PictureCorrect.com: Top 10 Composition Tips in Photography

Photography is all about composition. If you can’t compose an image, you can’t take photos. That’s the bottom line. This is where your photography journey starts as a beginner. Learning to place the elements in the photo is natural for some, but the rest of us we have to learn.

Related: offer ending soon for the Composition Cheat Sheets February Flash Sale

photo by Giuseppe Milo

So what is composition? The dictionary definition is “the act of combining parts or elements to form a whole.” What you are looking to do in composing an image is to take the important parts of the scene and combine them to create a photo that’s pleasing to the eye. This is all well and good, but how can we do this most effectively? Here are my top ten tips.

1. Clearly identify your subject

This is the non-negotiable of photography. Unless your subject is the focal point of the image you don’t have a photo. When looking at the image, a person should be able to clearly identify the subject. So make sure you give enough attention to the subject of your focus.

2. Fill your frame

One of the most common mistakes made by budding photographers is failing to fill the frame with their subject or the major elements of the image. Get in closer and exclude the parts that you don’t want. Open space serves no purpose when the subject is too small or cannot be identified.

Photo captured by Brent Ninaber; ISO 320, f/5.6, 1/50s.

3. Horizontal vs. vertical

Camera manufacturers are to blame for this dilemma because all cameras are designed to be held in a horizontal format. It shouldn’t be an ‘either or’ situation but rather a ‘both’. Try to shoot 50 percent of the time in both formats. There is no rule which is best, and the key is to experiment.

4. Dramatic angles

Shoot from high up or low down. Use your feet and move around the subject looking for an optimum angle. Don’t be afraid to get down on your stomach or climb a tree. Look for different and dramatic angles that will make your images more striking.

5. Don’t amputate

This means that you shouldn’t cut off part of your subject unless it is intentional to create an effect. Missing parts of people or objects irritate the viewer and create an incomplete image. It distracts the eye. So watch the edges of your image.

6. The rule of thirds

Imagine a tic tac toe grid or noughts and crosses lines running across your image dividing it into thirds horizontally and vertically. Where the lines cross or intersect are the best placement points for your subjects or objects. Never place the horizon of a landscape image in the center of your image. Always place it on a horizontal two thirds line. Subjects like lighthouses can be placed along one of the vertical two thirds lines.

photo by Alejandro Castro Mouzo

7. Look for frames

Frames come in two types: natural or man-made. An example of a natural frame would be an opening in trees or a rock formation with a hole in it. Man-made frames are doorways, windows, or arches. All of these help contain the subject or scene in a form that is pleasing to the eye.

8. Simplify

Trying to include too much in an image often spoils it. An image that is cluttered causes the viewer’s eye to dart around the image trying to make sense of it. Less is more, as the old adage goes. Eliminate anything that’s distracting or unnecessary to the memory you are attempting to create.

photo by damon jah

9. Watch your background

Make sure that there is nothing in the background that detracts from your subject—things like chimneys growing out of heads and other subjects diverting the eye from the main subject. You want balance by not going in too close but including enough of the environment of the subject to contextualize it.

10. Lines, patterns and shapes

Look for interesting patterns, lines and shapes. Lines lead the eye to focal points. A river, road, fence or path in a classic ‘s’ shape draws the eye along the route into your image. Strong verticals give height to your image, and diagonals add depth. Turn your viewfinder, allowing straight lines to travel from corner to corner in the image.

Key to great composing is thought. Think before your press the shutter button and consider all of these points. Create a mental check list to help you add these elements and create that great composition.

About the Author:
Wayne Turner has been teaching photography for 25 years and has written three books on photography. He has produced 21 Steps to Perfect Photos; a program of learner-based training using outcomes based education.

For Further Training on Composition:

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Composition Cheat Sheets (see all the elements covered)

The perfect companion for any photographer. Print one out whenever you need it. These cheat sheets consolidate crucial composition-related information, allowing you to concentrate on what truly matters – composing striking photographs.

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PictureCorrect.com: How to Photograph Silky Smooth Waterfalls

Waterfalls are great examples of how ruthless and overpowering nature can get. While some find the gorging sound surrounding waterfalls to be relaxing, the same can induce a sense of anxiety amongst the faint of hearts. As a photographer, you have the ability to take an image that represents the mood that you want to portray. No matter how violent a waterfall may appear in reality, you can thus depict a relaxing perception using techniques to take a smooth image of a waterfall. Some photographers prefer a sharp look while others prefer this smooth look.

