Month: October 2016

How to Expose Correctly for High Contrast Wildlife

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Photographing wildlife of deeply contrasting colors, such as black bears or white waterfowl, can present certain challenges setting up shots that are properly exposed for the wildlife and also the surroundings. Harsh lighting also makes exposing for these subjects especially difficult. The hurdle to overcome in these cases is to expose for the subject animal(s) properly and still capture a scene that is pleasing to the viewer. What often results are images where the exposure is correct for the surroundings, but the creature is either under or overexposed.

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Getting the subject wildlife exposed correctly is a more important aspect because the background can be dealt with later in post-production. In some cases, the background just doesn’t really matter in comparison to the photo capture of the often elusive wildlife in the scene.What follows are methods to use in stark color-contrasting situations. One is for dark colored wildlife such as black bears or ravens, and another for light colored wildlife such as egrets or swans.

What follows are methods to use in stark color-contrasting situations. One is for dark colored wildlife such as black bears or ravens, and another for light colored wildlife such as egrets or swans.

Exposure Details

A reality of photographing wildlife is that when things happen, they happen fast. Lighting may change very quickly and there may not always be time to make adjustments while shooting the action of the wildlife in view.

Most experienced photographers want control of all camera settings and don’t generally choose to shoot in auto modes for shutter speed and aperture in order to control movement and depth of field. So is there was a way to set the shutter speed and aperture and still get the correct exposure without the hassle of continually changing settings as the light changes?

There are many ways of shooting wildlife resulting in a desirable exposure, but probably one of the most overlooked ways is using the Auto ISO setting in Manual mode. To use this method, set the camera in Manual mode, adjust shutter speed and aperture to the settings desired, and then set the ISO to auto-ISO. Most cameras will allow you to set a maximum ISO, so it’s helpful to know at what ISO the images become unacceptably grainy with your camera. However, this still doesn’t entirely solve the problem of correctly exposing for those dark and light animal subjects. To solve these problems you can fine-tune the exposure by using exposure compensation.

Correcting the background in post-production

As in any image, if editing is planned it is important that the image be shot in RAW mode. When opening an image in Adobe Raw Converter (ARC) (or Lightroom) and if the exposure for the animal is correct in camera, then only the background may benefit from corrections in post. In most cases for wildlife images, the background hues are green, yellow or blue. To enhance or balance these colors in ARC, go to HSL/Grayscale panel and simply darken or lighten the luminance for green, yellow or blue until the background exposure appears to match the exposure of the animal. A little saturation may also be added. If a little punch or contrast would improve any background flatness, one may use an adjustment brush to add some contrast and clarity to the background. It’s that simple!

Dark Colored Wildlife

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In this image the correct exposure for the black bear over-exposes the green background.

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The luminance of the green has been adjusted to decrease the background exposure.

The dark hues of some wildlife will absorb more light than the scene around them, so it becomes necessary to increase the light taken in by the camera by using exposure compensation as mentioned above. For wildlife with dark colored coats or feathers, use exposure compensation and adjust by adding light (+value). This will suffice in most cases, depending on the amount of natural light available.

Keep in mind that the wild subject is the most important component in the image, so if any aspect of the image should be sacrificed in the moment, make it the background. For really dark creatures, such as bears, start out by using a compensation of +1. Remember, don’t worry about the background. The animal is the important exposure!

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The exposure is correct for the black bird, but the background is washed out and boring.

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Again, the luminance of the green has been adjusted. Then an adjustment brush has been used to add contrast, creating a vibrant background.

Light Colored Wildlife

Conversely, for light colored animals, use exposure compensation and adjust by subtracting light (- value). The whiter color of many beautiful creatures will reflect much more light than the background will, so it helps to decrease the light the camera takes in so as not to overexpose the animal.

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In keeping the white egret from being overexposed, the background appears dull and dark.

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The green and yellow hues were adjusted to add life to the background. Notice that in every case the exposure of the subject is unchanged.

Why can’t I just correct the exposure of the wildlife in post-production?

Of course, this is an option. But there at least two reasons for not correcting the exposure of the subject later on the computer.

  1. Any time a major exposure correction is undertaken, there is a certain amount of digital data of the image that is lost. Therefore, it is best to get the main subject of the image captured as closely as possible in camera. (This is true of any image, not only wildlife subjects.)
  2. When photographing extremely light colored animals, if the white is over-exposed to absolute white there is nothing that can be done in post-production to pull out any detail. Darkening the subject will not bring back any nuance in the creatures coloring, and the image will lose desirable texture. Again, conversely, if the black-coated bear or bird is underexposed to absolute black there is no way to lighten the subject and pull out interesting details from the fur or feathers.

