As a hobbyist, amateur, or professional photographer, you may be interested in achieving the look and feel of black and white film without the hassle and investment in equipment and gear. You can edit a digital image using Lightroom with this goal without having your hands smell like rotten eggs (developing chemicals). If you shoot black and white film often, as I do, then you might actually love that smell. If not, then you might want to read on.

Look feel black white film Lightroom01

The feel of black and white film – research first

The objective here is to provide you with a few basic steps to get you started on the path to edit your digital images to look like they were shot on black and white film, without the mess. If you are not familiar with the qualities of film images or have not examined them closely, it would be a good idea to do so. Try to pick up and look closely at some actual prints on photographic paper. You might find these in your grandmother’s attic or your local museum. Photography books or online searches will yield many reprinted or scanned examples as well.

First, consider the subject of style as it relates to film photography. Film photographs generally have a certain nostalgic or vintage look and quality to them that distinguish them from the clarity and realistic look of a well-composed digital image. Film tends to render subjects and scenes in a more abstract manner. Although you can make tack sharp and very realistic looking images using today’s film and gear, that’s not really the role of film photography.

Look feel black white film Lightroom02

If you want clean, shoot digital. Film should look old, slightly out of focus, and definitely grainy. All film has some or a lot of grain and it is basically the equivalent of digital noise. While you may prefer some of your images to look super sharp and smooth, you may also find it pleasing to add a little (or a lot) of grain from time to time.

Film adds an air of mystery

You might want to experiment with this more abstract style or look of film that comes with a distinctive aesthetic. One advantage of presenting this style of image is that the viewer is given the task of filling in the blanks, so to speak. Subjects in your image that are not entirely in focus or even blurry can be representative of anything or anyone. Your image can be more open to interpretation by the viewer as compared to an image that was sharply composed with a subject that is obvious. In other words, you might want to leave some room for mystery in your images. Film photography, or working towards the look and feel of film, can do that for your images.

Look feel black white film Lightroom03

Like digital, film is really just another medium in which we can express ourselves as artists and photographers. I love many things about both film and digital and each has a place in my professional and personal photography life.

5 steps to getting the look and feel of film using Lightroom

If you shoot digital and are looking to achieve the look and feel of film, below are five easy steps using Lightroom.

1. Set your ISO high

ISO should be set to somewhere between 1600 and 6400. Digital noise is the modern day equivalent of the grain in film. The grain or digital noise creates atmosphere and the look or aesthetic that you are trying to emulate.

2. Make an image of something interesting

Look feel black white film Lightroom04

Choose a subject. Framing and composition should be pleasing, and be careful to avoid too many distractions. Emotion is usually a good idea to include if there are people or animals in your photo. Any additional compositional techniques can be applied to the image. The subject could be in focus or blurry. This is completely up to you and your vision.

3. Convert the image to black and white

To convert your image to black and white, press V or use another method for black and white conversion in Lightroom. You can stay in color, but the look and feel of color film is more difficult to achieve and will require some additional steps.

4. Open the Develop module in Lightroom

Look feel black white film Lightroom11In the bottom panel of the Develop module called Effects, make the following adjustments:

  • Using the sliders, set the Post-Crop Vignetting to -10. Older camera lenses tended to impart some vignetting onto the image. This will give the image an authentic older film quality to it. Ansel Adams famously burned (darkened) the edges to all of his prints.
  • Set the Grain Amount slider to 50.
  • Adjust the Grain Size to 50.
  • Set the Grain Roughness to 25.

5. Review your image and make the finishing touches

Adjust the sliders to increase or decrease the three Grain options to achieve your vision for the given image. You can also dial in or out the vignette as well. All images are different and all digital image files will respond differently to these adjustments based on the sharpness and ISO settings.

Look feel black white film Lightroom05

You may want to consider the following questions to evaluate your adjustments at this point. Do these edits help the image? Does it assist in the presentation of the image as more abstract so that it might connect better with the viewer? Did the adjustments achieve the look at feel of film that you were gong for? You can decide on the answers to these questions and make editing decisions as you see fit or recruit a friend to provide a critique.

If you like your results and would like to explore this topic further, there are free online software programs such as Analog Efex Pro that are part of Google’s Nik Collection. Presets are also available that will aid you in this process and even help you to achieve the look and feel of color film. You might want to consider making your own presets and applying them en masse to a given photo shoot or batch of images as well.

Look feel black white film Lightroom06

Below are a few images representing multiple genres that I made with a digital camera then edited to achieve the look I was going for using the settings in the Effects panel above.

Look feel black white film Lightroom07

Look feel black white film Lightroom08

Look feel black white film Lightroom09

Look feel black white film Lightroom10

Do you enjoy shooting film or reproducing the look of it using digital methods? Do you have a favorite way to achieve it? Please share in the comments below.

The post 5 Steps to Achieve the Look of Black and White Film Using Lightroom by Jeremy H. Greenberg appeared first on Digital Photography School.

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There is nothing quite like seeing the world through a fisheye lens. The way it bends straight lines and creates curves where there were none. You get to see more of the world through it than you can with your own eyes, well that is unless you turn your head. Recently I was loaned the Samyang 12mm F2.8 ED AS NCS Fisheye lens to play with and I have been having a lot of fun seeing what it can do.


Samyang 12mm F2.8 ED AS NCS Fisheye lens

Price out this lens on Amazon and B&H Photo.

Fisheye lenses have been around for a long time. But for most of us, they have not been something that we thought would be worth spending all that money on. However, the 12mm fisheye from Samyang is affordable and can give your photography a new look.

How wide is it?

There is nothing like using a wide angle for the first time and having objects fit into your frame like never before. This lens is very much like that. The first reaction most people have when they look through the viewfinder for the first time is “wow”. It is incredible what you can fit into it.

You get an 180-degree view with it. It really does fill the frame with all that you can see, including your periphery vision. While this is a good thing, there is also a downside. You can end up with unwanted distractions in the image. If you point the lens down too far you may end up with your feet in the image. Or if your camera bag on the ground is not behind you, it too will be included. Going out with friends to take photos means constantly asking them to step back behind you. If they are good friends, they won’t mind.


Melbourne from across the river.

This lens won’t break the bank

When you consider how much other lenses with an f/2.8 aperture cost, you would think this one would also be very expensive, a thousand bucks or so. But it retails for around USD$500 (less if you have a mirrorless system) so it makes it a lot more affordable than the top brand fisheye lenses. It is a good quality lens and is a great alternative for those that can’t afford the pricier top brand ones.


One of the rides at the Royal Melbourne Show

This lens is fun!

Without a doubt, this is a fun lens. It can have real uses, but in the end, I dare anyone to put the lens on their camera and not have a great time seeing what they can get with it. It is amazing to watch how the world is transformed through it.

I was first loaned the lens one day while in the city and I wouldn’t take it off my camera. I really enjoyed seeing what it could do and how much I could see with it. It was a challenge to see how I can make the world make sense with it. In the end you have to let that go and just take photos.


One of the rides at the Royal Melbourne Show.

It is small

For a fisheye, it is very small which is great because it means it’s easy to carry around with you. You would expect a fisheye to be a large bulky lens with big bulbous glass on the front. The Samyang fisheye is a lot smaller and not much bigger than a normal 50mm lens. Don’t let the size fool you, as it still takes a great image.

Full frame lens

Surprisingly for the cost, it is a lens for a full frame camera. It seems that many lenses for these are usually a lot more expensive. You are going to get much wider images with the full frame, and if you put the lens on a cropped sensor that aspect will suffer and you won’t get as wide an angle (about like an 18mm), though you should still get the fisheye effect.

First time mounting the lens

When you first put the lens on your camera you can get some strange numbers coming up on your camera display. If that happens you need to change the aperture ring on the lens. Turn it all the way around until you can see the aperture on your camera.


Looking at the city through the Seafarers Bridge.

It distorts the world around

For many the distortions may be too much and maybe the lens won’t be for them. The first time I posted a few photos I took with it, some people pointed out that I could get rid of the weird curves. My first thought was why would I, isn’t that the reason for using a fisheye in the first place?

It is a manual focus lens

For many people, the manual focusing for the lens is a negative. We have gotten used to autofocus, and having to go back to do it manually again can seem too hard. However, it is amazing how quickly you can adapt to it. The more you do it the easier it really does get. I seem to be using a lot of lenses lately that are manual focus and I don’t have an issue with it now.

One of the benefits with the Samyang fisheye is that for most subjects they are going to be several feet or meters from you so you can put the focus ring on infinity and just click away. It is rare than anything you shoot will be too close for that. Obviously if something is close you will need to focus the lens, but for the most part you can put it on infinity and just go for it. Just remember that it is on that setting and don’t forget to keep checking that the image is focused (zoom in on the image playback).


Fireworks at the Royal Melbourne Show.


Working with the lens

If you have purchased the fisheye then it would seem you are looking for more than just a wide angle lens. The lens is known for its distortions, so work with that. Find subjects that will be enhanced due to the curve of the lens. If you are somewhere like in a city, try different compositions to see which will work the best.

If you want something to appear straight, like the bridge, if you put that more in the centre of the image the distortion is far less. The same is true for the horizon. If you put the horizon line in the center of the frame then it will stay straight, but if you move it up or down it will get a curve to it. That can be really effective as well.


Looking down a pier into the night sky at Sorrento. See the horizon is almost straight as it is closer to the middle of the image.


The lens is perfect for astrophotography and that is mainly where it is used. You can get a lot of sky into a fisheye image and the distortions wouldn’t matter so much. You can get brilliant shots of the Milky Way, or great star trails. Samyang Australia tends to market it to aurora hunters too, but it has other uses as well.

