If you’ve avoided Photoshop’s powerful Blend modes because you thought the technique was too complex for your post-processing skills, this quick tutorial from the Adobe Live Community will correct that misconception and get you started today.

Today’s episode is crash course with instructor and compositing expert Jesus Ramirez. In barely seven minutes he demonstrates how to seamlessly blend layers for achieing stunning visual effects that will take your post-processing results to the next level. As you’ll see, it’s much easier than you think—even if you’re an inexperienced Photoshop user.

Ramirez begins this confidence-boosting lesson with a straightforward explanation: “Blending modes combine the pixels of one layer with those of another based upon brightness, color, or contrast.” Doing so enables you to create a wide range of interesting and natural-looking effects.

There are a wide range of available options in an unlabeled dropdown in the Photoshop’s Layers panel. The trick is understanding which one to use when, and the most effective method for putting it to use. As you’ll see, you can also find these Blending modes within other Photoshop tools, and the same principles will apply.

Ramirez discusses basic terminology before jumping into specifics—making what follows very easy to understand. He also explains that “when you choose a particular blending mode Photoshop applies it to the entire layer but works on a pixel-by-pixel basis. This means that each pixel affects the one directly below it regardless of what’s around it.”

Put simply, there are three basic terms to remember: Base, Blend, and Result. As Ramirez says, “Base refer to the original color of the layer underneath, Blend is the color from the layer you’re applying the Blending mode to, and the Result is the outcome of how the Blend and Base colors mix depending upon the specific mode you chose.”

As you’ll see, each Blending mode create a different effect. Instead of trying to remember all seven options, Ramirez suggests focusing the six categories that he explains. There’s Normal, Darken, Lighten, Contrast, and Component—each of which offer subcategories from which to choose.

So what does all the foregoing mean in practical terms? That’s what the remainder of the video is all about. By the time the video concludes you’ll no longer be intimidated by this transformative approach to editing your image for maximum impact.

There’s a wide variety of pot-processing tutorial on the popular Adobe Live Community YouTube channel, so make it a point to visit often. We also recommend watching a tutorial we featured with another image-editing expert who demonstrates how to use Photoshop’s Levels and Curves masks to add or enhance light in your outdoor photographs.

This eye-opening tutorial from photographer Fil Nenna begins with a statement that you likely haven’t heard in the past: “You won’t get the sharpest photographs without this quick lens test.” And just like that he grabbed our attention.

Nenna posts weekly tutorials with quirky insights and unfamiliar techniques that can make a big difference in the quality of whatever types of images you shoot most. His point today is that the aperture you choose is more than a depth-of-field decision because it also plays a role in how sharp your photos appear.

The big reveal in this five-minute episode is that each lens you own has one aperture that’s sharper than the others, and this “optimum” f/stop varies from one lens to another. Hence, the importance of understanding the sharpness characteristics of every lens in your bag.

So how to you make this critical determination? Just follow Nenna’s simple instructions for testing your most-used lenses (you only have to do this once), and you’ll gain invaluable insight that will improve your photographs forever.

There’s no fancy testing equipment required, and all you’ll need is a tripod to make a reliable evaluation. Depending upon the scene you’re shooting in the field it’s not always possible to shoot at the sharpest aperture, but at least you’ll know what to expect if your’e forced to open up or stop down.

Nenna explains the step-by-step details of this important experiment, but here’s a quick summary. First mount your camera on a tripod with the lens point down on a table with your target, making sure that everything is absolutely flat and aligned. A simple bubble level makes this easy to do.

The target you use can be as simple as a few fine lines on a piece of paper, and then it’s easy to ascertain the sharpness of these lines at various aperture settings. Keep in mind that while you’ll find one optimum aperture you may discover others that are acceptably sharp in a pinch.

There’s a bit more to this test than the foregoing, and Nenna describes everything you need to know for getting the job done with absolute precision, so give it a try and you may never be disappointed by soft photos again.

There’s plenty more to learn on Nenna’s interesting YouTube channel so be sure to take a look. And on a relate note, we suggest watching a tutorial we featured earlier with another accomplished pro who demonstrates five common reasons for unsharp photographs with solutions when shooting with DSLRs and mirrorless cameras.

Mastering Photoshop can be a bewildering task for beginning and intermediate users alike because of the vast array of tools and techniques offered by this robust software. To make matters worse, there are often several methods for accomplishing the same task that add an additional layer of confusion.

Today’s quick primer from the Creative Layers YouTube channel helps cut through the grease by demonstrating a handful of tips and shortcuts that every beginner should understand before moving on to more complicated techniques. As the unnamed instructor says, “Let’s dive in and learn how to unlock the full potential of these hidden tricks.”