What about the Eagle?

Some animals are doubly challenging as in the case of the American Bald Eagle, with its white head and dark body. These magnificent creatures are almost impossible to photograph in harsh light. If choosing which end of your histogram to sacrifice, my opinion is to expose for the white head.  Again, avoid harsh lighting if at all possible.


Remember, when you’re faced with a choice of settings for an extreme exposure while photographing wildlife, never sacrifice your subject. Whether a light or dark-coated bird or animal, intentionally set up the shot to capture the creature and its distinctive features and keep the background as a secondary consideration. To make sure the subject will be correctly exposed, use a 3-shot bracketed exposure, with an exposure one stop over and another exposure one stop under the setting.

Do you have any wildlife exposure tips? Please leave them in the comments below.

The post How to Expose Correctly for High Contrast Wildlife by Bruce Wunderlich appeared first on Digital Photography School.

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Categories: Digital

7 Tips for Attending a Photo Walk

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As a photographer, you might have noticed that photo walks are all the rage these days. Whether it’s an event run through or, or a more involved workshop from a teacher that you follow, photo walks are one of the best ways to see a place and to improve your photography.


NYC photo walk featuring dPS Managing Editor Darlene as my guest (I’m in the front row with the hat, she’s in blue with a hat on my right).

Classroom and reading time are very important for improving, but nothing can replace the act of learning while you are out there photographing. This is where all the things you’ve learned come together and finally stick in your head. It is also the most fun way to learn.

So if you haven’t already, I suggest that you start seeking photo walks out, and here are some tips to help when you do.

1. Use them as an excuse to meet other photographers

Photo Walk

One of the main advantages to photo walks is that you are surrounded by like-minded people with similar passions. I don’t know about you, but most of my family and friends from growing up are not very into photography. So I try to find new photography friends whenever I can, but it can be tough to do that. Photo walks solve this problem.

Introduce yourself, exchange information, and talk about possibly going out to shoot again. You can take your favorite few people from each walk and start building an awesome network of photographers to go out shooting with in the future.

If you have questions, by all means, ask the organizers of the walk, but also see what the other people attending think. This is a chance to learn from many unique perspectives. Photography is a subject where there can be many correct, but differing answers to a question or problem, and it’s good to hear multiple opinions.

2. Watch what other people are photographing

Photo Walk

You are there to have fun and learn, and sometimes a great way to learn in this environment is to watch the other photographers and see what they are attracted to. Just from teaching on photo walks for the last five years, I have found so many new interesting ways to capture the city by watching my students. I have walked down certain blocks hundreds of times and then suddenly someone will capture it in a way that I had never thought of. It is an incredible way to learn.

3. Shoot on your own occasionally

New York Photo Walk

That being said, mix it up and take some time to break off and shoot on your own. You have the advantage here to learn from so many others, but at the same time you want to capture your own, unique photographs, and you need some quiet to do that. Step away a handful of times during the walk, but make sure not to get lost or slow down the group. After that, you can reengage with everyone else.

4. Get out of your comfort zone

New York Photo Walk

This is a chance to do something you are not used to doing. If you are a street photographer and are on a street photography meet up, of course, that is what you will be focusing on. But if you are a landscape photographer, consider doing some street photography, and if you are a street photographer, consider trying more landscapes. Do some portraiture. Improve your lighting. There are photo walks for nearly everything.

Seek out photo walks that will cover your interests and others that will challenge them. Everyone has their likes and dislikes, but this is a great chance to seek new perspectives and to round out your abilities.

5. Learn about the area beforehand

Photo Walk, New York City

Some photo walk leaders will talk about the history of the neighborhood, while others will strictly focus on the photography. Both are great ways of running workshops, but history is very important to photography. It helps to inform what you are shooting and to improve your awareness of the place.

Take some time on your own to read up about the area. Learn about the history, and explore the work of photographers that frequent those areas. Come prepared with this knowledge and it will make your day even that much more successful. This knowledge is not only inspiring but it will improve your ability to notice those special moments that create a magnificent photograph. In addition, some of the other walk attendees may find this knowledge fascinating as well.

6. Organize one yourself

Photo Walk

As you continue to attend photo walks, build your network of local photographer friends and start shooting with them regularly. Once you all get to know each other this could become a very close group of friends. Keep in touch, build friendships, attend gallery events together, and share your work and ideas.

