How Lightroom Shared Albums Impact Storage and Download Sizes

Something that catches a lot of people out is the difference between how Lightroom Desktop/Mobile handles your photos in the cloud versus what happens when you sync from Lightroom Classic.

They look similar on the surface but behave very differently, especially if you're using the Share and Invite web gallery feature.

Here's how it breaks down.

Uploading from Lightroom Desktop or Mobile

When you copy photos to the cloud using Lightroom Desktop or Mobile, you're uploading the original file, whether that's a RAW or a JPEG.

• Cloud storage: This counts against your Adobe storage allowance. Every file you add uses the same amount of space as the original. Upload 100 RAW files at 25MB each and you've used 2.5GB of your plan's storage, whether that's 20GB or 1TB.

• What your “client” downloads: A full-resolution JPEG. The pixel dimensions match your original, so a 24-megapixel file stays 24 megapixels. Adobe converts the RAW to JPEG for delivery, so a 24MB RAW might come down as a 4 to 8MB JPEG, but the detail is all there.

Official Adobe Reference: You can read the storage rules directly in the Adobe Help: Lightroom Cloud Storage FAQ. Look under the "How does storage work in Lightroom?" section, which details how original files consume your plan's space.

Syncing from Lightroom Classic

When you tick the Sync with Lightroom box on a Collection inside Classic, your original files stay on your hard drive. What goes up to the cloud is a Smart Preview.

• Cloud storage: This uses none of your allocated storage. Adobe syncs these Smart Previews completely free of charge, and they count for nothing against your 20GB or 1TB limit.

• What your “client” downloads: A reduced-resolution JPEG, capped at 2560 pixels on the longest edge. That's it. Because the cloud only holds the Smart Preview, that's all anyone can download.

Official Adobe Reference: This storage exception is outlined in the Adobe Help: Sync Lightroom Classic with Lightroom Ecosystem guide. Check the "Sync overview" and the "FAQ" at the bottom, which explicitly states that Smart Previews do not consume your cloud storage quota.

Quick Summary

If you're sharing a web gallery and have Allow Downloads switched on, what your viewer receives depends entirely on where the file came from:

• Lightroom Desktop or Mobile as the source: Uses your cloud storage. Viewer downloads a full-resolution JPEG.

• Lightroom Classic Collection as the source: Uses zero cloud storage. Viewer downloads a 2560px JPEG, maximum.

Official Adobe Reference: The download behavior for shared galleries is documented in the Adobe Help: Share Photos and Albums from Lightroom Web guide under the "Allow downloads" and "Shared Album Settings" toggles.

The practical takeaway is straightforward; if your “clients” need full-resolution files, upload via Lightroom Desktop or Mobile and keep an eye on your storage. If they just need to view images or grab web-sized copies, syncing from Classic is far more efficient and won't touch your storage allowance at all.

The Smart Way to Use Lightroom Shared Albums

My next project involves my local harbour and town, Lyme Regis in the southwest of the UK where I’ll be photographing the people who truly make the town what it is - the fishermen, cafe owners, restaurateurs, B&B hosts, ice cream sellers, and anyone else who steps in front of my camera.

Because a project like this has a lot of moving parts, I want the process to be completely frictionless. I need a seamless way for the people I photograph to access their portraits without chasing email addresses or risking sending files to the wrong person.

The perfect solution is the Share function in Lightroom. Whether you use Lightroom Desktop, Lightroom Classic, or Lightroom Mobile, this feature turns your cloud-synced albums into functional web galleries.

Here is exactly how to set it up and make it work for you.

1. Getting Your Images into the Cloud

To share an album, the images must be in the cloud so Lightroom can generate a web page.

• In Lightroom Desktop (Local Tab): If you keep files offline on hard drives, you can easily select a single image, multiple images (using Shift or Command/Control), or an entire folder. Right-click and choose Copy to Cloud. You can then add them to an existing folder or create a new album.

• In Lightroom Desktop (Cloud Tab): Simply click the + icon next to Albums and select Create Album. You can create an empty album and drop photos into it later.

• In Lightroom Classic: You work with Collections instead of albums. Create a new collection, give it a name, and ensure you check the box that says Sync with Lightroom.

Once synced, any collection from Classic or album from Desktop automatically populates across the entire cloud ecosystem, including Lightroom Mobile.

