🚨 Adobe’s New Cloud Selection Technology: Hype or Reality?

One of the areas Adobe has been relentlessly improving in both Photoshop and Lightroom is selections. Over the years, the tools have become smarter, faster, and more automated. Today, we can make incredibly intricate selections with just a single click. At least, that is what Adobe says.

But if you are anything like me, you will know that demo images shown on stage or in marketing videos always look perfect. They are the kind of photos you would expect to work well in a demo: clean backgrounds, well defined edges, controlled lighting.

That is not real life.
So the question is: what happens when we use these tools on our own photos?

Recently, I tested Adobe’s new Cloud Detailed Results option for Select Subject using nothing more than some quick shots I had taken on my iPhone. The results were genuinely impressive.

Device vs. Cloud: What Is the Difference?

When you click Select Subject in Photoshop, you now have a choice:

  • Device – the selection is processed locally on your computer.

  • Cloud Detailed Results – the file is sent to Adobe’s servers, where the AI analyzes the image and sends back a more refined selection.

The device option is fast but often rough around the edges. The cloud option takes a little longer, but the results are noticeably more accurate.

Putting It to the Test

To really see the difference, I used a handful of everyday photos. Nothing staged, just casual iPhone shots. Here are a few examples:

Motorbike Portrait

With the device option, edges around wheels, helmets, and clothing looked rough and patchy. Switching to the cloud option instantly cleaned things up. Spokes, frames, and even tiny gaps were handled beautifully.

Tree with Branches

This was the kind of subject that used to take several different techniques combined. The cloud option managed to capture the branches and trunk in one go. Yes, there were a few areas that could be tidied up with a brush, but the heavy lifting was done.

Bicycle Spokes

Ordinarily, this is a nightmare for selections. Yet the cloud option picked out individual spokes, valves, and gaps between them. Minimal cleanup needed.

Setting Your Default

If you want Photoshop to always use the cloud option, head to Preferences > Image Processing. Under Select Subject and Remove Background, choose Cloud Detailed Results. From then on, every time you use those tools, Photoshop will default to the cloud method unless you manually switch.

Final Thoughts

I will admit I was skeptical. On demo images these things always look good, but I did not expect my casual iPhone shots to stand up so well. The results from Cloud Detailed Results were consistently sharper, cleaner, and more accurate than anything the device option gave me.

And just to clear up a common question: this does not use your generative AI credits. It is simply sending your image to Adobe’s servers for analysis and returning a selection.

Selections have always been one of the most tedious parts of editing. This new technology does not just save time, it also frees up creative energy. Instead of fighting with edges and masks, you can focus on the fun part: being creative.

Exciting times ahead, and if this is what Adobe is offering now, I cannot wait to see how much better it gets.

🚨 Glyn Dewis Masterclass 7-Day FREE TRIAL 💎

You can now check out what goes on in my Masterclass Community on SKOOL with a 7-Day FREE TRIAL.

This gives you full membership access to the Community, Live Call Recordings and all of the upcoming events in the Calendar, PLUS on days 1, 3 and 5 of the FREE TRIAL you have full access to Courses, Workshops and an Expert Talk / Seminar from Joel Grimes.

There's no commitment but if you'd like to take a look inside, get involved and see if it's for you, just head to the MASTERCLASS COMMUNITY and click on START FREE TRIAL 😃

The Remove Prompt in Photoshop

The NEW Remove Button in Photoshop that I mentioned about in an earlier post where I shared a video, has been added into Photoshop to prevent what are referred to as "Hallucinations", which is when instead of Removing something, Photoshop would add in a random object.

This works incredibly well BUT doesn't give 3 Variations to choose from, so (and this is new) to use the EXACT SAME technology, make a selection and then type "Remove" in the Contextual Task Bar.

This WILL remove whatever you have selected but now gives you 3 variations to choose from.

Note: Even though this is removing, as it's giving you 3 variations this does mean that credits are deducted.

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How I Calibrate My BenQ SW272U Display for Photography and Everyday Use

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One of the questions I get asked most often is how to correctly calibrate a display for photo editing and printing. Getting a reliable screen-to-print match can save you a huge amount of time, paper, and frustration.

