We’ve all seen it in our images: that uneven grainy look that makes even otherwise outstanding photos look unappealing. But how can you avoid noise? And, in cases where it’s unavoidable, how do you reduce noise in photos?

Fortunately, dealing with noise is easier than you might realize, even if you don’t own a $5000+ camera with breathtaking low-light capabilities. In this article, I’m going to share plenty of tips and tricks for both preventing and removing noise, including:

• What causes image noise
• Five simple ways to stop noise from ever appearing in your images
• A noise reduction workflow you can use to reduce noise in Lightroom and Adobe Camera Raw

Sound good? Let’s dive right in, starting with the important first question:

What is noise?

In the context of digital photography, noise is aberrant pixels that appear in your image files.

In other words, noise is made up of pixels not correctly representing the color or exposure of the scene. If you photograph a dark blue wall, and in certain portions of the file, you can see speckles of white, red, or green, noise is probably the culprit!

You’re likely familiar with another type of noise: the static that you sometimes hear when you’re tuning a radio or watching TV. That static is caused by signal distortion or interference; it’s not deliberately included as part of the broadcast but is instead a result of the broadcasting process.

Technically, almost every image file contains some level of noise, even if it’s invisible to the naked eye. If you open an apparently noise-free photo and zoom in to 400%, for instance, you’ll probably start to see aberrations in the pixels, even if they’re slight. However, in this article, I’ve focused my discussion on significant noise (i.e., noise that’s visible or that threatens to become visible with small adjustments in post-processing).

Why does noise happen?

Noise is introduced when you shoot a long-exposure image or use a high ISO setting on your camera.

(What counts as a high ISO setting? That depends on your camera model, but these days, most cameras start producing noisy files around ISO 1600 or 3200.)

Does that mean you should never do long exposures or go over ISO 100? No! There are times you may need – or even want – to use long exposures or raise the ISO. Landscape photographers, event photographers, and wildlife photographers shoot in low light all the time, which requires long exposures and/or a high ISO.

At the same time, there are simple ways to avoid too much noise in your photos, even when using the above techniques, which I’ll discuss in the next section:

5 ways to reduce noise in-camera

Below, I share the five methods for minimizing noise while out shooting.

Not every method will apply to every situation, which is why it pays to be familiar with all of them – and to carefully choose the right method for your particular shot.

1. Shoot at lower ISO settings

Yes, we’re starting with the most obvious method. But photographers often push their ISO too high, too fast, leading to bad image quality.

Now, if your camera includes relatively new sensor technology, the ISO functionality will be great. You shouldn’t see too much noise creeping into your images, even up to ISO 3200. However, there might still be some noise at the higher ISO numbers, such as ISO 6400, ISO 12800, and beyond.

So don’t raise your ISO with abandon. Instead, be aware of your exposure, and recognize that shooting at a high ISO will produce more noise in your images. Boost your ISO if necessary, but consider other options before dialing in ISO 12800.

Here are a few items to think about before increasing the ISO:

• Open your aperture to its widest setting (e.g., f/2.8)
• If you are shooting in low light, use a tripod and drop your shutter speed
• If you are shooting a smaller subject (e.g., a person), use a flash

Each of these strategies will help you get a nice, bright exposure – without unnecessarily raising the ISO.

Of course, if your shots are still turning out dark, then you will need to push the ISO up higher. I’d recommend doing some test shots to find out your camera’s ISO capabilities and at what point the ISO settings start to really degrade image quality.

For many years, I shot on a Nikon D80, and I knew that anything above ISO 500 was really difficult to use. Noise at ISO 640 and beyond became difficult to remove. And if I was able to successfully remove it, the whole image looked like a watercolor painting thanks to the noise reduction process. So I worked within my constraints.

2. Shoot in RAW format

Does the idea of shooting in RAW intimidate you? It shouldn’t! RAW is a great way to get the best out of your images, so be sure to use it.

You don’t have to shoot RAW all the time. But when you notice that the light is becoming a little too dark, switch over to RAW.

Why is this so important?

JPEGs come with compression – a process during which noise becomes baked into your images. So removing noise in post-production becomes really tough (as does increasing exposure, which is often important in high-ISO situations).

3. Expose correctly from the start

Boosting a too-dark exposure will reveal noise – which is why it’s essential that you get your exposures right from the very beginning.

When out shooting, I highly recommend checking your camera’s LCD – including the histogram – to make sure you’ve nailed the exposure.

And don’t be afraid to take several shots at different exposures, especially if you’re dealing with a tricky scene; better to be safe than sorry!

Also, the higher your ISO, the more unforgiving the file. In other words: If you’re using a high ISO, you had better get the exposure right, because boosting an underexposed high-ISO image will result in a noisy mess.

(Of course, don’t overexpose, either. While overexposure won’t cause problems with noise, it will obliterate detail, which is never a good thing.)

4. Be careful when doing long exposures

Long exposures produce some of the most dramatic images.

But if the exposure is too long, the camera sensor may heat up, causing unwanted noise.

Don’t let this stop you from doing long exposures – if you love long exposures, then do long exposures – just be aware of how your camera handles the long exposure time.

In fact, you might consider shooting a series of long exposures, then checking each file on your computer for noise.

Then, once you’ve determined your camera’s limitations, make sure you don’t set your shutter speed for longer than your camera can handle.

The key point here is to know the limits of your gear and to shoot within those limits. You’ll end up with great images and have an easy time when editing.

5. Use in-camera noise reduction

Most cameras offer a function called Long Exposure Noise Reduction, and if you’re doing long exposures, it’s a good idea to turn it on.

Why?

Well, as discussed above, long exposure photos are especially prone to noise. A long exposure noise reduction option is designed to counteract this issue – by taking a second shot after the first, then using the noise profile of the second image to subtract noise from the first.

Long exposure noise reduction comes with a serious drawback, though: it takes time, usually as long as the original exposure. So if you use a 30-second shutter speed, the camera will take an additional 30 seconds to get rid of the noise. And if you shoot for an hour, you’ll need another hour to reduce the noise, which is an annoyingly long time to wait!

So yes, it may be impractical if you are doing 10-minute shots. But for medium-length long exposures, it’s often worth doing.

(And if you do have the timed, do it on the very long exposures too, as it can dramatically improve the image quality.)

Reducing noise in Lightroom or Adobe Camera Raw

Even with the best techniques, you’ll still end up with noise in your photos – at least on occasion.

This is where post-processing noise reduction techniques come in handy!

Different software offers different noise reduction options, and I’m going to focus on two popular (and near-identical) programs from Adobe: Lightroom Classic and Adobe Camera Raw.

Below, I share my recommended workflow, but as you follow along, note that you’ll be able to use very similar methods in other programs!

Also note that you’ll generally want to complete all your other edits before reducing noise. This is because exposure adjustments, as well as sharpening adjustments, can make noise more visible. If you start by reducing noise and then apply a series of edits that amplify any existing noise, you’ll be forced to reduce noise a second time. This is inefficient, and it can also degrade image quality (since the noise reduction process does involve some loss of detail). So once you’ve done your basic edits, here’s how to proceed:

Step 1: Open your image and view it at 100 percent

Start by opening your image in Lightroom or Photoshop.

Note that RAW images opened in Photoshop will first go through Adobe Camera Raw, which is what you want. Again, remember that the controls in Adobe Camera Raw and Lightroom are almost identical, so most of the instructions are applicable to both ACR and Lightroom users.

I recommend viewing your image full screen, then zooming into 100 percent. The goal is to look for noise; after all, not all images require noise reduction.

If you don’t see any noise, then there’s no need to apply any noise reduction. However, if you do notice some noise, and you feel it’s harming the image quality, proceed with the next step:

Step 1.5: Try the Denoise button (optional)

Adobe recently added an AI-powered denoise feature to Lightroom. It works by analyzing your selected image for noise; then it creates a DNG copy of your file that has been tweaked to remove noise while retaining detail.

Importantly, the Denoise button is only available in Lightroom, not Adobe Camera Raw. So if you’re an ACR user, you’ll want to skip straight to the next step. If you’re a Lightroom user, however, you’ll find the AI Denoise option in the Detail panel:

If you’re looking to reduce noise in your photos and you don’t mind waiting around, hitting the Denoise button can often do the trick. Once you press the button, you’ll see this dialog box, which includes a few basic settings:

I like to leave the Denoise Amount slider at its default value, though if the zoomed-in preview on the left looks either too noisy or too smooth, I’ll adjust the slider accordingly.

In Lightroom, I also recommend making sure the Create Stack option is checked. This tells the program to group the noise-reduced file with the original file for easy reference later.

Finally, hit Enhance, and wait for Lightroom’s AI to process your file.

In my experience, this approach does a reasonably good job of reducing noise, but it comes with a huge downside:

It takes forever to run (unless you own a state-of-the-art computer, at least).

If you look carefully at the screenshot I included above, Lightroom estimates that the noise reduction process will take a whopping 13 minutes to complete. For some folks, that won’t be a problem, but for others – such as those who edit high volumes of photos for clients – it’s just not worth the wait.

Regardless, you can always proceed with the manual noise reduction steps I discuss below:

Step 2: Adjust the Luminance slider

The Luminance slider reduces luminance noise (i.e., noise resulting from over- or underexposed pixels).

And many, many high-ISO images suffer from excessive luminance noise.

So zoom in to 100 percent, then boost the Luminance slider until the noise starts to disappear.

Don’t go too far, however,

Step 3: Fine-tune your result with the Luminance Detail and Luminance Contrast sliders

The Luminance Detail and Luminance Contrast sliders control the amount of detail and contrast preserved in your photos following luminance noise reduction.

You see, noise reduction smooths out noisy pixels, which automatically reduces detail and contrast. But by boosting these sliders, you’ll retain detail and contrast.

As you’d expect, the sliders do come with a drawback:

When you increase the values, you decrease the strength of the noise reduction. So while you’ll end up with a sharper image, you’ll also see more noise.

Step 4: Adjust the Color slider

The Color slider reduces color noise – which is the second type of noise you’ll find in your photos (often in the underexposed shadow areas).

So boost the Color noise slider, and zoom into 100 percent to see its effects.

Step 5: Fine-tune your result with the Color Detail and Color Smoothness sliders

As with luminance noise reduction (above), you can further adjust your image with the Color Detail and Color Smoothness sliders.

Want more detail in your photo? Boost the Color Detail slider. Higher values will protect thin, detailed color edges, but can also result in color speckles. Lower values remove color speckles but can result in color bleeding.

Want to keep colors nice and smooth? Boost the Color Smoothness slider.

And you’re done!

A final note on noise reduction

While I wish I could give you standard, one-size-fits-all settings for noise reduction, it just doesn’t work that way. Every image is different, so you’ll need to slide each adjustment around until you get your desired result.

I tend to increase Luminance and Color to about 50, then work from there. I slide each option up and down, carefully watching how it affects the image while zoomed in to 100 percent.

Then, after each adjustment, I zoom out to see the effect it has on the overall image. And if I’m happy with an adjustment, I move onto the next slider.

Is the process a little tedious? Sure. But if done properly, you’ll eliminate most of the unsightly noise in just about any image.

Practice is also important here, so try this on as many images as you can. Pretty soon, you’ll be able to predict the effect of each change.

How to avoid and reduce noise in your photos: final words

Now that you’ve finished this article, you know that avoiding and reducing noise shouldn’t be too complicated. Just follow the steps I’ve given, and your images will turn out great!

While it’s best to avoid noise from the get-go, reducing noise during post-processing is definitely a solid option. So focus on a two-pronged approach: do your best to avoid noise, and then clean up any remaining noise with software.

Now over to you:

Do you have any other tips for noise reduction and removal? Share your thoughts in the comments below!

The post How to Avoid and Reduce Noise in Your Photos (A Practical Guide) appeared first on Digital Photography School. It was authored by Barry J Brady.

