Find links below to the Luminosity Mask Video Tutorials with over 6 hours of video content and growing. All of these luminosity mask videos are absolutely free to watch. There are videos going back to the original ADPpanel, but are still relevant in the latest update, with many of the techniques shown in the original panel now having buttons in the latest panel making your editing even easier.

Luminosity Masks are one of the most powerful editing tools that we have available to us. The ways that Luminosity Masks can be used in your editing workflow is limitless, making accurate selections to make adjustments, blend multiple images, dodge and burn, create stunning contrast simply and much more. These tutorials are designed to show many of the ways that Luminosity Masks can be used with your images, with new tutorials being added regularly and completely free.

Whether you are new to Luminosity Masks, or an advanced user, there are tutorials here for all skill levels. Contrary to common perceptions, using Luminosity Masks is much simpler then they appear. Enjoy the Luminosity Mask videos below, and if there are videos that you would like to see, don’t hesitate to contact me with your thoughts and ideas.

How To Stitch & Blend Bracketed Panoramas (20:31)

In this tutorial I show how to stitch bracketed exposures together so that you can exposure blend them seamlessly. Photoshop has some great tools for creating panoramas, but it is very limited when you want to create a panorama from multiple different exposures. PTGui is a panorama stitching software that allows the user to save stitching patterns (templates) allowing you to stitch different exposure sets together using the exact same algorithm and helping you create perfectly blended panoramas.


In the past I used to either choose the best exposed image and increase shadow detail and drop highlight detail instead of blending because of the sheer complexity of working with bracketed exposures in a panorama. The other alternative was to blend each set of exposures together before stitching, which creates it’s own complexity and issues and isn’t an ideal way of working. With the techniques in this video you’ll never hesitate to do bracketed panoramas in the field again.

5 Ways To Direct Light In Photoshop (22:19)

When finishing our image edits, one of the best things we can do is take a step back and look at our images from the perspective of our viewers. We should ask ourselves what is it about this image that we want our viewers to look at? If we can answer this question we can then look at our image to see if what we want them to look at stand out and are there any items in the image the pull the eye away and distract the viewer.


This tutorial shows 5 different methods for controlling light and colour to lead the viewers eye to the areas of interest. There are many more ways of working with light in Photoshop, this tutorial covers:

Levels Adjustments: I use the white point, rather than the levels adjustment to control the brightness of areas in the image.
Curves Adjustments: I use this to do some simple darkening of the sky in the image.
Selective Color Adjustments: This method allows me to control the brightness of colours in the image and also their hue.
Luminosity Masks: I use luminosity masks to work in selective areas of the image without impacting areas I don’t want to effect.
Color Range & Gradient: I use the Colour Range tool to accurately make a selection from a colour then use the Gradient tool to transition the adjustment through a loaded selection.

Complex Cloning Made Easy With Luminosity Masks (9:58)

Cloning in Photoshop can be complex, time consuming, if not at times near impossible when we’re working along highly detailed edges. This tutorial shows how we an use luminosity masks to control the areas being effected.

When a selection is made in Photoshop cloning is restricted to only work within the active selected area. We can extend the power of this by making selections with luminosity masks to control the area being effected.


In this example I use a lights luminosity mask to make a selection of the sky and the reflection. I then create a curves adjustment layer allowing me to further modify the mask using the dodging tool built into Photoshop to modify and perfect the mask, ensuring that only the sky is effected and the trees and their reflection will not be affected.

Challenge Azza: Episode 5 (19:43)

I was contacted by Peter Grant because he was having some unique issues in blending three images together using the techniques I had shown in previous videos.

In this Challenge Azza video I was faced with a couple of issues that I haven’t shown in video before. Peter supplied me with three images all shot 2 stops apart, which meant that we had large gaps in information, which makes image blending a little more difficult.


I prefer to shoot images with a 1 stop difference between frames, which gives me many more options in image blending. We can overcome the difference in exposures though by using slightly different techniques.

The two largest issues I faced in this was the colour cast caused by the light hitting the mountains, creating a blue cast that didn’t look right when the images were blended. The second issue is the clouds / fog moving along the ridge lines didn’t line up between exposures.

In this video I tackle those two issues, plus use a couple of additional techniques to isolate parts of the scene.

