What is commercial photography? And how can you take stunning commercial photos?

In this article, I explain everything you need to know for top-notch commercial shots, including:

• The gear every commercial shooter should own
• How to light your commercial photos for amazing results
• Key steps for processing your files
• Much more!

So if you’re ready to become a commercial photography expert, then let’s dive right in!

What is commercial photography?

Commercial photography refers to photos taken for commercial use, including images for ad space, websites, product placement, and e-commerce listings. These photos generally feature products, but they can also include food, people, fashion models, street scenes, and even landscapes.

For instance, an insurance company might create an ad campaign that relies on images of the Appalachian mountains – and any images taken specifically for such a campaign would be considered commercial images.

These days, commercial photos are more in-demand than ever, thanks to the explosion of product listings on personal websites, Etsy stores, and eBay listings.

5 tips for stunning commercial photos

Below, I share my top five tips for nailing commercial work. I discuss lighting, gear, item preparation, and post-processing, starting with my first piece of advice:

1. Make sure you buy the right equipment

Commercial photography is a gear-heavy genre, and if you want to produce the best images in a reasonable amount of time, you need a few studio accessories to help you out. Fortunately, these aren’t too pricey!

First, make sure you grab some kind of artificial lighting kit. Many professional commercial photographers use studio strobes, but if you’re just starting out, or if you only need to create high-key e-commerce-type images, you can get away with a simple lightbox or light tent.

I like to use a lightbox, which folds and snaps together using magnets for easier setup, takedown, and travel. When you’re working, you’ll need to first assemble your lightbox. Then you’ll need to add in your second key accessory: a backdrop.

You can find backdrops all over the internet, some of them handpainted and very expensive. However, as a beginner, I’d recommend just grabbing a white and a black backdrop; these will be perfect for standard e-commerce setups as well as more advanced low-key images. Many lightboxes will come with a few backdrops, but if yours does not, or if you don’t like what your lightbox kit provides, then you can always grab standard posterboard from the store.

A sturdy tripod will also come in handy. It’ll help you maintain your composition from shot to shot, which is especially useful if you’re working with a high volume of products. And it’ll keep your photos sharp even if your lighting setup isn’t especially powerful.

Finally, consider grabbing a small stand. You can use it to prop up the product while you shoot (though be sure to remove it in post-processing or – better yet – hide it behind the product).

2. Use a close-focusing lens

The camera that you use for commercial photography isn’t especially important as long as it offers a manual exposure mode, interchangeable lenses, and plenty of resolution. However, the lens can make a huge difference.

If you plan to shoot small products – or even large products – grabbing a macro lens is a good idea. These lenses are super sharp, and they can focus up close for beautiful detail shots. I’d recommend working with a focal length of 90-110mm, though as long as you don’t go wider than 50mm, you’ll get solid results. (My all-time favorite lens for commercial work is the Nikon 105mm f/2.8 Macro, which I used to capture all of the images in this article.)

If you can’t afford a macro lens, purchase a lens that can focus relatively close, such as a 50mm f/1.8.

Unfortunately, the closer you focus (and the sharper the lens), the more you’ll start to see unwanted details in your images. Dust, scratches, and fingerprints are all enemies of the commercial photographer, so you’ll need to spend extra time cleaning the product at the beginning, as well as extra time post-processing the product once the shoot is over.

3. Carefully light the subject for the best results

Lighting is a huge part of commercial photography, so if you want great shots, you must learn to manipulate the light.

As I mentioned in a previous tip, high-end commercial photographers use studio strobes. If you’re serious about becoming a well-rounded shooter, this is a skill worth learning. You can start by working with a single light, then add in a fill light or a reflector to deal with unwanted shadows. Make sure you modify your strobes with softboxes, stripboxes, scrims, or umbrellas to get a softer effect, as hard light is rarely flattering in commercial scenarios.

If you prefer to use a lightbox, then make sure to position the item you’re photographing so it’s lit in a flattering and dynamic way. Simply rotate the item and watch as the light changes. Then, when you find an angle you like, take your photos.

One tip: When positioning your items, be careful to avoid reflections and glare. You can deal with these problems in post-processing, but it’s a major headache; if possible, you should use your lighting skills to get a perfect (or near-perfect) result during the actual photoshoot.

4. Prepare the product and your camera for action

Before you actually begin a shoot – but after you determine the proper lighting setup – you should spend time cleaning the product. Wipe away any fingerprints, and use compressed air to blast dust and dirt off the product surface.

If you haven’t already, put your camera on the tripod, then dial in the proper exposure settings. I generally shoot at narrow apertures to keep the scenes as sharp and in focus as possible, but it can be nice to widen the aperture for a shallow depth of field effect. Note that there is a delicate balance between adding artistry and distracting the viewer, so be sure to keep the client’s intent in mind when shooting.

I’d recommend using your camera’s native ISO value, and as long as you’re working on a tripod, you can drop the shutter speed as low as you need for a detailed exposure.

It’s not essential, but consider grabbing a remote trigger. That way, you can avoid camera shake by firing your camera shutter without pressing the shutter button. If you don’t have a remote trigger, use your camera’s two-second self-timer so the camera has time to settle after you tap the shutter.

5. Don’t forget to do in-depth post-processing

Pretty much every commercial image requires in-depth post-processing! Yes, this will take time, but it makes a huge difference, so you should always block out a few hours (or days) after each shoot to handle the necessary editing.

The commercial retouching process can generally be done in a basic editing program like Lightroom or Capture One, but for high-level commercial work – including any work that involves compositing – you’ll need to use a layer-based program like Photoshop.

Below, I explain my standard editing workflow using Lightroom and Photoshop.

Editing commercial work in Lightroom

If you’re after a high-key e-commerce-type image, boost the Highlights and Whites to blow out the background and create a nice glow to the product. You may wish to boost the exposure on the subject, but be sure not to clip the highlights. (Here, the histogram can help you out.)

This image featured a gray background:

But after adjusting the Highlights and Whites, I got this result:

Be sure to remove any color casts by white balancing your image. To save time, you can do white balancing in camera or you can use a gray card.

Consider adding a bit of Clarity and contrast for extra pop, then right-click and select Edit in Photoshop.

Editing commercial work in Photoshop

You should always clean your product before shooting, but you’ll never manage to remove all of the dust. Luckily, you can select Filter>Noise>Dust and Scratches. Then select the radius in pixels to target the dust specks. The filter isn’t perfect, so you may lose a bit of sharpness, but the result is worth it.

And if you feel like the image is too soft, you can always undo the changes, select – using the Lasso tool – any areas that require dust removal, put them on a new layer, and only then apply the Dust and Scratches filter. Here, you can see that I selected the screen of the phone, created a new layer, then removed the dust and scratches.

That way, I was able to remove dust from the screen while leaving sharper areas, such as the edges, untouched.

If there are any blemishes that the Dust and Scratches filter cannot handle, you can then bring out the Clone Stamp tool or try Photoshop’s Content-Aware Fill option.

And once all the problem areas have been dealt with, add a bit of sharpening – you can try a high-pass sharpening technique – and export the image as a JPEG!

Commercial photography tips: final words

Now that you’ve finished this article, you’re ready to take some stunning commercial photos – so remember the tips that I’ve shared, pay careful attention to the details, and have fun!

And if you don’t own a fancy lighting setup, that’s okay. You can get great results using only a small lightbox.

What subjects will you photograph first? What type of commercial photography do you plan to do? Share your thoughts in the comments below!

The post 5 Tips for Pro-Level Commercial Photography appeared first on Digital Photography School. It was authored by Michael Neal.

This article was updated in December 2023 with contributions from Andrew S Gibson and Darren Rowse.

What’s so great about the square format in photography? And how can shooting square compositions help your photos?

I’m a huge fan of the 1:1 aspect ratio – I use it all the time in my own photography! – and in this article, I aim to explain why it’s such a great idea to shoot square. I also explain several easy ways to work with a square aspect ratio.

By the time you’re done, you’ll fully appreciate the value of square photography, and you’ll be ready to capture some stunning square shots!

Let’s get started.

Square versus rectangular photography

Every photo aspect ratio – square, 3:2, 4:3, 16:9, and more – features a slightly different view of the world.

And these different views lend themselves to different types of compositions.

Therefore, composition in the square (1:1) format is a different process than composition within a standard 3:2 or 4:3 rectangular frame.

Is the square format always better than a wider format? Absolutely not. There are times when you’ll want to shoot with a 3:2 format, for instance, or a 16:9 format (especially when you’re dealing with wider or longer scenes).

But the square format is very well-liked by photographers, and I highly recommend you keep it at the back of your mind when out shooting.

Let’s take a look at why the square format is so great, starting with:

1. Square compositions feature balance and flow

A square is a perfectly balanced shape. Each side is equal in length. Therefore, neither the vertical nor the horizontal direction is emphasized.

Why does this matter? Well, in a rectangular frame, the viewer’s eye is encouraged to move from side to side (in the landscape format) or up and down (in the portrait format).

But in a square frame, with every side equal in length, the viewer’s eye is encouraged to move, not from side to side or up and down, but in a circle. This creates visual flow, always a good thing in photography.

Of course, there are many factors that influence the way the eye moves around a photo, including the use of line, texture, color, selective focus, and negative space. But the shape of the frame is a major factor.

In the landscape below, composed with the 3:2 aspect ratio of my 35mm camera, the eye is encouraged to move from side to side, thanks to the shape of the frame (as well as the horizontal lines):

But in this square format photo, the eye is encouraged to move around the frame in a circle:

Useful, right? It’s especially important when you’re dealing with near-far compositions (as in the shot above) and you want to push the viewer from foreground to background and then to the foreground again.

2. The square format gives the perfect amount of negative space

Negative space is the term used to describe any empty space around a subject. For instance, if you photograph a barn surrounded by a snowy field, the field will often constitute negative space.

Now, it’s common knowledge that you can improve your compositions by getting close to your subject – that is, by eliminating negative space. But when used carefully, negative space can create a wonderful sense of atmosphere. And it can also help emphasize the shape of the subject (i.e., the positive space).

Unfortunately, negative space can be somewhat finicky. Including lots of space in a rectangular frame may not turn out so great, as you’ll end up with too much space and not enough focus on your subject. But negative space often works very well in the square format, as I demonstrate below.

Here is a photo of a lizard in the 3:2 aspect ratio:

And here is the same photo cropped to a square:

Which do you prefer? The square format offers a more balanced composition – featuring lots of negative space, yes, but also a powerful splash of positive space.

3. A square will force you to simplify your compositions

The square format lends itself to a simple approach. It pushes you to pare down your compositions and make every element count.

Why? Because there is less room in a square frame than in a rectangular one. So before you include another element in the frame, you’re forced to ask yourself: What is really necessary? And what can I do without?

Generally speaking, creating a simple composition is hard – but after a bit of time working with the square format, you’ll find it becoming easier and easier.

Remember: for your photos to have impact, you should eliminate as many distractions as possible. The focus should be on your subject. Other unnecessary elements within the frame will simply pull the viewer’s eye away from the subject and reduce the strength of the image.

This photo is about as simple as you can get:

And the square format forced me to keep the strong, simple, in-your-face composition.

4. The square format works great with shapes

Take a look at the images below. How many shapes can you see?

There are dozens – circles, squares, diamonds, rectangles, and more.

Now, shapes tend to look great in photographic compositions. They help stabilize and balance the frame, plus they can create powerful, eye-catching scenes.

And the square format really lends itself to shape-based compositions.

Why? I’m not completely sure, but I think it’s because the square is such a powerful shape that it emphasizes other shapes within it. This is linked to the ideas of balance and simplicity, as discussed above – simplifying the composition emphasizes shapes, which in turn makes shape-based compositions more powerful.

Whatever the reason, just know that geometry looks great in square photos. So if your plan is to shoot (or crop) square, the more shapes, the better!

5. You can create beautiful square centered compositions

Photographers tend to avoid positioning the main subject in the center of the frame. And in most cases, this is a good idea. As the rule of thirds points out, off-center compositions are the way to go.

But did you know that centered compositions actually work well with the square format?

It’s true! With square photography, you can often place the subject in the center of the frame for an effective composition. You can ignore the rule of thirds. And you can get some very unique photos.

Centered compositions work especially well when the image is simple. The fewer distractions present in the frame, the more effective a central composition becomes. If the subject has a strong shape, the balanced empty space around it emphasizes that shape. And the square format provides the perfect frame:

6. The square format works beautifully with black and white

Take away color and what do you get? An image that relies on tonal contrast for impact and that emphasizes visual elements such as lines, textures, and shapes.

In other words:

A composition that looks amazing in a square format.

Honestly, the square format and black and white seem made for each other, which perhaps explains the square format’s popularity with fine art photographers.

So the next time you’re shooting in a square format, consider switching to your camera’s monochrome mode. You’re bound to capture some stunning photos! Alternatively, you can shoot in color and convert to black and white in post-processing (it can be helpful to switch back and forth between color and black and white to see what works best for your shot).

7. The square format works great for street photography

Street photography is often about reacting quickly to the scene in front of you. The fewer decisions you have to make, the quicker you can photograph. With the square format, there is no need to consider whether the composition would be better if you turned the camera on its side. In other words, the square format simplifies the decision-making process.

And as I emphasized above, it’s much easier to create an effective composition within a square frame. This can be beneficial for all forms of photography, of course, but when you’re shooting on the streets, you’ll often be faced with chaos: people running, walking, talking, standing; cars flowing by or parked on the curb; and street signs and advertisements galore. In my experience, working in the square format can help you organize that chaotic scene into a harmonious composition, something that can be tough to do when working with a rectangular aspect ratio.

How to get started photographing with a square aspect ratio

Now that you’re familiar with why the square format is so compelling, let’s talk about how you can use it. There are four main ways you can explore this aspect ratio:

1. Use a medium-format film camera

These can be surprisingly inexpensive on the second-hand market. Look for brands such as Rolleiflex, Mamiya, Bronica, or Hasselblad. Make sure to get the best quality scan you can of your negatives so you can work on them in Photoshop.

2. Use a toy film camera (like a Holga)

Again, a good quality scan is essential to make the most out of the negatives. If you don’t want to use film, you can buy Holga lenses for digital cameras and crop the image to a square. That’s how I created this image:

3. Use a digital camera with a 1:1 aspect ratio setting

Many digital cameras allow you to change the aspect ratio of your photos. You’ll find this option in your camera’s settings menu; just select 1:1, and then start shooting.

There is one caveat to this approach, however:

If you shoot in RAW, when you import your images into Lightroom (or any other post-processing software), you’ll need to re-crop to the 1:1 aspect ratio. This is because the aspect ratio setting won’t truly change the files that your camera sensor captures; instead, it’ll just crop the JPEGs to 1:1 in-camera.

4. Photograph normally and crop during post-processing

If you want to test out square format photography, you can always choose to photograph in your camera’s native aspect ratio (often 3:2), and then just crop the files to a square in Lightroom, ON1 Photo RAW, Luminar, etc.

This method is convenient, though it won’t let you frame your images in the 1:1 aspect ratio through the camera viewfinder, which can be helpful (especially when you’re just starting out).

If you do go this route, I encourage you to visualize your compositions within a square in advance. Don’t just shoot as you normally would – imagine a square in your camera’s viewfinder, and compose as if you won’t have any extra pixels to work with when editing.

Square photography: final words

Now you know all about the power of the square format – and why you should definitely try using the 1:1 aspect ratio in your photography.

It doesn’t matter whether you shoot with the intention of cropping to a square, or you go back over your old images with the aim of making some square compositions; the important thing is that you have fun with the process and that you appreciate the usefulness of square photography!

Now over to you:

What do you think about the square aspect ratio? Do you use it frequently? When does it look best? Share your thoughts in the comments below!

The post Square Photography: 7 Reasons the Square Format Is Amazing appeared first on Digital Photography School. It was authored by Andrew S. Gibson.

This article was updated in January 2024 with contributions from Jim Hamel, Darren Rowse, and Jaymes Dempsey.

The horizon line is a big deal in many forms of photography, including the landscape, travel, and architectural genres. And even if there isn’t a true horizon line in your picture, there’s often a line running through the picture that viewers expect – often subconsciously – to appear straight.

Given that, you might be surprised to realize that crooked lines are a huge problem for beginner photographers (and they can be a problem for more advanced shooters, too!). We often become so wrapped up in our subjects that we fail to notice whether the photo is crooked, but the truth is that a slant is often the first thing non-photographers will see when looking at your shot.

Posting a good photo only for it to appear crooked can be embarrassing, but the good news is that keeping your photos straight and your horizons level is actually very, very easy. You can use two different broad approaches:

1. Get the shot straight in the field
2. Fix a crooked image in post-processing

And in this article, I walk you through tips and techniques so you effectively apply either approach to your workflow.

Sound good? Then let’s dive right in!

How to prevent crooked images in the field

While you can always fix a slanted shot in post-processing, it’s always best to get the composition right in the field. Not only will this save you time behind the computer, but it’ll also prevent you from losing pixels around the edges of the frame, which is a minor but inevitable part of Photoshop-based horizon correction.

So let’s start with a few easy techniques and tools to keep your images straight from the get-go!

1. Just look!

The first step to achieving level horizons is surprisingly simple: just pay attention. Before you take a photo, take a moment to frame your composition and ask yourself a key question: where is the horizon in this shot, and does it look level? This might seem like basic advice, but it’s a critical habit to develop.

Our eyes can be easily tricked by surrounding landscapes or the angle of the camera. By consciously acknowledging the horizon’s position, you’ll already be on a path to more professional-looking photographs. You’ll be amazed at the difference this small step can make!

2. Turn on your viewfinder gridlines

If you’re not using your camera’s gridlines, you’re missing out on a powerful tool. Most modern cameras come with an option to display a grid overlay in the viewfinder. This grid typically divides the view into nine equal segments, a three-by-three matrix. And it’s not just there to look pretty!

First, it’s a useful compositional aid, especially when you want to align subjects according to the rule of thirds. But more importantly for our discussion, it’s incredibly useful for keeping horizons level. Simply align the horizon with one of the horizontal lines in the grid, and voilà – you’ve got a level shot.

I use this technique frequently, and over time, it becomes second nature. When you look through your viewfinder and see the gridlines, aligning them with your horizon will become an automatic part of your process.

3. Use your camera’s electronic level

Many newer mirrorless cameras come with an electronic-level feature. This can be activated to appear in the electronic viewfinder or on the LCD screen. It’s an incredibly convenient, cost-free way to ensure your horizons are straight.

Personally, I don’t always keep the electronic level active as I find it a bit distracting. But when I need it, I set up my shot, turn on the electronic level, adjust accordingly, and then switch it off before capturing the image. If you’re not sure whether your camera has this feature, it’s worth checking. It can significantly streamline the process of achieving level horizons.

4. Buy a hot shoe level (or use the level on your tripod)

If your camera lacks an electronic level, or if you prefer a more traditional approach, consider a hot-shoe level. These are small bubble levels that attach to your camera’s hot shoe, and they’re generally inexpensive.

However, they do take up the hot shoe, which means you can’t use the shoe for a speedlight or remote release receiver. If you’re a frequent user of flashes or remotes, this might not be your best option.

However, many tripods come with built-in bubble levels. Using a tripod with such a feature can be a fantastic way to ensure your camera is level, especially for landscape shots. While it’s another piece of equipment to carry, the precision it offers in aligning your horizons can be well worth it. And speaking of tripods:

5. Always bring a tripod (if you can!)

A tripod can be a game-changer in achieving level horizons. When I use a tripod, I find it encourages me to slow down and consider each element of my shot more carefully, including the horizon. It’s particularly useful if you’re struggling to keep the horizon level in hand-held shots.

A tripod not only helps you get your camera level but also keeps it steady, which is invaluable for a series of shots in the same location. Remember, a good tripod doesn’t have to break the bank. However, investing in one with a sturdy build is crucial. As an added bonus, using a tripod opens up new possibilities such as stunning long exposures and night photography.

How to straighten a crooked image in post-processing

Ideally, you should aim to get your horizons straight in-camera. But sometimes, despite your best efforts, you might end up with a slightly tilted horizon. That’s where post-processing comes in. Most photo editing software, including Lightroom, offers simple tools for straightening horizons. Here are a few tips to get you going:

1. Use the Crop tool effectively

The easiest way to straighten your horizon line is with the crop tool. Virtually every photo editing software package in existence has a crop tool, so it should be familiar to you.

Most of the time this tool will also let you change the angle of the picture. And quite often that’s all you need to do.

In Lightroom or Adobe Camera Raw (ACR), select the Crop Tool, and then move your cursor slightly off the picture. The cursor will change to a curved line with arrows at either end, which indicates that clicking and dragging will now change the angle of the picture. Click and move it around to straighten your horizon line.

You can also do it by filling in the angle percentage on the far right.

2. Apply distortion correction

Sometimes your picture will appear crooked even when it’s level. That’s because most lenses have at least some barrel distortion, which makes the horizon line sag toward the sides of the picture.

This really affects things when you crop one side of your picture. The sag will show on one side (the one you didn’t crop) but not the other, so your picture will appear to be leaning to one side.

You can fix this with the leveling functions mentioned already. But another way to fix it is to cure the distortion, which can be done easily in Lightroom and ACR.

Find the box labeled Lens Corrections, and check the box next to Enable Profile Corrections. The software will then apply an automatic correction tailored to the lens you used. You might need to help the software find your lens by selecting the manufacturer and perhaps even the model. But usually the software will find it for you and apply an automatic correction.

3. Use Lightroom’s Transform tools

Sometimes you need a little help determining what is truly level. Your eyes can play tricks on you, particularly when you have different lines running in different directions in your picture. Lightroom can provide some help in the Transform panel.

The best way to get familiar with these controls is to just play with them. Go through them all and watch how they affect your photos. After that, you’ll know which controls will be the most useful.

You can have Lightroom level your photo automatically by pressing the Level button at the top left. However, this doesn’t always work, in which case you can do it manually using the Rotate slider.

