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In this tutorial, you will learn to make realistic shadows in Photoshop.
Getting shadows right is vital in compositing!
When you get shadows right, your whole composite looks more cohesive, and your subject fits better within the scene.
The tricky part about making a realistic shadow in Photoshop is getting the right shape and perspective of the shadows so that it matches your scene.
Most of the techniques that I’ve seen for creating shadows in Photoshop involve layer transformation.
In other words, you’re distorting pixels to get the right shape and the proper perspective. Distorting layers could be a difficult task, especially with complex objects and awkward angles.
The goal of this tutorial is to teach you how to create realistic shadows while keeping the right shape and the proper perspective.
This tutorial will use advanced techniques using Photoshop 3D. But don’t let that scare you. I’m going to divide up this tutorial into small digestible chunks so that you can follow along, even if you are new to Photoshop or 3D.
I’ll be using Photoshop CC 2018 for this tutorial, but every step is fully compatible with Photoshop CS6 Extended.
Steps to Make Realistic Shadows in Photoshop:
Duplicate The Main Subject of Your Composite
Convert the Duplicate Layer into a 3D Extrusion
Match the 3D Scenes Perspective To The Background’s Perspective
Adjust The Extrusion Depth
Match The 3D Model to The Pixel Layer
Adjust the Infinite Light
Adjust the Shadow’s Softness
Render The Shadow
Rasterize Your 3D Layer
Reposition the Shadow to Match Your Scene
Mask The Shadow
Paint The Shadow Back In
Make Realistic Shadows with Photoshop’s 3D Features
To follow along, you can open any composite in Photoshop. The images themselves are not essential to the tutorial.
I will use a composite of a horse on a street.
Step 01 – Duplicate The Main Subject of Your Composite
Start by duplicating your subject. In my example, I am using a horse, so I will duplicate that layer.
You can duplicate a layer by pressing Ctrl J (Mac: Command J).
Step 02 – Convert the Duplicate Layer into a 3D Extrusion
Then we will use 3D features to make realistic shadows in Photoshop.
Start by converting this duplicate layer into a 3D Object by going into 3D > New 3D Extrusion from Selected Layer.
Note: If your 3D menu is grayed out, it is probably because your computer does not meet the minimum system requirement for Photoshop 3D.
In Photoshop, 3D objects are created by extruding a 2D shape into the Z axis. Much like pushing Play-doh through a dough cutter.
In this case, we extruded the shape of the horse.
The Ground Plane and Its Importance for Making Realistic Shadows in Photoshop
The Ground Plane is the grid that you see below the 3D object, and it catches the shadows of the scene.
To make realistic shadows in Photoshop it is important to match the 3D model’s ground plane, to the ground in the photo.
If you want to learn more about 3D, then check out all my Photoshop 3D Tutorials!
Step 03 – Match the 3D Scenes Perspective To The Background’s Perspective
When you composite images together, you have to make sure that their perspective matches if you want realistic results.
The best way of matching perspectives is to match the horizon lines of both the background and your foreground element.
As you saw in my Perspective Compositing Tutorial, you can find the horizon line of a photo by following all the parallel converging lines to see where they meet. The meeting point is known as the vanishing point which lays on the horizon line.
If you match the 3D scene’s horizon line with the photo’s horizon line, then you should have a composite that matches in perspective.
The horizon line in the 3D scene is shown as a gray line going across the canvas.
On the bottom left, you will see three icons that control the camera.
When you click-and-drag on the far-left icon, the Orbit 3D Camera icon, you can orbit around the 3D layer.
Rotate your 3D scene until it matches your background’s horizon line.
You don’t have to get it 100%. As long as they are near each other this technique should work.
Step 04 – Adjust The Extrusion Depth
The default extrusion depth of your 3D model may be too thick. Reduce it if you need to.
From the Properties Panel, adjust the Extrusion Depth slider accordingly.
Step 05 – Match The 3D Model to The Pixel Layer
Once the perspective matches the scene, reposition the 3D model so that it matches the pixel layer.
Click on the 3D object, and use the Move handles to move the 3D model.
The only areas that are important are where the shadow touches your main subject in the ground plane.
Step 06 – Adjust the Infinite Light
This is where the magic happens!
In Photoshop 3D, you can control where the light is coming from, and the shadows on the ground plane will react to any changes made to the light.
From the 3D Panel, click on Infinite Light.
Use the overlay to adjust the direction of the light source. As you click-and-drag on the overlay you will see the shadow move.
Try to match the shadows already found on your photo to get more realistic results.
In my example, I AM NOT MATCHING THE LIGHTING OF THE SCENE ON PURPOSE. Because I want to make the shadow noticeable for the tutorial and to give you a better representation of how this technique works.
Step 07 – Adjust the Shadow’s Softness
If you want to adjust the softens (sharpness) of your shadow adjust the Softness slider in the Properties Panel.
Step 08 – Render The Shadow
When you work with 3D, you need to render your scene to calculate the shape, perspective and look of the shadow.
The noisy low-quality shadow that you see on screen is merely a representation of the outcome, and not the final image itself.
To render your shadow, and see the final image, use the Marquee Tool to select your shadow.
Then click on the Render button in the Properties Panel.
Rendering a 3D scene may take some time. The duration depends on the complexity of the scene and the speed of your computer.
Note: You can stop or cancel the render by pressing the Esc key on the keyboard.
Step 09 – Rasterize Your 3D Layer
Once your shadow finishes rendering, you can rasterize it (convert it into a normal pixel layer).
Right-click on the layer and select Rasterize 3D.
Step 10 – Reposition the Shadow to Match Your Scene
From the Layers Panel, move the shadow layer below the horse layer and rename the layer “Shadow.”
If you need to reposition the shadow so that it fits the composite better, Press V on the keyboard to select the Move Tool. Then click-and-drag the shadow and place it accordingly.
Step 11 – Mask The Shadow
Once your shadow is in position, hold Alt (Mac: Option) and click on the Layer Mask icon to create a mask that is completely black instead of white.
A black Layer Mask hides every pixel in this layer.
Step 12 – Paint The Shadow Back In
The select the Brush Tool, and paint with white on the Layer Mask to reveal the shadow.
Rendering Shadows Without 3D Objects in Photoshop
If you prefer, you could instead render the 3D shadow without the 3D Object.
To do so, click on the “Invisible” checkbox in the Properties Panel. This option hides the 3D object, but the shadow remains on the Ground Plane.
