Converging vertical lines can spoil all sorts of photos, whether you’re shooting in the city or out in the field. The problem occurs when it’s necessary to point the camera upward to include the top of tall objects in the frame.

This happens in situations in which you’re unable to back up far enough to shoot the subject with the camera flat to the horizon. Similar things occur when your lens isn’t wide enough to point the camera head on. In other words, converging verticals result from the angle of the camera’s sensor relative to the scene you’re photographing.

Today’s instructor, Barry Beckham, specializes in tutorials for beginning Photoshop users. Today’s episode demonstrates how fix to those vexing verticals in barely nine minutes. Here’s how he explains the challenge with his demonstration image: “I was in front of some interesting high-rise buildings, but the width of the beach in front of them wasn’t really enough for me to get far enough back.”

He captured the scene with a wide-angle lens and the result is the extreme convergence in his image. There’s a common way to correct converging lines when they’re less acute but watch what happens when Beckham tries that method with the image at hand. As you’ll see, a significant amount of  the photo is lost in both lower corners of the shot.

Beckham jumps into Adobe Camera Raw (ACR) and demonstrates the solution. He chooses the Guided option within the ACR’s Crop panel and defines the edges of the left and right buildings that need to be straightened (those in the middle will fall into place). Then he draws a line across the horizon so that isn’t skewed during the process.

He also wants a bit more space in the frame above the spire of the tallest building, but that creates problem at the top similar to the empty space in the lower corners. Before reaching for the crop tool and employing his amazing fix, Beckham makes a few minor edits to enhance the appearance of his shot.

Now it’s time for Beckham to “bend the rules a bit” to arrive at his magical transformation. He walks you through the simple steps while taking advantage AI. There’ are many more easy Photoshop tips and tricks on Beckham’s instructional YouTube channel, so be sure to take a look.

And be sure to check out the tutorial we posted earlier with a simple post-processing technique for beginners that an accomplished pro says he uses with almost every photograph he edits.

Expansive vistas often include a variety of tonal values that can make it difficult to nail exposure and get colors correct in the camera. This tutorial from the popular PHLOG Photography You Tube channel illustrates how to use Target Adjustments to achieve proper balance throughout the frame without merging multiple shots and time-consuming image-stacking techniques.

This method relies upon simple Lightroom adjustment tools and straightforward masking to achieve a perfect result—especially when the scene’s key elements need to be accentuated because they diverge from the rest of the shot. In other words, Targeted (otherwise known as Selective) Adjustments need to be made.

Instructor Christian Mohrle is a notable German landscape photographer and a very adept post-processing expert. He makes it very easy to follow along and make the changes yourself as you watch him explain the steps by including links to the demonstration Raw file in the description beneath the video.

The goal is to bring attention to different area in the image, and Mohrle always begins his edits with a few basic enhancements to the overall scene to prepare it for the masking with Target Adjustments that follow. For this shot he starts by fixing the skewed horizon caused by his ultra-wide lens, and he walks you through the simple process.

Other preliminary adjustments for this contrast-rich scene include changing the profile from Adobe Color to Adobe Neutral, modifying exposure, bringing up the shadows to reveal more detail, correcting White Balance, and a few other quick-and simple tweaks that imbue the photo with a “sunrise feeling.”

Now the image looks significantly better and some photographers might stop here. But now is where the magic just begins, as Mohrle demonstrates straightforward masking methods that really provide the WOW factor.

The transformation then continues with a bit of important color grading and very subtle sharpening. We’ll bet that you’ll be duly impressed when you compare Mohrle’s before/after images that almost appear like two different shots.

If you are interested in landscape photography and more lessons like this one, just pay a visit to Mohrle’s instructional YouTube channel where you’ll find a wealth of helpful videos.

And be sure you didn’t miss the recent tutorial we featured in which a professional journalist demonstrates a different approach for capturing stunning Golden-Hour landscape photographs with a unique look that demands attention.

