One variable that can make or break a photo is how the color in your scene is represented. Typically, the goal is natural-looking tones (unless a special effect is what you’re after). And that’s OK too.

When making color adjustments in post-processing, Saturation plays a big role, whether you’re after a realistic representation or something more unusual. We have some good news for those of you who use the Curves Adjustment tool to refine Saturation: Earlier this month Adobe added a very small adjustment that can pay big dividends by tackling a common problem with this approach.

Instructor Matt Kloskowski is a specialist in all things Adobe, who says his goal is “to provide straightforward tutorials to help photographers get the results they’ve always wanted,” and this episode fits the bill. He jumps right in to Lightroom’s Tone Curve panel and demonstrates how the new capability works.

Kloskowski begins by demonstrating the most common approach, that involves boosting the highlights and mid-tones a bit and then dropping the shadows by grabbing the relevant points on the Curve. This method, unfortunately, often results in oversaturation.

But here’s the trick, now you’ll find a simple Refine Saturation slider beneath the Curves graph that simplifies the fix because it’s no longer necessary to employ Blend modes to get Saturation right. Kloskowski uses a tight shot of a vibrant hummingbird against a green background to demonstrate how easy this is to do.

This quick trick works with all sorts of photos, and Kloskowski pulls up a pretty seascape scene to prove this point. As you’ll see, in this case he’s able to retain the desired amount of contrast, without oversaturating the shot—simply by moving the slider. Whether you prefer light pastel colors, or a more vibrant look, the new tool gets the job done in a hurry.

After watching the video how about pulling up a few images you’ve already processed and see what you can create by using Kloskowski’s advice. We think you may be surprised at how simple and effective this is to do.

You can find a wide range of editing tips and tricks on Kloskowski’s instructional YouTube channel, so be sure to take a look.

We also recommend watching the tutorial we posted from another accomplished pro, with an in-camera technique for using complimentary colors to capture eye-popping photographs.

Flagship cameras today are aimed at wider audiences than ever before. They often have more resolution, less weight, and even (taking inflation into account) lower prices. Most of all, their features are geared toward far more than just fast-paced sporting events. But does that mean a flagship camera is right for you?

Ask any landscape photographer to name two filters they can’t live without, and the answer is likely to be a polarizer and a neutral density (ND) filter. The video below concentrates on the former, explaining how this affordable tool can really add impact to just about any image you shoot outdoors.

Instructor Remi Bergougroux is an accomplished French pro specializing in travel and nature imagery who insists that “only one filter is essential;” namely the polarizer with it’s easy-to use rotating ring that enables you to achieve exactly the look you want. In this behind-the-scenes episode he uses images of two waterfalls to provide a complete demonstration of how these filters work.

As Bergougroux says, polarizing filters can be used to minimize reflections, remove distracting glare, increase saturation, and darken pale blue skies. He explains why scenes containing water, like ponds, lakes, and cascading waterfalls, are particularly apt examples of when the polarizer works its magic with ease.

The polarizer simply threads onto the front of a lens, like most other filters, and Bergougroux offers this money-saving tip if you own lenses with different thread sizes: Buy a polarizing filter to fit your largest lens, and then get a couple cheap step-up rings so you can mount it on lenses with smaller front elements.

While you always want to buy high-quality filters for the best possible image quality, there’s no reason not to economize when buying the step-up rings; they’re pretty much all the same. Instead of purchasing and carrying polarizers of various diameters, Bergougroux uses a 62mm filter to fit his 55-200mm zoom, along with adapter rings to accommodate his wide-angle and the other smaller lenses he owns.

As easy as a polarizing filter is to use, Bergougroux notes that there a few things to know for achieving optimum results. First, there needs to be some sun in the scene. And it’s important to understand how your position relative to the sun can help determine the effect you achieve. Therefore, your vantage point and careful composition factor into the equation.

As we mentioned above, polarizing filters have a rotating ring on the front, and some photographers make the mistake of turning the ring until they observe the maximum amount of polarization. That’s not’s always the best approach for a few reasons. First, darkening a pale sky to the max or achieving maximum saturation can result in an unnatural look.

When it comes to water scenes, totally eliminating reflections may deaden the shot. So be sure to carefully examine the scene in the viewfinder while rotating the ring before you snap the shutter.

You can find more helpful tips on Bergougroux’ YouTube channel, and in the tutorial we posted earlier that explains how to capture eye-catching landscape photos when you can’t shoot at Golden Hour.

One of the most important tasks when editing portrait photos is carefully adjusting the model’s skin, so it looks as good as possible while retaining enough texture and other attributes for a realistic look. Typically, that means eliminating obvious blemishes and other imperfections like dry patches or oily spots.

Today’s Lightroom tutorial is a bit different because the pretty model has almost flawless skin. So, what’s the problem? Well, some folks (and the model herself) might find her face a bit too pale for their liking. As you’ll see in the six-minute below, this fix is a much easier enhancement than those mentioned above.

Image-editing expert Anthony Morganti is a favorite among Shutterbug readers because of his knack for simplifying common post-processing tasks. In this episode he demonstrates how to make a portrait more inviting by altering the tone of the subject’s skin in a way that mimics a subtle, healthy tan.

Morganti notes that he usually limits his portrait editing to removing skin imperfections like those mentioned above. In fact, he says he’s never changed the tint of a subject’s skin, until he was recently asked to do so by a subject he photographed. He gave it a try and reveals a quick way to get the job done using the stock photo you see here.

As you’ll see, this method owes its simplicity to Lightroom’s new Masking capabilities. After opening the Masking panel Morganti selects the People Mask and chooses both Facial Skin and Body Skin from the dropdown menu. By then clicking Create Mask, the simple transformation is underway.

If Lightroom misses part of the body (or face) as it did here, simply click the Add button near the top of the panel, making sure Auto Mask is turned on. Then it’s a simple matter to use a brush to paint in whatever was missed. Morganti has some good advice for the best settings to use.

Once the Mask is ready it’s time to make the skin-tone enhancement, which Morganti says is “super easy to.” After watching him use Lightroom’s Tone Curve tool, beginning with the blue curve, we think you’ll agree. Morganti warns to be careful when moving on to the red curve because it’s easy to overdo things when making this adjustment.

After watching this video, pay a visit to Morganti’s popular YouTube channel where there’s much more to learn.

We also suggest watching the tutorial we posted earlier, with a color-grading primer that explains several simple techniques for beginners.