“Could Not Complete the New 3D Extrusion” Warning
If you get this notice:
“Could not complete the New 3D Extrusion from Selected Layer command because the path is too complex.”
It might because you have a mask that has too many semi-transparent pixels (not completely visible or completely hidden).
Photoshop CS6 is a little less forgiving than Photoshop CC. I tried the same shape on both versions and CC can convert more complex shapes.
No matter what version of Photoshop you are working in, if you get this warning, you should create a mask with straight sharp edges that represent the main shape of your object. Don’t worry about small details like flyaway hairs.
You could also try making a Vector Mask instead, and use the Pen Tool to create a simple shape.
Your Turn!
And there you have it! That’s how you can make realistic shadows in Photoshop!
Give it a try! If you create something using this tutorial you can share your results on Instagram with the hashtag #ptcvids!
Check out our Photoshop Techniques section for more tutorials like this!
If you liked this article, then please subscribe to our YouTube Channel for more free Photoshop video tutorials.
You can also find us on Facebook and Instagram.
Hey folks Kelbyone’s Lightroom Magazine issue 43 is out now!
My Maximum Workflow article is on compositing photos and the workflow behind it. Also includes are feature articles by Martin Evening, Rick Sammon and Serge Ramelli.
Rob Sylvan also has a huge feature on yesterdays Lightroom releases. Yes that’s right. A magazine that’s as up to date as the web. Check out the full TOC below.
The magazine is free to Kelbyone members. If you’re not a member, it’s a fantastic learning resource with video courses from all the top trainers in the photographic world. Obviously Scott Kelby is there, but you have Lindsay Adler, Rick Sammon, Moose Peterson, Serge Ramelli and a host of others. I’ve been a paid member for years. Of late they’ve been adding really fantastic courses.
One of our favorite events of the year is just around the corner. For the sixth year in a row, we’re partnering with Photoville to present a full day educational and inspirational panels all to help photographers grow their businesses.
Join us on Friday, September 14th for discussions with industry professionals and photographers at 60 Water Street near Brooklyn Bridge Park. We’ll cover topics like best practices for archiving your work, how to land a job and negotiate contracts, non-profit storytelling, creative ways to get noticed and build your business, how to apply for photography grants, plus an exclusive conversation with renowned photographer and Brooklyn native, Jamal Shabazz.
A full day pass (only $25) includes admission to all six panels, plus breakfast, lunch and access to the beer garden to end the day. Register here to guarantee your spot before we fill up.
If you can’t make it for the full day, single session attendance is welcome on a first come, first serve basis.
Each panel is 45 minutes. Here’s the schedule:
10:00 am: Registration and Breakfast at 60 Water St.
10:30 – 11:15 am: The Importance and How To’s of Archiving Work and Legacy
In today’s fast-paced, digital world it’s so easy to put images into a folder and collect hundreds of hard drives. That may be the beginning of a process, but archiving your work and ensuring your legacy is preserved should be a crucial step in your workflow. Julie Grahame, consultant and creator of aCurator, will sit down with three working professionals who know the world of archiving inside and out. Suzie Katz, president and founder of PhotoWings, Mary Engel, president and founder of American Photography Archives Group, will discuss the importance of archiving, the best techniques and platforms, and how to start thinking about the legacy you’ll leave behind.
Panelists: Moderator: Julie Grahame, Photography Consultant and Curator, and Creator of aCurator.com Mary Engel, Founder and President of the American Photography Archives Group, APAG Suzie Katz, President and Founder of PhotoWings
11:30 – 12:15 pm: How to Impress Photo Editors, Land a Job and Negotiate Your Best Deal
Most photographers will tell you that finding new clients and locking down quality work is an ongoing challenge — and a big one at that. In this panel, we’ll address this head on and share tips, advice and lessons learned from photographers, photo editors and art producers on how to land a job. We’ll discuss the best ways for you to connect with potential clients and what photo editors truly want. We’ll also dig into how to negotiate a contract and share tips to secure your best deal. The goal is to walk away with fresh ideas to help reel in your next client and make the money you deserve.
Panelists: Moderator: Kari Anderson, Senior Artist Rep Glasshouse Assignment Amy Wolff, Director of Photography at Hearst Enthusiast Group Drew Gurian, Photographer Lyne Lucien, Photo Editor at The Daily Beast and New York Magazine’s The Strategist Ray “Neutron” Spears, Photographer
12:30 – 1:15 pm: Nonprofit Storytelling: How Photographers and Marketers Inspire Change
It’s no secret that nonprofit organizations contribute enormously to our society, providing invaluable services and championing causes that better our world. But to accomplish their goals, these institutions rely deeply on photographers and visual storytellers to shed light on their missions and help raise money and support. In this panel, we’ll be joined by photographers and nonprofit directors to discuss how creatives and marketers work together to bring important stories to life and inspire action — all while navigating tight resources and budgets. Discover how photographers are helping advance the work of important social causes today and learn how you can connect with the organizations you care most about.
Panelists: Moderator: Andrew Fingerman, CEO of PhotoShelter Patrick Egan, Director of Marketing & Communications, Children’s Aid Bayeté Ross Smith, Photographer, KINGS Against Violence Sarah Matheson, Photojournalist
3 – 3:45 pm: Changing the Game: Creative Ways to Get Noticed and Make Money
We hear it all the time: Everyone’s a photographer. Advanced camera features on your phone have made it increasingly difficult for skilled photographers to break through the noise, get noticed and land jobs. With a changed landscape for professionals, we’ll sit down with photographers who are thinking outside the box to grow and market their careers. From brand ambassadors to teaching and fellowships opportunities to starting related businesses, learn how these creatives are redefining the game, making connections and attracting the clients they want. Walk away with tons of inspiration on how to innovate and rethink ways to build your own photography business.
4 – 4:45 pm: The Art of the Pitch: Preparing and Writing Proposals, Grants and More
You have been working on a long term project for years, what is next? Applying for a grant to keep going? Search for an exhibition opportunity or try and find a job that pays the bills while documenting that one passion story? Join Emma Raynes, Director of Programs at the Magnum Foundation and United Photo Industries and Photoville’s Co-Founder Laura Roumanos, in a 45 minute crash course that covers everything from searching for job and exhibition opportunities, responding to request for proposals and learning the tricks of the trade to writing the perfect grant submission.
