This article was updated in January 2024 with contributions from Daniel Korzeniewski and Jaymes Dempsey.

When I was first delving into photography, chromatic aberration (or CA) was a huge fear of mine. I had heard that it could ruin my images, and I knew what it looked like, but I didn’t know how to deal with it effectively.

Fortunately, I eventually learned that while chromatic aberration can create unpleasant, amateurish-looking images, Lightroom offers a way to get rid of it – and it’s so easy that practically anyone can do it.

In this article, I share a simple, step-by-step method on how to fix chromatic aberration in Lightroom. I also offer several more advanced techniques for handling CA, and while my approach won’t handle every instance of CA, it’ll certainly do a great job in the majority of cases.

Ready to get rid of chromatic aberration like a pro? Let’s do this!

What is chromatic aberration?

Chromatic aberration is an optical phenomenon caused by lens imperfections; more specifically, it is a failure of the lens to focus all colors at the same point.

CA appears as purple or green fringing along high-contrast edges. See the ghostly colors at the edges of the building below? The fringes are clearly visible when the image is cropped to 100%:

Not all images suffer from chromatic aberration. Lower-contrast scenes tend to result in little-to-no obvious CA, whereas high-contrast shots – depicting a bird against a cloudy sky, for instance – often feature lots of noticeable fringing. And photos captured with a narrow aperture (e.g., f/8) tend to have less fringing compared to photos captured with an ultra-wide aperture (e.g., f/2.8).

Additionally, chromatic aberration can be variable even within the same image; lenses tend to produce more CA toward the edges of the frame, so when you’re checking for fringing, make sure that you look over the entire shot!

The quality of the lens also plays an important role. Expensive professional lenses are carefully designed to suppress chromatic aberration. On the other hand, cheaper lenses, such as the kind you find in a beginner’s kit, are often plagued by major CA, especially at their widest apertures.

But even the best gear can produce chromatic aberration on occasion, which is why it’s a good idea for every photographer to learn to remove fringing in Lightroom. It’ll help your photos look better on screen, and it’ll improve your prints, too.

One more thing:

Chromatic aberration may be apparent when zoomed in to 100% or 200%, yet it might not appear when viewing an image at lower magnifications. In such cases, you don’t need to remove the CA if you simply plan to share the image online. But if you hope to crop or print the image, you’ll probably want to do some CA correction.

How to fix chromatic aberration in Lightroom

In this section, I explain the exact steps for removing CA in Lightroom.

The process I’m about to share can work on JPEG files, but the result is much better on RAWs. (This is one of the many reasons you should shoot RAW whenever possible!)

Step 1: Find the Lightroom Lens Corrections panel

The Lens Corrections panel is located in the Develop module. You’ll need to scroll down toward the bottom of the panel array, past Basic, Tone Curve, and more:

Make sure the panel is open; you should see a Profile and a Manual section at the top.

Step 2: Enable chromatic aberration removal

Next, you’re going to apply Lightroom’s basic chromatic aberration removal option.

Simply find the Remove Chromatic Aberration checkbox under the Profile section, then make sure it’s checked. Lightroom will go to work identifying and removing any CA present in the file:

(While you’re at it, go ahead and check the Enable Profile Corrections box. That way, Lightroom will attempt to recognize your lens model, and then automatically compensate for any standard distortion or vignetting issues.)

After you’ve enabled the Remove Chromatic Aberration option, zoom in to 100% and evaluate the image, playing particular attention to any high-contrast edges as well as the edge of the frame. Is any chromatic aberration visible? If not, then you’re done – but if you can still see some CA that you think is a problem, continue with the next step:

Step 3: Manually correct chromatic aberration

If you’ve proceeded to Step 3, then some of your chromatic aberration has likely been removed, but there’s still some stubborn fringing that needs to be dealt with.

Click on the Manual option within the Lens Corrections panel. Zoom in to 100% again, then grab the eyedropper tool:

And select the offending chromatic aberration with the tip of the dropper:

You’ll see the Amount and the Purple Hue/Green Hue sliders shift as Lightroom identifies and fixes the remaining chromatic aberration.

Finally, if you check your image at 100% and still see CA, go ahead and move the Defringe sliders manually. The Purple Hue and Green Hue sliders let you target the precise fringing colors (note that the hues between the two slider points will get removed by Lightroom). Then, when you boost the Amount sliders, Lightroom will remove the remaining fringing.

Remember that building image I shared at the start of the article? After some Lightroom chromatic aberration removal, here is the final result:

As you can see, the chromatic aberration is essentially gone and the image looks far better.

And here’s the final shot without the 100% crop:

What if Lightroom can’t remove all the chromatic aberration?

Lightroom’s CA removal tools are excellent, but you’ll occasionally run into situations where the program fails.

So what do you do then? Do you just give up?

While Lightroom doesn’t offer much for additional chromatic aberration removal, you can always right-click on the image and select Edit in Photoshop. There, you can do some clever blending, masking, and even cloning to get rid of the remaining CA.

Is chromatic aberration always a problem?

Cheaper lenses tend to produce more chromatic aberration, so the effect is associated with low-grade optics. And CA can hurt edge sharpness. But is it always bad? Does it always need to be removed?

In my view, you can forget about CA removal in a few specific cases.

First, if you’re planning to convert the final image to black and white, sepia, or some other monochrome look, then removing chromatic aberration is completely pointless. The monochrome conversion will take care of the CA, and you’ll be left with a pristine image.

(In fact, if you can’t seem to get rid of your CA, then you should try converting the shot to black and white!)

Second, in certain situations, chromatic aberration can be used for creative effect. If you like to freelens, for instance, CA can add to that distorted, vintage-style look. Sometimes, fringing isn’t so bad – so if you’re ever unsure whether removing CA is the right move, try activating and deactivating Lightroom’s Remove Chromatic Aberration option. And see what you prefer!

How to fix chromatic aberration in Lightroom: final words

Now that you’ve finished this article, you know how to remove CA using Lightroom’s tools.

And you hopefully agree that removing chromatic aberration in Lightroom is a piece of cake!

So go test the step-by-step process on your photos. And the next time you capture a shot with too much CA, I encourage you to try this approach. In most cases, it’ll get rid of the fringing in about two seconds!

Now over to you:

Do you have any CA removal tips that I missed? Share your thoughts in the comments below!

The post How to Remove Chromatic Aberration in Lightroom appeared first on Digital Photography School. It was authored by Daniel Korzeniewski.

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.

Want to capture mouthwatering food photos? Then you must master food styling, which is the art of making your food as attractive as possible.

I’ve been doing food photography for years, and over time, I’ve developed plenty of food styling techniques for incredible results. In this article, I share my 14 favorites, including:

• How much food to use in each photo
• The technique pros use to keep ingredients looking fresh
• Simple elements you can add to enhance the food
• An easy way to come up with plenty new food styling ideas

Whether you’re snapping photos for a blog, a cookbook, a client, or just Instagram, these tips can make a significant difference in how appetizing your food looks. So if you’re ready to style food just like the pros, then let’s get started!

1. Use less food than you normally would

Beginner food stylists tend to pile plates high with food, but this is a mistake.

You see, while you may think that more food makes the dish appealing, an overcrowded plate can actually look far worse than a minimalist spread.

So instead of heaping spoonfuls and dollops and giant scoops of food onto your plates, take a step back. Then add a small amount of each food item to your arrangement. (This should be less food than the average person eats.)

Minimal food will create lots of space, which you can then spice up with cutlery, napkins, cups, and little garnishes (e.g., sprinkles of spices from the dish).

But note that this “overcrowding” rule also applies to props. So while it’s okay to add a few little items to your arrangement, don’t go overboard!

2. Add texture to plates and bowls

Most plates and bowls are smooth and shiny, but this causes problems.