Having a close group that all know you and your work is the best way to get a proper critique. If you just ask anybody or share your work on the web, you never know what the person’s perspective is who is giving you the critique. Usually, they just say “beautiful!” With a close group, that perspective will grow between all of you and these friends will not be afraid to tell you when they do not like something.

7. Do not get run over by cars or bikes

Photo Walk, New York City

This is the hardest part of my job, so please help me and the other photo walk leaders out. When you are in a new place, photographing in a new way, or surrounded by competing stimuli and photographers walking around, your situational awareness can become distracted. People with their lens to their eye can suddenly walk backward into the street trying to get the correct perspective, but with no awareness of where they are and the dangers that could hurt them.

Always be careful and look before you make a sudden stop or a move sideways or backward. If you are using a tripod on the sidewalk or street, be careful about the tripod legs. Make sure they are no wider than the width of your body so that bikers won’t trip on them riding by you.

With a one-on-one workshop, I can do a good job at making sure people don’t make unwelcomed moves on the street, but with a large group it is out of my ability, so please watch out for both yourself and your fellow photo walkers.


Have you participated in any photo walks? Please share your experience and tips for them below.

Now go out and find some photo walks!

The post 7 Tips for Attending a Photo Walk by James Maher appeared first on Digital Photography School.

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Categories: Digital

How to do Non-Destructive Editing in Photoshop

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Picture this, you are about halfway through editing a beautiful urban landscape in Photoshop. You’ve already put hours into the image when suddenly you notice that a particular area of the image doesn’t add up. A wall you were working on has accidentally been Clone Stamped to look as if it were hanging at an unnatural angle. It just looks wrong. After repeatedly hitting the undo button you discover that Photoshop can only remember so much, and you are stuck with this disastrous looking edit. All you can do now is waste more precious time trying to fix the problem or close the program and start from square one. If only there was some other way – enter non-destructive editing in Photoshop.

Non-Destructive Editing in Photoshop

Now you see me…now you don’t! Editing with a non-destructive workflow means that you can edit your photos without leaving a trace on the original file.

What is non-destructive editing?

Fortunately, there is a better way! Non-destructive editing (sometimes called NDE for short) is a method of editing in Photoshop that allows you to make changes to an image without overwriting the original image data. This means that you will always be able to backtrack on adjustments made to an image as needed, retaining flexibility and keeping the resolution of the original image intact.

You may have already encountered non-destructive editing while following online tutorials that instruct you to use a particular adjustment layer to make modifications rather than editing the actual image.

Non-destructive editing is not one single technique. You can perform it in numerous ways in Photoshop depending on the desired outcome of an image. For this article, we will have a look at some of the most basic methods used by photographers for doing non-destructive editing .

Duplicating the background layer

No matter what image you have opened in Photoshop, the first step is always to duplicate the background layer. If you do happen to make an adjustment directly onto the image the background layer will remain untouched. Then you can start afresh with all your adjustment layers intact.

To do this, open an image in Photoshop. Move the curser to the thumbnail image in the Layers panel and right click on the shaded area that says Background. Now select the Duplicate Layer option and select OK at the screen prompt. A new layer will appear above the Background layer in the layers panel titled Background Copy.

non-destructive editing duplicate layer

nondestructive editing Photoshop

non-destructive editing

Working with adjustment layers

Simply put, adjustment layers apply colour and tonal adjustments to an image without permanently changing any pixel values. To activate the adjustment layers panel click Window on the top menu bar and select Adjustments. It will bring up a panel with lots of adjustment options such as levels, hue/saturation, brightness/contrast, gradient overlays and black/white.  This is the go-to panel for digital editing and in most cases, it will provide all the editing tools you will need.

Non-Destructive Editing in Photoshop

Select one of the adjustment layers by clicking on an icon. The name of the icon will appear if you rest your mouse on it for a moment. In this example, I have chosen Curves to adjust the contrast in my photograph. Clicking that icon will cause the Curves panel to pop up with the available settings within that adjustment.

non-destructive editing curves

Non-Destructive Editing in Photoshop

Notice that there is now a new layer in the layers panel which is sitting above the one called Background. This means that any layers below the Curves layer will be affected by this adjustment. To limit the effect of an adjustment to a single layer only, right click on the adjustment layer and select Create Clipping Mask. A small arrow pointing down indicates that the adjustment layer will only affect the one that is sitting directly underneath it.