Speakers: Emma Raynes, Director of Programs at the Magnum Foundation Laura Roumanos, Executive Director and Co-Founder of Photoville and United Photo Industries
5 – 5:45 pm: An Afternoon with Jamel Shabazz
Being a photographer can be a fascinating and fulfilling career, but it doesn’t come without its obstacles. Jamel Shabazz will discuss his career, including how his art has evolved and lessons he’s learned. He is a Brooklyn-based photographer and has been documenting the streets of NYC since 1980 and exhibits his work around the globe. Jamal has unparalleled experience in his field and will share firsthand his insights and advice.
Speaker: Jamal Shabazz, Photographer
And after the panels, don’t miss the chance to enter our food photography Instagram contest — stop by our pop-up booth, #CameraEatsFirst, in the beer garden where we’ll have fun props and pro lighting to help you capture your food truck finds. Every person who enters (21+) will receive a beer voucher and you might even win a PhotoShelter account or a custom designed t-shirt.
The best 3 ways to cut out anything in Photoshop CC (2 for all versions)
Learn how to cut out photos and objects in Photoshop. One of the mot popular tasks in Photoshop is cutting out things, AKA remove the background. In this tutorial we will look at quick Select, Refine Edge and the Pen tool. Your choice will depend on the image, see the difference and then choose the best option for your task.
The three methods I’m showing here are Quick select and Select and mask, which is great for things like hair and fur. Then I’ll show Color range which is awesome for things like trees. Finally, Ill give you a crash course on the pen tool and why you should use it. You’re thinking, “I don’t have all day” All this happens in 15 mins. If you use Photoshop this is time well invested.
Which is your favoriate method? Let me know in the comments.
The photos used in this tutorial come courtesy of Adobe Stock.,
Links to images used (Download the watermarked versions for free)
Method 1: Cut out Hair in Photoshop
For the first method, (Which works on Photoshop CC only) we will start with this image Woman with red hair. She has curly hair, so it will be a bit tougher than straight hair. This technique also works on fur.
Step 1. The selection.
Grab the quick select tool from the toolbox.
Rather than select our subject, we will select the background because it’s simpler. (If it was a complex background, select our subject instead. Here is a tut for cutting out against busy backgrounds)
Drag your quick select tool over the area to select it. If you go too far, Alt/Option, drag to deselect areas.
Step 2.
When everything is selected, we need to inverse the selection so that our subject is selected. Choose Select>Inverse or Cmd/Ctrl+Shift+I.
Step 3. Refining the selection.
Click on Select and Mask from the top toolbar, this will take you into the Select/Mask workspace.
Increase the Transparency so that you make the background invisible. (This is just for preview purposes).
Change the view to black or white, whichever shows the edge the best.
Grab the refine brush for the left toolbar.
Paint over the areas of the flyaway hair. Make sure you get all the ends of the hair and don’t go too far into the image, you just want to get the edges, so you can tell Photoshop what is hair and what is the background.
You will notice as you refine, the entire selection gets smarter and the selection will get better.
Here is a secret weapon in Select and Mask when it comes to hair. Turn on Decontaminate colors. Immediately, the color fringing disappears.
Change output to: New Layer with Layer Mask, Click ok.
Result, cut out hair.
And now we have a nice cutout. You will see a layer mask on the layer that you can use to further refine the cutout if you need it.
Method 2: Cut out Trees with Color Range (Works on all versions of Photoshop).
In this tutorial, we will cut out The Tree using color Range. This tool is also great for cutting out transparency, like glass smoke and liquid (see tutorial).
This is the best method when we need selections and the subject is complex with lots of holes, but a uniform color behind it.
Step 1. Using Color Range to make a selection in Photoshop
Choose Select>Color Range.
The dialog box pops up.
Step 2
Choose the left Eyedropper tool.
Click on the background, choose the most common color and close to the subject. I clicked on the sky blue. Notice the Window in Color Range shows some bits of white. Those are the selected areas.
Step 3. Refining the selection
Click The eyedropper that has a + next to it.
Drag this across the background to add to the selection. Here I dragged to the right of the tree to pick up all the blues and whites.
I was missing a tiny bit, so I clicked again in the white area. Look at the preview window. Notice is a nice black and white, This is the goal, to get close to this.
Step 4.
Slide the fuzziness slider to refine the selection and get our subject nice and black and the background white.
Click ok.
Notice the marching ants section. We have successfully selected the background.
Step 5. Masking the selection
Let’s cut this selection out: Because the background is selected, we want to invert the area that is cut out. (Show the subject and hide the background). Because of this we will hold down the Alt/Option key and click the new Layer mask. (If the subject is selected, then don’t hold down Alt/Option). Click the Layer Mask icon.
You will see a layer mask has been created, (More on Layer masks here).
And here is our nice, clean cutout.
Method 3. Using the Pen tool in Photoshop to cut out hard edged selections
When it comes to clean edges, nothing beats the pen tool. This makes it the best choice for simpler shapes that need a crisp edge. It’s one of the hardest tools in Photoshop to master, but once you get it down, it will be so useful to you. I have created an in-depth tutorial on the pen tool that will take you from total beginner, to a decent understanding of the capabilities of this powerful tool. Make sure to finish this tutorial and watch the video above first.
Here is the image of The car that I used from Adobe Stock. Let’s cut it out.
Step 1. Making a rough edge with the pen tool
I have my own way of using the pen tool, that I think works pretty quickly, I’ll introduce you to it here.
Choose the pen tool from the toolbar. Make sure the options at the top say path and not shape.
Click on the corner where you want to begin and drag in the direction that you want o make your path
Choose the first curve in your object and then click and drag again. This time you will see an elastic line between the 2 points. Notice how it changes when you drag close or further away from the point, or what happens when you change direction. Don’t worry about perfection at this point, all we want to do is make a path that roughly follows the outline of the shape.
Notice when I got to the right wheel, I made a few points around the car, I am keeping the ground, so I don’t need to select the bottom of the car.
To finish drawing your path, move the cursor over the very first point. As you hover, you will see a little circle. Click on that point to close the path and finish drawing.
Tip: The goal is to outline the subject with the least amount of points possible.
Step 2. Refining the path
Some people strive to get their paths perfect the first time around, and that’s ok too. Personally I like to break it into 2 phases.
Under the Path Selection tool, choose the Direct Selection tool.
You can now click on a point to activate it.
Zoom in nice and close and carefully drag the points into position. Click the ends of the handles to change the angle of the curves. Push and pull these end points to change the steepness of the curve. It may seem weird at first, but it will get easier with a little practice, hang in there!