This is a great set of tools to use when you have multiple distortions working at the same time. Here’s a picture that isn’t level, and also seems to be suffering from vertical distortion.

And here’s the same picture after pressing the Auto button in the Transform panel.

Pretty dramatic improvement, isn’t it? If you don’t like what you get, you can always perform manually tweaks using the sliders. It won’t always be that easy, but sometimes this control is like magic.

4. Use the Photoshop ruler

Say you’re struggling to tell if your horizon line is actually level. We already talked about the Level tool in Lightroom’s Transform panel. But there’s perhaps an even better way: Photoshop’s Ruler tool. It’s not something you’d know about until someone shows it to you!

Start by selecting the Ruler tool from the tools on the left side of your screen. Then draw a line along your horizon line. If you can’t see all of the horizon in the picture, just use the part you can see. And don’t worry – you can re-do this as many times as you want.

Once you’ve drawn your line:

1. From the main menu choose Image > Image Rotation > Arbitrary. This will bring up a dialog box with a number in the angle box. This is the angle Photoshop has set based on the line you just drew with your Ruler. Don’t change it.
2. Click OK.

Photoshop will now level the picture according to the line you just drew.

If it looks right, crop away to fix the edges. If it doesn’t look right, just undo it and try again.

How to keep your horizons straight: final words

Capturing photos with level horizons might seem like a small detail, but it makes a significant difference in the professional appearance of your images.

From simply paying more attention to your framing to utilizing tools like gridlines, electronic levels, or a tripod, there are many strategies to ensure straight horizons. And, of course, you can always post-processing can correct minor mistakes!

Now over to you:

Do you have any additional approaches for leveling your horizons that I missed? Share your thoughts in the comments below!

The post 9 Powerful Tips for Keeping Your Images Straight appeared first on Digital Photography School. It was authored by Jim Hamel.

This article was updated in October 2023 with contributions from eight expert photographers: Darren Rowse, Alana Orth, Valerie Jardin, Steve Berardi, Craig Colvin, Darlene Hildebrandt, Simon Bond, and Jaymes Dempsey.

Silhouettes are a wonderful way to convey drama, mystery, emotion, and mood. They often stand out thanks to their simplicity and incredible storytelling capabilities, not to mention the breathtaking colors and shapes.

But creating top-notch silhouette photography can be hard, especially when you’re just starting out – and that’s where this article comes in handy. Below, I share all the essential details for anyone hoping to become a silhouette master, including:

• How to choose the right subject and location
• How to handle different lighting scenarios
• How to choose the best settings
• Creative silhouette photography ideas to get you inspired
• Much more, including in-depth discussions of both portrait silhouette photography and street silhouette photography!

So if you’re ready to discover everything you ever wanted to know about photographing silhouettes, let’s dive right in!

What is silhouette photography?

Silhouette photography is all about capturing subjects so that they lack detail. The focus is on creating striking black shapes against a beautifully exposed background. It’s a technique that emphasizes the shape and form of the subject, resulting in minimalistic and graphic effects:

Silhouettes also allow you to showcase the vibrant colors of the sky behind your subject, adding an extra level of visual impact. Imagine capturing a stunning sunset or sunrise with the silhouette of a tree or a person standing tall against the vivid hues of the sky.

The best part? Silhouette photography is accessible to everyone, regardless of the equipment you own. Whether you’re shooting with a high-end mirrorless model or a smartphone, you can try your hand at capturing these compelling shots, making it an ideal creative outlet for photographers of all levels!

When should you try silhouette photography?

If you’re looking to add some pizzazz to your portfolio or spice up your social media feed, silhouette photography is the way to go. These graphic, eye-catching shots can truly make your work stand out.

I talk a lot about light later on in this article, but in general, sunrise and sunset are like magic hours for silhouette photography. The soft, warm light during these times creates the perfect backdrop for your subjects to take center stage as striking silhouettes. If you already like photographing during the golden hours, then you’re off to a great start.

You can capture silhouettes of pretty much any subject – people, buildings, animals, trees, flowers – given the right light, but they’re not ideal for all occasions. Silhouettes tend to lean towards the artsy side, so if you’re doing more formal photography (e.g., a real-estate photoshoot), you might want to opt for more straightforward shots.

Happily, silhouette photography is not limited to any specific skill level or equipment. Anyone can dive into this captivating genre without breaking the bank or spending hours learning new techniques, so if you’re on the fence about trying out silhouettes, I highly recommend giving it a go. It’s a whole lot of fun, and you never know what magical results you might create. Plus, you’ll have the opportunity to explore a new world of colors and shapes!

Tips and tricks for stunning silhouettes

In this section, we’ll delve into practical tips that will take your silhouette shots to the next level. Get ready to elevate your photography game, starting with:

1. Find a flat or raised location

When it comes to capturing stunning silhouette shots, the location plays a crucial role. The right environment will help you achieve that captivating contrast between your subject and the sky, while the wrong environment will distract the viewer or even prevent you from creating a crisp silhouette.

First and foremost, opt for locations that offer a flat or raised vantage point. Why is this important? Well, silhouettes tend to work best when your subject is framed against the sky, with the dark figure standing out against the bright background.

Beaches are a popular choice for silhouette photography because their flat landscapes make it easy to position your subject against the vast expanse of the sky. The uninterrupted low horizon provides the ideal opportunity to capture the outline of your subject in all its glory. Prairies are another solid option, though you’ll need to be careful to prevent high grasses from obscuring portions of your subject.

But what if you can’t find a flat location nearby? Don’t worry, you can still create captivating silhouettes in areas where your subjects are raised off the ground. Bridges, hills, boardwalks, mountains, and even parking garage roofs can serve as elevated platforms to showcase your silhouetted subjects against the backdrop of the sky.

Pro tip: Crouching down low to the ground can also work wonders, especially when your subject isn’t already raised above you. Don’t be afraid to get dirty!

2. Choose a strong subject

Almost any object can be made into a silhouette. However, some objects work better for silhouettes than others.

I recommend choosing a subject that has a strong and recognizable shape – one that’ll be interesting in its two-dimensional form. Silhouettes can’t draw on colors, textures, and tones to make themselves appealing, so the shape needs to be distinct.

Ask yourself: Can you tell what your subject is simply by seeing its shape? Or does it just look like a blob? Does the shape look eye-catching and interesting, or does it feel relatively boring? (Also, sometimes the things that seem boring during the day can make great subjects for silhouettes – remember that it’s about the shape, not the overall look!)

People make great silhouette subjects, but if they’re doing something interesting – running, jumping, or riding a bike – the shot will look even better. The best silhouette shots often feature props, such as a bike, a basketball, or a skateboard.

3. Find your subject well before sunrise or sunset

Preparation is key in silhouette photography. Timing plays a crucial role, especially if you’re looking to capture the rich colors of sunrise or sunset. You’ll want to identify your subject and set up your shot well in advance.

The sky can change dramatically within a short period. That’s why I recommend being in your chosen location at least 30 minutes before the sun makes its appearance or takes its leave. You should have your camera (and tripod, if you’re using one) set up and ready to go a few minutes before the magic begins, and if you’re working with a model, ask them to arrive a little early and use the extra time to get them prepared for the photoshoot.

And you should also make an effort to stay after the sunrise or sunset. You might think you can predict when the sky will be at its most vivid, but nature often surprises us. Sometimes the most amazing colors appear when you least expect them. So it’s wise to be present for the whole event – before, during, and after the sun crosses the horizon.

(How long should you stick around? At least 30 minutes after the sun has risen or set is a good rule of thumb. This ensures you don’t miss out on any late surprises the sky might have for you.)

4. Make sure your flash is off

Silhouette photograph often involves shooting in dim light (at the start and the end of the day), and most silhouette subjects look pretty dark, too. Therefore, if you have your camera in Auto mode, it may try to turn on the flash, which will ruin the shot.

You see, to capture a silhouette, you need to have as little light as possible on the front of your subject. The goal is to keep the subject dark and the background bright, not the other way around.

So make sure that flash is off! You may need to set your camera to Aperture Priority mode or Manual mode to control the flash (and as I discuss below, these modes are highly useful for silhouette shooting anyway!).

5. Get the light right

Silhouette lighting doesn’t work like normal photographic lighting. To capture a conventional shot, you generally want to ensure that your subject is lit from the front (so that the sun is coming from over your shoulder and striking your subject) or the side (so that the sun is off to your right or left and is striking one half of the subject).

But when you’re shooting silhouettes, you’ll need to reverse this approach. Find the scene’s main light source, then ensure that it’s shining from the back of the subject, not the front. Remember, the goal is to keep the background bright and the subject dark. You don’t need the light to come from directly behind the subject, but the brighter the background, the better.

That’s why it’s easy to create silhouettes at sunrise or sunset; you can position yourself so that you’re shooting into the low sun, and you can frame the dark subject with the bright sky in the background. However, it is possible to capture silhouettes during the middle of the day. You just have to figure out a way to shoot your subject against strong light. For instance, you can:

• Crouch down so that your subjects are framed against the high afternoon sun
• Photograph from below (e.g., folks walking over a bridge)
• Seek out shadowy subjects walking by a brightly lit wall
• Photograph indoors against a bright window

6. Frame your subject with negative space

Even once you’ve chosen the right subject and found the right light, you’ll need to pay careful attention to your composition. The best silhouette shots tend to feature a single subject (or group of subjects) surrounded by empty space, like this:

The empty space (also known as negative space) helps the shot breathe, and it also focuses the viewer on the main subject.

One trick is to shoot when the sky is bright and cloudless; that way, you don’t have to deal with any distracting clouds. You might also try photographing in areas with lots of empty space (e.g., fields, grassy plains, parking lots).

That said, you can also capture fantastic silhouettes that feature more than just a subject plus negative space. Don’t restrict yourself, but do make sure that you only include subjects that contribute to the shot.

7. Prevent shape intersections

If your silhouette composition includes multiple shapes, do your best to keep them separate. A person walking can look great, and a tree can look great, but if the person and the tree overlap, you’ll end up with a confusing mess. The two shapes will merge into one, and the viewer won’t know what’s happening.

Instead, carefully observe the scene and isolate only those shapes that are highly distinct. If you want to include multiple shapes that are currently overlapping, try changing your angle until the shapes separate.

Alternatively, if you’re photographing a moving subject, you can always wait until it changes position.

One related tip: If you’re photographing people, you probably want to silhouette them in profile, not head-on. That way, their features (nose, mouth, and eyes) will be outlined, and they’ll be more recognizable to the viewer.

8. Carefully adjust your exposure for the best results

Most modern cameras are pretty good at exposing photos so that everything is nice and bright. That can cause a problem; after all, you don’t want your subject to turn out nice and bright in a silhouette shot.

So what do you do? You trick your camera.

Simply set the camera to your shooting mode of choice (Aperture Priority can work great for this, but you can try Auto mode, too). Then point your camera at the brightest part of the scene and press the shutter button halfway. On many cameras, this will set the exposure, and as long as you keep the shutter button half-pressed, it’ll remain locked in.

Next, while still partially depressing the shutter button, point your camera at your subject and frame up your composition. Finally, press the shutter button the rest of the way.

With most digital cameras, this will result in a silhouetted subject! Pointing your camera at the bright part of the scene will cause your camera to darken the exposure – and then, when you do take the shot, the main subject will be rendered as a dark silhouette.

Note that some cameras also have a spot metering mode that helps with the above technique. Spot metering causes the camera to set the exposure based on the central part of your frame; with it, you can tell your camera the exact portion of bright background you want to use to determine the exposure. So if you’re not getting the shots you want using the technique discussed above, you can always try switching your metering mode and see if that helps.

9. Try shooting in Manual mode

The technique I discussed above often works well, but if you want even more control over your settings, I’d really recommend shooting in Manual mode.

Manual mode lets you input each and every exposure variable on your own. It can be a little difficult at first, but after a few hours of practice, you’ll get the hang of it.

Once your camera is set to Manual, I’d recommend dialing in a low ISO (100 is a good starting value) and a mid-level aperture (such as f/6.3). Then point your camera at the brightest part of the scene, and adjust the shutter speed until the exposure bar in the viewfinder is balanced.

Take the first shot and review the results on your camera’s LCD. If the image looks too dark, you can always lower the shutter speed, and if the image looks too bright, you can always increase the shutter speed instead.

(If you’re working with very limited light and your shots are turning out dark, you can also widen the aperture or boost the ISO to increase the exposure, but do so sparingly; widening the aperture will limit the area of the photo that’s in focus, while boosting the ISO will add unwanted noise to the image!)

I’d also recommend capturing the same shot using a variety of different exposures – just so you have slightly darker and slightly lighter versions as backup files.

10. Take steps to keep the subject sharp

The best silhouette photograph tends to feature sharp, in-focus subjects.

Unfortunately, this can make the automatic metering process – described in Tip 6 – somewhat tricky. You see, pushing your shutter halfway down to get the metering right also means that your camera will focus on a spot in the background rather than on your subject.

If you’re using the Manual mode shared above, you won’t run into any issues. You can always acquire your exposure settings by pointing your camera at the background, dialing them in, then focusing on your subject. But if you prefer the Auto mode strategy, then you have two options.

First, if your camera offers manual focusing, you can prefocus on your subject. Then, when you meter off the background, the point of focus won’t change. You can effectively frame up your composition before triggering the shutter.

Second, you can try adjusting the aperture to maximize your depth of field (i.e., the amount of your image that is in focus). For this, you’ll need to set a small aperture (i.e., a large f-number, such as f/11 or f/16).

If the f-number is large enough and your subject isn’t too close to the camera, you’ll end up with a sharp subject and a sharp background, even if your camera is focused on the area behind your subject.

11. Look for action

If you’re seeking silhouettes that pop off the screen, think action. A bit of movement can bring a unique layer of interest to your photos. Picture a dancer frozen in mid-leap or a skateboarder executing a trick. These dynamic moments create shapes and lines that captivate your audience.

The key is timing. You’ll want to be ready to click the shutter at just the right moment. Don’t worry; with practice, you’ll get the hang of it (though burst mode can be helpful, too!).

Your camera settings are also crucial here. If your subject is moving fast, you’ll need a quicker shutter speed (1/500s is a good starting point, though you can go slower or faster depending on the speed of your subject).

You don’t always have to plan these action shots, either. Sometimes, the best moments are spontaneous. Keep your camera ready, and keep an eye out. You never know when a cyclist will zoom by, perfectly framed against the setting sun.

12. Be aware of your surroundings

Now that you’re in your spot and set up, it’s easy to become fixated on the spot where the sun is rising or setting. But don’t let that narrow focus limit your creative vision. The sky is a vast canvas, and sometimes the most extraordinary colors appear where you least expect them.

Take a look around. Not just left and right, but also behind you. Sometimes, the sky opposite the rising or setting sun takes on hues just as dramatic, or even more so. These moments can be fleeting, and you have to be prepared to capture them.

If you’re working with a tripod, it should be easy to move. In the rush of capturing a great shot, you might need to pivot quickly to face a different part of the sky. Make sure your tripod and camera setup allow for this.

Bottom line: Keep your eyes peeled and your camera ready. The sun has a way of illuminating clouds and creating color spectacles in unexpected places. So be aware of your surroundings, and be ready to capture the magic wherever it happens.

13. Incorporate reflections into your shots

One trick that can apply that extra touch of magic to your shots? Adding reflections. Not only do reflections add pizzazz to your images, but they also break up the monotony of an all-black foreground.

Once you’ve found the perfect location for your silhouette shoot, keep your eyes peeled for a reflective surface in the foreground. Look out for small pools of water or wet areas, especially if you’re shooting by the beach.

Once you’ve found a nice surface, don’t just shoot without thinking. Instead, you’ll need to adjust your angle to ensure that your entire subject is reflected. For example, if you’re photographing a graceful jogger against the vibrant sunset, you wouldn’t want the reflection to accidentally cut off their head! Try shooting from higher or lower vantage points until you achieve the best composition.

Keep in mind that incorporating reflections into your silhouette photography can require some patience. It’s not always easy to stumble upon the perfect combination of a reflective foreground, a compelling subject, and a captivating background. But the reward is well worth the effort. Don’t give up! Keep exploring, keep searching for those hidden gems, and you’ll be amazed at the incredible opportunities that you uncover.

14. Try partial silhouette photography

While a total silhouette with a crisp, dark subject can be powerful, also consider capturing some partial silhouettes. I’m talking about photos that include some detail on the subject, like this:

As you can see, the subjects are dark, but they’re not completely dark, and you can still see a bit of detail in the sand and the subjects’ clothes.

Sometimes, a touch of light makes the subject slightly more three-dimensional and real, which – depending on your goals – can work well. Plus, a bit of extra detail can add to the mysterious feel of the image.

And if you’re not sure whether to create a full silhouette or a partial silhouette, that’s okay; just bracket your shots! That’s the beauty of bracketing: it will leave you with both total and partial silhouettes to choose from.

15. Create a halo effect

Ever seen those breathtaking silhouettes framed by a heavenly glow? That’s the halo effect, and it’s not as hard to achieve as you might think. This effect adds a radiant outline around your subject.

Now, to get that glow, you’ll need to position your subject directly in front of a light source. The setting sun is ideal for this, of course – so work hard to get the right angle as the sun lowers in the sky. If you can ensure that your subject is the right size in relation to the sun, and you can position your subject so the sun is almost entirely blocked, you can get a beautiful halo around the subject’s edges.

Your camera’s exposure settings come into play here. Experiment with different settings. You’ll find that slight adjustments can make your halo more or less pronounced.

Composition matters, too. Make sure there’s nothing intersecting with your subject’s outline. Random objects or clutter can disrupt the halo. So aim for a clear and unobstructed view.

If you’re struggling, don’t get discouraged. This technique takes practice. Start with simple subjects and work your way up!

16. Include props for unique results

Most photographers create candid silhouettes of distant strangers, but if you’re up for a bit of creative experimentation, why not try some posed shots? While I generally wouldn’t recommend capturing only silhouette shots during a portrait photoshoot, incorporating a few well-placed silhouettes can provide your subject with some cool and artistic photos that stand out from the crowd.

And if you’re really looking to elevate those images, try adding a prop or two. Whether it’s umbrellas, hats, musical instruments, or any other object that catches your fancy, props can inject personality and storytelling into your silhouette images. Just imagine a silhouette of a musician with a guitar, or a dancer with a flowing scarf.

When adding props to your compositions, keep in mind that they should be highly visible and not overshadow your subject. Also, ensure that the prop doesn’t intersect with your subject in a way that detracts from the clear outline you’re trying to create.

Remember, incorporating props is all about adding that extra touch of creativity and fun to your silhouette photography. So don’t be afraid to experiment and think outside the box. Let your imagination run wild!

17. Take a storytelling silhouette

Silhouettes hold the power to tell a story in the simplest sense. Strip away the clutter, the colors, and the chaos, and what you’re left with are raw emotions and actions that speak volumes. Picture a parent stooping to tie their child’s shoelaces, or an elderly couple holding hands while watching the sunset. These moments tell stories that resonate with us all.

Adding more elements to your scene can make it even more dynamic. Think of a busy marketplace with various vendors and shoppers, all silhouetted against the evening sky. Props can also play a role. Imagine a fisherman with his net, or a musician playing a saxophone. Their outlines not only identify them but also say something profound about their life or passion.

As I’ve emphasized throughout this article, it’s crucial to keep your subjects’ outlines clean. Intersections are the enemy of good silhouette stories! So do your best to avoid these overlaps as much as possible.

One final tip: the environment can be a supporting actor in your storytelling. A silhouette framed against a stormy sky can add drama, while a peaceful sunrise can impart a sense of hope or a new beginning.

18. Don’t just photograph people

Most silhouette photographers focus on people, and people do make great silhouette subjects. But you can also capture beautiful – and original – shots by focusing on other interesting objects.

For instance, you can create silhouettes of staircases (by getting down low and shooting upward), buildings, pets, planes, cars, and so much more.

Really, whenever you see a subject with a compelling shape, see if you can position yourself so that you have a nice backlighting effect, then try to shoot a clear silhouette. You’ll often fail to get the result you’re after, but occasionally the photos will look amazing.

19. Try photographing at sunrise

There’s no denying the challenge wind can pose in silhouette photography, especially with plant subjects. A slight breeze can introduce unwanted motion, turning what could have been a crisp silhouette into a blurry mess, especially when the light is very low. One way to circumvent this issue is to schedule your shoot for the early morning hours.

Generally, the wind is much calmer during the sunrise than at sunset. This tranquility allows for steadier shots, particularly if you’re trying to capture delicate subjects like leaves or flowers. The early morning atmosphere tends to be more stable, making it easier to get that perfect shot without any motion blur.

Now, if you’re not a morning person, don’t fret. There are alternatives. For those instances when you have to shoot later in the day, consider increasing your shutter speed. This will help to freeze any motion, reducing the chance of blur. Of course, this might require adjustments to aperture and ISO settings to maintain proper exposure, so be sure to make any necessary tweaks!

20. Use a flash as your main light source

Throughout this article, I’ve talked about photographing silhouettes using natural light. But did you know that you can capture gorgeous shots using flash, too? One benefit of flash silhouette photography is that you can completely control the light direction and strength, which allows you to achieve all sorts of cool effects.

Working with flash can be a bit intimidating, but the goal is simply to make the background brighter than the subject. Position your subject in front of a light-colored backdrop (such as a white wall), point the flash at the wall, then take some shots, with the goal of overexposing the background while underexposing the subject.

You might also try positioning the flash behind your subject so that it’s pointed directly at their back; this will create a rim-lit effect, which can look wonderfully artistic.

21. Spend some time processing your silhouette photos

Even if you nail the silhouette exposure in-camera, I’d recommend making a few minor tweaks using an editing program like Lightroom.

First, adjust the white balance until you get the results you want, then raise or lower the exposure to add or remove detail on the subject. You can also adjust specific tonal sliders for a more refined effect.

If you’re after a punchy silhouette shot, try adding some contrast – and if the image features a beautiful sunrise or sunset in the background, consider boosting the vibrance or the saturation.

