Last week we presented a quick solution for eliminating ugly color fringing from photographs captured outdoors in high-contrast situations. Today we’re tackling another unsightly problem; namely, color banding and gradient banding that can also ruin an otherwise great shot.

This nine-minute tutorial from the hugely popular PiXimperfect YouTube channel describes how to avoid banding in the first place by choosing the proper bit depth. The lesson also explores several helpful Photoshop filters that will dissolve banding, and how adding Texture is a big help

Instructor Unmesh Dinda is a highly acclaimed image-editing expert who teaches workshops across the globe and has almost five million subscribers to his instructional YouTube channel. By following his succinct advice you’ll never have to worry about banding again.

So what exactly is “bit depth,” how does it factor into the equation, and why does Dinda say you “should always work in 16-bit (even if you plan to export files in 8-bit)? Binda uses a simple illustration of a solid color to answer these important questions. As you’ll see, banding is clearly evident in the 8-bit file.

But by going to Mode and choosing 16-bits per channel, the ugly banding quickly disappears. The problem with working in 8-bit is particularly acute when you start to stack up a variety of adjustments—especially when the image includes plenty of smooth transitions.

Another thing to keep in mind is that “banding always occurs in areas with lesser details.” Dinda uses a mountain scene to illustrate why this happens. He explains why the imposing peaks look fine, but there’s obvious banding in the featureless sky.  That’s because this area is totally devoid of detail, and the corresponding smooth transitions exacerbate the problem.

One solution is to slightly blur the sky, but it’s essential to first switch the Mode to 16-bit , otherwise this quick fix makes things even worse. With the proper Mode selected you can selectively apply the blur to only the areas that need it, like the sky in this example, without softening essential details in other portions of the shot.

The aforementioned adjustment isn’t the final step, because the banding is gone but the sky is now too smooth for a realistic result. Adding a bit of Texture in the right place is all it takes to remedy this concern, and Dinda demonstrates the straightforward process. Do it and forget about banding once and for all.

We suggest joining the millions of photographers who subscribe to Dinda’s extremely helpful YouTube channel where you’ll find effective solutions for just about any editing problems that pop up.

And don’t miss last week’s tutorial from another expert who provides a one-minute Photoshop fix for removing ugly color fringing from high-contrast landscape scenes.

Ask a bunch of experienced Lightroom users to name their most essential editing technique and most will respond with one word: “Masking.” This is particularly true among landscape shooters who frequently encounter scenes with a wide range of tones that exceed the density range of their camera.

So here’s the bottom line: If you ignore Masking and only make global adjustments, your edits will fall far short of what’s possible. Fortunately, this Complete Guide to Masks from the Park Cameras YouTube channel will get you started today—even if you’re an inexperienced Lightroom user.

Instructor Gareth Evans is a favorite among Shutterbug readers who enjoy his easy-to-follow enthusiastic manner. He says Lightroom’s Masking panel is like a home away from home, insisting that, “I use it on every single image I edit; landscapes, portraits, wildlife, street photos, and whatever else they are.”

Evans further notes that the latest version of Lightroom makes Masking extremely easy. So if you thought this method was too complicated in the past, now’s the time to reconsider. He walks you through a variety of scenarios, using several images that require different solutions, and by the time you’re done watching you’ll be totally up to speed.

He first explains why it’s important to make a few basic adjustments to the image as a whole, before turning to selective enhancements with Masks. This preliminary stuff incudes global enhancements to Exposure, Color, Contrast, White Balance, and other simple variables with which you’re familiar, so we won’t repeat them here.

Evans’ first example is a seaside scene that’s frankly dull and boring. But watch what happens when he employs masks to selectively target individual areas within the frame to achieve a striking and perfectly balanced image that grabs attention.

The goal is to retain a soft, moody look, while significantly pumping up the shot in a realistic way. Evans opens the Masking panel, describes the options available, and demonstrates why the Brush tool can be the easiest and most straightforward place to start. For this photo it’s super simple to brush across rocks in the foreground and then adjust them so they become a prominent element of the shot.

Evans provides step-by-step instructions for using Lightroom’s various Masking tools to rehabilitate several other problematic images. He also provides keyboard shortcuts that accelerate the process. We’re pretty sure that by the time the video concludes you’ll add these techniques to your Lightroom workflow.

We also recommend watching the tutorial we shared earlier from another post-processing expert who explains what causes image-killing Chromatic Aberration in high-contrast outdoor photographs and how to fix it fast.

After all the excitement of spring and summer macro photography, when insects begin to disappear and plants start to wither, it’s not uncommon for photographers to stash their close-up lens in the back of their cabinet. That’s a real shame because winter provides a bunch of great opportunities if you take a different approach.

Add b&w into the mix and you can capture a variety unique and outstanding photos. Instructor Miceal Widell is a Swedish photographer with a portfolio full of beautiful closeups of insects and other macro subjects. This behind-the-scenes episode is different from his others for two reasons: First, it takes place in winter, and second he’s shooting in b&w.

As Widell trudges through a snow-covered landscape he explains his appreciation for winter and newfound interest in b&w. He also reveals the gear and camera settings he prefers for this type of photography and offers some solid advice on composition.

Widell admits that, “at the core I’m someone who appreciates color.” At this time of year color is in short supply so he concentrates on contrast instead, which “is a perfect  for shooting in b&w.” With the absence of flowers and insects Widell looks for water—whether it be ice or liquid form. Doing this, he says, enables him to capture eye-catching abstract images.

You’ll learn the best way to expose these types of shots, and how Widell freezes subject motion while shooting with available light. He also explains why he typically uses a 90mm macro lens instead of the common 50mm option. As he notes, the reach of a longer lens is very well-suited for this particular genre.

You’ll pick up some great techniques along the way, including how to gently twist a pinecone or other small subject until it’s bathed in perfect light. He also offers variety of tips for b&w photography in the snow and the typically gray skies. Another key topic is the importance of shallow depth of field for accentuating subjects against soft, blurry backgrounds.

Widell also demonstrates a few editing techniques for making winter macro photos the best they can be. By the time you’re done watching you’ll be digging into you camera cabinet to find that macro lens you stashed away in autumn.

There’s much more to learn about macro photography throughout the year on Widell’s YouTube channel, so take a look, get out there, and take advantage of his advice.

We also encourage you to watch a tutorial we posted earlier, in which another pro demonstrates how to use Lightroom’s Crop Tools to dramatically improve all photographs captured in the great outdoors.