In this article, I’ll walk you through the calibration process I use on my BenQ SW272U display. I’ll share the exact settings I rely on for editing and printing, as well as a second calibration I use for everyday tasks like browsing the internet, emails, and watching videos.

The good news is that while I use BenQ’s Palette Master Ultimate software, the same principles apply no matter what brand or software you use.

Why Two Calibrations?

Your requirements are very different when you are editing images compared to when you are simply watching videos or scrolling through emails.

  • Photo and Print Calibration – designed for accuracy and consistency. A lower brightness, neutral white point, and subtle black levels that preserve shadow detail.

  • Everyday Use Calibration – designed for a punchier, brighter look. Strong contrast and deep blacks make general computing and video viewing more enjoyable.

With a hardware calibrated display, it is easy to switch between these profiles at the push of a button.

Tools I Use

  • BenQ SW272U Display (hardware calibration capable)

  • Calibrite Display Pro HL (connected via USB-C or USB adapter)

  • Palette Master Ultimate Software (BenQ’s calibration tool)

Calibration for Photo Editing and Printing

Step 1 – Connect and Configure

I plug my calibration device into the USB port on the monitor. On BenQ displays, make sure the USB setting is at 60 Hz in the on-screen menu, otherwise the device may not be recognised.

Step 2 – Start Palette Master Ultimate

Open the software, select your display, and choose the calibration device. Then go into Color Calibration and click Start.

Step 3 – Create a Custom Target

The default presets are not suitable for serious photography. They tend to be too bright, too cool, and overly contrasty. Instead, I set up my own target:

  • Luminance: 60 cd/m² (much lower than the default 120 cd/m², but it gives me the most accurate screen-to-print match in my workspace).

  • White Point: 6000K (to match the 6000K LED lighting in my studio).

  • Gamut: Adobe RGB.

  • Gamma: 2.2 (with Enhanced Gamma Calibration enabled for better black and white printing).

  • Black Point: 0.5 cd/m² (slightly lifted from pure black so shadow detail is visible).

I save this as a custom preset called Photo & Print and assign it to Calibration 1 on the monitor.

Step 4 – Run the Calibration

Place the sensor on the screen, tilt the display back slightly, and let the software run. The process takes about 7 minutes.

Step 5 – Check Results

The software generates a report showing how closely the calibration matched the targets. For example, my most recent run achieved:

  • Luminance: 58 (target 60)

  • White Point: 6040K (target 6000K)

  • Black Point: 0.51 (target 0.5)

These are excellent results. The key metric is Delta E, which measures accuracy. A value below 4 is considered good, below 2 is excellent. My calibration achieved an average of 0.53 with a maximum of 1.28.

This means my display is performing very accurately, giving me confidence in my editing and printing.

Calibration for Everyday Use

When I am not editing or printing, I want a brighter, more contrasty display for daily computer use. Instead of creating a custom target, I simply use the built-in Photography preset in Palette Master Ultimate, but assign it to Calibration 2.

This gives me:

  • Bright luminance for comfortable viewing

  • White Point at D65 (6500K), which is the standard for TVs, tablets, and smartphones

  • Absolute black point for deep contrast

The calibration process is the same: place the sensor, let the software measure, and save the profile.

Final Thoughts

By creating two calibrations and assigning them to different preset buttons, I can switch between Photo & Print and Everyday Use in seconds.

For editing and printing, I get a display that shows me accurate colors, controlled brightness, and detail in the darkest areas. For browsing, video, and general use, I enjoy a bright, punchy image that looks fantastic.

If you own a hardware calibrated display like the BenQ SW272U, I highly recommend setting up both profiles. It makes your editing workflow more accurate and your day-to-day computing more enjoyable.

THIS is my Masterclass Community on SKOOL

When I was hosting weekly YouTube LIVE sessions with Guests I would always make a slideshow of their images to music and it was also so good to see an hear their reactions.