Non-Destructive Editing in Photoshop

Using Smart Filters

Adding a filter to an image can be done non-destructively and will allow you to undo the effects of it later if you change your mind. Click on the layer you would like to apply a filter to and click on the Filter drop-down menu located on the top main toolbar. Select Convert for Smart Filters and a pop-up will appear saying that you must turn the selected layer into a Smart Object. Hit OK and a tiny document shaped icon will appear in the bottom left-hand corner of the selected layer thumbnail image.

non-destructive editing convert smart filters

non-destructive editing smart object

After you select a filter from the Filter Gallery (via Filter > Filter Gallery) and apply it to the image, you will see two new items beneath the selected layer. Clicking on the eye icon next to the Filter Gallery layer will toggle the filter on and off, and double clicking near the Filter Gallery text will open the Filter Gallery adjustments. Right clicking on the Filter Gallery Layer will bring up a menu. If you want to remove a filter altogether, select delete and the filter mask will disappear without degrading your image.

non-destructive editing

Use Layer Masks instead of the Eraser Tool

Masking is one of the more common tools in the Photoshop master’s kit. Using a layer mask allows you to you hide or mmask off parts of an image rather than using the eraser tool to permanently remove parts of an image. To apply a layer mask, open an image, select the layer you want to edit and click on the small icon at the bottom of the layers panel.

non-destructive editing mask

Non-Destructive Editing in Photoshop

A close-up of the Layer Mask button.

A mask will appear next to the layer you have selected, with a small chain icon between the thumbnail and the mask. When you have the image icon selected any effects applied to the image will occur as normal. However, if you select the mask, you will find that painting onto it (with black) will hide parts of that layer.

Close up of the selected mask layer - note the white lines around the corners of the layer.

Close-up of the selected layer mask – note the white lines around the corners indicating which part is active.

Non-Destructive Editing in Photoshop

With the background layer turned off (not visible) you can see that part of this layer is missing, or hidden by the layer mask where it is black. Black conceals or hides, white reveals.

Now, if any hidden portion of the image is painted over in white on the layer, it will be visible again. If you then delete the mask all the hidden areas will reappear.

Dodging and burning non-destructively

The Dodge and Burn tools are used to lighten and darken areas of an image, but applying these effects directly to an image is destructive, preventing you from being able to edit the changes later.

To dodge and burn non-destructively, start by opening up your photo. Duplicate the background layer, then select Layer > New > Layer from the top menu bar. A dialogue box will pop-up, make sure your settings are the same as those shown below and hit OK. A new layer will be created.

Non-Destructive Editing in Photoshop

Create a new layer

Use the settings you see below. That will fill the layer with gray and change the blend mode to make it effective for dodging and burning.

non-destructive editing

Use these settings for your dodge and burn layer.

You can give this layer a nickname to help you remember what it is doing. You can always do it later if you forget, by double-clicking on the layer name. I usually call this layer “dodge/burn”.

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Now simply select either the Dodge or Burn tool and apply any adjustments to this new layer. Though you are now editing one layer above the actual image, you have adjusted the blend mode so that the opacity of the grey Dodge/Burn layer is completely transparent, and any changes you make to this layer now appear to only adjust the image, without impacting the quality of the original pixels.

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Result of the dodge and burn layer

Result of the dodge and burn layer

Using the Clone Stamp non-destructively

The Clone Stamp is another great tool used to remove bits and pieces you may not want in an image. Normally it works by moving pixels in the original image around but, you guessed it, that is a very destructive technique!

To use the Clone Stamp Tool non-destructively simply create a new layer as before. Next, select the Clone Stamp Tool and in the Sample drop-down menu select the Current & Below option. Now the Clone Stamp Tool will sample everything in the image but only apply any changes to the top most layer.

clone tool

non-destructive editing

The clone layer looks like this.

clone tool non-destructive

The result of the clone layer being applied looks like this.


There are plenty of other methods to edit non-destructively. But as the basics show, non-destructive editing is mostly about using new layers that are placed above the original image rather than adjusting the original image itself. It may seem clunky at first, but it will soon become an automatic part of your workflow. The next time you find yourself with an awkward edit you’ll be glad you can simply turn a layer off rather than starting all over again.

How do you use edit non-destructively in Photoshop?

The post How to do Non-Destructive Editing in Photoshop by Megan Kennedy appeared first on Digital Photography School.

