Shadows can be an important element for adding impact and drama to an image. Other times though, background shadows are simply an unwelcome distraction in images with a clean, minimalist look. In this Photoshop tutorial instructor Brendan Williams demonstrates a “sneaky selection trick” for eliminating shadows fast.

Williams is known for imaging-editing lessons that accomplish the process in a hurry, and this five-minute episode does exactly that. He also explains how to get a free PDF cheat sheet for future reference—just in case you need a reminder on how this straightforward technique works.

The image at hand is a simple portrait with the subject’s shadow on the wall—an unnecessary element that complicates the shot. Photoshop’s Patch tool provides an easy way to obliterate the shadow, but Williams explains a couple problems with this approach.

The goal is to get the job done without affecting the model’s arm and hand that fall within the shadow. For this image Photoshop’s Patch tool needs some help because it doesn’t do a precise job of selecting edges around a subject and it’s important to keep the model’s appendages intact.

William’s solution is to give the Patch tool a helping hand by employing a combination of two different selection areas to get the job done. To begin he taps the Select Subject button with his image layer selected and then selects his model from the photo. Next he clicks the New Layer icon and then the Layer Mask icon to apply his subject to the new layer.

This enables him to subtract from the Patch tool selection which is the key to avoid messing up the subject’s hand and arm. Now it’s time to pull up the Patch tool and follow Williams’ simple instructions. He duplicates the background layer so he can work non-destructively—just in case a do-over is necessary.

The rest of the process is super simple, and we’ll let Williams demonstrate everything you to do. Once you get the hang of this technique you’ll realize it has other helpful applications beyond shadow removal.

So watch how it’s done, grab the free cheat sheet, and get to work. You can find more helpful post-processing tips and tricks on Williams’ instructional YouTube channel, so pay a visit when you have time.

And don’t miss the quick Lightroom tutorial we posted recently, explaining a Split-Toning technique that gives landscape photos more punch and impact.

OWC has expanded their end-to-end ecosystem of professional storage solutions by adding three new items of vital interest to content creators, moviemakers and photographers in general. Their latest innovation is their Atlas USB4 CFexpress Type B 4.0 Memory Card Reader. Here’s the total rundown. If you want to speed up your workflow and improve data safekeeping, you need to read this.

When I think of OWC, three thoughts immediately come to mind: superb quality, outrageous operational speed and trustworthy data safety. Additionally, I consistently find OWC products to be attractively designed, thoughtfully engineered and absolutely affordable.

If you’ve never heard of OWC (Other World Computing), know that OWC is a premier zero-emissions Mac and PC technology company, and a respected provider of high quality memory, external drives, SSDs, Mac and PC docking solutions, NAS (Network Attached Storage) and performance upgrade kits. They’ve been around since 1988 (and they also sell refurbished Macs of various varieties at friendly prices).

Built for SPEED
Fortuitously for photographers and filmmakers, OWC’s strongest asset overall in my opinion is extraordinary operational speed. OWC products often lead their category in speed—Read speed, Write speed, data throughput, et al. No creative person likes wasting time waiting for files to load, be saved or transferred to offline storage. Speed is supreme.   

What’s New, Not in Chronological Order
We’re listing OWC’s latest innovations in the order we think is most important to digital image enthusiasts. We’re focusing on features and benefits and minimizing the technical lab jargon.

OWC Express 1 M2
The OWC Express 1 M2 is a drive enclosure that supports USB4, Thunderbolt and USB-C interfaces. It is the fastest single-blade NVMe drive to date with real-world speeds up to 3151 MB/s. The throughput speed significantly surpasses traditional SSD interfaces, making it perfect for 8K video and high-res photo editing.

The Express 1 M2 is offered in several configurations including unpopulated so you can build your own configuration (it’s simple and easy; OWC even includes the one screwdriver you need) or choose ready-to-run solutions with a preinstalled OWC Aura SSD in capacities up to 8TB. The benefit is the option to buy the capacity you need exactly, or go the DIY route.

The OWC Express 1 M2 is bus powered, meaning it does not require an external power supply and instead gets its juice from the computer. It’s small—about one size smaller than my iPhone, only thicker—and features a deep heatsink to prevent overheating of the SSD inside. It’s backed by a 3-year OWC Limited Warranty when purchased with a drive preinstalled, or 2-year coverage if you buy the enclosure empty.