Remove Glow With Luminosity Masks (11:38)

Sometimes we are faced with unique challenges in our edits, this tutorial shows a a technique I used to repair an issue I was faced when printing.

I took this image into my local professional print lab to have it printed for the Western Australia Professional Photography Awards. The file looked perfect on my calibrated monitor at home, but when it printed there was a glow around the tree that wasn’t noticeable on the digital file, and wouldn’t be ideal for entry into the awards.

So I took the file home and firstly had to reveal the issue in a way that allowed me to repair it.

Using a curves adjustment layer I was able to significantly darken the image to reveal the glow. I then created a luminosity mask that selected this glow around the tree to allow me to target this area with an adjustment. Without the darkened curves layer, I was unable to see the glow, so I kept this active while I painted in the repair. This tutorial shows all of the details of how I corrected this issue. It’s not a problem that we’ll face regularly, but is a very handy tool to have on our arsenal.

Dodge & Burn With Luminosity Mask Selections (20:06)

One of the greatest ways that we can impact the way someone views our images is to lead the viewers eye directly to what we want them to look at.

This tutorial focuses on dodging and burning using selections made with Luminosity Masks. I talk about the vision for the finished image then show several techniques for making accurate selections with Luminosity Masks so that we can use them with the dodging and burning tools built into ADPpanel+Pro to have accurate control over light and how our viewers see our images.


The Power of Luminosity Selections With ADP Panel + Pro (8:30)

With three methods of modifying and creating luminosity masks in ADPpanel+Pro you have unlimited ability to target areas accurately and with precision.

Most traditional luminosity selections only allow modification and refinement using a levels adjustment layer. This method doesn’t always allow you to make the selections that you need. Using ADPpanel+Pro you have much more power in your Luminosity Mask selection. In this tutorial I show how you can use the B&W adjustment that comes with luminosity selections to make a much more accurate and powerful selection.


Challenge Azza: Episode 4 – Part 1 (21:04)

Sahajpal Rai was interested in learning more about the process and workflow used to draw a viewers eye into the area of interest in an image. In this two part video, I do a complete edit, first working out what it is in the image that we want to stand out. Then taking that information we breakdown the image and work through all of the elements to create the final product. Using Luminosity Masks and many other tools in Photoshop I show how I create a final product, including resizing and sharpening for the web.


Challenge Azza: Episode 4 – Part 2 (18:23)

Sahajpal Rai was interested in learning more about the process and workflow used to draw a viewers eye into the area of interest in an image. In this two part video, I do a complete edit, first working out what it is in the image that we want to stand out. Then taking that information we breakdown the image and work through all of the elements to create the final product. Using Luminosity Masks and many other tools in Photoshop I show how I create a final product, including resizing and sharpening for the web.


Challenge Azza: Episode 3 (24:17)

Dennis Mitchell challenge me to replace the sky in a landscape. This challenge was particularly challenging and an issue that would be faced regularly when shooting scenes with trees against the sky. Where highlights hit the trees, this can cause many issues in replacing a sky. I show a unique technique for dealing with this type of replacement.



Challenge Azza: Episode 2 (18:01)

Bradley Brand challenged me to remove a water stain on an architecture image. I show two methods to remove the water stain, one using cloning and a second using Luminosity Masks. The second method is not required for this particular image, but is a valuable method that can be applied to more complex situations.




Challenge Azza: Episode 1 (28:13)

Jo Ward has challenged me to blend 5 images together using Luminosity Masks. In this tutorial I use the Auto Blend feature to quickly blend the 5 images, then continue to edit the image to completion.





Intersect Masks to Create Complicated Selections (10:49)

Sometimes we’re faced with making a selection in our images that can’t be made accurately. In this tutorial I demonstrate how to combine multiple selections into one to create a perfect mask.

In the edit of this image I was trying to make a selection of just the rocks in the mountains to make a contrast adjustment and have them pop out. The problem I was facing is that I couldn’t make a clean selection without adjusting the surrounding areas, such as the snow on the mountains, the sky above the mountains and the trees below the mountain.


To solve the issue I needed to use two completely different masks, then combine those two masks into one to target the area I needed to adjust accurately.

