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How to use crop modes on your full frame digital camera.

The reality of the world is that images are almost always cropped from what they were in camera no matter how we share them. This is largely due to the constraints of mobile phones where wide aspect ratio images can be hard to view on phones when the phone is held in portrait mode.

The weird thing is that every website or app is a little bit different. Some sites force your images into their own highly restricted crop such as Instagram, and some sites like Flickr don’t care what crop is used. The main concern for using either of those services is how people are most likely to view your images which as far as I know is still a mobile device.

To help photographers deal with this, did you knot that most (if not all) full frame 35mm digital cameras have built in “crop modes” which apply a digital crop to your image in camera?

For example, my camera will shoot in 4 different crop modes (also called aspect ratios). It will shoot in a 4:3 aspect ratio which is the old TV standard for HD television. It will shoot in 1:1 format which is a square format used as we all know on Instagram. It will shoot in 16:9 which is the modern standard for television screens, computer monitors, and many TV shows. Take a look at the comparisons below to get more of an idea of how these different formats relate to each other.

When using these alternate aspect ratios the RAW image remains unaffected. After opening the RAW files in Lightroom a crop will be automatically applied to the image but you can just remove the crop and voila, you’re back to having a full frame image again. If shooting JPG the final image is cropped and the 35mm full frame image can’t be recovered.

Since the RAW file retains the 35mm full frame image a different aspect ratio can be used as a bit of a cheat to help avoid framing mistakes. Say you’re the type who tends to shoot with a tilt or off to the right all the time, or maybe you tend to shoot with the subject low or high and cut off people’s feet. If you’re one of those types then using one of these alternate aspect ratios can force you to frame your images better.

For instance, if you want to make sure you always have room on the sides of your images, you can use the 4:3 crop to force yourself to frame a little wider on your subject. This might be especially useful if you’re shooting fast action such as sports and you want to make sure that there is room in the image to get a nice frame around your subject for publication.

For instance, if I was shooting baseball or basketball where there is usually a focus on what a single player is doing, I might choose to shoot in RAW with the 1:1 crop active. This would force me to put the player close to the center of the frame at all times.

Think of it as a way of making a repetive job a little easier on yourself and you might start to see the benefits of using different crop ratios when you’re taking pictures.

It would be really cool if the camera allowed me to create a couple custom crop ratios for all the different websites out there as well, but, I haven’t heard of a camera that can do that yet.

The R5 can also shoot with a full APS-C crop. Below is a comparison of the full frame area vs the APS-C area.

If you’re far away from the subject, say a bird or other kind of wildlife, then shooting with an APS-C crop not only saves some file size but it can help the photographer get better framing for their final images. It also allows the R5 to work a little more seamlessly with other APS-C cameras if other people happen to be using those.

Despite all this, many if not most photographers will immediately ask why anyone would throw out all those pixels that they paid so much money for in a full frame camera. Well, they honestly have a good point and it’s why I rarely to never use APS-C crop on my camera. For one, while the APS-C crop does offer some logic, it’s really better to use a longer focal length to achieve precise framing. On the R5 a full APS-C crop is still 17.2 megapixels which isn’t too far off from actual crop sensor cameras that are often around 24 megapixels. But it is a far cry from the 45 megapixels of the R5’s full frame sensor. Bottom line: going to APS-C on the R5 throws out more than half the resolution and that would be true with any FF camera that offers the ability to shoot in crop mode.

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18/06/2025
How Long Do You Keep Client’s Files? Horror Story!

It’s a tale as old as time, but when you enter into work in the photography space without a contract, problems like this are bound to arise.

An unfortunate Redditor recently revealed on the site that a client they had done a shoot for eight months previously came back asking for the download link.

Unfortunately, and somewhat predictably, this was about a week after they had already deleted the client’s photographs.

And this was one of those situations in which, as you guessed, there was no contract.

Now, we are not in any way naive enough to believe that a lot of photographers aren’t working on good faith in this industry—but what happens when situations like this arise?

For one, it potentially leaves you open to legal repercussions—a knife that cuts both ways.

Of course, as anyone will tell you, the first thing in a legal situation that lawyers will ask for is the contract. And if there is no contract, you are about to enter a quagmire.

But this particular situation also raises the question: how long is reasonable to keep a client’s old work? For that, you might need to use common sense—or, preferably, as you guessed it, have a contract in place.

So how long do you keep clients’ work?

Is eight months a reasonable amount of time?

And do you have a standard contract that you use that covers this scenario?

Let us know in the comments.

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28/05/2025
How to Fix Blurry Sports Photos
Taking crisp action shots of sports figures can be challenging, and sometimes an otherwise perfect shot is just a little out of focus.

In this tutorial, you’ll learn how to fix blurry sports photos—including methods you can use to sharpen and fix out-of-focus sports photography, as well as tips to ensure your next sports photos are crisp and clear.

How to fix a completely blurry sports photo

A completely blurry sports photo is when nothing in the frame is in focus. This often happens in action shots. If this happens to you, there are several filters you can use in Photoshop to sharpen the entire image.

Using the Unsharp Mask Tool

Photoshop has a filter specifically designed to sharpen images, known as the Unsharp Mask tool. A blurry image can never truly be “sharpened,” but Unsharp Mask attempts to detect the edges of your photo by looking for side-by-side pixels that are different in color. Then, the tool allows you to adjust the contrast of those pixels and create the illusion of a sharpened image.

To use this tool, open your blurry sports photo in Photoshop. Make sure you have the layer containing the image you want to sharpen selected (in a JPEG, this would be the Background layer).

Next, choose Filter > Sharpen > Unsharp Mask… from the dropdown menu at the top of the application window.

A dialog box with Unsharp Mask settings will appear. Within this window you can adjust the Unsharp Mask settings. These settings allow you to finely tune how much contrast Photoshop will apply to the pixels within your image.

You’ll see a portion of your image displayed within the dialog box. You can use your cursor to drag until a critical portion of your sports photo appears in that image window. In the example below, we’ve positioned the cyclist’s face in the window.

Next, you’ll see three sliders:
1. Amount: The Amount setting adjusts the increase in contrast between pixels.
2. Radius: Radius adjusts the number of pixels along an edge that will be affected by the contrast increase.
3. Threshold. Threshold tells Photoshop just how different those pixels must be from each other before they’re considered an “edge.”
Make sure Preview is checked so you can see how the image will change when you make adjustments within this dialog box.

Each image you adjust will have different settings for these three sliders, because no two images are identical. Play with the sliders until you figure out which combination of settings works best for your image without creating an overly contrasted result.

Once you’re happy with the final image, click OK.

So, it’s not perfect, but it is an improvement.

Sharpen blurry sports images using High Pass Filter

Another Photoshop tool for sharpening blurry images is the High Pass Filter. In fact, you can use High Pass Filter and Unsharp Mask together to create an even sharper image.

To use the High Pass Filter, first duplicate the layer that contains the image you want to sharpen (most likely your Background layer). You can do this by clicking on the Layers panel menu (four little horizontal lines in the upper right corner of the panel) and choosing Duplicate Layer….

With the new layer selected, choose Filter > Other > High Pass… from the dropdown menu at the top of the application window.

Your image will go completely gray. You’ll only see the outlines of your edges in the image.

In the High Pass dialog box that appears on the screen, move the Radius slider to the left to reduce detail or to the right to increase the details of the edges. Make sure “Preview” is checked so you can see the effects of moving the slider. In general, keep the radius at 7.0 Pixels or less so your end result will look natural.

Click OK.

Next, go back to your Layers Panel. Change the Blending Mode of the top layer to “Overlay.” (By default, the Blending Mode will be set to Normal.)

Your image will now appear sharper.

For an even sharper image, you could apply Unsharp Mask, and then a High Pass Filter on top of that.

You capture the action, we’ll look after the edits. Sports photo editing services start at 25¢ per image.

