ADP Panel + Pro is the previous version of our Luminosity Mask Action Panel.
Below you will find 24 videos showing all of the functionality built into ADP Panel + Pro. This panel has now been superseded with our latest Luminosity Mask panel, APD Pro v3.
Introduction to ADP Panel + Pro
Creating Luminosity Masks (11:23)
The creation of Masks has never been more powerful, fast, accurate and intuitive.
You can make your selections using several different methods:
Make your initial selection in any of the tonal ranges. You can then cycle through all of the pre-made masks quickly to find a suitable mask.
You also have the ability to view a tonal gradient at the bottom of your image which helps you visualise the selection and adjustments you are making. Simply check the “Show Gradient” box at the top of the screen before making you initial selection.
You will also see two eye-droppers to the right of the mask selections. These allow you to pick a tone directly from your image and ADPpanel+Pro will analyse the tone and create a mask that works in that tonal range.
You have three powerful adjustment tools available to you at anytime during your mask selection allowing you to modify your masks tones simply and easily, or modify your mask based on colours that are in your image.
Once you have completed the creating of your mask, you simply choose what you want to do with it next. You can load it up as a selection to use with other adjustment layers, to paint with, or with the Dodge and Burn tools. You can choose to use it with a Curves layer, which is their most common uses, or if you decide not to use the mask at all, you choose the Cancel button.
Colour Masks (11:23)
Colour masks look and act very much like Luminosity Masks, but are actually masks based on colours in our images. Where a Luminosity Mask makes selections in our images based on brightness values, colour masks make selections based on the amount of each of the colours in a pixel (Red, Green, Blue, Cyan, Magenta, Yellow and Orange).
The light areas of the selection using colour masks is telling that those areas contain a lot of the colour in the chosen mask, the darker areas represent low values of that colour, therefore it looks a lot like a Luminosity Mask, and allows us another method of making selections if we are unable to obtain the desired selection with a Luminosity selection.
Intuitively choosing a colour mask, you will think that your mask will show white in the area that are visually that or close to that colour. But in actual fact every pixel in our images contains a little amount of each colour, or almost every pixel. You may also wonder why the white areas of the image show up as white in the mask, and the reason for this is in order to create white as a colour you need 100% saturation of Red, Green and Blue.
I encourage you to look at these masks when you are having difficulty creating the selection you want in Luminosity, the perfect mask may be sitting there waiting.
Subtraction Masks (6:03)
Subtraction Masks are a method built into the panel that allow you to create your own mask when you cannot find or create a mask using traditional Luminosity Mask selections
Subtraction Masks use Luminosity in their creation. When creating a subtraction masks you need to make a couple of choices.
Firstly you choose the tonal range that you want to subtract from, so this is your main selection covering the tonal area that you want to work in. These tonal ranges include, all tones, lights, darks and all of the mid-tones. You then select the tonal area that you want to subtract and these are either lights or darks.
Once you make these two selections you that press execute in the panel. Two masks will appear in succession allowing you to make adjustments to the tonal ranges. The first mask that appears is the Subtract from mask, you simply modify it affect the tonal range you want to work in. The second mask that will appear is the area that you don’t want effected in the tonal range you selected. Once you press OK on the second mask the panel will complete the subtraction and leave you with a loaded selection that you can use with other tools in the panel.
If you choose to subtract from “All Tones” this will not appear as a mask that you can adjust, because you are simply subtracting from all tones in the image.
Channel Masks (3:33)
Channel Masks are the legacy method for creating Luminosity selections in Photoshop, but can still be a good visual method for viewing some of the potential.
When Luminosity Masks were first created in Photoshop, they were created in the Channels panel in Photoshop. Here we would create masks through a series of keyboard commands, restricting our selections until we achieved the desired result.
With each keyboard command used to restrict the selection we would cut the tonal range selected in half or by 50%. If you have been using Luminosity for some time you will have seen terms such as Lights 1, Lights 2, Lights 3 and so on, these were designations for a restriction in tonal range. The tools available now have superseded these tools, but they can still be a good visual method of seeing masks.
Pressing the Channel Masks button you will have the ability to create 6 masks in each of the three tonal ranges, Lights, Darks and Mid-Tones. These will be created in the Channels Panel, you can then go into your channels and view the masks. If you want to use one of the masks you Ctrl Click (PC) or CMD Click (Mac) to load up your selection, then move back to your layers to create and adjustment layer or any other method you’d like for using a mask.