Tip: To move just one side of the curve, hold down Alt/Option as you drag on an endpoint.
Step 3. Adding points to the curve
When you drag a point into tight areas with lots of curves, it will be tricky at first.
Here we have dragged the point into the mirror, but we aren’t getting the right curve on the top.
Choose the pen tool with the + on it to add a point.
Click and release on the line, where you want to add another anchor point. You will now see a new point.
You can go back to the direct section tool, or keep using the + pen tool (they work the same for dragging points)
Grab the new point into position and now you have a nice curve. Don’t worry if you are getting confused, check out this simple tutorial on the pen tool
Finish refining the path using the techniques shown.
Step 4. Finishing off the path.
Once you are done, let’s consider moving the outside points to fully cover the sky.
Drag the corner points until you have something like this. If you have gotten this far, congratulations!
Step 5. Making a selection from a path
Go to the Paths panel
You will see our path as “Work Path”. You can save and use this path as a clipping group in InDesign or Quark Xpress. (If you are going to a layout application for print, this is the best option because the path is a vector which sales and prints better than pixels.) For compositing work in Photoshop, convert to a selection and mask as in the following steps.
In this case, we are going to turn it into a selection. Hold down Cmd/Ctrl and click on the work path in the Paths panel.
You will now see the marching ants section.
Hold down Alt/Option to create an inverted mask.
And we now have a perfect cutout with the cleanest edges you have seen.
Alright, I have just shown you 3 methods for cutting out different images in Photoshop. The is a big tutorial, so make sure you watch the video at the top. I have also included more in-depth tutorials on the individual techniques in the links below. You may want to bookmark this page (and share with your friend). I think it will serve as a good “selection resources” landing page for you.
Here is a short list of my other tutorials on cutting out and extracting.
Thanks for checking out this tutorial and explore PhotoshopCAFE, there is a lot of useful content on the site.
See you soon,
Colin
If you like these kinds of techniques, check out my practical project course (Sky City Project) that will help you put all these skills to work in a real-world project. All the resources: photos, brushes etc are included.
A new Kickstarter campaign seeks funding for Chroma Chrono, a programmable RGB camera flash that emits multiple colors during long exposures. Users can program the flash using a web interface accessible on any device with a web browser and WiFi; the system enables users to choose the flash colors and the on/off duration for each color.
Sample image via Chroma Chrono
Chroma Chrono features a high-intensity RGB LED, a WiFi-enabled microcontroller, and three AA batteries. Users can connect the flash to a standard hot shoe or trigger it remotely via a Prontor-Compur adapter. The camera flash currently exists as a final production prototype with anticipated manufacturing if the Kickstarter is successful.
Backers are offered an early bird Chroma Chrono flash for pledges of at least £120 / $164.
Via: Kickstarter
The Everyday Sling might just be the perfect pack for not carrying too much gear, combining comfort with Peak Design’s signature modern style.
When the Fujifilm X-T2 arrived, it was more than just a modest upgrade to the already impressive X-T1. While the new X-T3 hasn’t changed the overall design of the camera, this model is way more than an upgrade; rather, it’s a quantum leap.
The Movie Maker is a compact, motorized slider designed for phones, action cams and small mirrorless cameras. We think it’s a fun little kit and a good value proposition for the cost, provided you can work around a few of its weak points.
Nikon’s Z7 is the first camera to use the all-new Z-mount, the company’s first new full-frame mount since 1959. We’ve put together our first impressions based on quality shooting time with a pre-production camera – check out what we’ve found.
We got some hands-on time with a pre-production LX100 II to get a better feel for the improvements Panasonic’s brought to the table. Here’s a rundown of what’s new – and what we think.
The instant camera market is heating up, and with four formats and 15+ cameras to choose from, we felt it was high time to examine them all and pick our favorite.
Whether you’re hitting the beach in the Northern Hemisphere or the ski slopes in the Southern, a rugged compact camera makes a great companion. In this buying guide we’ve taken a look at seven current models and chosen our favorites.
What’s the best camera for a parent? The best cameras for shooting kids and family must have fast autofocus, good low-light image quality and great video. In this buying guide we’ve rounded-up several great cameras for parents, and recommended the best.
What’s the best camera for shooting landscapes? High resolution, weather-sealed bodies and wide dynamic range are all important. In this buying guide we’ve rounded-up several great cameras for shooting landscapes, and recommended the best.
What’s the best camera costing over $2000? The best high-end camera costing more than $2000 should have plenty of resolution, exceptional build quality, good 4K video capture and top-notch autofocus for advanced and professional users. In this buying guide we’ve rounded up all the current interchangeable lens cameras costing over $2000 and recommended the best.
Editing with the Illuminate Lightroom Presets Collection
Attention PRETTIES! Pretty Presets for Lightroom has done it again! We have created something completely new and innovative for Lightroom users to add beautiful light infusions to their images and we could not be more excited to share it with all of you!
Get ready to discover the new Illuminate Collection for Lightroom. These Lightroom presets allow you to effortlessly add rainbow halos, a variety of lens flares, moveable sun glows and so much more with just one click of your mouse! Yes, we’re talking about realistic light effects in Lightroom. Do we have your attention now? We thought so!
The set includes a wide variety of organic looking lens flares, halos, and optical light enhancements to choose from, including both subtle and dramatic varieties to fit to fit just about any outdoor image. Now that’s something to talk about!
Would you like to see the Illuminate presets in action? Let’s edit a few images together.
Illuminate Edit #1
Let’s start with this image, already fully edited. All it needs is the perfect finishing touch from the new Illuminate collection for Lightroom of course.
We chose the Diffuse Multicolor preset for this image. This preset choice was a tough one because many looked great, but once we clicked on this one and saw how it lit up our image it was love at first sight. To apply the preset, we just chose our favorite of the forty five different enhancements and clicked on it to apply and voila – it applied to the image! Yes, it is really that simple – and FUN!
We almost feel like we cheated with that last edit because it was just too easy!
Illuminate Edit #2
Who wants to see another edit? OK, let’s play with this image, already edited and awaiting a magical touch from…you guessed it, the Illuminate Collection!
We chose Bokeh Flare 1 to add to this image. Like a lot of the other presets we can maintain control by having the choice to pick either left or right orientations.
For this particular image, we chose to have the flare come in from the right side because that is the direction the natural light is coming from.