There’s something undeniably magical about cars. The sleek curves, the gleaming paint jobs, the raw power under the hood, not to mention the amazing features and utility – it’s no wonder that so many folks are passionate about owning, driving, and, yes, photographing automobiles.

But as a professional car photographer, I’m afraid to say that the situation is a little more complex. Automotive photography is exhilarating, but it also comes with a host of challenges: Cars are reflective, they’re fast-moving, and they can easily blend in with both urban and rural backdrops. To get great photos of cars, you have to do a whole lot more than just pointing the camera and pressing the shutter. Car photography takes real dedication and know-how (plus lots and lots of practice).

Fortunately, I’ve spent hundreds of hours behind the camera, and along the way, I’ve developed powerful techniques that’ll help you capture top-notch shots. My advice won’t instantly turn you into a car photography genius – for that, I would need a magic wand! – but if you read my tips carefully, and you practice the techniques I share, your skills will improve dramatically. And in a few years, or even a few months, you may find yourself with a portfolio that rivals some of the best automotive photography professionals.

Here’s a quick overview of a few of the tips I share:

• How to capture breathtaking images of moving cars
• The best lighting for car photoshoots
• Plenty of ideas for amazing car pictures
• Common car photography mistakes to look out for
• Much, much more!

So whether you’re a car-lover looking to develop a photography hobby or an up-and-coming pro looking to enhance your skills, this article is your roadmap to success. So grab your gear, buckle up, and prepare for a wild ride!

1. Spend some time researching each car

It might sound cliche, but every car has a story to tell, and as a car photographer, it’s your job to unveil that story through your lens. You can’t tell a story if you’re unfamiliar with its details, so in the days leading up to each shoot, take the time to research the car you’ll be photographing.

Start by digging into the car’s unique features and selling points. Look for advertisements or brochures that highlight these key aspects. Familiarize yourself with what makes your particular model stand out from the crowd. Is it the speed? The off-road capabilities? The sleek design?

Once you have a solid understanding of your subject, keep all the key information in mind during the actual photoshoot. Work hard to create photos that draw the viewer’s attention to the standout features you researched.

If the car is known for its lightning-fast speed, think about creating some dynamic shots that incorporate motion blur. For a car with a sleek design, emphasize those lines and curves by getting up close.

But don’t stop with individual car research. Expand your knowledge beyond specific models; if you aren’t already a car enthusiast, work to become one. Familiarize yourself with essential specifications, understand how different features work, and learn to speak the language of the automotive world. This not only helps you communicate better with car owners during your photoshoots but also boosts your confidence and credibility as a photographer.

(Plus, the more you know about cars, the more interesting – and more rewarding – each new shoot will be!)

2. Pick the right car photography gear

Some photographers love talking about gear, while other photographers hate it – but wherever you fall, it’s important to realize that gear does matter in car photography (even if it’s less than many photographers claim).

While certain types of car photography may demand more specialized equipment, in general, you’ll need a powerful mirrorless camera or DSLR and lenses covering a range of wide-angle and standard focal lengths.

Briefly, in terms of cameras, any modern mirrorless camera or DSLR can do a decent job of capturing stationary car exteriors. However, to freeze the action and create sharp shots, you’ll want to invest in a camera with fast autofocus and high continuous shooting speeds. Look for models that can handle at least 10 frames per second (fortunately, thanks to advances in mirrorless technology, there are plenty of great cameras with this feature!).

As for lenses: One approach is to grab a few fast prime lenses covering focal lengths from around 24mm to 85mm. These primes offer excellent image quality and versatility in various shooting scenarios. Alternatively, you can purchase a 24-70mm f/2.8 zoom lens; these zooms can be expensive, but they are highly convenient and flexible, allowing you to adapt to different situations without constantly swapping lenses.

Also, if you plan on delving into nighttime car photography, or even car photography in low-light interiors (warehouses, garages, etc.), then you’ll want to purchase a tripod. With your camera mounted to a sturdy base, you can capture stunning long-exposure shots that bring out details and/or showcase both the car and the surrounding elements.

3. Shoot at the right time of day

The most common mistake people make when shooting cars? Heading out during the middle of the day, when the light is harsh, unflattering, and just all-around bad. It’s a surefire way to end up with poor automobile shots, and it certainly isn’t going to impress your clients.

Instead, the best time to do car photography is a few minutes after sunset (or a few minutes before sunrise). The light is soft, there’s no direct sun, and you can capture a beautiful, almost ethereal, effect. Use a tripod – the light won’t be particularly strong, so a remote release is also a good idea – and get that perfect soft light on the paint.

Note that you can also shoot cars during the golden hours – an hour or two before sunset and an hour or two after sunrise – but be careful; the more direct the lighting, the harder it is to create a flattering image. For close-up images, consider using a reflector to deal with shadows.

Another option is to work on overcast days – the clouds do a good job of diffusing the light – but since the weather is difficult to predict, this isn’t really something you want to bank on. Instead, work close to sunrise and sunset whenever possible!

This photo was taken a few minutes before sunrise:

4. Match your camera settings to the scenario

In the world of car photography, there’s no one-size-fits-all when it comes to camera settings. It all depends on the situation, the desired effect, and the story you want to tell through your images. That said, I can definitely offer a few guidelines.

First, when you’re aiming to freeze the action and keep the car tack-sharp, crank up that shutter speed to at least 1/1000s or higher. This might require widening the lens aperture or increasing the ISO, depending on the lighting conditions. (To maintain exposure control without worrying about unexpected light changes, Aperture Priority or Shutter Priority mode can come in handy.)

Interior shots, on the other hand, require a careful balance. You’ll want to keep the shutter speed relatively low to maintain brightness but also fast enough to prevent blurring. Boosting the ISO slightly and widening the aperture can be helpful, but you’ll want to watch out for high-ISO noise or an unwanted shallow depth-of-field effect.

If you do decide to drop the shutter speed below 1/100s or so, I recommend using a tripod. At the very least, steady yourself against a nearby wall to avoid any unwanted camera shake.

For stationary cars, Manual mode is a good choice. Set your ISO to its base value, select the aperture that suits your desired depth of field, and then fine-tune the shutter speed to achieve the perfect exposure. Remember, these settings are not set in stone! Feel free to mix it up, play with wider or narrower apertures, and explore the creative possibilities.

Pro tip: Experimentation is key to your growth as a car photographer. Don’t be afraid to push the boundaries, step out of your comfort zone, and play with new settings. If you’re doing a serious shoot, testing out new ideas can be done at the end of the session, once you’re confident you’ve captured all the conventional shots your client is after.

5. Confidently seek out new cars to photograph

Let’s face it, unless you’re famous, car manufacturers, dealers, and owners won’t come knocking on your door, begging for their cars to be photographed. If you want good subjects, you’ll need to put in the work. Here’s what I recommend:

Start close to home. Reach out to friends and family who own eye-catching automobiles and kindly ask if you can photograph their cars. Not only will this give you a chance to practice your skills, but it’ll also help you build a portfolio that’ll attract larger opportunities down the road. As long as you know the person well, they’re likely to agree – and you can always offer to send them the photos once you’re done as a little bonus.

Once you’ve mastered the basics and have a solid repertoire of awe-inspiring images, it’s time to spread your wings and approach strangers. This is as simple as it sounds: If you see a cool car, go over to the owner, and ask if they’d let you photograph their car sometime. You’d be surprised how often people agree, especially if you present yourself as a serious automotive photographer (business cards or at least a well-developed website or Instagram page will help a lot here).

If approaching strangers on the streets isn’t your cup of tea, try attending local car shows; these events are full of car lovers, and you can find plenty of subjects in a single location. You can try photographing the cars there and then, but it’s often better to speak with the car owners about a potential future session. Strike up conversations, make connections, and let your enthusiasm for cars shine through. The more you put yourself out there, the more photoshoots you can schedule, and the faster you’ll build your skills (and portfolio).

6. Be on the lookout for reflections

If you’re after professional car photos, you must carefully control what is reflected in the car. One of the most important things you want to show in your car pictures is the design lines, yet reflections can spoil these lines very quickly. So before you capture a single photo, have a look around you, then look closely at the car and see what reflects off its surface.

You see, a car (especially a new, shiny one) is like a mirror. So if you shoot with buildings or trees in front of the car, they’ll reflect off its surface and appear in your photos. Instead, aim to have an open space behind you, like a field or an ocean. If you’re stuck in a location with busy surroundings, you can always try to change your perspective; by getting down low, you may be able to get rid of the distractions and instead come away with a sky reflection in the car (which looks way better; see the image at the end of this section).

Pro tip: Be very careful not to include your own reflection in the photo. If you’re struggling, it’s best to put the camera on a tripod, set the self-timer, and move out of the shot. Just look at this photo I took of a dark, shiny BMW 428i; behind me was nothing except the horizon. In fact, you can clearly see the horizon reflecting in the car:

7. Work each car from a variety of angles

It’s crucial to approach each new car with a fresh perspective. Instead of settling for shots from a single direction, let your creative instincts take the wheel and explore the full range of angles. Capturing a car’s character requires a well-rounded approach that includes a mix of perspectives and focal lengths. While the temptation to focus solely on the front or profile shots may be strong, don’t limit yourself!

Try the three-quarters angle, which can add a touch of intrigue and showcase the car’s lines, like this:

You can also play with vantage points by elevating your position, whether it’s from a ladder, balcony, or even a parking garage, to provide a fresh perspective. And don’t be afraid to get close to the ground – if you look at the image above, you’ll see that a low angle caused the car to loom powerfully in the frame, commanding attention and conveying a sense of strength.

Not every shot will be a winner, but by exploring a variety of angles, you open yourself up to the possibility of capturing outstanding images that truly showcase your subject. It’s all about finding the perfect balance between creativity and technical skill, ensuring that each angle enhances the narrative you want to convey.

8. Don’t forget to capture interior images

When you’re just starting out with automobile photography, it’s easy to become so captivated by the sleek exteriors that you forget about a crucial aspect of the automotive experience: the interior. Interior shots are essential to master, and when done well, they can convey comfort, luxury, and performance.

When it comes to photographing car interiors, a few pointers will set you on the right track. First, ensure that your client understands the significance of these shots, especially if they intend to use the images for listings or advertisements. Encourage them to prep the car by giving it a thorough interior clean and tidying up any loose items.

Car interiors tend to be relatively dark, so you’ll want to brighten it up, if possible. Seek out opportunities to park the car in well-lit areas or position it strategically to allow natural light to flood through the windows. You can always crank up your ISO, but you’ll need to be careful so as to not introduce image-ruining noise into the shots.

9. Take driving photos

Here’s one of my favorite tips for creative car photography:

Shoot the car out of another moving car. (Please be super careful when doing this; make sure that both you and your camera are well-secured before even thinking about taking a photo.)

A moving car shot looks gorgeous, plus it conveys a beautiful sense of motion. This Audi S3 was shot before sunset; it was driving at 70 km/h (43 mph), and I used a shutter speed of 1/125s:

Unfortunately, you can’t just hop into your car, zoom along, and take some photos out the window. Instead, you’ll need to carefully select your speed, position, and settings. Here are my recommendations:

• Get a driver, so that you’re in the passenger seat and free to concentrate on the photo shoot
• Secure your camera to the inside of the car or your body using a strap
• The two cars should match speeds, with your car slightly ahead and in the adjacent lane; 60 km/h (37 mph) is a good starting point, as you’ll get some nice movement on the road and on the wheels, but you won’t be going so fast the shoot becomes difficult
• Set your camera to its continuous shooting mode and set your shutter speed to 1/100s or so. A little blur is good, as it communicates movement. You can even decrease the shutter speed further, though this will decrease your ratio of keepers to duds.
• Shoot on low-traffic roads. You do not want to frustrate or distract other drivers with your photo shoot.