Architecture is a great subject for this lens. It does give many of the lines a curved shape, and in people’s minds they know they are meant to be straight. But you can use those distortions to create unique images.


Some of the new architecture down at Docklands.

Many sports photographers could also find it useful. Not for everything, but for some special images. Cycling photographer Graham Watson often uses a fisheye for unique views of races like the Tour de France. With cycling ,you can get very close to the cyclists. So the fisheye would be perfect for some races, especially for a criterium when they are going around corners.

As the lens is so wide, there are many types of photography that it is not well suited for. Landscapes could work, but you need to have something in the foreground, otherwise everything would be too far away. The use of leading lines is important for that type of photography.


The full curve of the Webb Bridge in the Docklands.

Who is this lens for?

The most obvious answer to this would be astrophotographers and aurora hunters, but there are others who would also benefit from it as well, like sports and architectural photographers. Perhaps others who want to add something unique or different to their images. For the price and size, it could be a great addition to any photographer’s kit.

If you are looking for a challenge in your photography, or perhaps you want to start looking at the world in a different way, I would highly recommend the Samyang 12mm F2.8 ED AS NCS Fisheye lens. It’s a fun and not too expensive piece of kit. While you may not use it a lot, you will get it out and take photos with it from time to time. We all have lenses that we don’t use a lot, but enjoy using them when we do.

Price out this lens on Amazon and B&H Photo.

The post Overview of the Samyang 12mm F2.8 ED AS NCS Fisheye Lens by Leanne Cole appeared first on Digital Photography School.

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Have you ever felt that your landscape photography is missing a little punch? You look at other photographers’ images and their colours have a very appealing amount of contrast. But no matter how much you play around with HSL (Hue, Saturation, Luminance), Contrast, Vibrance or Saturation, your colours just don’t get the same depth and contrast and end up looking fake and oversaturated.

The quality of the lens being used affects color greatly (more expensive lenses generally give a much better colour contrast than entry-level lenses). But there is a step that you can do when post-processing your recent landscape photos to give the colours an extra little bit of punch and contrast and more importantly, keep them from looking overcooked.


Color space

You may be aware of a term Colour space which essentially determines how devices represent colour. The two most common colour spaces are Adobe RGB and sRGB. Adobe sRGB is used on the web and for many smart devices. Adobe RGB is a little bigger than sRGB and can show more colors. However, these are not the only colour spaces around. Lightroom, for example, uses one of the largest (able to produce a larger amount of colours) called ProPhoto RGB.

But enough about colour spaces! I can already see your eyes glazing over, mine are already as I type this. But knowing that there are different colour spaces can be helpful. Knowing exactly how they work isn’t necessarily all that important.

Convert to Lab Color

The colour space that you’ll want to recognize is LAB Color. How does it work? Doesn’t really matter. But how can you use it give your images that extra punch? In this article, I’ll explain how a very simple step (and I mean simple!) that will help give your images that extra punch using the LAB colour space in Photoshop.

Okay, so first up you’re going to want to bring your image into Photoshop. Before you do this, you may need to develop the image a little in Adobe Camera Raw or Lightroom. Fix up any exposure issues, correct the white balance, etc.

This is the image that I’ll use as an example.


This image has had very little done to it prior to Photoshop. A simple crop, general contrast and exposure correction were all that was applied.

Now that your images is open in Photoshop, the very first thing you need to do is convert it from Adobe RGB or sRGB (depending on what you have set as the working colour space in Photoshop) to LAB Color.

To do this, go to: Image > Mode > Lab Color.

The tick next to RGB Color means that Adobe RGB is currently being used.

The tick next to RGB Color means that Adobe RGB is currently being used.

Now Photoshop is using LAB instead. You won’t notice a change at all at this step because nothing has changed on your end. All you have simply done is tell Photoshop which method to use to display colours.

Add a Curves Adjustment Layer

With your image in LAB Color, the next step is to create a Curves Adjustment Layer. Once this layer has been created, you should see something like this:


Generally, this doesn’t look any different to any other Curves Adjustment Layer except for one thing. Instead of having RGB in the drop down menu, you will see Lightness.

With this adjustment layer created, the next step is to click on the Lightness drop down menu. This brings up Lightness, A, B; which is what LAB is short for!


Adjust Channel A

Now, you need to select the A-channel. With the A-channel selected, bring in the shadows anchor point at the bottom-left corner toward the bottom-centre. You will notice the Input numbers increasing from -128. As a starting point, I like to bring this value to -100. Now, find the highlight anchor point (top-right) and bring that toward the top-centre by the same value; for -100 set it to 100.

Notice the anchor points have moved toward the centre equally?

Notice the anchor points have moved toward the centre equally?

You’ll notice strange things happening to your colours as you slide the anchor points along. Don’t panic – this is supposed to happen.

Adjust Channel B

Now do the same steps by the same values for both shadows and highlights for the B-channel.

Same steps have been done for Channel B

Same steps have been done for Channel B

NOTE: make sure your Output value remains at -128 for the shadows and 127 for the highlights. If these numbers are altered it means that the anchor point is being lifted from the bottom for shadows and dropped from the top for highlights. You just want to drag the sliders along horizontally (not move them up or down).

With both A and B channels having been done now, the colour and colour contrast of your image should look different from the original. This is how my original image looks after these steps.

This is after setting A/B shadows to -100 and highlights to 100.

This is after setting A/B shadows to -100 and highlights to 100.

Fine tuning

For me, that is looking a little overdone. But no problem! To change this, all you have to do is reduce the amount you moved the anchor points in both A and B channels. I generally find going by increments of 10 is most helpful.
If you feel your image needs more punch, then you will want to bring the anchor points closer to the centre. Just remember to keep each value across the shadow/highlight, A/B channels the same.

After increasing the numbers in my images, I felt that -110/110 in A/B worked the best (see below).


Convert back to RBG

Once you are happy with how your image looks, it’s time to change it back to RGB. To change your image from LAB to RGB, go to: Image > Mode > RGB color.


You’ll be alerted that changing modes will discard adjustment layers, but that is fine. Select OK and you’ll be brought back into RGB. You’ll notice that the Curves Adjustment layer is now gone and that your image is now the background layer. However, the effect on the colours should remain. Now you’re free to go about editing the photo as much as you like.

So that’s a very simple technique to add more colour punch in your images. Just remember these two points:

  • This is something that you should do at the beginning of editing your image in Photoshop and not the end as you will lose all your adjustment layers when changing modes.
  • Remember to alter the anchors points from A/B b by the same value to eliminate strange things happening to your colours.

The post How to Give Your Landscape Photos Extra Punch in One Easy Step by Daniel Smith appeared first on Digital Photography School.

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One of our favorite things about becoming photographers is the way the entire world seemed to open up once we picked up a camera. We currently live wherever we’re shooting. Over the past year, we’ve visited 10 countries on three continents, and countless cities in between. While we love the freedom of travel, our biggest concern is always how to travel safely with our gear. Whether you’re hopping on flights every other week or want to keep your camera with you to document your kiddos around town, there are some simple hacks to keep your gear in good shape and out of thieving hands.


Make a list and check it twice

Before you leave the house, make a detailed list of every piece of equipment you’re taking with you, along with all the serial numbers. It’s helpful to be able to tally the list up whenever you’re in transit. There isn’t a worse feeling than hopping on a train and realizing you thought your 50mm lens was in your backpack when it is actually waiting for you on the kitchen table. Make a list, run through it, and save yourself the effort of keeping every piece of gear in your own head. Having the serial numbers recorded will help you report and track them should they ever go missing.


Our travel gear checklist changes depending on how long and far we’re traveling. When we took a six-month honeymoon in Asia last autumn, our list looked very different from when we fly to say, New York to shoot a wedding. Our two checklists look something like this:

Personal Travel Checklist

  • 2 Canon Mark IIIs – one for each of us, though sometimes we get crazy and only bring one body.
  • 50mm f/1.2 lens – ALWAYS. We never leave home without this lens as it affords us the greatest flexibility to shoot any scene.
  • 45mm f/2.8 tilt-shift lens – When we travel through cities, having a tilt-shift is ideal for us, and since we also love shooting portraits with it, it somehow became one of our most versatile lenses.

Professional Travel Checklist

  • 2 Canon Mark IIIs
  • 50mm f/1.2 – If pressed, we could probably shoot an entire wedding with it!
  • 45mm f/2.8 tilt-shift – Again, awesome for setting scenes and for individual portraits.
  • 35mm f/1.4 – Shooting couple’s portraits with this one sets a slightly more interesting scene than the 50mm and allows you to get better environmental details. It’s also our go-to for dance floor shots.
  • 85mm f/1.2 – Though we wish this one had a faster focus, it is just nuts how gorgeous this lens is. It takes portraits to an entirely new level. But it also weighs roughly one million pounds, so we use it less often than we’d like because it’s just too heavy for casual personal travel.


Depending on the size and scope of the project, we may also bring:

  • 70-200mm f/2.8 – This is a battle because we definitely prefer to not carry it. But it’s a great catch-all lens for shooting from the very back of large ceremonies or capturing wedding guests from a distance and staying out of a scene.
  • 17-40mm f/4 (we use this wide-angle lens less and less, but occasionally it provides a good way to grab an entire wedding ceremony or a building from closer up. We’re increasingly turning to our 35mm for the work we used to put on the wide angle.)

