The Photoshop Texture Blending Trick That Transforms “Meh” Photos into Art

Isn’t it fascinating how your imagination work? You go out and take photos, returning with hundreds of amazing shots. Yet, some of them just don’t quite hit the mark. You know the ones I mean — maybe it’s a striking eagle perched on a branch, a classic car, or an old barn that looks tough. But the lighting isn’t right, or the background is dull. So, you put those photos in a folder, feeling like they are waste. Here comes the Photoshop texture blending trick.

Matt Kloskowski shares that he was once in a similar situation until he found an image years back. Someone had skillfully combined a texture with a subject, completely changing the overall feel of the image. He mentions that he had to figure out the method on his own, and honestly, the results are quite appealing. According to Matt, this isn’t just about fixing a “bad” photo. It’s about transforming a plain photo into something truly special and creative that you can connect with.

Is It Art or is it Photoshop?

I was thinking is this really photography? Isn’t it more like digital art or a composite? Matt was ready for that question. He happily responds, “Yes, that’s exactly what it is,” making it clear that this method falls under digital art . I find this viewpoint quite refreshing. You don’t have to be a strict traditionalist. With a camera and Photoshop at your disposal, you’re free to explore both paths.

Matt mentions that he still spends most of his time on “pure photography,” adjusting sliders in Lightroom and Photoshop, but he enjoys trying out this different creative approach. This Photoshop texture blending trick offers a distinctive photo and opens up new creative possibilities. You can be a painter, a digital sculptor, and a photographer all at once. There’s no rule saying you have to stick to one style. You can embrace both.

Get Technical: The Essential First Steps to Texture Blending

The first step you need to take is to isolate your subject. Start by selecting the subject layer, and Matt recommends using the Contextual Task Bar to click on Remove Background. This is a great shortcut because it automatically creates a precise layer mask for you. It’s like a reverse Select Subject. It keeps the eagle visible and hides everything else.

Next, you’ll want to use the Brush Tool (B). At this point, the right settings are important for achieving that special look. Matt emphasizes that you should set the Hardness of your brush to zero. You really need a very soft edge for smooth blending. You can change the Flow setting later, which controls how fast the effect appears, but having that zero-hardness brush is essential for seamless transitions.

The Anchoring Principle: Making Your Subject Stick

Have you ever noticed a picture where the main subject seems like a sticker awkwardly placed on a background? It looks unrealistic, doesn’t it? Matt explains that you can’t just have your eagle hovering in mid-air with no context. The answer to this issue is called the Anchoring Principle. You need to reintroduce an element from the original photo to connect your subject to the setting. This could be a branch, some grass, or even part of the driveway beneath a car.

He suggests using the Object Selection Tool to quickly outline the grounding element, such as the branch where the eagle is perched. Here’s a helpful tip: Shift-click the layer mask on your subject layer. This lets you see the original image so you can ensure you’re selecting the right area for your anchor. Matt advises using a high Flow setting for the brush at this point. Since you’re just adding back a solid object, quickly paint over that selected anchor area with white on the mask. This will instantly and effectively restore the branch, creating a strong foundation for your subject.

The Heart of the Matter: Gentle Edges and Scribbling

Now, we move on to the technique that really showcases Matt’s unique style and the essence of Photoshop texture blending trick. Start by changing your brush color to black and significantly reducing the Flow setting — make it quite low. Next, you’ll begin painting on the layer mask of the subject, softly blending away the sharp edges of both the subject and the branch it’s anchored to. Matt points out that the secret to effective blending is to avoid hard edges. If there are feathers or fur, you can keep those details clear, but for everything else, aim for a smooth mix of textures.

In the video, you might notice Matt’s cursor “scribbling” in one area. He clarifies that with such a low flow, you gradually create the effect by going over the same spot multiple times. You’re softening the hard outlines with gentle strokes, allowing the underlying texture to blend naturally with the subject. This slow and careful approach is what gives the final image its distinct, painted look.

The Dual-Layer Strategy: Infusing a Second Color Shift

Matt has a clever Photoshop texture blending trick. He explained that he put a blue texture under a green one to create an interesting effect. He also mentioned that the green texture is set to Overlay Blend Mode, which affects how it works with the layers underneath.

Next, he uses the second texture to change the color in the sky. To do this, you first need to select your subject by clicking on the eagle layer and choosing Select Subject. Then, go to Select > Inverse to select everything except the eagle.

After that, click on the layer mask for the top green texture layer. Matt suggests using a low-flow black brush to paint towards the top of the image. Remember, painting with black on this mask hides the green layer, allowing the blue texture from the bottom to show through in the sky. If you think you’ve added too much blue, you can switch your brush to white to bring back some green and make the transition smoother. It seems like Apple is working hard to improve image editing, making it easier for photographers to consider switching to iPhone and Photoshop.

The Texture Vignette: Avoiding “Perfect” Edges

Matt talks about something he really doesn’t like: when finished photos have “perfect” edges. You know how sometimes a picture just cuts off sharply at the edge? He explains that adding some texture around the edges can create a natural vignette effect — using texture instead of darkness.

Next, you’ll need to focus on the subject’s layer mask. With a large, soft brush set to low flow, you’ll paint around the edges of the photo. Using black on this mask will hide the original edges of both the photo and the branch, allowing the underlying texture to show through. This makes the photo feel more aged and blended. Matt then recommends reducing the brush size and continuing with the same low-flow black brush to reintroduce some texture to the subject itself, like gently blending the edges of the eagle’s wings for a softer appearance. He refers to this technique as “scribbling” to enhance the effect. The amount of blending you do is completely up to you. Feel free to adjust it as you like, since, as Matt says, “it’s very free flowing”.

Final Polish: Camera Raw and the Self-Vignette

Start by using the “monster keyboard shortcut” (Cmd/Ctrl + Option/Alt + Shift + E) to combine all visible layers into a new single layer.

Matt mentions that his favorite last step is applying the Camera Raw Filter. He skips over Auto and goes directly to the Profiles section. He recommends trying out the Modern Profiles, especially Modern 9, which gives a nice matte finish to the image.

Next, he tweaks the Effects panel by adding some Texture or slightly reducing the Clarity for a softer look.

For the very last touch, duplicate the merged layer (Cmd/Ctrl + J) and set its blend mode to Multiply. This Multiply mode enhances the colors in the photo, giving it a rich, dark depth. Matt then adds a layer mask to this duplicated layer, uses a large, soft brush with low flow, and paints over the center of the image. This removes the darkening effect in the middle, creating a vignette effect with the multiplied colors. It’s a “self-vignette,” which effectively directs attention to the main subject. You can control how strong this effect is by adjusting the Opacity of the final layer.

[The Photoshop Technique You Didn’t Know You Wanted I Matt Kloskowski; Image Credits: Envato]

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