Tips #1 demonstrates how to use Photoshop’s Lasso tool and Polygonal Lasso tool at the same time. He provides timesaving keyboard shortcuts that make the process even easier by enabling you to move back and forth between these two helpful tools to significantly refine your selections.

Second on the list involves turning masked layers into Smart Objects, and there’s an important reminder to keep in mind: “When you convert a masked layer into a Smart Object the Layer Mask gets applied and then disappears.” But there’s a simple way to fix this curious issue: Just drag the Layer mask to another layer that doesn’t already have a mask.

Tip #3 involves what the instructor refers to as the “Pen tool Rubber Band option,” which requires activating a checkbox that makes it easier to use this tool with precision and see your next moves. The following tip explains why and how to change Photoshop’s Layer Opacity using keys on the computer by simply activating the Move tool before selecting the layer you want to adjust. Now you can use the number keys to adjust Opacity up or down.

The lesson concludes by demonstrating a quick navigation trick when working on a large and detailed project that requires you to repeatedly zoom in and out during the process. Here you’ll learn a faster and very effective method without relying upon Photoshop’s Zoom tool every time you switch.

There’s much more great post-processing advice on the Creative Layers YouTube channel, so head over there and check out everything that’s available.

And don’t miss an earlier tutorial we featured with another image editing expert who demonstrates a simple Photoshop technique that one pro says is the most effective method for converting unimpressive color photographs to b&w masterpieces.

If you’ve ever struggled getting a sharp image while seated in your car, you need the new Window Mount Clamp from 3 Legged Thing.

You know the drill: you’re driving through a park or nature center and spot an 8-point buck a hundred or so feet off the road. You stop, turn off the engine, and slowly frame the giant stag by zooming your 100-300mm lens all the way out. Shot looks good until you get home and take a closer look on your computer. Nope. Blurry again.

Shooting from a vehicle is awkward and fraught with limitations, to say the least. 3LT’s Window Mount Clamp is now my go-to tool for the job. It’s not the only car window tripod-like thing ever invented, but it has the best design and construction I’ve ever seen. And the use isn’t limited to cameras. 3LT’s Window Mount Clamp with the right third-party adapter works great with GoPros, binoculars and smartphones, too.

The Window Mount Clamp is available alone or in a kit with a 3LT AirHed Trinity compact pan and tilt head. I’ve been using the kit version. It attaches to a partly-raised car window very securely and delivers an amazing range of movement. The clamp jaws are lined with soft-touch rubber so there are no marks or scratches. The clamp tightens firmly via a large, easy to turn knob. The top fitted with a standard 3/8-16 screw thread so you can attach the tripod head you already own if you choose.

The 3LT AirHed Trinity compact pan and tilt head provides 360° rotation and features a large adjustment handle for fast operation. The combination clamp and head are made predominantly of magnesium alloy and weigh 21.2 ounces (600g). It comes with an Arca-compatible camera mounting plate, and of course accepts other Arca-compatible mounting options, including 3LT’s complete lineup of camera-specific L-brackets.

The 3 Legged Thing Window Mount Clamp and kit are available now in Moss (green) or Darkness (matte black) colorways. The clamp alone costs $49.99 and the kit, which includes the matching 3LT AirHed Trinity compact pan and tilt head, costs $129.99. Both flavors are backed by a 5-year limited warranty.

6 Tips When Using the 3LT Window Mount Clamp
1. This rig is intended for lighter weight cameras. Don’t hang a giant DSLR and 600mm lens on it unless you’re cruising for heartache.
2. Park in a safe and legal place. This goes without saying, but I see some weird driving at our local nature center.
3. Turn the engine off. Even the slightest vibration created at idle can ruin image sharpness.
4. I don’t recommend opening or closing the car door with the camera attached to the clamp.
5. If your driver-side window automatically goes up and down with one button press, either cancel the feature temporarily or use extra caution.
6. If you drive with the camera attached to the window, do so very slowly and watch out for those speed bumps that parks always have hidden where you least expect them.

Want to Become a Better Photographer?
Begin by taking more pictures. Carry a camera everywhere you go and shoot even when you’re 100% sure the picture won’t turn out. Review all of your images with a critical eye and share them with others – and that includes posting the best on our Gallery. Subscribe to our free newsletter (see sign-up form on our homepage) and bookmark Shutterbug as a Favorite on your browser so you can check back often. We’re in this for the same reason as you – we love photography, and we’re learning more about it every day.

—Jon Sienkiewicz