For one, a shiny object is tough to photograph, especially if you’re using artificial light. Your light will create blown-out highlights on the bowl, which you’ll struggle to remove in post-processing.

Plus, shiny objects lack texture. Texture is great because it helps the viewer feel like the scene is real – like they could reach out and grab the food.

So what do you do?

I’m a big fan of adding paper to food arrangements. I don’t add anything elaborate or distracting, but I do find that lining plates with parchment or baking paper adds texture, plus it prevents unwanted highlights.

Make sure you’re very careful with the positioning of your paper. You don’t want edges to flip up and obscure the food, and you definitely don’t want the paper to look so wrinkly that the whole dish becomes unappetizing.

(Also, as I emphasized in the previous tip: Don’t overdo it! Too much paper is a problem. Include paper, but use it sparingly.)

3. Add any fresh food at the end

One of the biggest mistakes in food styling is placing all your ingredients on set from the get-go. Sure, your setup may look beautiful at first, but some foods just don’t sit well. Leafy greens wilt, ice cream melts, and that perfect steak loses its juicy sheen.

Delicate items like fresh fruit are particularly susceptible, and the result is a photo that’s far less appetizing than it should be.

So what’s the workaround? Keep those sensitive food items refrigerated, frozen, or warm in the oven until you’re ready to shoot.

And while these items are waiting off-set, take some time to visualize your composition. Plan where each element will fit, so when you finally bring out that dish of ice cream or that glistening steak, you know exactly where it goes!

4. Create background contrast

Many food photos feature white plates on a white background – and while this can be visually striking, I encourage you to go for contrast instead.

So instead of using white on white, put a white plate on a dark wooden background, or use darker plates on a white background.

Note that the food should also contrast with the background. If the food is eye-poppingly colorful, I like to add a simple white background. But if the food is relatively plain, a dark background – especially a dark background with texture – is often the better move.

That’s what I did for this shot, which features white plates and relatively bland colors:

Do you see how the dark, textured background helps make the food pop?

5. Allow food to spill over naturally

As a food stylist, your instinct might be to keep things nice and neat.

But while it’s certainly good to avoid unwanted mess, a little bit of deliberate mess can make a huge difference.

A bit of spilled sauce or a line of breadcrumbs really helps add movement and life to a food photo, whereas a clean shot often comes across as sterile and boring.

I’d especially encourage you to add mess in specific directions. Use the spills to create lines that direct the viewer from one plate to another.

Of course, make sure your spills look relatively controlled. And after you apply each bit of mess, go back through with a careful eye and make sure the mess looks good (rather than distracting).

6. Apply a glycerin-water mix for a fresh look

There’s something about fresh food that’s visually enticing. A juicy slice of watermelon or a chilled glass of lemonade can look incredibly inviting. But if you’ve ever tried to capture that freshness, you know it’s a tricky affair.

Water is a great way to convey freshness; a quick spritz can add a bit of shine to fruits, vegetables, and beverages. But try such an approach, and you’ll quickly realize that water droplets tend to evaporate or slide off quickly. That’s where glycerin comes in.

This magical liquid holds its shape and position much better than water, yet it looks very similar. For a good result, mix equal parts glycerin and water. Then transfer this mixture to a spray bottle.

Then give the food a spray! Don’t overdo it, of course, but a light misting on your fruits, veggies, or drink glasses will give them a tantalizing freshness that lasts.

I’ve often found that a few spritzes can be the difference between an average photo and an outstanding one. And the best part? This glycerin-water mix is affordable and easy to make, meaning there’s no excuse not to add this trick to your food styling repertoire!

7. Choose (simple) crockery and tableware

If you want to give your food photos a complete feel, it’s a good idea to add silverware, serving dishes, and other little props that’ll enhance the composition and tell the story.

However, you must select your items carefully. While highly decorative china and napery are beautiful on their own, they can detract from the visual impact of the food. And while flashy, ornate silverware might seem attractive, it can draw the eye away from the main subject.

So keep your props simple. Plain items allow the food to be the star of your shot, so go for simple colors and designs. When in doubt, plain white or plain black both work great!

8. Emphasize the natural beauty of the food

Many beginner food stylists struggle to start a food composition. They look at a blank tabletop and feel overwhelmed by the possibilities.

So here’s what I recommend:

Before you lay down a single item, think about what it is that makes a particular dish so delicious.

Then create the entire arrangement in service of that idea.

For example, if you’re photographing a delicious brownie with a soft chocolate center, consider breaking up the brownie to reveal the gooey inside. Then put the brownie on a white plate in the center of the arrangement, and use various props – such as a fork and a napkin – to direct the viewer toward the brownie.

Of course, every food item can be approached from different directions, and there’s no real right or wrong here. What’s key is that you identify the story you want to tell – and that you style the food so that the story is clearly conveyed.

9. Create a setup with visual flow

In food photography, composition makes such a difference. A cluttered, disorganized setup not only distracts but also fails to guide the viewer through the culinary story you’re trying to tell. Therefore, one of the secrets to a captivating food photo lies in its visual flow.

What does this even mean? Think of visual flow as a pathway that guides the viewer’s eye from one element of your composition to the next. The more flow you can create, the more engaging the photo will be.

Let’s talk tools. Cutlery, linens, and garnishes will help you create that sense of visual movement; a strategically placed spoon or a casually draped napkin can serve as visual cues, pointing the way from the appetizer to the main course, or guiding the viewer from one end of the frame to the other.

I’d recommend practicing first without the food. Just arrange plates, cups, and cutlery. Experiment with linens and garnishes until you’re satisfied with the flow. Once you get the hang of it, you’ll be able to work more efficiently when the food is ready to be styled.

You’ll find that viewers linger longer on photos with good visual flow. And the longer they engage, the more likely they are to appreciate the delicious details you’ve so carefully arranged!

10. Clean up distracting details

It’s often the little things that distinguish a professional food photograph from an amateur one. If you look closely at high-quality food photos, you’ll see an impeccable level of detail. Not a crumb out of place, no smudges on the dishware, and certainly no accidental sauce drips marring the scene.

However, achieving this level of perfection isn’t as easy as it looks. Let’s face it, food can be messy. That’s why it’s essential to be proactive about cleaning up those distracting details. I’d recommend grabbing a few handy tools that you can use while on set. Small paintbrushes or makeup brushes can sweep away crumbs, and tweezers can place that rogue piece of parsley exactly where it needs to go.

But don’t just focus on the food. Take a moment to scrutinize the entire setup. Plates, cutlery, and glassware should be free of smudges or fingerprints. (A quick wipe with a cloth can make all the difference!)

Of course, you might still miss a few spots, and that’s okay. In such situations, post-production software like Photoshop can be a lifesaver. But remember: it’s always better to get it right the first time. Editing can be time-consuming and sometimes may not yield the most natural-looking results, so do your best to get rid of any problematic details before taking photos.

11. Style some work-in-progress shots

As a stylist, it’s easy to focus on creating that final, plated food shot.

But in truth, there are plenty of stunning opportunities along the way!

So try to style a few shots as the food is cooked. For instance, you can create a composition using raw ingredients (and lots of mess!). You might also create a composition that shows the food cooling after coming out of the oven.

And feel free to get creative. You don’t have to style the food on a standard table; instead, you can work with the food on the stovetop or even in the oven. Just remember to apply the techniques I’ve shared throughout this article, and no matter where you’re working, you’ll get great results.

12. Always be on the lookout for ideas

If you do enough food photography styling, you’ll start to use the same type of arrangement again and again.

And while there’s nothing wrong with repeating solid arrangements, it’s also good to break out of your comfort zone and come up with fresh food photo ideas.

