There’s a ton of buzz out there when it comes to AI infiltrating the photography industry. Some photographers are adamantly against using AI in their work, calling it fake or cheating. But the truth is, this disruptor is here to stay, and while it might feel nice at the moment to side with the ‘never-AI-ers,’ you’ll end up regretting your resistance to it in the long run. AI editing hacks can save you hours in your workflow.

I, too, was cautious in the beginning since I’m primarily a headshot photographer, and no photographer can compete with an AI generated corporate headshot for $30 bucks. So I definitely understand both sides. But in this article, I’m going to highlight some of the amazing ways photographers can use this new tech to their advantage in their portrait sessions. 

Adobe has officially released their AI image generating engine (Adobe Firefly) into Photoshop. In my other business, I teach Photoshop. This allows me to beta test for the company, so I’ve been exploring this new tech for a few months now. And… it’s amazing. Tasks that used to take me half an hour to complete now take a few seconds.  

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Tip 1: The Dreaded Fly-Away Hair Clean Up

Gone are the days when I used to have to spend hours painstakingly retouching out each individual stray hair from a portrait. Now, I let Photoshop’s AI do that grunt work. I start by making a selection around the edge of the hair, and then use the prompt area in the Contextual task bar to input a phrase like “remove fly away hairs, clean polished hairline.”

The generative fill then gives me three variations to choose from (within the Properties window), and all I have to do is simply pick the one I like best. Here’s what selecting looks like and the before and after of the one I chose as the final.

And the magic doesn’t stop there. I wanted to see if AI could reduce cross hairs which make hair look frizzy in some instances. So I tried it and to my astonishment it worked. I circled the affected area, imputed the prompt “remove frizz,” pressed the generate button and was astonished by the results. 

This type of work used to consume my time worse than mistakenly stepping through the Narnia wardrobe portal. And now it can be done within seconds. These are the types of tasks you can easily use AI editing hacks for when you’re a portrait photographer. 

Tip 2: Reconstructing Parts of Your Subject 

Often, in an effort to make my subject feel closer to the viewer, I’ll slightly crop off the top of their heads in the images. This gives the viewer the feeling that the subject is closer to them than if their head were intact. It’s a tried and true method many headshot photographers have used over the years. But every so often I get a reply from a client asking me to put the top of their head back in. In the past this would have required me to go back to the files in my archives, find the certain look/outfit the client was wearing in the chosen frame, find a nearby shot that had the top of their head in the photo and then manually try to align both images and blend them. 

Now, thanks to AI, it’s as easy as using Generative expand. 

All you need to do is activate your crop tool, then make sure your Fill option in the top settings bar is set to “Generative Expand,” drag the canvas out, hit the crop check mark, and viola! The top of the head has been constructed for me within seconds. Another instance where AI has saved me 20 minutes of work.  

This also works for arms and shoulders that may have been inadvertently cropped out of the shot during a headshot session. Reconstructing these parts of a body is easy-peasy for Photoshop’s Adobe Firefly. 

Tip 3: Easily Remove Glare from Glasses

This is something I’ve learned how to avoid over years of trial and error in camera. But trust me, when I tell you these techniques were not learned overnight. Thankfully, generative AI can help with this, too, and with a much faster learning curve. 

Make a selection around each set of reflections, and simply click generate. The AI will do it’s best at matching the color, contrast, lighting and surroundings of your image while generating your fix. 

For this, you can either choose to leave the prompt field blank, or input what would be generated behind the reflection. 

I find that doing this in chunks gives you a better result. So, do one section of the reflection, then repeat the same steps until all the reflections are gone. 

Remember that you have three options to choose from each time so make sure you choose the best result for each area. Here are the results after I completed three generative fills to remove all the reflections: 

WARNING: Make a note NOT to select the subject’s iris in your selection. If you do so, you’ll generate a new iris which will not represent the person you’re photographing and will make the portrait inauthentic. 

In closing, AI doesn’t have to be scary… at least not yet. So why not use it to make your life easier as a photographer. Using these AI editing hacks while you retouch your portraits can save you tons of time and increase your productivity tremendously. 

Kristina Sherk is a retoucher and Photoshop educator who loves “translating Photoshop” for photographers. She has spoken at CreativeLive, Photoshop World, KelbyOne, Adobe, Canon, LinkedIn Learning, ImagingUSA, and WPPI. Learn more from her about Photoshop on YouTube and Instagram.

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For many people, total solar eclipses are a once-in-a-lifetime opportunity. So if you are, or you are going to be, on the path of totality on April 8, you might want to consider not just safely watching it but snapping photos of the incredible event. You will have several minutes of totality, so you have time to both gaze at the spectacle and create a lasting image of what is going on in the sky.

The first thing is please do not look at the Sun without proper glasses. The Sun is very bright and the Moon shields most of its brightness as totality is approached… but that doesn’t make the portion of the Sun you can see any less damaging. Only when the Moon completely covers the Sun it is safe to remove glasses.

This is even more important when you consider lenses. If you are using cameras, binoculars, or telescopes, use them only with the appropriate filters in the lead-up to totality. Seeing the sun with the naked eye is very risky; putting your camera equipment or eyeball in the way of a magnified and collimated sunlight is destructive. If a lens can use sunlight to start fires, you do not want to put something you care about behind it.

How to best photograph the eclipsed sun

Now that the warnings are out of the way – seriously, protect your eyes – this is how you should approach photography of the Sun during an eclipse. Make sure you have a filter if you are planning to take shots before or after totality. At totality you don’t need filters and glasses – but only at totality. Trust us, you will know totality when you see it.

You do not need fancy equipment to photograph totality. Make sure you are in the right position and maybe consider if you want to include the panorama as well! The sky gets weirdly low on the horizon during an eclipse, like a sunset in all directions. The celestial spectacle can also be enhanced by the terrestrial spectacle of the people watching the eclipse!

If you are using a DSLR or another camera, consider a good zoom lens to get a nice close-up shot of the Sun. For DSLR cameras, the best way to determine the correct exposure is to test settings on the uneclipsed Sun beforehand. Using a fixed aperture of f/8 to f/16, try shutter speeds between 1/1,000 to 1/4 second to find the optimal setting, which you can then use to take images during the partial stages of the eclipse.

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During totality, the corona has a wide range of brightness, so it’s best to use a fixed aperture and a range of exposures from approximately 1/1,000 to 1 second; but, you could try to do something more complex. Renowned astrophotographer Andrew McCarthy took a beautiful shot of the eclipse in 2017 just using automatic settings on a DSLR and a good zoom lens. This time around he plans to do something even more spectacular.

“That photo was captured using automatic settings and a 300mm telephoto lens on an extremely old DSLR. This year I will be capturing a much more technically complex shot, which will be a high dynamic range photo using several telescopes and cameras all working simultaneously for the four minutes of the eclipse. The resulting image will have much more detail and dynamic range if I succeed,” McCarthy told IFLScience.

You can find more details about the shot and general eclipse photography in his guide. And we completely agree with his parting advice: do not fidget with the camera for the whole totality. You have just a few minutes of the Sun being covered by the Moon; do not waste them looking at a screen. 

And please stay safe before, during, and after!