Using a Restricted Tonal Area Mask to make a strong feathered selection of the rocks and combining it with a colour range selection of the rocks, I was able to accurately isolate the rocks without making a selection of the surrounding areas.

Change Colours by Painting With Luminosity Masks (9:03)

In this tutorial I paint the water in the image to bring back the colour to be a more true representation of what it looked like on the day, and use Luminosity Masks to control the areas affected.

Colour can often be one of the more challenging aspects of editing an image. There are literally hundreds of ways that colour can be affected. 


The most common ways to affect colour are white balance, HSL (Hue Saturation & Luminance), RGB in Curves and Levels, Vibrance and Selective Color adjustment layers. Although many of these tools are great for working with your color, it can still be quite difficult to bring in the color that you want.

By directly selecting the color you want from your image or color palette you can paint it directly onto your image. In this tutorial I show you how to do just that, then use a luminosity mask to control the luminance of the area painted and to restrict what gets affected.

Replace Graduated Filters With Luminosity Masks (17:00)

In this tutorial I use Luminosity Masks to show why I no longer use Graduated ND Filters in the field. I blend two images together, showing several techniques to modify exposure and the blended result.

Using 2 exposures I show you why I don’t use Graduated Filters in the field anymore. Using Luminosity Masks and several techniques I show a much more powerful and


accurate way to create a balanced exposure and removing the dreaded darkening of any objects that protrude above your horizon line when using Graduated Filters. We can control the final balanced exposure of the image using several additional techniques allowing us to work on the sky and foreground separately.

In this video I also show an advanced method of dodging and burning where I use two Luminosity Masks to control the area that is affected. This gives us much greater control, and allows us to make some very powerful adjustments.

Blend Three Images Using Luminosity Masks (10:09)

In this tutorial I use Luminosity Masks in ADPpanel+Pro to blend three images together manually to create a balanced and natural looking image.

Blending multiple images in Photoshop is one of the best ways to create natural High Dynamic Range images. Using luminosity masks I blend three images together, dealing with the highlights and shadows separately.


Firstly I blend the highlights to bring back the detail in the bright sky and into the rocks at the top of Antelope Canyon, then blending the shadows to bring out details in the shadows in the canyon, but ensuring that we leave the shadows as shadows so they look much more natural.

This methodology can also be used to bring in additional images into the blend, meaning that you can use an unlimited number of images. Most cameras today are pretty good at capturing the dynamic range of the scene in 2 or 3 exposures, therefore more images is rarely required. Typically when we shoot directly into the sun we have a need for additional images due to the extremely bright highlights (the sun) and the dark shadows. In this case you can use 5 images or more to create a final blend, and the methodology used in this video is how it would be accomplished.

Dodge & Burn Luminosity Masks (12:50)

In this tutorial I show you how to modify luminosity masks by using the dodging and burning tools in Photoshop to help create perfect selections.

When creating luminosity masks, we are often trying to make accurate selections around very fine areas such as tree branches, leaves on trees, grass in a field, etc.. This can be quite complicated as often these types of selections have light and dark areas as they can be partly in shade and partly lit by the sun.


There are many techniques that we can use to refine our masks and help to make more accurate selections. It’s important that we have as many of these options up our sleeves as possible so that we can use Luminosity Masks to their full potential.

In this tutorial I show how to use the Dodging and Burning tools built into Photoshop, to Dodge the highlights of your luminosity masks and burn the shadows of your luminosity masks without effecting the other and allowing us to make much finer selections and giving us cleaner blended images or adjustments with adjustment layers.

Dodging and Burning of Luminosity Masks uses the same philosophy as dodging and burning images.

Remove Haloing in Photoshop Easily (6:35)

In this tutorial I show you a great tip that was in the latest issue of Better Photography Magazine by Peter Eastway on how to remove halos in your images. This can be a frustrating issue at times, and this tutorial makes the removal of these halos much easier.

From time to time when we edit images we’ll run into a problem with halos appearing along high contrast edges. Typically we will get this between the land and skies.


This can be caused by a few things such as: over sharpening, applying clarity to our images, or when we blend images the transition isn’t as clean as we’d like. We should endeavour to avoid this issue while editing our images, but from time to time it seems out of our control and can ruin your images, especially if you intend to print.