How to fix a specific area of a blurry sports photo

Sometimes, you want to capture motion blur and keep the visual effect, but you also want your subject’s face, or some other portion of the photo to be crisp. There are multiple ways to do this, including using selections, using layer masks, and using Photoshop’s Sharpen Tool.

How to use a selection and layer mask

Go back to the image you just sharpened using a High Pass Filter. Now, you’re going to remove the sharpened effects from every part of the image except the cyclist’s face—and then add additional effects to that area to create even more crispness.

Using the Marquee Tool in Photoshop’s Toolbar, draw an ellipse or a rectangle around the area of the photograph you want to remain crisp.

Next, choose Select > Modify > Feather… from the dropdown menu at the top of the application window.

In the dialog box that appears, type in a value between 100 and 250. This will give you the smoothest feather of your selection.

Now, go back into your Layers panel and choose the layer that contains your High Pass Filter. Click on the Mask icon at the bottom of the Panel. This icon looks like a black rectangle with a lighter circle inside of it.

Once you click on that icon, you’ll see a mask appear in your layer. It will look all black, except for the area of your selection, which will appear white.

You’ve now made it so the High Pass Filter will only appear on the area where you originally created your selection, or in the case of this example, on this cyclist’s face.

How to use the Sharpen Tool

You can sharpen the cyclist’s face even more by using Photoshop’s Sharpen Tool.

Select the Sharpen Tool from the Toolbar to the left of the application window. The Sharpen Tool may be sitting behind the Blur Tool or the Smudge Tool.

In your Layers panel, select your original laye—the layer that does not contain the High Pass Filter. Then, with your Sharpen Tool selected, “paint” over the areas of your image that you want to be a bit crisper. In the below example, we went over the cyclist’s eyes and mouth with the tool.

Like all tools in Photoshop, you have the option to adjust the strength and size of the Sharpen Tool in the Options Bar.

How to remove a blurry background from a sports photo

Sometimes a photographer will want a clear subject and a blurry background in a sports photo. However, there are times where a crisp background makes more sense. In these instances, it works best to remove the background altogether and replace it with a new image.

For the following examples, let’s use this image of a young woman holding a basketball.

Use AI to remove a background in Photoshop

The easiest way to remove a background is to use the “Remove Background” tool, which is part of Photoshop’s new AI tools. However, while fast, this tool isn’t always the best option, as you’ll see in a minute.

To use the tool, make sure the Contextual Task Bar is visible. By default, it is—however, if you don’t see it, make sure Contextual Task Bar is checked under the Window dropdown menu.

With the Contextual Task Bar visible beneath your image, you’ll see the option to Remove Background. Click on that option.

The result will be…okay. But not perfect. To really remove the background from an image, you’ll need to add a human touch.

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Remove background using Select and Mask

Another option to quickly remove the background of your image is to use the Select and Mask feature in Photoshop. To do this, go to Select > Select and Mask… from the dropdown menu at the top of the application window.

A new window will appear. In this window, choose Select Subject. You can refine the subject by using the “Refine Hair” button and the tools on the left-hand side of the window, including the Magic Wand Tool.

Once you have your subject selected to your satisfaction, scroll to the bottom of the Properties tab at the right-hand side of the window. Change “Output to” to “Layer Mask.”

Click OK.

Back in your regular image window, you can now refine the subject more. For instance, Select and Mask didn’t do a very nice job of selecting the model’s hair, and parts of her left hand are cut off. You can fix this manually using Photoshop’s Pen Tool and Background Eraser Tool.

Refine selection using the Pen Tool

You can use the Pen Tool to refine crisp edges of your subject.

First make sure you have the mask portion of your layer selected. Then select the Pen Tool from the Toolbar at the left-hand side of the application window and draw along the edge of your subject. Create a selection from your path, then delete or add portions of your image back in to achieve the desired edge to your subject.

Use the Background Eraser Tool

Next, you can use the Background Eraser Tool to refine the hair of our subject. You can get to the Background Eraser Tool by clicking and holding down the Eraser Tool in the Toolbar.

It’s best to work in stages around the edge of the subject’s hair, so choose one side of the head to start on. Then, set your background color to the color of the background behind that portion of hair. Use the Background Eraser Tool to refine the edge of the hair and continue to change the background color as needed as you work around the entire head.

Once you’ve sufficiently removed the background from your subject, you can insert a new, crisp background into your image.

How to avoid taking blurry sports photos

While Photoshop offers many options to reduce motion blur, the best way to get a crisp photo is adjusting your camera and equipment settings for the scene you’re shooting. Take plenty of test shots before the event to get your setup close to perfect, based on subject speed and lighting conditions. Shooting in RAW instead of JPEG gives you more flexibility to rescue blurry or underexposed photos later. Even if you don’t have the time to spend on fixing photos, you can outsource photo editing to Path using your captured RAW images.

Below are some simple but effective shooting tips to make sure your next sports photos are perfectly in focus.

Fast shutter speed

When you’re trying to capture a moving subject, you will need to use a fast shutter speed if you want the subject to appear clear, or “frozen.” How fast a shutter speed you need (and can use) depends on how fast the subject is moving, how much light you have to work with, and how wide or narrow the aperture of your lens is.

For subjects that are moving at high speed, such as running athletes, cyclists, or racing cars, you will need a shutter speed at least 1/1000 sec, and probably closer to 1/4000 sec. Different cameras offer different shutter speed options, and some new mirrorless options offer shutter speeds up to 1/64,000 sec.

If you want to create a blurry background with your subject still sharp, use the panning method. Reduce the shutter speed to create a blur and move the camera in the same direction as your subject when they move past you. It takes plenty of experimentation to get your settings and hand movement right, so don’t worry if you don’t get it on the first try.

Adjust light

When you reduce your shutter speed (meaning you make it faster, such as going from 1/250 sec to 1/1000 sec), you reduce the amount of light that hits the sensor through the shutter. Therefore, in order to have a bright image, you need to compensate for the high shutter speed by raising the ISO, widening the aperture, or both.

Taking photos with plenty of light is important to ensure that the photo comes out at the correct exposure, at the zoom level you need, without the increased film grain that can occur from high ISO values in low-light. Taking photos outdoors during the day will provide a lot of light, as will using a flash. Before you use a flash at an indoor sporting event, however, check the event’s rules for flash photography. Many sporting events don’t allow flash photography from professional photographers, unless they’re the official contracted photographer.

Reduce camera shake

Camera shake happens because even when you try to stand perfectly still, your hands naturally make tiny movements that can blur images. Using your camera’s neck strap pulled tight against your neck can add a bit of extra stability when shooting handheld.

When you zoom in to your subject, you increase your focal length, and you need to increase your shutter speed to compensate, or else you risk your image blurring from shaking. For a still subject, your shutter speed needs to be at least the inverse of your focal length, so if you zoom in to 400mm, you will need to set your shutter speed to at least 1/400 sec to avoid camera shake. And then you will need to increase your shutter speed from there, depending on how fast your subject is moving and the available lighting conditions.

Most sports action shots are taken with hand-held cameras or with monopods. You’ll often see sports photographers with large lenses use monopods to support the weight of their kit, which still allows them to quickly move the camera around.

Many modern cameras and some lenses also have powerful shake reduction capabilities. Look for terms like ‘In-Body Image Stabilization’ (IBIS) in camera bodies or ‘Optical Stabilization’ (OS/IS/VR) in lenses. This technology can help you shoot at slower shutter speeds while still getting sharp images.

Let us fix your sports photos

While not every blurry photo can be saved, with the right tools and techniques, you can rescue many of them—and capture crisp, clear shots moving forward.

Shooting, organizing, and editing sports photos takes a lot of time and work. Wouldn’t it be great if you could outsource the most tedious, repetitive aspects? With Path, you can! Send us all your background removal, retouching, and image masking needs—so you can get back to the creative work that really matters.