Finally, experiment by adding a vignette, creating an eye-catching color grade, or selectively dodging and burning different parts of the image.

22. Try a black-and-white conversion

While the vibrant colors that often accompany silhouettes can be breathtaking, there are times when the color can be a bit too distracting or overwhelming. That’s when a black-and-white conversion comes to the rescue, allowing you to emphasize your subject’s form over the background colors.

Applying a black-and-white conversion can help strip away the distractions and accentuate the interesting outline you’ve captured. Plus, by converting your silhouette photograph to black and white, you’ll give the shot a timeless and artistic quality.

But here’s the best part: If you try a B&W conversion and aren’t entirely convinced by the black-and-white look, don’t fret! If you use a non-destructive editor like Lightroom, you can easily revert back to the original color version without losing any precious details. This gives you the freedom to experiment and determine whether your shot looks best in color and monochrome.

So the next time you’re editing your silhouette photos, consider giving the black-and-white conversion a try. It’s a simple yet powerful technique that can bring out the subject while de-emphasizing the background, and it can add an extra layer of depth and artistry to an already captivating image!

Silhouette portrait photography tips

In the previous section, I offered tips and tricks for silhouette photos more generally – but in this section, I want to focus specifically on how to capture portrait silhouettes.

1. Shoot low and head to toe

Powerful silhouette portraits start with clear, minimalistic compositions. Here’s what I recommend:

Place the subject’s entire body, from head to toe, against the sky. To pull this off, you’ll need to be lower than the subject, so try lying on your back or stomach.

If you are unable to get low enough, you may need to have your subject get higher; ask them to stand on a rock, small hill, or sand dune. In most circumstances, this will allow you to get an angle that places the subject’s entire outline against the sky. (You can see a variety of examples throughout this article.)

Why is this so important?

If you can’t place your subject’s body against the sky, they will merge with the background, and the recognizable silhouette will be lost. You’ll end up with a lot of confusing darkness, and your viewer won’t be able to immediately tell what’s going on.

Also, pro tip:

It’s so, so, so important that your subject’s feet are outlined against the sky! Legs in a silhouette portrait that are cut off above the feet look like weird, short stumps:

Even with all this composition advice in mind, there will be times when you just can’t find a suitable spot for a full-body-framed-against-the-sky type silhouette.

And when that happens, you don’t need to give up on silhouettes entirely. Just get closer to your subject and create tighter compositions, focusing on the areas of your subject that are framed by the sky.

2. Use perfect silhouette portrait posing

Silhouettes are very forgiving of poor facial expressions (because you cannot see them!). But silhouettes are very harsh when it comes to posing.

Here are a few things to keep in mind when posing subjects for a silhouette:

1. Hugging poses do not work. A hug silhouette looks like a great big blob monster. Instead, all subjects need to be clearly defined, which means they need to be at least a couple of inches apart from each other. It’s nice for subjects to still be connected – but by holding hands or kissing, not by hugging.
2. Have your clients look away from the camera. Face profiles look beautiful and natural.
3. Watch the clothing. Very baggy clothing won’t work well for silhouettes; the shape can become unflattering. It is best to wear form-fitting clothes, as this helps clearly define your subject against the sky.

3. Take portrait silhouettes whenever you can (because they sell!)

Try to capture at least one silhouette at every photo shoot, whether it is a family portrait, maternity, engagement, or wedding.

Why? Because silhouettes sell!

Here are some reasons why silhouettes are great for client shoots:

• Silhouettes add variety to the series. Silhouettes are so different in their colors and style – and the variety they give instantly makes any shoot more interesting. Plus, because silhouettes are unique compared to standard portraits, they’re easy to sell individually as a piece of artwork.
• Silhouettes are perfect for shy clients. Some clients hate the idea of their faces hanging up on the wall. This makes silhouettes the perfect compromise! A silhouette can be marketed to a client as the perfect piece of personalized artwork – without making them feel uncomfortable or self-conscious.
• Silhouettes look better when printed big! Wide-angle silhouettes and scenic, environmental compositions look great, especially when printed large. So if you do capture wider silhouettes, you can sell them as a large piece of artwork. The client will love it, and it’ll be a more profitable sale for you.

Street photography silhouette tips

Street photography silhouettes are eye-catching, not to mention beautiful. But beginners often struggle to achieve great results – the kinds of compositions that feature clear main subjects, complementary backgrounds, and gorgeous light.

Here’s the good news: Creating silhouettes on the street is a lot easier than you think. I’ve been doing it for years, and below, I share everything you need to know for amazing results!

1. Shoot in the right light

For the best street silhouettes, you must shoot a dark subject against a well-lit background – which means that the more contrasty the lighting, the better.

You may have heard that great photographers only ever shoot in the morning and the evening (during the golden hours). But when it comes to street photography, nothing could be further from the truth.

Instead, many street photographers love to shoot in the middle of the day, when the sun is high overhead and produces harsh light. The harsh light ensures that certain subjects are powerfully lit, while the high lighting angle creates plenty of interesting shadows (especially in cities with tall buildings).

And shadows are the best friend of the silhouette street photographer.

Why? Because if you can find a bright background, and then – just in front of the background – is a shadow, subjects who walk by will be darkened by the shadow and silhouetted against the bright background.

Of course, you can capture great results when the sun is lower in the sky. An evening sun can produce long shadows (so you can create the same effect discussed above). Plus, if you shoot during the golden hours, you can angle your camera so that your subject is silhouetted against a breathtaking sunset.

If you’re after silhouettes, I’d encourage you to avoid photographing on cloudy days, though. Clouds soften the light and limit contrast. (If you’re dead set on capturing silhouettes, try shooting indoors, where you can use the contrast between your subject and a window to get a beautiful result!)

2. Choose the perfect camera settings for street silhouettes

To shoot a street photography silhouette, you must take control of your camera. Silhouettes require radical underexposure, so work in Manual mode (so you can choose your settings independently) or Aperture Priority (so you can underexpose via exposure compensation).

Make sure your flash is turned off, then – if you have the time – take some test shots of your scene. You’ll want to keep adjusting the exposure until your foreground subjects are completely black; add negative exposure compensation or boost the shutter speed.

A timesaving trick here is to point your camera at the bright area behind the subject, lock the exposure settings, recompose, and capture your shot. That way, your camera will expose for the background and render the foreground black. Make sense?

Another option is to set your camera to its spot metering mode, then meter off the brightest area behind the subject.

(If you leave your camera to its own devices, it’ll often try to expose for your subject. The result will include far too much detail in the subject and blow out the highlights in the background.)

Make sure you carefully focus on your silhouetted subject. If you’re struggling to lock onto your subject, you can try switching over to manual focus. To give yourself room for error, narrow the aperture to f/8 or so for a deeper depth of field.

3. Don’t be afraid to blow out the highlights

Some street photography silhouettes rely on highlight detail. Subjects captured against a rising or setting sun, for instance, can feature beautiful background clouds that add plenty of color and atmosphere.

That said…

Sometimes you can let the highlights blow out for a more dramatic effect.

In other words, you can subtly adjust your exposure to create a bright-white background, like this:

To get this effect, you’ll need to make sure your subject is sufficiently shaded and your background is sufficiently bright. You need real contrast. If you’re outdoors, try to find a bright white background and wait for a subject to walk by; if you’re inside, look for larger windows that’ll offer plenty of brightness.

And aim to set your exposure somewhere between the shaded subject and well-lit background. You can expose for the subject but drop the exposure a few stops, or you can expose for the background but raise the exposure a few stops. (If you’re not sure which method you prefer, try both!)

4. Capture the right outline

Great street photos don’t include just any silhouette. Instead, they feature silhouettes that:

• Are well-defined
• Have a recognizable shape
• Do not have any additional items (such as signs) protruding from the main outline

What’s important here is that the viewer can clearly tell the silhouette is created by a person. Therefore, it’s best to shoot subjects that are facing sideways (so that their nose and chin are visible) or forward (so that you can see their arms, legs, and head), and it’s important to avoid letting the silhouette overlap with other silhouetted objects, such as street scenes or even other people.

For an even more dynamic image, capture subjects in mid-stride or mid-gesture:

To get the best results with moving subjects, you’ll need to be fast. Raise your camera to your eye a few seconds before the subject walks by, then hit the shutter button just as they take a step!

5. Avoid obstructions

The best silhouette street photos contain an unobstructed view of the subject. In other words, the image should have no foreground or background elements that cross the subject, such as posts, signs, other people, or cars.

Why is this important?

Good silhouettes feature clear outlines. But if elements cross your subject, the outline will become confusing, and the viewer will struggle to interpret the shot.

So before you take an image, glance across the entire composition. Ask yourself: Do I see any problematic elements that could muddy up the silhouette? If so, see if you can fix the problem by moving a few feet to the left or the right. You can also try dropping down low – or, if you’re shooting a moving element, you could simply wait until it changes position.

When capturing the image below, I waited until the woman with the suitcase walked between the posts. Then I fired the shutter!

6. Add in a creative effect or two

If you want to take your street photos to the next level, don’t just achieve a solid silhouette outline and call it a day. Instead, strive to incorporate creative effects into your shots!

For instance, by stopping down your lens aperture and positioning the sun along the edge of an object, you can create a beautiful sunburst:

Another option is to shoot with flowers or leaves close to your camera, then use a wide aperture to create a pleasing blur.

I’d also encourage you to change up your angle. By getting down low, you can make your silhouetted subject loom over the viewer – and by getting up high, you can capture wider street scenes that feature all sorts of action.

7. Try a minimalist approach

Minimalism refers to a compositional approach that includes plenty of negative space. The subject is often small in the frame, like this:

And because silhouette scenes tend to lack lots of detail and because the main subject is generally so eye-catching, they lend themselves well to a minimalist approach.

The key here is to find a scene that offers plenty of negative space. Look for buildings with bright windows, stretches of ocean with silhouetted passersby, and bridges that you can photograph from below.

Get into position. Make sure to compose so that you include lots of empty space around the subject. Test out a few compositions if you have the time, just so you can get a sense of what works and what doesn’t.

Then, when the right subject walks through the area, take a shot! The small silhouetted person will anchor the composition, and you’ll end up with a beautifully minimalistic street photo.

8. Enhance your street silhouette in post-processing

Great street photos start in the field. If you don’t get the camera settings right, the composition right, and the lighting right, then your shots just won’t look good no matter how much time you spend on editing.

However, once you’ve captured a good silhouette in the field, you can certainly enhance it with a bit of post-processing. (And if you work in RAW – which I highly recommend! – then processing is a necessary part of your photography workflow anyway.)

Start by tweaking the exposure and the white balance. Make sure you have the overall look that you’re after, then dive into your heavier editing options. Boosting the contrast is generally a good move. If you find that your subject includes too much detail but you don’t want to tweak the highlights, try dropping the blacks or the shadows; conversely, if you like the look of your subject but you want to brighten the background, try boosting the whites or the highlights.

You might also play with different saturation values. And if you want to create a very unique effect, consider adding some sort of color grade. At the end of the day, this is about personal preference – so you won’t know what works until you try it!

Silhouette photography ideas to get you started

So you’re ready to dip your toes into the captivating world of silhouette photography but you’re not sure where to start? Don’t worry – ideas are your starting points, and I’ve got a bundle to fuel your creativity.

Landscape lovers, consider framing a silhouette with a waterfall in the background. Or how about capturing the outline of a lone tree against a fiery sunset? Don’t shy away from using natural elements like mountains or oceans as a backdrop. They can add a powerful touch to your silhouettes. Here are a few additional landscape photography silhouette ideas to consider:

• Mountain peaks outlined by twilight
• A cactus in a desert landscape with a colorful sky
• A waterfall with rocks or foliage in the foreground
• Cloud formations with a cliff edge
• A pier stretching into a sunset-lit ocean
• Silhouettes of boats on a calm lake
• A windmill against a dramatic sky
• An island surrounded by a glowing horizon
• A snowy field with barren trees

Now, if you’re more into people and portraits, think about expressive poses. A simple yet impactful idea is having someone leap into the air with their arms stretched out. Capturing a couple’s embrace during a setting sun can evoke intense emotion. Need more portrait photography silhouette ideas? Check these out:

• A musician playing an instrument
• Someone meditating in a peaceful setting
• A dancer frozen mid-leap
• A fisherman casting a line
• Kids playing catch in a field
• A jogger in motion
• Someone reading a book under a tree
• A person holding an umbrella in the rain

For those of you who love the urban buzz, street photography has its own charm in silhouette form. Imagine a cyclist riding past a lit-up billboard at night. Or a crowded bus stop with people absorbed in their own worlds. You could also look for architectural elements, like archways or staircases, to frame your silhouette subjects.

For more street silhouette ideas, why not photograph:

• Street performers in action
• A taxi against neon signs
• Pedestrians crossing a busy intersection
• A vendor selling street food
• An old man sitting on a park bench
• Kids skateboarding on a ramp
• Silhouettes inside a subway car
• A joyous parade

Feel free to mix, match, and tweak these ideas. The goal is to get your creative juices flowing. And once they are, there’s no stopping you.

How to photograph silhouettes: final words

Now that we’ve reached the end of our journey into the captivating world of silhouette photography, I hope you’re as excited as I am about all the incredible possibilities this technique offers.

Remember, there are no rules when it comes to silhouettes. You can stick with vibrant colors that sing harmoniously or go for the drama of black and white. And don’t be afraid to incorporate props for that extra touch of uniqueness – imagine a dancer twirling with an umbrella under a fiery sky!

Now, armed with the knowledge we’ve shared, it’s time for you to unleash your creativity. Grab your camera, and embrace the simplicity, the elegance, and the pure artistry of silhouettes!

Now over to you:

Have any silhouette tips or photos you’d like to share? Share them in the comments below!

The post Silhouette Photography: The Ultimate Guide (+ 33 Tips) appeared first on Digital Photography School. It was authored by Darren Rowse.

This article was updated in December 2023 with contributions from Jim Hamel, Amy Renfrey, and Darren Rowse.

Sometimes, I feel cursed. Like any parent, I want to take pictures of my kids doing their activities – but my daughter is a gymnast, which means I’m stuck dealing with a toxic combination of very fast action and generally poor light.

If you’ve ever tried to capture low-light sports games or dance recitals, you’ll understand my frustration. Action plus bad light generally leads to one of three things:

• Blurry photos
• Noisy/grainy photos
• A deer-in-the-headlights flash look

And when I first started photographing my daughter, I was constantly plagued by these problems. Fortunately, however, I didn’t give up, and I developed a handful of tips and techniques that allow you to capture stunning action shots when the light is terrible. That’s what I share in the article below.

So if you’re ready to learn how to photograph basketball, swimming, ballet, gymnastics, or any other fast-paced indoor activity, then prepare yourself for 16 hands-on tips, starting with:

1. Understand the event

Capturing the essence of an indoor sports event or a dance recital in low light isn’t just about having the right equipment or knowing the right settings. And while I talk about those in detail below, I want to start with something even more critical:

Understanding what you’re photographing. The more you know about the event, the better your shots will be.

Start with the basics: learn the rules of the game. If it’s basketball, know when the key plays happen. If it’s a dance performance, understand the sequence of movements. This knowledge lets you anticipate the action. You’ll know where to position yourself and when to press the shutter.

But don’t stop there. If you’re photographing a team or group for a full season, get to know the players or the performers. Each athlete, each dancer has their unique style. Learning about them can help you predict their movements, allowing you to capture more compelling and personal images.

One of the best ways to get a feel for the event is to attend rehearsals or prior games. Observe how the action unfolds. Note the lighting conditions. Plan out potential shots – and then, when the big game occurs, you’ll be able to envision amazing images just before the action heats up.

2. Use Manual mode

Before you even think about pressing that shutter button, make sure your camera is set up for success – starting with your shooting mode.

No matter the mode you normally use, in low-light scenarios, you need a lot of control over your camera’s settings. That’s where Manual mode comes in; it gives you complete control, so it’s generally a good choice. But if you’re not comfortable using Manual or you’re dealing with changing light conditions, use Aperture Priority instead.

3. Use fast lenses

Next, you’ll need to decide which lens to use. It’s a simple process, fortunately: Choose your longest and fastest (i.e., wide-apertured) lens. The low-light environment means that you’ll need a fast lens to let in plenty of light. And since action subjects tend to be far away, you’ll also need a longer focal length. I personally use a 70-200mm f/2.8 lens and it works great, though you could also go longer (or wider) depending on the scenario.

If your lens is on the shorter side, you may be inclined to use a teleconverter to get some extra reach. (If you aren’t familiar with teleconverters, they are extensions that fit between your camera and lens; they’re designed to increase the magnification of the lens). In certain contexts, teleconverters work great, but in a low-light environment, they don’t; you see, teleconverters actually sacrifice light, which will magnify the problems caused by dark interiors.

So if you need extra reach, purchase a longer lens or shoot wider and crop the image in post-processing.

4. Shoot wide open

Once you’ve chosen your shooting mode and your lens, it’s time to prepare the shot. The first exposure setting is the aperture, and when it comes to photographing in low light, picking an aperture is easy:

Set it to its widest available option (i.e., the smallest f-number, which is generally f/4, f/2.8, or even wider).

This will let in the most light (which in turn will allow you to keep your shutter speed fast and your ISO low). The downside, however, is that you’ll get a very shallow depth of field, so the area of sharpness within your images will be very narrow.

In this context, however, that shouldn’t matter. You’ll only need to keep your subject in focus, and having some background blur should be fine (or even preferable).

5. Set a fast shutter speed

Next, you’ll need to set your shutter speed, and the trick here is to make sure it’s fast. If your subject is not moving, then you can use the Reciprocal Rule (which states that you should choose a shutter speed that’s the inverse of your lens’s focal length).

However, if your subject is moving, you’ll need to crank your shutter speed upward. I find that 1/200s is the minimum you need for a moving subject if you want to avoid blur. I’d recommend starting there, then increasing it if you can.

And try hard to avoid using a slower shutter speed unless you are deliberately hoping to convey a sense of movement. Otherwise, even if your images look tack-sharp on the camera LCD, you may be very disappointed when you get back to your computer to find you have a card full of blurry files.

6. Set the ISO as high as necessary (but no higher!)

So you’ve chosen your aperture and shutter speed; now you need to dial in an ISO.

While picking an ISO may seem complex, it’s actually pretty easy. Just set the ISO to the value you need to achieve a proper exposure!

Don’t be alarmed if you need to give the ISO a significant boost. I routinely use ISO 1600 or 3200, and sometimes I even set it to ISO 6400. In most other scenarios, I wouldn’t even think about using such a high ISO value, but they’re often necessary when photographing low-light action.

7. Test the exposure before the action begins

Once the action starts, you’ll often need to start shooting with abandon, and you won’t have any time to test out your exposure and make modifications.

That’s why I encourage you to arrive early for any scheduled events, find your seat (or a good vantage point), and spend some time taking exposure test shots.

Since you’ll generally be indoors, the light probably won’t change over the course of the event, so you can generally just set your exposure settings and forget about them while you concentrate on the action. (Of course, if the light is changing, you’ll need to frequently take breaks to test your exposure.)

8. Do plenty of experimentation

When you’re trying to capture fast-paced action in low light, it’s easy to make mistakes, to mess up, to end up with images that are blurry or poorly composed or slightly behind the moment. The key to dealing with this? Experimentation.

Your first few shots might be a bit off. Maybe you chose a shutter speed that’s too slow, causing blur. Or perhaps your AF mode wasn’t quite right, leading to focus issues. That’s perfectly normal. The trick is to keep trying different settings. Play around with your shutter speed. Adjust your ISO. Change your focus mode.

And don’t be afraid to take loads of photos. Review them on the spot. See what works and what doesn’t. This hands-on learning is invaluable. You’ll start to understand what settings work best in the specific lighting you’re dealing with. And before you know it, you’ll be capturing those dynamic, sharp action shots with ease.

9. Zoom in

This is a quick tip, but an important one:

If you want to create impactful action shots, it’s important that you zoom your lens (or physically move) until the subject fills the frame.

In other words, don’t leave a lot of background. Your subject is the most important part of the composition, so they should dominate. You don’t want to leave room for major distractions.

(The one exception is if you’re aiming to create an environmental, scene-setting shot; in these situations, it can help to zoom out to capture the entire area.)

10. Wait for peak action

Once the action begins, you may be tempted to start holding down the shutter button so you don’t miss any critical moments.

But while this can be a successful method of capturing action, I prefer to take a more deliberate approach. Instead of machine-gunning my camera, I set my camera to its continuous shooting mode, then I anticipate moments of peak action.

When the action arrives, I quickly capture a burst of 2-4 shots, then I recompose. I wait for more action, and when something else of interest happens, I’ll take another burst, and so on.

These days, camera burst modes are so fast that – if you’re not choosy in your shooting approach – you can easily fire off hundreds or even thousands of shots in a couple of minutes, which will be a pain to sort through later.

11. Use a monopod

When you’re on the sidelines of an indoor sports event, camera in hand, ready to capture every thrilling moment, stability is key. But here’s the catch: a tripod might be too bulky or simply not allowed. That’s where a monopod comes in.

Think of a monopod as your portable stabilizing buddy. It’s like a tripod, but with just one leg. This simplicity is its strength. A monopod gives you that essential stability for crisp shots, without the bulk. It’s easy to carry around, quick to set up, and doesn’t take up much space.

Now, you might wonder, how do you pick a good monopod? Look for one that’s sturdy yet lightweight. Adjustable height is crucial, as it allows you to quickly adapt to different shooting angles. And don’t worry about the cost; monopods are generally quite affordable.

12. Don’t ignore breaks in the action

It may seem odd, but breaks in the action are often great times to take some photos.

By “break in the action,” I’m referring to two times:

1. A momentary pause during the event. For example, after a difficult gymnastic move, there is typically a momentary pose. The same holds true in singing and dancing; the performers often hold a pose after finishing a part of the routine. This pose often makes for a great shot – plus, since the subjects are frozen, you won’t have as big an issue with blur.
2. An actual break, like the end of a period in sports. During these breaks, there are often warm-up drills that lend themselves to great shots. And you’re typically allowed a bit more latitude in terms of your own movements, so you can potentially walk around and find some interesting angles. The best part? Even if you shoot during a break, no one will know whether you took the shot during a drill or the real game/match/meet. In fact, after a year or two, you probably won’t remember, either!

