The Luminar Masking Tools I Actually Use
I spend a lot of time in my videos showing the various masking tools in Luminar Neo. I love masking and believe it’s a critical editing skill. It’s really the best way to take full control of your edit and guide the viewer’s eye exactly where you want it to go. Really the only way when it comes down to it.
But there are a lot of masking tools in Luminar, and if you are new to them, it can feel a bit overwhelming. When I first learned about masking years ago, I was literally afraid of it. It seemed so daunting and hard, but once you get started, it’s quite easy to learn and even master.
In this week’s blog post and video, I’m breaking down the masking tools in Luminar Neo that I use the most - and the ones that best fit my style of editing. I’m also sharing some tips and tricks for getting the most out of them.
Let’s dive in!
Light Depth
I know this isn’t technically considered a masking tool, but in reality, it is a mask. It’s a depth mask that automatically helps you adjust light and temperature in specific parts of the photo based on the depth of an element in the scene (that is, where in the image the item/s are located, from foreground to background). It’s amazing. I LOVE this tool (yes, that’s an “all caps” kind of love). It’s truly been a game-changer for my editing.
I generally use this as tool #3 in my editing stack (Develop RAW is always first, usually followed by Supercontrast). But sometimes I’ll also use it again near the end of an edit to place a little more emphasis on my subject. Yes, you can use a tool twice in the same edit, and Light Depth is perfect for that.
It works wonders no matter when you use it. And since it is allows for temperature as well as light adjustments, this tool ends up pulling double duty. I used to have to do this with more manual masks while using the Develop tool, but Light Depth really saves me times and is frankly more accurate too.
Linear Gradient
This is a “straight line” mask that covers the width of the photo from left to right (and you can tilt it as well to accommodate tilted horizons and so on).
I use this often for skies and foregrounds because it can cover a large area quickly. But the key is using a generous gradient edge - meaning you feather the transition over a wide area.
That allows your adjustment to blend more naturally into the rest of the image, which creates a smoother and more pleasing result. This tool gets put to use on essentially every single edit.
For foregrounds, I use it with Structure AI to add a little more detail, or with Develop to slightly darken it to guide the viewers’ eye a little deeper into the scene. For skies, I often use these with Structure AI (sliding it to the left, making it negative) which softens up clouds and makes them a little more dreamy. Or I use one of the color tools with a linear gradient in the sky to add some warmth and color pop. It’s a very versatile tool overall.
Radial Gradient
This is very similar to the Linear Gradient, except it begins as a circle. You can adjust the size, shape, and gradient edge to fit your subject, transforming the shape into more of an oval or ellipse.
At first glance, you may not think you would need something like this, because how many circles and ovals are there in any particular photo? Probably zero. But you would be surprised how often this can be used, and how it helps you cover an area that is kinda-sorta oval-shaped.
I use this frequently to place emphasis on the subject or another area in the photo that I want to subtly highlight. This works well with Develop and a slight exposure lift. Towards the end of an edit, I’ll often pair it with Accent AI to add a little extra “pop” on the subject. If I have a blown-out sun in the image, I will use it with Develop to actually increase exposure and highlights, creating a nice glow effect that sort of leans in to the blown-out aspects. That works well.
But again, just like with the linear tool, that gradient edge is a huge deal here. Be sure to extend it over whatever area makes sense for a better overall blend. In this tool, you use the Softness slider to create that gradient edge. I normally leave it at 100 which is the softest setting, thereby creating the widest gradient edge.
Luminosity Masks
I adore luminosity masks. I’ve you’ve seen any of my videos, you probably already know that. They have been my favorite type of mask for years.
Because they are based on light values, you can be incredibly targeted with how the mask is applied. You can isolate highlights, midtones, or shadows - or blend across all of them in varying degrees. It’s so powerful and versatile.
You also have the ability to feather over broad areas, once again creating smoother transitions and a more natural blend.
These masks are absolutely worth learning. IMHO, they are the most flexible and versatile masking option in Luminar Neo. Like I said, I adore these, and use them all the time.
Early on, I was especially intimidated by these (it sounds like a big, complicated thing), and didn’t really understand the value. But when you consider that every photo is just a collection of light, this starts to make sense. If you can mask an area based on its tonal value, you can really dial in your edit.
If you haven’t tried them yet, I urge you to start experimenting. You will likely be surprised at just how often you end up using them. Maybe you will fall in love with them, just like I did. 😁
Object Select
While I don’t use this mask all the time, I do use it more than I originally thought I would.
As the name implies, you can quickly click on an object in the photo and Luminar will build a mask for it. It’s perfect for highlighting a subject or object that you want to emphasize in the edit.
Just note that there’s no gradient here, so I recommend being a little gentle with your adjustments so the edges don’t become too obvious.
Depending on the scene and what it contains, you may have to click around a little to get a large area. But it’s much faster than the old method of hand brushing it all.
I use this a lot as a dodge and burn type of adjustment. With Develop or Accent AI, you can grab an item or part of a scene, automatically create a mask, and give it a little nudge with an adjustment slider. It usually takes just a few seconds to get it all done. It’s really useful and so quick.
Honorable Mention: Brush Masks
I would be remiss if I left out the Brush Mask.
While it’s the most basic type of mask - essentially just a paintbrush - it comes in really handy, especially for odd-shaped areas and objects. You can feather the edges as well, which adds some flexibility. You can also reduce the strength of the brush, so you don’t get the full effect when you brush in an adjustment. It’s great to have just in case.
I often use it for quick dodge-and-burn work in smaller sections of a photo, and it gets the job done every time.
That’s it for this week, friends.
While every masking tool in Luminar Neo has its strengths, these are the ones I return to again and again because they fit the way I edit. They help me guide attention, create better balance, and add subtle emphasis where it matters most.
And ultimately, that’s what masking is really about.
If you want to go deeper on masking and learn how I use it throughout a complete workflow, I put together a Luminar Neo Masking Masterclass where I break down the process in much more detail. You can check it out here: https://jimnix.com/luminar-neo-masking-masterclass
What masking tools are you using the most, and why?
Video demonstration: The Masking Tools I Actually Use
By the way, I have a companion video to this blog post below. That way you can see all of these tools in action. Check it out and let me know your thoughts. Thank you!