2. Managing Share Settings and Permissions

Once your album is in the cloud, right-click the album name in Lightroom Desktop and choose Share and Invite. This generates a dedicated web address for your gallery. Before sending it out, you can completely customize the experience.

• Link Access: Set the permissions to public or private depending on your audience.

• Settings & Interaction: You can allow viewers to download JPEG versions of the images, which is exactly how I handle the I Am Lyme project. You can also let them like and comment (which requires a free Adobe account) or toggle metadata and location visibility.

• Submitting Photos: There is an option to allow others to add photos to the album. This is brilliant if you are hosting a photo walk and want everyone to contribute their shots to a single gallery.

• Customization: You can alter how the page looks to visitors without changing your internal album settings. Change the display title, hide or show the author name, choose the layout grid (photo grid, column, or one-up), and switch between light and dark themes.

3. Sharing via Lightroom Mobile (and the QR Code Secret)

If you are out in the field like me, using Lightroom Mobile on your phone is the ultimate workflow hack.

Open your synced album on your mobile device, tap the Share icon in the upper right, and you will find the exact same options available on desktop.

The real magic here is the QR Code option. Lightroom Mobile can generate a unique QR code for that specific web gallery. You can show it directly on your screen for someone to scan, or download the QR code to your camera roll to print out. People can scan it, instantly view the gallery, and download their photos on the spot.

4. The Workaround for Pure Lightroom Classic Users

If you strictly use Lightroom Classic and prefer not to use Lightroom Mobile or the Desktop app, you can still easily use this feature.

Once you have created your collection and checked the Sync with Lightroom option, open your web browser and go to lightroom.adobe.com. Log in, find your synced collection under your albums, and click the Share icon on the right side. You will have full access to the web link and the QR code generator right from your browser.

Using shared albums keeps your client interaction simple, organized, and professional. Give it a try on your next project, and let me know if you have any questions in the comments below.

Photoshop's NEW On-Device AI Remove Tool

Adobe shipped Photoshop 27.7 on the 19thMay 2026, and tucked inside it is one of the more genuinely useful quality-of-life features I've seen in years: the ability to run the Remove tool's generative AI model entirely on your own hardware.

For photographers and retouchers, that means object removal that's faster, works offline, and keeps sensitive client work on your own machine.

What the Remove Tool Actually Does

The Remove tool sits alongside the Healing and Clone tools as Photoshop's go-to way of erasing distractions. You paint over something you don't want, a stray tourist, a power cable, a logo, a blemish, and Photoshop fills the area with believable pixels sampled and synthesised from the surroundings.

In the current version there are effectively three flavours of Remove.

Standard Remove (Generative AI off)

Uses content-aware style algorithms, processed locally. It works well on simple, repeating backgrounds, but it can struggle with complex textures and edges.

Cloud Generative Remove (Generative AI on, Cloud)

Sends your selection to Adobe's servers, where a Firefly-class model generates new pixels to fill the gap. It generally performs better on complex scenes with fine detail, like foliage, hair and signage.

On-device Generative Remove (Generative AI on, Device)

New in Photoshop 27.7. A generative model is downloaded to your computer so the Remove tool can do that heavy lifting locally instead of relying on the cloud.

Functionally, on-device mode aims to give you cloud-quality results with the reliability of local processing.

Why Bother With On-Device Remove?

If Remove already runs in the cloud, why bother with on-device at all? Three reasons.

Speed and responsiveness

In on-device mode, the model runs directly on your GPU rather than making a round trip to Adobe's servers. On powerful machines that means noticeably snappier results, especially on large layered documents or when you're doing lots of small removals across a full shoot.

It works when you're offline

Cloud Remove simply doesn't function without an internet connection. If you're editing on a train, in a remote landscape, in a studio with poor Wi-Fi or at a client office behind a locked-down network, that's a problem. On-device Remove works exactly the same way whether you're online or offline.

Better privacy and data control

Some jobs involve embargoed campaigns, confidential documents or sensitive subjects. In those situations it's often preferable, or contractually required, to keep all processing on your own hardware. On-device Remove keeps the pixels on your machine, which can be an important reassurance for privacy-conscious clients.

The Catch: The Hardware Bar Is High

Running a generative model locally is demanding. Photoshop checks your system automatically, and if it doesn't qualify, the Device option in the Remove tool is simply greyed out.