Because this type of shot involves so many (literally) moving parts, you’re going to come away with plenty of failed images. But if you use burst mode, you experiment with different shutter speeds, and you put in the hours, you’ll start to capture some genuinely stunning photos.

10. Pay attention to the color of the car

Different types of paint react differently to changing light. I know I said that you should avoid direct sunlight, and it is true, but you’ll occasionally find colors that handle direct sunlight really well.

Just look at this baby blue Beetle shot in the middle of the day:

So don’t be afraid to experiment with different lighting conditions. And always review your shots carefully afterward, making mental (or physical) notes about the color and how it looks.

Pro tip: If you want to jumpstart your understanding of lighting and car colors, head to a parking lot at different times of the day, then go around and (discreetly) take photos of cars. Obviously, you should use good judgment and be careful; don’t do a full car photo shoot while the owner stands and watches, and look out for cars driving around that might accidentally run you over.

11. Choose your background carefully

A beautiful background adds that perfect finishing touch to a car photo, while a bad and/or distracting background can instantly ruin the shot.

What counts as a good background? Anything non-distracting. Ideally, it should emphasize the main subject and even complement the car (and suit the theme).

Bad backgrounds, on the other hand, are distracting, they draw the eye, and they don’t make sense given the car color, shape, or theme. For instance, dustbins, power lines, and other cars can kill a picture. You can remove these in Photoshop sometimes, but it’s best to avoid them in the first place (plus, it’ll save you time in the long run).

For this Aston Martin shot, I used a simple background. The yellow paint matches the car’s color:

12. Make sure the car is looking its best

In car photography, the condition of your subject is nothing short of crucial. Nobody wants to see a snapshot of a car covered in dirt, scratches, and dents, so before you start snapping away, it’s important to ensure your subject looks its absolute best.

If you’ve scheduled a shoot with a client, encourage the car owner to wash and clean their car in advance. A clean exterior will make those paint jobs pop, while a clean interior will keep your photos distraction-free.

Of course, some issues may require more than just a little soap, water, and vacuuming. You may find yourself facing a less-than-perfect car, and that’s okay! Strategically adjust your framing to avoid highlighting problem areas and instead focus on the car’s best features. Don’t let a few dings ruin the show.

Don’t forget about the magic of post-processing, either. I encourage you to use programs like Photoshop to remove blemishes; just remember that every editing step will take extra time behind the computer, so it’s always best to get things right in the field.

13. Capture a mix of wide and close-up car photos

To truly showcase a car, you need to be a versatile photographer. In other words, don’t limit yourself to just wide shots or close-ups – embrace the power of both!

Wide and medium shots will set the stage and capture the car in its environment. These are your car photography bread and butter, and they should make up a lot of your compositions.

But it’s important to include close-up shots, too. These should be all about the details – that is, the intricacies that make each car unique. Zoom in on the sleek lines, the shiny chrome accents, and the finely crafted interior. Show off the stitching on the seats, the texture of the dashboard, and the gleam of the polished surfaces.

After the shoot is over, you can review the images and pick a combination of wider and tighter shots. You don’t have to include one detail shot for every wide shot (or vice versa), but it’s a good idea to include a mix of both on social media (or on your website, or in the set of photos you deliver to your client).

14. Pan for motion blur

I’ve already talked about shooting cars from a moving car. But if you want a beautiful motion blur effect and you don’t like the idea of photographing out a moving car window, why not try panning instead?

Simply stand next to the road and let the car drive past you. Follow the car with your lens in one smooth action and set the shutter speed to 1/125s. You will be amazed by how easy this is!

Of course, you’ll end up with plenty of failed shots, but the good ones will make it all worthwhile (and you can maximize the number of good images by using your camera’s burst mode and firing off a series of shots with every attempt). Also, you can try this technique after dark for some very interesting night car photography results.

This Ferrari was shot at 1/125s at 200mm. The car was driving roughly 37 mph (60 km/h):

15. Let the car interact with nature

Here’s another way to capture a photo that speaks to the viewer:

Don’t just park the car in a parking lot or along a road and snap some shots. Instead, make the car interact with its surroundings.

Examples of this could be a car creating dust or a 4×4 driving over an obstacle. Look at this Chevrolet Trailblazer climbing over a rock:

The car/rock combination emphasizes the ruggedness of the Trailblazer. Plus, by using a wide-angle lens and shooting from down low, I made the car loom, like it’s the king of the mountains.

Here’s another example, this one of a G-Class AMG drifting on loose sand:

Don’t you just love the movement it conveys? The whole photo is packed with energy.

16. Keep your images dynamic (even when the car is stopped)

We often associate dynamism with shots of cars in motion, but what about those moments when the car is at rest? It’s important to keep all your photos dynamic, no matter what the car is doing.

One trick is to approach your stationary subject from an angle. By adjusting your perspective, you introduce a sense of movement and flow to the composition. Another tip is to incorporate leading lines into the frame, either using lines in the foreground or the lines of the car itself.

It can also be a good idea to play with space. For instance, consider leaving space in front of the car; this hints at the car’s potential to surge forward, even when stopped.

Just remember that dynamism is not limited to motion alone. If you structure your compositions carefully, you can imbue every frame with energy.

17. Shoot at night

Night car photography might sound daunting, but you will be amazed by how easy and awesome it is! The biggest secret here is to find a spot where it’s completely dark; any streetlights or even a full moon could make life tricky.

Once you’ve found the right spot, set up your camera on a tripod. Set your ISO to 100, the shutter speed to 30 seconds, and the aperture to f/9.

When the shutter opens, take a strong constant light source and walk around the car, “painting” it with the light. A normal household flashlight works for this.

There are no rules here. Paint the car in different ways to get different effects, and you will be blown away by the results! Here’s an example of this technique:

18. Enhance your automotive photos with post-processing

Editing is an essential step that elevates your car photography to pro-level status. It’s your opportunity to fine-tune colors, accentuate details, and bring out the full potential of your shots.

I could write a whole article (or even a book) on editing car photos, but I have a few recommendations I want to include here:

First, begin with the basics. Adjust the white balance to ensure accurate colors, and crop to make sure your composition is on point. Tweak the exposure to find the perfect balance between shadows and highlights.

You’ll also want to remove distractions, and that’s where cloning and healing tools make a huge difference. Pretty much every post-processing program includes a tool or two to eliminate any imperfections that might draw the viewer’s eye, and you should take advantage by smoothing out blemishes, getting rid of scratches, and cloning away those unwanted reflections for a flawless finish.

As your skills progress, it’s a good idea to explore more advanced techniques. Color grading allows you to unify the scene and evoke a specific mood, giving your images a refined and cohesive look. (This is a trick that’s often used by professionals to achieve an ultra-cinematic effect.) You can also dodge and burn the car to add dimensionality, and I encourage you to consider adding a subtle vignette to draw the viewer’s focus toward the car.

There’s no one-size-fits-all approach to editing, however, so let your creativity run wild and try new ideas. Experimentation is key to discovering your unique editing style that sets your car photos apart from the rest. Embrace the power of post-processing and unlock the full potential of your car images!

Capture breathtaking car images!

Well, there you have it! We’ve reached the finish line of our car photography journey – and now, armed with these practical tips, you’re ready to unleash your inner automotive artist and capture breathtaking car shots.

While automotive photography often seems difficult, even a beginner can get great results thanks to a few handy tricks of the trade combined with some practice. Make sure to choose the right lighting, do your research, choose your gear and settings carefully, and work each car from every angle. Then, once you’re done shooting, be sure to put plenty of time into post-processing so your photos really shine.

So find a worthy subject, then get out there and start practicing! Amazing car photos await!

Do you have any additional car photography tips or favorite images you’ve taken of cars? Share them in the comments below!

Authorship note: This article was originally written by Desmond Louw. In July 2024, the text and images were updated by the dPS Managing Editor, Jaymes Dempsey.

The post Car Photography: 18 Tips for Breathtaking Images (+ Examples) appeared first on Digital Photography School. It was authored by Desmond Louw.

Vintage fades and washes have recently become quite popular. Perhaps since modern DSLRs, mirrorless cameras, and even smartphones can capture such high-quality, color-neutral images, there’s more of a desire to reach toward the past with these vintage effects. Or perhaps vintage effects offer viewers a sense of nostalgia, which is very much in vogue.

Regardless of the reason you want to add a vintage effect to your images, I’m happy to report that it’s a relatively easy look to achieve. In Photoshop, I like to create vintage washes by cross-processing with Curves, and that’s what I’ll explain today. It’s also important to realize that you can get similar results using Curves in other post-processing programs (such as Lightroom); plus, there’s more than one way to get the look you’re after, so once you understand the basics, feel free to experiment with other post-processing tools!

Oh, and the best part? This technique will take you less than one minute to do manually, and only seconds if you turn it into a Photoshop Action.

Let’s dive right in!

What is a vintage look?

Before we get into creating the effect, I want to briefly discuss what we are trying to achieve. In vintage photos, colors fade over time. The first color to typically begin fading is usually the blues in the highlights of the image. Because of this, the reds and greens of an image become more prevalent in the highlights.

However, the reds and greens fade in the shadows, thus revealing more of the blues in the darker portions of vintage photos.

In other words, for a vintage effect, you want to remove blues in the highlights, while removing the reds and greens in the shadows (and vice versa).

This process is exactly what we are going to mimic in Photoshop using Curves. What’s cool about Photoshop’s Curves tool is that it lets you target different color channels individually by tweaking the relevant graph; not only does this allow for a lot of precision, but it also helps you visualize the necessary adjustments.

Below is our standard color-corrected image to which we will apply our effect:

By the end of the tutorial, the image will look far less modern and give off those nostalgic, vintage vibes!

How to apply the vintage look in Photoshop

As I explained above, adding a vintage look is easy, and you can do it in under a minute. Here’s my step-by-step approach (and I encourage you to follow along with an image of your own):

Step 1: Open your image and create a Curves adjustment layer

To start, you’ll want to pick an image that will look nice when given the vintage treatment. This is somewhat subjective, but it might make sense to work with a photo that contains relatively timeless subjects. In other words, it’s perhaps a good idea to vintage-edit a photo of a classic car rather than a photo of last year’s Chevy SUV. (On the other hand, it can be interesting to contrast a vintage look with a modern subject…so don’t take my thoughts here too seriously!)

Make sure that your image is already color-corrected (you can do this in Adobe Camera Raw or Adobe Lightroom Classic) so it’s ready for the vintage treatment.

And finally, with the image open in Photoshop, add a Curves adjustment layer:

You can click on the Adjustment Layer icon, as shown above; alternatively, you can select Layer>New Adjustment Layer>Curves in the main Photoshop menu.

You’ll then see a box like this one:

Step 2: Adjust the Red channel

As we mentioned, vintage photos fade so the reds are pumped up in the highlights and dropped in the shadows to reveal the blues.

We are going to do just that by selecting the Red Channel in our Curves dialog box:

Next, add a point on the line near the highlights (around three-fourths of the way into the graph) and drag the curve upward. Then add a point near the shadows (around one-fourth of the way into the graph) and drag downward. You should see an S shape like this:

Just bear in mind that the amount you drag the curve will depend on the intensity of the effect you want. The more you push and pull the curve, the more intense the vintage look will ultimately appear. Fortunately, since we’re using adjustment layers, we can always go back and make further tweaks later on!

Step 3: Adjust the Green channel

Now we are going to do the exact same thing with the Green channel.

Select the Green Channel and create the exact same effect by pulling up in the highlights and down in the shadows:

Just a quick tip: I usually like to inflate the reds slightly more than the greens, as you’ll see if you compare the graph displayed in the previous step to the graph displayed in this step. That way, the image gets slightly warmer highlights and slightly cooler shadows.