Ready to send your photo edits our way? Get started now—and get your edits back in as little as 6 hours.

How to fix blurry sports photos FAQs

How do you make sports pictures not blurry?

To make sports photography less blurry, use a fast shutter speed—ideally 1/1000s or faster—to freeze motion. Set your camera to continuous autofocus (AI-Servo or AF-C mode) and track your subject. Good lighting, a higher ISO if needed, and steady panning techniques also help capture sharper images.

Why are my pictures blurry in sports mode?

Sports mode usually tries to select faster shutter speeds, but it can still struggle in low light or if the autofocus isn’t keeping up with the action. Your pictures might also be blurry if the camera is focusing on the wrong spot, or if there’s not enough contrast for the autofocus to lock onto the subject properly.

How do I get my sports pictures sharp?

Use a fast shutter speed, continuous autofocus, and a wide aperture (like f/2.8 or f/4) to let in more light. Track the subject carefully, and if possible, pre-focus on an area where you expect the action to happen. Shooting in burst mode can also increase your chances of getting a tack-sharp frame.

How do you take clear sports pictures?

Clear sports images start with the right camera settings: fast shutter speed, continuous autofocus, and an appropriate ISO. Also, practice good technique—like following your subject smoothly with the camera and anticipating the action. Using higher-quality lenses with image stabilization can make a big difference too.
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08/05/2025
How The DJI Pocket 3 Fits Into My Workflow

Hybrid Photography

I am a hybrid photographer, a photographer that shoots both stills and video. My main camera is the Sony a7RV and it is perfectly suited to my needs. It shoots 61mp stills and up to 8k video in 10 bit 422 colour.

I also have an iPhone 15 Pro. Its video capabilities are excellent, being able to capture 10bit 422 in Prores if using an external SSD. I also have a couple of drones, and a DJI Osmo Action, the original version. I find uses for all these cameras, so why on Earth would I want to add the DJI Pocket 3 to my camera bag? Let me explain.

A Gap In Capability

I shoot a lot of videos with the Sony a7RV. Much of this is shot either from a gimbal or from a locked off a tripod with a video head. Both of these are slow and cumbersome to set up and make shooting stills more difficult. Often when I am shooting video, I suddenly see a stills photo that I want to take.

To do this I need to either remove the Sony from the gimbal or maneuver the tripod and camera to the right location. It’s slow and there is often a good chance that I will miss the shot.

A large camera and gimbal can become very heavy. By Jose P Ortiz on Unsplash

My workflow at the moment sees me dedicated myself to shooting either video or stills but not both at any given location. There are many times when I am out on a stills shoot, roaming a location when I yearn to shoot some video. However on a stills shoot I will not take the gimbal with me. That leaves me with the option of handheld video. Whilst Sony’s IBIS is pretty good, I still feel that handheld video is not a great option for stock agencies. It will be rejected more often than not.

I also carry the DJI Osmo Action with me, but there are a lot of limitations. It is electronically stabilized, which often looks awful, has a small sensor and is now quite dated. It is primarily used as my vlogging camera.

The Other Gap In Capability

Since the beginning of the year, I have set myself a target to monetise my YouTube channel. The channel is focused on all things photography, stills, video, drones, editorials and more. There was an issue though.

I like to create my videos on location. Me and my camera in a pretty location talking about the photography subject of the day.

However, given my main camera will often be the subject of the video and the iphone was limited ergonomically, my choices were limited. Often, my script notes are on the phone making it tricky to use and shoot from simultaneously. The Osmo Action is very limited unless used as a fixed static camera. It’s not great for getting b-roll either of the location or the gear. Drones are great at tracking subjects and moving around but you really need a second person to operate them safely. So I needed something else.

Talking to camera in a hot and humid Bangkok

Looking At The Options

What I was looking for was a compact, mechanically stabilized video camera with output quality good enough for stock agencies. It had to be lightweight, easy to set up and decent in low light. I narrowed the choice down to two options. My iPhone on a DJI/Zhiyn gimbal or the DJI Pocket 3.

I have used my iPhone with a gimbal for stock video on many occasions. The quality is decent in good light but drops off very quickly as the light fades. There is another drawback though. The iPhone is a portable computer on the go. I use it to navigate, check emails, post to social media and pay for things. None of these are easily done when it is attached to a gimbal.

Still from a DJI Pocket 3 Timelapse. By Jason Row Photography

I had followed the progress of DJI’s Pocket cameras from the release of the original. The DJI pocket cameras are effectively a small camera attached to a handle through a gimbal. They are small, mechanically stabilized and, at a push, can fit into your pocket.

They were interesting, but did not fit my needs. It seemed to be primarily aimed at vloggers shooting to camera pieces outside and for average quality b-roll footage for those vlogs. The Pocket 2 improved capabilities a little, but was still not really useful as a stock video camera.

Then about six months ago and to much hype, DJI released the Pocket 3. This stood out for a very good reason, the 1” sensor.Now in large camera terms a 1” sensor is not huge but compared to previous Pockets and to smartphones it was huge.

However there was another stand out feature. It also shot Log in 10 Bit colour. This is a big deal for videographers as it gives a lot more leeway when grading the footage in post. This was a pro level feature.

The DJI Pocket 3 shooting a timelapes at Wat Arun in Bangkok. By Jason Row Photography

Was The Hype Realistic?

I rarely buy tech gear at first release. YouTube is full of creators that pump out “super psyched” videos on the launch day of pretty much anything that runs off batteries. The hype on the DJI Pocket 3 was immense, YouTubers extolling the many virtues and finding little wrong with the camera.

Six months later, you start to get videos with titles like “The Downsides Of The Pocket 3” It is these videos that I like to watch in combination with 6 months’ reviews from established and well regarded filmmakers and photographers.

What I learnt from these videos was that much, but not all of the hype was real. The DJI Pocket 3 was a very capable camera, producing a superb video image that belies its size. It was a tool with some excellent features. There were issues, downsides of course, but none that I could see that would affect my use of the camera. So I bought one.

Still image from DJI Pocket 3 video of the Grand Palace Bangkok. By Jason Row Photography

How Is It Working Out

So far, very good. I have had the Pocket 3 for a few months and have shot quite a bit of footage with it as well as a studio based, to camera YT video. The video quality is excellent and the range of features very good. I can shoot 4K up to 120fps, timelapses, ultra slow motion. It will track subjects, detect my face, both very useful for outdoor vlogging. It’s compact, has good battery life, connects easily to my Rode Wireless Go II mic system and provides me with an excellent range of gimbal moves.

It’s early days but so far it is living up to the hype.

https://www.youtube.com/watch?v=vYrJ9aFMeQk
Why the DJI Pocket 3 was my best camera on a recent trip

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05/05/2025
Pro Tips on How to Take Beautiful Antelope Canyon Pictures

“Wow” is an understatement when describing the beauty of Antelope Canyon. Its beautiful and glowing red canyon walls, sleek curves, scalloped rock faces as well as striking light beams can leave you speechless.

Fortunately, you don’t have to be a professional photographer just to get great Antelope Canyon pictures. With your camera, you can actually take great photos of the area.

Keep reading this article for tips on how and where to position your camera to get spectacular shots.

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Antelope Canyon: Interesting Facts

Antelope Canyon

Antelope Slot Canyon is located in Page, Arizona.

It is made up of the Upper and Lower Antelope Canyons. Both canyons are part of the Navajo land in Northern Arizona. The Navajo people are responsible for the care and preservation of the Antelope Canyon.

The formation was created millions of years ago. These canyons were created due to water and wind erosion caused by flash floods in Arizona. Both slot canyons are open for tourists. Oftentimes, when people say Antelope Canyon, they normally refer to the Upper Antelope Canyon.

The Upper Antelope Canyon is more popular than the Lower Antelope Canyon. However, tours for the Lower Antelope Canyon are relatively cheaper. With a Navajo guide, you may visit both slot canyons in one day.