On Windows, Adobe's current guidance calls for a modern multi-core CPU, a strong GPU, and decent RAM and SSD space:

On top of that, Adobe lists higher VRAM thresholds by GPU family. Current documentation and support posts indicate that many mid-range GPUs, some RTX 30-series cards with 12GB of VRAM for example, still don't unlock the Device option for Remove, even though they run other AI features comfortably.

On Mac, on-device Remove is Apple Silicon only. You'll need an M1 Pro or later (M1 Max, M2 Pro, M2 Max and newer are recommended for smooth use), 24GB of RAM or more, and macOS Tahoe (26.4) or newer. Intel Macs aren't supported for the on-device model.

How to Use the On-Device Remove Tool

Once your hardware qualifies and you're running Photoshop 27.7, it's all controlled from within the Remove tool itself.

1. Select the Remove tool from the toolbar, where it sits with the Spot Healing Brush and Healing Brush.

2. Open the Mode dropdown in the Options bar, where you'll see options such as Auto, GenAI On and GenAI Off.

3. Choose Device for Generative AI processing. Within that panel, find the Generative AI processing setting and switch it from Cloud to Device.

4. Download the on-device model. The first time you select Device, Photoshop prompts you to download it, just under 5GB. Confirm it and let it finish.

5. Paint away distractions. With Device selected, paint over unwanted objects as usual, and Photoshop will use the local model rather than the cloud to generate the replacement pixels.

6. Switch between Cloud and Device whenever you like, from the same Mode dropdown, if you want to compare quality or fall back to the cloud on less powerful hardware.

If the Device option stays dimmed, it usually means either your hardware doesn't meet the minimum spec or GPU acceleration is switched off in Photoshop's Performance preferences.

Who Will Benefit Most?

On-device Remove is particularly valuable for three groups.

Location, travel and event photographers

You often edit in the field or away from reliable internet. On-device Remove keeps your clean-up workflow working exactly the same wherever you are, hotel room, train, remote shoot or studio with spotty Wi-Fi.

High-volume retouchers

If a big chunk of your day goes on removing logos, stray hairs, dust, cables and background clutter, a faster, offline, privacy-friendly Remove tool makes that daily work smoother and more predictable, especially on time-critical jobs.

Commercial and editorial shooters with sensitive work

When you're dealing with unreleased campaigns or sensitive subjects, being able to say all the retouching was done on-device is a genuine advantage with clients and legal teams.

For casual users on modest hardware, the existing standard and cloud Remove modes will carry on doing the job perfectly well. But if your machine meets Adobe's on-device requirements, the new Remove model in Photoshop 27.7 is one of the most meaningful quality-of-life upgrades in the current release, especially if you live in the Remove tool all day and want its full power without always depending on the cloud.

How to Edit and Export True HDR Photos in Lightroom

Mention HDR to most photographers, and they immediately picture the overprocessed, crunchy trend from 2010 or complex, multi-exposure bracketing. True HDR is different. It uses a single image to unlock the actual brightness and tonal capabilities of modern screens.

This step-by-step guide covers how to edit, export, and share true HDR images using Lightroom Mobile, Desktop, or Classic.

Step 1: Check Your Screen Compatibility

Before editing, you need to know if your device can actually display high dynamic range.

• Many modern screens (like iPhones, iPads, and MacBook Pros) support it, but standard monitors do not.

• If you view an HDR compatibility test page and see two distinct versions of the comparison images, your screen is ready for HDR editing.

Step 2: Edit Your Base Image (SDR)

Start by editing your photo exactly how you normally would. Tweak the exposure, contrast, and colours until you are completely happy with the standard dynamic range (SDR) version. Photos with naturally high contrast and bright highlight areas work best for this process.

Step 3: Enable the HDR Panel

• Locate and toggle the HDR button in the Lightroom edit panel.

• The image will instantly become brighter, and your histogram will expand to the right, showing extra sections. These sections represent the additional stops of light available exclusively for HDR displays.

Step 4: Control Your Highlights

To keep the image looking natural and intentional, you need to manage the extra brightness.

• Stick to the limit: Adobe sets a default HDR limit of around 2.3 stops. Keeping it here ensures your image translates well across different devices.