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Photo captured by Richard Schneider. f/8.0, 4 seconds, ISO 125.

There are various factors that you need to consider when taking an image of a waterfall that appears silky smooth. While some of these factors can be controlled with your camera settings, others are dependent on the use of accessories to help you make your image better. Today, I’m sharing with you three important tips that will help you to photograph a waterfall that reflects the true essence of being around one.

Try a long shutter speed. Your choice of shutter speed is a critical factor that determines how the waterfall will appear in the final image. In order to make the waterfalls appear silky smooth, you need to use a long shutter speed like 1s or more. This gives a dreamy effect to the waterfall. The volume of water flowing down the water also determines how long your shutter speed should be for the waterfall to appear smooth. Lower the volume of waterflow, the slower your shutter speed will need to be. So, play around with different shutter speeds and determine the right one for you.

Use a neutral density filter. Have a neutral density (ND) filter handy in case light is abundant in the scene. An ND filter lets you use slower shutter speed by stopping certain amount of light entering the camera. The amount of light that a particular ND filter blocks out is determined by its strength (for instance: 2-stop ND filter, 4-stop ND filter). Choose an appropriate ND filter depending on how brightly your scene is illuminated.

Photo by Robert Gareth; ISO 125, f/8.0, 1/160s, 24mm.

Get rid of the shakiness. Since you will be working with a slow shutter speed, it is quite important that you prevent any kind of camera shake. Using a sturdy tripod, or placing your camera on a stable surface becomes necessary when working with long exposures. Also, use your camera in timer mode, or with a shutter release to avoid any shake when pressing the shutter button. If you have a DSLR, use the mirror lock-up feature to get rid of vibrations. Getting rid of any kind of shake will make your image pleasing to look at.

And while you’re at it, do not forget to enjoy being around a waterfall. Take a dip if your want, and enjoy the moment. Who knows, the tranquility of the surrounding may inspire you to take some brilliant images naturally.

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PictureCorrect.com: Hidden Risks Every Travel Photographer Should Know

Travel photography is one of the most rewarding ways to combine creativity and adventure—but it also comes with unique risks. When you’re focused on light, composition, and timing, it’s easy to miss warning signs that something isn’t quite right. From gear-related tricks to fake opportunities, here are some of the most common scams travel photographers encounter—and how to avoid them.

Related note: only 1 day left for the Travel Photography Cheat Sheets at 88% Off!

1. The “Too Good to Be True” Photo Gig

You get a message while traveling: a brand, hotel, or tourism board loves your work and wants to hire you immediately. The catch? They need a “small upfront fee,” ask you to wire money for permits, or want to pay with a check for more than the agreed amount and have you refund the difference.

How to avoid it: Legitimate clients don’t ask photographers to send money first. Ever. Verify the company through official websites, look for real contact details, and insist on standard contracts and secure payment methods.

2. Street Portrait Traps

In popular travel destinations, locals may happily pose for your camera, only to demand payment afterward—sometimes aggressively. In other cases, someone encourages you to photograph a performer or animal, then suddenly appears with a fee.

How to avoid it: Always ask about payment upfront before taking the shot. If money isn’t discussed clearly beforehand, assume there will be an expectation later.

3. Fake “Permits” and Authority Figures

Someone claiming to be an official—park ranger, tourism officer, or local authority—may approach you and say photography isn’t allowed without a permit. They offer to “help” by selling you one on the spot, usually in cash.

How to avoid it: Research local photography rules before you go. Real permits are issued through official offices, not curbside. If in doubt, ask to see identification and confirm through an official channel.

4. Gear Distraction Scams

A classic tactic in crowded areas: one person distracts you—asking questions about your camera or offering help—while an accomplice steals gear from your bag or tripod.

How to avoid it: Keep your bag zipped and in front of you, use anti-theft straps, and avoid setting gear down unattended, even for a moment.

5. “Model Release” Extortion

After taking photos of someone or their property, they claim you need a release and demand payment to avoid trouble, especially if they see professional-looking equipment.

How to avoid it: Know local laws regarding public photography and releases. Calmly explain your rights, and avoid escalating the situation. When possible, move on rather than argue.

