Adobe Max always brings a wave of updates that change how you work, and this year’s Photoshop release doesn’t disappoint. The 2026 version introduces tools that cut down your editing time and improve how your composites blend, all without needing to jump between plug-ins or complex workflows.
Coming to you from Matt Kloskowski, this detailed video breaks down the new features in Photoshop 2026 and Adobe Camera Raw 18. One of the standout additions is Harmonize, a feature that automatically matches color, light, and tone between layers. If you’ve ever dropped an element into a composite and spent too long trying to make it look like it belongs, this tool saves that effort. It even adjusts shadows and lighting to match the scene. The effect isn’t perfect, as it sometimes changes texture or fine details, but it’s a fast way to get convincing results with multiple variations to choose from.
Another improvement worth attention is Select Subject. It’s not new, but it’s noticeably smarter. Edges that used to trip it up, like hair, fur, or thin branches, are now handled with better accuracy. Kloskowski shows how much cleaner selections have become, even without manual refinement. This matters most when you’re dealing with complex subjects where masking can take forever. It’s not flawless, but the improvement over previous versions is clear.
Generative Fill also gets an upgrade, now offering partner AI models alongside Adobe’s own Firefly engine. In the video, Kloskowski tests Gemini Nano Banana against Firefly when generating elements like reflections and puddles. The results vary, but the takeaway is that these models give you more creative flexibility. Sometimes the partner model produces more believable textures or lighting, though it depends on the image. You’ll still spend credits when using these tools, so keeping an eye on your balance is smart before testing every new model.
The new Generative Upscale feature is another highlight. Instead of using standard resizing through Image Size, you can now choose between AI models such as Adobe Firefly or partner engines like Topaz Gigapixel and Topaz Bloom. Kloskowski compares them side by side and points out that Firefly sometimes alters fine details, while Topaz tends to smooth or stylize edges. For most uses, though, standard Photoshop resizing still works well up to about 3x or 4x, especially with today’s high-resolution sensors.
Inside Adobe Camera Raw, the update focuses on subtle refinements. The Dust Removal tool is no longer labeled “early access” and performs automatic cleanup with a single click. Reflection Removal has been improved too, though the difference is easiest to see on tricky surfaces like water or glass. The Detect Objects feature in the Remove tool now identifies reflections and shadows more accurately, so you don’t need to paint with precision. If it picks up areas you didn’t intend, you can use the add or subtract brushes to correct the mask.
Kloskowski also points to new AI masking features across Lightroom, Lightroom Classic, and Camera Raw that now include a snow mask. He uses this to explain how adaptive presets can speed up creative edits while keeping control of local adjustments. Check out the video above for the full rundown from Kloskowski.
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