Our lighting setups are the most difficult part of travel, and inevitably earn us a long date with security. If we’re bringing our bare minimum, it includes the following:

  • Canon Speedlite 600EX-RTs – We have two matching Speedlites and the ST-E3-RT Transmitter. These serve us well for most weddings, but if we have to bring something a little heftier, we’ll also add . . .
  • Profoto B1 setup – This light is amazing. But it adds one more whole bag to carry on with us and we try to leave it for home studio work as much as possible to reduce our carry-ons. with the Profoto 36″ RFI Octa Softbox. The B1 also requires a . . .
  • C-stand –These are heavy as heck and a huge hassle to fly with, so we normally end up leaving it at home and just renting it wherever we land. For some equipment that is just too bulky, heavy, or awkward, consider the relative costs and benefits of renting it at your shoot location. For us, the $20 or so to rent a C-stand far outweighs the hassle of traveling with it.


Before you leave for any trip, whether personal or professional, it’s imperative to know your ideal outcome for photos. We don’t bring a zoom lens or flashes on personal trips because we don’t shoot wildlife or anything that would require long lenses. We use only ambient light whenever possible and prefer our night photography to only incorporate the light that already sets the scene.

Even for professional projects, we pack very carefully and keep our projects in mind as we put our gear together. Some large weddings or events might require a wide angle lens or a longer zoom, but if we can avoid bringing a lens we will. This requires more work on the planning end, working closely with our clients, and knowing our equipment really well. But it’s worth it when we can pack all of our gear into a little bag and be very confident that we can produce great work with it!


On that note, pre-travel is a great time to downsize your gear. Take only what is most important to you, and consider the images you’ll be aiming for while you travel. We never leave home without our 50mm f/1.2, but depending on the kind of trip we may also bring along our tilt-shift lens or our 1950s Yashica film camera as well. You want to have options, but bringing along your entire catalog of gear without a specific plan for it will only add stress to your life. Keep it light, and use what you’ve got.


We got this case used for $20 at a camera shop and it has the best repackable/removeable foam pads in it.



If you’re flying, this is especially true. Keep your gear minimal enough to fit in your carry-on luggage. We would rather crawl to a destination than check a bag containing our most precious gear and let it out of our sight. Yes, it’s a super hassle to run your gear through security (they always seem to be blown away by light sets, old film cameras, and unusual lenses), but it also leads to some good conversations, and the extra time is worth the peace of mind.

Going through customs

A thought on customs forms: If you enter a country that may have an iffy relationship with journalists, lay low and don’t mark “photographer” or “journalist” on their customs forms. Drawing attention to your camera gear and your ability to use it will often create more hassle at the airport when you land. While we don’t encourage anyone to lie on their entry forms, the more you can stay under the radar the better.


Protect your data

We carry LaCie Rugged hard drives with us everywhere and back up whenever we can. We use online storage when we can find fast internet, but good luck finding wifi strong enough to upload a thousand raw files when you’re high up in the Burmese mountains. I keep track of this thing just as closely as I keep track of my passport. Why LaCie Rugged? The last thing we need is a hard drive failing because the dirt road was too bumpy when it was sitting in the back of some mud covered jeep.

Note: Price LaCie Rugged drives on and B&H Photo’s websites


We also use large memory cards that we back up every night. We always have a backup card in our briefcase, but as long as our cameras are with us, the memory card is as well. 

Make your gear look cheap

Avoid fancy, overdone camera cases and accessories. Anything with brand logos or obviously expensive features will draw attention to you. While you move your gear into your new low-key camera bag (there are lots of solid options out there that look like a regular bag, or you can buy protective inserts to slip into the old backpack that’s already sitting in the back of your closet), make a couple of tweaks to your gear that will instantly make it look less conspicuous:

  • Remove your logo-covered camera strap (I mean, unless Canon is paying you to advertise for them, you don’t need their logo on your strap) and replace it with something more personal.Cover up your camera brand on the body with black gaffer’s tape (or even duck tape if you’re super committed). Not having that white print will make your camera look more average and take the attention away from how much you might have paid for it.


  • Scuff it up, baby! We’ve been shooting on our Canon 5D Mark IIIs for over three years now, and they are certainly showing the wear and tear of being dragged all over the world—and I love it! It’s like that well-worn sweater that everyone else thinks is a bit too beat-up, but you love it more every time you wear it. Those scuffs and marks mean you’re using your gear and that it’s serving you. Don’t rush to polish it up or replace it when it looks old. That charm is hard-earned and will cause anybody eyeing your gear to think it’s worth less than it probably is. Double win.


Safety at your location

Of course, getting to a place in one piece is only half the battle. Once you’ve landed, you have to keep your wits about you and work wisely. A few brief thoughts on shooting safely once you arrive:

  • Just like at home, don’t display your camera gear in a way that invites attention. Keep it close to your body, on a strap, or zipped into a bag that’s close to you. It’s amazing to me how many people will wander around with their cameras on full display, which doesn’t just make you look like a tourist, it’s inviting thieves to follow you.
  • Don’t talk to strangers about your stuff! We sat next to some drunk and friendly travelers in a bar once who wanted to show us their big zoom lenses they just bought. They made fun of our tiny 50mm, but we couldn’t help but feel like we’d get the last laugh as our camera setup was (though more expensive than theirs) tiny, inconspicuous, and less appealing to thieves who don’t know the
  • A thought on tripods: we never, ever travel with them. They are awkward to set up in public areas, invite unwanted attention, and in 99% of cases aren’t actually necessary. We use makeshift tripods – things like banisters, tables, rocks, bar tops, etc., to get a steady shot when needed. We too often see other photographers making a big deal out of setting up a tripod Hi, thieves! We’re over here!) when they could have gotten just as excellent a shot with a slightly faster shutter speed. Strongly consider whether or not you need a tripod and make the best decision for yourself, and if you do bring one, keep your camera strap around your neck while you shoot
  • While you should always be careful in unsafe neighborhoods, we also recommend that you do not limit yourself to only visiting “safe” areas while you travel. Not only can theft happen anywhere, but you’ll miss some of the best parts of travel if you restrict yourself too much. When shooting in neighborhoods with a higher likelihood of crime, be alert. Walk confidently with your head up and avoid hunching around your gear as if you have something to hide. Keep your bags zipped and always be aware of pick-pockets, no matter where you are. Shoot confidently without inviting too much attention to yourself. 



Capturing all the beauty and hidden corners of this world is one of the most satisfying things about becoming more proficient with our gear. Though there are risks anytime you leave the house with pricey items strapped to your shoulder, this gear is made to be used, to show some wear and tear, and not to be thought of as so precious that it’s left at home.

How do you protect your gear when you travel? Please share your comments and tips below.

The post How to Travel Safely with Your Camera Gear by Tim Sullivan appeared first on Digital Photography School.

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As far as absolute requirements go, there aren’t many which are needed in order to make a photograph. There is, however, one certain necessity that cannot be dispensed with if you set yourself onto the maddening path of a photographer. You need a camera. Now, it doesn’t really matter which camera you have. A camera is after all just a box with an opening that allows light to pass onto some kind of receptor.

This simplistic technology is the facilitator of every photograph that has ever been made. A camera is indeed just a tool. That being said, there are virtually limitless cameras to choose from in this world. If there’s one question I receive more than any other it is this . . .

Which camera should I buy?

Cameras sony canon which camera is best for you

On its own that is an unanswerable question. You see, as it relates to cameras and photography, the camera you use is utterly dependent on you. This is not a guide for how to choose the right camera from a technical standpoint, nor is it a commentary on what gear is better than any other. This is an article to help you to understand yourself and to that end, the type of camera that will allow you to fulfill whatever needs you have right now, and maybe even beyond.

which camera is best for you - destination journey

There are so many cameras to choose from (remember we’ve said this) that it can quite literally become overwhelming to make a choice. There are point and shoot cameras, cropped sensor digital SLRs, mirrorless cameras, full-frame mirrorless, and so on.

Of those cameras, there are also countless models and variations which muddy the waters even more. Each one essentially performs the same function, which is to make a photograph. Still, each type of camera offers many variables that work for a wide variety of different situations and for different people. But you have to decide which camera fits YOU best.

The biggest hurdle to conquer when choosing a camera is to understand exactly what you want and need. That is not always as easy as it sounds. However, here are some tips to assist in making your decision.

Where do you shoot?

The location where you will be doing most of your shooting takes up a big chunk of the pie when it comes to deciding on a camera.

which camera is best for you - Sony a7r camera

Will you be outdoors most of the time or will you be inside in more of a studio-type setting? Do you need weather sealing? How about wireless flash capability? Having an idea of the environment in which you will most often find yourself will help you to better understand the features you may or may not need in a camera.

What will you shoot?

The “what” you will be shooting goes hand-in-hand with the “where.” While it’s not possible to completely predict every subject you will ever photograph it’s still very possible to know what kind of photography you enjoy.

which camera is best for you - Canon 7d camera

If you understand what you like to shoot, then you can move forward in a more educated and deliberate fashion when deciding what camera to buy. If you love street photography then a smaller, more compact system, may be better to carry around for hours on end. Need a lot of resolution for landscapes? Ask yourself what you will use the camera for the most and the choice will become much clearer.

Where are you now in your photographic journey?