A great way to generate styling ideas is by looking through cookbooks and food magazines. Simply flick through and take note of what looks appealing and what doesn’t. Don’t copy directly, of course, but do keep a little list of ideas that you can try down the line. (It can also be fun to find an arrangement you like, then adjust it for a fresh look.)

If you prefer to look at food photos online, you can always create a Pinterest board dedicated to your favorite food styling. Every time you find some well-styled food, just add it to the board – that way, the next time you’re in need of new ideas, you can open the board and generate some instant inspiration.

13. Have a heat gun ready

If you’re ready to take your food styling to the next level, a heat gun can be an invaluable addition to your toolkit. Ever wondered how professionals capture that freshly baked look? Or how they manage to keep the cheese on a pizza looking like it’s just melted?

A heat gun can rejuvenate foods that have lost their fresh-out-of-the-oven appeal and is especially effective when styling foods with a melty or gooey texture. Imagine a brownie that’s cooled down and lost its molten center. A few seconds with a heat gun, and it’s as if it’s fresh from the oven.

But be careful! Heat guns are dangerous, and you’ll need to handle the gun carefully to avoid burning the food or, worse, injuring yourself. Always turn it off when not in use, and keep the nozzle pointed away from you or anyone else.

Also, be conservative in your use of the heat gun. Too much heat, and you could end up cooking the food further instead of just improving its look. A few seconds are usually all that’s needed to bring back that irresistibly melty effect.

14. Style the food after it’s been served

Here’s your final food stylist trick:

Don’t just arrange uneaten food. After you’ve created some work-in-progress compositions and a final, plated shot, serve a slice of the food. (You can eat this if you want!)

And then create another arrangement that highlights the missing or served food. In my experience, a half-finished plate is often more appetizing than the original whole!

Depending on the type of food you’re shooting, you may need to work fast. But that’s all part of the fun, and even if you fail to get a great “served” shot, there’s always next time.

Food photography styling tips: final words

So there you have it:

A comprehensive guide to food photography styling that touches on everything from the basics to advanced techniques. If you’re wondering whether these extra steps are worth the effort, trust me: they are! Small details matter, and that’s especially true in food photography where the goal is to make the viewer’s mouth water.

So incorporate these tips into your workflow and you’ll see a marked improvement in your food photo styling. You’ll create dishes that not only look delicious but also tell a compelling story!

Now over to you:

Which of these food stylist tips do you like best? Which do you plan to use in your photography? Share your thoughts in the comments below!

About the author: Jules Clancy is a qualified food scientist and self-taught food photographer. She blogs about her commitment to cooking recipes with no more than five ingredients over at Stonesoup.

The post 14 Tips to Improve Your Food Photography Styling appeared first on Digital Photography School. It was authored by Guest Contributor.

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.

Your choice of backdrop can have a huge impact on the final look of your photos; it’s why professional food, product, still life, and portrait photographers often spend hundreds or even thousands of dollars on backgrounds sold by photography shops.

But if you’re looking to dive into studio photography and you don’t have a huge budget, never fear! Because with a bit of creativity and effort, you can create DIY photo backdrops that’ll look just as good as the professional alternatives.

I use DIY backgrounds all the time in my own photos, and after years of experimentation, I know the backdrop ideas that work (and the ones that are best avoided). In this article, I share all my favorites, including plenty of options that’ll cost you under $10.

Let’s do this!

1. The painted canvas backdrop

Want a magazine-quality backdrop? Then go for a painted canvas background, which looks amazing in still life photos, food photos, and so much more.

Here’s a DIY painted canvas backdrop in action:

Beautiful, right? It offers texture and harmonious colors, plus it just feels refined. Professionals often purchase expensive (and handpainted) canvas backdrops, but you can make your own for a fraction of the retail price.

Here’s how it works:

First, go to your local hardware store and buy a canvas drop cloth. These are designed to protect the floor when painting interiors and shouldn’t set you back too much money.

Canvas drop cloths are usually pretty large. If you want to shoot food or products, you might consider cutting your cloth into four pieces; that way, you can create four backgrounds using your single stretch of fabric. (And if you paint on both sides of the canvas, you can create a whopping eight backgrounds!)

While you’re at the hardware store, grab two or three paint samples for each backdrop. Similar tones tend to work well together (e.g., a light blue and a dark blue). Note that the canvas soaks up a lot of the paint, so you may need to purchase primer or use more paint than expected. 

Once you get home, spread out the canvas in a spacious, well-ventilated room, then layer the paint onto the fabric using a small, good-quality roller. Move the roller in different directions to create plenty of random texture.

If you want to add even more texture, use a large sea sponge or a scrunched-up rag. Dip it into the paint, then randomly press it onto the canvas.

If all goes well, you’ll end up with a natural texture that enhances – but doesn’t compete with! – your subject:

2. The ceramic flooring tile

Ceramic flooring tiles are simple, they’re beautiful, and they’re really, really cheap. If you’re on a budget and you want a quick DIY photo backdrop solution, they’re an outstanding option.

You should be able to find a nice selection of textured tiles at your local home improvement store, and each one should only cost a few dollars. These tiles are easily wipeable, too, which is a bonus if you’re dealing with food or liquid products.

Just make sure that the tiles you pick aren’t shiny – you don’t want to end up with glare. And aim for more muted and/or minimalistic colors, such as gray, black, white, or cool brown like taupe. (These will enhance and complement a wide variety of products and still life subjects.)

Note: Ceramic tiles, while perfect for small products and mini still-life photos, are not ideal for larger products or expansive setups. The tiles themselves are on the small side, and while you can spend time expanding the background in Photoshop, it’s far easier to use the correct background from the get-go. So if you do have a larger subject, try one of the other options on this list.

3. The painted wooden backdrop

DIY painted canvas backdrops (discussed above) are great, but they can be on the pricey side, especially if you plan to experiment with lots of different colors and textures.

That’s where painted wooden boards come in. They look just as good as canvas, yet you can grab far more boards for far less money.

To make your own wooden backdrop, buy thin plywood sheets at the home improvement store. Pieces of 2×3 feet should accommodate most setups. The bigger stores – like Home Depot – will cut up larger pieces for you, so if you want to save a few dollars, consider buying a larger board and getting it sliced into a few potential backdrops.

You can purchase paint samples from the hardware store, or you can use craft paints. Just make sure that all your paints and varnishes are matte; even some of the satin types can cause unwanted shine in your images.

Once you have your materials, the fun begins: Take three or four similar colors, then pour them together in the middle of the board. Grab a large sea sponge and dab the paint all over to create a blended, mottled effect. Finish with a thin coat of matte, water-resistant sealer. 

Once your boards have dried, test them out! Try shooting a mix of vertical and flat-lay still life scenes:

4. Cloth

This DIY backdrop is especially great for still life photography, but you can also use it for food shots, product shots, and even portraits.

Note that you can use all kinds of fabrics, including sheets, tablecloths, drapes, and even clothing. If you try shooting with cloth and like it, I encourage you to start collecting fabrics on a regular basis; look in thrift shops, check out yard sales, and even search online.

You can use the fabric as the entire backdrop, as shown in the image below, or just to cover a portion of another backdrop. But if you do decide to cover your entire surface with a cloth, place another layer of fabric underneath. This will plump it up and make the setup look more attractive.

As I emphasized in previous sections, when choosing your colors, stick to simple, non-distracting neutrals. Shades of blue also look good, especially in dark and moody images. Of course, you can also choose pastels or other bright colors depending on what you’re shooting and your desired result. Just make sure that the background doesn’t draw the eye away from the main subject!

5. The vintage tray

Don’t throw away any old or vintage trays you have stored in your kitchen or basement – they make great DIY backdrops for still life and food setups!