The road leading to the canyons is gated by the Navajo Nation. The Navajo Nation protects its people as well as the canyons. That is why only guided tours with authorized tour guides are allowed entry into the canyon.

As majestic as it is, this natural beauty can cause danger during monsoon season. Rainwater can quickly fill up the canyon which can cause flash flooding due to the canyon’s narrowness. In 1997 a flash flood cost the lives of some tourists.

Because of the 1997 incident, visiting the canyon is only through guided tours. Aside from the issues of safety, only authorized guide tours are permitted entry into the canyon to prevent vandalism and preserve this natural landmark.

If you are planning to visit the canyons, make sure to check the weather conditions on your planned dates. You want to enjoy your trip and bring home great memories and not get stranded on the ledge because of the rain.

The Lower Antelope Canyon

Lower Antelope Canyon

The Lower Antelope Canyon is also called “The Corkscrew” and has a Navajo name “Hazdistazi”. The Navajo name for the Lower Antelope Canyon translates to “spiral rock arches”.

If you like narrow passageways and ladders, you may find the Lower Antelope Canyon to your liking. The canyons here are shallower and lighter in shade than the Upper Antelope Canyon because of their upright V shape.

The Lower Antelope Canyon is located near the Upper Antelope Canyon. Unfortunately, in 2018 tour operators no longer offer general tours and even photography tours.

The Famous Upper Antelope Canyon

Upper Antelope Canyon

The Upper Antelope Canyon is also called “The Crack” and has a Navajo name “Tsé bighánílíní”. The Navajo name for the Upper Canyon translates to “ the place where water runs through cracks”.

It is characterized by high and dark canyon walls, light beams shining down, and falling sand. The Upper Antelope Canyon is somehow shaped like an inverted V. It is narrow at the top while it is wide and passable at the bottom.

Because of its high canyon walls, light beams are easily created when the sun shines at certain angles. The narrow top also makes the canyons look darker and the surrounding atmosphere cooler.

How to Visit Antelope Canyon?

The Antelope Canyon is only open for scheduled tours. You may inquire about tour packages, exclusive deals, and even discount codes from tour companies. It is highly encouraged that you make reservations for tour slots at least three months in advance.

The whole tour usually lasts for 1.5 hours which is inclusive of the travel time and touring the canyon. So many people who want to visit this place. It is not surprising for many want to witness this majestic site up close and personal.

Road to Antelope Canyon

Most tourists flock to Antelope Canyon during summertime. Midday is the most crowded time. Tourists prefer to visit during this time so they can get more great stock photos. If you want to avoid the crowd and take your time taking pictures, you can visit earlier or later in the afternoon.

Tips for Capturing Gorgeous Antelope Canyon Pictures

Both slot canyons are photogenic. However, you can capture more stunning photographs at the Upper Antelope canyon. It is during midday that you can get gorgeous photos of light beams as well as falling sand.

Don’t forget to look up

Tourists Looking Up

When you are on tour with so many tourists, taking great pictures can be challenging. One important piece of advice to get great shots is to look up. The canyons look lovely from that perspective. Also, if you are lucky, you can get gorgeous images of light beams shining down.

Tripods and selfie sticks are prohibited

Only handheld photography is permitted. Unfortunately, handheld photography in the Upper Canyon can be challenging especially after midday because the canyon walls look noticeably darker.

Taking Selfie

As an avid photographer, you will surely be in awe at the lighting conditions in the canyons. At the Upper Antelope Canyon, for instance, you can capture various gorgeous pictures of the sandstone walls changing color throughout the day depending on the sun’s angle.

You may also find yourself wandering about, looking for the perfect shot because there are several compositions you can make. If you hire a Navajo guide, they can bring you into the canyon at the right time for you to capture amazing light beams.

Light beams don’t last long

Antelope Canyon Light Beam

You have to bring in your A-game and capture as many pictures as you can. If you still have time after you take all the necessary shots, you can stare at the majestic view in front of you and absorb it all. Not everyone gets to witness such beauty of nature.

The Antelope Canyon is a great surprise and unique experience if you are an enthusiastic landscape photographer. You take a lot of abstract photographs and the art compositions are limitless. Not everyone will have the same composition. Each photo is unique.

If you get to take shots of a particular spot in the canyon with your preferred lighting condition, the result is magical. You will notice that the contrasts and transitions between cold and hot tones are spectacular.

Depending on the time of day you are inside the canyon, you can capture varying contrasts of purple, red, and orange. If you have an active imagination, you may spot some human or animal formation to capture on a frame.

What Is So Special About Antelope Canyon?

Antelope Canyon is special because of its wave-like canyon walls. These walls change color throughout the day depending on lighting conditions. The sunbeams and falling sand also add to the spectacle of the place. These make Antelope Canyon the most photographed slot canyon in the southwest USA.

If you’re thinking of visiting the area, it is from the end of March until the first weeks of October that you can enjoy Antelope Canyon the most. It is from 11:00 am until 1:30 pm that you can witness the ultimate beauty of the Antelope Canyon, especially the Upper Antelope Canyon.

On average, it can take you 1 to 1.5 hours to walk through Antelope Canyon both Upper and Lower Antelope canyons. You get to traverse a distance of approximately 1,800 meters (1.10 miles) round trip. Walking is easier in the Upper canyon than in the Lower canyon.

Final Thoughts

Beautiful Canyon

Antelope Canyon is one breathtaking and jaw-dropping natural destination. It offers tourists a different kind of experience. This American Southwest is truly amazing. A true gem of the world.

The lines, tones, as well as color separation, are a spectacle to behold. These are perfect elements for an abstract photograph. It is a perfect place for abstract photographers to create their masterpieces and draw design inspiration from.

If you seek thrill and fun, it is best to visit the Lower Antelope Canyon. On the other hand, if you want to take great stock photos, then the Upper Antelope Canyon is your best bet.

Whatever your reasons are for visiting the Antelope Canyon, one common thing stands out from all tourists – the appreciation and gratitude for Mother Nature’s creation. Bring your most trustworthy camera and create priceless memories in Antelope Canyon, Arizona.

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28/04/2025
How to fly with film

In this section of our three-part series about traveling with film, we’ll talk about the mode of travel most fraught with peril for film photographers: Flying. Back in the pre-digital days, flying with film was a no-brainer; you could pack your camera gear and buy all the film you needed at your destination (and perhaps get it developed there as well). Today, film is harder to find and airport security is tighter (and potentially more harmful to film), so airborne analog photographers have to do a bit more planning.

(Note that the information in this article is specific to air travel in the United States. Other countries may—and likely will—have different regulations and procedures.)

The primary problem facing film fans who fly

Related: How to travel with film by land and sea

Here’s the big problem for airborne film photographers: The scanners and X-ray machines used for luggage inspection produce light energy to which film is sensitive. These machines can potentially “fog” your film, causing dark spots or waves on the negatives (or light spots on slides) as if the film had been exposed to light. So the challenge when flying is to minimize or avoid situations that could potentially damage your film.

Note that only undeveloped film is subject to damage. Developed negatives, slides, and prints are no longer light sensitive and cannot be damaged by airport security equipment.

Can you avoid X-rays altogether?

Depending on your destination, it may be possible to avoid bringing film through the airport altogether. If you’re traveling to a big city, you might be able to buy your film locally. If you’re staying at a high-end hotel with a concierge, they may even be able to buy film for you (but beware of hefty prices and fees). You may also be able to mail-order film and have it sent directly to your lodgings; check with the property first to see if they can receive packages (and bring a couple of rolls in case your shipment is lost or delayed). Likewise, if you use mail-order film processing, consider sending the film off for development from your destination before you leave for home.