It’s a good idea to be constantly self-aware of where you stand in your journey as a photographer. The benefits of constant self-evaluation helps you to grow your skills and refine your craft. It also allows you to know when and if you have surpassed the capabilities of your equipment and need to upgrade. When it comes to finding a camera that fits your current position within the photography world, you must look at the realities of your situation and proceed accordingly.

which camera is best for you

Are you just starting out and need a learning tool? Are you a hobbyist who only shoots occasionally, or have you pushed yourself everyday and now feel like you need a more advanced camera body to facilitate your growing ability? Take stock of yourself and be honest (even brutally) so that you can find the best camera to fit your needs.

Where do you want to take your photography?

Perhaps even more important than learning where you stand in terms of your photography is knowing where you want to take your work. It goes without saying but I’ll say it anyway, that your camera is the link between you and whatever vision you want to express with your images.

which camera is best for you Canon 7d camera

This expression can be personal, commercial, or something in between. Realizing where you want to go and setting goals is paramount in your development as a photographer. Naturally, your choice of camera should reflect this.

I remember when I was starting out on my own journey making photos. I realized that this was something I wanted to pursue seriously. So I invested in a camera that not only fit my needs at the time, but would also grow with me as I moved towards making photography a career. I still have that camera (Canon 7D Mk1) and it still sees a fair amount of use today. It was quite an investment for a lowly college student at the time but it has paid for itself time and time again, not just from a monetary standpoint.


which camera is best for you - Journey photography

The internet is chock full of more reviews and tech write-ups than I can count. So I hope you didn’t come here looking for advice on the latest and greatest advancements in the camera industry. Instead, hopefully you got something much more meaningful from this article; the understanding of how important it is to truly know yourself and what you intend to do with your photography.

Are you a beginner? Are you a hobbyist set on taking your passion to the next level? Or are you still trying to decide if that shiny new dSLR is worth the money just to take pictures of your pet?

Whatever your current situation may be, before you buy a camera be sure you know why, how, and to what end you intend to use it. Take it from me, you can save yourself a lot of regret by simply understanding your own intentions on the front end before making the jump.

The post Some Tips to Help You Figure Which Camera is Best for You by Adam Welch appeared first on Digital Photography School.

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As soon as humans discovered that it was possible to capture black and white tones in a photographic image, a practical means of color photography was sought by those who dreamed of harnessing the full spectrum of visible light. Some of the very first photographic color experiments began in the mid-19th century with scientists trying to discover a material that could capture the color properties of the light that fell upon it.

In 1886, physicist and inventor Gabriel Lippmann created what was to be the first color photograph without the aid of any pigments or dyes. By 1906, Lippmann exhibited his process along with color images of a parrot, a bowl of oranges, a group of flags, and a stained glass window. His discovery earned him the Nobel Prize in Physics.


But Lippmann was onto something else in his experiments. Selecting subjects for his photographs that are not only inherently colorful but are also strongly associated with color within the human brain. Perhaps without realizing it, Lippmann was one of the first photographers to draw a line between color and black and white photography. Deliberately selecting subject matter that was exemplified by radiant colors to reproduce in a color medium.

Nowadays, digital photography grants photographers with both the blessing and the burden of being able to choose between color or black and white in post-production. It can often be a painstaking process deciding between the two. Although making a deliberate decision between a color or a black and white image is a skill that requires practice and trial-and-error, ultimately the choice is down to you, the individual.


However, there are a few points to consider if you find yourself stuck between the two. Here are the top six tips for deciding whether to go with color or black and white.

#1 Color Relationships

The first thing to consider when choosing between color or black and white is in fact, color itself! Ask yourself; what is it that draws you to the image? If you find that the relationship between distinct hues in your image are important, color is your best bet. Color doesn’t always translate to a black and white image successfully. An image with contrasting hues such as red and green often appears similar in tone in a black and white conversion, making for a less striking or muddy image.



#2 Mood

Just as artists have used color in paintings to denote mood for centuries, the colors in a photograph can also create the emotional atmosphere of an image. Color is a powerful messenger. It can impact a viewer’s emotions, draw associations between ideas, and guide the eye around an image.

While black and white images generally evoke a sense of sensuality or seriousness due to its association with documentary photography, color can emphasize a feeling of joy or sadness depending on the color scheme. Just as we associate warm colors like red and orange with comfort and warmth, so do we relate to the colors in a photograph, giving the viewer clues about the image and creating a more immersive experience.

The tone or color balance of a photograph can point to a time of day or season which conveys a particular emotion or experience within the image. Black and white photographs appear to be more timeless than color images because they are free from color schemes associated with particular types of film, processes, or trends in digital processing. Black and white photojournalism is often hard to date with a cursory glance, so the subject matter remains relevant to the present day.



See how the color version has a completely different mood?

#3 Attention

We see it all around us in marketing, architecture, and print. Color is used to grab a viewer’s eye and draw them in. But it is a fine balance and can often become complicated or convoluted if too much is happening with the picture. Look for a dominant color or color combination in your work. The most visual impact is often created by either isolating a particular color or having two colors from

The most visual impact is often created by either isolating a particular color or having two colors from well-separated areas of the color spectrum included in the one image. Colors such as red and green, or orange and purple (complementary colors) play off each other when they reach the human eye and create a sense of movement and action.

If your image has these combinations it might be better to stay with color and spend time emphasizing the colorful components of the image rather than converting it to black and white. A lack of color accentuates the light and shadows rather than eye-catching color combinations. Emphasis on particular colors can also be useful in forming a cohesive body of work, using color to contrast different imagery in a series, or uniting each piece with harmonious trends in color schemes.


#4 Viewing time

Many photographers prefer black and white images for their tendency to distance the subject matter from reality. In documentary photography, the reverse is also true as humans see the world in color, and a rendition of the world in monochrome gives us pause to investigate. In both cases, removing color from a picture helps the viewer to focus on what is happening in an image. Due to the lack of cues that we naturally look for in color imagery, the viewer tends to look at a photograph more closely to ‘read’ what is happening in the image. A slower viewing time means that there is more time for the image to communicate with the viewer, impart emotion to a greater extent and perhaps stay with the viewer even after they have stopped looking at the work physically.

Due to the lack of cues that we naturally look for in color imagery, the viewer tends to look at a photograph more closely to read what is happening in the image. A slower viewing means that there is more time for the image to communicate with the viewer, impart emotion to a greater extent, and perhaps stay with the viewer even after they have stopped looking at the work physically.


#5 Content

To put it simply, black and white images create an emphasis on light, form, or texture. If the content of the photograph is more important than the color of the subject, or you feel that the color in a photo serves only as a distraction from the message you want the image to convey – then black and white is probably a good choice.

The focus shifts from colors to tones in black and white. So subjects like smoke, shadows, subtle changes in light and dust become more obvious in a black and white image. Because of our associations with these subjects and their otherworldly appearance, a sense of drama can become more apparent in a black and white image than that of a color image.


#6 Simplicity

Often a color photograph looks too busy or convoluted if it has too many colors going on at once. Sometimes converting the image to black and white is a way of separating those tones out into an image that is easier on the eye. Images with a wide range of tonal values tend to work well for black and white imagery. As well, most black and white images work best when there is a definite range from the blackest black through to the whitest white, with varying gray tones in between.

A few words of advice…

Beware the quick fix! Inexperienced photographers can sometimes fall into the trap of converting a sub-par image to black and white in order to quote, “save it”. Photographs that are out of focus, blurry, or poorly exposed may or may not be saved with a black and white conversion. But they do look suspiciously obvious when they are presented within a series of images that is mainly in color.

The problem with relying on black and white as a crutch is that you aren’t investigating what you did wrong in the first place. While a black and white conversion may or may not save a photograph, relying on converting images will not help you develop your own technical practice.


Digital photography is amazing, in that we have the option of shooting in color and switching to black and white in post-production. With film, this was at least a pain in the neck and at most, impossible. If you are unsure about an image, play around with it in Photoshop! Tools in Photoshop like the premade settings for black and white conversion are designed to give you a good set of variations to experiment with. If an image looks busy and over saturated, but you don’t want a full black and white conversion, try desaturating the image with the Vibrance adjustment layer or the Curves tool which are located in the Adjustment Layers panel.


Experimenting with color and black and white is fun, but no matter what option you do go with, be certain that you know why you chose that particular color scheme and make sure it adds to the sum of the image rather than detracting from it!

The post Top 6 Considerations to Help You Decide on Color or Black and White for Your Image by Megan Kennedy appeared first on Digital Photography School.

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In the early days of digital cameras, noise was a much bigger problem than it is these days. DSLRs routinely top out at high ISO ratings that film shooters and early DSLR users could only dream of. In those early days (the early 2000s), when ISO 800 was typically the upper usable limit of high ISO, noise reduction software became a must-have for those of us who were post-processing our files and wanted them to look less like sandpaper and more like something we’d be willing to display. Neat Image was one of the first noise reduction applications I used at that time.

Neat Image 8 Review

While it did a nice job, at that time, all noise reduction software was problematic in that it tended to give images an overly smooth, almost plastic or painted look that did a lot of damage in the fine details of an image. Neat Image was no exception in this regard, so I used it sparingly. Over the years, I found myself gravitating to other noise reduction plugins and applications, such as Nik DFine, Topaz DeNoise, and more recently, Macphun’s Noiseless. When I saw that Neat Image had recently been updated to version 8, I was excited to give it a try and see how it stacked up against the others. While Neat Image 8 is available as a standalone app or a Photoshop and Lightroom plugin, I will be focusing on the plugin version, as that suits my workflow better.

Overview of Neat Image 8

Neat Image Profile Screen

Upon opening Neat Image 8, the Device Noise Profile screen is the first thing you see.