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Categories: Digital

3 Tips for Creating Double Exposures In-Camera Using Flash

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Have you ever wondered how double exposures are done in digital cameras? I have. Back in film days, we knew that to double expose a frame, all you needed to do is rewind it back to the frame you have just exposed, thereby taking two separate shots using one frame of the film. Nowadays with digital SLRs, there is no film to re-expose and no rewind mechanism to go back to a previous photo so you can re-shoot on top of it. However, double exposure and multiple exposures can be done in post-production quite easily. But this little tutorial will focus on how to take double exposure in-camera using a digital camera.


Equipment needed for double exposures

What you will need:

  • A tripod.
  • Your camera.
  • Remote trigger, receiver or transceiver.
  • Flash guns (speedlights) or strobes (one or two).
  • Some light modifiers (optional) such as umbrellas, softboxes, or octaboxes.
  • A backdrop or wall.

For my experiment below, I used two strobes mounted on stands and modified by gridded octaboxes. I used Paul Buff’s Cybersyncs for the wireless remote transceiver system. I also had three backdrops: one black, one beige and one patterned. See the image below for my studio setup and an iPhone picture of behind the scenes.


The camera and flash settings

The strobes were kept on a constant setting and I chose the lowest power. My ISO was also on the lowest setting (ISO 100) for most of the shots except for the f/16 ones where I cranked it up a little. The aperture varied between f/8 – f/16, depending on the look I was after and the length of my exposure. Shutter speed also varied between one second to a few seconds, to bulb. In other words, experiment until you get the look right.

How to take the double exposure

This is the trick. While the camera is exposing the image so that the shutter is open, keep triggering the flash. For these shots, I triggered the flash 2-4 times depending on the length of the exposure and how fast I could press the trigger button. The flash freezes the action so the more time the flash fires the more frozen actions you get on your image.

This leads us nicely to the first tip.

#1 Exaggerated movement is key


If your subject makes very small and minor movements, the likelihood is the images will sit on top of each other. This may result in one final image that looks like a blurry mess as in the photo above rather than many separate frozen images on a single photo as shown in the photo below. It is better to tell your subject to move distinctly away from the first position so the movements are separate. The camera still captures the trail of movement as a blur. But when you trigger the flash, that particular moment is rendered sharp and still.


I asked my kids to walk across the frame, counting each step and on a certain count to turn their heads. I would trigger the flash when they moved sideways or turned their heads. At other times I asked one of the children to only join the frame on the third flash so that there is only one of her that registers. I also got them to walk towards me (see photo at top of article). It was at that stage that I changed my aperture to the smallest my lens allowed, in this case, f/16 so that I could still get the head sharp at various depths of field.


In the photo below, I got my kids to shake their heads as fast and as many times as they could. I wanted the focus here to be the movement rather than their frozen faces. Don’t be afraid to experiment. The beauty of digital is that unlike film, you have an infinite number of frames at your disposal so can afford to make many mistakes until you get what you are looking for.


#2 A dark background is better

Compare the image above with the light background to the other images with the black background. The difference in the final image is vast. I prefer the dark background where my intention was to freeze several portraits and the lighter background where my focus was on capturing the trail of movements. Overall I shot and preferred more of the images with a dark background as the delineation between actions and the clarity of subjects are easier to see. Contrast between the skin and other lighter parts of the image was also easier to achieve compared to images shot with the beige background. In the photo below, I edited quite aggressively to get the contrast I wanted. I also added grain to simulate a film look.


#3 Experiment with materials and textures

Bring in other materials such as aluminum foil. This one here is an emergency blanket. Two of my kids stood on either side, held and waved the blanket up and down in front of the middle child so the slow shutter captured some of the movement of the foil. The kids also carried  a torch (flash light) and did some light painting. The problem I found with both photos was the blurry look of their faces. Because they did not do big movements with their bodies, hence the frozen photos captured by each flash just got stacked up in roughly the same spot. Other things you can use are glow sticks, flashing lights, moving lights, iPhone and iPad screens – pretty much anything that reflects or emits light.



Don’t be afraid to experiment with backgrounds too. In the photos below, I changed the background to a zebra striped black and white rug just because I wanted to see what would happen. I used the same movement techniques as above and the same camera and light settings but the results were very different and unique. The last image below was a happy accident. My third child popped her head up on the third flash, but she came closer to the camera than I had intended so the flash didn’t quite illuminate her face enough. However, I thought this looked really effective as it provided the gray tone of the image as well as a solid form in the middle thereby making the overall image more dynamic and interesting.