6. Fake Wi-Fi and Data Theft

Free public Wi-Fi in cafés, airports, or hotels can be compromised. Scammers use it to access accounts, cloud storage, or even client galleries.

How to avoid it: Use a VPN, avoid logging into sensitive accounts on public networks, and back up photos offline whenever possible.

7. Social Media Impersonators

Scammers may clone your profile, steal your images, or pose as you to approach brands or followers—damaging your reputation and income.

How to avoid it: Use watermarks where appropriate, enable two-factor authentication, and regularly search for impersonation accounts so you can report them quickly.

8. Equipment Rental Scams

In some destinations, rental shops swap your gear for damaged items or claim you returned equipment broken—even if it wasn’t.

How to avoid it: Photograph rented gear at pickup and return, keep receipts, and rent only from well-reviewed businesses.

Final Thoughts

Travel photography should be about storytelling and discovery—not stress. A little awareness goes a long way. Do your research, trust your instincts, and slow down when something feels off. Protecting your gear, your images, and your time means you can focus on what really matters: capturing incredible moments wherever you go.

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PictureCorrect.com: When to do Noise Reduction in a Photo Editing Workflow

In the age of digital photography, noise can often sneak its way into our photos. Whether it’s the grainy specks in low-light shots or the colored pixels in certain textures, noise can be distracting and degrade the quality of an image. Thankfully, we have the tools and software to address this issue. But when should you incorporate noise reduction into your photo editing workflow? Let’s dive in.

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Photo captured by Darwin Vegher

1. Understanding Noise

Before we address when to tackle noise, it’s crucial to understand its types:

• Luminance Noise: These are the grainy, black and white specks that appear in photos, especially in shadows or under low-light conditions.
• Chroma (Color) Noise: These are the colored specks that can appear anywhere in the photo, often in uniform areas like the sky or skin tones.

2. The Ideal Time for Noise Reduction

Typically, noise reduction should be one of the earlier steps in your editing process, especially if it’s a significant concern in the image. Here’s why:

• Before Detailed Edits: Reducing noise before making detailed edits ensures that you don’t accidentally enhance the noise when adjusting sharpness, clarity, or contrast.
• After Raw Conversion: If you’re shooting in RAW (which is recommended for the most editing flexibility), apply noise reduction after converting the file. Some RAW converters even have built-in noise reduction tools.
• Before Color Adjustments: Chroma noise can impact how colors appear, so it’s wise to reduce this noise before making color corrections.

3. Things to Remember

• Don’t Overdo It: While it’s tempting to completely eliminate noise, over-processing can result in a plasticky look, void of details. Balance is the key.
• High ISO Isn’t Always Bad: Yes, higher ISO settings can introduce noise. But don’t be afraid of it. Sometimes, a bit of grain adds character to a photograph.
• Noise Reduction Tools Matter: Not all noise reduction tools are made equal. Some software focuses on luminance noise while ignoring chroma noise, and vice versa. Research and invest in one that suits your needs.

Incorporating noise reduction at the right time in your photo editing workflow ensures that you maintain image quality without sacrificing essential details. Remember, while the aim is to reduce distractions, retaining the natural feel and texture of the photograph is just as important. Happy editing!

Premium Subscribers Are Already Ahead:

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PictureCorrect.com: The One Thing That Makes Photography Income Predictable

Most photographers think unpredictable income is just part of the deal. One month is busy, the next is silent. A few good shoots followed by long stretches of nothing. It’s frustrating—and it leads many people to believe photography can never be a reliable source of income.

But unpredictability usually isn’t caused by the market, the algorithm, or competition. It comes from relying on one-off opportunities instead of repeatable systems.

Related: deal ending soon for the Earn Money with Photography February Flash Sale

Talent Doesn’t Create Predictability

Skill matters. Good photos help you get hired. But skill alone doesn’t make income predictable.

Plenty of talented photographers still rely on referrals, social media luck, or seasonal demand. When those dry up, so does the work. The problem isn’t quality—it’s the absence of a structure that keeps opportunities coming even when you’re not actively promoting yourself.

The Real Difference: Repeatable Processes

The one thing that makes photography income predictable is having a repeatable way to attract, convert, and retain clients.

Predictable income doesn’t come from a single great shoot. It comes from knowing:

• Where new inquiries usually come from
• How those inquiries turn into booked work
• What happens after the job is finished

When those steps are defined and consistent, income stops feeling random.

