Master the Light Blur Effect: A Non-Destructive Workflow in Photoshop
Composite portrait work makes up a significant chunk of what I do for ad agency clients, and the single biggest complaint I hear from art directors is that the subject looks “pasted in.” The background is sharp, the person is sharp, and nothing feels like it was shot together. What actually sells a composite is controlled imperfection: the right amount of blur, some light bleed, a little grain. Getting that to feel photographic rather than digital is the whole game.