• Check for clipping: Hold your finger down on the screen while adjusting the exposure slider (or hold Alt/Option on desktop). The screen will turn yellow to show safe HDR highlights, and red if you push them too far.

• Visualize HDR: Toggle this feature on to see a colour-coded map of your highlights, helping you stay within safe tonal boundaries.

Step 5: Export with the Right Settings

To ensure Instagram and web browsers can read your HDR data, use these specific export settings:

• File Type: Select AVIF (or JXL).

• Color Space: Choose Display P3 (or HDR P3 on desktop).

• HDR Output: Ensure this toggle is turned ON.

Step 6: Post to Instagram Safely

When sharing your final image to social media, keep these two rules in mind to avoid rendering glitches:

• No stickers or text: Adding music to your post is fine, but do not overlay native Instagram text or stickers onto the image, as it breaks the HDR rendering.

• Use the Carousel Trick: Share both the standard SDR version and the new HDR version in a single carousel post. Allowing users to swipe between the two creates a massive, undeniable visual impact.

HDR in Photography: Dead, Dated, or Ready for a Comeback?

For years, HDR in photography has carried a bit of baggage.

Mention it to most photographers and they'll immediately picture those crunchy, overcooked images from the early 2010s. Glowing edges, strange colours, and a look that screamed "processing" louder than the actual subject. And honestly, fair enough. That version of HDR put a lot of people off, and for good reason.

The “HDR” Trend back in the early 2010s

But here's what's changed: HDR isn't what it used to be.

What we're talking about today is not that old exposure-blended, tone-mapped look that most of us learned to avoid. This is proper HDR editing, pulling more out of the image's dynamic range and displaying it on screens that can actually show it. It's less about creating a dramatic effect and more about giving the image room to breathe.

That distinction changes the conversation completely.

So what is HDR now?

At its simplest, HDR means high dynamic range; more tonal range than a standard dynamic range image can show. It’s not blending images together, it’s having the ability to really show what already exists in that file.

That sounds technical, but the practical version is straightforward. Think about a scene with a blazing sky, deep shadows, and subtle detail in between. In a standard SDR workflow, you end up squeezing all of that into a smaller box. You protect the highlights, lift the shadows, and find some kind of compromise.

With modern HDR editing, you're not forcing that compromise in the same way. You're working in a way that allows more brightness information to survive the edit, so when viewed on an HDR-capable screen, the image can look much closer to what the scene actually felt like.

That's the key difference.

This isn't about making everything loud. It's about giving the image more range.

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Check out this web page I put together to check if your display / device is capable of HDR.

Take a look on your computer, mobile and tablet device (if you have one)

🔗 LINK: hdrviewer.lovable.app

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Why the old HDR got a bad name

Let's be honest: old-school HDR deserved a fair amount of the criticism it got.

A lot of it was used as a shortcut to rescue badly exposed images, and the results were often heavy-handed. Software like Photomatix, which was the go-to tool for HDR processing back in those early days, made it incredibly easy to push things too far. Shadows were crushed, highlights flattened, and that distinctive grungy, over-cooked look became almost a signature of the era. At its worst, it was gimmicky. You knew exactly what you were looking at the moment you saw it.

Worth saying though: Photomatix is still around and still a perfectly viable option. Used with some restraint, it's capable of much more conservative, natural-looking results than its early reputation might suggest. But back then, subtlety wasn't really the point for a lot of people using it.

That's why many photographers developed a kind of instinctive resistance to anything labelled HDR.

But modern HDR is a different thing entirely.

It's not trying to shout at you. It's trying to reveal more subtlety. And when it's done well, most people won't even register that they're looking at an HDR image. They'll just think it looks rich, deep, and beautifully displayed.

Who is actually doing this?

More people than you might think.

The biggest shift is that the industry around HDR has finally started to catch up. More screens support it, editing software is building in proper HDR workflows, and image sharing is slowly becoming more compatible. That matters, because a workflow only becomes genuinely useful when you can see the result and actually share it.

Photographers are already experimenting with it in landscape work, cityscapes, interiors, sunsets, and any scene where the contrast is simply too much for a standard file to hold comfortably. It makes particular sense when the subject contains bright highlights that you want to keep bright, without the rest of the image falling apart around them.

