Workflow

More Megapixels Without Buying a New Camera: A Photoshop Super Resolution Walkthrough
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More Megapixels Without Buying a New Camera: A Photoshop Super Resolution Walkthrough

There’s a specific kind of frustration I know well: you’re looking at a shot from a campaign shoot, the composition is perfect, the light cooperated for once, and then you zoom in and see the noise crawling across your subject’s face like static. The file isn’t big enough to print at the size the client wants, and you didn’t have time to bracket or set up a tripod. In commercial work, that moment costs money.

How to Build Lightroom Presets That Actually Travel Well Across Photos
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How to Build Lightroom Presets That Actually Travel Well Across Photos

If you process images for a living, presets are not a luxury. They are infrastructure. I have spent fifteen years in commercial photography studios watching editors burn hours on repetitive color work that could be locked into a single click. When I moved into running my own post-production consultancy, building reusable settings in Lightroom became one of the first things I systematized for every client workflow. So when I came across Aaron Nace’s Day 12 tutorial from PHLEARN’s 30-day Lightroom Classic series, I paid close attention.

Photoshop's Remove Tool Just Changed How I Handle Distraction Cleanup on Client Work
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Photoshop's Remove Tool Just Changed How I Handle Distraction Cleanup on Client Work

Every commercial shoot ends with a folder of images that are 90% there. The light is good, the subject looks great, and then there’s a tourist walking through the background, or a web of power lines cutting across an otherwise clean skyline. For most of my career, fixing those problems meant careful selections, Content-Aware Fill, a lot of cloning, and the quiet acceptance that this was just part of the job.

Stop Fighting Distractions in Post: A Practical Guide to Cleaning Up Location Shots with Generative Fill
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Stop Fighting Distractions in Post: A Practical Guide to Cleaning Up Location Shots with Generative Fill

Every location shoot comes with baggage. Fences, utility poles, stray branches, the occasional gate that someone definitely could have walked around. I’ve been cleaning up this kind of environmental noise for clients for years, and the honest truth is that the tools have never been better than they are right now. The challenge isn’t capability anymore. It’s knowing the exact sequence and settings that get you to a clean result without burning an hour on a single frame.

Stop Exporting Images One at a Time: A Practical Guide to Lightroom Export Presets
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Stop Exporting Images One at a Time: A Practical Guide to Lightroom Export Presets

There is a certain kind of pain that only photographers know. You finish editing a set of images, they look great, and then you spend the next forty-five minutes manually exporting the same files at different sizes for Instagram, your client’s website, and the print lab. Same dialog box, slightly different numbers, over and over. I spent an embarrassing amount of time doing exactly this before I finally sat down and built a proper export preset system in Lightroom.

Lightroom's Adaptive Color Profiles Are the Starting Point I Wish I'd Had Years Ago
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Lightroom's Adaptive Color Profiles Are the Starting Point I Wish I'd Had Years Ago

I track time obsessively. I have a spreadsheet that logs every hour my automation tools have saved me, and right now it’s sitting at over 2,400 hours. So when I see a feature that genuinely changes how fast I can get from import to edit-ready, I pay attention. Presets have always been my first line of defense against flat RAW files, but I’ve quietly suspected there was a smarter way to handle that initial color foundation.

How I Stopped Living in Fear of Hard Drive Failure (And Built a Workflow That Actually Scales)
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How I Stopped Living in Fear of Hard Drive Failure (And Built a Workflow That Actually Scales)

I have backup drives for my backup drives. My colleagues find this funny until one of them loses a shoot. I’ve been color-coding storage drives and labeling them obsessively since my early days in commercial studios, and the habit has saved me more than once. So when I came across Watch the full tutorial on YouTube from Peter McKinnon, where he walks through exactly how a single rugged drive failure nearly took down his entire library, it hit close to home.

From Three Phone Shots to Canvas-Ready Panorama: A Lightroom-to-Photoshop Workflow That Actually Works
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From Three Phone Shots to Canvas-Ready Panorama: A Lightroom-to-Photoshop Workflow That Actually Works

Most of my work runs through a pretty controlled pipeline. Commercial shoots, tethered capture, calibrated monitors, the whole setup. But I’ve been doing this long enough to know that the real test of a workflow isn’t how it performs under ideal conditions. It’s how it holds up when someone hands you three slightly overlapping iPhone photos and asks for a canvas print. That scenario comes up more than you’d think, and for a long time my answer was “I’ll do my best” followed by a lot of manual patching in Photoshop.

Stop Copying Presets to a Flash Drive: How to Sync Photoshop Settings Across Machines with Creative Cloud
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Stop Copying Presets to a Flash Drive: How to Sync Photoshop Settings Across Machines with Creative Cloud

For years, my multi-machine setup was held together with a 32GB flash drive and a lot of optimism. I had one workstation in my studio, a laptop for on-site client reviews, and a home machine I used for late-night retouching sessions. Every time I built a new action set or refined my brush library, I had to remember to copy everything over manually. I didn’t always remember. I once showed up to a client presentation with the wrong version of my color-grading presets loaded, and the whole review turned into an awkward “that’s not quite what we approved” conversation.

Expression Over Perfection: What Portrait Photographers Actually Get Wrong About Posing
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Expression Over Perfection: What Portrait Photographers Actually Get Wrong About Posing

Fifteen years in commercial studios trained me to be precise. Margins, masks, batch queues - everything measured and repeatable. But the work that actually moves clients, the shots that get shared and printed and hung on walls, those almost never come from a technically perfect setup. They come from a moment. And if you’re so locked into correct posing that you miss the moment, you’ve already lost the shot that matters.

How to Wipe Out Power Lines, Signs, and Visual Clutter Using Photoshop's Content-Aware Patch Tool
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How to Wipe Out Power Lines, Signs, and Visual Clutter Using Photoshop's Content-Aware Patch Tool

Anyone who has delivered location photography to an ad agency knows the sinking feeling: you get back to your desk, open the raw files, and there’s a power line cutting straight through the hero shot. Or a parking sign. Or a stray person in the background of what was supposed to be a clean architectural image. These aren’t artistic problems. They’re time problems. Every minute spent cloning and healing manually is a minute you’re not billing for, and the cumulative drag on a busy retouching day is real.

Stop Babysitting Your Focus Point: A Landscape Photographer's Case for Wider AF Zones
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Stop Babysitting Your Focus Point: A Landscape Photographer's Case for Wider AF Zones

There’s a particular kind of friction I recognize immediately when I watch photographers work in the field. It’s the same friction I see in post-production when someone is manually repeating a task that a well-built action could handle in a keystroke. The tool becomes the subject. The actual work gets pushed aside. In a recent tutorial, Watch the full tutorial on YouTube, Mark Denney describes coming back from a week of leading workshops in the Faroe Islands and noticing that photographers were spending more mental energy managing a tiny focus point than they were thinking about their compositions.