Systems Turn Interest Into Bookings

A system doesn’t have to be complicated. In fact, simple systems work best.

It might be:

• A clear service page that answers pricing questions upfront
• A standard response you send to new inquiries
• A follow-up email that checks in after a shoot

Each piece reduces friction. Instead of reinventing the wheel for every client, you’re guiding them through a familiar path. That familiarity builds confidence—and confidence increases bookings.

Retention Is Where Stability Comes From

Many photographers focus entirely on getting new clients and ignore the easiest source of predictable income: past clients.

A system for staying in touch—seasonal check-ins, reminders, or simple updates—turns one-time jobs into repeat work. Even a small number of returning clients can smooth out income swings dramatically.

Predictability doesn’t require more clients. It requires better relationships with the ones you already have.

Pricing Consistency Matters More Than Pricing Level

Unpredictable income often comes from inconsistent pricing. Adjusting rates on the fly, offering discounts out of pressure, or making exceptions “just this once” makes it hard to forecast anything.

Clear pricing structures and defined packages create boundaries. Clients know what to expect, and you know what each booking is worth. That clarity makes planning possible—even if volume fluctuates.

Why Systems Feel Uncomfortable at First

Many photographers resist systems because they feel restrictive or “too business-like.” But systems don’t replace creativity—they protect it.

When your business runs on repeatable processes, your creative energy goes into the work itself, not into chasing leads, writing emails from scratch, or stressing about the next job.

The Bottom Line

Photography income becomes predictable when your process is predictable.

Not when your photos get better. Not when social media finally clicks. But when you build simple systems that guide people from interest to booking to repeat work.

Once that’s in place, photography stops feeling like a gamble—and starts feeling like a business you can actually plan around.

For Further Training:

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PictureCorrect.com: Camera Settings for Night Markets and City Streets

Night markets and city streets after dark are some of the most visually rich places you can photograph—glowing signs, layered light sources, motion, atmosphere, and human interaction all happening at once. But they’re also where many photographers struggle the most. Light levels change quickly, colors mix unpredictably, and movement is constant.

The key to success isn’t exotic gear or perfect conditions—it’s understanding how to choose camera settings that balance sharpness, mood, and responsiveness in low light.

This guide walks through practical, real-world camera settings for photographing night markets and city streets, with an emphasis on handheld shooting, adaptability, and intentional creative control.

Related note: only a little while left for the Travel Photography Cheat Sheets at 88% Off!

Start With the Right Exposure Mode

In fast-moving night environments, Aperture Priority or Manual with Auto ISO are usually the most reliable choices.

• Aperture Priority (Av / A): Ideal when light levels fluctuate constantly. You control depth of field, and the camera adjusts shutter speed.
• Manual + Auto ISO: Gives full control over aperture and shutter speed while letting ISO float to maintain exposure.

For most photographers, Manual + Auto ISO offers the best balance of control and speed once you’re comfortable with it.

Aperture: Let the Light In (But With Intent)

Night markets are dim, crowded, and visually complex. A wider aperture helps you gather light and isolate subjects.

Recommended aperture range:

• f/1.8–f/2.8 for subject isolation and low light
• f/3.5–f/4 if you want more environmental context

Wider apertures:

• Allow lower ISO or faster shutter speeds
• Create separation in busy scenes
• Emphasize faces, hands, or products against chaotic backgrounds

Stopping down slightly (around f/2.8–f/3.2) often improves sharpness while still keeping backgrounds soft.

Shutter Speed: Freeze Life—or Let It Move

Movement is everywhere: people walking, vendors working, steam rising, lights flickering. Your shutter speed determines whether your image feels energetic or chaotic.

General guidelines (handheld):

• 1/125s–1/250s: Freezes people, gestures, and quick moments
• 1/60s–1/100s: Good balance for walking subjects
• 1/30s–1/50s: Introduces motion blur for atmosphere
• Below 1/30s: Best used intentionally or with stabilization

If your images feel soft, it’s often motion blur—not missed focus. Err on the side of a slightly faster shutter speed and let ISO rise if needed.

ISO: Embrace It (Within Reason)

Modern cameras handle high ISO far better than most photographers expect. In night street photography, noise is often preferable to blur.