Neat Image 8 is a fairly simple software to use, although upon first opening the plugin it can appear a bit confusing. You will be presented with multiple views of the image you are working on; a full-color preview, and the R, G, and B components of the image. There are four buttons at the top left of the screen; Auto Profile, Load Profile, Auto Match, and Auto Fine Tune. In the center are two tabs, Device Noise Profile, which is the tab the plugin starts in, and Noise Filter Settings.

Analyze image

Once the plugin is open, you’ll see the four different versions of your image. The easiest way to get started is to simply click “Auto Profile” and let Neat Image analyze the image. Once complete, a box will highlight the area that Neat Image has selected to use for noise analysis. Neat Image looks for an area with minimal detail for best results. If you select your own area to analyze, make sure it’s an area that contains minimal detail.

Neat Image 8 Adjustment Sliders

These sliders allow you to tweak the noise reduction to your liking after Neat Image has applied the noise profile to the image.

Filter settings in Neat Image

Now that you’ve analyzed the noise levels in the image, you’ll want to click on the Noise Filter Settings Tab. The preview will switch to the full-color image in the center and the R, G, and B channels will disappear. At the bottom left is a zoom toggle to zoom in or out of the image as desired. You’ll also have the ability to change the preview to various other options, including the RGB preview, a Luminance and Chrominance preview, as well as individual channels. Neat Image will then apply the noise filter settings based on the analysis as done above.

You can tweak the settings using the sliders at the right side of the app window. You’ll have the ability to adjust quality, the noise reduction amount, recover detail, smooth edges, sharpen, and fine tune the filter itself. In addition to the sliders, Neat Image comes with some presets, such as Recover Fine Details, Apply Less Noise Reduction, Apply More Noise Reduction, Reduce Noise and Sharpen, and more. You can also create your own presets for future use. These settings put Neat Image among the most customizable noise reduction applications I’ve used.



For me, noise reduction has always been a love-hate relationship, always battling with a balance between preserving detail and reducing unsightly noise. One of my favorite things about Neat Image is the software’s auto profiling ability, customizing the noise reduction to each image as needed. While Nik Collection’s Dfine 2 also does its own image analysis, it doesn’t offer the customizability that Neat Image does. And Neither Topaz’s Denoise 5, nor Macphun’s Noiseless offer any kind of image profiling, with both requiring you to simply select a preset on your own and go from there.

Neat Image 8 does an excellent job of maintaining detail while reducing noise in an area with little or no fine detail, such as skies.



With all the customizability, of course, comes a bit of a learning curve in terms of use. Neat Image does offer tutorial videos on their website to help get you started, but for those of us who are less patient and just want to dive in, it can be frustrating. I had one or two false starts when I first downloaded Neat Image 8, before finally going to their video tutorial to give me a jumpstart.

Neat Image 8 side-by-side comparison.

Side by side comparison of an image shot at ISO 2500, before and after Neat Image 8.


Ultimately, the ability to auto profile an image, adjust settings to personal taste, and use presets for repeatability of noise reduction, makes Neat Image an excellent choice for photographers who battle noisy images for any reason, including shooting long exposures, low light photography, or high iso photography such as indoor sports, events, or weddings. Neat Image is available starting at $39.90 per license.





The post Review: Neat Image 8 Noise Reduction Software by Rick Berk appeared first on Digital Photography School.

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19 Delicious Bokeh-licious Images

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Bokeh – it’s that word nobody really seems to know how to pronounce, and the thing all photographers love. Those dreamy out of focus blobs that occur when you have shallow depth of field.

Here’s what several photographers did with their bokeh:

Maritè Toledo

By Maritè Toledo

Alejandro Malonda

By Alejandro Malonda

Santiago Muñoz Pérez

By Santiago Muñoz Pérez

Kate Russell

By Kate Russell

Damien Thorne

By Damien Thorne

Katie Wheeler

By katie wheeler

Saleh ???? Alnemari - ??????

By Saleh ???? Alnemari – ??????

Martin Dvoracek

By Martin Dvoracek

Kitty Mao

By Kitty Mao

Susanne Nilsson

By Susanne Nilsson

Vida Dimovska

By Vida Dimovska

Patrick Manac'h

By Patrick Manac’h

Raul Lieberwirth

By Raul Lieberwirth

Pablo Fernández

By Pablo Fernández


By Paris

Jovan J

By Jovan J

Chris Zerbes

By Chris Zerbes


By sinkdd

Sam Wolff

By Sam Wolff

The post 19 Delicious Bokeh-licious Images by Darlene Hildebrandt appeared first on Digital Photography School.

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Look at the photograph below. What an unreal, alien animal! It could be right out of one of the many upcoming Star Wars sequels. You just don’t see creatures like that in your everyday life. It’s a sea slug (to be scientifically precise: Nembrotha Kubayana) which I photographed 20 meters underwater on a reef in the Philippines. The head of the slug is only about a centimeter across, so the image is quite a close-up (macro photograph).


If it doesn’t sound easy to dive 20, 30 or more meters below the ocean’s surface to take a picture of a slug the size of your pinky – it isn’t. But with the right gear, with the proper knowledge and experience using that gear, and with skills to find those small animals you can do it too. So let’s talk about each of these points one at a time.

The Gear

Naturally, you will need an underwater camera. There are a number of great choices these days. Compact cameras have greatly improved in recent years, and you can get a pretty good deal on a camera plus the fitting underwater housing. Many camera manufacturers make acrylic housings for their own compact camera models, which tend to be a lot cheaper than third party models. To have any chance of taking good macro shots, you need a strobe or a video light as well.


Me with my underwater camera setup. Note the diopter (magnifying lens) attached to the front of the lens port. The strobe is relatively close to the port and aimed slightly forward. The closer the subject, the closer the strobe can be to the port. The farther away the subject is, the further the strobe has to be to avoid backscatter.

If you have a lot of money or if you are obsessed with underwater photography (like myself) you can get yourself a DSLR, and put it in an underwater housing. I have been using a Canon 5DII in a Hugyfot (machined aluminum) housing, with two Inon z-240 strobes for several years now. Camera choice is an interesting and complex issue, but I want to concentrate on the gear you need specifically for underwater macro photography.

Macro lens


Another sea slug, from Botany Bay, Australia.

Modern macro lenses are technological miracles. If you are using a DSLR or a mirrorless camera, you can switch lenses. So you need to mount one that is capable of focusing close up, with significant magnifying power. I routinely use the Canon 100mm f/2.8 macro lens(price it on Amazon or B&H Photo), which can focus at 35 centimeters. That distance is measured from the sensor plane, hence I can place the subject only a few centimeters in front of the housing’s lens port. The sharpness this lens achieves when capturing minute animals is simply amazing. Nikon’s 105mm macro (price it on Amazon or at B&H Photo) is a legendary lens as well, and for cameras with cropped sensors (mirrorless cameras and entry to mid-level SLRs) 60mm macro lenses do a great job.

Other options

A small, but clever piece of gear I have been using with quite some success, is an extension tube. It’s simply a spacer inserted between the macro lens and the camera body. The extension tube eliminates the ability of the lens to focus to infinity (not used in macro photography anyway) and adds another 20% of magnification. The fact that no additional lens elements are introduced is a good thing for image quality.

Diopters (also called close-up filters) are also highly recommended. A diopter is simply a magnifying glass which is placed on the front of the camera’s lens. This is not ideal in terms of the optics, and distortions towards the edges are possible. With diopters, it makes sense to invest in a quality product to minimize such distortions. However, the amount of magnification achieved with a good diopter is absolutely mind-boggling. It can turn your underwater camera setup into a field microscope.


Another goby, very well camouflaged on a soft coral.

You can get both dry diopters which are attached to the actual lens, and wet diopters which are attached to the lens port on the outside of the housing. Wet diopters exist for DSLR and compact camera underwater setups. The convenient thing about the wet ones is that you can take them off underwater, and shoot larger animals again.

Tip: Make sure you store your wet diopter in a safe place when it’s not mounted.

Request: If you see a wet diopter for a 10cm diameter macro port, with a gray plastic mount somewhere on the west coast of Cebu, please return it to me.

How to use your macro gear

I’d like to stress two things when it comes to the proper camera technique for macro underwater photography – camera settings and strobe placement.

Almost all the light for your underwater photographs will come from your artificial light source anyway, so the shutter speed is usually not important. It needs to be equal or slower than the maximum speed your camera can synchronize with the strobes. That kind of information will be in the user manual for your camera since it differs between camera models. Otherwise, a shutter speed as fast as possible is beneficial for sharp images.


A small goby on a piece of hard coral, with the entire image in sharp focus. Canon 5DII, Canon USM 100mm f2.8 lens, at f/22.

Aperture considerations

A small aperture helps to keep the whole scene in your image sharp. Macro lenses naturally have a shallower depth of field due to the distance to subject being much smaller. So to photograph a tiny goby and all of the pretty coral it perches on, with all of it in focus, I use an aperture anywhere from f/22 to f/32 (that’s the smallest my Canon 100mm f2.8 macro can do).

There is also the option of using a wider aperture to achieve a Japanese-style effect in your images. Such a photographic style is indeed popular with Japanese underwater photographers these days. It is somewhat reminiscent of the late medieval Japanese painting style where the artists would just hint at a few twigs to depict a tree. How wide you can go depends on your lens, the distance to the subject and its orientation. The aperture of f/4.2 used in the picture below is as wide open as I can go. Whenever I can, I set my camera to approximately correct values before the dive so that I don’t have to find my way around in the menus while already underwater with a cool fish showing up in photographic range.


