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description
2020 Edition
This lesson is from the original 30 Days of Photoshop. Photoshop has changed a great deal since — there is an updated version of this lesson in the 2025 Edition: How to Match Color in Photoshop, Day 25.
Compositing is the art and craft of combining elements from different photos into a single image. The goal is to create the illusion that everything was photographed in the same scene. Sometimes we do it to solve common problems, like replacing a washed out sky in a landscape photo with one that’s full of clouds, color, and detail. And sometimes we do it to bring our imaginations to life, creating impossible scenes of fantasy and wonder.
But before we can start to explore the world of compositing, we need to master some of the basics. In order to make it look like the people, places, and objects from different photos were all photographed together, the color and lighting need to match. So join us as we show you how to create photorealistic composite images in Photoshop by matching light and color!
This is Day 28 of our 30 Days of Photoshop series. If you enjoyed it, follow along with all 30 episodes as we explore the magic of Photoshop together!
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Match Light and Color for Realistic Composites
Any time you cut a subject out of one photo and drop them into another, two things will be off: the light levels and the color. The subject was photographed under different conditions than the background, and your eye picks up on that mismatch instantly. The good news is that both problems are fixable in Photoshop, and there are two simple analysis tricks that make the differences impossible to miss so you can correct them with confidence.
In this lesson you will place a cut-out subject into a new scene, use a Black & White adjustment layer to compare brightness, use a Solid Color fill layer set to Saturation to compare color, and then correct both with Levels and Color Balance clipped to the subject.
Place and Scale the Subject
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Drag the Subject Into the Background
Open both images. With the Move Tool (V), click and drag the cut-out subject from her document into the background document. She arrives on her own layer, already masked, but at the wrong size.
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Convert to a Smart Object First
Before scaling anything, right-click the subject layer and choose Convert to Smart Object. Smart Objects let you scale down and back up again without losing resolution, so you can keep adjusting the size later.
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Free Transform Into Position
Press Ctrl/Cmd + T. Move the reference point to the bottom of the bounding box so the subject’s feet stay planted while you scale, then hold Shift and drag a corner until she looks about the right size for the scene. Press Enter. You can always come back and refine this.
A Quick Clipping Mask Refresher
Every correction in this lesson needs to affect the subject only, not the background. That is exactly what a clipping mask does: it makes a layer visible only where the layer directly beneath it is visible.
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See It in Action
Create a new layer above the subject and paint a bright red stroke across the whole image with the Brush Tool (B). Right-click that layer and choose Create Clipping Mask. The red now appears only inside the subject’s silhouette. Move the subject and the red stays put; move the red layer and it still only shows where she is.
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Clip and Unclip Any Adjustment
Right-click and choose Release Clipping Mask to undo it. Adjustment layers can be clipped the same way, either by right-clicking or with the small clipping icon (a square with a down arrow) at the bottom of the Properties panel. Delete the red test layer when you are done.
Analyze and Match the Light
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Add a Black & White Adjustment Layer
Add a Black & White adjustment layer at the top of the stack. Throwing the color away lets you judge brightness on its own. In the sample image it is obvious the subject is far too light for the shadowy background.
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Darken the Subject With Levels
Add a Levels adjustment layer just above the subject and clip it to her. Drag the white output slider to the left, or the midtone slider to the right, until her brightness sits comfortably with the background. Toggle the Black & White layer on and off to check your progress without color distracting you.
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Fine-Tune Individual Channels
Still in Levels, switch the channel menu to Blue and pull a little blue out of the highlights, then do the same in the Green channel. This starts nudging the color toward the warm background before you even reach the color tools.
Analyze and Match the Color
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Add a Saturation Test Layer
Turn the Black & White layer off. Add a Solid Color fill layer at the top, choose a bright red (any saturated color works) and set its blend mode to Saturation. Every color in the image is pushed to maximum saturation, which exaggerates the differences. The subject in the sample is clearly too blue and magenta for a scene full of warm greens and yellows.
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Add a Clipped Color Balance Layer
Add a Color Balance adjustment layer above the Levels layer and clip it to the subject. With the test layer still visible, start with the Midtones: push toward yellow and red, and pull cyan out until her skin and clothing sit in the same color family as the background.
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Balance Highlights and Shadows
Switch to Highlights and warm them the same way, then Shadows, adding a little yellow, green and red. Turn the Solid Color test layer off and check the result in normal color. Between the Levels and Color Balance layers the subject now matches both the light and the color of the scene.
Protect the Original Shadow
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Keep Some Ground Under the Feet
When you cut a subject out, leave a small piece of whatever they were standing on. That preserves their real contact shadow, which is very hard to fake convincingly. In this example a sliver of the original floor came along with the yogi.
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Blend the Ground With the Clone Stamp
On a new layer set to Current & Below, use the Clone Stamp Tool (S) to sample the new background and paint over any obvious edges of that ground patch, working around the shadow itself rather than over it.
Step Back and Reassess
Matching light and color is never a one-pass job. After the first round the subject in this example still looked a touch heavy, so a small tweak to the Levels layer brightened her back up. Take a break, come back with fresh eyes, and if anything still feels off add another adjustment layer clipped to the subject. Because everything is on adjustment layers and the subject is a Smart Object, nothing here is destructive and every decision can be revisited.
Key Takeaways
- Convert subjects to Smart Objects before scaling them into a composite.
- A Black & White adjustment layer strips color so you can compare brightness alone.
- A Solid Color layer set to Saturation exaggerates color differences so they are easy to spot.
- Clip Levels and Color Balance to the subject so the background is never affected.
- Keep a bit of the original ground to preserve the subject’s real shadow.
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