Practical ISO approach:

• Set Auto ISO with a max of 3200–6400 (or higher if your camera allows)
• Don’t be afraid of grain—it often enhances night atmosphere
• Avoid heavy noise reduction that smears detail and skin texture

A sharp, slightly noisy photo will almost always feel stronger than a smooth but blurry one.

Focus: Keep It Simple and Predictable

Low light and busy scenes can confuse autofocus systems.

Recommended focus setups:

• Single-point AF for precise subject placement
• Zone AF for quick reactions in crowds
• Continuous AF (AF-C / AI Servo) for moving subjects

If your camera struggles to lock focus:

• Aim at contrasty edges (faces, hands, signage)
• Avoid focusing on flat, dark surfaces
• Use back-button focus if you’re comfortable with it

Manual focus can work, but autofocus is usually faster and more flexible in dynamic street environments.

White Balance: Control the Color Chaos

Night markets combine LED signs, tungsten bulbs, fluorescents, and neon—often all in one frame.

Best strategies:

• Auto White Balance: Flexible and fine if you shoot RAW
• Kelvin mode (3000–4200K): Offers consistency across a series
• Embrace color shifts rather than neutralizing everything

Trying to make all light sources “accurate” often removes the atmosphere. Let warm stay warm. Let neon glow.

Metering: Protect the Highlights

Bright signs and bulbs can easily blow out.

• Use Evaluative / Matrix metering as a starting point
• Slightly underexpose (–0.3 to –1 EV) to preserve highlights
• Watch histogram and highlight warnings, not just the LCD preview

You can lift shadows later—blown highlights are gone forever.

Image Stabilization: Helpful, Not Magic

Stabilization allows slower shutter speeds, but it doesn’t freeze subject movement.

Use it to:

• Shoot at 1/30s–1/50s handheld
• Reduce camera shake
• Keep static elements sharp

But remember: people still move. Stabilization won’t fix that.

A Simple Starting Setup

If you want a fast, reliable baseline:

• Mode: Manual + Auto ISO
• Aperture: f/2.0–f/2.8
• Shutter speed: 1/125s
• Auto ISO max: 6400
• Focus: Single-point AF or Zone AF
• White balance: Auto or 3800K
• Metering: Evaluative

Adjust from there based on motion and light.

Final Thought

Night markets and city streets reward photographers who react quickly and accept imperfection. Grain, blur, color shifts, and contrast all become part of the story when handled intentionally.

Mastering camera settings in these environments isn’t about technical perfection—it’s about staying present, anticipating moments, and letting the scene breathe through your choices.

If you can control exposure, motion, and focus under these conditions, everything else starts to feel easier.

For Further Training:

Some shots are just harder than others. Ever struggled with Milky Way photos, twilight exposures, or star trails and focus stacking while you’re on the move? The Travel Photography Cheat Sheets (currently 88% off today) are built exactly for moments like that:

Showing you step by step how to dial in settings, avoid common mistakes, and get the shot — even when you’re tired, rushed, or shooting in unfamiliar conditions. Travel-ready, no Wi-Fi required, and designed to be quick to reference so you can spend less time guessing and more time shooting.

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PictureCorrect.com: 5 Photo Editing Mistakes That Make Your Photos Look Over-Processed

You have seen the look before. Skin glowing like a traffic cone, skies so blue they belong in a cartoon, and grain cranked up so high the photo looks like it was taken through a screen door. Over-processed photos are everywhere, and the worst part is that most people doing it think their edits look great.

I get it. I’ve been there too. You discover a slider, you get excited, and suddenly everything gets the same heavy-handed treatment.

Here are five of the most common editing mistakes I see, why they happen, and how to fix them. All in Lightroom Classic.

Related note: for more help with Lightroom Classic styles, there is a new site called Hyperfocal that can create photo editing presets based on descriptions or style matching.

1. Cranking Saturation Instead of Using Vibrance

This is the big one. The saturation slider is a sledgehammer. It boosts every colour equally, which means skin tones go orange, greens go neon, and the whole image starts looking like a poster for a theme park.

Vibrance is the smarter tool.

It boosts muted colours more aggressively while barely touching tones that are already saturated, and it is specifically biased to protect skin tones from going orange. The difference is subtle when you compare the sliders side by side, but it is massive in the final image.