13. Nail the focus

Because you are shooting with your aperture wide open, you’ll have a very shallow depth of field. That means the focus will be unforgiving, and if you miss it, there will be no leeway.

So what should you focus on? Well, the subject, of course! If your subject is a person, then always focus on the eyes. If the eyes are on different planes, focus on the nearest eye.

This is why it pays to be comfortable with your camera’s autofocus modes. Your camera will have a mode designed to focus on stationary points (Canon calls this One-Shot and Nikon and Sony call it AF-S). Your camera will have another autofocus mode designed to track moving subjects (Canon calls this AI Servo and Nikon and Sony call it AF-C). In the case of a moving subject, this mode will continuously track your initial focus point and readjust as it moves. Most photographers use this mode in the case of a subject that is moving. I personally almost always use the stationary autofocus, but use whichever one you are comfortable with!

Another decision you should make to help with your focusing is whether to use back-button focus. Normally, your camera focuses when you press your shutter button halfway down. You can, however, set your camera to focus when you press a button on the back of the camera instead. I prefer this method because the focus will not automatically reset with each picture. Either way is fine, but back-button focus gives you slightly more control over your camera’s focus, so you might want to give it a try.

14. Chimp!

That’s right, I want you to chimp. This refers to the act of looking at your photos on the camera’s LCD screen.

Some photographers look down on this practice and referred to it as chimping (supposedly because the people looking at the LCD make “ooh, ooh!” noises while looking at their pictures, similar to chimpanzees). I actually think you should look at your LCD in any shooting context, but in this situation, it is especially important to do so.

There is just too much that can go wrong, and you need to make sure you’re getting the shots. You might have the exposure wrong, your focus might be off, the action might be too fast for your shutter speed, and so on. You don’t want to get home and discover you were doing something wrong that could have been corrected while you were shooting.

15. Add some noise reduction

You will have your own workflow for post-processing your pictures, so I won’t dwell on that too much here. There are a few things, however, that are particularly important in this context and that I want to pass along.

The first is that you will need to do some noise reduction; you’ll be using high ISOs for these shots, and you should probably do it in a manner that is a little different than you are used to.

Start off by using Lightroom’s noise reduction in the usual manner. Push the Luminance slider to the right. (There is an equivalent slider in Adobe Camera Raw if you use Photoshop or Photoshop Elements.) Keep the increase moderate at this point, usually in the range of 10-15.

After that, reduce the noise in the background further. The background of your picture will usually be blurry because you used a large aperture, so the loss of detail from the additional noise reduction will not hurt anything. In Lightroom, use the Brush and paint the noise reduction selectively. You can do the same in Adobe Camera Raw, or you can head into Photoshop, create a new layer with noise reduction, and mask the subject.

16. Sharpen the subject

Next, sharpen your photo, but not all at once; instead, like the noise reduction discussed above, you should tailor it to the image. To start off, apply a slight amount of sharpening to the whole file.

Then apply sharpening to the subject only. In Lightroom, use the Brush again. This time increase the Clarity and Sharpening amounts. Apply the effect only to your subject, while leaving the background alone.

You can do the same thing in Adobe Camera Raw, or you can take the file into Photoshop, create a new layer, sharpen the layer, then mask out everything but your subject. The extra sharpening will help make your subject stand out a little bit better, and it’ll also emphasize the tension produced by the action.

Action photography in bad light: final words

Photographing action in low light is a severe test of your camera equipment and your photography skills. It pays to have fast glass and a camera that performs well in low light, but gear isn’t everything!

Using the tips in this article, you should be able to set up your camera and create the proper exposure settings. It will take practice to consistently nail the focus, but once you get really good, you’ll be unstoppable!

Now over to you:

Do you have any other tips or tricks that you use when shooting action in bad or low light? Share your thoughts in the comments below!

The post Action Photography in Bad Light: 16 Practical Tips appeared first on Digital Photography School. It was authored by Jim Hamel.

This article was updated in December 2023 with contributions from Andrew S Gibson, Darlene Hildebrandt, and David Shaw.

Black and white landscape photography is beautiful, timeless, and – when done well – incredibly moving. But how can you capture stunning B&W landscapes? How can you find the right compositions, choose the right camera settings, and do the right post-processing so that you end up with truly breathtaking images?

That’s where we come in.

In this article, we share 15 easy-to-follow tips that’ll improve your black and white scenics; we also share plenty of examples so you can understand exactly what goes into a good black and white landscape image.

Specifically, you’ll discover:

• The best camera settings for B&W landscape photography
• How to enhance your landscapes with filters
• What to look for in a landscape scene
• Much, much more!

So if you’re ready to capture black and white shots like the pros, then let’s get started!

1. Use the right gear

Black and white landscape photography may not seem gear-specific, and in many ways, it’s not – but certain equipment can enhance your experience and the quality of your images.

First, your choice of camera matters. Full-frame models often offer superior image quality, but APS-C or Micro Four Thirds models can be great, too. If you’re hiking to different locations, a more compact, mirrorless camera might be a good fit. It’s lighter, and the electronic viewfinder allows you to “see” in black and white, providing a preview of the final result.

Note that most cameras that work well for standard landscape photography also work great for B&W images, so if you already shoot landscapes in color, you probably don’t need to buy another camera!

Your choice of lens is equally important. You want landscape photography lenses that cover a range of focal lengths, such as wide-angle for sweeping scenics and telephoto for capturing tighter details. A sturdy landscape tripod is another essential piece of equipment, especially if you’re shooting long exposures or in low-light conditions where stability is key.

Finally, investing in a good neutral density filter (see Tip #8!) can also come in handy. It lets you control the amount of light entering the lens, providing creative control over exposure times.

By putting together this gear, you’ll be able to craft beautiful black and white landscape images with the tools that help you realize your vision. Remember, it’s not about having the most expensive equipment but understanding how to use what you have to its fullest potential.

2. Pick the perfect black and white landscape settings

When you’re getting ready to take a black and white landscape shot, adjusting your camera settings is key. The first thing you want to do is switch your camera to Manual mode. It gives you full control over every aspect of the image. Don’t worry; it’s easier than it sounds!

A narrow aperture, like f/8 or beyond, ensures that everything from the foreground to the background remains sharp. This is vital if you want to capture all the details in your scene.

Keeping the ISO as low as possible is also crucial. Higher ISO levels can cause noise in your images. With a low ISO, your shots will retain plenty of detail and appear crisp and clear.

Your shutter speed is another important setting to consider. This can vary depending on the effect you want to achieve. If you wish to create an ultra-long exposure effect (like a silky water effect in a river or waterfall), you may need to add a neutral density filter. This filter allows you to extend the shutter speed without overexposing the image.

Focusing manually might sound intimidating, but it can offer more precision. Autofocus might not always pick the exact spot you want to be sharp. By setting the focus point yourself – generally at the hyperfocal distance, around a third of the way into the scene – you can ensure that the entire shot is crisp.

Finally, don’t be afraid to experiment. Play with different settings to see what works best for your specific scene. Every landscape is unique, and the more you practice, the more intuitive these settings will become.

3. Work with the weather

Weather plays a vital role in black and white landscape photography. Unlike color photography, where sunlight might offer golden hues, black and white photography is more about contrast, texture, and form.

Clouds, for instance, can be a photographer’s best friend. Textured clouds swirling in the sky can make a dramatic background for landscapes. They provide a natural contrast that enhances the richness of the scene.

Pure white skies, on the other hand, offer a different kind of opportunity. These conditions are better for shots that include a lot of negative space. A clear sky might seem empty and dull in color photography, but in black and white, it can create a powerful, minimalistic image. An overcast sky can provide a soft and even light that reduces harsh shadows, giving you a different aesthetic to play with.

But how do you know what the weather will be like? Planning is key. Utilize weather-tracking apps or websites that provide forecasts tailored for photographers. This information can help you decide on the best times and places to shoot, aligning with the mood or atmosphere you want to create.

And don’t be afraid to experiment with different weather conditions; rain, fog, and storms can add an unexpected touch of magic to your black and white landscapes.

4. Make sure you understand composition

When shooting in color, you can rely on the strength of bright greens, stunning yellows, and smoldering reds to create drama and interest. In fact, to capture good color landscape photos, you often need to just find a dramatic scene and photograph it in beautiful light. (That’s why so many color landscape shots are taken during the golden hour or just after sunset.)

But black and white landscape photography is very, very different. Without color, you can’t rely on pure color and light; you have to captivate the viewer by creating strong compositions. Yes, light matters, but composition matters, too. And unless you can really master this technical skill, you’ll struggle to produce compelling images.

In other words, instead of just chasing great light, you need to learn to look for the building blocks of photographic composition: leading lines, shapes, patterns, tonal contrast, and texture. When you approach a scene, try to ignore interesting colors. Do what you can to see in black and white so that you quickly recognize eye-catching geometry, impressive textures, and more.

For example, this photo works well in black and white because of the tonal contrast between the twin waterfalls and the dark rocks, not to mention the balanced geometry (two twin rectangles of light on an all-black background):

Yet the average viewer (or average color photographer) probably wouldn’t notice these features at first glance. Instead, they’d focus on the hues of the pool or the rich green leaves just outside the frame. And until you learn to see in black and white, you probably would, too!

5. Study the work of famous black and white landscape photographers

We don’t naturally see the world in black and white. Therefore, learning to work in monochrome takes some practice. It’s almost like learning a new language; you have to spend time really recognizing what works in B&W photos and what doesn’t (which is often very different from what works in color landscapes).

Now, you can figure out how to make a great black and white landscape through a lot of trial and error, but why reinvent the wheel? Instead, deepen your understanding of B&W landscape images by looking at the work of masters – the folks who already spent dozens of years perfecting their compositions, lighting, settings, and techniques.

I recommend starting with Ansel Adams and Edward Weston, who shot predominantly in black and white and whose work is closely aligned with contemporary landscape aesthetics. You might also check out Harry Callahan (if you’re interested in more intimate landscape shots) as well as Wynn Bullock (who captured wonderfully atmospheric photos).

Also, look at what modern-day photographers are doing on Instagram and 500px. Some names to search for include Cole Thompson, Rob Dweck, Arnaud Bertrande, Thibault Roland, Joel Tjintjelaar, and Nathan Wirth.

When you look at the work of B&W landscape shooters, ask yourself: What makes their black and white landscape photos so powerful? What light do they use? What photographic techniques (e.g., long exposure) do they employ? How do they approach composition?

The answers will teach you a lot about black and white photography and will help you understand which elements and scenes really lend themselves to a monochrome treatment.

6. Look for tonal contrast and texture

Tonal contrast describes variations in brightness between different parts of the image. Take the photo below as an example; the jetties are dark and the sky is much lighter. That is tonal contrast. And it looks amazing in black and white.

The alternative – low tonal contrast scenes, where the entire shot is covered with, say, midtones – tends to look very mushy and flat. Tones don’t separate out, key elements fade into one another, and the composition loses impact. While color photographers may pursue scenes without tonal contrast, they can rely on changes in color to differentiate key elements. In black and white, however, that’s not an option, and it becomes all about the tones.

Texture (and contrast between textures) looks great, too. If you think about the elements that often appear in B&W landscape photos – cliffs, rocks, grass, trees, mountains, and oceans, along with human-made objects like piers, jetties, and old barns – you’ll notice that they all have distinct textures. Some feature rough, heavy surfaces, while others are intensely smooth.

In the photo below, the arch, the cliffs in the distance, and the rocks in the foreground are all heavily textured. The sea and the sky are much smoother. There is a strong contrast between the roughness of the rocks and the smoothness of the sea and the sky. And thanks to that textural contrast, the photo is much more impactful!

7. Shoot in Monochrome mode

Did you know that your digital camera can help you see in black and white?

It’s true. All you have to do is set it to its Monochrome mode. Your camera’s rear LCD will show you a black and white Live View feed – and if your camera includes an electronic viewfinder, that’ll turn black and white, too (you can literally look at the world in black and white – how cool is that?).

As you can imagine, constantly looking at the world through a black and white LCD or viewfinder is the perfect way to see how tones are rendered in monochrome. This makes it easier to imagine how scenes will turn out in black and white if you’re not shooting in monochrome mode (or if you don’t have your camera to your eye).

Personally, I think that black and white electronic viewfinders are an absolute game-changer. If you’re serious about B&W landscape photography, it’s probably worth switching to a mirrorless camera for that feature alone! After all, it’s far easier to compose in black and white when you can see how tonal contrast, texture, lines, shapes, patterns, and light will affect the landscape.

One note, though: Don’t forget to set your camera to RAW. RAW files contain all the information captured by your camera’s sensor – so if you decide you don’t like the image in black and white, you can always convert it to color. If you don’t shoot in RAW, however, you’ll lose the ability to switch back and forth between color and black and white, and images shot in Monochrome mode will be stuck in monochrome forever.

8. Learn to use neutral density filters

Neutral density filters are a B&W landscape photographer’s secret weapon. Grab one (or more) of these accessories, and you’ll be able to capture jaw-dropping images beyond your wildest dreams.

(Am I exaggerating? Honestly, I don’t think so. Neutral density filters are a huge deal.)

But what makes ND filters so special?

ND filters are basically dark pieces of glass that go in front of your lens and prevent light from hitting your camera sensor. In other words, ND filters block out the light, which lets you lengthen your shutter speed while retaining a balanced exposure.

You see, as a landscape photographer without an ND filter, you’ll often be using a shutter speed between 1/2s and 1/125s (assuming you’re shooting with a relatively narrow aperture of f/13 or so, which is generally a good idea).

At times, you may want to lengthen your shutter speed for creative effect – so that you can blur water, stretch clouds, and create a beautiful ethereal look in your photos. But in most situations, dropping the shutter speed beyond 1/2s or so just can’t be done. The light is too strong; if you try it, you’ll end up with an overexposed image.

Unless you have an item that can block out the light – such as a neutral density filter! The ND filter will keep your camera from overexposing the scene even when you’re dealing with lots of light. That way, you can push out your shutter speed to 5s, 10s, and more, and you can get the stretchy clouds and blurry water that you’re after.

Check out the photos below. The first was taken at dusk with a shutter speed of 1/5s. This exposure time was slow enough to introduce some blur into the water (look at the foreground wave), but it wasn’t slow enough to really flatten out the water while making the clouds turn into interesting streaks.

But I added a neutral density filter and made the next photo using a shutter speed of 180 seconds. That way, the water turned out completely blurred and the clouds moved across the sky for a streaking effect:

Bottom line:

Neutral density filters are amazing. They give you control over your shutter speed, which you can then use to enhance your black and white landscapes.

9. Don’t just take photos like everyone else

Black and white landscape photographer Cole Thompson has an interesting idea. He practices what he calls “photographic abstinence,” where he doesn’t look at the work of other photographers before heading to a new location. The idea is that it enables him to see the landscape through his own eyes without being influenced by other people’s photos of the same elements.

I’ve never taken this idea to its extreme. I believe it’s important to research an area before you go; that way, you can find its most photogenic parts and avoid boring areas. But this does lead to a problem: The most powerful images you see tend to stick in your mind. The natural tendency is to want to create similar images – so if you spend time researching locations, you’ll often end up capturing photos that look like everybody else’s.

I encourage you to push back against this tendency! Recognize that certain subjects are photographed in particular ways. Use that knowledge to capture images that are different – images that are truly you.

Let me give you an example. A few years ago, I visited the Playa de las Catedrales (Cathedral Beach) in northern Spain. Search for it on Google or 500px, and most photos will look something like this, showing the cathedral-like arches for which the beach is named:

Anybody who visits the beach will naturally want to take photos of the arches. They’re the reason the spot is famous, after all. But if you only focus on the arches, you’ll miss other (equally compelling!) possibilities.

So after traveling to Cathedral Beach and getting my rock arch photos, I really started looking. I saw some rocks in the sea that made an interesting minimalistic composition, and I captured the following photo:

It doesn’t feature famous arches. But the shot feels more personal and was more satisfying to take.

10. Try to simplify your compositions

As I mentioned above, black and white photos can get kind of mushy. The files don’t include any color information, which means that images can become pretty confusing. Various subjects blend into one another, and the viewer may struggle to understand the scene.

Now, one way to deal with this tendency is to include plenty of tonal contrast. It’s a good technique, and I highly recommend it. But if you want to really elevate your B&W photos, you should also aim to cut down on extraneous elements in your compositions. That way, the viewer will know exactly where to focus – and they’ll be able to instantly interpret the shot.

So before capturing a new image, ask yourself: Does the frame include any elements that might distract the viewer? Is the viewer able to clearly identify the main subject? Make sure that every part of the scene contributes to the composition.

If you come upon a scene that seems a bit cluttered, don’t walk away. Instead, take steps to simplify. Get in closer, use a longer lens, or adjust your angle so that you highlight certain objects and block out others. Make sense?

11. Don’t forget about the light

Throughout this article, I’ve emphasized the importance of composition in black and white landscape photography. And it’s true: Composition makes a huge difference.

But make sure you don’t fixate so heavily on composition that you forget about other key photographic elements – such as lighting.

Color landscape photographers love shooting during the golden hours, and this soft-yet-direct light also looks great in black and white. The low sun will create long shadows, which you can use as powerful composition elements (e.g., leading lines).

But as a black and white shooter, you can head out at other times and capture equally compelling images. For instance, overcast days produce soft, intimate light that reveals detail in forest and mountain scenes. And even harsh midday sun – which is hated by most color landscape photographers – can make for interesting black and white shots. The trick is to use the contrasty light to your advantage; let it create shadow geometry, then incorporate the shadows into your compositions.

Blue hour is another great time to shoot black and white landscapes. The light is wonderfully soft, and if you can find a moving subject (e.g., ocean waves), you’ll be able to capture ethereal long exposures that look outstanding.

12. Don’t be afraid of harsh lighting

In the previous tip, I mentioned that harsh lighting can work well for B&W landscape photos. But because shooting landscape at midday is so frowned-upon, I wanted to share a personal example to show you what I mean.

A number of years ago, I was shooting in the altiplano of Bolivia. I arrived at mid-day at the spectacular and weird Laguna Colorado. It was savagely bright; cloudless skies, high elevation, middle of the day, and within a few degrees of the equator. Lighting conditions couldn’t have been worse.

While the landscape was uniformly drenched in harsh, ugly light, there was contrast in the colors of the desert. A polarizer darkened the sky and removed the worst of the glare. The resulting black-and-white conversion, was if not perfect, at least the best of a very bad situation.

Frequently traveling landscape photographers find themselves in beautiful locations at bad times, and we don’t always have the freedom to return when the light is better. In such situations, consider black and white. It’s not a cure-all, by any means, but nasty light will often translate better into monochrome than full color.

The situation I described above was not unique to my trip through Bolivia. The sweet light of morning and evening lasted only minutes in the high desert, quickly replaced by glaring light. And yet contrasts in the landscape salvaged many a scene for me.

13. Capture intimate landscape shots

Landscape photography doesn’t always mean capturing grand, sweeping vistas. Sometimes, the beauty lies in the details, textures, or geometry found within the scene. These intimate landscape shots can tell a different, more personal story.

Switching from a wide-angle lens to a telephoto lens can transform your perspective. It allows you to zoom in on specific elements, such as a lone tree, a winding path, or the intricate pattern of leaves and rocks. The compression effect of a telephoto lens can also create a unique visual relationship between the foreground and background.

Intimate shots are all about observation and imagination. Look for textures, shapes, and patterns that draw your eye. Experiment with different angles and framing to find the perfect landscape composition. Sometimes, the most compelling images come from the most ordinary subjects, like delicate lines in the sand or the graceful curve of a branch.

Don’t be afraid to get close and personal with nature. Part of the beauty of black and white photography lies in its ability to reveal the hidden artistry of the landscape.

14. Travel when you can

All the photos I shared in this article were taken while traveling – and unless you are lucky enough to live in a breathtaking area, it’s likely that, like me, you need to travel to find inspiring landscapes to photograph.

Even if you do live somewhere with spectacular landscapes, traveling will expand your experiences and add depth to your portfolio. All my favorite landscape photos were taken while traveling, and the two activities really do go together very well – travel is more interesting and exciting when there’s a purpose behind it. Landscape photography can give you that purpose.

Without travel, I would never have experienced and photographed places like this (taken in Bolivia):

At the same time, I recognize that traveling is costly and time-consuming. So even if you can’t travel, try to cultivate a traveling mindset – where you see the world around you with fresh, new eyes. Tackle more familiar scenes with this newfound excitement (and you’ll be amazed by what you start to see!).

15. Edit your black and white landscape images

If you want to create stunning black and white images, post-processing is crucial. Photographing in RAW is a wise choice, as it gives you more control and flexibility when editing. Don’t just press the “Convert to Black and White” button; explore various conversion options to see what best fits your vision.

When converting to black and white, try adjusting individual color channels. This allows you to emphasize or de-emphasize different parts of the image, helping you create a visually engaging photograph. Play with the highlights and shadows, add contrast, tweak clarity, and even apply a vignette to guide the viewer’s eye toward your main subject.

Editing software like Adobe Lightroom or Photoshop offers several good black and white conversion methods. Don’t hesitate to experiment and find what works best for your particular shot. Spend time on this. The conversion from color to black and white isn’t just a technical step; it’s an artistic one. This is where your creativity shines, and it’s how you can transform a good photo into a masterpiece.

Additional resources for capturing beautiful B&W landscapes

Shooting for black and white requires you to see a scene and think a little differently. You’re looking for a contrast of tones, not color, and it can be hard to “see” in black and white if you’re new to shooting in monochrome.

Here is a short video with some practical tips you can apply to create more dramatic black-and-white landscape photos.

Black and white landscape photography: final words

Black and white landscape photography is an exciting and rewarding pursuit. Whether it’s the drama of textured clouds or the intimacy of a detailed close-up shot, the world of monochrome offers endless creative possibilities.