Only the face of this stick pipefish from Sydney in Australia is in focus. This Japanese style shot gives the image a dreamy atmosphere. Olympus TG-1, at f/4.2.


You will need to use artificial light for most of your macro shots. Light-hungry macro lenses will not make good images with sunlight in many situations on land, and underwater, with so much sunlight absorbed by the water above you, they do even worse. The internal flash of most cameras is not strong enough and it’s in a less-than-ideal position just above the lens.

Avoid back-scatter

The external strobes you use should be mounted on some kind of adjustable or bendable arm. Keep them positioned moderately close to your lens, and a bit behind it. In underwater photography, you are always aiming to avoid back-scatter. Your strobe will light up the suspended particles in the stretch of water between your lens and the sea slug, and this will make your image look as if taken in a snow storm. There is nothing quite as annoying in underwater photography than a well composed, well lit shot, with a lot of back-scatter ruining it. You can take care of back-scatter in post-processing to some degree in some shots, but it’s a pain and better avoided, to begin with. Back-scatter is to underwater photography what blisters are to hiking.

A diver on a shipwreck in the Philippines. These are harsh conditions for underwater photography. I had my strobes turned outwards, and placed away from the camera, but not enough. The illuminated particles (the backscatter) stand out especially in front of the darker part of the wreck.

A diver on a shipwreck in the Philippines. These are harsh conditions for underwater photography. I had my strobes turned outwards, and placed away from the camera, but not enough. The illuminated particles (the back-scatter) stand out especially in front of the darker part of the wreck.

When shooting wide-angle underwater, you need to place your strobes far away from your lens and slightly outward-oriented to avoid illuminating any particles in front of the lens’s wide field of view. This minimizes the amount of light reaching the space between your lens and the subject.

Positioning your strobes

In underwater macro photography, the situation is not quite as difficult. Still, the further away you are from the subject (the distance may vary between the subject almost touching the front of the lens port to no more than 30cm) the more you need to move your strobes away from the lens. When I am really close, I try to mimic a ring-flash with my two underwater strobes. In case you haven’t seen one, a ring-flash is a circular light source which is mounted on the front of a macro lens. Such a strobe is often used in land-based macro photography. It provides very even illumination. Putting one of my underwater strobes close to each side of my camera’s lens port gives me a similar type of direct, smooth illumination.

How to find good underwater macro subjects

Photo legend Jim Richardson is quoted as saying that, “If you want to be a better photographer, stand in front of more interesting stuff.”. Underwater, that’s not quite true. You need to hover in the water in front of more interesting stuff, or at least lay in the sand in front of more interesting stuff, but that doesn’t look quite as stylish. And you should definitely not lay on corals in front of more interesting stuff because you may break them and it will evoke the rightful anger of a lot of other divers!


A flamboyant cuttlefish hunting in the Philippines. This animal is about 5cm long.

Good buoyancy will have other advantages besides not breaking corals (thank you again for not doing that). If you are stable in the water, you will be able to position yourself in a proper position in front of the animal you’d like to shoot. You will also not stir up silt or sand from the bottom, which would then cloud the image you are about to capture and cause the aforementioned dreaded back-scatter.


Whip coral goby, Moalboal, Philippines.

Back-scatter happens, to the best of us, including myself (above).

In the bottom image (before) we see way too much backscatter. I did two things. First I corrected the exposure of the image, cutting off the darkest part. This eliminated some of the unsightly dots. The remaining white dots I removed with the healing brush in my image processing program. The resulting image on top is vastly improved by these two post-processing manipulations.

Don’t spook your subjects

A neutrally buoyant, controlled, and calm approach towards your photo subjects will also reduce the chance of spooking them. There is a lot to be said for good buoyancy when photographing underwater. If you are not quite there yet with your positional control while diving, try photographing less easily spooked animals like slugs and sea urchins, and save the shrimp (very nervous) or the blennies (very fast) for the future once you have improved your buoyancy.


A blenny. Not easy to catch!

Hunting subjects

What you have to figure out next is where to find those psychedelic slugs and the fish straight out of Salvador Dali’s sketchbook. If you are on a diving vacation in some foreign tropical land, just follow your guide, and pay good attention to what he points at. The guys and gals guiding every day, year in and out, in the same location, usually know their reefs really well and are proud to show off the unusual animals on it. It also helps to have a quick chat with your dive guide beforehand and to tell him that you are out to find interesting macro subjects.

If you are diving on your own, things will move a bit slower. You will have to become that expert guide yourself. Study the reef when you are diving and study marine life books and web resources on land to figure out what to look for, where, and when. Certain animals will only be active at night, or at sunset (like the famous mandarin fish shown below). Some crabs will only live on one species of soft coral, and some shrimps will only live on the skin of certain sea cucumbers. If you don’t know where to look for them, it’ll be near impossible to find them. It’s a curious psychological effect that you will find such animals over and over again after you have spotted them once for the first time.


A mandarin fish! So pretty!


Sea slug laying its eggs (these slugs called nudibranchs are hermaphrodites, functioning as males and females at the same time). It was magic moments of animal behavior like these that got me addicted to macro photography underwater.


To become a skilled macro underwater photographer you need patience. Go for a dive, take some shots, come back, look at them, and think about them. Rinse (your camera gear, and yourself) and repeat. Take your time to inspect your work, and to reflect on what you could do differently next time. I recommend that you consider the points above during each and every iteration and the following questions:

Did I bring the right gear? Did I use it properly? Did I do a good job in finding that fascinating new sea slug?

Please put your comments and questions below, and do please share your underwater photos there too. We’d love to see them.

The post Tips for Doing Macro Underwater Photography by Dr. Klaus M. Stiefel appeared first on Digital Photography School.

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The scene: Outdoors with full sunlight. The gear: Your camera, lens, and flash. The problem: You find that your flash only works at 1/200th or below so you need to be at f/16 or f/22 to get the shot. Everything is in focus, including all the cars and other distractions in the background. Those dust spots you keep meaning to clean are also perfectly visible. Why won’t it work with a higher shutter speed so you can have a wider aperture? Well, it’s all down to the issue of sync speed, more specifically using flash and high-speed sync.

A typical portrait shot with off camera flash. To overpower the sun and stay below the camera’s sync speed, you’re forced to use a narrow aperture. Here we’re at f20 just to stop the backlight overpowering the hair and stop the sky blowing out. The resulting aperture means that everything is pretty much in focus, leaving the background looking cluttered. This shot is for example only, you should generally make a point of choosing clutter free backgrounds

A typical portrait shot with off-camera flash. 

To overpower the sun and stay below the camera’s sync speed, you’re forced to use a narrow aperture. Here I’m at f/20 just to stop the backlight overpowering the hair and the sky from blowing out. The resulting aperture means that everything is pretty much in focus, leaving the background looking cluttered. This shot is for example only, you should generally make a point of choosing clutter-free backgrounds

Sync Speed

Sync Speed is the fastest shutter speed where the camera exposes the whole frame at once. When you fire any shot below this speed, the first shutter curtain opens fully, revealing the entire sensor to light. At the end of the exposure time, the second shutter curtain moves across the frame to finish the capture. Both curtains then reset together (this means you get no light leaking in).

Generally, the sync speed varies between 1/125th and 1/250th, depending on your camera. You’ll find some quoted sync speeds are not indicated correctly. For instance, the Canon 5D series are rated at 1/200th but often show a black band at the bottom of the screen at this speed when it’s used with flash.

When you go above the sync speed, the second curtain starts to move before the first one has completed its journey. As your shutter speed gets shorter and shorter, the gap between these curtains narrows to a tiny slit. Despite this, all parts of the sensor receive light, and a full exposure is made. On a bright day, with a prime lens, you can easily shoot at 1/8000th at f/1.4 and have a perfect exposure. All parts of the frame still receive light, because it’s continuous throughout the exposure.

The Sync Speed Problem

It’s when you introduce flash that you start to have problems. You see, when a flash is fired (usually when the first curtain is opened) all the light from it comes out in a very short space of time (in order of milliseconds). When you go above (faster than) the sync speed, the position of the curtains doesn’t reveal the entire frame at the time the flash fires. The means the shutter curtain blocks part of the flash and prevents it from reaching the sensor. Any ambient light will expose normally, but the flash gets hidden in part of the frame. As your shutter speed gets faster and faster, more and more of the flash is blocked until it’s no longer visible in the shot.

portraits with flash and high-speed sync

Here’s a set of images taken at 1/3 stop increments with a flash. Shot on the Fuji X-T2, the first is at 1/250th, the native sync speed of the camera. In order (left to right, top to bottom) 1/250th, 1/320th, 1/400th, 1/500th, 1/630th, 1/800th, 1/1000th, and 1/1250th. Even 1/320 is useable if the subject being lit is away from the edge.

Everything in Focus

Normally when you use flash outside in daylight, you end up having everything in focus. Remember the Sunny f/16 Rule? If your subject is in direct sunlight during the day, you can set your aperture to f/16 and your shutter speed will be one over your ISO value. So if your ISO is set to 100, your shutter speed would be 1/100sth (and f/16). As another example, if your ISO is 200, then the shutter speed would be 1/200th. To get a richer sky, you’d really need to be at f/22, making it a tough job for your flash. Because you can’t get faster than 1/250 (sync speed), you have to increase the aperture to expose the shot correctly.

portraits with flash and high-speed sync

Shooting at f/20, 1/160 to get a richer sky for this band promo shot. It’s quite an old shot, so there were few options for reducing the aperture at the time. Even the hills in the background are in clear focus. The beach isn’t exactly pretty either.

portraits with flash and high-speed sync

A behind the scenes shot – two flashes on full power.