This tutorial shows you how to use the Clone tool in Photoshop with blending mode set to Darker Color and allow you to easily remove the haloing without the worry of doing a dodgy job, and speed up your workflow.

Although this isn’t a Luminosity Mask tutorial it can be a common issue when multiple images haven’t been blended perfectly.


You can also do the same thing by using a transparent layer, the steps to do this are below:

Step 1: Create a new transparent layer
Step 2: Change the blend mode of that layer to Darker Color
Step 3: Select your Clone Tool
Step 4: Change the blend mode of the Clone Tool to Normal
Step 5: In the Clone tool select Sample All Layers

You will now be able to use a the blank layer to do your cloning and save on your file sizes.

Change Colours Using 3 Methods (16:23)

In this tutorial I add some drama and interest by changing the colours in the sky and reflections to mimic shooting a sunrise or sunset in the opposite direction to the sun. I use three different methods to achieve a similar result. The result is a little surreal, but that’s what I was after with this edit.


One of the best ways to create mood and drama in our images is to work with colour. This doesn’t mean increasing the vibrance or saturation of colours, but modifying colours so that they are more natural or pushing the process to create something that may not be as real. This tutorial modifies the highlights in an image using three different methods: The RGB channels in a Curves Adjustments Layer, a Selective Colour Adjustment Layer and a Hue & Saturation Adjustment layer.

Often when editing images we want to fix or enhance colours and our usual first port of call is to use Saturation or Vibrance to achieve this. Although these tools have their place, quite often what we actually need to do is modify the colour rather then increase the Vibrance or Saturation.

In this tutorial I use a Lights Luminosity Mask to target only the areas that I want the adjustments to happen, then using the three adjustment layers I modify the colours to achieve a similar result with each. It’s important to have multiple ways of doing the same things in Photoshop, as often one will yield better results then the others.

I use only 3 methods of adjusting colour in this tutorial, note there are other ways we can also adjust colour, but these will often yield the results I am after and are the methods I would use greater then 90% of the time.

Replace Skies & Cut Out Objects With Luminosity Masks (14:26)

Luminosity Masks are traditionally used to blend images or work within specific tonal ranges within images. They are a great tool for these tasks because of the feathering on the edges of selections allowing for very smooth transitions. But they can also be used to make hard edge selections with a little refinement, which makes them a great all around selection tool.


When using Photoshop, most intermediate and advanced users have many methods they can use to achieve the same results. It’s important to have many methods to achieve results as often our first or preferred method does not always yield the results we are looking for.

One of the most difficult things that we can do in Photoshop is make accurate selections for the purpose of replacing or cutting out of objects in our images. Photoshop gives us some great selection tools such as the Magic Wand and Quick Selection tools, then the Refine Edge tool to further refine our selections. These tools can work very well for us, but it can get quite cumbersome at times and might not always work out the way that we were hoping.

Luminosity Masks give us an additional option when it comes to making our hard edged selections. Although they are typically used because of the feathering they give in selections, we can modify and refine our selections with Luminosity Masks to give us hard edge selections. In this tutorial I give two examples of how Luminosity Masks can be used to make hard edged selections. By making our initial selections of Lights or Darks we use the Unlimited Masks Tool (a levels adjustment on the mask), to refine our selections and create the hard edges that we are after.

As with any selection tool, we require there to be some kind of tonal separation between the objects that we are trying to separate, so if you have objects which have virtually the same tonal value, Luminosity Masks will struggle, but if there is some tonal separation this may be the perfect tool for you.

Blend Images Easily With Luminosity Masks (13:47)

There is no need for expensive HDR Software, blending multiple images using Luminosity Masks has never been so easy. In this video I show a simple method to blend 2 & 3 images together in a couple of simple steps. It also shows you a method of controlling the blend in real time, so you can watch and adjust the amount of blending and you no longer need to guess at which Luminosity Masks to use.


There are many methods of blending images, and it’s important to have an understanding of as many methods as possible, because if one method isn’t working you can try another. This tutorial shows one of the most effective methods of blending multiple images using luminosity masks, and is also one of the easiest methods.