Remember to plan around the weather, take time to edit your shots carefully, and invest in the right gear. Practice capturing different scenes and subjects, and don’t hesitate to experiment with your settings.

It’s all about capturing the essence of the landscape and making it your own. Embrace the challenge and enjoy the journey into the timeless world of black and white. Whether you’re a beginner or have some experience, there’s always something new to learn and discover.

So get outside. Give black and white shooting a try. It’s a new way of seeing the world – and one that can be a lot of fun.

Now over to you:

Do you have any tips for black and white landscape photography? Which of these tips do you plan to use first? Share your thoughts in the comments below!

The post 15 Tips for Awestriking Black and White Landscape Photography appeared first on Digital Photography School. It was authored by Andrew S. Gibson.

This article was updated in November 2023 with contributions from Darlene Hildebrandt, Darren Rowse, Tom Bricker, and Rick Ohnsman.

Fireworks, oh how they light up the night sky with their vibrant colors and explosive beauty! There’s something truly magical about witnessing a fireworks display, and as a photography enthusiast, you can’t help but feel the burning desire to capture those fleeting moments forever.

However, shooting fireworks can be incredibly challenging and require some real technical finesse. That’s where this article comes in handy; I explore a handful of effective approaches to help you master the art of fireworks photography and capture awe-inspiring shots.

Specifically, I share:

• The best settings for fireworks images
• Essential fireworks photo gear
• A simple way to prevent image blur
• Much more!

Just a quick note before we get started: Please remember that if you’ve never tried fireworks before, it does depend heavily on trial and error. I’ve made a lot of mistakes myself before I got any images that I was happy to show anyone.  Each time I photograph fireworks, there’s always an element of unpredictability, so you have to learn to adapt, learn from your own mistakes, and do it again.

Ready to learn how to photograph fireworks? Then let’s dive right in!

1. Bring the right equipment

What will you need to make good fireworks photos? Let’s break down the basic equipment needs:

Use a DSLR or mirrorless model for more flexibility

You can take fireworks photos with a smartphone camera if that’s all you have. However, the results won’t be quite as impressive, and I’d therefore recommend you invest in (at least) an entry-level DSLR or mirrorless camera.

Also, be sure to have a good-sized storage card, as well as a spare battery or two, as you’ll usually take lots of shots at a fireworks show.

Use a zoom lens for compositional variety

Lens choice largely depends on how close you will be to the fireworks launch location.  If you are close, you may need a wide-angle lens to keep the larger bursts in the frame. If, however, you are a long distance from the show or want to compress the apparent distance between your foreground object and the sky bursts, a telephoto lens might be in order.

My go-to lens for firework photography is a Canon EF 24-105mm f/4L IS, which covers a good range. Note that you don’t need a particularly fast (i.e., wide-aperture) lens as you will be working with mid to small apertures and longer shutter speeds. Of course, it’s worth using a lens that offers consistently crisp results, so don’t skimp on this piece of equipment!

Use a tripod to keep your camera still

To capture sharp fireworks shots, it is crucial to keep your camera perfectly still, and this generally requires the use of a sturdy tripod.

Why is a tripod so important? Fireworks displays occur at night, when lighting conditions are challenging, and long shutter speeds are necessary (more on this later!). When you’re capturing a lengthy exposure, even the slightest camera shake can result in blurry images – unless your camera is set up on a rock-solid tripod, that is.

Ensure that you set up your tripod on a stable surface and shield it from any potential wind. If you don’t already own a tripod, there are affordable options available, including some portable travel tripods. If you don’t have the time or money to purchase a tripod, you can always improvise by placing your camera on the ground or a table.

Note that shooting with a tripod offers additional benefits: It enables you to try HDR bracketing, and it encourages you to compose more deliberately and thoughtfully by slowing down the process.

Use a remote release to further reduce camera shake

Even with your camera securely mounted on a sturdy tripod, there’s a risk of camera shake when you press the shutter button, resulting in blurry shots. This is why a remote release is an essential firework photography accessory.

A remote release is a wireless device that connects to your camera, allowing you to trigger the shutter from a distance. By using the remote, you eliminate the need to physically touch the camera, ensuring maximum stability and sharpness in your images.

Happily, investing in a remote release won’t break the bank (they’re quite affordable)! However, if you don’t have one or prefer not to purchase it, you can get a similar result by activating your camera’s two-second self-timer. While this method isn’t ideal – you’ll need to anticipate the firework bursts and fire the shutter two seconds in advance – it can still get the job done.

2. Scout the location in advance

When it comes to capturing stunning fireworks photographs, preparation is key. Firework displays take place after sunset, and if you’ve ever tried to compose in the dark, you’ll know that it is hard. To ensure you make the most of the limited time you have to photograph the spectacle, it is crucial to scout the location in advance.

Visiting the location earlier in the day allows you to familiarize yourself with the surroundings and identify potential vantage points that will offer breathtaking perspectives. Seek out locations that allow for expansive and sweeping shots, where you can capture the full grandeur of the display. Consider the angles, sightlines, and potential obstacles that may hinder your view or introduce unwanted distractions. By doing so, you can position yourself to capture the magic as it unfolds.

Note, however, that while scouting the location in advance provides you with valuable insights, it doesn’t mean you have to rigidly stick to predetermined compositions. Embrace the spontaneity of the moment and be open to improvisation. Fireworks are dynamic, and each explosion brings unique patterns and colors to the sky. Use your scouting knowledge as a foundation, but allow yourself to experiment and adapt on the spot!

3. Use a low ISO for the cleanest shots

High ISOs create brighter exposures, but they also create noise, which reduces image quality and looks plain bad.

So whenever possible, use your camera’s lowest native ISO setting. And only raise the ISO if your exposures are turning out too dark.

I recommend using ISO 100 or 200, and this is for a couple of reasons. First, the higher the ISO you use, the more noise you’ll introduce in your images. Noise also tends to live in blue areas of images, and nighttime has a lot of blue, so that compounds the issue. Plus, long exposures tend to increase noise.

Bottom line: You should work especially hard to minimize noise in your fireworks photos, and that involves using a low ISO. Fortunately, fireworks tend to be very bright, so as long as you use a tripod, you probably won’t need to raise your ISO. Therefore, I’d recommend setting it to ISO 100 and only raising it if you absolutely need a boost.

4. Shoot in RAW

For fireworks photographers, photographing in RAW is a game-changer. While beginners may opt for JPEG files due to their simplicity and immediate usability, you won’t be able to realize the true potential of your fireworks photographs without working in RAW.

JPEG files may seem appealing at first, with their smaller size and lack of post-processing requirements. However, they limit your creative freedom when it comes to refining your images. On the other hand, RAW files offer an abundance of possibilities during post-processing. These versatile files allow you to recover details hidden in shadows and highlights, ensuring that every element is faithfully preserved. With RAW, you also have the ability to fine-tune colors and tones, enhancing the overall impact of your firework photographs.

While it’s true that RAW files require post-processing before sharing them on websites or social media platforms, the editing process can be remarkably quick. Software programs like Adobe Lightroom offer intuitive interfaces that allow you to quickly convert RAW shots into shareable files.

So don’t let the additional workflow step deter you from shooting in RAW; it’s an investment that really pays off.

5. Switch off your flash

It’s simple, really:

An on-camera flash (or even an off-camera flash) can only illuminate the area a handful of meters in front of you. Therefore, a flash cannot affect a firework, and turning on your camera’s flash will only serve to waste battery.

Plus, if your camera uses a flash metering system, an active flash will cause the fireworks to come out dark. And constant flashing may even frustrate other folks trying to watch the fireworks.

So switch your flash off. And use the long-exposure technique I discuss below!

6. Turn off long exposure noise reduction

Many modern cameras have a noise reduction feature, which after the first exposure, takes a second “black frame” exposure, detecting the noise and then subtracting that from the initial exposure. It can work well in some situations, but here’s the thing:

The second exposure takes as long as the first, and if you’re making multi-second exposures, your camera will be busy working, and you’ll be missing subsequent firework bursts.

So turn it off. You’ll generally be using a low ISO with minimal noise anyway, and the delay in being able to make more shots isn’t worth the benefit.

7. Do not use Live View

Live View lets you preview your exposures on the camera LCD before you actually press the shutter button. It comes in handy in a lot of situations, but it’ll eat up your battery fast.

My recommendation: Save your battery for actually shooting and set up your shot using the eyecup viewfinder.

(That said, if you use a mirrorless camera, Live View is actually less energy-intensive than work via the electronic viewfinder. Therefore, if you shoot mirrorless, using Live View is a good idea!)

8. Use smaller apertures for the best fireworks photography

The lens aperture controls the image depth of field – that is, whether the scene features a small sliver of sharpness (shallow depth of field) or whether the scene is sharp throughout (deep depth of field). But what aperture is right for photographing fireworks?

If you’re capturing fireworks that are far off in the distance and you have no foreground subjects, then you can get away with pretty much any aperture, from wide options like f/2.8 to narrow options like f/16.

However, if your composition features foreground elements or the fireworks are relatively close to your position, then you’ll want to use a narrow aperture (anywhere between f/8 and f/16 is good).

Plus, those apertures are pretty optimal for fireworks as the light streaks are controlled by the size of the aperture.  Closing down more will make the light trails thinner, opening up more will make them wider and possible too over exposed.  Do some tests but all the times I’ve done fireworks I keep coming back to f8 as my preference.

The narrower aperture will widen the depth of field, ensuring that the fireworks and the rest of the scene turn out sharp.

9. Use a longer shutter speed (but don’t let it go too long!)

Fireworks are a moving subject, and shutter speed deals with subject motion. So if you want to get great fireworks shots, you must choose the perfect shutter speed.

Now, fireworks leave beautiful light trails, and you can capture this with a longer shutter speed. However, you don’t want to let the shutter go for too long. Fireworks are bright, and if you’re not careful, you’ll end up with lots of clipped highlights in your frames.

An easy method to handle this is by switching your camera over to Bulb mode. Once in Bulb mode, the shutter will remain open for as long as you hold down the shutter button (or the shutter release).

When a firework is about to explode, you can hit the shutter button. And you can hold down the button until the explosion is finished.

Do a test shot before the show starts and see if the sky is too dark or too bright and adjust the exposure time accordingly. As long as you’re under 30 seconds (the longest shutter speed on most cameras), you can let the camera time the shots for you. Or you can switch to Bulb and just open and close manually when you feel you’ve captured enough bursts in one image.

10. Use manual focusing for sharp shots

Mirrorless autofocus systems are better than ever before – yet focusing in low light still causes cameras to struggle. Plus, refocusing on each new burst of fireworks takes time, which may ultimately cause you to miss the shot.

Therefore, instead of trying to autofocus, switch your lens over to manual focus.

Then, when you see the first burst of fireworks, manually adjust the focus ring until the scene appears sharp. Take a test shot, and be sure to zoom in on your LCD screen to make sure it looks good.

Once you’ve acquired perfect focus, simply leave it alone for the rest of the fireworks show, and the results will turn out great (especially if you’re using a narrow aperture!).

One note: Changing focal lengths will change the plane of focus on most lenses, so if you zoom in or out, you should check your point of focus (and re-focus if necessary).

11. Anticipate the best compositions

Even if you’ve done plenty of scouting, one of the most difficult parts of photographing fireworks is working out where to aim your camera. The challenge is that you generally need to compose before the fireworks actually burst, so anticipation is key. Here are a few quick tips to help you select compositions in advance:

• Watch a few bursts before you shoot. In general, each new firework will come from (roughly) the same spot, so by observing the skies, you can get a sense of where to train your camera. You can also get a sense of how long you have between bursts; that way, you can be ready to fire the shutter before each new explosion.
• Decide whether to shoot vertically or horizontally. You can capture fireworks vertically (portrait orientation) or horizontally (landscape orientation). Both can work for fireworks photography, but I personally prefer a vertical perspective – after all, there’s a lot of vertical firework movement! Horizontal shots are nice if you’re after an expansive shot using a wide-angle lens, however.
• Refine your framing. Once you’ve found a nice composition, don’t take a single shot and then move on to the next frame. Instead, see if you can improve the result by moving to one side, getting down low, getting up high, etc. You might be surprised by what you can create when you really dedicate yourself to working the scene.

12. Enhance your firework compositions with foreground interest

Beginner firework photographers often just point their camera at the sky and shoot away – but while this can produce nice results, if your goal is to create captivating images that leave a lasting impact, incorporating an interesting foreground is a great idea.

You see, by seamlessly blending a magnificent sky explosion with a compelling foreground, you offer viewers a visual journey. They can start by appreciating the foreground’s charm before engaging with the mesmerizing backdrop.

Note that you can include all sorts of elements as your foreground interest: buildings, mountains, hills stretching into the distance, or even amusement park rides. The choice is yours, but I encourage you to think carefully about which foreground elements will complement the fireworks display.

By the way, if you can include foreground elements that offer leading lines, the results will be especially spectacular. These lines can create a visual pathway that not only connects the foreground and the fireworks but also enhances the overall composition!

13. Include reflections in your firework compositions

Looking to elevate your firework shots from ordinary to extraordinary? Incorporating reflections into your compositions can provide that extra touch of brilliance.

You’ll need to strategically position yourself to include a reflective surface with the frame, but finding a suitable reflective object is easier than you might think. While lakes and ponds can always work, you can also unleash your creativity by utilizing puddles, glossy car surfaces, or even sunglass lenses.

I’d also encourage you to experiment with different compositions. For instance, try placing the horizon line in different areas of the frame and see what you think of the results. A dead-center horizon will yield a symmetrical shot infused with tension, while a horizon positioned in the upper or lower third of the frame will infuse your image with a dynamic and captivating feel.

14. Include people in your images

While the magnificent bursts of fireworks alone can create awe-inspiring images, incorporating people into your compositions can elevate your fireworks photos to new heights.

For one, including human figures in your frames will introduce a sense of scale that emphasizes the grandeur of the dazzling light show unfolding in the night sky. Additionally, people can act as foreground interest, adding depth and narrative to your photographs.

Plus, you can use people to tell stories; a solitary figure gazing in awe at the fireworks can evoke a sense of wonder, while a group of friends or a couple holding hands can portray a shared moment of joy and celebration.

One fascinating element to explore when including people in firework photography is the interplay between focus points. Experiment with different approaches to create varied effects. You can choose to focus on the fireworks, allowing the people in the foreground to become slightly blurred – or you can focus on the people in the foreground, intentionally blurring the fireworks in the background, creating an ethereal and dreamlike atmosphere. Both techniques can yield compelling results, so don’t hesitate to try different focal points and see which resonates with your artistic vision!

15. Experiment with different focal lengths

Firework photography comes with a major dilemma:

On the one hand, you can use a telephoto lens (such as a 70-200mm), which will get you detailed shots of the fireworks but is difficult to use. With a long lens, you’ll need to keep your camera trained on the right part of the sky at the right time, and it can be easy to miss.

On the other hand, you can use a wide-angle lens (such as a 24-70mm), which will capture the entire skyline but won’t offer lots of detail. Wide-angle lenses feature great “safety” focal lengths because you can generally trust that they’ll include the fireworks in the scene, even if the results aren’t quite as impactful as you might like.

So which lens should you use? As I mentioned at the beginning of this article, I’d recommend working primarily with a wide-angle zoom. But once you’ve grabbed a few wide-angle shots that you like, feel free to switch over to your telephoto lens and see if you can nail some close-ups.

Of course, if your camera offers enough resolution, you do have the option to crop afterward – just bear that in mind!

16. Use a neutral density filter to get a longer exposure if need be.

If it’s not 100% dark out yet (i.e., the sky still has some light), an ND filter will allow you to get a longer exposure and make sure the fireworks bursts have a nice arch.  You see, if your exposure is too short, you’ll end up with short, stubby-looking bursts rather than nice umbrella-shaped ones.

Now, if your bursts are too short, you can start by simply extending the shutter speed. But if the files turn out overexposed, slap on that neutral density filter! Plus, using the ND filter if it is dark will also allow you to shoot lengthy exposures that capture more bursts per image. 

Experiment, have fun, and try shooting with and without the filter. (A polarizing filter will work, too, but to a lesser degree.)

As far as which filter to get, the ND 0.9 filter has become the filter of choice for fireworks photographers due to its price and because it typically achieves optimal exposure lengths. Another option to consider is the ND 1.8 filter. Far fewer brands make ND 1.8 filters, and the brands that do are usually more expensive, but the filter is very versatile and offers a couple of advantages over the ND 0.9 filter.

First, since it reduces the exposure by six stops of light as opposed to the three stops of light, you’ll be able to get decent shutter speeds even with a slightly wider aperture. And a wider aperture – in the f/5.6-f/8 range – minimizes diffraction and maximizes sharpness. Plus, an ND 1.8 filter can come in handy when shooting other subjects in the daytime or at twilight, whereas an ND 0.9 filter won’t have a huge effect.

17. Shoot most of your shots at the start of the show

This tip is quick but handy:

Whenever possible, capture your most interesting, surefire compositions at the beginning of the show, not the end.

This will avoid the smoke and haze that appears a bit later. Eventually, the sky will be filled with smoke, which doesn’t look as pretty. (Later on in the show is when I like to try some close-ups or abstracts.)

18. Make sure you leave enough room in your frame to anticipate the height of the opened bursts

If you fail on the first shot, simply make adjustments as needed. In my experience, it’s a lot of trial and error and correcting. It’s often hard to tell where the highest fireworks will end up in the sky, so you may want to try both horizontal and vertical compositions.

19. Practice timing your shots

Consider starting your exposures when you hear the fireworks being released; that way, you’re more likely to capture a few bursts. 

Also, do some testing to see how many bursts are just right for your taste. Try some shots with more and some with less. Having too many may overexpose the overall image, so keep that in mind, as well.

20. Shoot facing east

If you want a darker sky in your fireworks shots, you should definitely photograph eastward rather than westward.

I’ve found that when I shoot into the sunset, the sky gets too blown out and the lights of the fireworks don’t show up as well as they do against a darker sky. So try and find a vantage point that has you facing east when possible!

21. Try zooming during the exposure

You may have seen those photos where the bursting fireworks look more like a flower, fat blurry trails with sharp points.  How is that done?

Here’s the technique, which you can vary for different results.

Know this takes practice, and luck plays a big part. So decide if you have already got enough necessary shots before you try it and whether the show will last long enough for some experimentation.

If you’re game, here’s how you do it:

• You will need your hands free for this, and you’ll want to look through the viewfinder or perhaps use Live View, so using the remote release probably isn’t going to work. Instead, set your shutter speed for about 8-10 seconds, leaving all the other camera settings where they were.
• Set your lens to manual focus, then focus on the spot where the fireworks will burst. Turn the ring so things are out of focus.
• Just as a firework explodes, fire the shutter and smoothly turn the focus right back to the focus point. You must get the fireworks in focus before the exposure is complete, but if you finish early, that’s okay.

And try different things with subsequent shots. Go from focused to unfocused, zoom in or out during the exposure, or maybe take the camera off the tripod and move it during the exposure to make light trails. Play and see what you like.

Just remember that the duration of the show is limited, so try some experiments but also be sure you have some solid keepers.

22. Use the black hat trick

Here’s a handy trick that can produce very artistic results:

• Have a hat, preferably one that’s dark and opaque.
• Put the hat over the front of the lens.
• Have the camera in Bulb mode, and just before the firework launches, click open the shutter.
• Quickly but gently – so as not to bump the camera – remove the hat while the firework explodes.
• Leave the shutter open and carefully replace the hat. Repeat, removing and replacing the hat for multiple fireworks bursts. (You may need to have a smaller aperture or lower ISO to do this as you will be building up exposure brightness with each additional firework added).
• Unlock the remote and close the shutter when you’ve done all you want.

What you’re doing is making a multiple-exposure image in-camera. Of course, you can always capture several images and blend them during post-processing instead!

23. Experiment and evaluate your results

As you shoot, don’t be afraid to experiment with different compositions and ideas! For instance, you might zoom in for a tighter perspective, zoom out for a wider perspective, change your angle, include people or buildings in the frame, and much more.

Also, periodically check your results for perfect sharpness, composition, and exposure.

I recommend taking a few photos at the start of the photoshoot. Review them on your LCD. If they look good, then keep going (and if they look bad, make the necessary adjustments!). Be sure to view your shots throughout the shoot to make sure you haven’t messed up in some significant way.

How to photograph fireworks: final words

And there you have it! Armed with these tips and techniques, you’re ready to capture the dazzling magic of fireworks like a seasoned pro.

Remember, it’s not just about pointing your camera to the sky and hoping for the best. Incorporating a captivating foreground adds depth and engages your viewer from the get-go. You can also prepare yourself by exploring the location in advance, seeking out prime vantage points, and envisioning different compositions. Finally, remember that flexibility is key. Be ready to adapt on the spot and let your creativity soar.

So grab your camera, head to the next firework extravaganza, and have plenty of fun!

Now over to you:

Which of these tips do you plan to use first? What fireworks will you photograph? Share your thoughts in the comments below!

The post 23 Powerful Tips for Successful Fireworks Photography appeared first on Digital Photography School. It was authored by Darren Rowse.

Need the perfect gift for the photographer in your life? In this gift guide – created from literally hundreds of hours of research and newly updated in December of 2023 – I share the 46 best photography gifts, including cameras, lenses, accessories, creative photography tools, and much more. 

Many of the items in this guide are products that I’ve tested and/or owned, so I can vouch for their outstanding quality. And to make things easier, I’ve broken the list into three different sections:

• The best affordable gifts for photographers (under $25)
• The best gifts for photographers under $100
• Premium gifts for photographers ($100+)

I’ve included options designed for photographers of all interests and experience levels – so no matter your budget and no matter the gift recipient, you’re bound to find the right item.

Let’s dive right in!

