You can also easily switch from painting to erasing by holding down the Alt/Option key. Clicking the Erase option will change the symbol at the center of the brush to a “-” symbol so that you can erase portions of the mask you already painted on. When doing so, you will see a “+” symbol at the center of the brush.
Erase – You can use the Adjustment Brush to paint on a mask. Auto Mask – Checking this box while working with a brush will help the brush find edges in your image and can make masking much easier. Though the Adjustment Brush, Radial Filter, and Graduated Filter are the only tools for applying masks, there are other tools for modifying them. Using the Invert checkbox, you can also control whether the filter effect occurs outside the oval (the default), or inside the oval (if the Invert box is checked). You can control its size, feathering, and orientation. The effect radiates out from the center of the spot where it is applied. The Radial Filter has a shape that is restricted to circles and ovals. The Adjustment Brush method might work fine if you don’t mind being imprecise about how finely the blur is applied, but it is not the best method for finer work. (You are still creating a mask this way, but you will not see it unless you turn on the Mask Overlay). It is possible to simply select the Adjustment Brush, drag the sharpness slider all the way down (“reverse sharpening”), and start painting away on your image, watching the painted sections become more blurred. For example, if the Flow was at 100 but the Density was at 50, one stroke of the brush would apply the effect at 50% opacity. Density: Controls the maximum opacity of the brush effect. Using multiple strokes will build up the effect. Use the slider to adjust the flow, or with the brush tool selected, change the flow with the number keys on the keyboard. Flow: Controls how quickly the effect is applied with each stroke of the brush. Use Shift while rolling the mouse wheel, Shift and the bracket keys together, or the Feather slider. Feather: Changes how hard the edge of the brush is and how rapidly the effect falls off. Roll the mouse wheel, use the left and right bracket keys, or use the slider. There are four settings you can use to control its application: It’s probably best to think of your filter brush more as an airbrush than a paintbrush. (It’s good to toggle off the Mask Overlay here so you can see what you’re doing just hit “O” on the keyboard to toggle it on and off.) After your image is masked, drag down the Sharpness slider to create the blur. Erase those areas, too, making sure to use a very feathered brush with a low flow. Then think about other areas that would be sharp if you had shot with a limited depth of field, such as the foreground. Step 3: Finish erasing the portions of the subject you want to be sharp. Adobe number keys changing flow instead of opacity how to#
So let me show you how to blur the background in Lightroom. It will work, but using it to blur your background probably ought to be thought of as a “rescue mission.” I don’t want to discourage you – Lightroom often can produce a very acceptable blur – but I’d strongly encourage you to shoot multiple images during your photo session and vary the aperture if you think you might want to soften the background.īut all the coulda, woulda, and shoulda regrets over how you might have made a better in-camera capture don’t count when the session is over, the images are already made, and Lightroom is the only editing tool you have.
If you failed to get a blurred background in-camera, your next best option is Photoshop – or another sophisticated editing program that supports layers, selections, and functions like gradients and Gaussian blur.Īs for Lightroom: It’s a fair option. The version on the right had the background blurred with Lightroom to put more emphasis on the subject. The image on the left is straight out of the phone. Smartphone photos typically have a deep depth of field due to the small sensors and very short focal lengths.
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