Never put film in a ‘checked’ bag

Do not put unexposed or undeveloped film in checked baggage, ever. The scanners used for checked baggage are more powerful than those used in carry-on luggage and will very likely fog your film. Film and loaded cameras should always be taken in carry-on luggage.

Always carry your film onboard with you. To avoid a potentially destructive zap from the X-ray or CT scanner, stow (preferably) unopened film in a clear plastic bag and ask for a “hand inspection” at security. Dan Bracaglia

Related: Going back to film? Here’s what’s changed

A related side note: When booking your airline tickets, beware of “Basic Economy” tickets, which do not always allow carry-on baggage beyond a small personal item. Buyers of these tickets often board last, when carry-on storage is full, and will sometimes be forced to check their baggage (for a hefty fee), where it could be subject to harmful scanning at stopovers. If you are traveling with film, make sure your air ticket allows you to bring carry-on luggage, and pack your film (and cameras) in a bag small enough to join you in the cabin.

Film in carry-on baggage: Ask for a ‘hand inspection’

The Transportation Security Administration (TSA) says that the X-ray machines it uses for carry-on baggage are safe for photographic film up to ISO 800*. We’ve had slower film scanned with no ill effects, but we also understand that the effects are cumulative and that multiple scans may cause fogging. (We asked TSA if we could run some test scans at our local airport; they politely denied our request, citing security concerns.)

Fortunately, there is one good way to ensure your film will not be damaged: Ask for your film to be “hand inspected,” regardless of its speed.

*Note that at some airports, TSA is introducing more powerful CT scanners for carry-on luggage, which can damage even slower-speed film.

The PopPhoto guide to hand inspections

First: We recommend being patient and polite with TSA agents. Remember that their first responsibility is security, not customer service—and also that they’re subject to a lot of vented frustrations from harried passengers. There’s no need to show fealty; simple politeness and civility will get you a long way.

Film photography is popular enough that most TSA agents should be familiar with hand-scanning requests, but it does slow their workflow. When traveling with film, we always allow an extra ten to fifteen minutes to get through security (a margin we rarely need).

We recommend carrying your film in a clear plastic zip-lock-style bag, with which TSA is familiar. Leave your rolls in their plastic canisters and/or sealed packaging whenever possible. We try to keep our cameras unloaded so they can pass through the X-ray machine, but loaded cameras can also be hand-scanned. Anything you’d like hand-inspected should be kept where it’s easily accessible; a backpack is preferable to a suitcase that must be unzipped.

Before we put our luggage on the belt, we remove our film and loaded cameras, catch the eye of the nearest TSA agent, and say, “I have some film (and cameras) I’d like to have hand-inspected, please.” If asked if the film is under ISO 800 we either say no or (to avoid fibbing) tell them it’s going to be pushed and shot at a higher speed. (They may not know what this means but will generally accept it.)

It’s best to hold off loading your cameras with film until you’ve reached your destination. Getty Images

After walking through the scanners we try to stand somewhere conspicuous without blocking the flow of passengers. Film is usually checked by the same agents inspecting bags that have been pulled for secondary inspection, so there may be a wait. The inspection usually consists of swabbing the individual rolls, then putting the swab in a machine that checks for explosive residue. We’ve occasionally had requests to open boxes and always say yes (so long as they don’t pull your film out of the canister or unspool your 120 rolls, it’ll be fine). Once the machine gives the agent the green light, you’ll likely be sent on your way.

Going home: Have all film hand inspected

Once your film has been shot, it’s still sensitive to light and can still be damaged by scanners, so be sure to have all of your film, shot or not, inspected by hand. We must reiterate: Do not put undeveloped film in checked bags.

If you’ve had your film developed while on vacation, there’s nothing to worry about—as we mentioned earlier, developed film, negatives, prints and slides are not light-sensitive. You can safely put them through the scanners or in your checked baggage.

What about lead-lined film bags?

Several manufacturers offer lead-lined film bags that claim to protect the film from X-rays. (We do not know if these bags protect against CT scanners.) We haven’t tried one in recent years, but if the bags do block X-rays, they will likely show up as a large dark blob on the security scan, which is likely to trigger a secondary inspection. We find it easier to simply request a hand inspection and avoid the inconvenience of having TSA unpack our bags.

Advice for other countries

While we’ve never had a request for hand-scanning denied in the US, we have been refused in Europe, and we don’t know if this was down to security procedures or a language barrier. For this reason, if you do travel with analog cameras overseas, consider bringing a slower-speed film, which is most likely to survive scanning with no ill effects. That said, we understand that some European countries are also introducing CT scanners for hand luggage, which is much more likely to fog film.

Ultimately, it’s best to check the official website for the security agency of the country to which you are traveling. If they don’t have a clear-cut policy covering film, you might want to consider traveling with a digital camera or making provisions to mail your film home before you leave.

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25/04/2025
How to Position Your Subject for the Best Shot – Path
Getting the hang of using a camera and photo editing is one thing, but directing subjects? Now, that’s hard! Even pro photographers can struggle with an awkward or camera-shy person in front of their lens.

How can you guide your subjects so your portrait shoots are consistent in quality, there are fewer retakes, and the result looks great? It’s a mix of technical shooting and composition skills, with plenty of soft skills, like getting your subjects to relax and smile.

Want your next portrait shoot to be a success? Check out some practical tips for how to pose any subject—from corporate execs to creative professionals and family groups.

Prepare for a successful portrait shoot

The secret to great portrait poses actually starts before your subject arrives. Here’s what experienced photographers do to prepare:

Set clear expectations

Help your clients arrive confident and prepared by sending them key information ahead of time:
- Share simple wardrobe guidelines: solid colors work best, avoid busy patterns
- Explain the location and background setup: indoor/outdoor, how many outfits to bring
- Give grooming tips: classic styling usually photographs best—and a fresh shave won’t hurt!
- Outline the session timeline: how long it will take, how many looks you’ll capture
- Send examples of poses you’ll try: helps them visualize the result
To speed this up, you can create a standard pre-shoot guide you can quickly customize for each client. Use apps like Canva or Adobe Express and export the guide as a PDF or create a shareable link.

Build trust and rapport

Most people aren’t naturally comfortable in front of a camera. Posing for headshots can be stressful even for the most successful business people, so your first job is to make them feel at ease. Try these quick tips:
- Start with a quick chat about what to expect and what you’ll shoot first
- Demonstrate poses yourself—it’s easier than explaining and helps break the ice
- Pay attention to what works for each person—a pose that looks great on one subject might feel awkward for another, so stay flexible
- The same goes for instructions in general—some people need more guidance than others
- Keep the conversation natural while you work, but keep your directions simple
- Give positive feedback when you capture great shots, and if something’s not working, smoothly guide them into a different pose instead of pointing out problems
Main posing frameworks for any portrait shoot

Let’s break down some of the best poses for professional headshots and relaxed portraits that consistently deliver great results and let your subjects shine.

Standing poses

Standing poses are a great choice for both corporate headshots and casual portraits. They offer plenty of ways to help subjects feel comfortable—from leaning against the wall to interacting with the surroundings. Standing shots also work anywhere—in a studio, office, or outdoors—and you can repurpose them to crop in for tighter headshots or waist-up portraits.

Here’s how to pose for standing shots:
- Turn feet about 45 degrees from the camera—this creates a naturally slimming angle
- Have subjects shift weight to one leg—usually the front one—to avoid looking stiff
- Ask them to lean forward slightly from the hips, with just an inch or two being enough
- Change arm positions between shots—relaxed at sides, hands in pockets, or arms crossed
- Remember “if it bends, bend it slightly” for natural-looking poses
- Keep shoulders relaxed and dropped because tension shows in photos
- Ask the subject to change the direction of their gaze slowly from one side to the other to get a wide range of angles
For corporate shots:
- Keep poses clean and professional
- Arms relaxed at sides or one hand in pocket
- Subtle lean forward to engage with the camera
- Maintain a straight posture while avoiding stiffness
- For tight headshots, still keep the body slightly angled, like on Treeconomy’s team page
For personal branding:
- Allow more dynamic movement
- Try casual leans against walls or furniture
- Experiment with crossed arms or hands on hips
- Include interaction with the environment (desk, tools of trade, products), like Liz, owner of Wild Pines, an arts and crafts store
- Allow space for naturally big smiles and laughter, too—it’ll create warm and welcoming portraits, like on Sojo’s company page
Flattering seated poses

Seated portraits can create a variety of engaging shots. Just because your subject is sitting doesn’t mean options are limited—it’s all about working with posture and leg positioning to create natural, dynamic results.