Depending on the tray material, it may introduce a lovely patina that adds something special to your shots. In my experience, such trays look great close up or at a distance, and they can even be used as a storytelling element.

If you don’t have any trays at home, that’s okay. You can often find vintage trays for an affordable price at thrift or antique stores! But make sure you choose carefully; you want to avoid reflective surfaces that’ll produce lots of unwanted glare.

Check out the two images below, which both feature a vintage tray. Though I backlit my subjects, the tray doesn’t look overly shiny. It has a nice, subtle texture:

6. Colored paper

Colored or textured construction paper is pretty, cheap, and very easy to store. It’s an ideal background if you’re after simple, no-frills product or still life photos – and it also works great if you want to capture bright, punchy shots.

You can source large pieces of paper at your local craft supply store. Alternatively, you can look on sites like Amazon for packages of paper offering a variety of colors.

For the image below, I used a large piece of yellow construction paper as my background. The result is simple, elegant, and looks very modern:

To recreate this effect, make sure you move your paper away from your set. This will give you a blurry horizon line so your subject doesn’t look “stuck” to the background.

7. The wooden cutting board

Here’s my final DIY photo backdrop idea, and it works especially well in food images:

The wooden cutting board, which – depending on its size – can function as a nice backdrop or be used as a prop to add additional interest and tell a story.

Be careful about purchasing boards with an orange tinge. Since most food is quite warm in tone, compositions that are warm throughout can end up looking dated.

Also, I’ve found that the camera tends to exaggerate this orange tone. If I use a warm cutting board, I’m forced to decrease the saturation in all of my images, which isn’t ideal.

Instead, look for light pine boards (for brighter, airier shots) and deep espresso boards (for darker, moodier shots). If you own a board but don’t like the color, you can always paint it however you like! For the image above, I painted my board white and textured it using fine sandpaper.

Note: If you do paint a board, make sure you only use it for photography. It definitely won’t be food-safe!

DIY photo backdrop ideas: final words

There are many different ways to create stunning photography backdrops that don’t require tons of money and time.

So pick your favorite background ideas from this list and start creating! You might even have fun along the way.

Do you have other DIY photography backdrop ideas? Share them in the comments section below!

The post 7 DIY Photo Backdrop Ideas Everyone Should Try appeared first on Digital Photography School. It was authored by Darina Kopcok.

This article was updated in December 2023 with contributions from John McIntire, David Shaw, Gavin Hardcastle, and Kav Dadfar.

Jagged peaks, precipitous drops, deep and sweeping valleys: mountains are unquestionably some of the most photogenic subjects on the planet. It shows, too – check out any photo magazine or website, and you are likely to find not just one or two but dozens of images of mountains.

But while mountains look amazing, capturing amazing shots of mountains – the kind that do justice to their grandeur and power – can be tough. Fortunately, you’re not on your own!

Below, we share plenty of advice to elevate your mountain photography from zero to hero, including my thoughts on gear, weather, lighting, and so much more. We also delve into mountain lake photography – so that you can combine two of nature’s most gorgeous elements to produce pro-level landscape photos.

And since each tip comes from direct experience in the field, you can be confident that it’s worth your time!

Ready to get better results the next time you go chasing after mountains? Let’s dive right in.

1. Take advantage of the light

Lighting may be the single most important aspect of a successful mountain photo. While backlight and front light can work under some circumstances, mountains thrive in sidelight. Light from the side brings out the shadows and details in ridges, cliffs, and rolling slopes. It provides contrast and drama.

Images of big landscapes, like mountains, rely on natural light for illumination, so you’re really at the whim of the weather. Cloudy days can flatten the light, while midday sun will drown out shadows and turn pleasing contrast into an eye-squinting mass of whites and blacks. Successful images can arise from these challenging scenarios, but low-angle sidelight – that is, golden-hour landscape lighting – makes our lives as photographers so much easier.

2. Place your horizon carefully

Your horizon is one of the most important parts of the photo. Think about the rule of thirds and – unless you have a very good reason to do so! – avoid putting your horizon in the middle of the frame.

If the scene has an interesting foreground and/or an uninteresting sky (i.e., white clouds or a pure, flat blue) place your horizon line high in the frame.

Alternatively, if you’re faced with interesting cloud formations and/or a relatively featureless foreground, you could place your horizon line lower to show more of the sky.

3. Fill the frame

Mountains, by nature, are huge. You don’t have to get the entire thing in the frame. It’s just as acceptable to fill the frame with a certain element that draws your attention. This will make the mountain the background in your images.

Yes, it can be tempting to try and get a huge vista in the frame. But if you take a moment to look for smaller details that could make an interesting photo, you might find something unexpected.

4. Show scale with smaller elements

Again, mountains tend to be huge, but when you shoot with an ultra-wide-angle lens, you wind up pushing the perspective back. And this makes it difficult to give your viewers a true sense of just how large things are within your frame.

You can combat this by including an element that shows the scale of things in the scene. Buildings, people, and animals all work well.

5. Include people in the landscape

As with the previous point, putting people in your mountain landscape photography can convey just how big the mountains are.

It does more than that, however! By including a human element, you are adding something that your viewers can relate to.

6. Don’t forget about color

Bright colors attract the eye. This is particularly true in images of mountains. Sunset and sunrise, colorful foregrounds, and bright blue alpine skies will help catch and hold the gaze of a viewer.

This goes very tidily with the very first mountain photography tip (on using the light!). Good light very often equates to good color. The better the light quality, the more vivid the colors of the scene become. Get one and you often get the other.

None of this is to say that an image has to have bright colors to be successful. Low-saturation images can be moody and brooding. Stormy skies and winter scenes are two examples where colors may not be rich but don’t hurt the final image. Such photos thrive on the drama of the scene rather than the colors.

In black-and-white images, color is completely absent but can depict the mountains beautifully. In such images, contrast and mood play an even more important role.

A note on black-and-white mountain photography: when factors like light and color are not in your favor, a black-and-white conversion can often be a great tool. I’ve made numerous images on flat-light days that converted well to black and white, though the color image was dull and muted.

7. Try a panorama

When you are photographing mountains, don’t be afraid to take a sequence of shots that you can stitch together as a panorama.

Mountain ranges tend to suit the panorama format especially well because there is just so much to see!

8. Fill your foreground

This may be standard landscape photography advice, but it still applies when shooting mountains. If you’re using a wide-angle lens, you will have plenty of space in your foreground – and you’ll need to fill it with something interesting.

So pick a foreground subject and get up close to it. This could be flowers, an interesting rock formation, or something simple like a sign. 

Then take a shot that combines the interesting foreground and a beautiful mountain background, like this:

9. Include a human element

By human element, I don’t mean people. Instead, I advise you to find something human-made that will show your viewers how the people that live nearby incorporate the mountain into their lives.

On their own, mountains are impressive. But as part of our world, they are also part of our lives. If you can show this in your images, you might be able to convey an interesting narrative.

10. Try juxtaposition

Juxtaposition refers to contrasting elements placed in relation to one another. In photography, that contrast can be visual – light versus dark contrast, bright versus muted colors, warm versus cool colors – as well conceptual, in terms of contrasting subject matter.

And in my experience, all of these are important parts of mountain photography!

Juxtaposed color tones combine in interesting ways. Mountain scenes, particularly from places like the Rockies, Cascades, or Alaska, tend to be dominated by cool tones: blue skies, green tundra and forest, glacial streams, and clear blue lakes. These cool-colored scenes often look better when warm tones, like yellow, red, or pink, are integrated into the scene. Often that warm tone is best presented as a flash of color – a setting sun, a wildflower, or the bright jacket of a hiker – rather than as an equal to the cool tones.

(When both cool and warm tones are heavily featured in a scene, your brain will have a hard time sorting out which to pay attention to and the pleasing juxtaposition will become a tangle of clashing color.)