Using a simple selection of either a Lights 1 or Darks 1 (it doesn’t matter which), we use that luminosity masks to reveal detail in the image below our active layer, or the layer we are working on. Previously we may have been concerned about making sure we’ve made the perfect selection and from the correct area (lights or darks), we no longer need to worry about that. Once we make any selection and apply it to our layer, only to find out we had chosen the wrong mask, we simply invert the mask. We don’t have to go back to the beginning and create a new one.

Another great benefit of this method is that we can now adjust the luminosity mask in real time and watch what it is doing to our image. All we simply do is, with our layer mask selected, open up a levels adjustment and modify the mask. You will be able to watch the effect of the changes to that mask on the actual image itself in real time.

Extract Detail From Darks With Luminosity Masks (6:21)

In most of my video tutorials on Luminosity Masks I am blending multiple images to get the final exposure that I am after. Sometimes we don’t have multiple images to work with, or we are interested in working with just a single exposure.

In this tutorial I use a single exposure that has been exposed for the highlights and I show you how to extract details from the darker areas of the image to give you a balanced exposure.


I use Luminosity masks and adjustment layer blending modes to produce the final product. You can use any type of blending mode with this technique, but I show you using the Curves and Levels adjustment layers. I use these methods as it gives you greater flexibility with the end product.

Change Colour With Curves & Luminosity Masks (10:17)

In Photoshop we have many ways that we can change the colours, from the Hue & Saturation Adjustment Layers, Selective Colour Adjustment Layers, we can even paint a colour into our images and so on.  

In this tutorial I use a lesser known, but very effective method, a curves adjustment layer. Using a luminosity mask to restrict the area I am working in, I use the Red, Green and Blue channels within the curves adjustment layer to change the colour.



Dodging & Burning With Luminosity Masks (13:01)

Dodging and Burning is one of the most effective ways to add drama, direct the viewers eyes in the image and make areas of the image stand out against the rest of the image. This is typically something that we do to our images to finish them off after we have completed the rest of the editing process.

This tutorial show you how to use Luminosity Masks to control where we apply Dodging and Burning, so that areas of the image we don’t want changed aren’t effected. I use Subtraction Masks to create specialised masks that help to remove areas that we don’t want effected.



Add Contrast With Blending Modes (5:18)

One of the most underused, but most powerful tools that we have available to us in Photoshop are the Blending Modes for our layers. In this tutorial I show you how to use the contrast blending modes, Soft Light and Overlay, in combination with Luminosity Masks to add dramatic punch and vibrancy to your images with one single adjustment.



Adjust Highlights With Luminosity Masks (7:01)

In this short tutorial I show you how to reduce the brightness of the highlights in your images using a combination of Luminosity Masks with a Curves Adjustment Layer and a Multiply Blending Mode. The combination of all three is quite powerful and give some amazing results in your images. One of the bonuses when using this method as well is the boost in the colour within the highlight areas of your images.



Three Methods for Tonal Area Adjustments (14:30)

In this tutorial I show you three different methods to do tonal area adjustments, all three methods use curves adjustment layers, the difference lies in how we make our selections. In this tutorial I use a standard curves adjustment, the color range tool and finally Luminosity Masks by creating a custom Luminosity Mask using my subtraction masks. I also show you how to determine which subtraction masks to use in order to select the tonal range that you want to work within.



Contrast Adjustments Using Tonal Area Masks (27:24)

This is my longest tutorial yet. In this tutorial I use Tonal Area Luminosity Masks in order to add contrast to the image based on small tonal ranges within it. I use this method to create separation between areas in the image where tonal ranges are very similar, and these tools make it easier to separate them. Using Tonal Area Masks also allows you to push the contrast adjustments quite a bit further then you might typically be able to with a standard luminosity mask or a simple adjustment layer.

I also use the color range tool to make a restricted selection as well as the High Pass filter to make reflections in the water pop out.



Blend Multiple Images With Luminosity Masks (9:48)

One of the biggest issues we face as landscape photographers is exposing properly for the highlights and the shadows in our images, especially if you are shooting into really bright light such as the sun.

In this tutorial I blend 4 bracketed images together, and using luminosity masks I show you how to blend the images to expose perfectly for the sun. I also discuss the benefits and pitfalls of using HDR software when trying to achieve the same result, both Photomatix Pro and Photoshop HDR Pro (32-bit images).