So yes, people are doing it. Not everyone, and not for every image. But enough that it's moving from niche curiosity toward something more mainstream.

Why it matters now

This is where HDR becomes genuinely interesting from a photographer's point of view.

We've reached a point where many viewers already have HDR-capable phones, tablets, laptops, televisions, and monitors. The image you edit is no longer always limited to the old one-size-fits-all SDR world. Some people can actually see more of what you intended when you made it.

That opens up real creative possibilities.

A sunset can hold brighter light without clipping into mush. A window-lit interior can keep detail outside without destroying the atmosphere inside. A seascape can carry that glowing, luminous quality we often try to suggest with standard editing but don't always fully achieve.

In the right hands, HDR isn't flashy. It's expressive.

Where it fits in a workflow

The best way I think about HDR is this: it's another tool, not a replacement for everything else.

It won't suit every photograph. Some images are better left in a standard workflow, particularly if the scene is already well contained or if you want a classic, controlled look. HDR also won't make much difference if your audience is mostly viewing on SDR screens.

But for the right image, it can be brilliant.

The skill, then, isn't just learning how to switch HDR on. It's knowing when it adds value and when it doesn't. That's usually where good photography lives anyway. Not in using every feature available, but in using the right one at the right time.

Is HDR the future?

I think so, yes. Just not in the old dramatic sense.

We're not heading back to the days of overprocessed HDR everywhere. That era is done, and rightly so. But we are moving towards a more natural, more display-aware way of working, where HDR becomes a normal part of the photographic toolbox rather than a novelty.

How quickly that happens depends on a few things catching up together: displays, software, and sharing platforms. But the direction is clear.

More of the world is becoming HDR-capable, which means photographers will increasingly need to understand how to work with that reality, whether they choose to or not.

Final thoughts

HDR is not dead.

What's dead is the old caricature of it. The version that turned every photo into a neon soap opera. The modern version is far more interesting, far more useful, and far more in step with where technology is heading.

For photographers, the opportunity is simple: start paying attention now. Learn what modern HDR actually is, watch how it develops, and think about where it fits in your own work, because this feels less like a passing fad and more like a genuine shift in the way images are made and seen.

Lightroom Virtual Summit 2026

The Lightroom Virtual Summit is BACK running from 1st June to the 5th June 2026, including 45 classes (33hrs +) of Lightroom Education which you can watch completely for FREE!

🚨 Link for FREE PASS: https://glyndewis.krtra.com/t/e7YtyIDicEoQ

InstructorS

Anthony Morganti, Ben Willmore, Chris Orwig, CliffordPickett, ColinSmith, DanielGregory, GregBenz, JaredPlatt, Jesús Ramirez, Kristina Sherk, LisaCarney, Matt Kloskowski, PeterMorgan, RobSylvan, Sean McCormack, TimGrey ... and yours truly 😃

FREE TO WATCH

All classes are free to watch for a 48 period once they go live, and there’s an optional VIP Pass available for purchase that gives you lifetime access to the recordings of all classes, instructor-provided class notes and exclusive bonuses (including additional videos).

Lightroom AI - You're using it in the WRONG ORDER

In Lightroom Classic, Desktop, and Camera Raw, a yellow warning icon often appears in the AI Edit Status panel. This happens when you perform edits out of the recommended "order of operations," signaling that certain AI-generated layers need to be updated or rerendered.

While you can still edit in any order, jumping around can lead to unpredictable results. For example, applying an adaptive color profile and then using the "Denoise" or "Remove" tool might cause the colors and highlights to shift once the AI is forced to update.

The Recommended Workflow: Prepare, Repair, Finesse

To maintain total control over how your image looks, it is best to follow this three-step sequence:

1. Prepare: Start with edits that affect the entire image, such as Denoise, Raw Details, Super Resolution, or HDR. This is the foundation of your edit.

2. Repair: Next, clean up the image by removing distractions. Use the Remove tool (with Generative AI) or Distraction Removal for things like reflections, dust spots, or unwanted objects.

3. Finesse (or Finish): Once the image is prepped and repaired, move on to creative adjustments, such as Adaptive Color Profiles or intricate masking.

Handling the AI Edit Status Warning

If the yellow icon appears, it is a reminder that your AI edits may no longer be perfectly synced with the current state of the image.

• Click to Update: Always click the icon and select "Update" before finishing your edit.