Once this step is complete, it’s time to work on the final channel:

Step 4: Adjust the Blue Channel

Earlier in this article, I talked about how vintage images typically lose blues in the highlights while the blues become more revealed in the shadows because of the loss of greens/reds. We’ve already pushed our image in that direction by tweaking the Red and Green channels; now let’s do it with the Blue channel.

This time, instead of creating a conventional S-curve, we’re going to produce an inverted S by pulling down the highlights and pulling up the shadows, like so:

And that’s basically it! By pulling up the shadows, we’ve increased the intensity of the blues in the darker parts of the image – and by pulling down the highlights, we’ve effectively made them warmer (i.e., more yellow).

Add finishing touches, then share your vintage-style photo!

Look over your edited image and see what you think. It can also be helpful to compare the edited version to the original by turning on and off the Curves layer in the Layers panel (just click the Eye icon next to the relevant layer).

If you feel like the effect is too strong or doesn’t look quite right, you have a few options. You can simply drop the opacity on your Curves adjustment layer, which will reduce the vintage look across the board. Or you can double-click on your Curves layer to open the Curves dialog box, then tweak the channel graphs until you get a better result.

Once you’re done, you should see something like this:

Which you should then share on social media, or at least in the comments below!

The post How to Create a Vintage Effect in Photoshop (1-Minute Tutorial) appeared first on Digital Photography School. It was authored by Post Production Pye.

If you enjoy photographing landscapes, you may have heard the term “fine art landscape photography,” which gets thrown around a lot in certain circles.

But is fine art landscape photography something you should aspire to make? Is it relevant to your work? And what distinguishes a fine art photograph from a snapshot?

In this article, I’m going to explain everything you need to know about fine art landscape shooting. I’ll start with an attempt to define it – and I’ll go on to give you plenty of tips you can use to improve your own fine art landscape images.

Let’s get started.

What is fine art landscape photography?

Some terms are hard to define, and fine art photography falls into that category. As Ansel Adams pointed out, “There are always two people in every picture: the photographer and the viewer.”

But as I understand it, fine art photography is less about the subject and more about the photographer. The goal in fine art landscape photography is not to simply show the viewer what you saw; it’s to communicate how it felt to be there and how the scene made you feel.

“Photography for me is not looking, it’s feeling. If you can’t feel what you’re looking at, then you’re never going to get others to feel anything when they look at your pictures.”

— Don McCullin

Some landscape photographers are more concerned with looking than feeling. If that’s you, then perhaps the “fine art” label isn’t something you should aspire to.

But if communicating feelings through your landscape photographs is important to you, or if it’s something you want to try, then understanding the approach behind fine art shooting is surely worth your time.

How to capture fine art landscape images: 11 essential tips

So how do you communicate feelings through landscape photos? Here’s my best advice to help you out:

1. Think about what would make your image unique

Have you ever been making a landscape photo at a location where other photographers are lined up next to you also working the scene?

Most of us have. When you’re faced with such a scenario, however, the question to be asked is:

How will your photo be different, unique, special? What is it about your image that will stand out? How can you put your unique signature on the shot?

The choices you make to create an image that is uniquely yours matter. Any cook can follow a recipe, and if a dozen cooks all work from that same recipe, the dishes will be essentially indistinguishable. The gourmet chef making their signature dish, however, will strive to make the meal unique.

And as a fine art landscape photographer, your objective ought to be the same!

“Great photography is about depth of feeling, not depth of field.”

— Peter Adams

2. Be intentional and deliberate

Most landscape photography can be done at a slow and thoughtful pace. (The exception is when the light is rapidly changing – but even then, if you arrive early and/or plan carefully, you’ll still have time for thoughtful image-making.)

Rather than simply seeing a scene, positioning your tripod, shooting first, and asking questions later, do the opposite. Before even touching your camera, thoughtfully observe the scene. Slow down.

Ask yourself what first attracted you to the scene. How does it make you feel? How can you best compose the shot? What if you moved higher, lower, to a different vantage point, used a different lens? What can you do to best capture your feelings in the frame?

Never be a one-and-done shooter. Take advantage of the instant playback capability of your camera, evaluate your image, and decide what might be better.

Then make a few more shots.

While he’s not a photographer and not talking about fine art landscape photography, famed hockey player Wayne Gretsky still offers advice photographers would do well to remember:

You miss 100 percent of the shots you never take.

— Wayne Gretsky

3. Practice previsualization

You will know your skills are growing as a photographer when you can see your photograph before you even put your eye to the viewfinder.

Eventually, you should previsualize your finished image, have the vision, and then simply use the camera as an instrument to capture that vision.

It’s a beautiful loop:

The more you photograph, the better you become at seeing – and the better you become at seeing, the better your photographs will become.

“The camera is an instrument that teaches people how to see without a camera.”

— Dorothea Lange

But while previsualization is important, fine art landscape photography should always be open to serendipity: those unexpected moments when the light changes, the angels sing, and the miraculous appears for a brief moment for you to capture.

There have often been times when I’ve previsualized a shot, got set up, and waited for the light, only to have something amazing appear behind me out of the blue.

Practice working with your camera controls so that, when such a moment occurs, you can respond quickly and get the shot.

4. Fine art landscapes aren’t just in monochrome

Google “fine art photography,” and you will mostly see black and white (monochrome) images. Due, perhaps, to its long existence, as well as a good number of early photographers for whom black and white was the only option, monochrome photographs may outnumber color images in the world of fine art.

But that’s not to say that color images can’t also be considered fine art photographs.

Circle back to our definition: Fine art photography is more about the artist/photographer and their vision than the content of the photograph. Whether color or monochrome, the best way to portray a vision will depend on the maker’s intent.

“What I love about black and white photographs is that they’re more like reading the book than seeing the movie.”

— Jennifer Price

Now, bear in mind the strengths of black and white photography. Without the addition of color, monochrome images rely more on the basics, the “bones” of a good photo: line, shape, form, tone, and texture.

Black and white images are typically simpler, with greater attention paid to the subject. Sometimes, a monochrome image can convey a look or mood better than its color counterpart.

When deciding whether an image might be best in color or black and white, the fine art photographer needs to come back to the objective, and ask themselves:

Which version best conveys the feelings and vision I had when making the image?

That, and not some notion that fine art photographs are always monochrome, should dictate the direction the photographer takes.

5. Don’t be afraid to alter reality

We talked about fine art photography being less about an accurate interpretation of a subject and more about the photographer’s feelings and vision.

So who says you can’t completely change your image to better convey those things?

Techniques like long shutter speeds to blur moving objects and very fast shutter speeds to totally freeze rapidly moving objects are right at home in fine art photography.

So is purposely blurring scenes with intentional camera movement (ICM) and using special digital tools to give an image a “painterly” look.

Infrared photography or other techniques that shift colors? Sure!

Art is totally subjective, and so is fine art landscape photography.

How you choose to portray a scene is your prerogative, where the “right way” is whatever best communicates your feelings and message.

“I really believe there are things nobody would see if I didn’t photograph them.”

— Diane Arbus

6. Experiment with interpretive editing

I’ve read much about the phrase “getting it right in camera,” something with which I both agree and disagree. I do believe one should master their camera controls to get the best possible exposure of an image while in the field.

And yes, making the best possible image in the field is important. Never should an editing session be a rescue mission where you try to overcome mistakes made when shooting. Fixing an image in Photoshop can be done, but it’s usually a bad option.

However, enhancing an image with dodging, burning, or any of dozens of other editing techniques is the mark of a skilled fine art photographer. Using editing skills to further interpret an image – to convey feelings and intent – is part of the craft.

People who like to brag that their images are unedited and straight-out-of-camera have likely never studied the work of perhaps the most renowned landscape photographer of all time, Ansel Adams. He didn’t have the advantage of digital editing software to edit his images, yet that didn’t deter him.

Take a look at some of his before and after images, and you will marvel at how much change there was between the camera-captured negative and the final print.

7. Put in the time

Fine art landscape photography isn’t done in a hurry.

I’ve seen software makers claiming their programs will allow you to work faster using artificial intelligence. While these programs have come a long way, I’m not convinced that they can yet equal the quality of old-school human intelligence and a more careful, though slower, style of editing.

You might be able to get some interesting results with a one-click preset, but will it result in an image that communicates your unique vision? If you replace a sky with something “canned,” it might be more dramatic, but is it still your photograph?

I also have to ask: What’s the hurry?

I enjoy photo editing, seeing where I can take an image with some thoughtful work. I know there are those that don’t care for editing, and I guess that’s okay. I just believe that most carefully crafted art takes time.

I have used such software on occasion, and so can you. But rather than just learn the tricks of the trade, how about putting in the time and effort to learn the trade itself?

If fine art landscape photography that has your own personal style and signature look is your objective, there are no shortcuts. One-click presets will only make your work look like everyone else’s!

“Once you learn to care, you can record images with your mind or on film. There is no difference between the two.”

— Anonymous

8. See(k)ing the light

I enjoy various kinds of photography, from table-top still life and macro photography to flash-lit work and especially landscapes. What differentiates landscape photography from many of these other genres is the lighting, the degree of control the photographer has over the scene, and the ease of creating the desired look.

I can previsualize the look I want for a tabletop still life shot, set it up on the kitchen counter, light it, make adjustments, and tweak until I get the shot I like.

Not so for landscape photography.

Instead, I must travel to the area I want to photograph, be there when the weather is cooperative, the light is right, the foliage is in season, and everything else (none of it in my control) all comes together. If it ever does.

But this is also the joy of fine art landscape photography.

It might mean sitting patiently in the pre-dawn chill, hoping the clouds come in just right and the sunrise hits just so. You might hike miles to get to that overlook for a sunset that never comes, or get lucky and have a sudden thunderstorm come in over the canyon with dramatic clouds and lightning.

The lack of control is part of the attraction of landscape photography, the knowledge that luck really is when preparation meets opportunity.

“My life is shaped by the urgent need to wander and observe, and my camera is my passport.”

— Steve McCurry

So if you want to be a great fine art landscape photographer, then you’ll have to work at it. You’ll need to sacrifice a bit, get up before sunrise, stay well after the sun has set, hike into difficult spots, seek places drive-by photographers will never see, and strive to be different with your images, capturing not just what you see, but what you feel.

9. Shoot to a theme

Sometimes, a good way to stimulate your creative juices is to shoot to a theme. Rather than simply grabbing your gear and going to a location to do some landscape photography with whatever you see, decide that you’re going to make all of your images fit a theme.

Visually describe a concept or maybe make photos as if you were doing an article on a place or a single subject. Then, use the visual vocabulary that is your photographs to describe and define that subject.

Add your own style as a fine art landscape photographer to determine what you want your viewer to know and feel about your subject.

“The whole point of taking pictures is so that you don’t have to explain things with words.”

— Elliott Erwitt

10. The print is the performance

Today, most photos that are made are probably never printed. Instead, they’re viewed only on monitors or LCD screens, and sometimes projected. In the film days, photographers had no such options. After shooting and developing their film, they were only halfway to being able to show their photograph to viewers. Prints were mandatory.

Ansel Adams viewed it this way: “The negative is the equivalent of the composer’s score, and the print the performance.”

When discussing fine art landscape photography, I must raise the question:

Can a photograph be considered fine art if it is only viewed on a monitor and never printed?

If you’ve spent any time at all in a photo gallery and closely looked at printed photographs, you will know there is no comparison between seeing a printed photograph and seeing that same image on a monitor. Prints can render so much more detail, color, and tone.

Even the type and texture of the paper or other substrate on which a photograph is printed can make a huge difference.

Finally, when viewing photographs on a screen, the light is produced by the screen itself, whereas when you view a print, the light is reflected. It changes the way you view the shot.

So to repeat my question in a different way:

Must a photograph be printed to be considered fine art?

I could argue either side, but I must confess that I’m a big proponent of printing. Yes, learning to make good prints yourself is a whole other skill and not an easy one to learn. Simply getting the color and brightness of a printed image to approximately match what you see on your monitor is a challenge.