Softer light

Most speedlights at full power, bare bulb, in close, can give you just enough power to look natural at these settings. Bare flash is not flattering, though it can add character. If you want softer, more flattering, light, you need more power. Most modifiers that give soft light will take two stops of power compared to the bare flash. That’s a lot of power. You could use a more powerful light, like the Godox AD360, the Elinchrom Quadra, or the Profoto B1. Alternatively, you could use a bracket that takes multiple speedlights. Either option allows you to get soft, flattering, light while outdoors.

portraits with flash and high-speed sync

A higher power option is the Godox AD360. This is coupled with the Godox 120cm Octa for softer light. This is shot at f/2.8, ISO200 and 1/125th. Because it’s after sunset, you can easily get wider apertures. just one of the options you have for the shallow depth of field look.

This solves the soft light issue, but it doesn’t solve your aperture issue. For creamy bokeh (the soft out of focus background look), you need to get our aperture down. If you’re shooting in the early morning or late evening, you can do this easily, but during the day it’s an issue.

The Solution: High-Speed Sync

You’ll need to find a way to get around the issue of sync speed for daytime shooting. Fortunately, there is a solution. It’s not perfect, but it does work. It’s called High-Speed Sync, also known as Focal Plane Sync. High-Speed Sync (HSS) works in a unique way. Instead of firing the flash at the start of the shot, HSS pulses the flash throughout the whole exposure, trying to simulate the effects of a continuous light.

portraits with flash and high-speed sync

The AD360 set to High-Speed Sync. Usually, there’s a single button hold, or a double button combination to turn HSS on.

It works well, but it comes at the expense of power, and heat. HSS works the flash really hard. After a few shots, the flash may even shut down for cooling. For HSS to work, you need the camera to transmit HSS to flash, and for the flash have HSS built-in. All major brands allow it, though Fuji only just introduced it. Cactus Image makes a trigger called the V6II which allows you to use any HSS flash with any camera. Read my review of the Cactus V6II trigger here.

portraits with flash and high-speed sync

The Cactus Image V6II allows power and zoom control over a wide range of speedlights, as well as offering High-Speed Sync abilities.

The Look of HSS

You can use HSS to go over the sync speed barrier, so settings like 1/4000th at f/1.4 are achievable with flash. You get the complete control of the light using flash, but with the wide aperture you usually associate with natural light photographs. Yes, please!

Photographers like Dylan Patrick use this technique to create cinematic portraits. By shooting wide shots with shallow depth of field, you really have the option to create images that look like they were stills from the silver screen.

Settings for High-Speed Sync

Let’s look at a typical setup and settings for a shoot using HSS. This shoot happened to be done on an evening, but I really wanted shallow focus. The camera was set to f/1.4 for super shallow depth of field. To get the clouds properly exposed, I had to drop the shutter speed to 1/4000th. To get the flash (an AD360) to work I had to set it to HSS. Using a Cactus V6II trigger, I could easily get my Fuji X-T10 to shoot with HSS.

portraits with flash and high-speed sync

An evening HSS photo shot at 1/4000th, ISO200, f/1.4. Notice the shallow depth of field in the image.

portraits with flash and high-speed sync

The BTS, an AD360 with 120cm Octa, shot by my assistant Ola.

If you use Canon, the Cells II trigger provides HSS with the AD360. It would also work speedlights like the v850.

portraits with flash and high-speed sync

Using HSS on the AD360, I captured this shot at about 3:00 in the afternoon with the sun high in the sky. Shot with an 85mm lens at 1/2000th at f/2.5, ISO100 on a Canon 5DIII. The sun acts as a second light in the shot. Again the background is nicely out of focus.

Another High-Speed Sync portrait example.

portraits with flash and high-speed sync

1/1000th, f/4, ISO800. An issue with shooting outdoors on overcast days is your shutter speeds can be low enough to cause camera shake. By bumping up the ISO, you can get a faster shutter speed, keeping you safe from camera shake. Using HSS then lets the flash do the work. I’ve shot to keep the flash looking as natural as possible here.

The Alternative

High-Speed Sync isn’t the only way, you’ve got other options. The first has been mentioned. Shoot at the beginning or end of the day. You can get great sky color and you’re not fighting strong sunlight. Of course, if you’re doing any work, even as favors, you often have to work to the subjects schedule rather than your own. So, you may have to shoot at midday to suit them. That leads to the next option.

portraits with flash and high-speed sync

A shot of the band Drown for The Thin Air magazine. The evening light makes the shot. I needed a higher aperture to get the whole band in focus, so opted not to use HSS here.

Using Neutral Density Filter

If you shoot landscape photography, you will be familiar with Neutral Density (ND) filters. This filter allows you to slow the shutter speed down to get nice silky water. Neutral means that it adds no color, while the density part refers to blocking light. You can get them in a range of values from 1 stop to 16 stops.

For portraits, these allow you to drop the aperture down instead of shutter speed. So a 4 stop ND would take you from f/16 to f/4. The drawback is that as you block light, focusing can become harder. Another potential issue is that not all ND filters are actually neutral. Some tend to have a color cast. I have a Firecrest 10-stop for landscapes, which is neutral, but the older 4-stop I have from the same company is slightly pink.

portraits with flash and high-speed sync

Without the ND filter applied, the entire scene is in focus. ISO 200, f/16, 1/250th.

portraits with flash and high-speed sync

With the 4-stop ND filter applied, the background can be rendered out of focus. The flash is still at the same power as the shot above without the filter. The filter does have a color cast, which is hard to remove completely. ISO 200, f/4, 1/250th.


I hope this gives you some options and ideas for how you can make portraits outdoors even when the sun is bright, by using flash and high-speed sync. Please put your questions and comments below, and share your high-speed sync portraits as well.

The post How to Make Beautiful Portraits Using Flash and High-Speed Sync by Sean McCormack appeared first on Digital Photography School.

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Do you want to take razor sharp photos? One of the best methods for creating tack sharp images is what I call The 20/20 Technique. It’s a process that combines the editing power of Adobe Lightroom and Nik Efex to sharpen your images.

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Lotus Temple, Delhi: Bringing out sharpness in architectural photos can really make them pop. © Pete DeMarco

Is sharpness overrated?

The godfather of street photography, Henri Cartier-Bresson, once quipped, “Sharpness is a bourgeois concept.” It’s true that sharpness does not turn a bad photo into a good one. In fact, some of the greatest photographs of our time aren’t that sharp. A picture that evokes emotion will always win over an image that is technically great but lacks feeling.

In the digital age, however, sharpness is another tool in the photographer’s kit that can transform an image from good to great. Have you ever seen a photo so clear that it makes you feel as if you could reach through the screen? It’s almost as if it’s not even a photograph at all but a window into another world.

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Bundi, India: Be careful not to sharpen people too much. © Pete DeMarco

Popular advice about getting sharp images usually centers around buying expensive lenses or having the proper settings in camera, as is explained in this article; How to Take Sharp Images. Although those two factors have a major impact on the overall sharpness of the image, today’s top photographers take an additional step. They enhance the sharpness in post-processing.

Sharpen Using The 20/20 Technique

In the modern digital darkroom, there are a number of ways you can add a superior amount of sharpness to your images. I’m going to explain one of the most simple and effective methods you can use to get incredible results. Here is my 20/20 Technique workflow:

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Burj Khalifa Reflection, Dubai: Nik Efex is a powerful photo editing suite you can download for free. © Pete DeMarco

Step 1. Open your image in LR

Import your image into Adobe Lightroom (or the editing software of your choice). Open the Develop Module and go to the Detail Panel, then to Sharpening. Increase the sliders up to somewhere between 40 – 50. This is just a general number to start. You’ll have to decide what works best for your image (make sure to view it full size or 1:1). Then finish editing your photo (correcting the white balance, exposure, etc.).

Step 2. Open the image in Nik Efex

For the next step, you will need a piece of software called NIK Efex. You can download NIK Efex for free here. Look for the blue download button in the top-right corner.

NIK Software is a company that develops image editing tools for others like Adobe and Google. In fact, Google bought the company in 2012. Then they copied the best editing algorithms from NIK Efex and created the photo editing app Snapseed. Sadly, NIK Efex has not been updated since then. Most assume it will die a slow death, especially after Google announced the software is now free.

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Busan, South Korea: Adding a slight tilt-shift blur effect to the edges of your photo can accentuate the sharpened areas. © Pete DeMarco

Anyways, once you install Nik Efex, right click on your photo in the Lightroom Develop Module > Edit in Nik Output Sharpener, and choose; Edit a copy with Lightroom Adjustments. Your photo will then open in a new Nik Output Sharpener window.

Step 3. Adjust using the Nik filters

From the Nik Output Sharpener window, move the sliders until you get the look and sharpness you are after. For me, I usually leave the “Adaptive Sharpening” at 50%. Then I increase the “Local Contrast” and “Focus” sliders up to around 15-20%.

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The Nik Efex Output Sharpener interface.

Step 4. Save and head back to Lightroom

Click on “Save” and the final version of your image will import as a new file back in Lightroom. That’s it!

Here is a video from Nik showing how to use this filter:

Words of warning

Don’t sharpen too much. Know when to pump it up or turn it down. For instance, clouds are soft so you usually don’t want to apply a lot of sharpening to them. Nature scenes usually call for less sharpening. With architecture, some extra sharpening really makes it pop (try adding a little “Structure” sharpening to those). Sharpening people can be hit or miss. It all depends on what you’re trying to achieve.