We could just keep going with the before and after examples from the Illumunate Collection, but we know that you are just as excited to start playing as we are to share it with all of you! You can find the Illuminate Collection here.
Would You Like to Learn More about Editing with the Illuminate Collection? Check out these helpful posts.
3 Steps to Customize Radial Filters in the Illuminate Collection
Tips for Using the Lightroom Brushes in the Illuminate Collection
Hello everyone! For this guest blog post (thank you Scott and Brad for the wonderful invite to contribute!), folks are probably hoping to eek out some super slick tips and tricks about compositing, both for shooting and editing alike (and I’ll definitely deliver on those—I promise!).
But I also wanted to get a bit more philosophical about the nature of compositing and its greater possibilities and implications in my own life’s grand composite—and perhaps yours as well.
For those that could care less about the musings and meandering background of a super Photoshop wizard/nerd and just want the goods, feel free to jump down to the header “Five Tips for Shooting and Editing Composite Images” (you’re welcome :-)!
For everyone else feeling either a bit more curious, pensive, or similarly introspective, please read on!
Like creating any new image, I like to start at the beginning with sketches of the process and figure out some kind of endgame. So here we go with a medley of biography, discovery, and realization—but first, an overview!
Filtering and searching way way back, some of my earliest memories are of making art with computers—and after teaching Photoshop for over a decade at the university and college level (yes, big time-leap there!), and writing two books on compositing in Photoshop, I realize the lens through which I perceive the world and life in general has been forever altered. It’s helped me shape my own creative direction. As my (nearly) six year old son now describes his dreams to me in terms of Photoshop tools and features (and accurately I might add!), I see that my focus has even spilled (just a bit) onto my family as well (sorry, family!).
I also realize that I’ve always been a compositor in life—or at least a collector, editor, and creator in some form for nearly my entire 33 years of being. I also believe that we all are compositors to some extent, whether or not we realize it; after all, life is essentially one mega composite we piece together one experience, moment, scar, and laugh at a time… I know, deeeep, right?
But seriously, there is a lot to be said about having a creative career concept, a goal, and using the pieces you have at hand (some garbage and some pure gold)—and seeking out or creating the ones for the concept we’re after. Yes, this is one big “compositing is a box-of-chocolates” life metaphor/story (please excuse the metaphor merge here). So for those interested in going a bit deeper into these layers, here’s a bit of my own composited story… And no, it does not start with a floating feather picked up by Tom Hanks—but that was a pretty damn good composited intro for its time!
A Little Personal History Panel Scrolling way back again into my own childhood, I was doomed to be an artist from the onset. Starting with lining beans up into a perfectly (obsessively) straight line on some craft paper, my mother had me pegged at only a year or so of age. I believe her gardening journal for that day read something prophetic such as, “he’s definitely doomed to be an artist.” Okay, she probably did not use the word “doomed” but the realization was definitely meta tagged in there.
And while my mom was hobbit level earthy, my dad was equally Tron level nerdy as he ran his own “cutting-edge” computer business in the 80s. Dual custody between the two was like going back and forth from PC to Mac every week—blast you Ctrl vs Cmd!
However, when living with my dad on his week with me, I had access to gadgets such as those early scanners (the kind you had to hand roll over your images with) and the very first digital art applications. I discovered that when bored enough, there was definitely quite a bit you could do with nothing more than a pencil tool and paint bucket.
I was constantly inspired with the fantasy garden dreamland of my mom’s place and was jacked into the Grid at my dad’s. This all happened with a backdrop of living near Yosemite as my non-virtual backyard. This combination made for some interesting early digital art to say the least! Hidden metaphor tip in this—pick out an interesting background if you can.
Learn From Failure And Success Unfortunately though, my first memory of inspirational and creative failure hit deep (definitely a destructive edit). Apparently the local county fair art competition judges did not understand digital art of any kind (there was definitely no category for it in the early 90s). I suppose I can dismiss my “honorable mention” non-award award, in that I was perhaps a bit too ahead of my time as the crayon drawn house with a crappy looking rainbow took first place that year. Solid play on that kid’s part though—and it’s a good thing I’m still not bitter about it… because that would be one strange snapshot of childhood to travel around with waiting to use as a background to motivation.
Speaking of which, these are all literal (mental) pictures in my life I that have inserted into a number of life compositions and choices. Some imagery we just have with us, and it shapes what we can do with it, who we are, and where we’re going with the pieces. My mental archive to this day is my most cherished inspirational material. Sometimes for texture, narrative, concept, or adding some atmosphere—or revenge! Check out my composite from ten or so years ago (notice the house with a rainbow? Take that, first place-winner kid from childhood!).
Each Composite Has Its Strengths, Difficulties and Elements of Contrast Scroll down/forward a bit to an awesome artsy Waldorf school education and my dad tragically passing away when I was nine years old (yeah, that one sucked). Regardless of what the life experience is, both joy and drama can definitely add dimension to the composite—and this too had a hand in heavily shaping the direction of my ongoing layering and the direction I have since taken the composition.
From then on, it was entirely up to my mom to see my interests in digital arts continued and supported—and for that she essentially made sure we had a computer loaded with art programs (thank you, mom!) including an early version of Adobe Photoshop (version 2), and the rest was up to me.
An interesting counterpoint complication to this form of creativity was the influences of my school. A large part of the Waldorf School philosophy was/is to heavily discourage computer and screen-time use for children (even back then) of any kind, so I was always a bit of a closeted digital art nerd.
This snapshot of minor intrigue and juxtaposition came in handy though, at least creatively—I was a well supported digital rebel. And contrast is always a nice touch for just about any final image. So is community and family support for that matter.
To Create Is To Play By the time I was released into the public high school along with my friends, we all had computers (finally!), and we were soon killing each other on networked computer games of extreme violence and gore. But even then, I was somehow the ultimate class creative nerd, even in gaming—and would use my super art/design magic to create beautifully elaborate and intricate game levels to then brutally trap and murder my friends within (what are besties for after all?).
This was another technical direction to the development of my creativity—and my friends definitely paid the price with their avatar lives. I learned that like legos, building your vision is incredibly fun and rewarding. Imagination could be made tangible—and even playable. This is how I think of digital creative tools to this day. Only with less gore.