When you are done using these masks in the channels, do not forget to go back into the Channel Masks button and delete them. If they are left in the channels the size of your Photoshop file will grow exponentially. With the use of the adjustment layers in mask creation today, we can create any of these masks and an infinite number of additional masks, so these are unlikely to be used often.
Show / Adjust (3:35)
The Show/Adjust button allows you to reveal or show any loaded selection in full screen and make adjustments to that mask.
Often times when we create a selection, whether it’s a Luminosity selection, colour range selection, or any other method of selection we want to take a look at or adjust that selection further before using it on our images. The Show/Adjust button will bring the mask up full screen for easy viewing.
It will also bring up a Levels Adjustment layer allowing you to make tonal adjustments to the areas being selected.
Using the Levels Adjustment Layer you can slide your Mid-Tones slider to restrict or enlarge the tonal range being selected, or slide the Darks slider to further darken the darker areas of the mask, or slide the Lights slider to brighten the areas selected.
You also have the ability to mute the darker or lighter tones in the image by sliding the two tonal sliders at the bottom of the levels adjustment, giving you further control over the strength of the mask. Once you have completed your adjustment, simply press OK in the Levels Adjustment layer and your selection will be reloaded and ready for use with the tool of your choice.
The Refine button allows you to reveal or show any loaded selection in full screen and make fine adjustments to that mask in three tonal ranges.
The Refine tool in the panel gives another option for refining our selections, or any selection that we make. It allows us to make very fine adjustment to our masks in three tonal ranges and works completely differently to the other mask creation tools that we have available to us in ADPpanel+Pro.
The Refine tool calls up the Shadows and Highlights tool in Photoshop, which is typically for working on images, but is being used here to refine our Luminosity selections. Working in the Highlights or Shadows, we can adjust the strength of those tones through a tonal range and radius slider, strengthening or smoothing out our selections. We also have a Mid-Tone adjustment tool allowing us to lighten or darken the mid-tones in the mask.
This tools can be useful when you’re working with very intricate details in an image and you want your selection to perfectly target your desired area. Once you are done refining your selection, you press OK in the Refine window and your selection will be reloaded to continue to use with other tools in the panel.
Auto Blending (11:34)
Built into the panel is the ability to Auto Blend up to 7 images using three different blending methods.
There are several tools available to us in this row of the panel. The “Load Stack” button calls up the Load Files Into Stack script built into Photoshop. This allows you to select the images directly from a file directory and will load all of the images as a stack in a single Photoshop file.
The “Auto Align” button is used if you believe there may have been movement between your frames during shooting. Photoshop will attempt to align the images up, which is important for Manual or Automated blending.
There are a few important things to note if you are going to use the “Auto Blend” Button. Firstly any layers that are not a part of the blend, including adjustment layers, must be turned off. Any layers that are turned off, must be moved to the top or bottom of your layer stack. Your images must be order from the darkest exposure at the top of the layer stack to the lightest exposure at the bottom of the layer stack. If you press the information button next to the “Auto Blend” button it will explain this process as well.
Once you press the Auto Blend button you will be prompted to make two selections, the amount of images you want to blend and the method that you want to use for blending. The Semi Auto and Semi Auto Reverse methods both use Luminosity and will prompt your for some user input during the blending process. At each layer in the blending process you will be able to adjust the blend, creating a natural final result. The third method “Blend If” is fully automated and requires no user input. You can then go into each of the layer and adjust the opacity to modify the finished blend.
If you want to undo and retry the blend, or try a different method, use the “Undo Blend” button. You will be prompted for the number of images and the type of blend you want to undo. Make your selections and press execute to undo the previous blend.
Re-Mask (Replace Mask) (2:25)
Re-Mask is a simple tool built into the panel that allows you to replace the current mask you have on a layer with any loaded selection.
From time to time when you’re working with layers and layer masks in Photoshop you will create a mask on a layer that you want to replace. This is a fairly straight forward process to complete manually but it does take a few steps. This button allows you to replace the mask quickly on any layer with any loaded selection.
It’s not limited to Adjustment Layers, you can replace a mask on any layer including groups and image layers.
Flatten, Merge All, Back & Fwd (4:01)
The Flatten, Merge All, Back & Fwd buttons in Photoshop are basic tools that are designed to help your workflow move a little quicker.
The Flatten button simply takes all of the layers that you have and flattens them all into one single layer, applying any adjustment that you’ve made into the single layer. I recommend saving your image with all it’s layers so you can do further adjustments, flattening your images when you’re ready to sharpen, resize and send off to the printer or put your images on the internet.