But I would argue that learning to print is part of the photographic craft.

You might also choose to hand off your photos to a professional printer whose specialty is knowing how to get the most from your image. That’s okay, too. I guess my point is that the difference between a printed fine art landscape photograph and the same image viewed on a monitor is almost as great as the difference between going to a concert and just watching one on TV.

“Fine art prints created by the artist, or the artist’s collaborator, are important because they best represent the artist’s vision. Images displayed on digital devices are subject to the non-uniform nature of different displays and they may appear radically different than the artist intended.”

— Mac Holbert

11. Your photos are about you

What you see, what attracts your eye and your camera, and how you choose to interpret a subject says a lot about you.

Even if you haven’t consciously defined a “photographic vision” for yourself, chances are good that, if you review your archives, you will be able to identify commonalities in your work.

Hopefully, you will have developed a rating system (perhaps color coding or star rating as can be done in Lightroom) so you can determine which photos you consider to be your favorites. Take some time to look through your best shots and perhaps make some notes about defining styles, features, or techniques.

What are you consistently doing that works, and what signature style do you have?

“Only photograph what you love.”

— Tim Walker

Focus specifically on your landscape images and look for commonalities. What has worked well? What hasn’t worked? How can you find ways to build on your successes and also further define and develop your personal style so that your images communicate with your viewer?

“We are making photographs to understand what our lives mean to us.”

— Ralph Hattersley

When considering the subject of fine art landscape photography, you may be asking, “Does my work measure up? Am I good enough that my photographs could be considered fine art? Do I belong in the elite club of fine art photographers?”

I would suggest that what constitutes a fine art photograph is less about the quality of the image, and much more about the photographer’s success communicating something to the viewer.

“Good photographs are like good jokes. If you have to explain them, they aren’t very good.”

Anonymous

If you want to be successful in fine art landscape photography, or any other genre of photography, for that matter, teach your photos to speak for themselves. If they were displayed in a gallery without you there to say a word, what would they say to a viewer? What would a person feel when viewing them?

Yes, a photo can be worth 1000 words, maybe more. But it has to speak for itself!

Create beautiful fine art landscape photos

Now that you’ve finished this article, you know all about fine art landscape photography.

And you know how to create some beautiful fine art landscape shots of your own!

So get out and get shooting. Best wishes in your photographic endeavors!

Fine art landscape photography FAQs

The post Fine Art Landscape Photography: The Complete Guide appeared first on Digital Photography School. It was authored by Rick Ohnsman.

Have you ever felt fed up with photography? Disillusioned? Frustrated? Uninspired? Burnt out? If so, you are not alone in your feelings. Take it from me: Most of us feel that way at some point or another, often on multiple occasions. Fortunately, there is a lot of sound advice for when you feel that way.

(For instance, you might try new techniques for a different perspective and a fresh outlook, or you might spend time looking at photobooks in search of inspiration…)

In this article, I discuss one particularly common piece of advice for photographers; even if you haven’t received it directly, you will have probably heard it (or read it) being given to someone else at some point.

Here’s the advice: When you feel burnt out (or fed up, or uninspired, or down), take a break from photography.

On the surface, this can seem like a great idea and a great piece of advice. However, once you dig a bit deeper and dissect the possible outcomes, you should see that a break from photography has significant consequences.

I’m not saying that a break can’t do you good. However, it’s important to recognize both the benefits and drawbacks, and how they’ll affect you (and, if you have one, your business) before you make the decision to step away.

I took a break, and the consequences were real

This topic is quite personal. I followed this advice several years ago after struggling with severe burnout. Because of this, the topics discussed in this article are based on some of the things I experienced after taking a break.

That said, even though this is quite personal, I try to keep that aspect out of this article as much as possible. My goal is to keep things analytical and leave the anecdotes to a minimum.

And I want to emphasize that your situation and experiences won’t be the same as mine. I may have experienced negative consequences when taking a break from photography, but that doesn’t mean you will. If you’re on the fence about it, I encourage you to have a good, hard think about whether any of this applies to you.

Photographic breaks come with benefits

As mentioned, the advice photographers often get is to take a break from photography. This does have some benefits (and I did experience those).

By taking a step back, you can gain both space and time to give things an honest appraisal and discover exactly what is causing the feelings of frustration that led you to the point of wanting to take a break in the first place. This a huge advantage, and if used well, you can take that insight and fix, or cut out, whatever was causing your frustrations.

Some of the things that are easier to evaluate from a safe distance include: what you like and don’t like, the direction your photography is heading in, your working habits, and your personal values and how they apply to your photography.

That time can also give you the opportunity to let some information sink in. If there’s a concept or a technique that you just can’t wrap your head around, stepping away from actively pursuing it gives your brain the opportunity to work on the problem in the background.

Why taking a break can be a problem

While the benefits of taking a break are clear, some of the potential negative consequences are less obvious. Here are points to keep in mind as you make your decision:

1. Your habits may degrade

If you’ve been involved with photography for any amount of time, you have gradually built a series of habits and systems that you go through every time you take photos. This could be your post-processing workflow, it could be the way you research locations, or it could be the way you conduct yourself on social media.

The thing is, these habits and processes were built step by step. You didn’t just wake up one day and have a complete post-processing workflow in place.

When you decide to take a break, you’re taking a break from your habits and routines. If these were developed over years of practice and daily ritual, what happens when your break is over? Chances are, when you come back, you may very well struggle to jump back into those complex habits. Instead of building things up gradually, you are trying to get back into a routine all at once. This can be extremely difficult at the best of times.

If you think about this just in the context of social media, posting content every day (or at least regularly) can be a significant job with plenty of work going into each post. Stopping that routine and then trying to come back to it months later could be overwhelming, and it might take significant effort to overcome a challenge like that.

There’s also the possibility that once you step away from social media, you may very well recognize just how toxic it can be. This makes it even more difficult to willingly step back into that arena – even though it’s often a necessary part of building a photographic business or brand.

2. Tools and techniques can change

Depending on how long your break lasts, things that you take for granted can change dramatically. My break lasted a couple of years. During that time, Photoshop transformed into something only slightly recognizable. Lightroom became the go-to image manager and editor for photographers, and Instagram went from iOS users only to taking over the world.

You can probably see the disadvantages here. In this technological world, everything changes at a ridiculous pace. By taking time out, you are removing yourself from a position where you can adjust to these changes as they happen. When you decide to come back, you now have an enormous workload of stuff that you have to learn or relearn just to put yourself at the same level you were before.

3. People can change

If you’re a portrait photographer or any sort of client-based photographer, this is probably the most applicable point to you.

Much as the tools of the trade change over time, so will your network. Once you’re on a break, any previous contacts or clients will move on and find another photographer. Models, make-up artists, and other collaborators may move on or change focus themselves.

This applies equally to social media and real-life networking.

If you weren’t on a break, this isn’t avoidable – but your network would still be growing naturally. However, if you’re not there to grow that network, the holes that these people leave will be empty once your break is over. If your break lasts a couple of years, you may come back to find that the network that you put a significant amount of time and effort into building is decimated.

4. Piecing it back together can be hard

All of these things on their own may not seem insurmountable, but once you add them all together, they can become an enormous challenge that will set you back in both time and effort.

Having to refocus on these things also means that once you’ve decided that you’re ready to come back to photography, you have to put a great deal of time into the things that aren’t photography.

For a lot of people who are frustrated and disillusioned with their shooting, it is often these ancillary administrative tasks that cause feelings of frustration and disillusionment in the first place.

Weigh your choices!

If you are in a position where you are considering taking a break, I understand and I empathize. A lot of photographers have been there before.

But before you make a decision, please, please take the time to consider all of the possible consequences.

Again, my circumstances will be different from yours and your consequences may not look remotely like mine – but there will likely be consequences that you aren’t yet able to see. Please dig deep, think about your scenario, and try to take them into account.

Have you taken a break from photography before? Are you considering taking a break now? Feel free to share your experiences in the comments below!

The post The Problem With Taking a Break From Photography: Advice From a Pro appeared first on Digital Photography School. It was authored by John McIntire.

The moon is a beautiful, breathtaking, captivating subject – but if you’ve ever tried to photograph the moon, you’ve probably discovered that it’s frustratingly tricky to get right.

For one, most moon photography must be done at night, when the light is limited, which often results in blurry, poorly exposed images. Additionally, while the moon is a large object, it’s very far away, so you’ll need a lot of reach if you want a shot at capturing decent detail.

Fortunately, these problems are far from insurmountable. Photographing the moon may be hard, but it’s certainly possible – and in this article, I share all the essential dos and don’ts to take your moon images from snapshots to stunning art.

1. Always use a tripod

One of the most important pieces of equipment for shooting the moon is a good tripod.

Since the moon is so small, it is very important to have a sturdy foundation, because even the most minute movement of the camera will cause your image to blur. 

You might think that, if you use a fast enough shutter speed, you can handhold the camera. But since your subject is so small in the frame, even small movements will be exaggerated, and you’ll often end up with blurry photos regardless.

2. Don’t use a slow shutter speed

While it’s a good idea to use a tripod, and you should certainly keep the shutter speed slow enough to ensure a well-exposed photo, you must avoid using a slow shutter speed.

This is because the moon is actually moving very quickly around the Earth. The moon is so distant, it doesn’t appear to be traveling very fast. But if you let your shutter speed relax too much, you’ll end up with all sorts of unwanted motion blur.

A good rule of thumb for tack-sharp moon photography is to shoot at 1/125s or faster.

3. Photograph with a telephoto lens

To successfully capture any kind of detail on the moon, you need at least a 300mm telephoto lens.

If you want the moon to take up the entire frame, you will need around an 800mm lens.

4. Don’t use any filters on your lens

To prevent any chance of a blurry image, don’t use any filters.

Yes, even remove the UV filter. This may sound scary if you never remove the UV filter from your lens, but in this case, it’s best to set it aside.

Some may suggest using a neutral density (ND) filter for moon photography to cut back on the bright light of the moon. But all this will do is require a slower shutter speed, and you want to use the fastest shutter speed possible to get that crisp, tack-sharp image.

5. Try the Looney 11 Rule

The Looney 11 Rule is similar to the Sunny 16 Rule. It’s designed to help you exposure properly when shooting the moon, while also ensuring you get a fast-enough shutter speed for sharp shots.

Here’s how it works:

Set your f-stop to f/11.

Then match the shutter speed to your ISO. 

For example, if your ISO is set at 200, set your shutter speed to 1/200s.

(This is not an exact science, but it should give you a good starting point.)

6. Don’t use the shutter button to start your exposure

Do not manually press the shutter button or even touch your tripod when initiating your moon shot.

Remember that even the slightest touch could add enough vibration to blur the image.

Instead, use a cable release or remote trigger to start your exposure. If you don’t have either of these gadgets, use the self-timer feature on your camera.

7. Use mirror lock-up

If you’re working with a DSLR and it has the option, lock up your mirror. This can greatly increase your chances of getting a tack-sharp moon image.

You see, even the slightest shake of your camera’s mirror can be enough to blur the shot. So if your camera has this option, use it!

Lock the mirror up and wait a few seconds to allow any vibrations to settle before beginning your exposure.

(If your camera doesn’t have a mirror lock-up option, you can always shoot in Live View, which will have the same effect!)

8. Don’t use image stabilization

Your lens’s (and camera’s) image stabilization technology must be turned off as soon as you put your camera on a tripod.

Turning on an image stabilization feature with your camera mounted on a tripod will actually create blur in your image!

9. Know the cycles of the moon

There are 29.5 days between full moons.

And by learning when the full moon will come, you can ensure you get the best-looking moon in your shots!

There are many online and smartphone applications that can help you track the phases of the moon. One must-have app is The Photographer’s Ephemeris, which will give you the phases of the moon, and also show you when and where the moon will appear in the sky.