Experiment And Push Your Creativity To The Edge Throughout high school though, I never took an actual art class until darkroom photography (which blew my mind and forever changed my life—more on this soon) my final term of senior year. Even without any traditional art classes for four years of high school, I was misguidedly voted on by my peers as “Most Artistic” student of our class (which I bet confused the hell out of those art teachers I never met).
However, it was the photography class that truly had the most impact as I found a catalyst for my creative medium. Even back then, I began compositing, Jerry Uelsmann style, in the darkroom, combining everything I shot.
At 18 years old I took a trip to Europe with some close friends, and started scanning and compositing the resulting images in Photoshop before I really knew what compositing was. Experimenting a bit and pushing yourself creatively is an important goal for any big project.
As mentioned, taking that photography course opened my eyes to the pure magic of a new kind of image creation. It also most definitely made me wonder why I took band as an elective for all those years instead of photography (what was I thinking?!)… But then again I may never have met my wife as she was first chair clarinetist, so there is that.
In any case, I went on to UC Santa Cruz for a degree in Film and Digital Media, then immediately on to graduate school at Syracuse University for an MFA degree in Computer Art. This is where I took my self-taught Photoshop skills to another level and started winning awards and various features—and my first master class tutorial in Advanced Photoshop magazine.
That, unfortunately, gave me the first inkling that I could indeed write a book on the subject. This was also a great lesson that just because you could do something, does not mean you should—but that’s another story entirely! (Sorry for writing the book, family! And the second one too).
Refine Your Concept/Goals and Find Your Drive During graduate school I also directed and edited an award winning feature length documentary on Greenwashing (Greenwashers 2011). Oh, and I also used my minor in electronic music to co-score the feature film as well. For some reason this still gets screened internationally at various festivals and educational institutions (as the concept is still fairly relevant across the world).
This epic filmmaking experience is where the concept of compositing comes back into more relevance. Each of these mediums (for myself at least) are nearly indistinguishable from a creative standpoint. For documentary filmmaking, it is about collecting, gathering, imagining, pre-visualizing, then shaping, arranging, layering, building, and whittling to the core of the concept and balance of the story and composition. It’s a different dimension of the same processes as compositing in Photoshop. Same with music composition as well—you build, piece by piece, layer by layer, getting each element in the appropriate location, at the right level of intensity and emotion—everything needs to resonate and blend seamlessly, intentionally. In this layer of my life (well, more like a smart object, really), it awakened the realization of power behind the combination of intent and craft. Results were the results (obviously?).
Enjoy your Inspiration Moving to the Pacific NW, my wife and I soon had a son, Kellen (okay, my wife obviously did all of the real work on that part of creation some six years ago), and my world became both smaller and much much larger all at once. The only creative outlet and interest I really had was in raising my little super-dude, so this became a literal compositing theme in my Photoshop work.
We all use the tools and resources we have at hand, so I unabashedly drew my family into my creative obsessions. Out went any need for gaming, and in came a new level of digital play that was more addicting than any high score or Facebook like (though I have to say, those were nice as well). This realization paralleled my earlier theme of finding out that creating is play in itself as back when I created my own video game levels. Though in this creative play, the gore was definitely replaced with the stinky kind waiting to attack me hiding in some little guy’s diaper—and I definitely paid the price this time around.
Make The Plan, Pursue The Goal With most of my own imagery archived deep, ready to pull out when needed, the most recent elements I had to plan, pursue, and persistently capture at just the right angle, lighting, and timing. From national and international client work, teaching at universities and colleges full-time, in addition to teaching online with Craftsy, CreativeLive, and now with KelbyOne (yay!), these pieces don’t always just fall into place on their own, but take quite a bit of shooting and reshooting to get done right.
I wrote the first edition to Adobe Master Class; Advanced Compositing in Adobe Photoshop before I turned 30, then when that one sold out everywhere, I wrote the second edition (aka tortuous-rewrite/expansion) which just came out this last December. Super proud of this one, though I’m still not sure anything is worth that much slogging at three chapters a week (one new, two edits). Okay, done complaining about my feather.
Conclusion In general, and in case it was somehow missed, this entire story is a bit of a composite in itself, right? It more or less has just the pieces that I feel fit with the concept, creatively, professionally, and personally. Quite a lot has obviously been masked out in this story, but I think that’s the point of compositing in general. Concept to finish, usage of vignettes, paying attention to eye-flow, hierarchy, it all matters in how we move forward and finalize the idea behind it all. We all have choices as to what we bring to our subject and narrative—and how we can better blend the elements we’re perhaps stuck with and the ones we still need to go out and gather.
With proper planning, imagination, numerous fails, attempts and more attempts—and loads of creative drive and obsession, we all composite to some extent. Hopefully we like the results and have a load of fun along the way. For myself, I’m doing my best to think big and make the most of each element I have. My final concept? Have a magical adventure and make it a blast! Okay… that sounded a little bit like I want to take a trip to Disneyland, but I think (hope) you get the point.
And now, as promised, here are some actual relevant tips on shooting and compositing in Photoshop—enjoy!
Five Tips for Shooting and Editing Composite Images
For shooting in-frame composites (ones where all the material is in the same framing), lock down your camera and settings, and use either an intervalometer—or better yet, the wifi or bluetooth wireless tethering capabilities of your camera and phone/tablet app if it has it. Not only can you see and control the live image on your phone or tablet screen, but you can easily see exactly how to better position every single element and push your concept and pre-visualization to the next level.
Again, for in-frame compositing, select each piece you want to bring into the composite using the rectangular marquee tool (M) and give loads of room around each element you drag to select—then copy (Cmd+C/Ctrl+C) and use paste in place (Cmd+Shift+V/Ctrl+Shift+V) in your master composite file. This will paste the selected content exactly where it was copied from, leaving out the guesswork and the wasted time spent having to tediously move the element to properly match up with the background content. Mask as needed—you may not even need to use Select and Mask, and rather, just paint with a soft brush around the subject and edges of the copies (if there is nothing overlapping behind it).
Sometimes a single layer can be slightly too light, too dark, too warm, cool, etc. than the others (even those shot during the same shoot!)—use clipped adjustments when this happens. This tip is an obvious one for some, but if you are not yet using clipped adjustments, you are definitely missing out on the amazing potential to isolate adjustments from layer to layer without globally adjusting your composite from the top down. To clip an adjustment layer to affect a single layer, place the new adjustment (or any layer with an altered blending mode that you want to only affect the one below it) directly above the one you want to clip to; next, hold down Alt/Opt while you click directly between the two layers. Just before you click, you should see the mouse pointer change to a clipped icon indicating the hotspot for this killer feature. Adjustment layers also come pre-equipped with this capability in the form of a button at the bottom of the properties panel for the adjustment layer.