OWC Express 1M2 Pricing & Availability
Express 1M2 is available empty without an SSD or in 1TB, 2TB, 4TB, or 8TB capacities starting at $119.99 for the 0TB enclosure only. You can order today directly from OWC.

OWC Atlas CFexpress 4.0 Type B Memory Cards
The new Atlas Pro 256GB, Atlas Pro 512GB, Atlas Ultra 1TB and Atlas Ultra 2TB cards can deliver astonishing 3650 MB/s read and 3000 MB/s write speeds, enabling you to efficiently record and process 4K, 6K, and 8K+ videos using the latest (and the next) generation of cameras, plus access and offload content for editing and distribution at amazing transfer speeds.  

Despite these extreme levels of performance, the power consumption of OWC memory cards is only one-third of the threshold allowed by the specification, making them ideal for battery-operated cameras.

Additionally, users can deploy OWC’s proprietary Innergize software to upgrade the firmware on previous PCIe Gen3 Atlas Ultra 1TB and 2TB cards to CFexpress 4.0 firmware. Innergize confirms the health of an Atlas card to ensure it’s reliable to use, and then cleans and restores performance so there are zero dropouts when shooting video or continuous burst photos. Atlas owners can upgrade their firmware to ensure OWC cards and readers perform optimally at all times. There is no charge for the software.

OWC Atlas CFexpress 4.0 Type B Card Pricing & Availability
Atlas Pro CFexpress 256GB and 512GB memory cards are now available priced at $169.99 and $199.99 respectively. Atlas Ultra CFexpress 1TB ($579.99) and 2TB ($999.99) memory cards are also now available directly from OWC.

OWC Atlas USB4 CFexpress Type B 4.0 Memory Card Reader
How important is a card reader? Ask anyone who’s ever spent what seemed like an eternity transferring videos and images to or from a card. Cards with gigantic capacities are a godsend, but they can be a bitchy bottleneck in your workflow.

OWC just introduced the Atlas USB4 CFexpress Type B 4.0 Memory Card Reader which, according to their internal, historically accurate testing, is the fastest reader in the world regardless of the type of port it’s connected to, including USB4, USB 3.2 Gen2, Thunderbolt4 and Thunderbolt3. (I told you up front that OWC products are faster than a marshmallow Peep melts in a 1500W microwave.)

How Fast Is It?
Specification numbers alone can be only mildly informative. Instead we reach for examples that align more closely with real-world performance. Here are some speed comparisons that can be independently replicated. We’re comparing the OWC Atlas USB4 CFexpress Type B 4.0 reader to a conventional USB 3.2 reader, possibly what you’re currently using. OWC conducted the testing; historically their methodology has been precise and accurate.

Transfer 15,000 Raw 45-megapixel images and 15,000 JPEG images with Canon R5C (approximately 1.02TB):
OWC Atlas USB4 CFexpress Type B 4.0 reader: 6 minutes, 19 seconds
Conventional USB 3.2 reader: 25 minutes, 11 seconds

Transfer 68 minutes of Blackmagic BRAW video in Q0 compression at 30fps from BMPCC 6K Pro (approximately 1.02TB):
OWC Atlas USB4 CFexpress Type B 4.0 reader: 5 minutes, 38 seconds
Conventional USB 3.2 reader: 24 minutes, 23 seconds

OWC obtained similar results using a Nikon Z9 and 23 minutes of 8K N-RAW HQ video at 60fps. The new OWC reader bested conventional USB 3.2 readers by a score of 5:51 vs 24:10.

To prevent CFexpress cards from throttling during continuous, sustained, high-speed write operations, the Atlas USB4 CFexpress Type B 4.0 reader is equipped with leading edge heat sink technology. (More heat is generated during Write operations compared to Read operations.)

The Atlas USB4 CFexpress Type B 4.0 has a unique switch on the back that confirms compatibility with OWC’s Innergize utility software. It also enables users to benefit from the card reader’s advantages when it’s connected to older MacBook computers with 10.13.x, 10.14.x or 10.15x macOS.

Atlas USB4 CFexpress Type B 4.0 Pricing & Availability
Surprise. The Atlas USB4 CFexpress Type B 4.0 Memory Card Reader costs only $99.99. The reader will be available online directly from OWC in early March, possibly sooner.

Conclusion
You know where the pinch points are in your workflow. What’s been bringing you down? If you need speed, capacity or reliability, take a close look at these OWC products.