I hope you enjoyed this little tutorial on in-camera double exposures using flash. If you have more ideas, do share them here in the comments below!

The post 3 Tips for Creating Double Exposures In-Camera Using Flash by Lily Sawyer appeared first on Digital Photography School.

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Categories: Digital

Remote Shutter Release Versus the Built-In Delayed Shutter

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It’s no secret that being a photographer, amateur or professional, can be quite expensive. We both travel and we want the latest and best equipment but we can’t always afford it all. Being selective with the equipment we choose to purchase can be wise as it’s better to spend a few dollars extra purchasing something of quality. A lot of the gear we have isn’t essential and can easily be done inside the camera itself. Let’s look at using a remote shutter release versus the delayed timer built into the camera.


A self portrait captured by using a remote shutter

A remote shutter is something you may have heard repeatedly that you need to purchase, especially if you’re into landscape photography. One of the main uses of a remote shutter is to minimize the vibration when taking a image to get a sharper result. What you also may know is that your camera has a delayed shutter function, typically of 2 and 10 seconds. So do you really need to purchase a remote shutter when you can do it in the camera? Let’s look at some pros and cons of using each – a remote shutter release and delayed shutter.

Delayed Shutter

Most digital cameras have a Delayed Shutter function. In fact, even smartphones have it.

Since I was close to the camera I could use a delayed shutter

Since I was close to the camera I could use a delayed shutter

A delayed shutter is, in simple words, a function that tells the camera to wait a few seconds after you push the shutter before it takes the picture. This allows you to either run in front of the camera and take a selfie or reduce the amount of vibration. This function is especially useful when you’re using a slow shutter speed and have your camera mounted on a tripod. If you use a shutter speed of 0.5 seconds and press the shutter you’ll see that the image will come out less sharp than if you use a delayed shutter.

Pros of the Delayed Shutter:

  • It’s a standard function in most digital cameras and smartphones.
  • It’s free.
  • It reduces vibration and leads to a sharper image.
  • You can choose between a short delay or a longer delay.
  • You have the time to position yourself in the image after pressing the shutter.

Cons of the Delayed Shutter:

  • It’s not flexible.
  • If you’re photographing something with motion it’s hard to time the shutter release perfectly and you might miss the shot.
  • In some cameras, the function is found deep in the menu.

Remote Shutter Release

Remote shutter release can vary in form, shape, and price. Some are tiny and inexpensive, while others are larger, with more options but also a less attractive price tag.

I used a remote shutter and interval timer to photograph myself on the edge

I used a remote shutter and interval timer to photograph myself on the edge.

Choosing the right remote shutter release can be a hassle sometimes as you may not know your needs. You may only need a simple one to avoid any motion when taking the image, or may need something more advanced that lets you do interval timing or perhaps something that has a “Bulb lockup”.

Once your needs are established, you have to sort out if you want a cable release or wireless. I won’t get into the topic of which is better, but again you need to consider your needs for a remote.


Pros of remote shutter releases

  • Wireless remotes allow you to stand far away from the camera and take pictures.
  • Advanced models have many options such as interval timers.
  • You can use “Bulb Mode” without having to hold the camera’s release button and cause vibration.
  • Many models have LCD screens with a timer.
  • Take a picture at the exact moment you need.
Freezing the exact moment with a cable release

Freezing the exact moment with a cable release

Cons of remote shutter releases

  • More advanced models can be very pricey.
  • It takes extra space in your bag.
  • It might be hard to choose the right model.
  • Cables break quickly on low-end cable releases.
  • Small, wireless remote shutters are easy to loose.

What is best?

To be honest with you, they both have their advantages. It would be wrong to say that one is better than the other in any case.

That being said, as a landscape photographer, I am dependent on my remote shutter. A lot of the time I can’t wait the extra two or three seconds before the image is taken, as the moment is gone by then. When I’m photographing rushing waves I need to capture the image at the exact moment I want, ergo I need a remote shutter. If I’m in the woods and not photographing anything that might move, I don’t need the remote shutter (even though I use it by habit).

Shutter speeds over 30 seconds requires a remote shutter

Shutter speeds over 30 seconds require a remote shutter

If you only photograph still landscapes and you don’t need a shutter speed of more than 30 seconds, I don’t see a reason to purchase a remote shutter. If you photograph anything with motion or need a shutter speed of more than 30 seconds I recommend you to purchase one.

The post Remote Shutter Release Versus the Built-In Delayed Shutter by Christian Hoiberg appeared first on Digital Photography School.

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Categories: Digital

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