The Merge All button creates a merged copy of all of your active layers and places it on top of your layer stack. This is the same as pressing SHIFT+CMD+OPT+E (Mac) or SHIFT+CTRL+ALT+E (pc). Typically you would do this if you want to take the image into an external plugin, or use the filters in Photoshop.
The Back and Fwd button are your Undo and Redo buttons.
Creating a vignette the leads the viewers eye through the image, without creating a distracting dark border has never been so simple.
To use the vignette tool you need to make a selection in your image of the area that you want to remain light. You can use any selection tool that you choose, but the more notable ones will be the Lasso and Polygonal Lasso Tools that allow you to free draw the areas, or you can use the Rectangular or Elliptical Marquee tools if you’d prefer a rectangular or circular shaped vignette.
After you have made a selection, press on the Vignette button and a Vignette will be created automatically. Using a curves layer, with the blend mode set to luminosity, the area outside of your selection will be darkened, the edges feathered and colour will not be effected.
If you do not have a loaded selection when you press on the Vignette button, a window will pop up prompting you to make a selection before using the tool.
Dust Spot Removal (3:45)
The Dust Spot Removal tool, reveals all of the dust spots in your images making their removal simple and straight forward.
If you’re anything like me, often times I would miss dust spots or forget to look for them all together. This tool now reveal the dust spots in your image at the click of a button.
It created a layer that highlights all of the dust spots, and creates another layer where you can use the spot removal tool in Photoshop to eliminate them quickly and easily. It also has a side benefit by also revealing all of those little distractions that you can have throughout your images.
Once you have made a pass through your image on the settings supplied in the revealing layer, open up the properties of the levels adjustment and pull back on the highlights slider a little, to help reveal dust spots that appear in the brightest highlights in your image.
Once you have completed the removal of the dust spots throughout the image, just simply drag the levels adjustment layer to the garbage bin and you’re done.
Dodge & Burn (10:12)
Use Dodging and Burning with Luminosity Masks to get ultimate control over how your viewers look at your image and take complete tonal control.
Dodging and Burning is one of the most powerful methods for controlling how you finish and how you look at an image. The Dodging and Burning tool that’s been built into the panel is one of the most comprehensive and powerful dodging and burning tools on the market.
There are 3 methods of Dodging and Burning built into the panel, and you can choose to Dodge or Burn in three different tonal ranges, all tones in the image, or based on a selection that you’ve made.
When you press the Dodge and Burn button a pop-up window will appear, with three sections. You need to make one selection from each of the three sections. The first section is deciding whether you want to Dodge or Burn. In the second section you will choose the method you want to use, a Transparent Layer, a Middle Gray Layer or a Curves Layer. Each have their advantages, with the Transparent and Middle Gray layers effecting colour, but this can be an advantage and the curves adjustment only effecting lightness.
The next section to choose from is the tonal range that you want to work in. You can choose to work in your Lights, Darks, Mid-Tones, Selection or all tones. When you choose to work in your Lights, Darks and Mid-Tones, after you press execute, a Luminosity Mask will appear, giving you the ability to restrict the tonal range you want to work in. If you choose selection as the tonal area, you must have made a selection before pressing on the Dodge & Burn button. When you choose all, you will simply dodge and burn in all tones.
Mask Groups (9:56)
Mask Groups are designed to help in controlling the areas in your adjustment thats are affected by allowing you to restrict those selections without compromising the mask.
Mask groups are typically used with Adjustment Layers and used to restrict the areas that are affected by your adjustments. There are three methods that you can use with Mask Groups, Selection, Feather and Paint.
With the Selection method, you make a selection of any kind, selecting the areas that you only want affected. When you press the Selection button it will put the layer you are on, into a group and use the selection you made to reveal any adjustment in only that area. This is a hard line selection with no feathering, so typically you’ll want to use this if there are isolated elements in your selection.
The Feather button works exactly the same way as the Selection button. You need to make a selection before using it, but instead of a hard edge mask on the group, it feathers the mask based on your input. When you press the button a Gaussian Blur prompt window will appear asking how much you want to feather your selection by. It defaults to approximately 250px, which will work in the majority of full size images, but you can adjust this as you require.
With both the Selection and Feather buttons, you must first make a selection. If you press these without making a selection you will get a warning requesting that you make a selection before you proceed.