For me, though, subject juxtaposition is where a landscape image comes alive. When it comes to mountains, there is so much potential for subject-based contrast.

Some contrasting mountain shots, like the image below of the rainbow over the desert mountains of Big Bend National Park, have obvious subject juxtapositions (rain versus the dry desert rock). But the same image also has visual contrasts in shapes and texture (the jagged rocks and smooth curve of the rainbow, for example). All of these combine nicely to provide interest.

11. Use a different focal point

In your mountain landscape photography, the mountain does not need to be the focal point of your image. Instead, you can find a different focal point and use the mountain as environmental information.

Of course, you can still take a photograph of the sweeping vista. But once that is done, look smaller – and see if there are other subjects to be found in the scene.

12. Incorporate mountain lakes

There’s something incredibly alluring about lake and river reflections in landscape photography, especially when surrounded by majestic snow-capped mountains that glow hot from the light of the setting sun. So whenever you can, try to include a mountain lake – with a gorgeous reflection – in your shots!

A few quick tips for amazing mountain lake photography:

Wait for the wind to stop

If you’re out on a gale-force windy day, don’t expect any serene lake shots. You need that water to be perfectly still for good reflections. A mild, occasional wind is fine, just stick around and wait for it to die down. You only need a few minutes. Bring a camp chair and thermos, then sit while you wait for the perfect moment. It’ll come.

Use a polarizer (and shoot two versions)

If you shoot lake scenes without a polarizer you’ll get a lovely mirror-like reflection, but you might be missing out on some interesting details under the water in the foreground. I like to take at least two shots with my polarizer in different positions. One shot will give me the maximum reflection, while the other shot will reduce that reflection to reveal the details under the water. I can then easily blend the two exposures in Photoshop to get the best mixture of reflection and water detail.

Adjust your angle

I like to pick the most interesting point of my mountain range, and then find a spot in my foreground that reflects that interesting point. I often need to get the camera down closer to the ground to achieve this, sometimes adjusting the tripod to its lowest point. At times, though, you might not need to get so low and maybe just step back a few feet to place your reflection where you need it to be.

You can’t change where the mountain is, but you can change your position relative to it to capture an interesting foreground and reflection.

Star reflections are incredible

If you’re shooting on a calm, clear night, then you get the chance to capture the Milky Way or star trails in your lake reflection. Place a colossal mountain range in the center of that, and you’ve got yourself a killer shot!

13. Use your GND filters

To help you get good exposure while in the field, don’t forget to pack your graduated neutral density filters. These will allow you to even out your exposures at the time of capture, making it easier to process your images when you get back home. 

14. Shoot from different angles

When you’re just starting out with mountain photography, it’s easy to get stuck in the habit of shooting from the same perspective over and over again – but whenever possible, I encourage you to mix it up!

While you can photograph mountains from an infinite number of angles and perspectives, I’d like to focus on three broad approaches: low-angle, mid-mountain, and high-angle shooting. Note that each of these greatly impacts not just the appearance of the final image but also its mood and feel.

Photographs made from a valley bottom looking up will make the mountains appear large and imposing. These low-angle shots provide space for an interesting foreground, and many classic landscapes have been captured from this perspective. Though effective, there are drawbacks to shooting from the valley bottom. The low perspective means that the view is limited; there are no seas of mountain peaks spreading to the horizon. Lighting is often difficult. The bottom of the valley is the last place to gain sunlight in the morning and the first to lose it in the evening, so balancing that light can make the exposure tricky. By the time the landscape is evenly lit, the sweet light of dawn or dusk will be long past.

Mid-mountain shots can be spectacular, providing views both below and above. This perspective is one of my favorites, allowing for a lot of depth in the landscape while maintaining the size and drama of the mountains.

However, capturing great high-angle mountain photos is tough. Images made from the summit of peaks tend to make the surrounding landscape look small. I’ve taken photographs from peaks in which all the mountains look like rocky waves rather than towering summits. You can make up for this by adding a human to the shot, which provides scale, plus it removes the focus from the mountains and places it on the human experience within them. The human element will change your image, making it less of a landscape and more of a portrait or action shot, but the approach can be very effective.

15. Wait for the light

This tip cannot be understated. If you want the best-looking mountain landscape photography images that you can produce, wait for the light to be at its best. If you get on location early and find the composition that you want, don’t be afraid to stay until the light shifts – even if it takes a couple of hours.

Yes, I know it can seem boring, and it’s hard to justify the effort, but please, trust me. It is very much worth the time and effort. 

16. Use longer lenses

When you are packing for your trip into the mountains, don’t forget to take your longer lenses with you. Standard-length primes can be great for panoramas, but telephoto lenses can help you pick out smaller details in your scenes.

In other words:

There is a lot of room in landscape photography for lenses aside from the wide angles that dominate the genre.

17. Plan for the light

With the technology available to us, it’s easier than ever to know exactly which direction the light is going to come from on any given day of the year.

So once you know when and where you are going, do your research and figure out where the sun is going to rise or set. Then plan your shots based on that!

18. Plan for the weather

Like planning for the light, it’s also a good idea to plan for the weather. Knowing the weather will help you determine if you need to pack any extra gear like rain covers and waterproof clothing.

Of course, it’s also in the best interest of personal safety to have an idea of when snow or rain might appear. This is even more important if you intend to be on the mountain, especially after golden hour. 

19. Don’t avoid bad weather

While planning for bad weather is good, you don’t always need to stay indoors. Many times, the most interesting photos will come in the worst weather.

In fact, some of the best light I have ever seen has been during a break in a storm; these breaks allow just enough light to make things look like a fairytale.

And if you lock yourself away when the weather is bad, you’ll never get to experience such moments.

20. Be safe

Above all, strive for safety. Mountain landscape photography can be incredibly rewarding, but don’t risk your personal well-being for a great shot.

Watch where you’re going, take weather-appropriate clothing, be aware of the forecast, and tell somebody where you are going to be. And if you’re going to stay out until after blue hour, make sure you know exactly how to get back. 

Mountain landscape photography: final words

I hope this article has inspired you to get out and create your own mountain photography.

The next time you’re out shooting mountains, remember these tips – and have fun!

Have you photographed mountains before? Do you have any tips of your own? Share them in the comments below!

Mountain photography FAQ

The post Mountain Photography: 20 Tips and Techniques for Breathtaking Images appeared first on Digital Photography School. It was authored by John McIntire.

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.

Whether you’re captivated by the towering skyscrapers or the everyday hustle, cityscape photography is immensely rewarding. Unfortunately, taking great cityscape shots can seem intimidating when you’re just starting out, and many beginners give up before they give the genre a chance.

But here’s the good news:

While capturing stunning cityscape shots might seem hard, it’s actually pretty easy – once you know a few tricks, techniques, and secrets. And in this article, I share my best advice for cityscape photography, including:

• How to keep your images consistently sharp (even in low light)
• How to deal with pedestrians in your cityscape scenes
• How to capture beautiful compositions using foreground elements
• How to get incredible cityscape night photography
• Much, much more!

So if you’re ready to produce some pro-level cityscape images, then let’s dive right in, starting with:

What is cityscape photography?

In essence, cityscape photography is the urban sibling of landscape photography. Instead of capturing rolling hills or serene lakes, you focus on the concrete and steel that shape modern lives. For me, the beauty of cities often lies in their rich textures and layers; it’s a tapestry of light, shapes, and emotions that you, as a photographer, can capture.

Bottom line: cityscape photography allows you to bring urban environments to life through your lens. From the glow of neon lights in Tokyo to the historical charm of London’s cobblestone streets, it’s your chance to show the world what makes a city beautiful – and what a city means to you.