The best affordable gifts for photographers

If your budget isn’t expansive but you want to buy a photography gift that’s bound to impress, check out these affordable options:

Living Landscapes: A Guide to Stunning Landscape Photography

Written by professional landscape photographer Todd Sisson and published by dPS, Living Landscapes is the perfect eBook for beginner and even intermediate landscape photographers. Todd does an outstanding job of breaking down key concepts, and his discussions of essential landscape photography gear, camera settings, and post-production techniques are filled with handy – and stunning! – examples. 

Across 130+ pages, landscape photography enthusiasts will discover everything they ever wanted to know about capturing gorgeous images of beaches, mountains, forests, and so much more. And the sections at the end of the book – covering specialist techniques and shooting scenarios – justify the price all on their own. Living Landscapes is the easy-to-follow, comprehensive, and hands-on education that every landscape snapper should access when starting out – and at just $19, it’s a steal!

Kiorafoto Memory Card Case

This Kiorafoto memory card case costs just $10, but it’s one of the best affordable gifts for photographers that I’ve ever encountered. With it, a photo-snapper can carry up to 12 SD cards (as well as 12 microSD cards) and store them safely in their camera backpack, bag, or even attached to a belt loop or backpack strap via the included carabiner.

In fact, I purchased one of these Kiorafoto cases a few years back, and I immediately regretted not having bought it sooner – I carry it in a sling bag and can swap out memory cards in seconds, which makes a huge difference when photographing action or when the light is changing rapidly. So unless the photographer in your life only has a couple of memory cards, this case will be a stellar gift. You can buy it here, but just make sure the recipient uses SD or microSD cards before you do.

Portrait Photography Resource Kit

Budding portrait snappers will love this handy kit from Photzy, which is jam-packed with resources to jumpstart – and level up – their portrait photography.

The Portrait Kit contains a wide variety of materials, including quick guides, cheat sheets, video tutorials, and more – so no matter the user’s learning style, they’ll find something to love. The cheat sheets are especially impressive; they offer easy-to-digest information covering topics such as indoor natural lighting and portrait cropping, plus they’re designed to be printable so the photographer can carry physical copies in the field.

And even experienced portrait photographers will appreciate the quick guides, which cover:

• Headshot photography
• Portrait composition
• Portrait lighting essentials
• Posing models
• Much more!

Normally, the Portrait Photography Resource Kit costs $99, but you can currently grab it for just $2.99 (no, that’s not a typo!). It’s the perfect gift for beginner and intermediate portrait shooters, and given the insane price, there’s no reason not to buy it.

EnergeticSky Winter Gloves

As a photographer who loves photographing in the winter, I spent years struggling to keep my hands warm – until I found these waterproof gloves from EnergeticSky.

The gloves are cheap, and yet they’re so warm. I use them on day-long photoshoots in snow and freezing temperatures without issue (and according to the manufacturers, they work great in temperatures down to -10 Fahrenheit). They’re also touchscreen-sensitive, which is great for photographers who like to focus via the LCD, and they include removable thumb and index-finger tops so photographers can gain greater finger precision as needed.

You can grab these EnergeticSky gloves for just $25 (and if you want to really please your gift recipient, combine them with the Dnaleao Rechargeable Handwarmers featured below!). 

Photzy Snap Cards

In many ways, the best gift for a photographer is education, which can teach skills that’ll last for a lifetime. That’s where the Photzy Snap Card pack comes in; it contains 20 instantly downloadable cards, which are jam-packed with photography essentials, from autofocus and exposure settings to lighting and special techniques. 

What makes the Snap Cards especially great is their portability. You’re free to print them out and carry them in your backpack – then, when you encounter a problem, just whip out the Snap Cards, quickly study the relevant materials, and make the necessary corrections.

Of course, you can give the Snap Cards as a digital gift, but if you want to go the extra mile, why not print them out, laminate them, and add them to a key ring?

The Snap Cards are an amazing gift for any beginner photographer or enthusiast, and you can currently grab them for 93% off (just $7!), though be sure to buy them before the deal disappears.

Altura Camera Rain Cover

Need a budget gift for a landscape, street, or travel photographer? This Altura camera rain cover may not be flashy, but it’ll certainly come in handy for any photo-snappers who like to shoot in rain, snow, or sleet.

It’s designed to fit around most cameras, and it includes a transparent window at the back so the photographer can check the LCD screen without endangering their electronics, as well as two arm-holes for easy camera access. There are quite a few rain covers out there, many of them good, but I’ve used this Altura product in dozens of downpours, and it’s always done a great job. You can buy it here for just $20.

KUVRD Universal Lens Hood

KUVRD’s Universal Lens Hood is one of the most innovative and unique products of the decade, offering a convenient way to cover every lens you own – without taking up critical space in your camera bag. 

Standard lens hoods are big and bulky, plus you need a new hood for each lens you buy. Once you misplace a lens hood, then you’re without protection. KUVRD’s Universal Lens Hood, on the other hand, is, well, universal. It mounts on the front of pretty much any lens, which means you can take one or two KUVRD lens hoods in your bag and use them with all of your lenses. Plus, they’re rubber, so they can be folded and slotted into a side pocket or even a purse.

And the Universal Lens Hood offers additional benefits: 

For one, it allows you to mount most filters in front of your lens, regardless of thread size. It also eliminates reflections when shooting through windows. 

So for photographers looking for an easy, space-saving way to protect their lenses, the KUVRD Universal Lens Hood is a perfect choice. Get it here for just $25.

Landscape Photography Resource Kit

Like the Portrait Photography Resource Kit above, Photzy’s Landscape Photography Resource Kit boasts an array of incredible video tutorials, quick guides, and cheat sheets – all designed to revolutionize any landscape photographer’s workflow.

The Kit is geared toward landscape photography beginners, but the resources will undoubtedly impress even veteran shooters. For instance, the four printable cheat sheets offer plenty of useful information on sunset photography, compositional layering, and more; there’s even a handy little checklist, which photographers can run through before pressing the shutter button. And the six quick guides discuss topics that’ll interest landscape shooters of all experience levels, including landscape settings, landscape composition, and the use of graduated filters.

The Landscape Photography Resource Kit is perfect for pretty much any up-and-coming landscape photographer, and it’s currently on sale for just $2.99 (compared to the usual $91). You can purchase it here!

KUVRD Universal Lens Cap

Lens caps may seem boring, but they perform the essential job of protecting a photographer’s lenses during travel, and they’re really, really easy to misplace. 

That’s why every photographer could use one (or several) of these KUVRD Universal Lens Caps, which fit over 99% of lenses thanks to the uniquely stretchy design. They’re also quicker to clean than standard lens caps – always handy for photographers who work in sandy or dirty conditions – and they fold up, so they won’t take up much space in a camera bag or backpack.

You can purchase a KUVRD Universal Lens Cap for $20 on Amazon (and if you’re shopping for a photographer who could use a whole bunch of these products, you can purchase a multipack for $45).

Street Photography Resource Kit

Know any beginner or intermediate street photographers? Then consider buying them Photzy’s Street Photography Resource Kit, which is an amazing gift for street snappers of all stripes.

The Resource Kit includes a bevy of cheat sheets, quick guides, and more. Here are just a few of the highlights:

• A quick guide on photographing strangers
• A quick guide covering candid photography
• An environmental portraits cheat sheet
• A street portraits cheat sheet
• A fun case study on including blur in street shots
• A “Mastering Motion” video tutorial

What we especially love about this product – and Photzy’s resource kits more generally – is the variety of resources it includes. People learn in different ways, and the Resource Kit is designed to satisfy everyone, including more textual folks as well as hands-on learners.

The Street Photography Resource Kit normally costs $91, but you can currently buy it for just $2.99!

Altura Camera Hand Strap

Pretty much every camera comes with a neck strap, but for photographers who like to go on photowalks, shoot lengthy portrait sessions, and/or need to keep a low profile, the Altura Camera Hand Strap is the perfect buy. 

The Hand Strap allows photographers to comfortably hold a camera for hours on end – and, thanks to the stylish design, they’ll feel cool while doing it. The dark leather is inconspicuous, so it works great for street photographers who need to stay unnoticed while shooting, and it’s strong enough to support plenty of larger DSLRs and mirrorless models. 

Plus, this Altura strap is relatively cheap, so while it’s a thoughtful gift that’ll be much appreciated by your photography friends, it won’t create a giant hole in your bank account. You can grab it for just $25 here.

Lens Coffee Mug

Need a budget photography gift for a coffee drinker? Consider this coffee mug, which looks just like the Canon 24-105mm f/4L lens and features a carefully designed exterior plus a “front element” cap for added realism.

It’s nicely sized, it includes a stainless-steel liner for added durability, and it’s budget-friendly, too. Of course, it’s not the most serious of gifts, so make sure the recipient has a sense of humor. (And whatever you do, don’t give it to a Nikon or Sony user; you never know how they might react!)

You can purchase the lens coffee mug for $15.99.

The best gifts for photographers under $100

This section features high-quality gifts for photographers of all stripes, including handy camera accessories, budget software subscriptions, and invaluable training materials.

Create Stunning Photos in Lightroom (with Jim Hamel)

For photographers who have a Lightroom subscription but struggle to make the most of their powerful software, Create Stunning Photos in Lightroom will make all the difference. Jim Hamel is one of the best photography instructors on the planet, and this video course – which packs over seven hours of outstanding content – is entertaining, enjoyable, and (most importantly!) informative. 

The course includes a detailed module on using Lightroom to organize and manage photos, but the bulk of the instruction focuses on post-processing, and every video is packed full of practical advice. Jim guides viewers through the basics, such as adjusting exposure and reducing noise, all the way to advanced techniques, such as local adjustments and HDR merging. And the end of the course even explores topics often neglected in other Lightroom tutorials; for instance, viewers learn how to use the Print module to display their work in style.

Create Stunning Photos in Lightroom was updated earlier this year to incorporate the latest Lightroom features, and the $99 digital package includes 36 instructional videos, 4 bonus videos, access to a private Facebook group, and more. You can buy it here!

Tarion Pro Camera Backpack

Unless you’re shopping for a photographer who only shoots inside their studio, a sturdy backpack can make for a great gift. I’ve included two backpacks on this list, both of which I personally own, but this one – the Tarion Pro – is the model that I prefer for any long-term travel or serious outdoor excursions.

It’s highly durable, and it comes with a water-resistant cover so you can shoot in snow, rain, and more. What I love most about this backpack, however, is the carrying capacity – it can easily fit multiple camera bodies and several large lenses with room to spare. And it boasts a huge number of pockets and dividers, including a laptop sleeve, so it’s easy to organize gear however you see fit. As I can personally attest, the quality is worth far more than its $99 price, so don’t hesitate to buy it here.

Joby GorillaPod 3K Kit

This flexible mini-tripod is an ideal photographer’s companion; it’s perfect for anyone who needs a tripod but doesn’t want to take up too much space in their camera bag or backpack.

The GorillaPod’s flexible legs allow it to be wrapped around objects such as tree branches, poles, and much more – so that photographers can keep their camera stable when capturing photos and videos in just about any location. This particular model can handle smaller cameras with standard and wide-angle lenses, though Joby also offers a 5K kit for larger setups.

You can purchase the GorillaPod 3K kit right here, and it’s currently on sale for just $45. 

Going Pro: How to Make Money Through Your Photography

Know a photographer who dreams of turning their passion into a professional but doesn’t know how? In Going Pro, Kelly Kingman – veteran magazine photo editor – lays it all out, with explanations of business models and marketing approaches, advice for picking a specialty, and profiles of successful photographers and photography buyers.

The eBook also comes with several invaluable resources, including hours of audio interviews with experts, as well as the Recipe for Success, a four-step guide for building your business from the ground up. Going Pro costs just $49, but it’s the type of gift that will be appreciated for a lifetime!

Peak Design Capture Camera Clip

This camera-carry accessory may not look like much, but don’t be fooled; it’s designed to securely fasten a camera to a backpack or sling strap so a photographer can carry their setup comfortably – and then access it at a moment’s notice.

The package includes two pieces: the clip, which attaches to a variety of strap sizes, and the quick-release plate, which mounts to the bottom of a wide array of cameras. It’s rugged, strong, and comes with a lifetime warranty, and it’s been battle-tested by plenty of professional photographers.

While I wouldn’t recommend the Capture Clip V3 for photographers sporting huge camera and lens setups, it’s ideal for street, travel, adventure, and other on-the-go shooters, and the $75 price ensures you get plenty of bang for your buck. Grab it here!

Dnaleao Rechargeable Hand Warmers

It’s no secret that landscapes, street scenes, and portraits look amazing in the snow. However, many photographers hesitate to go out once winter sets in simply because it’s tough to stay warm while operating a camera.

That’s where Dnaleao’s Rechargeable Handwarmers come in. They can be slipped into gloves, so they’ll keep any photographer’s hands warm regardless of the temperature – and they last a whopping 12 hours before needing a recharge, so they’ll work for even the longest, most grueling photoshoots. 

(Plus, they perform great in non-photography scenarios, too! In my experience, handwarmers are great for pretty much every outdoor activity.)

Did I mention that they’re on sale? At the time of writing, you can grab these warmers for just $30. What’s not to love?

Photzy Action Cards

Know someone who wants to improve their photos? Then get them the Photzy Action Card set, which features some of the best photography education on the planet – but condensed into 65 easy-to-understand sheets. 

The Action Cards feature comprehensive lessons on every type of photography you can imagine, including:

• Flower photography
• Waterscape photography
• Still life photography
• Street portrait photography
• Architectural photography
• Newborn photography

And there are also plenty of Composition Cards, which cover key concepts such as:

• Spirals
• Patterns
• Curves
• Layering
• Juxtaposition
• So much more!

Like the Photzy Snap Cards, the Action Cards can be printed out, laminated, and carried into the field. They’re great for pretty much any student photographer, including beginners, enthusiasts, and even more advanced shooters, plus they’re currently 88% off (for just $39). 

You can grab the Photzy Action Cards right here! And if you want to create the ultimate photography gift, why not grab both the Photzy Snap Cards and the Photzy Action Cards while they’re still on sale?

Moerdeng Waterproof Ski Jacket

No winter-loving photographer’s kit is complete without an ultra-warm winter coat. After all, it’s tough to capture sharp photos when you’re hopping up and down and shivering – which is why we recommend this ski jacket from Moerdeng. 

The jacket itself is warm, it’s waterproof, and it includes several handy pockets for improved convenience. It even boasts a little breast pocket, which you can use to store memory cards or batteries. And the jacket is pretty stylish, too; the outer material looks sleek, plus you can choose from quite a few different colors.

I’ve seen this Moerdeng ski jacket go for $90, but it’s currently available for just $55. You can buy the men’s version here and the women’s version here.

Night Photography (with Jim Hamel)

Once again featuring the incredible Jim Hamel, Night Photography is a one-of-a-kind video course that combines effective “classroom” instruction and powerful in-the-field tutorials for stellar results. Jim is a night photography master, and his advice is complemented by a series of dazzling photos that are practically guaranteed to inspire. 

As a seasoned night photographer myself, I know that capturing stunning shots at night is no easy feat, but Jim’s explanations are so well-structured that even an absolute beginner can follow along. In addition to 18 informative videos, gift recipients are bound to appreciate the bonus content, which includes tutorials on photographing fireworks and the Milky Way. Night Photography would make a great present for anyone who enjoys photography and is looking to capture better scenic images at night – and you can purchase it here for $99. 

Aodelan Remote Release

A remote release won’t cost as much as a new camera or a lens, but for the right photographer, it can be just as useful – and this Aodelan model is my favorite (and the one that I’ve used for the last 3+ years).

The way it works is simple: mount the receiver to the camera hot shoe and connect it to the camera, then press the button on the handheld remote to trigger the shutter. The benefit is that you can set up your camera on a tripod, and then take photos without actually touching the shutter button, which allows for sharp long-exposure photos, not to mention a convenient way to capture selfies from a distance.

This particular model also includes several other functions, including the option to capture shots at intervals for beautiful time-lapse sequences. You can grab it for $60, but make sure you purchase the version that’s compatible with the photographer’s camera, as Aodelan sells different models for Canon, Nikon, and Sony users.

256 GB SanDisk Extreme Card

Without a memory card, you can’t capture a single photo – which means that this card will be appreciated by every SD-using photographer around, no matter their level of skill. 

The 256 GB Extreme card has a high-speed transfer rate of 180 MB/s, which makes it ideal for photographers who shoot lots of RAW photos – and the 256 GB capacity ensures that the card can fit thousands of photos without filling up. In fact, with 256 GB of storage, even trigger-happy photographers will be able to shoot an entire trip on a single card.

At just over $30, it’s a bargain – so head over to Amazon and get this 256 GB SD card for the photographer in your life.

ON1 Photo RAW 2024

ON1 Photo RAW is a do-anything photo editor, featuring a comprehensive set of image organization and processing tools (like Adobe Lightroom, but – in many ways – even better).

The layout is intuitive, which makes it great for editing beginners, and it’s sleek, too. Plus, ON1 Photo RAW manages to remain well organized even while featuring a tremendous set of editing tools – including all the basic adjustments, but also masking, text design, image transformation, and (as part of the latest release) an outstanding Brilliance AI tool that expertly improves photos from the get-go.

For photo-editing beginners as well as advanced editors in need of a no-subscription program, consider getting an ON1 Photo RAW 2024 lifetime license for $99.99. Alternatively, you can grab a yearly subscription – which comes with a handful of cool extras, including access to ON1’s incredible plugins – right here for $89.99.

Altura Cleaning Kit

A camera cleaning kit is a must-have for every photographer. After all, it’s impossible to keep lenses and sensors completely clean all of the time. Dust and dirt can easily make their way onto the front of the lens and sometimes onto the sensor when changing lenses (especially when you’re out in nature).

This Altura cleaning kit includes a brush for sweeping away dust, a rocket blower for removing dirt, a two-sided lenspen for removing particles from your front lens elements and filters, plus much, much more. A camera cleaning kit may not be glamorous, but it can be a photographer’s savior when out on a shoot, and it currently costs only $35!

Photoshop Basics for Photographers

Due to its sea of tools, complex interface, and array of menus, Photoshop is a notoriously difficult program to learn. But Photoshop is also insanely powerful; photographers can use it to modify colors, remove distractions, retouch portraits, swap skies, add textures, and so much more.

That’s where Phil Steele’s Photoshop Basics for Photographers course comes in handy, which offers “a way for anyone to learn Photoshop – without confusion or struggle – in just three hours.” It explains everything a beginner needs to know to master Photoshop, and it does it in simple, easily digestible language. The course consists of 13 videos, which cover topics such as removing unwanted objects, working with layers, mastering the Photoshop workspace, and using masks. And while Phil doesn’t tackle Photoshop’s super-advanced features (e.g., high-level compositing), he discusses pretty much every tool and concept used by serious photographers on a daily basis.

Photoshop Basics for Photographers is an online course, which means that it can be downloaded instantly. And once purchased, users get lifetime access to the course, so there’s no need to worry about expiration dates or subscription renewals.

Normally, the course costs $69, but dPS readers can grab it for just $39 via our special link.

Backblaze Subscription

Photographers often worry about the safety and security of their photos – and if they aren’t yet concerned, they should be! That’s why I recommend that every photographer maintain several backups of their image library, including at least one cloud-based backup.

I use Backblaze, and it works great – all it requires is a simple install, and then it’ll automatically back up every file stored on the computer as well as all files uploaded at a later date. If the photographer in question has a huge photo library, the initial backup period can take a few days or even weeks, but it runs quietly in the background, and it’s certainly worth the wait. Plus, the pricing is excellent; an annual subscription costs just $99, making Backblaze a great sub-$100 photography gift.

Premium gifts for photographers ($100+)

Want to purchase an extra-special gift and aren’t too worried about the cost? These photography products range from $120 hard drives all the way up to $3000 cameras!

Canon EOS R50

No photography gift guide would be complete without one of Canon’s capable – but still very affordable – beginner-friendly mirrorless cameras. If you have a photographer in your life who’s looking to delve into vlogging and/or general photography but you don’t have thousands to splurge, the EOS R50 is an outstanding choice.

Not only is the R50 ridiculously compact (always handy for on-the-go photography), but it includes a flip-out screen that’ll make vlogging and selfies a breeze. Plus, the 24 MP APS-C sensor delivers very nice image quality as well as beautiful 4K/30p video, so it’s an ideal gift for folks who plan to do a little bit of everything. The price is outstanding, too; for just $699, you can snag the camera as well as an all-purpose 18-45mm kit lens.

Canon RF 85mm f/2 Macro

If you’re shopping for a photographer who already owns a Canon EOS R-series camera but needs a high-quality lens for better images, look no further than the Canon RF 85mm f/2.

It’s an ultra-sharp model with a sleek design, and photographers will love the control ring, which allows for settings changes in fast-paced shooting scenarios. The 85mm focal length is great for a wide variety of subjects but is especially well-suited to portrait, still-life, product, and nature photography. And thanks to an impressive 0.5x maximum magnification, this lens can also be used for beautiful close-up images of flowers, insects, and more.

Available for $499, the 85mm f/2 is not the cheapest photography gift on this list, but it’s certainly affordable compared to other Canon RF lenses!

Fujifilm Instax Mini 12

These days, instant cameras are all the rage – and while the Instax Mini 12 isn’t necessarily the kind of gift a professional photographer will appreciate, for casual shooters and other creative types, it’s a stellar pick.

The camera can be used to capture fun family photos, selfies, travel shots, and more – plus, every photo comes with the thrill of watching it develop in real time! It’s also a great gift for kids and teenagers, and I highly recommend you purchase this bundle, which comes in at $138 and includes the camera, 40 sheets of film, a carrying case, and even a cute little photo album.

Sony a6700

The entire Sony a6000 lineup – from the a6000 on up – is excellent for budding and hobbyist photographers, but the a6700 is the latest and greatest of these models.

Released back in July, it packs pretty much everything an up-and-coming photographer or vlogger could want: a compact, ergonomic design with a flip-out touchscreen; a new 26 MP sensor that can capture tremendous detail, even at night; breathtaking focusing accuracy and speed; in-body image stabilization for sharp shots in low light; and video recording capabilities that’ll impress even professionals.