The Paint button works by dropping the adjustment layer into a group and putting a black mask on the group, hiding the entire adjustment. Then you use a white paint brush to reveal the adjustment in just the areas of interest.
The Apply button has been created to collapse any groups that you created into a single layer. When you create many groups with layers, your file sizes can get quite large, this tool take the mask on the group and combines it with the mask on the adjustment inside the group, leaving you with a single layer. All of the adjustment you make will still be there, but you will be left with one group, saving on file size.
Auto Adjust (5:25)
Take the guess work out of Luminosity selections and work with layers like you’re in Lightroom or Camera Raw, by using sliders to control the tones in an image.
Whether you are new to using Luminosity, or editing a commercial shoot on the run, or just want to get out some quick results, the Auto Adjust section will get you there.
In Auto Adjust you use Luminosity like sliders in Lightroom or Camera Raw and work in 2 tonal ranges in your lights, 2 tonal ranges in your darks and 5 tonal ranges in contrast.
To start using Auto Adjust, you first need to choose the tonal ranges that you want to work in, so that the layers can be created to start making adjustment. you can choose to work in “All” tones in which case 13 layers will be created, or you can work in your “Highlights”, “Shadows” or “Contrast” all separately. In your highlights and shadows you can choose to lighten or darken you mid-tone lights and darks and you can choose to lighten or darken your bright highlights or dark shadows.
Using contrast is where we can really start to make our images pop and jump off the screen. You have the ability to adjust contrast in 5 different tonal ranges.
You can only use this tool once on each image, unless you flatten all of your layers. In the case where you flatten the layers you can re-run the tool. If you save the image with all it’s layers, when you return to the image later, your adjustments will still be available.
Detail Extractors (5:20)
The Detail Extractor tools in ADPpanel+Pro is an extremely powerful tool that allows you to pull detail out of the highlights, midtones and shadows of your images separately. This tool will extract a great amount of detail out of these tonal ranges allowing you to create fine detail in any area of your images.
It uses Luminosity Masks to restrict the areas that it works in, highlights, midtones and shadows.
Often detail can be lost or hidden, especially in the shadows you can virtually be guaranteed to uncover these hidden details using this tool, making your images much more dynamic. This is very valuable especially if you are printing your images where those fine details are a must.
You can choose to extract details from all of the tones, or work in just your highlights, mid-tones or shadows separately. Once the detail extractors have been created, you can adjust the opacity of each of the tones to bring in more or less detail.
Soft Glow (7:01)
The Soft Glow tool in ADPpanel+Pro creates a light soft glow in your images, creating a dream like effect while maintaining sharpness in your images. This effect, or similar effects are commonly used to give images a more dream like effect and is very popular today in Landscape Photography creating an other worldly atmosphere.
The Soft Glow tool creates multiple layers, which are retained, allowing you full control over them to have the Soft Glow tool work in exactly the way you desire.
Orton Effect (6:57)
The Orton Effect tool in ADPpanel+Pro creates a strong glow and softening in your images, creating a dream like effect in your images. This effect, or similar effects are commonly used to give images a more dream like effect and is very popular today in Landscape Photography creating an other worldly atmosphere. The Orton Effect is a technique that was made popular in portrait photographer giving the impression of a shallow depth of field with what looked like a shot with an extreme wide angle lens
The Orton Effect tool creates multiple layers, which are retained, allowing you full control over them to have the Orton Effect tool work in exactly the way you desire.
Frequency Separation (7:51)
Frequency Separation is a tool that creates two layers separating the tones in your images from the textures, creating a very powerful method for retouching. By separating the tones from the textures, we can repair places of discolouration and lighting without effecting the textures. We can also remove textures without effecting the tones in the image.
Although this tool is most popular in Portrait photography, it can be used with any type of photography where you want to effect textures and tones in an image separately.
Create Your Own (2:26)
ADPpanel+Pro has many of the tools that you’ll use in your editing, but we realise that you may want to add a few of your own actions to the panel as well so they are also at your fingertips.
In the Other Tools section of the panel you will find the ability to add 4 of your own actions to the panel.
Sharpen & Resize (7:51)
Sharpening and resizing your images has never been more powerful or simple using ADPpanel+Pro. A brand new 3 stage automated sharpening process has been added allowing you to sharpen your image at any size, not just for the web. This uses a 3 stage sharpening processing using Unsharp Mask in Photoshop. In this section you can also resize your images to the sizes you would typically use for the web and also convert your images to sRGB for proper display on social media or your website.