There are two primary reasons that some photographers avoid supplemental light when shooting outdoors. One is that they simply prefer the look of natural light imagery—and in most cases we tend to agree. On the other hand, there are those who refuse to use even the most basic speedlight because they don’t understand how it works.

The truth is that a single flash can make a big difference by filling in distracting shadows that detract from nearby subjects, and this video demonstrates how easy it is to get the job done—whether you’re capturing environmental portraits, macro images, or a variety of other outdoor scenes.

Instructor Scott Stockton is an accomplished wedding photographer based in Charlotte, NC who says, “I will travel all over the globe to shoot a wedding.” This behind-the-scenes session occurs closer to home as he photographs the pretty physical trainer Mali Clifton in a variety of spots where shadows are an issue.

Stockton’s goal for this episode is “to show you how to master flash photography with ease.” He admits that most of the images could have been captured with natural light, but they would have required more editing in post. So here’s the deal: “Just adding one flash to fill in shadows with soft light makes the photos pop and makes your life easier with editing.”

This basic approach involves two steps; first expose for how you want the scene to look in the camera, and then add a flash into the mix. Stockton explains his approach like this: “I’m always doing high-speed sync, and I shoot with a wide open aperture so I’m only adjusting shutter speed. It’s that easy.”

While watching the session progress you’ll learn everything you need to know, from the appropriate camera and flash settings to choosing the best camera angles and positioning the subject accordingly. Along the way, thanks to Stockton and his experienced model, you’ll also pick up some valuable tips on posing.

Skillful composition also factors into the equation when dealing with mixed light, and Stockton discusses this too. So dig out the lonely flash from the back of your cabinet so that both of you can watch how it’s done. You’ll see the big difference a flash can make in the quality and the impact of your images.

Then head over to Stockton’s popular YouTube channel where’s there’s much more to learn.

We also suggest checking out an earlier tutorial we featured from anther accomplished pro who describes a unique method for simplifying your outdoor photography and capturing images that stand out from the crowd.

It’s easy to become overwhelmed when editing photos in Lightroom because there are virtually endless tools and features one can employ. This beginners guide is designed to simplify your workflow with a trio of basic methods you can put to work now.

Unlike comprehensive guides for newbies that cover a wide range post-processing tools, this one is super simple because it concentrates on three straightforward tricks that will make a big difference in just about every image you open in Lightroom. And don’t be fooled by the word “beginner” because instructor James Feaver say he uses these methods every day—even though he’s a pro.

This is the latest episode of Feaver’s popular 2-Minute Tutorials series for novice photographers or experienced users looking for a more effective workflow. As you’ll see, sometimes this means dialing back the enhancements you make, rather than amping them up.

The first technique that Feaver can’t live without involves the use of Lightroom’s Clarity slider, but not in the way you may think. He says that “most of my digital image, especially with the lenses I use, are far too sharp,” especially for the natural look he prefers. That’s why he often drops Clarity a bit instead of moving the slider to the right. The result is a realistic, slightly softer look.

His second tip is to add a subtle vignette, especially when you want to accentuate subjects in the center of a shot. He illustrates the effectiveness of this technique, and how to do it, when highlighting the bride and groom in an outdoor photo he captured at a wedding. The slight vignette he applies draws attention to the couple but reduces exposure in the surrounding areas. This easy enhancement also works great for individual environmental portraits.

Feaver’s last technique is one he uses regularly when editing landscape photos, and it involves slightly raising the blacks in the darkest shadow areas of the image. Here he uses Lightroom’s Tone Curve tool by dragging upward on the bottom of the curve to a value of about 25. He strongly recommends giving this a try, especially when shooting under high-contrast conditions.

So there you have it: three effective techniques in two minutes—what could be easier than that? You can find past and future installments of Feaver’s 2-Minute Tutorial series by visiting his instructional YouTube channel.

And don’t miss an earlier lesson we featured with another post-processing expert who demonstrates how Smart Objects work, and one oft-ignored setting that will eliminate the common problem of ugly  pixelated photos with jagged edges.