Essential cityscape photography gear

You’re itching to hit the streets, camera in hand, ready to capture the city. I know the feeling, but before you head out the door, let’s talk gear.

You see, in cityscape photography, the equipment you use can significantly impact your results. While it’s not all about the camera and lenses, let’s face it: quality gear can make your life easier and your photos even more stunning. You’ll generally need three key items: a full-frame camera, a wide-angle lens, and a sturdy tripod. A neutral density filter, while optional, can also come in handy. Let’s look at each in turn:

A full-frame camera

These cameras offer large sensors that capture more light and generally provide a broader dynamic range than their cropped sensor counterparts. That’s crucial when you’re dealing with tricky lighting scenarios at dawn or dusk.

Plus, a full-frame camera’s high megapixel count can be important if you’re planning on going big – think wall-sized prints. But remember: more megapixels also mean larger file sizes, so you’ll need ample storage space on your computer, too.

A wide-angle lens

It’s possible to create stunning cityscape photography with a telephoto lens – you can use it to zoom in and highlight individual buildings and small details – but I’d really recommend you start out with a wide-angle lens. A good wide-angle field of view will let you capture sweeping scenes, and you can even combine foreground and background layers for a three-dimensional effect.

What type of wide-angle lens is best? Beginners should try out a 24mm prime lens, which will cost very little yet still offer a wide field of view (and crisp optics). If you’re willing to spend more and you want extra flexibility, a 16-35mm lens is a good bet; it’ll let you capture various wide perspectives as you zoom from the ultra-wide 16mm to the tighter 35mm.

A robust tripod

Ah, the tripod – the unsung hero of sharp photography. In cityscape photography, you’ll often find yourself shooting in less-than-ideal lighting conditions. A narrow aperture is generally a must to keep everything in focus, but this lets in less light. Combine that with the slow shutter speeds required for proper exposure, and you’re in prime territory for camera shake, the leading cause of blurry photos.

That’s where a sturdy tripod comes in. Opt for one that’s lightweight yet solid – carbon fiber models offer the best of both worlds. At the end of the day, a good tripod might cost a chunk of change, but it’ll make a huge difference to your cityscape shots.

A neutral density filter

Last but not least, consider adding a neutral density (ND) filter to your camera bag. While not an absolute necessity, an ND filter can elevate your daytime cityscapes by allowing for longer exposures without overexposing your shots.

These filters come in various strengths; a 10-stop ND filter is a solid starting point for those new to this game. With an ND filter, you can create mesmerizing effects like smoothing out water or capturing cloud movement, adding an artistic flair to your images.

The best cityscape photography settings

To unlock the full potential of your camera and capture those jaw-dropping cityscape images, you need to start with the right settings:

Aperture Priority or Manual mode

Aperture Priority mode is a fantastic place to start, especially if the very mention of Manual mode sends a shiver down your spine. This mode lets you select the aperture and ISO while your camera figures out the optimal shutter speed.

In contrast, Manual mode is for those who aren’t afraid to handle everything themselves. When you set your camera to Manual, you’re in the driver’s seat. Every setting, from shutter speed to aperture, is at your fingertips, which can be a great way to ensure you get the results you’ve envisioned.

A narrow aperture

Aperture settings directly affect the depth of field in your cityscape images. A narrower aperture, such as f/8 or higher, provides a greater depth of field, ensuring objects both near and distant are in focus.

Should your composition involve elements from the foreground to the skyline, you may consider an aperture setting as small as f/16. Proper aperture selection allows you to encapsulate the city’s grandeur comprehensively.

A low ISO

High ISO values can help you use fast shutter speeds in low light, but when you’re doing cityscape photography, chances are you’re armed with a tripod – and this eliminates the need for speed.

Therefore, keep the ISO as low as you can to ensure the highest quality. ISO 100 is my go-to here for pristine, noise-free images.

A (generally) slow shutter speed

Shutter speed serves as the linchpin in balancing your exposure triangle. It’s essential to monitor your camera’s exposure meter for guidance in selecting the appropriate shutter speed. You’ll often end up using slower shutter speeds – below 1/80s or so – to keep your files looking detailed. (Note, however, that the use of a sturdy tripod is critical when working with slow shutter speeds; otherwise, you’ll end up with lots of motion blur!)

For dynamic compositions involving moving objects, such as vehicles or pedestrians, a long shutter speed can introduce a captivating blur, adding a layer of complexity to your image. This effect is easiest to pull off during the blue hour when the light is low.

Lighting in cityscape photography

In cityscape photography, lighting is your best friend and your worst enemy. It can elevate your shot from mediocre to magazine-worthy or plunge it into the depths of dullness. Let’s get you equipped to make the most of it.

Photograph the city during the golden hours

First, consider the golden hours, which occurs in the (roughly) hour after sunrise and hour before sunset. Ever noticed how everything seems to glow during these times? That’s because the sun is low in the sky, spreading its light at an angle that creates both depth and drama. When golden light hits skyscrapers and streets, the city transforms. Glass towers look amazing, and mundane streets suddenly look like they’re paved with, well, gold.

To get the most out of the golden hour, it’s essential to look at how the light is hitting your subjects. The textures of buildings, the hues of the reflective surfaces, and the shadows change depending on the light’s direction.

But remember, the sun waits for no one! The golden hours don’t last long, so you’ll need to be prepared to work fast and make the most of the good lighting.

Photograph the city during blue hour

Next, let’s talk about the blue hour, the period just before sunrise and just after sunset when the sky takes on an ethereal blue hue.

During the blue hour, the sky grows darker and the city lights turn on. The balance of light – between the sky and the city – often becomes nearly equal, and you’ll witness a stunning combination of tones.

Additionally, these lighting conditions are ideal for capturing long-exposure effects. Ever seen those cityscape photos where the clouds seem to smear across the sky, or the car lights draw vibrant lines across the roads? That’s partially due to the blue hour and its magic.

Plus, with the softer light, you don’t have to wrestle with harsh shadows or overblown highlights. Instead, you get serene tones that contrast with the city’s frenetic energy.

Photograph the city at midday

Next, there’s the high-noon light, often avoided like the plague in landscape photography – but don’t be so quick to dismiss it. Yes, it’s harsh and creates strong shadows, but sometimes that’s exactly what you need to emphasize the angular geometry of a modern city.

You see, when the sun is at its zenith, the light pours down vertically, etching out the details of buildings and streets in a way that’s straightforward but striking. This is the time to embrace high-contrast compositions, where the play of light and shadow can be used to your advantage.

But what if it’s cloudy? Far from being a disaster, an overcast sky can be a boon. Clouds act like a giant diffuser, spreading light evenly and softening the scene. If you’ve got a cityscape that’s naturally moody or industrial, a cloudy sky can amplify that aesthetic tenfold. You get to experiment with a different kind of drama, one that’s quieter but just as impactful.

Bottom line: whether you’re catching the golden hour’s warm embrace or exploiting the high-noon contrast, knowing how to work with light will elevate your cityscapes to new heights.

Tips to improve your cityscape photography

Looking to elevate your cityscape shots even further? Below, I share plenty of practical tips to help you out!

1. Incorporate leading lines into your compositions

Beginners often point their camera directly at city skylines and fire away – but while there’s nothing wrong with such an approach, it can get repetitive after a while, plus the images tend to look flat.

On the other hand, if you can incorporate a foreground line (or three!) that leads the eye into the image and toward key background elements, your shots will have tons of three-dimensionality. They’ll also be far more interesting, as they’ll take the viewer’s eye on a journey from foreground to background. Check out this next image, which uses a path to lead the eye toward the mysterious light in the background:

I’d also mention that leading lines can help create order in an otherwise chaotic scene. If you’re shooting in an area with lots of pedestrians or cars, for instance, a nice leading line – such as a road – can cut through the confusion and help bring the composition together.