This is especially useful when planning your moon shoots. The full moon is very popular and photogenic, but it’s also the brightest and the most difficult to expose correctly.

The side lighting of a gibbous moon produces some interesting shadows which may allow you to capture craters and mountains. The crescent moon is, of course, the darkest stage, but one that may offer some interesting effects when added to a nighttime landscape.

10. Don’t always place the moon in the center of the frame

Putting the moon in the center of the frame – especially if there’s nothing else in the shot – can be nice, as (hopefully) demonstrated by several of the photos in this article.

However, after a while, it gets boring. It’s been done a million times before. So try to put the moon off-center.

Oh, and make sure to include other interesting objects in the frame!

That’s how you’ll end up with a truly impressive moon photo.

11. Switch to manual focus

There are a couple of different methods you can use to focus on the moon.

First, try using your camera’s autofocus to make the moon tack sharp. Then, once you have a desirable point of focus, turn off the autofocus and switch to manual focus.

Alternatively, you can start by setting your lens to manual focus. With your camera’s Live View feature turned on, zoom in on the moon and turn the manual focus ring until the moon becomes sharp. Then do not touch the ring again.

12. Don’t just shoot the moon at night

The best time to photograph the moon is just after it rises or just before it sets, when it’s low in the sky.

Why is this important?

For one, when the moon is near the horizon, it will appear larger in your images (due to a trick of the eye).

Also, as the full moon rises, the sun will be setting, and as the full moon sets, the sun will be rising. This can give you great lighting to accentuate foreground objects.

Note that shooting the moon in the daytime (e.g., in the late afternoon) will give you the opportunity to include foreground objects, and you may also be able to capture some craters on the moon’s surface.

13. Do use exposure bracketing

Once you have found an exposure that you’re happy with, it’s best to bracket around that setting.

You see, the view of your images in the dark, on the back of your camera, can often be deceiving. In the dark, images always appear brighter on the camera LCD than they are when opened on your computer.

So after you’re satisfied with the exposure you have dialed in, bracket two stops under and two stops over, just to ensure that you get a result you’ll be happy with later.

14. Don’t use Auto White Balance

Using Auto White Balance will give you very inconsistent results.

Instead, I recommend you try the daylight white balance preset. And if you’re looking for a different effect, try the tungsten or cloudy presets.

Don’t be afraid to experiment.

And remember:

If you are shooting in RAW, you can change the white balance in post-production.

15. Don’t depend on your meter

In general, your camera’s light meter will be fooled by the amount of light reflecting off the moon.

So make sure you constantly check your LCD and histogram to ensure you’ve nailed the exposure.

Also, it is important to note that, as the moon rises, the exposure will change. The moon gets brighter as it rises, so you’ll need to keep adjusting your shutter speed to compensate.

16. Do shoot the moon in RAW

Shooting in RAW will allow you to capture more details of the moon’s surface, and also give you more latitude for adjustments in Lightroom and Photoshop.

So, unless you are not at all comfortable with using camera RAW software, always shoot the moon in RAW.

17. Don’t be afraid to crop your images

Unless you are shooting with a very large telephoto lens, you will want to crop your image to display the moon at a decent size.

But remember:

The more you crop, the more you reduce your ability to print at a high resolution.

18. Do tweak and sharpen

Most moon photography is going to require some post-processing in Photoshop or other photo editing software. Adding clarity and contrast will help bring out details, and this will enhance the craters and mountains of the moon.

As mentioned above, the white balance and exposure may also be adjusted to achieve a nice result, as both are somewhat difficult to perfect in-camera.

19. Don’t be afraid to get creative

Here’s the truth:

Most great moon photography has been manipulated in post-production, because of the difficulty of capturing a great moon shot in one image.

So don’t be afraid to get creative.

For instance, you might create a composite, as I did for this image:

A popular method used by many photographers is to combine two exposures: one set to bring out the best of the foreground landscape, and a second exposed for the moon. 

When combining these two images, try enlarging the moon slightly to achieve a more dramatic effect, but don’t overdo it to the point that it looks fake. The moon needs to look believable, unless you are going for a science fiction effect (which isn’t always a bad idea, creatively speaking!).

Capture some amazing moon photos!

You now know everything you need to get started with moon photography.

So get out there and shoot the moon!

Remember that moon photography is not as easy as it looks, so if your first results are not as dramatic as you expected, then keep trying!

Now I’d like to see some of your moon images! Please share any moon shots in the comments below.

The post How to Photograph the Moon: 19 Dos and Don’ts for Beautiful Images appeared first on Digital Photography School. It was authored by Bruce Wunderlich.

This article was updated in July 2024 with contributions from Ana Mireles and Jaymes Dempsey.

I use Lightroom presets for a huge percentage of my photo editing, and I know that many other photographers do the same.

In fact, if you’re a Lightroom user and you’re not yet taking advantage of presets, then you’re missing out. Presets come with so many benefits: they save time, they’re ridiculously easy to use, and they can make your photos look amazing.

But if you’ve ever tried editing with presets, you’ll know that your results can vary dramatically depending on the quality of the presets themselves. That’s why it’s important that you choose the right presets to use!

Fortunately, if you’re looking for the best Lightroom presets, you’ve come to the right place. Given the number of available options, it’s easy to get overwhelmed – or even worse, buy a pack of presets that you’ll never use.

To help you navigate the wide market of Lightroom presets, we’ve put together a selection of the best quality packs (to fit many different needs). So read on to discover our favorite presets, including both free and paid options.

Here we go!

1. Landscape and Travel Photography Presets

If you’re a landscape or nature shooter, then this preset bundle should be at the top of your list. Fine art photographer Jan Erik Waider offers a set of eight Lightroom preset packs, designed for different shooting scenarios. Some target physical locations, such as polar or forest landscapes. Others offer a specific aesthetic, such as cinematic or dark and dramatic.

In my experience, it’s important to exercise restraint when editing nature scenes, but I think these presets do a great job of keeping things natural while also adding some extra pop to your photos. And since the package includes so many presets, it gives you an opportunity to experiment with different looks until you find what works best for your images. As Waider notes, these professional presets allow customization so you can “develop a repeatable personal style.”

In addition to the eight preset packs, the bundle includes a surprise pack and will give you access to all future preset releases. Of course, if you’re not interested in the entire bundle, you can also purchase the packs individually – though the bundle does offer great value!

2. Clean Edit Portrait Workflow Presets

There are literally thousands of portrait preset packs available, but we think that the Clean Edit Portrait Workflow presets, created by Pretty Presets, rise to the top. With a collection of 35 presets and some fantastic bonuses like portrait brushes, this package goes beyond your basic paid preset pack to offer an entire workflow system that guarantees professional-looking results.

And for those who are looking for straightforward presets to enhance your portrait images, you’ll enjoy the Clean Edit Portrait Workflow pack, too. No matter what type of portrait you’re working with, these presets can help. They bring out vibrant colors while maintaining a natural and realistic look. Whether you’re shooting on a cloudy day or during golden hour, the Clean Edit Portrait Workflow presets will make your portraits look amazing!

3. Dark & Moody

Instagram is full of dark and moody images, many of which rely heavily on Lightroom edits. But recreating a refined moody look can be difficult, even for more experienced photographers, and that’s where the Dark & Moody pack – created by Flourish Presets – comes in handy.

The pack only comes with 7 presets, but each one packs a serious punch, creating that cinematic moody vibe that adds depth and emotion to your images. I like these presets for all kinds of images, including portraits, weddings, landscapes, or even street photography, but they’re especially stunning when applied to travel shots (to my eye, anyway!).

I’ll also note that Flourish Presets sells a handful of additional moody-style presets, so if this pack doesn’t fit your tastes, you can always try a different pack, such as this warmer, portrait-focused option, instead.

4. Golden Hour Presets

These Golden Hour Lightroom presets are perfect for portrait photographers who organize outdoor sessions. We all know that golden hour offers beautiful light for your photos. Unfortunately, it’s not always possible to schedule your clients around that time.

KatherineDream offers 15 Lightroom presets for mobile and desktop that will give your photos those beautiful, warm, golden-hour tones. And on her Etsy shop, KatherineDream offers multiple other packs (and often puts her presets on sale!).

5. Zion Presets

I’m a fan of warm-toned edits, myself, which is why I absolutely love the Zion Presets pack by Meridian. Each preset effortlessly adds a touch of warmth and faded tones to your photos – and while the price is on the higher side, you do get 16 stunning presets that will instantly elevate the look of your portrait and wedding shots.

What sets the Zion Presets apart is their ability to create a sense of instant refinement. The warm colors and faded tones they produce give your images a cinematic quality, making them look like stills from a movie.

Whether you’re a professional photographer or an avid enthusiast, the Zion Presets will take your photos to new heights. With just a few clicks, you can transform your ordinary shots into breathtaking masterpieces that evoke a sense of nostalgia and charm!

6. All-In-One Lightroom Preset Bundle

In general, I like to recommend themed preset packs. All-in-one bundles tend to offer a lot of breadth without much depth, and that can result in a lot of wasted money. Fortunately, the All-In-One Lightroom Preset Bundle bucks the trend, and I think it’s perfect for beginner photographers. If you don’t have a field of specialization and you’re still figuring out your style, you’ll find 90 helpful presets to choose from.

The Bundle includes presets for everything: beach shooting, indoor photography, food photos, portrait photos, black and white photos, and moody photos. In other words, the All In One Bundle offers everything a beginner could need – and it even comes with a handy how-to guide!

7. Adventure Everyday Lightroom Desktop Presets

If you’re craving that warm, nostalgic feel in your photos, look no further than the Adventure Everyday presets by Mastin Labs. While this pack may seem small – it only includes three presets – trust me when I say that they pack a punch.

These presets are designed to give your portraits, landscapes, and travel shots a captivating, filmic look. They effortlessly transform your images into inviting and cozy scenes that you won’t be able to resist. Once you start using these presets, you’ll find yourself constantly reaching for them to enhance your everyday adventures.

8. Boho Style

If you’re a professional portrait photographer, then you know how important it is to have an automated workflow that delivers consistent results.

This Boho Style preset bundle offers 20 one-click presets; they’re easy to adjust, and they look amazing on a variety of portraits, from wedding candids to engagement sessions to family photos and more.

Each preset creates a creamy warm tone that improves the overall ambiance of your pictures. Plus, the price is outstanding (and the pack is often on sale, so if you buy at the right time, you can get the pack for just over a dollar).

9. Winter Wonderland Preset Collection

Most winter presets only add a cool tone to your images – but the Winter Wonderland Preset Collection offers a uniquely well-rounded solution for a winter look.

This bundle offers 32 presets and 5 brushes to create snowy and winter images, no matter the weather forecast. All the presets are customizable, and an instruction guide and video tutorial are included in the download.

10. The Crush Pack

Unlike other presets that are based on subject matter or mood, the Crush Pack is designed for light. Each preset is tailored to a specific lighting scenario so that you always know which to apply.

Whether for soft or hard light, backlight or flash, there’s a preset to improve your picture, delivering a “bold and vivid style that maintains the skin tone.” You can buy the Crush Pack on its own, or bundled with the Retouching Toolkit for a special discounted price.

11. The Free Lightroom Presets pack

If you’re looking for a nice free starter preset pack, this bundle from BeArt Presets is a great choice. It includes 5 presets that can be applied to all types of photographs, from food to portraits, and it’ll certainly help you get a sense of whether presets will fit nicely into your workflow.

The download includes two sets of presets: one set for mobile and one set for desktop. And once you determine which preset styles you’re after, there’s a shop with more specialized presets for sale.

12. Color Pop

If you’re looking for a pack of Lightroom presets to make your images stand out, the Color Pop presets are exactly what you need. You get 20 different presets designed to boost the color of any photograph and make your images look vibrant and fresh.

The files come in three different formats for maximum compatibility. And if you’re impressed and you want more, PhotographyPla.net also offers a bundle with all 1000 of their presets.