Seeing your own work to music changes it completely. It's like seeing it again for the first time. It's also a great way to show people who you are and what you do. Music choice, tempo ... all of this contributes to the overall 'feel'.

Here's a slideshow I have made this morning; it's a mixture of still images and video footage that I have now included in the About Page of my Masterclass Community on SKOOL.

Have you ever made a slideshow of your images ... or maybe done so for someone else?

If you have, what software did you use?

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2 Day Cornwall Photo Road Trip with just my iPhone

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Two Days on the Road: Cornwall & North Devon – Shot Entirely on iPhone

On the morning of July 26th, my friend Andy Hughes pulled up outside my place ready for two days of coastal exploring. Andy’s someone I first met through my Photography Community, and like so many photography friendships, it has quickly grown beyond just swapping images online. Now we were heading off on our first road trip together with cameras ready, or in my case, just one very capable phone.

This trip was going to be different. I left the heavy camera gear at home and relied entirely on my iPhone 15 Pro Max. For the long exposures, I used the Reeflex ReeXpose app, and for everything else, I shot in ProRAW with the native camera app. It was part challenge, part experiment … could I come home with portfolio-worthy shots using nothing but the phone in my pocket?

We hit the road towards North Devon, the playlist set, the weather promising clear skies and soft light.

Day One – Arches, Harbours & Evening Glow

Our first stop was Blackchurch Rock.

That iconic arch rises from the sea like something from another world. We timed our arrival with the tide and hung around, waiting for the light to hit just right. The ReeXpose app worked perfectly here, smoothing out the water and pulling movement from the clouds.

From there, it was on to Sandymouth; a stretch of golden sand with the kind of long, rolling waves that hypnotise you if you watch for too long. Light wasn’t great with it now being midday and a high sun with little cloud so instrad we sat, we had a cold drink and chatted enjyoing each others company.

The afternoon took us down to Boscastle, a small harbour village packed with detail; stone walls, colourful boats, and weathered textures everywhere you looked.

By evening, we rolled into Trebarwith Strand. The sea was glowing, the rock formations catching the last light of the day. Condioptns weren’t ideal but a little patience and I grabbed this shot of a surfer about to brave the battering waves…

Then it was time for some dinner (which was delicious) and then stepping outside Andy suggested we maybe take some shots of the incopming tide and wow … amd I glad he did because the conditions were stunning!

We then drove to Wadebridge and checked into the Premier Inn for the night which I have to say was spotless with quiet surroundings, and just the right amount of comfort after a day of climbing over rocks and chasing light.

Day Two – Lighthouses & Seals

The next morning, we were up early and heading for Trevose Head. The air was fresh, the waves were crashing, and the lighthouse stood tall against a blue sky. As we stood there framing shots, a seal surfaced just off the rocks. Beautiful andthe sort of unexpected moment you always hope for on a trip like this.

Before the drive home, we swung by Bude for breakfast. It was one of those meals that feels even better because you’ve earned it after days of fresh air, walking, and late nights on the coast.

Light, Patience & a Pocket Camera

Both days gifted us exactly what we were hoping for; perfect light, a touch of drama, and just enough waiting around to make the results feel even more rewarding. Shooting entirely on the iPhone was freeing. No heavy gear, no fuss … just ProRAW files for maximum editing control and the ReeXpose app for those silky long exposures.

Two days, five locations, countless photos, and one very good reminder: the best camera really is the one you have with you.

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My Glyn Dewis Masterclass Community on SKOOL

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Yesterday I launched my Masterclass Community on SKOOL.

“A community for photography lovers wanting to build skills, confidence, and inspiration to create images that excite them and they’re truly proud of.”

Members that have already joined will have seen the calendar with Scott Kelby joining us for a LIVE Guest Seminar in July and Joel Grimes joining us for a seminar in August ... with a new Guest each month.

I have also set the referall commission at 50% which means if you recommend just 2 people who join then your membership is paid for ... and any recommendations ontop of that means money back in your pocket ... ( $175 on-off for Annual Membership and $19.50 every month ongoing for monthly membership )

© Glyn Dewis 2025