The fix is to keep saturation between -10 and +10 for most photos and let vibrance do the heavy lifting for global adjustments. If you need more control beyond that, colour grading and the HSL panel are where you should be working. They let you target specific hues without blowing out everything else.

If you find yourself pushing saturation past +20, take a step back and ask yourself if the image actually needs it.

2. Over-Sharpening Everything

Sharpening is one of those settings that looks amazing at 100% zoom and terrible everywhere else. Crank the amount slider too high and you will start seeing halos around edges, crunchy textures in skin, and noise that was invisible before.

The problem is that most people sharpen while zoomed into their photo at 100% or even 200%. At that zoom level, you are pixel-peeping and chasing detail that nobody will ever notice in the final image. Then you export, post it online, and wonder why it looks harsh.

A good starting point is an amount of 40, a radius of 1.0, and detail around 25 (which are the defaults once you enable sharpening). For portraits, use the masking slider to protect smooth areas like skin.

Hold Alt (or Option on Mac) while dragging the masking slider and you will see exactly which areas are being sharpened. White areas get sharpened, black areas are left alone.

If you are using the latest version of Lightroom Classic, the AI masking tools take this even further.

You can create a mask that excludes the subject or skin entirely, so sharpening only hits the background, clothing, and hair while leaving the face completely untouched.

3. Going Too Hard on Clarity and Texture

Clarity and texture are addictive sliders. They add punch and make details pop, which feels great when you are editing. The problem is that a little goes a long way, and most people use way too much.

High clarity on a portrait makes every pore, wrinkle, and blemish more visible. It is the opposite of flattering. On landscapes, too much clarity creates that overcooked HDR look where everything has an aggressive, gritty halo around it.

For portraits, try keeping clarity between -5 and +10. Negative clarity can actually be really flattering for skin. For landscapes and architecture, you can push it higher, but anything above +30 starts to look unnatural pretty quickly.

Texture follows the same logic. Use it to enhance specific areas like hair or foliage, but do not treat it like a global improvement slider.

4. Lifting Shadows & Blacks So Much That You Kill the Mood

Every beginner tutorial tells you to pull up the shadows slider to “recover detail.” And that is true, to a point. The problem is when you lift shadows so aggressively that the photo becomes completely flat.

Shadows exist for a reason. They add depth, dimension, and mood to a photo. A moody street scene at dusk needs those dark areas. A portrait with dramatic side lighting needs contrast between the lit face and the shadowed side.

When you fill in every shadow, you remove the thing that made the photo interesting in the first place.

The next time you are editing, try being intentional about which shadows you want to keep and how much you want to lift the blacks. Instead of globally lifting the shadows slider to +70 or higher, try a more moderate value around +20 to +30.

Then use the tone curve to selectively brighten just the midtones if you need more visibility in specific areas. The goal is to retain detail in the shadows without eliminating them entirely.

5. Ignoring Colour Grading Completely

This is less of a “mistake” and more of a missed opportunity. A lot of photographers adjust the basic panel, maybe tweak HSL a little, and call it done. They never touch colour grading, and it shows.

Colour grading is what separates a technically correct edit from one that actually has a look. It is the difference between a photo that is “well exposed” and a photo that feels like something.

Adding a slight teal to the shadows and a warm orange to the highlights creates that cinematic feel you see everywhere. A subtle warm shift in the midtones makes golden hour shots feel even more golden.

You do not need to go crazy with it. Start by adding a small amount of warmth (around hue 40, saturation 10-15) to the highlights and a cool tone (around hue 200, saturation 10-15) to the shadows. That is the classic warm highlights, cool shadows tone and it works on so many types of images.

From there, experiment with the balance slider to shift the emphasis between shadows and highlights.

The Bigger Picture

All five of these mistakes have something in common. They come from a good instinct taken too far. You want vibrant colours, sharp details, punchy contrast, visible shadows, and a cohesive look. Those are all good goals. The trick is restraint.

The best edits are the ones where nobody can tell the photo was edited at all. The colours feel natural, the details are there without being aggressive, and the mood is intact. That is the sweet spot.

If dialing in all of these settings feels overwhelming, or if you just want a solid starting point that you can fine-tune, tools like Hyperfocal let you describe the look you are going for in plain language and generate a custom Lightroom preset in seconds. It is a good way to skip the trial and error and land on a balanced edit right away.

Happy editing.

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