻 We NEED THIS FEATURE ⚠️

I've put together this short video because I need to ask a favour from anyone who uses Photoshop Camera Raw or Lightroom. There's a fundamental feature that's been missing for years, and it seriously impacts how we edit our images and the results we achieve.

The Missing Piece in AI Masking

The issue centres on masking, specifically the AI-generated masks available in the masking panel. Being able to select a sky or subject with one click is genuinely incredible, but there's a massive gap in functionality. We have no way to soften, blur, or feather those AI masks after they've been created.

Instead, we're left with incredibly sharp, defined outlines that sometimes look like poorly executed cutouts. This makes blending our adjustments naturally into the rest of the image much harder than it needs to be.

Years HAVE PASSED

Adobe introduced the masking panel back in October 2021. It changed the way we work and represented a huge step forward. Yet here we are, years later, still without a simple slider to soften mask edges.

If you want to blend an adjustment now, you're often stuck trying to subtract with a large soft brush, using the intersect command with a gradient, or employing other crude workarounds to hide the transition. It feels like excessive work for what should be a standard function.

The Competition Gets It Right

What makes this even more frustrating is seeing other software solve this problem elegantly. The new Boris FX Optics 2026 release includes AI masking controls where a single slider softens and blurs the mask outline, and it works incredibly well. Luminar has been offering this functionality for quite a while too.

These tools understand that a mask is only as good as its edges. When the competition provides ways to feather and refine AI selections, the absence of this feature in Adobe's ecosystem feels glaringly obvious.

Adobe's Strengths and Opportunities

Don't get me wrong. I appreciate that Adobe constantly pushes boundaries. We've witnessed tremendous growth over recent years, with developments from third-party AI platforms like Google's Gemini, emerging models, and innovations from Black Forest Labs with Flux and Topaz Labs. It's an exciting time to be a creator.

But I wish Adobe would take a moment to polish what we already have. Adding flashy new features is great, but refining the core workflows we use every single day would be a massive leap forward for all of us.

How You Can Help

Rather than simply complaining about this issue, I've created a feature request post in the Adobe forums. It's been merged with an existing thread on the same topic, which actually helps consolidate our voices into one place.

Here's what I need you to do: click the link below to visit the post and give it an upvote by clicking or tapping the counter number in the upper left. If we can get enough visibility on this, Adobe might finally recognise how much the community wants and needs this feature.

( LINK )

I believe refining existing tools is just as important as inventing new ones. Thank you for taking the time to vote. It really does make a difference when we speak up together.

The Fisherman's Tale 🐟 New Compositing Workflow

Yesterday morning I popped out for breakfast and to meet up with a friend, Steve.

After a great bite to eat at one of my favourite haunts, Town Mill Bakery (Lyme Regis) I sprung it on him that I had an idea for a picture I wanted to put together and that I needed him to be the subject.

The idea was to create a portrait of a Fisherman and to do this with a combination of Photography, Lightroom, Photoshop and AI, to test out a new workflow.

So, here’s the resulting image, and below is a breakdown of the steps involved using Lightroom, Photoshop, Google Gemini AI and Magnific (Upscaler)

The Process

  • Taking the portrait of Steve with the desired background

  • Initial Edits in Lightroom

  • Export into Google Gemini AI and add Stock Photographs of Fisherman’s clothing onto Steve. Create image in 4K and then Upscale 2x

  • Create aging, weathering on the Overalls and Hat using Gemini AI and then selectively paint this onto Steve using Masks in Photoshop

  • In Gemini AI generate the fish and Steve’s new arm position, then mask this into the main image in Photoshop

Extend Background in Photoshop and add finishing touches in Lightroom including Colour Grading, Adjusting Lighting, Lens Blur, Adding Grain etc …


Editing a Photo in Lightroom + Photoshop ... on an iPad

Not too long ago, I never would have considered editing my photos on an iPad. It always felt like something I should save for my desktop. But things have changed. Both Lightroom and Photoshop on the iPad have improved massively, and these days I often use them when traveling. More and more, this mobile workflow is becoming a real option for photographers.

