Here I used artificial intelligence not just to repair a 70 year old family photograph but also to build out parts of it. I show the whole process, using DALL-E, Photoshop and Topaz Gigapixel AI together, and how incredibly easy it was to get a result like this. It's a really good example of what's possible when you combine these tools on an old family picture that means a lot.
Jump cuts: do you love them or hate them? They can work really well when they're used creatively, but there are times when they seem unavoidable and you'd rather they weren't there. Or are they unavoidable? In just 60 seconds I show how to fix them in Premiere Pro CC, so you can smooth out those cuts when they're not part of the look you're going for.
The Depth Blur filter in Photoshop works great on landscape pictures, but try using it on a portrait and it really brings the picture to life, giving the feel of the person coming forward from the screen or the print. I've been experimenting with it on portraits lately and I'm loving the results, so here I show you my three step process for getting the effect.
I'm genuinely thrilled to announce that Iβll be teaching at the Lightroom Virtual Summit 2022, on October 3rd thru 7th, 2022, and that registration is open so you can grab a FREE PASS now β¦
October 3 - 7, 2022
15 expert instructors teaching 45 classes - over 33 hours of content! β¦ and you can watch it for free!
After the success of the first Lightroom Summit, Iβm genuinely over the moon to be teaching alongside a great line-up of instructors: Anthony Morganti, Ben Willmore, Chris Orwig, Colin Smith, Daniel Gregory, Jared Platt, JesΓΊs Ramirez, Kristina Sherk, Lisa Carney, Matt Kloskowski, Nicole Young, Rob Sylvan, Sean McCormack, and Tim Grey.
The change this year too is that weβre all doing 3 classes each!
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, along with audio recordings, instructor-provided class notes and exclusive bonuses.
You can get all the details and see the descriptions of all the classes right here: LINK
If the first Lightroom Summit is anything to go by, this is going to be an amazing week!
Hope to see you there β¦ virtually of course π
Removing objects using Content-Aware Fill in Photoshop got better with this new feature, which lets you use content from a second image, even one with a completely different composition. Here I show how it works and how it's making challenging selections and cloning a thing of the past for this kind of job. It can save a load of time compared with working through it by hand using selections and the cloning tools.
The best way to learn is by experimenting and playing, and that's very much the spirit of this one. I show how a simple Curves adjustment and a little bit of masking can be used to match skin tone between two different people, which is my favourite way of doing it in Photoshop. Along the way I also have some fun with the same tools, giving an instant six pack.
Even if you do everything right when printing your own photographs, they might still not look as good as they should, and it might not be your fault. If you're a Mac user connecting wirelessly to your printer with Apple AirPrint, that could well be the reason. Here I show why AirPrint is a no-go when printing photographs and why a USB connection is the best way to connect to your printer.
With the recent updates to Lightroom, including presets and masking, it's possible to edit images faster and more easily than before. Here I quickly go through the editing and retouching steps from a recent landscape and seascape shoot with my drone. It runs from capture, through blending and changing the perspective, to colour grading and finally printing, so you can see how the whole edit comes together in Lightroom.
After a question came through on Instagram asking how to add a background light into pictures using Photoshop, I recorded this video showing exactly how I do it. It's a great technique if you didn't have the space to use another light during the shoot, if you had a light but didn't use it and now wish you had, or if you simply didn't have another light with you at the time. I use a very quick selection with the Marquee Tool and a Levels Adjustment Layer, and the result is quick, easy and very effective.
I LOVE printingβ¦but it wasnβt always the case.
I wasted a lot of time and money in the past because when I thought my monitor / display was calibrated correctlyβ¦it wasnβt!
So, in this video I show you the settings that DO WORK so you get the best from your display AND the best possible results when printing!
Iβll be using a BenQ Display, BenQ Software and an X-Rite i1 Display Pro Plus BUT all the settings I go through translate perfectly to other monitors, software and devices!
You can check out all this kit over on my GEAR PAGE
Oh and if you look in the description part of the video on YouTube, Iβve also added in Chapter Markers so if you want to, you can jump to a particular part in the video.
Enjoy!
π¬ ππππππππ ππ ππππ πππππ
00:00 - Introduction
01:00 - Display, Software and Calibration Hardware
02:14 - PME Software
03:28 - Workflow
04:06 - Display Settings
09:58 - Measurement
12:45 - Validation
15:52 - Wrap Up
I love printing, but it wasn't always the case. I wasted a lot of time and money because when I thought my display was calibrated correctly, it wasn't. So here I show you the settings that do work, so you get the best from your display and the best possible results when printing. I'm using a BenQ display with BenQ's PME software and an X-Rite i1 Display Pro Plus, but all the settings I go through translate perfectly to other monitors, software and devices. I start with the display, software and calibration hardware, then look at the PME software and my workflow before going through the display settings themselves.
Β© Glyn Dewis 2026