Key principles for seated portraits include:
- Guide subjects to sit at the edge of their chair or sofa instead of slumping back
- Avoid letting subjects sink into soft furniture (like in the example below of Noura Sakkijha, CEO of Mejuri)
- Keep the core engaged for good posture
- Point toes in the same direction to elongate legs
Professional settings:
- Position at a desk with a slight forward lean
- Hands clasped or resting naturally—play around with a variety of hand positions to find a flattering pose for your subject
- Encourage subjects to engage with what’s on their desk, such as their laptop or notebook
- Cross ankles rather than legs for a polished look
- Keep shoulders level and relaxed
- Walk around the subject to capture different angles—from camera-facing to slightly angled to full-on side profile
Casual settings:
- Allow more relaxed postures while maintaining good form
- Create asymmetry by shifting weight to one hip
- Use arms for support when sitting on floors
- Avoid both legs pointing directly at the camera—instead, either extend one leg towards the camera or angle them both slightly away from the camera
Creating dynamic duo shots:
- Use seating to create interesting height variations
- Try one person seated while the other stands
- For co-founder shots, have one person sit in a chair while the other perches or leans on the armrest, like in the example below of ettitude’s co-founders
- Vary the height of chairs or use different seating positions to add visual interest
- Keep subjects at different heights but maintain connection through body language or eye contact
Relaxed group portraits

Whether you’re photographing a corporate team or a family, group photos present unique challenges.

Basic principles for group shots:
- Create depth by avoiding straight lines of people—unless you’re shooting a sports team photo that traditionally requires one or two straight lines of players
- Stagger heights naturally using stairs, chairs, or standing/sitting combinations
- Keep heads at different levels but close enough to feel connected
- Position taller people towards the back or center
- Arrange people in a slight arc to ensure everyone’s visible, like in Ora’s team photo below with the two people on both sides slightly turned inward
- For large team shots, shooting from an elevated position, such as another floor, can help include everyone, but you could also use a drone
- Shoot more photos than you think you’ll need—there’ll always be someone blinking so it’s best to have more images to pick from
For professional teams:
- Keep poses consistent but not identical
- Use the rule of thirds to arrange larger groups
- Break bigger teams into smaller clusters
- Maintain equal spacing between subjects
- Ensure everyone’s shoulders are angled slightly rather than square to the camera—or, if facing the camera directly, ask the subject to shift weight from one leg to the other
For family portrait poses:
- Create natural connections through gentle touching (hand on shoulder, arms linked)
- Position children in front or held by parents
- Use props or furniture to create natural groupings
- Let small kids move around and play between shots to stay engaged
- Capture both formal and candid interactions—experiment with both seated and standing poses
- Switch between some or all subjects looking at the camera to fully candid shots
Common posing challenges and tips to solve them

Even experienced photographers run into tricky posing situations. Maybe you’ve got a group with significant height differences, someone nervous about being photographed, or the shoot ran late so now you’re rushing to cover all your bases. So, what are some common challenges you might run into?

Height differences

If you have subjects with drastically different heights, it can make for an awkward portrait. Position taller people slightly behind or sitting. Seated poses work the best to tackle this, but that doesn’t mean you should avoid standing poses altogether. You can use elements like stairs or slopes to minimize extreme height gaps.

You can also create diagonal arrangements instead of straight lines. Avoid placing the tallest and shortest people next to each other—unless they’re standing behind each other.

Confidence issues

If your subjects are camera-shy, start with simple poses to build trust. Give specific compliments about what’s working well, and show them the preview shots when you capture something great.

It’s a good idea to have a few go-to safety poses that work for most people. Some might also feel more relaxed if there’s music playing in the background, especially if you’re shooting in a studio.

Your own confidence and body language as the photographer make a difference too—stay positive or even a little goofy if appropriate. Make sure to edit your portraits and headshots to show your subjects in the most flattering way while keeping their appearance natural

Photographing glasses and reflections

If shooting something reflective in the frame, slightly tilt the head down to avoid glare. You can also ask subjects to push their glasses slightly up their nose. Position lights at angles that don’t create reflections. If the reflection doesn’t cover the subject’s eye in full, you can always fix it with retouching.

Rushing through poses

Prepare a shot list ready but be flexible—you can have the shot list on your phone or even photograph it so you can flick through your camera during the shoot without stopping the session.

Start with your most reliable poses first. Give clear, concise directions, and keep subjects engaged by showing progress.

Are you ready to direct your next portrait shoot?

Working with people can be unpredictable because everyone’s unique—but that’s exactly what makes portrait photography so rewarding. The trick is to adapt your approach for each subject while keeping your photo quality consistent. With these posing guidelines, you’ll be better equipped to direct any portrait session confidently, from corporate headshots to family gatherings.

And if you need help getting those portraits polished and ready to share, our team of expert editors at Path can handle the retouching while you focus on capturing more great shots.

Polish up your portraits with pro retouching from 79¢ per image

Portrait poses FAQs

How do you pose for a professional headshot?

Start by turning your body 45 degrees from the camera, then face back toward it. If you’re standing, shift your weight to your front leg, keep your shoulders relaxed, and lean forward slightly from the hips. Small adjustments make a big difference—change arm positions between shots and keep movements subtle. Allow yourself to smile and laugh, too!

How do you look professional in a headshot?
- Maintain good posture without looking stiff
- Keep shoulders back but relaxed
- Sit at the edge of your chair for seated shots
- Cross ankles instead of legs
- Let hands rest naturally
What are the best poses for group photos?

Avoid straight lines of people. Instead, create depth by staggering heights using stairs or chairs, and arrange people in a slight arc. For professional teams, keep poses consistent but not identical. With families, encourage natural connections through gentle touching like hands on shoulders.

What are common mistakes to avoid when posing subjects?

Common portrait mistakes include forcing unnatural smiles, rushing through poses without direction, and not adapting poses to fit different subjects. Stay engaged with your subject throughout by having a conversation and provide positive feedback. If something doesn’t work, simply switch to the next pose.

How to pose different body types?

Work with your subject’s natural body language instead of forcing uncomfortable poses. The 45-degree angle works well for most people, as does shifting weight to one leg. For seated poses:
- Focus on good posture
- Create asymmetry through slight head tilts
- Adjust your camera position rather than making subjects twist
- Make sure subjects feel confident in their pose
- Don’t let the subject sink back into a soft chair or sofa
How do you pose someone who is camera shy?

Start with simple poses and build trust gradually. Show them preview shots when you capture something great, keep the conversation going, and guide them into different poses smoothly. Playing background music can help relax in studio settings.
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25/04/2025
How to Create Team Composite Photo (2025)
There are many types of photography—spotrts being one of them. Likewise, there are many different types of sports photography, too. We work with all kinds of sports photos at Path.

One of our favorite types of sports photos is the team photo. Let’s take a look at what a team composite is and how to create one.

What is a team composite photo?

A team composite photo is a single image that combines individual portraits of team members into a unified group display. These photos are often used when it’s not possible to gather the entire team in one location for a traditional group photo. Each person’s portrait is taken separately and then digitally arranged into a cohesive composition, often with a consistent background, layout, and theme.