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Xingping, China: Selectively sharpening parts of your image, like the houses in the foreground of this photo, helps to lead the viewer’s eye. © Pete DeMarco

Watch out for noise. The more digital sharpening you apply, the greater the noise in your photo. Just zoom in on your photo to see it more clearly. You can apply some Noise Reduction in Lightroom if need be. I don’t like to use it much though because it softens the image. Some noise really doesn’t matter anyways, especially if you are sharing your photo as a smaller size online.

Make sure you’re using a good monitor. If you are viewing or editing your photos on an old monitor, it’s possible that you will not see much difference in sharpness. You can get the best results on a retina display or by printing your photos.

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Sipisopiso Waterfall, Indonesia: Transform your images by combining the 20/20 Technique with split toning. © Pete DeMarco

Share your work

Try the 20/20 Technique and share your photo in the comments below. I’d love to see what you do with it. And if you enjoyed this article, you might also like my previous article: How To Use Split Toning to Make Your Photos Stand Out.

The post How to Sharpen Your Photos using Lightroom and Nik Efex by Pete DeMarco appeared first on Digital Photography School.

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We’ve all been here before. You get home from an afternoon with your kids in the park, at the ball game, or even a formal photo session only to load your pictures on the computer and realize that many of them are fuzzy, blurry, or just plain out of focus. It’s a problem that has plagued photographers for years. While new cameras offer all sorts of features like 3D focus tracking and real-time face detection to help make sure to get the ultimate tack sharp photos, the fact remains that out-of-focus images are still an issue for just about everyone with a camera.

It’s an unfortunate reality of the way cameras work with incoming light, and until we are all shooting with Lytro-style light field cameras we are all going to have the occasional out-of-focus picture or two. Fortunately, there are a few relatively simple things you can do to make sure your pictures are indeed as sharp as possible.

tips for getting tack sharp photos

Use a fast shutter speed

The world around you is constantly in motion, and having a camera means you are equipped to freeze that motion into a single frame. Depending on what you are shooting the result can sometimes be a blurry mess, which is often the result of a shutter speed that is simply too slow. There’s an old bit of conventional wisdom that says the minimum shutter speed needed to get a sharp image of a still subject is 1/focal length. So if you are shooting with a 50mm lens you need a shutter speed of 1/50th of a second.

Note: Due to the cropped sensor on cameras like the Canon Rebel series or lower-end Nikons the formula becomes 1/(1.5x focal length), so you would need a minimum shutter speed of 1/75 second.

This might sound fast but it’s actually not, especially if you are shooting in low light conditions or with a small aperture on your lens. It gets even worse when your subject is moving, in which case you need a much faster shutter speed! This is why many mobile phone pictures end up looking blurry, in order to let in enough light to get a photo they often use slower shutter speeds.

This jittery squirrel was moving all over the place, so I shot with a speed of 1/180 second to get a sharp picture. tips for getting tack sharp photos

This jittery squirrel was moving all over the place, so I shot with a speed of 1/180 second to get a sharp picture.

Proper settings

The solution is to use a faster shutter speed, which might sound fairly obvious but it doesn’t always work unless you have your camera configured properly. If you shoot in Auto your camera might not know you want to use a fast shutter speed. So shooting in Program or Shutter Priority is a good way to control the shutter speed to make it as fast as you want.

You can also utilize higher ISO settings like 1600 or 3200, which look just fine from most modern cameras if you need a fast shutter and there isn’t much light. Most photographers would take a slightly grainy (noisy) photo that can often be fixed with software like Lightroom or Photoshop over a blurry photo that can usually not be fixed. If you find that you consistently get blurry pictures of your subjects, try increasing your shutter speed and you just may just be surprised with the outcome.

Use a smaller aperture

The lens on your camera is designed to gather incoming light and focus it so you can take a picture. The amount of light it lets in is largely dependent on the size of the physical lens opening. A bigger opening, or aperture, lets more light pass through than a smaller opening, much in the same way a bigger hole in the bottom of a bucket lets more water leak out than a smaller hole. Wider apertures let you use faster shutter speeds and also help you achieve the type of beautiful out-of-focus backgrounds, called bokeh, that are common in portrait, wildlife, or even sports photography.

tips for getting tack sharp photos - family photo

Even though my 85mm lens has a maximum aperture of f/1.8, I shot this at f/2.8 because I wanted a wider depth of field in order to make sure all three subjects were in focus.

Depth of field

One tradeoff that comes into play when using wide apertures, is that your depth of field is much shallower. That means you have a very narrow section of the image that will actually be in focus or tack sharp.  Under very carefully controlled conditions this can be fine and even quite desirable. But in many situations, a thin depth of field can result in more headaches and frustrations than it’s worth.

Shooting with a wide aperture can result in a depth of field that is so narrow a person’s nose could be in focus but her eye might not. One of the best solutions is to just use a smaller aperture. The tradeoff when using smaller apertures like f/2.8, f/4, etc., is that your background won’t be quite as blurry and you will need a longer shutter speed, but if your lighting is good the latter won’t matter. And as for the former, I like to err on the side of caution and go with a technique that will give me a higher chance of having my subject sharp and focused, even if it means a slightly less blurry background.

tips for getting tack sharp photos

Use cross-type focus points

Almost every interchangeable-lens camera has one or more cross-type focusing points. That means they look along the horizontal and vertical axes to make sure things are tack sharp before taking a picture. These points are the little dots or squares you see when you look through the viewfinder of your camera. The ones that are cross-type are usually a bit faster and give you better results than their single-axis counterparts. Of course, you will need to know which of the points on your particular camera are cross-type but a quick online search of your camera model and “cross type focus points” will usually get you the information you need.

tips for getting tack sharp photos cross-type focus points

The center focusing points on my D750 are all cross-type, so I like to use them whenever possible in order to make sure to get maximum sharpness.

Cross-type focusing points are usually limited to a certain portion of the viewfinder. This can present a bit of a problem since normal-type focusing points are what is commonly used to lock focus on objects along the outer edges. A solution I like to use for these situations is the focus-and-recompose technique. I use a cross-type focusing point, often the one right in the center, to lock focus and then recompose my shot to frame it how I want. This does not always work when shooting wide open since even the smallest amount of movement can affect your shot when the depth of field is razor thin. But as I mentioned earlier, if you want tack sharp pictures you should probably stop your aperture down a little bit anyway.

Sharpness is critical when shooting macro pictures, so I used a wide aperture (f/8) and cross-type focusing points to make sure the foreground tulip was tack sharp.

Sharpness is critical when shooting macro pictures, so I used a small aperture (f/8) and cross-type focusing points to make sure the tips of the petals on the foreground tulip were tack sharp.

Use a tripod and Live View and zoom in to 100%

If you’re like me, you spend 99% of your time looking through the viewfinder of your camera as opposed to using the Live View function (where you use the LCD screen on the back of your camera to compose your shot). DSLRs have traditionally been designed for photographers to use the optical viewfinder which is why this method is generally faster and easier to use. But Live View has some very good features as well depending on the type of photos you want to take. If you are doing a lot of action shots like sporting events the Live View function is quite frustrating. But if you shoot landscapes, products, or other types of pictures where your subject remains relatively still, Live View can be a major advantage in terms of getting the sharpest image possible.

Using Live View helped me get this small wooden duck very sharp and focused.

Using Live View helped me get this small wooden duck tack sharp and focused.

Using Live View

The trick to using Live View for getting sharp images is to frame your shot with your camera on a steady surface such a tripod, then zoom in to 100%, using the controls on your camera. This gives you an ultra-close-up look at your image, and you can then use autofocus or manual focus to make sure everything is perfectly tack sharp.

While the autofocus points in the viewfinder do a good job, this type of 100% magnification shows you precisely how in-focus your image will be and helps you get pixel-perfect images. Landscape (and macro) photographers often use this technique, combined with small apertures for a wide depth of field, to get pictures that are much sharper than they could otherwise. It’s a tip that I highly recommend you try, especially if you don’t often shoot in Live View.

tips for getting tack sharp photos long exposure image

I wanted to get this 30-second exposure as sharp as possible. So I first used Live View and zoomed in to 100% to check that the foliage was focused.

Bonus tip: Use Focus-Peaking on mirrorless cameras

Most of the items in this article are geared towards traditional DSLR shooters, but if you use a mirrorless camera there is one handy tool you probably have that gives you a leg up on your traditional-style camera counterparts.

Focus-Peaking is a way for your camera to show you precisely what is tack sharp as you focus your lens. Many, but not all, mirrorless cameras have this capability and it is a fantastic way of making sure you get everything that should be tack sharp focused properly. With Focus-Peaking enabled, as you turn the focusing ring on your lens you will see a swath of dots (usually red or green) travel across the viewfinder. These dots indicate the spots that are perfectly focused, and when you see an outline of dots around the part of your image that you want focused, you can snap a picture and rest assured that it will show up exactly how you envisioned.

You can even use Focus-Peaking in conjunction with autofocus, so it’s another tool in your repertoire to help make sure you are taking the best possible pictures.

tips for getting tack sharp photos - focus-peaking

The edges of the leaves are all outlined in red by Focus-Peaking, which indicates that they will be in focus. Image by Bautsch (Own work) [CC0], via Wikimedia Commons

Over to you

Do you have any favorite tips or tricks for getting sharp photos? Are there things I left off this list that you’d like to share with others? Leave your thoughts in the comments below!

The post 4 Secrets for How to Get Tack Sharp Photos by Simon Ringsmuth appeared first on Digital Photography School.

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