• Reassess: After updating, look closely at your image. Because the AI is rerendering, the results might look slightly different than before.

• Don't Just Export: If you try to export while the icon is yellow, a popup will warn you. Instead of clicking "Export" anyway, it is safer to cancel, update the edits manually, and ensure you are happy with the changes before saving the final file.

By following the Prepare, Repair, Finesse order, you ensure your editing remains predictable and that the final export looks exactly as you intended.

Instantly Fix "Impossible" Glasses Reflections in Photoshop

Removing reflections from glasses has always been one of those jobs in Photoshop that's either felt impossible or just painfully tedious. In this tutorial, I'm showing you how the new Firefly Image Model 5 in the Photoshop Beta handles this specific problem in a way that I think you're going to find really useful.

I'm working with a portrait of Thomas Coulter, one of the veterans from my 39-45 Portraits Project, to walk you through exactly how it works.

The Challenge with Older Models

If you've tried using Generative Fill for this before, you'll know that older models like Firefly Image 1 could certainly remove a reflection, but they often introduced other problems at the same time. You'd sometimes end up with subtle changes to facial structure, eyebrows, or the shape of the glasses frames themselves. The reflection might be gone, but the portrait no longer looked quite right.

Why Firefly Image Model 5 is Worth Knowing About

Model 5 has been built with detail preservation as a priority. The idea is that it only changes what you've asked it to change, leaving everything else as close to the original as possible.

Worth knowing: this is a premium model, so it uses 10 generative credits rather than one. It also only produces a single variation, but given the quality of the result, that's rarely a problem.

How to Do It, Step by Step

1. Open Photoshop Beta - You'll need the Beta version to access the latest Firefly models. [00:56]

2. Make your selection - Use the Selection Brush Tool to paint over the reflections on the lenses. You don't need to be overly precise; going slightly over the frames is fine. [01:25]

3. Open Generative Fill - Click Generative Fill in the Contextual Taskbar. If you can't see it, go to Window > Contextual Taskbar. [01:49]

4. Choose the right model - This is the key step. In the Taskbar settings, look under Adobe Models and select Firefly Image Model 5 (Preview). [06:16]

5. Enter your prompt - Something simple like "remove the reflection from the glasses" is all you need. [05:32]

6. Generate - Hit Generate and give it around 10 to 12 seconds. [06:21]

The Results

What I find genuinely impressive here is that once the reflection is gone, everything else stays exactly as it was. The eyebrow hairs, the skin texture, the precise shape of the frames - all identical to the original file.

Now, Camera Raw and Lightroom do have reflection removal tools built in, and they're well worth trying, particularly on larger reflections. But for detailed areas like eyewear, where precision really matters, this approach in Photoshop gives you a level of control and accuracy that's hard to beat. If you've got portraits sitting in your archive that you've written off as too difficult, this is a good reason to dig them back out.

Fix IMPOSSIBLE Backgrounds Instantly ( Lightroom + Photoshop )

Recently, Steven Gotz, a member of the Photography Community on SKOOL ( LINK ), sent over a brilliant RAW file of a condor. Stunning subject, great light, one problem: a massive fence running right through the background.

Rather than leave it on the shelf, I figured it was the perfect excuse to put the latest updates in Lightroom and Photoshop Beta through their paces. What would have taken ages with the Clone Stamp tool a couple of years ago can now be sorted in seconds. Here's exactly how I did it, using two different workflows.

Workflow 1: Photoshop Beta with Firefly Image 5

This is the quickest route right now, and the results are genuinely impressive.

The key is using the new Firefly Image 5 (Preview) model inside Photoshop Beta. It's been built specifically for editing while preserving detail, which matters a lot when you're dealing with complex textures like feathers and rocky backgrounds.

1. From Lightroom to Photoshop Beta. Right-click the image in Lightroom and choose Edit In > Adobe Photoshop Beta.

2. Select All. Once you're in Photoshop, go to Select > All. This gives the AI the full context of the frame before you do anything.

3. Switch to Firefly Image 5. Click Generative Fill in the contextual taskbar. Here's the bit that matters: don't use the standard model. Switch it to Firefly Image 5 (Preview) from the dropdown.

4. The prompt. This model needs a prompt to work, unlike some of the others. I kept it simple: "remove the fence from this picture."