—Jon Sienkiewicz

We’d all love to shoot with the best equipment that money can buy, but most of us simply can’t afford that luxury. But guess what? According to one of our favorite outdoor photographers, “It’s possible to capture pro-quality images with entry level gear.”

Instructor Simon d’Entremont is an acclaimed wildlife and nature photographer based in Eastern Canada. He takes a unique approach to this lesson by comparing results from a basic $700 kit to those captured a high-end setup that costs about $18,000.

Simon typically uses professional gear and doesn’t claim that photos from the budget setup are comparable to those shot with a pro-quality alternative, but he provides a variety of shooting tips that will enable money-conscious photographers to significantly close the gap. The interesting shootout also provides his answer to the age-old question, “Does gear really matter?”

According to Simon there are two answers to this question: First, “the amount of difference in results between pro gear and entry-level gear depends greatly upon the genre of photography you shoot.” And secondly, “in the right hands, the difference is less.” He offers the examples of wildlife and astrophotography as two genres that require specialized (and expensive) lenses to get the job done.

With other types of photography like portraiture, street scenes, and even landscapes, it’s possible to capture compelling images with the affordable gear you already own by incorporating Simon’s suggestions into your style of shooting. One drawback to keep in mind is that Simon’s budget system includes a slow 15-45mm f/4-6.3 kit lens that supposedly doesn’t deliver the goods if a blurry background is what you want.

Yet even in this scenario Simon explains a few ways that you can significantly soften distracting backgrounds when shooting with a cheap and slow lens. He explains how the distance been a subject and the camera greatly factors into the equation, as does the vantage point from which you shoot.

The foregoing is just one tidbit of everything you’ll learn in this eye-opening 14-minute lesson. We bet that by the time you’re done watching you’ll no longer be as envious of those who can afford top-tier gear. Then you can spend more time elevating your skills without spending a dime.

If you’re particularly interested in nature and wildlife be sure to visit Simon’s instructional YouTube channel where there’s much more to learn.

And don’t miss the tutorial we posted earlier, explaining the right way to using polarizing filters (and when they’re a waste of time when shooting in the field.

Highlights and shadows can be the bane of landscape photographers who often confront scenes with a wide range of tones that exceed the density range of their camera. Today’s quick tutorial from the folks at How to Use concentrates on the former, with a straightforward Lightroom method for eliminating blown-out areas within the frame.

While this Lightroom technique is helpful for editing all sorts of photos that include overly bright elements, it’s particularly useful when photographing sunset and sunrise scenes when a prominent sun makes it difficult to arrive at a correct exposure throughout the frame.

Photographer Nathaniel is Lead Instructor at the How to Use YouTube channel, and he puts it simply: “Highlights are crucial to fix” if you want to create compelling outdoor photos with perfectly balanced tones.

Nathaniel’s sample image is a sunset scene captured on the beach in beautiful Venice, CA. It looks really good except for a common problem—the sun appears almost white and is totally devoid of detail. The first thing to do is pull up the histogram and evaluate the exposure from highlights to shadows and everything in between.

The shadow areas look fine, and Nathaniel walks you through a straightforward process for pulling details out of the sun. Slightly dropping the highlights is the initial step and you’ll notice details beginning to appear in the sun—both in the sky and in the foreground reflections. At this point it’s important to use a gentle approach and avoid taking things too far.

Next Nathaniel carefully reduces overall exposure and contrast, while slightly boosting the shadows that have become darker. Now you can pick out a surfer in the waves. He also adjusts the whites and slightly modifies blacks. Nathaniel explains why he doesn’t employ Lightroom’s Tone Curve for this specific task.

The image is significantly improved, but the transformation is only halfway complete. Nathaniel turns to the Color Mixer for a few quick enhancements that keep the image looking very realistic. He pumps up the reds tones, reduces saturation, and adjusts Luminance to further improve the effect.

Now it’s time to dig into Lightroom’s lens corrections, and you’ll see how enabling Profile Corrections makes a huge difference in how the image appears. He also uses Lightroom’s Color Calibration panel to further refine the reds. As with all of his adjustments, Nathaniel reveals the specific settings he uses.

Many of us would be pleased with the image as it now appears, but Nathaniel is a perfectionist and makes several more quick adjustments to perfect the edit to his satisfaction. Quick, easy, and very effective.

There’s much more to learn on the How to Use YouTube channel, so pay a visit and elevate your skills. We also suggest watching the recent tutorial we posted, explaining how to use the Eyedropper for perfect Curves adjustments in Lightroom.