13. Portra 400 Preset Collection

Looking to add a touch of nostalgia and timeless beauty to your photos? The Portra 400 Preset Collection, created by Lou & Marks, is here to make your images shine. With 10 high-quality presets – designed to emulate the look of Portra 400 color film – your photos will exude warmth and a hint of summer in the 1980s.

These presets are perfect for enhancing portrait shots, giving them a touch of vintage elegance. But don’t limit yourself! Feel free to experiment and apply these presets to your travel images for a nostalgic effect. And if you like the Portra 400 pack, you should definitely check out other film-style presets by Lou & Marks, such as this fantastic collection of Fujifilm presets!

14. Nathan Elson’s Lightroom Presets

Nathan Elson is a professional photographer who specializes in portrait, fashion, commercial, and architecture photography; his very defined style inspired this preset collection. (As he notes on the sales page, “These are the same styles that I use to grade my photographs for both client as well as personal work.”)

While we previously recommended Elson’s 2020 preset pack, it’s been replaced by the 2022 collection, which is even better than before. It includes 12 presets – 5 for color edits and 7 for black and white – and the range is impressive. We’re also impressed by the modern look of the edits, and the monochromatic effects are absolutely beautiful. If you’re a portrait or fashion photographer in search of a refined yet modern look, this pack is a must-have.

15. Prolost Graduated Presets

Designed for complete beginners, the Prolost preset pack includes over 600 presets for you to choose from.

Each effect comes in different intensities; that way, you only need to hover over each preset to preview different results. If you like an effect, you click to apply. And because the pack already comes with plenty of variations, no customization is required.

16. Artisan B&W Lightroom Presets

If you’re passionate about black and white photography, you’ll be thrilled with the Artisan B&W Lightroom presets from Mastin Labs. These presets are a game-changer when it comes to creating stunning monochrome images that stand the test of time.

With just three carefully crafted presets, you’ll be able to transform your black-and-white photos into masterpieces. The presets work their magic on portraits, landscapes, and even street photos, giving each image a timeless and captivating appeal.

Whether you want to add depth and drama to your subjects or bring out the intricate details in your landscapes, the Artisan B&W presets have got you covered. They’re designed to enhance contrast, highlight textures, and bring out the essence of black-and-white photography.

How do you pick the right presets?

There isn’t one perfect preset that will fit every photograph. There are, however, presets that will be more fitting for your workflow. So given the many choices available on the market, how do you choose?

First of all, look at the quality of the work from the creator and what they’re offering. Any adjustment can technically be turned into a preset, so you’ll run into a lot of useless downloads. Some websites or blogs offer a freebie to get you on their mailing list or make you subscribe, but all you receive is a single preset that moves a slider slightly to one side.

So make sure you get your presets from a professional and check that they offer something more complex than what would be achievable by a beginner.

Another thing that you should consider is the type of photography you do. Make sure it matches the “before” image from the preset preview. This will ensure you get results similar to what you’re expecting. Otherwise, the effect might look great on the sample picture but won’t work on your own shots.

Finally, try to find presets that are customizable. This will allow you to create your own style instead of just replicating someone else’s. It will also make your presets more versatile, so you can use them on a wider variety of pictures.

Are presets worth it?

In my opinion, yes. Because they automate a part of your work, presets will save you a lot of time. Also, presets are a good way to keep your style consistent. This is very important for gaining followers, and it lets your clients know what they can expect from you far in advance.

Also, remember: If you want the benefits of presets but feel like none of the presets I’ve suggested fit your vision, you don’t have to use third-party presets. You can always make presets of your own!

The best Lightroom presets: final words

Now you know some of the best Lightroom presets available in 2024! These powerful tools can take your images from ordinary to extraordinary with just a few clicks, giving them that extra pop, mood, and timeless charm.

Whether you’re a portrait aficionado, a wedding wizard, or a landscape lover, there’s a preset pack for you. From the Clean Edit Portrait Workflow presets, which bring out colors while keeping things looking natural, to the Dark & Moody presets that add atmosphere and mood to any shot, these presets offer endless possibilities.

Make sure you get the presets that will fit your type of photography and style – and have fun!

Now over to you:

Have you tried presets in the past? Do you have a favorite preset or preset pack? Share your thoughts in the comments below!

Best Lightroom presets FAQ

The post The Best Lightroom Presets in 2024 appeared first on Digital Photography School. It was authored by Ana Mireles.

Because white background portraits are so common, many people think it’s an easy effect to achieve. You simply set up a white background, put your subject in front of it, and take the picture (preferably with a flash or strobe) – right?

Unfortunately, it’s not so simple. If you try the method described above, you’ll end up with a photo that features either a gray, dull, or muddy-toned background. The best possible result would be an off-white background after you have done some edits. And that’s not the only issue; you’d see unwanted shadows everywhere, too.

I have replicated a standard white-background setup with my little model, Sven (Kristoff’s beloved reindeer in the movie Frozen). It is easier doing this with a small-scale subject, as my artificial lights are huge in comparison. You can do the same with people and get the same high-key effect; however, since people are much larger than small objects, you need to have massive octaboxes and flags. Regardless, this tutorial will show you the process clearly, and you can scale it up as needed!

So here are three rookie mistakes to avoid when trying to achieve 100% pure-white background photography:

Mistake #1: The background is not properly lit

The background must be lit with approximately two stops more light than the subject. For example, if you want to photograph your subject at f/8, set your background lights to two stops brighter, so your meter reads f/16 on the background.

Note: You need to meter foreground and background lights separately, so that when metering for the main light (on the subject) you would turn the background lights off and vice versa. When both the background and main lights are on, your meter should still give you f/8 on the subject, because you are metering the light that falls on your subject and not on the background.

The photo below (right) shows what it looks like when you don’t light the background at all. You get a tone and color other than the intended white. In the photo on the left, the background was lit, but there was no main light illuminating the subject. Therefore, the resulting image is almost a silhouette of the subject.

My camera settings for all the shots in this setup were ISO 250, 1/160s, and f/8 (though the background gave a meter reading of f/16). I set my speedlights to 1/16th power (I rarely use my speedlights at full power because the batteries run out very quickly).

The camera was a Nikon D750. It’s on the older side, but it handles noise superbly, so ISO was not an issue. Two SB-910s and one SB-900 speedlight were used for this setup.

The photo below shows the setup with only the left background light firing:

You will notice in the two images below that only the right background light fired in the left photo, and only the left background light fired in the right photo. Such lighting is acceptable, of course, if that is your intention. The main light was positioned at a 45-degree angle on camera right. I wanted to bounce my flash onto the white rogue bender to modify the light.

You may also notice that in the left photo (above), there is a very slight shadow of Sven on the background behind him – because the left background light didn’t fire. When the background light did fire on the left, this shadow was eliminated (right photo, above).

Below is the setup with all three lights firing correctly.

Now that you have your background and main lights set up, you need to make sure these lights only hit the intended subject. This leads us to the next rookie mistake: separation.

Mistake #2: Not enough subject-background separation

Because the background lights are so much brighter than the foreground light, you need to separate them from the main subject. There are two key ways of doing this:

1. Flagging
2. Distance

Flagging

You can use anything black to flag your lights: the black side of a reflector, black cardboard sheets, or black foam core.

Black does not bounce light; instead, it absorbs light. It also blocks light from seeping through to places where you do not want it. If you don’t flag (block) your background lights, your subject will end up with a halo effect and look very backlit.

Distance

Once you have flagged your lights, you need to position your subject far enough away from the background (and from the background lights) that any light spillage won’t touch your subject. This depends on your personal preference and intention, of course – you may want some spill on your subject for a certain look or effect, or you may not.

If you do want some spill, make sure to run a few tests with various lenses, as chromatic aberration may occur around the edges of your subject due to the abundance of light. Some lenses are prone to chromatic aberration regardless of aperture, while others perform very well even at wide apertures, where chromatic aberration is most commonly observed. Also, be careful with the amount of spill you allow – you don’t want to chop off parts of your subject from the spill overexposure.

The photos above show a properly-lit Sven. The two background lights fired at f/16 and the main light fired at f/8. There are no unwanted shadows on the background, as was my intention.

However, I wanted to have a reflection and shadow in the foreground. This leads nicely to the third rookie mistake to avoid: a floating subject.

Mistake #3: The subject is floating

If you do not include some floor shadows, your subject will look like it is floating on white air, or like it’s cut out and pasted on a white sheet of paper.

The best tip for avoiding floating subjects is to use a reflective surface such as translucent white plexiglass, or white tile sheet, as a base for your subject to stand on. You can adjust the opacity of the reflection in Photoshop during post-processing, but having the reflection shows that your subject is planted firmly on solid ground.

Bonus mistake #4: The overexposed background

Be careful not to add too much light to the background. If you go past pure white and really overexpose a shot, the white will start almost glowing around the subject, just like if you had sun flare outdoors.

This lowers contrast and makes your subject look like they have a bit of a halo. You can see this overexposed effect in the images below:

White background photography mistakes: final words

I hope this little tutorial has shed some light on basic techniques for creating a white background, and that it has solved any and all mysteries regarding how to achieve such a look.

White backgrounds are useful in a wide variety of studio scenarios: when photographing products, when photographing people, when doing macro photography, and more.

Now that you’ve finished this article, you should be able to recreate it with success!

Now over to you:

How do you plan to use the white-background look? Do you have other techniques for achieving the effect? Share your thoughts in the comments below!

The post 3 Rookie Mistakes to Avoid When Shooting on a White Background appeared first on Digital Photography School. It was authored by Lily Sawyer.

Long-exposure techniques have become increasingly popular, particularly in the realm of landscape photography. One key reason is the ability to capture scenes with enhanced softness and harmony compared to standard exposures.

With the rapid evolution of digital cameras, we can now take extended exposures without significant digital noise caused by sensor overheating. Additionally, advancements in neutral density (ND) filters mean we can shoot with minimal color cast and no loss of sharpness.

That said, ultra-long exposures are hard to pull off for a variety of reasons. In this article, I explain my stacking technique, which makes it far easier to capture long-exposure effects while avoiding conventional difficulties.

If you’re passionate about long-exposure photography, this is definitely a tool to add to your arsenal!

What is long-exposure stacking?

By taking multiple photos (usually at least 30 seconds each), you can blend them to create a final image with a total exposure time equal to the sum of the individual exposures.

This technique is especially useful for landscape photography but can also be beneficial in other photography styles that require extended exposure times for maximum quality.

Here are the main advantages of long-exposure stacking:

• Extended exposure time: Achieve longer exposure without a single long shot.
• Reduced noise and hot pixels: Shorter exposures result in less digital noise and fewer hot pixels.
• Decreased vignetting: Using a weaker ND filter per shot reduces vignetting.
• Minimized risk: Avoid wasting time and shots due to tripod shakes or sudden light changes.
• Flexible post-processing: You can decide the strength of the long-exposure effect later.

Of course, every technique has its disadvantages, and long-exposure stacking is no exception. Here are the main issues with this approach:

• Not a single exposure: Some competitions and contests may not accept stacked images.
• Requires post-processing skills: You need to know how to blend multiple exposures.
• Purist concerns: This technique might not appeal to photography purists.

When should you use long-exposure stacking?

I recommend this technique in a variety of scenarios:

• If you want to capture a very long exposure, stacking allows you to push exposure times to higher values without as much risk.
• If you are frustrated by the amount of noise in your long-exposure shots, stacking will help reduce noise by keeping the sensor from overheating.
• If you’re not sure how long you want the exposure to be, you can decide on the final exposure duration later by summing shorter exposures.
• If you’re photographing in rough weather or hostile conditions, stacking reduces the risk of wasting exposure time in challenging environments.
• If the light is changing quickly, stacking increases the likelihood of capturing the perfect moment.