When shooting composites such as adding a subject to a completely different background (such as those shot in studio being transported to outside or a different location in general), don’t just match lighting direction and quality (this should be a given, hopefully ;-), but match both original background shot focal length (check the essential metadata in Bridge or Lightroom to see your settings) as well as frame position and distance of the subject to the camera. This will not only make your compositing SO much easier in post, but it will definitely make it look more believable as our eyes pick up on even small things that are off—even if we can’t exactly put our finger on it.
One trick I use to better color continuity in all composite scenarios is to desaturate all the various elements, then bring in your own color cast effects or filters—then increase the vibrance as a global adjustment (not saturation). For warmer tones, try something like a new solid fill layer that is a yellow-orange. Change its blending mode to Overlay and decrease the layer’s saturation to under 15%. This always adds some nice warmth to a composite without muddying the highlights like the Photo filter often does. Another thing to play around with is the Color Lookup adjustment layer as this adjustment has some quite interesting presets that you can toggle through much like phone photography app filters. You can always use the adjustment layer’s opacity slider to bring in however much you want or don’t want for the desired effect.
And with that, I will leave you all to ponder the meaning of your own composites, whether in the grand picture of life—or more literally within Photoshop. Either way, rock on!
You can see more of Bret’s work at BretMalley.com, check out his classes on KelbyOne, and keep up with him on Facebook and LinkedIn!
Next up on our “world tour” of Los Angeles food trucks–Mac’d-N-Loaded! This was a fun job, to be sure. Got to use some lenses I rarely use, and meet some really cool chefs.
So–how do you separate yourself from all the hundreds of food trucks out there? Especially in LA? One way is to have one of the coolest logos on the planet. (I mean macaroni “loaded” in a revolver for a graphic – can we say creative?) We had fun on location with this, conjuring nicknames the likes of, “Macaroni Mohaska,” “Rigatoni Revolver,” and “The Penne Pistol.”
Most importantly, of course, you stand out by serving up really great comfort food ( macaroni and cheese), great service with a smile, and of course the mobility of all this deliciousness being on four wheels. Above are Dwayne, Tetsujin and Dwight, the principals of our second food truck shoot in a series of environmental portraits in collaboration with Samy’s Camera.
This truck, called Mac’d-N-Loaded, is a staple in LA. They work all manner of events, large and small, and honestly, when you want some mac’n cheese, (and who doesn’t?) they are a welcome sight.
Different strategy here in terms of light. With the other trucks, I was dealing with shiny interiors, and in another instance, working at night, creating highlights with Speedlights spotted down or controlled with grids. In this instance, though, it was broad daylight, late afternoon, and I had to cover these three wonderful faces. So I went the other direction, using a Lastolite 4 in 1 umbrella as a broad shoot thru, and it was fitted with a Lastolite tri-flash, so I could get three SB-5000 units going to match the strength of the daylight. Needed some power, and some smoothness to the light, which is a strategy that translated into a fairly sizable f-stop. Which I wanted–with a truck like this, you really want to see it, right? The pic up top is 1/250th, f/18. FYI, also, the light source is stuffed right into my left shoulder. I got it as close to my subjects as possible.
Thanks to the video crew who was with us again and provided BTS film support which will become videos on the Samy’s Camera site.
Dwight (CFO and hardworking young entrepreneur) was fantastic to work with. Enthusiastic and up for spending time with us in the course of his busy day. Can’t thank the crew enough. Here they are below. Shooting this from the driver’s cab of the truck, with a 16mm f/2.8 fisheye and that big umbrella, hand held this time, with the tri-flash, stuffed into the tiny confines of the cab. Quick shot, fun to do.
Have you ever noticed how, in some of your shots, your subject and or certain elements of the image will have a colored halo around the edges? This is known as “Chromatic Abberation” or sometimes called “Color Fringing.” In this post, we will look at what it is, and how to correct it in Photoshop.
What is Chromatic Aberration?
I don’t want to get too bogged down in lens optics in this post, because this post is geared more towards correcting the problem than analyzing it, however, it is important to know that chromatic aberration can occur with any type of lens. It is the result of our lenses failing to focus on, and line up, various colors as they enter our lens.
Some of the most common color fringes are magenta/red, and cyan/green. So, for example, when you see a magenta halo on your subject, you will know that the color magenta did not hit the convergence point in your lens with the rest of the colors on the spectrum, therefore it is visible in your image.
Color fringing is most likely to occur in high contrast images, so you will often see color fringing in images that are backlit.
It is quite common, and also nothing to worry about – your lens and/or camera are not broken! Color fringing can, however, be distracting, especially in a printed image, so that is why I am going to show you two quick ways to correct it.
How to Fix Chromatic Aberration in Photoshop
As you can see in this example, there is some magenta color fringing along the subject’s arm, and also on a few strands of hair:
There are lots of ways to correct chromatic aberration in Photoshop, so let’s look at two of the most straight-forward:
Fixing Chromatic Aberration Using Gaussian Blur + Color Layer Style
On a duplicated layer, select Filter>Blur>Gaussian Blur:
Adding a Gaussian Blur will help soften the line of the color fringing.
The amount of blur you choose will depend on how large (number of pixels and dpi) your image is. My original image here was around 7000 pixels and 300 dpi, so I chose to blur at a radius of 10 pixels. If your image is smaller, you could choose a smaller blur radius, but 10-15 is a good rule of thumb for the majority of images:
In your Layers palette, set the mode to Color. This will desaturate the color fringe:
Now, select a Hide All Layer Mask so that you do not see the effects of the Gaussian Blur + Color Layer, only the original image:
Click on the Layer Mask to highlight it in your Layers palette. What we will do next is use a soft white brush along the areas where we have color fringing:
What this step does is reveal the hidden layer mask – the layer mask that includes the Gaussian Blur and Color Layer, ONLY on the areas that we brush over. In this example, I used my brush on the subject’s arm, and on a few strands of hair. That way, the blur/desaturation only occurs in the areas where I apply my brush, rather than the entire image.
Fixing Chromatic Aberration Using Photoshop Lens Correction Filters
Photoshop CC and CS has a filter that will correct chromatic aberration and color fringing, but it is often hit or miss and sometimes requires more tweaking than the above method. When it works, though, it works very well!