How to create a team composite photo

In our composite, we’ll use these photos that a photographer took of four players on a girls soccer team:

Notice that, while all the images have similar lighting, the camera was at a different distance from each of the players when the photos were taken. This means the girls aren’t uniform in size throughout all the images. We’ll fix that when we create the composite photo.

We also need to choose the background photo that the girls will be placed against before we begin. The background photo needs to have similar lighting to the images of the players, but it can be very stylized and dramatic to enhance the intensity of the final photograph. For this example, we’re using a beautiful photograph of a soccer field at night.

From these five images, we’ll make a team photo composite.

Step 1: Remove background from individual portraits

We need to select just the girls from each photo. The easiest way to achieve this is to use Photoshop’s built in Select Subject tools. If you don’t see the option to Select Subject in the Options Bar at the top of the screen, or the Contextual Task Bar at the bottom of the image, choose the Magic Wand Tool from the Toolbar at the left-hand side of the screen. The option to Select Subject will now appear in both these places.

When you click on “Select Subject,” Photoshop attempts to determine the subject of your photograph and create a detailed selection of that subject. In the case of our soccer players, the subject would be the girl and the ball she is holding.

If you want a more refined selection, choose “Select and Mask…” from the Options Bar at the top of the screen to refine the selection further. Check out this article for detailed instructions on how to use Select and Mask….

How you choose to select the subject depends on the level of detail you require.

Step 2: Copy and Paste the team players onto the background image

With your selection still visible, type CTRL+C (COMMAND+C on a Mac) to copy the selection. Then, go to your image of the background you’ll be using. Type CTRL+V (COMMAND+V) to paste the team player selection onto the background.

Don’t worry about the size of the figure in relation to the background just yet. We’ll resize all the players once we have them in the composite.

Continue steps 1 and 2 for all team players.

Step 3: Resize players within composite photo

We want the girls to look like they’re standing next to each other in the final photo. Therefore, they all need to be about the same size relative to one another.

In the final photo, we will have the three standing girls in a row, and the seated girl sitting in front of them.

In the Layers panel, select the layer with the first player. If you don’t see the Layers panel, you can make it visible by choosing Window > Layers from the dropdown menu at the top of the application window.

Once the layer is selected, go to Edit > Transform > Scale from the dropdown menu at the top of the application window. A blue box will appear around the player in the image.

Hover your cursor over one of the corners of the blue rectangle until you see a double-sided arrow appear over the corner. Then, drag it to resize the figure to the size you want.

In newer versions of Photoshop (Photoshop 2023 and higher), the image will resize proportionally by default (you do not need to hold down the SHIFT key).

If, however, the image looks squished or stretched as you resize it, that means the default settings have been changed. Hold down SHIFT as you drag to resize to adjust the image proportionally.

If you are unsure if the resizing is proportionate or not, you can look at the Options Bar at the top of the screen. If the values for Width and Height are the same, and the link icon between the Width and Height values is checked, then the image is sizing proportionally.

Select the rest of the players’ layers one by one and resize them all. Since the images in this example were taken at different distances from the players, we had to manually resize each photo to get a uniform look across all players.

However, if all players need to be reduced in size by the same amount (91%, for example), you can type that value into the Width and Height boxes in the Options Bar instead of resizing manually with your cursor.

Once you have all the players resized, position them onto the background so that it looks like they were there all along.

Step 4: Add depth to the background

Even though this is a team composite photo doesn’t mean we can’t make it look more realistic!

Select the background layer, which in our example holds the image of the stadium.

With the Background layer selected, choose the Burn Tool from the Toolbar at the left-hand side of the application window. The Burn Tool may be hiding behind the Sponge Tool or the Dodge Tool.

With the Burn Tool selected, “paint” over the area of the background just under the players to create a shadow effect. You don’t need to overdo this–a little goes a long way. You will need to use your judgement to determine exactly how much shadow you need to make the image look more realistic.

And you’re done! You can now use your new team photo composite as is, or add your team logo and other elements to it.

Photography tips for team composite photos

Save these tips for when you shoot team players and coaches to improve your team composite sports photos:
- Shoot all players at the same angle, with the same lighting, in the same place. The easiest way to achieve this is to shoot in a closed studio where you can control the lighting, or at night. Set up a tripod to make sure the camera is in the same place for every photo, and place a marker on the ground for each of the players to stand on during the shoot.
- Pay attention to the horizon line when you shoot the players. You want the horizon line to be in roughly the same place as the horizon line in the background image you’ll ultimately use. This will make it easier when editing sports photos for the team composite shot.
- Choose the right equipment for the job. Make sure you have the best sports photography equipment with you for the type of photos you will be taking. This doesn’t just mean having a tripod; you also need to bring adequate lighting for the type of shoot you will be doing (indoor, outdoor, nighttime) and a lens that is best suited for the job.
- If possible, photograph the players against a solid, neutral background. This will make removing the players from the background easier when you create your composite. Opt for a background that does not share any colors with the team uniforms, but also try not to use a bright background such as a green screen, as these colors might show up as a reflection on clothing and skin even after the background is removed.
- Make sure your setup can be taken down and set up again in the exact same way. Keep track of the location of your lights, camera, background, etc. If a player can’t make it to the shoot, you want to be able to schedule a makeup and replicate your studio setup exactly.
Send your team composite edits to Path

Making team composite photos can be a tedious and time-consuming process, especially when you’re working with lots of teams with large rosters. Let Path handle some of the work for you—the most challenging cutouts and clippings, and retouching to perfection.
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24/04/2025
How to Use the Photoshop Magic Wand Tool
Photoshop’s Magic Wand Tool: You’ve definitely heard of it and, depending on how much you use Photoshop in your day-to-day, you may have even used it.

Learn what the Magic Wand Tool is and how to select and mask in Photoshop with it. This Photoshop masking tutorial will turn you into a pro in no time.

The Photoshop Magic Wand Tool is a quick and easy way to select and mask certain portions of an image, giving you the ability to alter one part of your image while leaving other parts intact. One of the most common uses of this tool is to swap out or remove the background of a product photo, leaving the subject of the image in place.

Related: Clipping Path vs. Masking: What’s the Difference?

The Magic Wand Tool works by selecting an area of solid color within an image. Once your selection is made, the Magic Wand Tool gives you multiple options for refining that selection.

The Magic Wand Tool is a go-to tool when you want to display a product in various settings by showing it against different backgrounds, or when you want to remove a background altogether so your product stands on its own.

This is often the case for marketplaces like Amazon or eBay, which have product photo requirements of their own that outline the approved backgrounds your images can have.

Tutorial: Learn how to create a ghost mannequin in Photoshop

https://www.youtube.com/watch?v=e_y3vFhp_Bs

For the following tutorial, we’ll be working with this photo of a soccer player. You’ll learn how to remove the background from the player using the Magic Wand Tool, so that you can later put the player into different scenes. The Magic Wand Tool is a great option for removing backgrounds on photos with a mostly solid background.

Step 1: Unlock the background and select the Magic Wand Tool

Before you can use the Magic Wand Tool, you’ll need to make sure your layers are set up correctly. Go to your Layers panel, located by default in the lower right-hand corner of Photoshop 2024’s application window. If you don’t see the Layers panel, you can bring it forward by choosing Window > Layers from the dropdown menu at the top of the application window.

Within the Layers panel, double click on the Layer entitled Background.

A pop-up window will appear, prompting you to rename the layer “Layer 0.” Click OK.

Within Adobe Photoshop 2024, choose the Magic Wand Tool from the Toolbar. By default, the Toolbar is placed to the left of the application window. The Magic Wand Tool may be hidden behind the Object Selection Tool or Quick Selection Tool.

Note: To select any tool that is hidden “behind” another tool, choose the tool that is in front, and then hold the mouse button until other tools are visible. Then, select the visible tool you need.