You can purchase the camera body for a fairly reasonable $1400, though you might also consider paying an additional $100 to bundle it with a handy little kit lens.

Adobe Creative Cloud Subscription

If the photographer in your life has yet to invest in photo-editing software, then it’s tough to go wrong with Adobe software, especially Lightroom Classic; not only is it one of the most popular programs used by photographers, but it’s also a relatively beginner-friendly choice that also offers plenty of room to grow. Plus, Adobe has been adding impressive upgrades over the last couple of years that make for a smoother editing workflow, such as AI-powered masking tools that work astonishingly well.

You can choose from a few different Adobe plans, but I personally pay for the Photography 20 GB option, which costs $120 for an annual subscription and offers access to Lightroom Classic, the more mobile-friendly Lightroom, and Photoshop.

Canon EOS R5

The Canon EOS R5 isn’t exactly cheap, but it’s one of the best mirrorless cameras on the market today; if you have the budget and you know someone who could use a pro-level video and stills model, it’ll make an amazing gift.

The EOS R5 offers a slew of features for photographers and videographers, including an incredible 45 MP sensor (perfect for producing detailed landscape shots, beautiful commercial images, and even wall-sized prints), blazing-fast autofocus (essential for serious sports and wildlife snappers), and a beautiful electronic viewfinder (for a lifelike shooting experience, not to mention easy evaluation of focus and exposure). There’s also gorgeous 8K/30p and 4K/120p video, a fully articulating screen, and in-body image stabilization. 

You can grab the EOS R5, body only, for $2999. Like I said, it doesn’t come cheap, but it’s a fantastic mirrorless model for high-level enthusiasts and professionals, and it provides access to a wide range of incredible Canon lenses, so it’s bound to satisfy pretty much any serious shooter.

Sony a7 III Bundle

Yes, it’s been somewhat overshadowed by the Sony a7 IV – but the a7 III remains one of the absolute best all-around full-frame models for still and video shooting and is a fantastic addition to any serious photographer’s gear bag.

Portrait and action photographers will love the outstanding autofocus as well as the blazing-fast continuous shooting speeds. Street and travel photographers will appreciate the compact design and excellent ergonomics, while landscape shooters will fawn over the class-leading high-ISO performance and pro-level image quality. And the a7 III’s video capabilities are perfect for any vlogger or hybrid shooter, thanks to 4K/30p, in-body image stabilization, and S-Log recording.

Plus, this particular package comes with the Sony 28-70mm f/3.5-5.6 OSS lens, a versatile model that’s perfect for plenty of shooting scenarios. If you know an experienced photographer looking to go full frame, or even a beginner hoping to dive straight into photography and/or videography, check out the a7 III (with the 28-70mm lens) here; it’s currently on sale for $1698.

Nikon Z fc

The Nikon Z fc is an eye-catching, stylish camera – check out the retro body, knobs, and dials – but don’t let that fool you; it’s still plenty capable, and should satisfy beginners as well as more serious shooters looking to make the jump to mirrorless.

Image quality is excellent, and the Z fc’s 4K/30p video quality is equally impressive. Vloggers will appreciate the fully articulating screen, while anyone hoping to capture action will love the 11 frames-per-second shooting speeds and snappy autofocus. 

While the Z fc isn’t in the same league as some of the cameras featured above, its 20 MP sensor packs plenty of punch. Expect outstanding dynamic range, not to mention incredible sharpness and impressive performance at high ISOs. 

You can grab the Nikon Z fc (with several kit lens options) right here; my recommended option comes with a 28mm lens and costs just under $1100.

Canon RF 50mm f/1.8 STM

If you know anyone who recently purchased a Canon EOS R mirrorless camera – like the EOS R50 or the EOS R5 (both featured above) – then the RF 50mm f/1.8 STM lens might be the perfect gift. 

Not only is the 50mm f/1.8 cheap, but it’s also extremely sharp and astonishingly flexible. This kind of 50mm lens can be used in all sorts of scenarios, including portraiture, street shooting, intimate landscape photography, indoor event photography, and so much more, which is why it’s often referred to as a “nifty fifty” – and why it makes a great first or second lens for beginners. 

Plus, unlike most starter lenses, the 50mm f/1.8 isn’t one that photographers will outgrow; instead, even as they expand their kit, that 50mm model will continue to find its way into their gear bag!

You can purchase the RF 50mm f/1.8 STM here for $150. (Note that Canon also offers a DSLR version, the EF 50mm f/1.8 STM, which is similarly outstanding and can be purchased here.)

Nikon Z 24-120mm f/4 S

The Nikon Z 24-120mm f/4 S is an insanely impressive lens, one that’ll appeal to photographers of all stripes, including landscape photographers, travel photographers, street photographers, and casual walkaround photographers, to name just a few. 

The 24-120mm offers amazing optics that’ll satisfy even professionals, and it also boasts an incredible focal length range. At 24mm, you can capture beautiful wide-angle landscapes; at 50mm, you can shoot travel portraits; and at 120mm, you can capture distant street subjects and intimate landscape scenes. 

In general, it’s tough to find a lens with such an expansive zoom range that takes high-quality photos and doesn’t break the bank, but the Z 24-120mm f/4 costs just under $1100 and really does check all the boxes. If you’re shopping for a Nikon mirrorless shooter and they don’t already own this lens, it’s a great choice, so purchase it here.

Tamron 100-400mm f/4.5-6.3 Di VC USD

The Tamron 100-400mm f/4.5-6.3 isn’t the priciest lens out there, but don’t let that fool you; it packs a powerful punch, combining a durable build, speedy autofocus, and a handy zoom range for very nice results. 

Wildlife and bird photographers, in particular, will love the Tamron 100-400mm. You can capture environmental wildlife portraits at 100mm, larger mammals in the 200-300mm range, and birds at 400mm, plus you get a serious focal length boost if you shoot with an APS-C camera. 

Then there’s the image quality: The Tamron 100-400mm is pretty darn sharp, which is impressive for a sub-$1000 telephoto zoom. Your wildlife photos will feature gorgeous detail, especially with Vibration Compensation active (this allows you to handhold at impressively slow shutter speeds).

So for hobbyist wildlife photographers, bird photographers, and even sports photographers, the Tamron 100-400mm is a great choice. Get it for Canon here and Nikon here.

Sigma 18-35mm f/1.8 DC ART Lens

The Sigma 18-35mm f/1.8 DC HSM is fast focusing, it’s ultra-sharp, and it offers a great focal length range for landscape, street, and even portrait photographers – which makes it one of the most high-performing, versatile lenses you can buy in 2023. 

Note that this is a Sigma DC lens, so it’s designed for crop sensors. But for photographers who have an APS-C DSLR, this is the lens to get. At 18mm, you can capture stunning landscapes; at 24mm, you can create beautiful environmental portraits and wider street shots; at 35mm, you can photograph standard portraits, detail shots, and more. 

Also pay attention to the f/1.8 maximum aperture, which guarantees beautiful background blur at longer focal lengths (for that professional look so many photographers struggle to achieve). 

For any casual photographer, street photographer, or landscape photographer, the Sigma 18-35mm f/1.8 is a stellar choice. You can purchase it for Canon, Nikon, and Pentax DSLRs here.

Tamron 70-180mm f/2.8 Di III VXD for Sony

The Tamron 70-180mm f/2.8 isn’t the flashiest glass on the block, but it might just be the best value-for-money lens I’ve ever seen. 

The 70-180mm costs just over $1000, yet it can hold its own against lenses three times as expensive. Image quality is outstanding, and the f/2.8 maximum aperture allows for beautiful background bokeh and low-light shooting.

The focal length range is outstandingly versatile; at 70mm, you can capture half-body portraits and casual street photos, while at 180mm, you can shoot intimate landscapes, portrait headshots, and even wildlife.

So if you’re looking to give a budding portrait, landscape, or event shooter the gift of their life, grab the Tamron 70-180mm f/2.8 right here.

Peak Design Travel Tripod

Every photographer needs a good tripod. Unfortunately, many are either bulky or unstable. The Peak Design Travel tripod, on the other hand, manages to combine stability and portability into a single reasonably priced ($599) package. The carbon fiber version weighs just 2.8 lb (1.29 kg), but it can handle up to 20 lb (9 kg) of gear. It’s also highly compact, so photographers can easily fit it in a suitcase or tripod sleeve. 

You also get a nice center column for increased flexibility when positioning your camera in the field. And the legs can be expanded to almost 180 degrees, so you can capture close-up and low-angle shots from down on the ground.

For photographers who love to shoot landscapes, long-exposure travel photos, and even portraits, the Peak Design Travel tripod is an outstanding purchase. 

You can grab it here.

Skylum Luminar Neo

Skylum’s Luminar Neo is the hottest editing software on the market right now, and it’s a program that every photographer should try, from beginners up to professionals.

Skylum has long been known for its powerful yet easy-to-use software, and Luminar Neo is the company’s most impressive offering to date. It features a slew of AI-powered editing tools, including Relight AI, AI Power Lines Removal, Sky Replacement AI, Portrait Bokeh AI, and more. And that’s not all; since Luminar Neo’s initial launch, Skylum has released a series of paid Extensions, which allow you to:

• Merge HDR images
• Upscale low-resolution photos
• Focus-stack files
• Reduce and remove noise
• Sharpen blurry photos
• Effectively mask out backgrounds

More recently, Skylum has incorporated several innovative tools into Luminar Neo, including the amazing GenSwap, which draws on cutting-edge AI to add new elements to photos via free-text descriptions.

Bottom line: Luminar Neo is perfect for beginners hoping to level up their images with minimal experience, but it’s also a great choice for intermediate and advanced photographers looking to produce breathtaking edits with just a couple of clicks.

Note that you can purchase Luminar Neo in a few ways. There’s a lifetime license, which is on sale for $299 and includes the core software, eight extensions, and a 2023/2024 Creative Journey pass for access to Luminar’s generative AI features; there’s also a subscription plan, which currently goes for $119 per year.

TourBox Neo

The TourBox Neo is a neat little console designed to enhance your editing experience; it features a set of handy knobs, dials, and buttons that interface with programs like Photoshop, Lightroom, and much more.

Instead of relying on menu dives and keyboard shortcuts, TourBox Neo lets you do pretty much anything with the tap of a finger. It’s intuitive, too; imagine spinning a dial to adjust exposure and contrast, tapping a button to create a new layer, and adding a color grade with a couple of quick touches.

Best of all, the TourBox Neo is compatible with dozens of programs, including editing staples like Lightroom and Photoshop, but also Capture One, Adobe After Effects, Adobe Premiere Pro, and even Microsoft Excel. 

The TourBox Neo is the ultimate gift for a photo editor, video editor, or graphic designer. You can buy it for $169 here.

SanDisk 2 TB Extreme Portable SSD

These days, thanks to high-megapixel image files, computer hard drives fill up fast. Plus, without a proper backup system, it’s easy to lose photos to accidental deletion, hard drive failure, and file corruption. 

That’s why – at least in my view – every photographer should have an external hard drive (as well as a cloud-based backup; see my Backblaze recommendation above!). While it may not seem like the most exciting purchase, this SanDisk hard drive is a highly useful gift, one that any hobbyist photographer will appreciate for years to come. Thanks to its tiny size, it’s the perfect solution for photographers in need of storage while traveling, and it’s extremely fast, so the user won’t have to wait around for hours when transferring thousands of photos.

Of course, you don’t have to go with the 2 TB version; SanDisk sells 500 GB, 1 TB, and 4 TB drives, though the 2 TB model does offer a nice balance of size and budget-friendliness (it currently costs $130). So purchase the perfect external hard drive right here!

Peak Design Everyday Backpack V.2

The Peak Design Everyday Backpack offers everything anyone could want in an everyday camera carrier. It’s durable. It’s stylish. And as I know from personal use, it fits a surprising amount of camera equipment into its highly configurable storage compartments. 

The Everyday Backpack also includes a laptop sleeve, so you can edit your photos on the go. And the clever locking mechanism ensures your gear is always safe from others – but easily accessed by you! So for photographers in need of a spacious camera backpack that’s easy to use, boasts a lot of flexibility, and looks great, the Peak Design Everyday Backpack is an outstanding choice. 

You can take a closer look at this gorgeous photo backpack from Peak Design over on Amazon.

Sekonic L-308X-U Flashmate Light Meter

A light meter like the Sekonic L-308X-U Flashmate is a lifesaver for serious portrait photographers and videographers. Why? While most cameras offer built-in light meters, they just don’t boast the same level of flexibility and accuracy as the Sekonic L-308X-U Flashmate. 

So for photographers looking to get their exposure consistently right, this handheld light meter is a great buy. It’s the perfect studio photographer’s companion – but it can also be taken on location when shooting portraits. Check out the Sekonic L-308X-U Flashmate right here; it’s currently on sale for $229.

Best gifts for photographers: final words

Well, there you have it:

46 photography gifts, covering cameras, lenses, accessories, software, and more. Hopefully, you found what you were after – and you’re ready for a fantastic holiday season!

Now over to you:

What do you plan to get as gifts for photography lovers this year? Share your gift ideas for photographers in the comments below!

The post The 46 Best Gifts for Photographers (2023 dPS Holiday Gift Guide) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

This article was updated in November 2023 with contributions from Christian Hoiberg, Jeremy Flint, Derrald Farnsworth-Livingston, Iain Stanley, and Jaymes Dempsey.

Winter landscape photography is a lot of fun – and it doesn’t have to be hard, either, assuming you know the right techniques!

In this article, I share 16 critical winter landscape tips so you can start capturing beautiful snowy landscapes like the pros. Specifically, I discuss:

• The best time of day for winter landscape photography (this one might surprise you!)
• How to work with the weather
• The right winter camera settings
• How to enhance your winter landscape compositions
• Much, much more!

So if you’re ready to take your winter images to the next level, then let’s dive right in, starting with my first tip:

1. Pay attention to the weather

Weather can be the difference between an exhilarating photoshoot and a wasted handful of hours – so it’s always important to check the weather in advance, follow the weather on your phone, and constantly observe the conditions while you’re out shooting.

There’s not one best type of weather for winter landscape photography, of course. Instead, you need to think about the type of images you want to create, then make plans that coincide with your weather requirements. For instance:

• If you want to photograph a pristine snowfall at sunrise, make sure you choose a morning just after the snow has ended so that the blanket of white is completely undisturbed.
• If you want to photograph mountains or trees in a snowstorm, make sure you head out in the thick of the snow (or just before the snow starts). It can help to observe the snowflakes before setting off to make sure they’re reasonably large and are falling sufficiently fast; otherwise, you may struggle to capture the kind of moody winter landscape you’re pursuing.

You should also watch the weather for safety reasons. If you plan to photograph a snowy mountain scene from a high altitude, you’ll want to avoid driving in during a blizzard. Instead, you should wait until the snow stops or head out in advance. That way, you can capture the photos you want, but you don’t risk yourself or your gear in the process.

2. Make the most of winter’s longer dusks and dawns

In spite of the colder temperatures, one of the joys of winter is that the sun tends to linger longer at dusk and dawn. It also remains lower in the sky throughout the day, providing great light.

If you can brave the elements and venture outside to capture these magical moments during the winter, you are more likely to have a productive shoot and be rewarded for your efforts. One advantage of photographing at dusk and dawn in the winter is that sunrise is much later than in the summer, and sunset is earlier.

3. Set the alarm for earlier than necessary

You’ve calculated that the sun rises at 6:00 a.m., you want to get there by 5:30 to set up, it takes you 10 minutes to get there, so you set the alarm for 5:10. But be honest, it never works like this does it?

The alarm goes off at 5:10, it’s cold, you’re snug in bed, it’s dark outside, you were in the midst of a dream, and you roll back over. Missed sunrise.

How often do you ever jump straight out of bed at 5:10 to take photos, in the midst of winter? By learning this mistake, I set the alarm for 4:40 then give myself three hits on the snooze button to take me to 5:10. It never fails (unless it’s cloudy!).

4. Look for contrast to make those winter compositions stand out

After a few days of heavy snowfall, the landscape will be completely white: white trees, white lakes, white mountains, and (normally) a white sky. And when everything is white, it’s quite challenging to find a compositional focal point as nothing really catches the eye.

So what do you do?

You look for contrast – either color contrast, where you find a splash of red, blue, or green against the white – or tonal contrast, such as a splash of darkness against the bright snow.

Here’s an example of color contrast, where I found a red house against a white and gray background:

The red color is what makes this picture interesting. Without it, the scene would lack a focal point and the viewer’s eyes would have no place to rest, which would make for a bad shot.

Happily, contrast is easy to find on snowy days because it’ll catch your eye just the same as it’ll catch a photo viewer’s eye. So you can just go around with your camera, searching for an eye-catching element or two. Make sense?

By the way, I find red color contrast to be particularly pleasing in winter landscape scenes, but you can really search for any dominant color or tonal variation. Maybe there’s an autumn leaf laying on top of a thin layer of snow, or maybe you can see a few skiers wearing red jackets, or maybe you’re standing before a dark mountain surrounded by white. Just find a dominant color or tone in the otherwise white landscape, then use careful composition techniques to make it a standout focal point.

5. Photograph colorful scenes when the sun is out

Make the most of the winter light and shoot brightly-lit scenes. The bright white snow adds a certain beauty to a winter scene and can make a dull subject more interesting. A great time to shoot colorful winter scenes is when the sun is shining.

Seek out colorful vistas that may include an animal, a tree, people, a house, a building, or even a snowman. Capture their warm colors in the glowing light. You may find you will need to overexpose a touch if your pictures are coming out slightly dark to make your images slightly lighter.

6. Don’t be afraid to use manual focus

As I mentioned above, winter landscapes can be intensely white – and when you’re dealing with monochromatic scenes, your camera will often struggle to lock focus.

When that happens, you have two options, both of which are generally effective. First, you can try using the focus-and-recompose technique. Simply set your camera to its AF-S (or One-Shot AF) setting, set the AF point to the center of the frame, half-press your shutter button to lock focus on an area of clear contrast in the scene, then recompose the shot. As long as you can find some part of your shot that’s contrasty – a few rocks, a lone tree, or a river – you’ll manage to capture a photo that’s both in-focus and well-composed.

Occasionally, however, you’ll run into a situation where your scene features very little contrast or the only clear contrast exists far behind your main subject. In the latter situations, I’d recommend switching your lens over to manual focus. Then set your camera to Live View, zoom in on your LCD, and carefully adjust the lens focus ring until you get a perfect result!

7. Use exposure compensation to ensure you capture plenty of detail

Camera meters are generally accurate, but they come with a significant problem:

They believe that everything should be a neutral gray tone. So while your camera’s meter will do a great job of properly exposing for medium-toned subjects, a bright white subject – like snow – will cause major underexposure. (Why underexposure? Your camera sees the bright snow and tries to darken it down until it turns gray!)

Fortunately, cameras offer an easy solution: You can add in a stop or two of positive exposure compensation (or, if you’re using Manual mode, you can deliberately overexpose). The perfect amount of exposure compensation depends on the scene, so I’d recommend testing out a few exposure adjustments to see what works. Just pay careful attention to the highlights; you don’t want the snow to become a detailless white!

I sometimes lighten my winter landscapes even further because I like to create a bright-white effect:

Such an artistic technique won’t work for every image. But plenty of snow landscape photography can benefit from a bit of extra brightness, and you can always create multiple shots and see which you prefer!

8. Choose a cold white balance to amplify the atmosphere

Technically, you can choose your white balance in camera or – if you’re photographing in RAW – in post-processing. Either of those options works well, though sometimes it’s nice to see a preview of the white balance in camera, so don’t shy away from doing it that way (and remember: you can always change it later!).

Anyway, because winter is cold, a colder (i.e., bluer) white balance tends to look gorgeous:

Note how the cool colors enhance the shot above. The image feels frigid, wouldn’t you say? That’s thanks to the color balance.

Now, I don’t recommend you go overboard. You don’t need your shot to look like it came from a blue alien planet. But feel free to push the white balance, experiment, and see what you get!

You’re also free to tweak the white balance in post-processing, assuming you’ve shot in RAW. You can use the Temperature slider to move back and forth between warm and cool effects, and you can decide which look you prefer.

9. Seek out intimate winter landscape scenes

Many landscape photographers feel compelled to capture sweeping shots that include everything in the composition…

…but did you know that you can also create beautiful photos from intimate subjects? I’m talking about those small-scale scenes that are easy to pass by without noticing, such as:

• Berries in the snow
• Bubbles trapped in ice
• Plants poking out from under the snow
• Drooping tree branches

Winter’s embrace creates unique opportunities for abstracts and patterns. Ice on small ponds will be filled with cracks and bubbles. Generally, the more thawing and freezing that has occurred, the more the ice takes on an artistic quality. On foggy days, hoarfrost can cling to trees and prairie grass creating silvery outlines that accentuate the cold feel of the season.

Look for these patterns and use a macro or telephoto lens to zoom in and focus on them. Sometimes even the simplest patterns and shapes that are created or isolated by snow and ice can become compelling subjects.

Finding intimate landscape shots can be difficult at first, but with a bit of practice, you’ll start to notice all sorts of opportunities. And while you’re free to experiment with different camera setups, I’d recommend starting with a 50mm lens or a short telephoto macro lens. Then just see what you can create!

10. Photograph during the blue hour for ethereal winter landscapes

The blue hour refers to the time just before sunrise and just after sunset when the sun sits below the horizon and the world goes all beautiful and blue. During the blue hour, you still have enough light to shoot, yet nothing is lit directly. The light is soft and gorgeous.

And it works great for winter landscape photography.

You see, the soft light caresses the snow, making for a fairytale effect. And if your photo includes streetlights or house lights, the composition can turn even more magical. Here’s an example blue-hour image:

See the magical effect? And do you see how the lights from the cabins look truly gorgeous against the cold background?

Spend a few days shooting during blue hour, and you may start to feel overwhelmed by the cold and darkness; in other words, you’ll probably want to stay inside underneath a blanket.

