Robert Herb Photography Blog

Masking should solve local problems without disturbing the parts of the photograph that are already working. Scope first. Tool second. There comes a stage in underwater editing when most of the photograph is already working, but one area still needs attention. Perhaps the subject is slightly too dark. Maybe the water looks right, but the foreground needs more definition. A diver’s face may need a small correction, or one coral, fish, or section of a wreck may need something different from the rest of the image. This is where Masking becomes useful. But there is an important distinction: Masking should isolate a problem, not rescue an unfinished photograph. That is why Masking comes fifth in The Consistent Underwater Editing System: White Balance → Exposure → Presence → Color → Masking → Final Adjustments By the time we reach Masking, the global foundation of the photograph should already be working. If it is not, we need to go back and correct the earlier decision first. Before You Cre...

Masking works best after the global underwater Lightroom workflow is complete. Use it to solve specific local problems, not to rebuild the entire photo. Masking is one of the most powerful and versatile tools in Lightroom, offering photographers a wide range of creative possibilities.  However, it’s also surprisingly easy to overuse, especially for underwater photographers who often work with complex and vibrant scenes.  Once you realize that Lightroom can select specific subjects, isolate parts of the background, darken or brighten particular areas, add detail to a fish, soften water effects, or guide the viewer’s eye through the image, it becomes tempting to apply masks everywhere.  But here’s an important point to keep in mind: if the overall image is still flawed or not quite right, masking alone won’t fix those fundamental issues.  Overusing masks can actually complicate your edit, making it look heavier or less natural. It might even obscure the actual problem ...

Editing Cell Phone Underwater Photos in Lightroom Mobile: A Complete Workflow First, I extend my sincere gratitude to some of my dive friends who generously allowed me to collaborate with them on this project. Their assistance was invaluable in creating this comprehensive guide. It's important to note that I do not currently own or use a smartphone specifically for underwater photography, which means I had to seek external help and insights to ensure the accuracy and usefulness of this post.   Underwater photography has long been regarded as a challenging and complex endeavor. The unique environment presents numerous obstacles, including shifting and often unpredictable light conditions, the pervasive dominance of blue and green hues, and the unexpected behavior of marine life, all of which can make capturing vibrant, engaging images challenging. Even highly experienced divers can come back from a dive with photos that appear dull or lifeless due to these environmental factors. His...

  Underwater photographers often tell me,  “I want my images to feel like mine.”  That desire is the foundation of a  signature editing style - creating a consistent visual look that instantly identifies your work, no matter the dive site, camera, or lighting conditions. Developing this unique style is both an art and a science, requiring a combination of technical skill and creative vision.   Thanks to the latest updates in Adobe Lightroom Classic (v14.5), Lightroom (v8.5), Lightroom Mobile (v9.5), and Camera Raw (v17.5), photographers now have access to some of the most advanced tools to craft and maintain their artistic identity. Features like AI Mask-aware presets enable quick, intelligent adjustments. At the same time, precise tools like Point Color targeting allow you to selectively enhance specific hues, giving you more control over your imagery.   Moreover, customizable Profile Adjustments help you create a consistent look across various file ty...