Save time and outsource it: Our background removal services start at $0.49/image

Step 2: Select the solid areas of the background using the Magic Wand Tool

There are several different ways to use the Magic Wand Tool to remove a background. We’ll start with the simplest method and work our way to more advanced methods as we refine our selection.

When you click on a portion of your image using the Magic Wand Tool, the tool selects the pixel you selected along with adjacent pixels of the same (or similar) colors.

Once you have the Magic Wand Tool selected, you’ll see several different options in the Options Bar at the top of the screen. You can adjust the Tolerance of the Magic Wand Tool here. The higher the Tolerance, the more similarly colored pixels will be selected alongside the pixel you select with the tool.

For this example, we will keep the Tolerance at 10.

Click somewhere within the background of the image. The Magic Wand Tool will create a selection of all contiguous portions of your image that are roughly the same color as the background portion you selected.

The Magic Wand Tool did a relatively decent job, but there are some portions of the background (such as between the player’s legs and under his right arm” that are not selected.

To select areas of the background that did not get selected, hold down the SHIFT key and click within those areas that need to be selected. Holding SHIFT allows you to add to the existing selection without deselecting anything.

Step 3: Select other portions of the background and foreground

The ground in this photo is not a solid color like the background. It is, however, all varying shades of green. In order to select an area that is all about the same color but has a lot of detail, we need to adjust the Tolerance of the Magic Wand tool to a higher value. In this example, we’ve set the Tolerance to 50 and selected the grassy ground area of the photo.

The results are less than perfect, but if we were to make the Tolerance much higher, we might accidentally select portions of the player’s legs.

To smooth out the selection, choose Select > Modify > Smooth… from the dropdown menu at the top of the application window.

In the Dialog Box that appears, set the smooth value to something large enough to smooth out the edges of the selection but small enough to keep the integrity of the selection’s outline. For this example, we’ll set the value to 5.

Click OK.

The selection now looks almost close to perfect. Almost.

Step 4: Create a mask

Select the inverse of your current selection by choosing Select > Inverse from the dropdown menu or by typing SHIFT + CTRL + I (SHIFT + COMMAND + I on a Mac).

Now, your subject is selected (instead of your background).

Next, go to Select > Modify > Contract… to tighten the edges of the selection. This is to compensate for any artifacts that may have appeared in the selection when we smoothed it earlier.

Click OK.

In your Layers panel, look for the Mask icon at the bottom of the panel. It will look like a black rectangle with a white circle inside of it.

With Layer 0 selected, click on the Mask icon. You will now see your subject isolated against a transparent background.

We’re almost there, but there are a few things we need to fix before we’re done.

Step 5: Clean up the selection using the mask

As advanced as Photoshop 2024 is, nothing can match the human touch for perfecting a selection. In order to finalize your image, you will need to use your Brush Tool, and your judgment, to modify and perfect certain areas of your selection.

In Layer 0 of your Layers Panel, make sure you have the new layer Mask selected. When the Mask is selected, you’ll see a small, black outline around the Mask. Look closely as it’s a little hard to see.

Next, select your Brush Tool from the Toolbar to the left of the application window. In the Options Bar at the top of the application window, you can set the width and hardness of your brush.

If you have correctly selected the Mask icon in Layer 0, then the Foreground and Background colors in your Toolbar will be black and white. When white is the Foreground color, you can “paint back” portions of your masked image. When black is in the Foreground, you remove areas of your selection and they become masked.

For instance, in our example image, certain portions of the player’s sleeves disappeared when we created our initial selection. Therefore, using the Brush Tool, we can “paint back,” or add those portions of the sleeve back in.

Changing the size of the brush and switching between a white foreground and a black foreground, fix any edges of your selection that need finessing.

Other ways to select and mask in Photoshop 2024

Photoshop 2024 also offers another option for Selecting and Masking that may or may not be easier for you. Let’s start with the original image again to learn this second method.

When your Magic Wand Tool is selected, you’ll notice there are some selection options available in the Options Bar at the top of the application window. At the far right of the bar, click Select and Mask….

A new window will open showing most of the image erased. Don’t worry–the image is still there; it’s just been “masked.”

At the top of the screen, click the button that says Select Subject.

Photoshop will attempt to interpret and select the subject of your image. Though, as you can see in the image below, the results are not always perfect.

At the top of the window, you will find Add and Subtract buttons. These work to add to your selection or subtract from it using the modification tools on the left-hand side of the window. You can also control the size of the tool.

On the left side of the window are tools you can use to modify the selection. These tools are rather intuitive to use.

The first tool, the Quick Selection Tool, allows you to grab whole blocks of color at once. This is a good tool to use to “paint back” the ball in the image.

The next tool, Refine Edge Tool, helps when defining or redefining the edge of your selection. Below that is the Brush Tool, which works just like the regular Brush Tool in Photoshop (and like the Eraser Tool when the Subtract button is activated).

The Object Selection Tool tries to figure out where certain objects begin and end in your image, the Lasso Tools allow you to freeform select areas of the image, and the Hand Tool and Zoom Tool help you navigate around the image as you work to refine the selection.

Once you’re satisfied with the selection, click OK. You will see that nothing has changed in your original image, but there’s a “marching ants” selection around your subject.

Next, just like in the first method listed above, you’ll need to make your Background Layer into an unlocked Layer 0, and create a Layer Mask.

Whichever way you choose to create your selection, you now have your subject isolated from its background, and you can place your subject into whichever new setting works best for your branding needs.

Learning how to select and mask in Photoshop with the Magic Wand Tool is helpful because it’s a technique you can apply to a range of photos—sports, product, ecommerce, portraits, headshots, and more. Here are a just a few scenarios where it comes in handy:
- Show your subject in various environments. Help your audience connect with your subject emotionally by seeing it in a beautiful or familiar setting when changing the background. This can also help you prepare the image for different target segments, so you can swap out backgrounds that make more sense for your audience.
- Select your subject so you adjust its size or color without altering the setting in which it has been photographed. This means you can show different color variants for your product without having to take multiple photos.
- Remove the background from a photo so your subject stands out on its own.
- Create a white background image so you can list products on third-party marketplaces, like Amazon or eBay.
Not up for the tedious task yourself? Get a quote for your background removal needs
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23/04/2025
How to Make a Music Video with Final Cut Pro X

https://www.youtube.com/watch?v=Ns27LLNfobc

I’ve got something a little different today. Call it a slight expansion of my teaching skills. Teaching to my passions, if you will. Or you can just think of it as little bit of Friday fun and entertainment.

In my latest YouTube tutorial, I show you how to make a music video. That’s right. Having grown up in the golden age of MTV, and having made a handful of them with my own original recorded songs, I decided to share my knowledge of how to create a classic-style music video using the Multicam feature in Apple’s Final Cut Pro software.

Specifically, I show you the steps needed to shoot and edit a handful of clips, so that they’re all in sync with the music. Final Cut Pro makes this really easy, but if you don’t know where to look in the software, it’s hard to figure this out. To illustrate, I use the video clips from my own song and music video, A Very Cozy Christmas, which I released back in 2020.

https://www.youtube.com/watch?v=zf8xUpiH2PM

Now, I realize, that a lot of my readers probably don’t use Final Cut Pro, or have any intention of every making a music video for that matter, but who doesn’t love a good music video? The classic ones have such cultural significance in our lives. Or at least they once did.

With that in mind, it might just be fun to watch this video, just to see how they’re made, and to support my efforts. If you enjoy my teaching style, this is a great way to help me expand my audience, which helps me continue to make more photography tutorials. So, even if you’re not a Final Cut Pro user, or a music producer, please consider watching and leaving a comment, just for that reason.

So whether you were raised on videos like Thriller, Jump, Every Breath You Take, Hungry Like the Wolf and Sledgehammer, or not, thanks so much for your support and have a great weekend, and I promise, I’ll get back to making some more photography tutorials very soon!

https://www.youtube.com/watch?v=Ns27LLNfobc

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21/04/2025