But do yourself a favor. Force yourself to put on a coat, grab that camera, and get outside. The images will be worth it, even if the cold hits you like a blast in the face!

Note: You can still capture beautiful snowy landscape shots during sunrise and sunset or even around noon. But if I were able to choose just one time of day to head out with my camera during winter, it would be the blue hour. It really is that amazing.

11. Try photographing winter prairie scenes

If you don’t live near rugged mountains, gorgeous boreal forests, or stunning seascapes, don’t give up; did you know that you can capture amazing images of winter landscapes on the prairie? Sure, it can be a challenge to capture the essence of this cold terrain, but there are a few tips that can help you capture a winter landscape on the prairie. Specifically:

Embrace the sky

The prairie’s grassland flows into eternity, eventually joining with the sky at the horizon. If you want to capture the essence of the openness of the prairie, including a lot of sky is a good idea. Use a wide-angle lens, usually something in the range of 11-24mm and tilt the lens to include a large portion of the sky.

A recent snow will become a huge light reflector, and during sunrise and sunset, the ground can take on all sorts of hues – oranges, reds, and purples – that give the scene an otherworldly quality. Take advantage of these times to convey that even on the coldest days there can be a bit of warmth.

Love the little details

While capturing grand wide-angle prairie shots can be fun, be sure to get near the ground. Don’t be afraid to get your clothes dirty and wet while getting low. Tracks in snow, prairie grass, snow on branches, these little details help provide context and shape the story of winter on the prairie.

Choose a fairly wide aperture to give the background a nice blur and isolate your subject. Including the low sun in the composition can add an interesting element to the composition of a winter landscape.

Be open to other options

When preparing for a sunrise or sunset shoot on the prairie, it’s always a good idea to keep your options open. Scout around and find 3-4 locations facing in various directions, just in case the light turns out better in one direction than another. Find your ideal positioning and frame some shots in all of these locations so that you can quickly move if conditions change (and always assume they will!).

Set up your tripod in your ideal location and frame your shot. As the light changes, check the locations and angles you chose earlier. If you use a quick release with your tripod, you can remove your camera to check if there are stronger compositions. If so, grab your tripod and move to the new shot. You’ll find your keeper rate will rise with a little pre-planning!

12. Bring extra batteries and keep them warm

If you photograph in the bitter cold, then this tip is absolutely essential. Batteries drain much quicker in winter, and if you shoot mirrorless or you use Live View for most compositions, you’ll soon find yourself without a drop of charge – unless you remember to bring plenty of extra batteries. Original-manufacturer batteries can be pretty pricey, so you might want to consider purchasing third-party batteries. (Some people love them and some people hate them; in the end, the choice is yours!)

By the way, it’s a good idea to keep spare batteries in an inner pocket of your jacket. That way, the batteries stay warm, which prevents the charge from draining fast. And once you’ve finished with a battery, put it back in your coat; you can sometimes “resurrect” dead batteries with a bit of coat warmth!

(Make sure, however, you don’t put your camera in your coat. That may cause the lens elements to fog up, which is very problematic.)

13. Keep your gear clean and safe

Snow and cold may not seem quite as threatening to your gear as rain or sea spray, but they can still cause problems. Snow can collect on the front of your lens and cause blur; it can also melt inside your lens and – if left unchecked – lead to mold or rust. And cold can cause your equipment to fog up and/or turn frosty, neither of which are good for your images (or your gear!).

Therefore, I encourage you to take a handful of steps to actively prevent cold-weather problems:

• Don’t change lenses in snowy conditions
• Keep a towel and rocket blower handy to wipe the snow off your camera and lens
• If the snow is heavy, consider using a rain cover
• Always leave your gear in a tightly sealed bag when moving from cold to warm environments (and give the gear a few hours to acclimate before taking it back out)
• Don’t breathe on the front of your lens

14. Keep yourself warm

One of the most important challenges with photographing winter scenes is keeping warm. It is amazing how quickly your body temperature can fall when standing still and photographing in the cold.

Wear layers to keep the heat in (thermal and wool base layers work well). Wrap up warm with gloves and a hat and consider hand (heat) warmers. These are great for heating your hands after they have exposed them to the elements, especially if you have to remove your gloves to navigate the camera buttons when taking photos.

There are winter gloves designed specifically for photographers. The thumb and forefinger flip back so you can keep your hands warm while photographing. Consider investing in a pair if you will be in snow and cold a lot.

Also, bring snacks and water to stay energized and hydrated.

15. Consider purchasing shoes with spikes

Think about it – you’re an avid photographer with lenses, filters, batteries, and your camera. You put the camera in your bag, pull your shoes on, head to a snowy location – and bam, you fall over on the ice. Either you or your bag gets hurt, and neither is a desired result.

Try investing in the little crampons that hikers use in icy conditions. They work well, but make sure that you put them on over waterproof boots if you want to avoid getting your feet cold and wet.

16. Don’t forget to edit your winter landscape shots!

As a landscape photographer, you should do your best to get your photos right in the field.

Yet you should also spend time editing your winter landscape shots, if only briefly. A bit of editing can dramatically improve nearly every winter landscape you capture, so I encourage you to review each image, then test out a few presets or play around with a few sliders (at the very least).

In particular, I’d recommend tweaking the white balance (as I mentioned above, I favor a cooler color cast, but you can push the Temperature slider until you get an effect you like), adding a bit of contrast, subtly boosting the exposure, fine-tuning the tones (especially the highlights and shadows), and experimenting with different hues and saturations.

Your editing skills will develop over time, but even a few minor adjustments can go a long way!

Winter landscape photography: final words

Hopefully, you can now confidently photograph winter landscapes – so the next time you get a nice snowfall, head outside! Take some photos, appreciate the beauty, and have plenty of fun.

Now over to you:

Which of these tips do you plan to use first? Do you have any winter landscape photography techniques of your own? Share your thoughts in the comments below!

The post 16 Tips for Gorgeous Winter Landscape Photography appeared first on Digital Photography School. It was authored by Christian Hoiberg.

This article was updated in December 2023 with contributions from Kaspars Grinvalds, Karen Quist, and Darlene Hildebrandt.

Want to know how to pose men so your portraits consistently shine? Posing men isn’t especially difficult, yet many beginner portrait photographers struggle to produce nice, clean, high-quality results – and that’s where we come in.

In this article, we share 21 male posing ideas, ranging from simple, beginner-focused ideas to complex options for experienced photographers. We include a mix of styles, including corporate, informal, fashion, and more – so no matter your preferred genre of photography, you’re bound to find a pose or two that works.

Plus, we offer a handful of expert tips for male portrait photography; that way, you can confidently handle your future photoshoots!

Let’s dive right in.

How to pose men: 21 ideas

Without further ado, here are 21 outstanding male poses that practically guarantee stunning results:

1. Upper body with crossed arms

Let’s start with a very simple male pose:

Ask your subject to stand up straight, cross their arms, turn one shoulder slightly away, bring their chin toward the camera, and smile.

It works for plenty of portrait styles: informal (e.g., family portraits or senior portraits), business portraits, and even fashion shots.

Two things to watch: The shoulders should be pulled back a little, and the stomach muscles should be kept in check.

2. Full body with crossed arms

Crossed arms work in full-height shots, as well.

So use the same posing guidelines as above, then ask your subject to cross one leg in front of the other. But make sure the body weight is not supported equally on both legs; that will look awkward!

This pose is especially nice for informal photoshoots, such as a family portrait session.

3. One hand on a hip

A recurring question from your subject might be, “Where should I put my hands?”

But while hands are often a point of confusion and awkwardness, the solution is actually quite simple. There are four places a subject can position their hands, and they can be mixed and matched in any combination:

1. Loosely by the side
2. On the hips
3. In the pockets
4. Crossed on the chest

Note that hands should always be relaxed, which means no muscle pressure (unless you’re photographing a bodybuilder!)

For this pose, the man should put one hand on his hip, stand square to the camera, and let the other hand dangle loosely – though feel free to experiment with different hand positions, too!

4. Full body with hands in the pockets

Here’s another casual pose for a man standing upright.

Ask your subject to square his body to the camera, with his weight equally distributed on both legs and his nose pointed at the lens. In general, I recommend that the hands go in the pants pockets, thumbs out; this is a surefire way to achieve a natural and relaxed pose. However, you can use jacket pockets, too!

5. Clothes over the shoulder

This pose is a bit edgier and fashion-conscious. It can work for corporate or fashion shots but should be avoided during family and senior portraits.

Ask your subject to cross one leg over the other, look at the camera, hook a thumb in their pocket, and throw an item of clothing – such as a suit jacket – over their shoulder. The more casual and relaxed they look, the better!

6. Sitting with one ankle on the knee

Sitting poses tend to be pretty casual, and this one is no exception. Provide your subject with a block or a chair, then ask them to cross their arms and lift one ankle over their knee.

For the best results, shoot slightly from above.

7. Leaning back against the wall

This is one of my favorite upright poses, simply because it’s ultra-easy and looks really great.

Just have your model put their back to a wall and casually recline. Their hands can go in their pockets, and – for a bit of additional flair – ask them to put one foot against the wall (while the other stays flat against the floor).

8. Leaning sideways against the wall

This is a variation on the above pose. Simply ask your model to turn so one shoulder presses against the wall, then encourage them to cross their legs.

While you can certainly use a hands-in-the-pockets look, try asking your subject to cross their arms instead. Crossed arms are more formal and work well for business portraits.

9. Upper body with an item in the hand

This one’s a very simple pose for a business portrait. Ask your subject to face the camera with one hand in their pocket and the other dangling freely, an item held in the hand (e.g., a laptop, a book, or even a tool).

(If possible, ensure that the items are clear indicators of the subject’s occupation.)

10. Sitting on a desk

Here, you’ll need a relatively sturdy desk. Ask your subject to sit firmly on the edge; you’ll get a very relaxed, yet professional, result. You can experiment with different hand positions, but hands in the pockets or resting on top of the legs works great.

11. Sitting at a desk

Here’s another simple male pose for a business portrait: A man sitting at a desk.

Ask your subject to sit forward slightly. You might also have him rest his chin on his hand while letting the other arm sit on the desk surface. Alternatively, you can have him place his hands together for a more relaxed look.

To reveal the subject’s profession, place work-related items around his arms, such as books, charts, or tools.

12. Sitting at a desk, one arm up

This is another business-style portrait, but with a little extra flair. Ask your subject to sit at a desk and lean forward slightly – but one arm should come across the desk in a V-shape, while the other should fade back.

When done properly, your subject’s shoulder should tilt toward the camera, and their nose should follow.

13. Turned in a chair (away from a desk)

To show the work environment while removing the distance created by a foreground desk, flip the shot around. Ask your subject to sit in their desk chair, but spin around so that they face the camera.

One hand can go on the desk, while the other arm can dangle off the chair. The result?

Formal and inviting.

14. Arms crossed on a desk

Continuing with the desk theme, this composition puts the desk off to the side, with your subject leaning forward, arms crossed on the desk surface.

Ask your subject to tilt one shoulder toward the camera, while pointing their nose at the lens. Again, you could place work-related items on the desk to hint at the subject’s profession.

15. Standing next to a chair

Chairs are great props, and they can easily make a portrait both engaging and interesting. So ask your subject to stand upright with their legs crossed. Add in the chair, then encourage them to place one hand on its back, the other in their pocket.

Professional looking? Yes. But also fun, eye-catching, and a little bit suave.

16. Relaxed in a chair

If you’re taking corporate or even fashion portraits and your subject is struggling to get comfortable in front of the lens, why not make them comfortable – literally?

Just ask them to sit in a chair, lean back, smile, and cross one leg. Later, you can move on to more complex poses, but you’re bound to get a good shot or two out of this simple idea!

17. Sitting on the ground

For business-style portraits, this type of pose is best avoided. But if you’re doing family photo sessions, senior portraits, or another type of informal shot, you’ll love the casual, relaxed images you can capture.

Simply ask your subject to sit on the ground, one arm holding them up from behind and the other dangling over the knee. You might also try a leg cross (as pictured below), as well as other shooting directions and angles.

18. Reclining on the ground

Here’s another variant of a man’s pose while sitting on the ground. Ask your subject to sit, then to lie back while supporting his weight with one arm.

Unlike the male pose displayed above, the subject’s second arm should dangle behind. And make sure the upper arm is completely hidden – otherwise, the shot may turn out a tad awkward.

19. Sitting on the ground with arms over knees

This one’s an easy and relaxed pose for a sitting man. It works well for family portraits, senior photoshoots, and other informal purposes, though it’s best avoided for serious corporate photos.

Ask your subject to sit on the ground with one leg out (knee bent!) and the other leg tucked slightly under the opposite calve. Have them bend forward and rest their forearms on their knees.

20. Reclining against a wall

Here’s one final informal male posing idea, and while it may feel overly relaxed for certain situations (even senior portraits), it’s a great fit for more carefree subjects.

Ask your subject to sit on the ground, supporting their back against a wall, a rock, or even a tree. Encourage them to lean back in a resting pose and bring one leg back while leaving the other straight. You can experiment with different hand positions, though I’d recommend using the illustration as a starting point:

21. Close-up headshot

This is a male pose that never fails, no matter your intent. Corporate, senior portrait, website shot – the close-up headshot won’t let you down.

Ask your subject to sit forward and rest their elbows on a solid surface such as a desk. The hands should overlap loosely and rest comfortably next to your subject’s chin. Test out different head positions, though begin with a look straight toward the camera.

Oh, and one last tip: Never be afraid to crop around your model’s face!

Tips for posing and photographing men

Of course, even once you have plenty of ideas for posing men, you need to know how to approach a male photography session – and you also need to know how to think about posing more generally. In this section, I share my best tips and tricks for great shots, including:

• How to create flattering male poses
• How to keep men engaged in the photography process
• How to get the best results when retouching your portraits
• Much more!

1. Include him in the consultation process

One of the most common complaints I encounter on portrait photography forums is that men tend to be very reluctant when involved in family photoshoots. They turn up to the family shoot looking like it’s the last place on earth they want to be, and their crankiness is infectious. Pretty soon, everyone is annoyed, and it makes your job of capturing all those joyful family connections close to impossible.

I confess that this was also one of my bugbears – until I realized a problem. You see, I was often leaving male partners out of the consultation process. And in every grumpy dad case I encountered, I mistakenly assumed that the woman I spoke with during the consultation would communicate everything to their partner and communicate any concerns their partner might have.

Following a major light-bulb moment, I started to include men in the consultations, and it made a world of difference. As it turned out, my male clients just wanted to be heard! The more you engage with men before the shoot, the more comfortable they will be when you’re wielding a camera, and the better the photos will turn out. (This applies whether you’re photographing a paying client, the guy next door, or your brother.)

So before you conduct a photoshoot that involves a man, talk with him. Ask him if he has any features he’s sensitive about (a prominent nose, a double chin, acne scarring, and a bit of a tummy are common sensitive areas). Allow him to express his insecurities without feeling silly, and reassure him that you can work around these via posing, camera angles, lighting, and post-processing.

Ask him what kind of clothes he feels good in, and make sure he understands how these may work for or against him in photographs. Tread gently; if it’s a family session, there’s a good chance his partner is already on his case.

Finally, if a man makes the effort to dress well for your photoshoot, show him the same respect by paying attention to detail in the editing process. Zoom in close and check for stray hairs his razor may have missed, loose threads, and even smudges left by a child’s fingers.

2. Find purpose and meaning

Before conducting your session, ask the man why he wants the photos taken. If it’s an individual portrait, what is he using it for? If it’s for professional purposes, what kind of work does he do? What kind of look does he want? Then tailor your compositions accordingly.

If he’s a passionate kite-surfing instructor, he may not appreciate a moody black-and-white portrait; instead, he’s much more likely to want an image full of color and action. On the other hand, a budding author may love the black-and-white look!

If you’re doing a family shoot, ask him questions about the family. It sounds like a no-brainer, but you’d be surprised at how often this important step is missed. What does the family like to do together? What is special about his partner? What does he love most about his child or grandchild? Dig deep, and listen to his answers. You’ll appreciate what he reveals, and you can incorporate the insights into your photos.

The image below shows dad with my eldest daughter, and it’s one of my personal favorites. He told me he loves the fact that, even though she is a teenager, she still takes his hand or his arm when they go for walks together through the forest near his home. I like how the arch of the trees frames them. To me, it suggests they are walking toward the future together.

The man in the photos below told me that he marvels at the smallness of his new daughter’s hands and feet. Like many young dads, he is at a very busy stage in his professional life. Often his baby is asleep by the time he gets home at night, so he cherishes the quiet moments they get to spend together.

The photo below features two cousins. They played together as children but have lived on separate continents since their families emigrated from their native country when they were young. I was astonished by how similar their gestures and body language were despite having lived apart for most of their lives, and I wanted to capture that in a photograph. The ocean is symbolic in this photo; though it usually separates them, when I pressed the shutter, they were both on the same side of it.

3. Give him something to lean against or sit on

Regardless of the amount of time you spend preparing, many men are profoundly uncomfortable in front of a camera, especially at the start of a shoot. And if your subject feels uncomfortable, that will come through in the photos, resulting in stiff, awkward, less-than-optimal shots.

So start by asking your subject how they feel in front of the camera. Observe their body language, too, as you take your first few shots. If your subject does seem awkward just standing, ask them to lean against a vertical surface such as a wall, fence, lamppost, or car. It will help them feel anchored and will allow them to angle their body without looking unnatural.

Another option is to find something for them to sit on, like a chair, a bench, or even a rock. You’ll be surprised by how easily it helps your subject relax.

4. Minimize a double chin, a prominent nose, or heavy jowls

Men often have certain features they prefer to deemphasize. It’s important to ask them about this in the consultation process; encourage them to be honest, and ensure that they feel safe sharing these insecurities with you. Often, the list will include double chins, prominent noses, and heavy jowls, so you should take steps to minimize these in your photos.

One way to hide a double chin is to shoot from above eye level with your subject leaning slightly forward. If he’s seated, ask him to rest his forearms on his thighs and angle his knees 45° away from you.

You can also use lighting to your advantage. Strong, directional light can visually slim a face or a torso – it’s a trick that often comes in handy!

The photo on the left was shot from below eye level (the subject was taller than me and was standing) with light falling on both sides of his face. But the photo on the right, where my subject was seated and leaning forward with their head angled away from the camera, is more flattering. Note how strong light reflected off a wall in the late afternoon casts his neck and the left side of his face into shadow.

5. Give him something to do with his hands

When people are facing a camera with their arms hanging down at their sides, they suddenly become self-conscious. “What should I do with my hands?” they ask. And they’re onto something: Dangly hands generally don’t look good! So what do you do?

Instead of letting the hands hang awkwardly, ask him to put one or both hands in his pockets or loop his thumb over his belt. If he’s sitting, have him interlink his fingers or clasp his hands together. If you’re doing a family photoshoot, have him hold a baby or clasp a child’s hand.

You might also consider adding props (depending on the type of male photoshoots you’re conducting). For instance, your subject could hold a book (if he’s an author), a guitar (if he’s a musician), or even an umbrella (if you’re going for a moodier image).

6. Pay attention to the little details

Details such as eyes, lips, and hands help tell a story, and they often depict the connections between people. Of course, you should make sure to get all the wider shots – but don’t forget to zoom in every so often (a close-focusing lens is a big help here) and capture the details, even if they don’t seem like showstopping portrait material.

Hands are a personal favorite of mine. They’re a powerful expression of emotional connection and tenderness, and because of their size, men’s hands are often visually striking when placed side by side with the hands of children.

The portrait below shows a tender and playful moment between father and daughter. His hand is large next to hers, and she smiles as he kisses milk froth from her fingertips.

7. Don’t forget about retouching

Let’s face it: Cameras can be brutal. They do a great job of capturing all those little imperfections the naked eye generally doesn’t see, and they hold it in a static image for the eye to contemplate.

In some styles of male portraiture, this is actually useful. Elderly men with craggy faces are popular subjects for travel photographers and photojournalists. However, wrinkles and blemishes are not something you want to highlight in family photos or corporate headshots, so it’s important that you spend some time removing or minimizing these items in the editing room.

Men will give you hints during the consultation and the shoot. If he cracks jokes such as, “Can you Photoshop me to make me look 10 years younger?” or “Can you make me look like George Clooney?” he’s probably only half-kidding. Just because he’s a man doesn’t mean he’s okay with acne or out-of-place nose hairs.

Now, when it comes to editing, much will depend on your personal style. While I’m not a fan of heavily edited portraits, I still follow a careful Lightroom workflow. With men, I use the Brush tool to soften skin, but the effect is always subtle (his skin probably shouldn’t appear softer than a woman’s or child’s skin in the same photo).

When it comes to blemishes, my rule of thumb is to remove anything that is temporary. Pimples, scratches, stray hairs – if it’s going to be gone from his face in a couple of weeks, I’ll remove it from his face in the post-processing stage. But unless the client specifically asked me to, I wouldn’t remove a mole or a birthmark.

Additional resources for posing men

Looking for additional advice on creating amazing male poses? First, check out this hands-on video from Adorama; in it, expert portrait photographer Emily Teague walks you through the basics of masculine posing:

In this second video by Creative Live, instructor Jeff Rojas talks about body language and things to watch for, and also to avoid when posing males. Do you know what clenched fists or hands below the belt line mean? Watch this clip and find out.

Finally, give this Jerry Ghionis video a watch. Yes, it’s long, but the tips that Jerry provides are invaluable, and he does an amazing job of showing exactly what you need to do for top-notch male poses.

How to pose men: final words

Hopefully, you now have a starting point for your male poses! Remember that there are no absolutes; each sample pose might and should be adjusted depending on your shooting environment and scenario. There is no need to overdo anything.

In reality, all you need for good people portraits is simplicity:

Simple backgrounds, simple clothing, simple poses, and natural expressions.

Now over to you:

Do you have any tips for posing men that I missed? Any favorite male poses? Share your thoughts in the comments below!

The post How to Pose Men (Posing Ideas + Male Photography Tips) appeared first on Digital Photography School. It was authored by Karen Quist.