Select Filter>Lens Correction:
Select the “Custom” tab.
In the Custom panel, you will see a section for chromatic aberration which allows you to fix the color casts:
Since this image has color fringing with a green/magenta cast, I took that channel all the way to the left, to -100.
This is an instance where Photoshop’s built in chromatic aberration filter worked very well, so you will need to experiment and see which method works best for you, as it may vary from image to image.
Do you have any questions or comments about Chromatic Abberation and how to fix it in Photoshop? Leave us a comment below – we would love to hear from you! And please share our tutorial using the social sharing buttons (we really appreciate it)!
Anna Gay
Portrait Photographer
Anna Gay is a portrait photographer based in Athens, GA and the author of the dPS ebook The Art of Self-Portraiture. She also designs actions and textures for Photoshop. When she is not shooting or writing, she enjoys spending time with her husband, and their two cats, Elphie and Fat Cat.
Daymond John is the CEO and founder of the iconic lifestyle brand, FUBU, which he started by selling handmade hats on the street and went on to have more than $6 billion in sales. You’ve seen him as the “snake in the grass” star on ABC’s Shark Tank, which is currently in its tenth season of filming. He released his first NY Times best selling book, Power of Broke, in 2016, and is just about to drop his second, Rise and Grind.
This is Daymond’s second time bringing his buttery soft hands and understated wisdom on the show and somehow we had even more fun than last time. Between jokes and anecdotes, Daymond drops some serious wisdom on how to keep your goals, habits, and pursuit of your dream life simple and effective.
In today’s episode:
While writing Rise and Grind, Daymond found some killer recurring themes for living your most productive and best life. Most of them you’ve heard on the show before- meditation, importance of sleep, exercise- but he drops some new shared habits and techniques on prioritization and goal setting.
Entrepreneurship is simple. It’s just figuring out each roadblock, each problem, one at a time and not getting comfortable with it.
If you can’t answer why you want the success that you claim to, you probably won’t have the fortitude to keep going when the going gets tough. There’s power in defining exactly why you want the things you do, and revisiting your goals regularly to make sure you still want them.
Take me back to your first entrepreneurial moment. How did it start for you? [4:48]
Wasn’t there a side gig doing auto body or something? [6:33]
How did you get from your many entrepreneurial experiments to what you really want to do? [9:16]
Let’s talk about fear. [13:00]
How did you overcome your dyslexia and are you an entrepreneur because of it? [16:15]
How did you figure out your daughter was dyslexic and what did you do? [21:00]
It sounds like schooling did not go well for you, is that fair to say? [22:48]
How does the world that you grew up in differ from the world that you see today with respect to education and opportunity? [23:20]
Why did you assemble all the great minds found in your book? [24:42]
What is your morning routine? What are your answers to the questions you’ve asked in the book? [34:37]
Anything in particular you like to do while you exercise? [38:35]
Can you share one of your ten goals? [39:26]
What are some patterns that you saw from Rise and Grind? [40:53]
Do you feel like you have a life or have you made your life your work? [46:27]
What’s with starting new habits at the new year? Why not now? [49:30]
Besides your book, what else is a focus for you? [50:20]
What’s hard for you right now? [54:52]
What is something that people don’t know about you that they’d be surprised to learn? [58:53]
Anything else you can share about Shark Tank? [1:01:20]
In This Episode, You Will Learn:
Daymond’s new book, Rise and Grind, comes out January 23rd. Check it out! [1:00]
The questions that Daymond asked a host of successful people, which led to his new book. [3:20]
Daymond’s first gig was running a “gypsy van” service, stopping along bus routes and picking people up for less than the bus charged. [5:30]
How Hollis, Queens shaped Daymond. [10:00]
The three things that pushed Daymond to start FUBU and keep it going. [11:27]
How to use fear to propel your efforts and your focus. [14:15]
Daymond manages his dyslexia by doubling down on his strengths. [16:48]
Out of the 12 sharks on Shark Tank, 8 are dyslexic! [19:20]
Speaking of interactive learning, check out Daymond On Demand, an 8 hour series Daymond put together to help you solve your entrepreneurial problems. [24:00]
How Daymond found out he had stage 2 cancer. [28:36]
Check out the FUBU-Puma collaboration, to be released on January 26th. [31:05]
“Discipline creates freedom.” [33:37]
Daymond’s morning routine and how he uses his phone in the morning to stimulate his mind. [35:05]
Daymond’s goal setting technique that he learned from Think and Grow Rich. [35:48]
Why Daymond changed his exercise time from late at night to the morning. [37:04]
A shining example of how to set a clear, quantifiable goal. [39:50]
The story of how one of Daymond’s hairstylist friends found a way to create her dream life. [42:51]
Entrepreneurship is simple. It’s just figuring out each roadblock, each problem, and not getting comfortable with it. [45:13]
The importance of asking yourself why. [46:55]
Check out these videos Daymond and CreativeLive did to help you wake up every day to rise and grind. [50:05]
Daymond opened up a coworking space called Blueprint and Co for fellow sharks. [52:21]
How Daymond is trying to get his message across by adding music to his speeches. [53:00]
Party like Daymond John by getting early detection! [56:55]
Daymond loves the outdoors. [59:00]
How Shark Tank is business theater and the characters the sharks play. [1:00:00]
Daymond gives a rundown on his relationship with all the fellow sharks. It’s a crack up! [1:02:00]
This podcast is brought to you by CreativeLive. CreativeLive is the world’s largest hub for online creative education in photo/video, art/design, music/audio, craft/maker, money/life and the ability to make a living in any of those disciplines. They are high quality, highly curated classes taught by the world’s top experts — Pulitzer, Oscar, Grammy Award winners, New York Times best selling authors and the best entrepreneurs of our times.
Posted By Scott Kelby on Tuesday, August 28, 2018 in Featured, Lightroom Classic, Lightroom Coffee Break |
Another great 60-seconds or less tip from Lightroom Team member Benjamin Warde. This one is for when you’re removing dust and specs from your shot — it’s how to make you’ve checked every inch of your image to make certain you didn’t miss any. Check it out:
Thanks, Benjamin. 🙂
Here’s to a rockin’ Tuesday!
Best,
-Scott
P.S.My 11th Annual Worldwide Photo Walk is coming up on Saturday, October 6th in cities all over the world. Join a photo walk near you (it’s free) at WorldwidePhotoWalk.com