2. Seek out reflections

Reflections are everywhere in a city; you just have to know where to look! Buildings, water, and cars – they all offer ample opportunities for capturing compelling reflections, which can add intrigue and depth to your photos.

Note that reflections can be large and highly visible, such as the golden hues of a sunset mirrored in a row of sleek, glass buildings. Or they can be more subtle, like the fleeting image of a passerby’s face reflected in the glossy hood of a car. Play with this as you capture your cityscape photos and see what you can create!

Also, tweak your angle and adjust your focal length. Play around until you get that perfect reflection, the one that transforms a mundane scene into something magical. And don’t shy away from getting low. Crouching down near a puddle can result in a surprisingly disorienting image – one that shows the world in a new, unexpected light.

3. Don’t be afraid of manual focus

I get it: autofocus seems simple, dependable, and safe. But what happens when AF starts to falter in low-light conditions? This is where manual focus steps in to give you the control that you need.

Switching to manual focus offers a level of precision that’s often crucial when the lighting isn’t ideal. So if you find your autofocus system hunting for the right spot to focus on, it’s time to take matters into your own hands. Just switch your lens to manual and use your camera’s LCD screen to check the focus as you zoom in on your subject. Then slowly rotate the focus ring back and forth until your subject is razor-sharp. This zooming-in method avoids the pitfalls of autofocus inaccuracies and ensures that you nail the focus every single time.

4. Shoot long exposures at intersections

Do you want to capture cityscape photos like this next example?

The good news is that it’s not as hard as you might think, and it doesn’t require any Photoshop wizardry, either!

Simply find a busy intersection in a city, and get up high. You can shoot from an observation deck, a roof, or a parking garage; just make sure you have an unobstructed view of the high-traffic areas.

Bring a tripod, bring your remote release, and capture some long-exposure shots. I’d recommend using a shutter speed of at least five seconds, but you may wish to shoot for longer depending on the speed of the traffic. The goal is to keep the shutter speed long enough to blur the cars into lines of light.

(Pro tip: Make sure that your scene features some curves. Traffic moving in a straight line can look okay if you include interesting structures in the composition, but if you’re focusing on the roadways from above, I highly recommend you include some bends and corners.)

5. Look for fountains

I love fountains in cityscape photography. They look great when incorporated into long-exposure shots – the water will turn into a beautiful blur – and they’re also just stunning points of interest to add to your compositions.

Happily, most cities are full of fountains. If you’re not sure where to find a fountain or two at your next cityscape destination, pull up Google Maps and do a quick search.

Then, when you’re out shooting, look for ways to include the fountains in your compositions. For instance, you can use the water to frame buildings, like this:

Or you can use fountains as interesting foreground subjects to add three-dimensionality to your images.

6. Shoot the city skyline

Yes, the city against the sky – photographed from a great distance – is a classic shot. Yet it’s one that never loses its charm. The unique silhouette of a city, etched against the clouds or a pale blue sky, can make for the kind of photo that you want to hang on your wall.

But how do you get the best results? Look for a vantage point that lets you capture the skyline from a distance. A spot across the water works great, especially if you’re photographing in a city with larger waterways. But keep in mind that the city skyline is a popular subject. The challenge is to capture it in a way that’s unique, one that showcases your individual style.

Why not experiment with an ultra-long exposure? Or wait for a foggy day when the city becomes an ethereal dream? Don’t forget the magic of beautiful light, either. Shooting at sunrise or sunset can bathe the city in warm hues and create an unforgettable image.

7. Photograph the city from above

Elevating your perspective can literally transform your cityscape photography. In my experience, getting up high offers a unique vantage point that most people never get to see. It takes the city you walk through every day and unveils it in a whole new light. So how you can use this strategy for jaw-dropping results?

Firstly, many cities offer observation decks specifically designed for panoramic city views. These decks often have enough space for photographers to shoot, but here’s the catch: they don’t generally allow tripods. So before you head to the top of that towering skyscraper, make a quick call to check if tripods are allowed. (Don’t make assumptions; it’s better to ask and plan accordingly!)

Parking garages can also serve as fantastic makeshift observation decks. You can drive up, park your car, and walk to a good vantage point. But always remember to check whether you’re permitted to photograph there. Laws and regulations differ from city to city, so an afternoon call to the parking garage owners can save you a lot of trouble.

Finally, you can capture high-angle shots with a drone – and if you’ve got access to a high-quality camera drone and your city’s laws allow drone flights, the sky’s the limit! Drones offer unprecedented angles and perspectives, letting you capture shots that are nothing short of awe-inspiring.

Of course, if you pursue cityscape drone photography, be responsible. Always adhere to regulations, don’t invade anyone’s privacy, and fly safely.

8. Use patterns to improve your cityscape compositions

If you’re after more subtle cityscape photography, you don’t need to capture stunning vistas of skyscrapers at night; instead, take a walk during the day, observe simple city scenes, and look for patterns.

You see, patterns can bring a sense of visual rhythm and harmony to an image. And when you incorporate them into the overall scene – here, a wide-angle lens is a big help! – you can create a calming, even meditative image.

Look at how the two patterns, made of the trees and the pedestrians, elevates this shot:

And by the way: Most scenes feature patterns of some kind, even if they’re not immediately apparent. So if you’re drawn to a scene but you can’t find a pattern, stop, take a deep breath, and look around. I’m guessing you’ll be able to find some repeating graphic elements, such as shapes, lines, or even colors.

When you do, include them in your composition, and let them add interest to – or even unite – the overall scene.

9. Change things up with a telephoto lens

Wide-angle lenses are often the go-to for cityscape photography, but hear me out: a telephoto lens has its unique charm. When you’re looking for an alternative to the grand sweeping vistas, a telephoto lens can be a game-changer.

A 70-200mm zoom lens is especially versatile. With it, you can zoom into specific elements of the city that you find captivating – think intricate architecture, patterned windows, or even far-off bridges. In other words, you can isolate subjects and make them the focus of your photograph.

Plus, a telephoto lens is particularly adept at showcasing the geometry of cities. The straight lines of the roads, the curves of the buildings, and the grid-like patterns formed by intersecting streets can be made into abstract compositions that celebrate the city’s form.

Another great advantage of telephoto glass is the ability to compress distances. With a telephoto lens, elements that are far apart can appear closer together, creating a cool effect that wide-angle lenses simply can’t offer.

So while wide-angle lenses give you the sweeping drama, telephoto lenses showcase the details. Each has its place in cityscape photography. It’s all about choosing the right tool for the story you want to tell. And if you’ve been shying away from telephoto lenses, it’s time to give them a fair shake. You might be surprised at how they can enrich your cityscape photography portfolio.

10. Use symmetry for bold cityscape images

Ever felt that tingling sense of satisfaction when you see something perfectly balanced? Symmetry can bring that feeling into your cityscape photography.

It’s easy to shy away from symmetry, to think it clashes with other so-called “rules” of composition, like the rule of thirds. But when wielded with intention, symmetry can add intensity and visual appeal to your shots.

Take buildings, for example. These concrete structures are often innately symmetrical. Imagine standing dead-center, looking straight up at a skyscraper. There’s a stark, beautiful symmetry there, and a shot captured from that perspective can look breathtaking.

Don’t avoid symmetry, embrace it. Make it your own. Challenge the conventions and remember that rules in photography are more like guidelines, made to be bent and sometimes broken.

11. Try frame-within-a-frame compositional techniques

The city environment is brimming with opportunities to experiment with composition, and one method that’s always interesting to play around with is the frame-within-a-frame technique.

The idea is straightforward enough: You choose a primary subject and then frame it using another scene element, typically in the foreground. Archways, door frames, even gaps between buildings – these can all act as your “frame.”