5. Refine the detail. The AI did a great job on the background, but because Firefly Image 5 currently outputs at 2K, the fine detail around the bird's eye and feathers was slightly softer than the original RAW. The fix is straightforward: use the Object Selection Tool to select the bird and the rock, then fill that area on the layer mask with black. That reveals the sharp original bird while keeping the AI-cleared background intact.

Workflow 2: Lightroom to Firefly Web

Not on the Photoshop Beta? No problem. You can get to the same place via Lightroom's sharing feature.

1. Share to Firefly. In Lightroom, hit the Share button (top right) and select Firefly: Edit an image. This opens your browser and drops the photo straight into the Adobe Firefly web interface.

2. Settings and generate. Select Firefly Image 5, bump the resolution to 2K, use the same prompt ("remove the fence from this picture"), and hit generate.

3. Back to Photoshop. Download the cleaned image, go back to Lightroom, and open the original file in the regular version of Photoshop.

4. Stack and align. Use File > Place Embedded to bring the Firefly-cleaned version in on top of your original. Rasterise the top layer, select both layers, then go to Edit > Auto-Align Layers to make sure everything lines up perfectly.

5. The masking trick. Same principle as Workflow 1: use the Object Selection Tool to select the bird and the rock, then hold Option (Mac) or Alt (Windows) and click the mask icon. This hides the AI version of the bird and brings back the sharp, high-detail original underneath.

Why the masking step matters

This is the part I think is really important. It's not about letting AI take over the whole image. It's about using it to fix a specific problem, in this case the background, while keeping the actual subject exactly as it was captured in the RAW file. The integrity of the original is what you're protecting.

Have a look through your archives. Chances are there are shots you wrote off because of something in the background. It might be worth giving them another look.

NEW 💥 Photoshop's One-Click Auto Distraction Removal

Adobe has just dropped a seriously powerful update to the Remove Tool in the Photoshop Public Beta (version 27.6.0), and it’s a total game-changer for cleaning up your photos. It can now automatically scan your entire image, identify distractions across 26 different categories, and let you remove them with a single click.

Here is a quick look at how it works and how you can start using it to save yourself hours of manual cloning and healing.

What is the New "General Distractions" Feature?

Previously, the Remove Tool had specific buttons for "Wires and Cables" or "People." This new update introduces General Distractions. It uses generative AI to find things like trash cans, signs, vehicles, and even stray animals that might be cluttering up your shot.

How to Use It: A 3-Step Tutorial

Before you start, make sure you have GPU hardware acceleration turned on in your Photoshop settings (Preferences > Performance) to ensure the tool runs smoothly.

1. Select the Remove Tool

Head over to your toolbar and select the Remove Tool. In the options bar at the top, make sure Sample All Layers is ticked and, most importantly, check the Create New Layer box. This acts as a fail-safe, putting all your removals on a separate layer so you can easily bring things back if you change your mind later.

2. Find Your Distractions

In the options bar, click on the Find Distractions dropdown and choose General Distractions, then click Find. Photoshop will take a few moments to scan the image. When it’s finished, it will highlight potential distractions with color-coded overlays.

The cool part? The list of categories it shows you is dynamic. It won't show you all 26 categories; it only lists the ones it actually found in your specific photo—like "Vehicles," "Animals," or "Urban Elements."

3. Refine and Remove

You have total control over what stays and what goes:

• Toggle Categories: You can untick specific categories in the dropdown if Photoshop picked up something you actually want to keep (like a cool cloud it mistook for a "light diffusing element").

• Manual Overwrite: Use the plus (+) or minus (-) brush icons in the options bar to manually add areas to be removed or protect areas you want to save.

• The Big Reveal: Once you're happy with the selection, click the Tick icon. Photoshop will work its magic, and the distractions will vanish, seamlessly filling in the background.

Why This Matters

I've been testing this on complex street scenes and busy beach shots, and the results are mind-blowing. It handles everything from removing pigeons at someone's feet to rebuilding stone walls where a trash can used to be. It’s not just a time-saver; it’s doing work that used to require advanced cloning skills in just a few seconds.

Since this is currently in the Public Beta, if you run into anything unexpected, be sure to use the "Feedback" icon in the top right of Photoshop to let Adobe know. The more feedback we give them now, the better the final version will be.