With all that out of the way, let’s get on with the fun part: actually implementing long-exposure stacking!

Elevating your long exposures with stacking: the step-by-step approach

This technique is relatively easy, but it’s important to pay careful attention to each step if you want to get high-quality results!

Also, before trying this, there are at least a couple of required skills you should have (apart from the basics for taking pictures with your camera):

• Standard long-exposure photography know-how: Familiarize yourself with long-exposure basics.
• Basic Photoshop knowledge: Learn to use layers in Adobe Photoshop or similar software.

Step 1: Get the right gear

The equipment for this technique is the same as for standard long-exposure photography. If you’re new to it, here’s a short list:

• A camera that’s capable of long exposures.
• A lens that’s compatible with neutral-density filters.
• A sturdy tripod.
• A remote trigger (this is optional but recommended).
• Neutral-density filters. ND filters are essential for most long-exposure scenarios, but if you’re shooting in very low light, you can get away without them.

Step 2: Plan the shot

Never hit the shutter without properly planning your photo. Thorough planning plays a crucial role in capturing a great photo! Do not underestimate the power of planning your long-exposure shooting.

Everyone’s planning process is different, and that’s okay. However, it’s important to think about the lighting, the subject, and the necessary settings before you set up your camera. If possible, scout locations ahead of time and get a sense of what’s available to you!

While luck can help you occasionally, consistent preparation increases the likelihood of being ready when the right conditions present themselves.

Step 3: Take the shots

Once you’ve planned your photo and arrived at your location, focus on two key aspects: composition and exposure. Composition depends on your personal taste, while exposure involves a complex interplay of factors.

Before taking any picture, landscape photographers usually meter the light to determine the exposure time. The final exposure time is influenced by various factors such as wind strength, cloud movement, and water flow. The critical question is, “How long should I expose for?”

In situations with rapidly changing light or strong winds that could shake your camera or tripod, long exposures might not be feasible. That’s one of those times where the stacking technique proves invaluable.

For instance, if you aim for a total exposure of eight minutes, instead of taking a single long exposure, you can divide the total time into four consecutive shots of two minutes each. You can choose the length of each exposure and the number of shots as long as the time gap between shots is minimal for stacking purposes. Ensure you don’t move the tripod or camera between shots. After capturing your series of shots, proceed to the post-processing step.

Before shooting:

• Ensure your focus is accurate.
• Stabilize your tripod (avoid sand or uneven surfaces if possible).

After shooting:

• Check your histogram to confirm proper exposure or exposure to the right.

Step 4: Stack your files

Now that you’re home or at your favorite cafe with your laptop and a coffee or beer, download your shots and select the ones you want to stack.

We’ll demonstrate the stacking process using Adobe Photoshop, although any software supporting layers can be used. Photoshop offers two methods for stacking files to simulate a longer exposure:

1. Semi-automatic stacking
2. Manual stacking

Semi-automatic stacking in Photoshop

This semi-automated method involves going to Files>Scripts>Load Files into Stack.

Next, select the individual long-exposure shots, and check the boxes so Photoshop automatically aligns the source images and creates a smart object:

Click OK, then wait for Photoshop to do its thing. Once the process is complete, select the Smart Object, then go to Layer>Smart Objects>Stack Mode>Mean. This process combines all images embedded in the Smart Object, resulting in a new image that simulates a single long exposure with a total time equal to the sum of the individual exposures.

You can see the result of stacking in the image below:

Manual stacking in Photoshop (or elsewhere)

The second method involves manual blending, which can be done with any software that supports layers. This process requires adjusting the opacity of each layer sequentially.

The mathematical rule is as follows: each layer’s opacity should be set to 1 divided by its position in the stack. Like this:

• First photo (bottom layer): 100% (1/1)
• Second photo: 50% (1/2)
• Third photo: 33% (1/3)
• Fourth photo: 25% (1/4)
• Fifth photo: 20% (1/5)
• Sixth photo: 17% (1/6)
• …
• Nth photo: 1/N

This method replicates the automatic Mean Stack Mode and yields identical results.

Step 4: Post-processing workflow

At this point, just follow your typical post-processing steps. Here’s what I like to do:

1. Clean away dust spots, straighten, and crop: Remove any dust spots, straighten the image, and crop as needed.
2. Recover detail: Use other exposures (e.g., 3 or 5 bracketed shots) to bring back detail in static parts of the image that were under- or overexposed.
3. Adjust exposure and contrast: Fine-tune the exposure and contrast settings.
4. Adjust colors: Modify the colors to achieve the desired look.
5. Add finishing touches: Apply any final adjustments to suit your taste.
6. Export: Save your final image.

Here’s my sample image once all of the above has been completed:

Capture breathtaking long-exposure photos!

This technique is highly flexible and can significantly enhance the quality of your final image. Stacking images reduces random digital noise, with a reduction proportional to the square root of the number of photos used.

For instance, stacking four photos results in a 50% reduction in random digital noise in static parts of the image, which is especially beneficial for underexposed areas. This technique is widely used in astrophotography and other fields where increasing the exposure time of a single shot is impractical.

So give it a try and see what you think!

Need further help or explanations? Don’t hesitate to leave questions below!

The post How to Improve Your Long-Exposure Photography With Photo Stacking appeared first on Digital Photography School. It was authored by Luca Libralato.

Do you buy your camera based on its megapixel count? Have you encountered problems sharing your photos online due to large file sizes? Do your prints appear low quality even though they look stunning on your screen?

These are common issues that arise from confusion between pixels and bytes, image size and file size, and the like. In today’s digital age, understanding the nuances of image size, resolution, and file formats is essential for anyone dealing with photos, whether you’re a seasoned professional or a casual hobbyist.

I want to emphasize that mastering these concepts is not just about gaining technical knowledge; it’s about improving your workflow and ensuring your images are optimized for their intended use. Whether you’re uploading photos to social media, printing large-format posters, or simply organizing your digital photo library, understanding the basics of pixels and resolution will make your tasks easier and more efficient.

So let me explain how to make your life simpler, your workflow more effective, and your images the correct size for the intended usage!

Is resolution the same as size?

One of the biggest misunderstandings comes from the concept of resolution. If it’s something you struggle with, believe me, you’re not alone.

The problem is that resolution can refer to many things, two of which relate to the problem at hand. I’ll explain these two resolution concepts further, but they have one thing in common that I need to clarify first: They both have to do with pixels.

You’ve probably heard a lot about pixels, at least when you bought your camera. It’s one of the most advertised and valued specs on the market, so I’ll start there.

What is a pixel?

A digital photo is not one indivisible entity. If you zoom in far enough, you’ll see that your image is like a mosaic formed by small tiles, which in photography are called pixels.

The number of these pixels and the way they are distributed are the two factors you need to consider to understand resolution.

Pixel count

The first kind of resolution refers to the pixel count, which is the number of pixels that form your photo.

To calculate this resolution, you use the same formula you would for the area of any rectangle: multiply the length by the height.

For example, if you have a photo with 4,500 pixels on the horizontal side and 3,000 on the vertical side, multiply those two numbers to reach a total of 13,500,000 pixels.

Because this number is impractical to use, you can divide it by a million to convert it into megapixels. So 13,500,000/1,000,000=13.5 megapixels.

Pixel density

The other kind of resolution is about how you distribute the total amount of pixels you have. This is commonly referred to as pixel density.

Resolution is expressed in dpi (dots per inch) or ppi (pixels per inch). If you come across an image with 72 dpi, it means that the image has 72 dots per inch; if you see an image displayed at 300 ppi, it means the image has 300 pixels per inch.

The final size of your image depends on the resolution you choose. If an image is 4500×3000 pixels, it will print at 15×10 inches if you set the resolution to 300 dpi, but it will print at 62.5 x 41.6 inches at 72 dpi.

Here, while the size of your print changes, you are not resizing your image file; you are just redistributing the existing pixels across the space.

Imagine a rubber band; you can stretch it or shrink it, but you’re not changing the composition of the band. You’re not adding or cutting any of the rubber.

To summarize: resolution is not the same as size, but they are related.

Does quantity equal quality?

Because of the correlation between size and resolution, many people think that more megapixels result in higher-quality files.

In a sense, this is true; the more pixels you have, the higher the pixel density will be for a given area.

However, you should also consider the depth of the pixels, which determines the number of tonal values in your image. This depth translates to the number of colors per pixel. For example, a 2-bit depth pixel can store only black, white, and two shades of grey. More commonly, 8-bit depth pixels are used.

The values grow exponentially, so with an 8-bit photo (2^8=256), you’ll have 256 tones of green, 256 tones of blue, and 256 tones of red, amounting to about 16 million colors.

This is already more than the eye can distinguish, meaning that 16-bit or 32-bit images will look relatively similar to us. However, a higher bit depth makes your image file heavier, even if the size is the same, because each pixel contains more information. This is why quality and quantity are not necessarily the same.

Quantity helps, but the size and depth of each pixel also determine quality. This is why you should consider all the specs of a camera and its sensor, not just the number of megapixels. After all, there’s a limit to the size you can print or view your image; beyond that, you’ll only increase the file size (megabytes) without improving the image size (megapixels) or quality.

How to choose and control image size and file size

First, you need to consider where your photo will be displayed. The image output will dramatically affect the ideal image size.

For instance, newspapers are often printed at 72 dpi; therefore, if your image will be displayed in a newspaper, it often makes sense to send a file with 72 dpi. (The exception is when the paper uses a higher dpi count, in which case you should increase the image size accordingly!)

This is too low for fine-art printing, however – for “proper” prints, you generally need 300 dpi for high-quality results. Again, however, this depends on the printer in question; some printers can print at much higher dpi, while others are limited to a lower density.

You should also think about the way the image will ultimately be viewed. A 200 dpi print might look bad when viewed up close at 8×10, but at 40×60, the viewer will likely be standing farther away, and 200 dpi will look great!

Once you’ve determined the ideal density, you can calculate the necessary image dimensions for a specific print size. For example, if you want to print your photo at 8×10 inches, you need your image to have 300 dpi x 8″ = 2400 pixels by 300 dpi x 10″ = 3000 pixels (so 2400×3000 pixels to print an 8×10 at 300 dpi).

How to resize an image in Photoshop

Now it’s time to cover the practical stuff: actually resizing your images in Photoshop to match your desired output.

Start by opening the Image option in the main menu. Select Image Size, and in the popup window, tick the Resample Image box. (If you don’t activate resampling, you will only be redistributing the pixels, as explained earlier.)

At the top of the window, you’ll also see how the file size changes. This uncompressed version of your image directly relates to what was explained earlier: fewer pixels mean less information.

If you still want to change the file size without resizing, you need to do so when you save the image. Before saving, you can choose the format:

If you don’t want to lose any information, save in an uncompressed format. The most common and easiest to share is TIFF.

If you don’t mind losing some information for a lighter file, opt for JPEG and choose the desired compression level. The smaller you set it, the more information you lose. Fortunately, there’s a preview button to see the impact of your compression.

Print and resize your photos with confidence!

Understanding the intricacies of image quality, quantity, size, and resolution is crucial for anyone working with digital photos, whether for professional purposes or personal enjoyment. Pixels, the fundamental building blocks of digital images, play a pivotal role in determining these factors. By grasping how pixel count and pixel density interact, you can make informed decisions about your images, ensuring they meet your needs for both digital and print formats.

Now that you have a comprehensive understanding of these elements, you are well-equipped to make the best choices for printing, sharing, and saving your photos. Whether you are a professional photographer, a hobbyist, or someone who simply enjoys capturing moments, this knowledge will empower you to achieve the best possible results with your digital images!

Now over to you:

Do you struggle to understand these concepts? Do you have any tips or advice for others? Share your thoughts in the comments below!

The post Understanding Pixels and Resolution (+ How to Resize Images in Photoshop) appeared first on Digital Photography School. It was authored by Ana Mireles.