Now, there are a few things to keep in mind here. First, picking the right aperture – and hence controlling the depth of field in your image – is essential. This is because you want your foreground frame and your main subject to both be in sharp focus.

Finding the right frame can be challenging when you’re starting out. You might look around and feel there’s nothing that will work. But remember, the frame doesn’t have to completely surround your subject. Even something that partially frames your subject can add depth and draw the viewer’s eye.

You could also think about the nature of your frame. Is it something rigid and human-made, like a window or a bridge? Or is it something more natural and fluid, like tree branches or reflections? This contrast between the frame and the main subject can make your photo even more intriguing.

Sometimes, a well-placed frame can dramatically alter the narrative of your photo. A busy street, when viewed through a quiet café window, takes on a different tone. It can emphasize the dichotomy of public and private spaces, the calm amidst the chaos – plus it can just be very eye-catching!

12. Use long shutter speeds to blur pedestrians

Many beginner cityscape photographers struggle to deal with pedestrians. After all, if you like the surrounding scene, you may view pedestrians as a distraction.

And it’s true: Pedestrians can be a distraction when rendered in sharp detail.

But if you lengthen your shutter speed to 1/5s and beyond, pedestrians will blur. They’ll begin to lose detail, and they’ll appear as an interesting ghostly presence:

Note that you can always experiment with different shutter speeds here, and your results will vary depending on the speed of the pedestrians.

Pro tip: If you want to blur pedestrians but you’re shooting in bright light, I’d recommend mounting a neutral density filter in front of your lens, which will block light from the sensor and prevent overexposure.

13. Capture the intimate details

Now let’s shift gears a bit. Cityscape photography isn’t just about capturing wide, sweeping shots. Just as landscape photographers occasionally focus on tiny details within a larger vista, you can do the same in the city.

Turn your lens to details that strike you as moving or powerful. Get up close and capture them. A weathered door. A vibrant graffiti. A pigeon perched on a windowsill. They all have a story to tell.

Textures can be incredibly striking, too. The sleek glass of skyscrapers. The rough brickwork of older buildings. The faded flyers plastered on utility poles. The crushed soda can on the sidewalk. These details, though often overlooked, can provide an intimate view of city life.

It’s not just about what the items are, but how they contribute to your composition. The play of light and shadow. The interesting shapes and forms. The textures and colors. The contrasts and harmonies. Arrange all these elements as if you’re creating an abstract shot out of shapes; that way, you can create a compelling composition that also speaks to the nature of the city.

14. If you can’t use a tripod, then improvise

While tripods are allowed in most places, certain areas – such as city parks, business plazas, and city observation decks – may have a “no tripod” rule. (Alternatively, they may require you to pay to bring in a tripod; it’s up to you to decide whether this is worth the money.)

Before heading to a new location, I recommend you call ahead to find out whether tripods are allowed. And if they aren’t, don’t give up; just be prepared to do your best with what you have.

For instance, you might bring a hard-shelled backpack, or look for tables, pillars, benches, and anything else on location that is flat and safe.

Then position your camera stably and safely, and use a remote release or self-timer to trigger the shutter. While you won’t have the same level of compositional flexibility offered by an actual tripod, you can still get great results, even at night:

15. Don’t be afraid to shoot in bad weather

Many photographers stay indoors during bad weather, but stormy skies, rain, and snow can offer plenty of cityscape photography opportunities.

For instance, a foreboding sky might act as a moody backdrop to a skyscraper, while snow will create plenty of atmosphere as it falls around city buildings.

Personally, I like photographing during and after rain, as the moisture causes the city streets and buildings to glow (especially at blue hour):

But if you want to capture beautiful cityscape photos in rough weather, you must take steps to keep your equipment (and you!) safe. Use a waterproof cover to protect your camera and lens, and never change lenses out in the open. Also, be sure to wear a coat of your own, and if things get really bad – for instance, you see lightning – then head inside. No shot is worth jeopardizing your safety!

16. Combine water and buildings

Here’s a secret I’ve discovered over the years of cityscape photography: Cities often feature nearby bodies of water, be it rivers, lakes, or bays, and these can be a powerful addition to the drama of your shots.

Water can serve as a beautiful foreground that draws your viewer’s eyes into the image, and you can use it in all sorts of ways. For instance, you can show water reflecting city lights, the contrast of a relatively still surface against bustling city life, or even capture long-exposure water images to create a misty, dream-like aesthetic.

My simplest advice? Seek out compositions that include water and city structures. And return to the same location under varying conditions if you can. A sunny day will give you crisp, well-lit shots. On an overcast day, you might catch the city in a more introspective mood. Early mornings can reveal a city waking up with the first rays of sun glinting off the water.

17. Use HDR as needed

Cityscape photography often involves capturing contrasting elements, such as dark buildings against brighter skies or radiant electric lights adorning buildings at night. These scenarios can be tough to successfully expose as it’s challenging to maintain detail in both the highlights and the shadows within a single frame.

Enter HDR, or high dynamic range imaging. It’s a technique that can be a big help when faced with such challenges, and while it can be a bit advanced, the results are often worth it.

HDR involves capturing multiple shots at different exposures: One for the bright sky, one for the darker buildings, and so on. Later, you can blend these shots to create a final image that retains detail across the entire dynamic range of the scene.

Yes, HDR might seem intimidating at first. It requires patience and a bit of technical know-how. But trust me, with a little practice and a reliable tripod to keep your frames consistent, HDR will elevate your cityscape photography to new heights.

18. Stay safe

Safety isn’t something to gloss over when you’re out capturing the pulse of the city through your lens. You’re carrying equipment that’s not only valuable in a monetary sense but is also crucial for your craft. Here’s how to mitigate risks and protect your gear and yourself.

Firstly, pay close attention to your surroundings. Urban environments are dynamic, and things can change quickly. A location that feels safe during the day may not be so nice when the night falls. Always trust your instincts. If something feels off, it probably is. Your shots aren’t worth compromising your safety.

Now, let’s talk about keeping your gear safe. The temptation to take your eyes off your bag is real, especially when you’re focused on capturing the perfect frame. Don’t give in. Make it a habit to use bags that you can sling across your body and ensure they remain in your field of vision at all times.

Also, don’t flaunt your gear unnecessarily. Be discreet when changing lenses or memory cards. The less attention you draw to your equipment, the better.

If you want to shoot cities at night, I’d really recommend you team up. Not only does this add an extra layer of safety, but it’s also a great way to share tips and tricks, enhancing the overall experience. And if you do prefer to go out alone, informing someone about your whereabouts is never a bad idea.

Lastly, consider insuring your gear. Photography equipment is a significant investment, and in the unfortunate event of theft or damage, insurance will be your financial safety net. Look into specialized photography insurance policies that cover a range of situations!

Cityscape photography tips: final words

You’ve just taken a deep dive into the world of cityscape photography, unraveled its mysteries, and gained invaluable insights. In this journey, you’ve learned to view the city realm with a fresh, artistic perspective.

Perfecting cityscape photography may seem like a towering task, akin to scaling the tallest skyscrapers. But remember, every professional once stood where you are now! With the tips and techniques outlined in this article, you’re well-equipped to reach those heights and capture those breathtaking images you’ve always dreamed of.

So what are you waiting for? Grab your camera, hit the streets, and let your creativity loose. With every click, you’ll see progress. Remember, every city has a story waiting to be told, and now you have the skills to tell it beautifully. Happy shooting!

Now over to you:

Which of these cityscape photo tips is your favorite? Do you have any I missed? Share your thoughts in the comments below!

The post Cityscape Photography: A Guide to Breathtaking Images (+ Examples) appeared first on Digital Photography School. It was authored by Richard Schneider.