In this walkthrough, I’ll show you how I edited an image completely on the iPad, starting in Lightroom, jumping over to Photoshop when needed, and then finishing off with a print.

Starting in Lightroom on the iPad

The photo I worked on was taken with my iPhone. The first job was the obvious one: straightening the image. In Lightroom, I headed to the Geometry panel and switched on the Upright option, which immediately fixed the horizon.

Next, I dealt with a distraction in the bottom left corner. Using the Remove Tool with Generative AI switched on, I brushed over the wall that had crept into the frame. Lightroom offered three variations, and the second one was perfect.

With those fixes made, I converted the photo to black and white using one of my own synced presets. A quick tweak of the Amount slider gave me just the right level of contrast.

Masking and Sky Adjustments

The sky needed attention, so I created a Select Sky mask. As usual, the AI selection bled slightly into the hills, so I used a Subtract mask to tidy things up. It wasn’t perfect, but it was good enough to move forward.

From there, I added some Dehaze and Clarity to bring detail back into the clouds. A bit of sharpening pushed the image further, but that also revealed halos around a distant lamppost. At that point, I knew it was time to send the photo into Photoshop.

Fixing Halos in Photoshop on the iPad

Jumping into Photoshop on the iPad takes a little getting used to, but once you know where things are, it feels very familiar.

To remove the halos, I used the Clone Stamp Tool on a blank layer set to Darken blend mode. This technique is brilliant because it only darkens areas brighter than the sample point. With a bit of careful cloning, the halos disappeared quickly.

I then added a subtle “glow” effect often used on landscapes. By duplicating the layer, applying a Gaussian Blur, and changing the blend mode to Soft Light at low opacity, the image gained a soft, atmospheric look.

Back to Lightroom and Printing

With the edits complete, I sent the image back to Lightroom. From there it synced seamlessly across to my desktop, but the important point is that all of the editing was done entirely on the iPad.

Before printing, I checked the histogram and made some final tweaks. Then it was straight to print on a textured matte fine art paper. Once the ink settled, the result looked fantastic — no halos in sight.

Final Thoughts

I’m not suggesting you should abandon your desktop for editing. Far from it. But the iPad has become a powerful option when you’re traveling, sitting in a café, or simply want to work away from your desk.

This workflow shows what’s possible: you can straighten, retouch, convert to black and white, make sky adjustments, refine details in Photoshop, and even prepare a final print — all from the iPad. And of course, everything syncs back to your desktop for finishing touches if needed.

Exciting times indeed.

🎥 I Recorded 5 Lightroom Tutorials for Adobe

I'm excited to finally share some news I've been keeping under wraps: I recently had the opportunity to create five tutorial videos for Adobe, now featured on the Adobe Learn site … learn.adobe.com

These videos are designed with beginner and intermediate users in mind, walking through some of the most useful and practical workflows in Lightroom and Lightroom on the Web.

Whether you're just starting out or want to brush up on your skills, these tutorials are built to help you feel more confident with your editing and photo management.

Here's a quick look at the topics I covered:

✨ 1. Edit your Lightroom Photos in Photoshop

Start your edits in Lightroom and then send an image to Photoshop for additional creative possibilities.

🌐 2. Get to Know Lightroom on the Web

Access all your Lightroom photos in a web browser and any edits you make will sync across the Lightroom ecosystem.

🛠 3. Improve Photos with Basic Edits in Lightroom on the Web

Start with an auto adjustment and fine tune your edits with changes to the brightness, contrast, and color in a photo.

🎨 4. Enhance Photos with Presets in Lightroom on the Web

Take advantage of presets to jumpstart your image editing or explore new creative styles.

📁 5. Organize and Share Your Photos Using Lightroom on the Web

Use albums and folders to organize your photos and create a link to share an album as an online web gallery.

💥 APRIL 2025 UPDATE: Lightroom, Lightroom Classic + Lightroom Mobile

April 2025 and Adobe have relerased updates across Lightroom Desktop, Lightroom Classic and Lightroom Mobile so in this video we take a look at the NEW Landscape Masking plus explaining each of the new categories, NEW sharing options in Lightroom Mobile + NEW Reotuch function.

Check out the lightroom blog for full details: