Let’s face it: photography is an expensive hobby and an even more expensive profession. Camera bodies, speedlights, reflectors, memory cards, lighting equipment, backdrops, batteries, stands, hard drives, tripods, back-ups, gear bags, hard cases, the latest gizmo or gadget-that-you-seriously-cannot-possibly-live-without…and don’t forget the glass. Next to the camera itself, quality lenses make up the most expensive part of just about any gear closet.

In an ideal world, money would be no object and pesky things like gear budgets would be non-existent, paving the way for me to purchase all of the shiny, brand-new lenses I could possibly want (“Hi, Nikon? I’ll take one of everything!”). The reality, though, is that I – and plenty of other photographers! – have to balance my lust for gear against the cost.

As a result, the buying and selling of used camera gear has almost become an industry unto itself. There are a lot of high-quality second-hand lenses out there, which means you can satisfy your “need” and still save a good bit of money if you’re smart.

Where to begin? Here are five tips to help you out as you buy a used lens:

1. Find the right kind of seller

Even though it should go without saying, I’m going to say it. Do your homework! It’s not enough to know everything about what you want. You may have read all about the sweet spot on the Nikkor 24-70mm f/2.8, or the minimum focus distance of the Canon 70-200mm f/2.8 lens, but when you’re getting ready to drop a significant chunk of your hard-earned money on a lens, you need to find out everything you can about the person selling it.

If you’re contemplating a face-to-face transaction, ask around. Get references or referrals if you can. In this day and age of Facebook, Twitter, and Google+, chances are good that buyers and sellers each know someone in common. If you’re buying on eBay, carefully check the seller’s feedback and ratings, particularly the comments. Also, take a few minutes to compare the price against other auction sites and even that of a new lens.

Although I have purchased lenses on eBay with excellent results, it is generally not my first choice. After all, the first time you are going to have the lens in your hands is after you’ve already paid for it. Unless the seller has blatantly lied about the condition, you’re stuck with it (and sometimes even if they have). It’s entirely possible that what has been advertised as “minor wear” is actually a much larger scratch than you’re willing to overlook. I tend to be kind of nitpicky in that department, which just one of the reasons why I recommend buying used lenses in person whenever possible.

Try buying locally if you can. First, if you and your seller travel in the same circles, you exponentially increase your odds of an honest, above-board transaction. Nobody is going to risk their reputation over a used lens. Another important benefit to purchasing locally is the fact that you can have an actual visual and physical examination of the lens before you buy it. Being able to check it out and – more importantly – put it on a camera and test it are going to be the two most important factors in your decision to actually buy the lens. Never, ever underestimate these advantages.

2. Do a thorough inspection

For starters, a quality lens is just going to feel good in your hands. Take a minute or two to look for anything obvious: dings, scratches, or any places where the finish may have rubbed off from excessive or careless use.

Are the rubber grips on the zoom and focus rings fully intact? Do the rings turn smoothly? Are switches intact and functioning properly? Only you can decide for yourself how much is too much, but remember that what you see on the outside is usually indicative of the care with which the original owner treated the lens. Also keep in mind that the finish on a quality lens should not rub off, regardless of age and proper use.

Next check the front element, preferably in bright light. Hold the lens against the light at different angles, checking the glass and coating for any scratches or other imperfections. Some of these imperfections might not necessarily affect image quality, but they should absolutely be a factor in negotiating the price. If the lens has an aperture ring, open it all the way and try looking straight through it like a telescope. Do you see any dust, mold, or anything else that shouldn’t be inside your potential investment?

Now turn it around and check the mount. Is it clean? Are there any scratches? Is it bent or seemingly out of alignment in any way? Are the contacts clean and in good condition? Remember that this point of connection is the only thing that lets the camera communicate with the lens. This is where it can all go wrong if you’re not careful. Any of the imperfections discussed so far might not necessarily be deal-breakers, but any problems whatsoever with the mount should be. Just walk away.

A special note for vintage/film lens collectors

When lenses sit unused for an extended period of time, the special oil used to ensure that aperture blades move smoothly can leave shiny spots on the blades and cause them to stick. It will usually be visible on the blades as you adjust the ring, but if the lens has a depth-of-field preview switch, adjust to the smallest aperture and press the DOF preview button. Properly functioning aperture blades will snap smoothly into place without sticking.

3. Watch out for fungus

If you’ve read enough eBay auctions or classified ads for used lenses, you’ve been assured that the object of your lust and desire is free of not only dust and other particles but fungus and mold as well. That’s great, but how would you know?

The fungus/mold issue comes up most often in the case of older lenses in particularly humid climates. Early stages will resemble those dried water spots on your bathroom mirror, while more advanced stages can look like spider webs.

If you see this, do not even think about attaching this lens to your camera. Fungus and mold are living organisms and can spread, both to your camera and to the other lenses that are subsequently mounted to it.

4. Test the lens!

If you’ve purchased used lenses before, chances are you either didn’t test it at all, or if you did test it, you probably took a few random shots in the parking lot where you met the seller to make sure the auto-focus was working and that something actually showed up on your camera’s LCD. Don’t sell this part of the process short. Take a methodical approach.

You’ve changed lenses enough times to know how it should feel. Does the lens turn smoothly or does it feel like you’re forcing it? Is it too tight? Too loose?

Now shoot. I’m not talking about two or three shots. I’m talking about 100 shots. To really put this potential purchase through its paces, you need to take close, mid-range, and far-focus images at multiple apertures, and in small increments along the entire zoom range of the lens.

Was that issue there at f/16 or only at f/2.8? A problem that shows up at 200mm might not manifest itself at 70mm. Try manual focus. Listen for strange noises. Shoot something dark. Shoot something light. Does the autofocus sound right? Do you hear anything rattling around inside the lens?

5. Check the images

Even people who are careful about testing used lenses before they buy them hardly ever think to bring a laptop with them so they can get a good look at the test shots.

We all know that the LCD is an unreliable indicator of image quality when we are photographing for our clients, so why should you automatically trust it when you’re about to hand over your cash to a stranger? If the seller is on the up-and-up, they won’t mind sticking around for a few extra minutes while you check the image quality against the only standard that really matters: your own two eyes.

Buying used lenses: final words

I know we all love the excitement of opening new boxes from B&H and Adorama. It would be a mistake, however, to avoid well-cared-for lenses just because they’re previously owned.

Nikon, Canon, Tamron, Sigma, Sony, and other reputable manufacturers spend a great deal of time and money researching and producing lenses that are made to last. If you take a smart, methodical approach, there is no reason why one of these previously used lenses can’t find a valuable, productive spot in your camera bag!

Now over to you:

Do you have any advice for purchasing used lenses that I missed? Share your thoughts in the comments below!

The post Buying Used Lenses: 5 Handy Tips to Know appeared first on Digital Photography School. It was authored by Jeff Guyer.

Picking the right landscape photography gear – whether you’re a beginner, an enthusiast, or an established professional – can be an overwhelming task. There are dozens of cameras and hundreds of lenses, not to mention thousands of accessories, and choosing the perfect equipment can make a huge difference to your photos.

Fortunately, I’ve been capturing landscapes for quite a few years now, so I’ve been exactly where you are. I know the gear that matters and the gear you should avoid, and in this article, I share with you my 11 most essential equipment items in 2024.

So read through this list. And ask yourself, “What am I missing?” Then, if you can, take a trip to the (online) camera store!

Let’s get started.

1. A strong backpack

When it comes to landscape photography gear, a backpack is absolutely essential – and it’s not the place to skimp on quality. You get what you pay for, and it’s very important you use a strong, water-resistant bag, one with reinforced padding. The goal here is to protect your equipment and keep things comfortable, and while protection and comfort may not currently seem like a pressing issue, wait until you spend a day hiking through the forest through a downpour!

So do yourself a favor and invest in a high-quality bag. The Tarion Pro is an affordable option that’ll take care of your camera and lenses and will last you many years (in fact, we like it so much that we recently featured it in our list of gifts for photographers!). As you consider different options, pay attention to the size of the bag and how it matches your own cameras, lenses, and accessories. Check user reviews to assess comfort, and see if you can find a durable model that gives you some room to grow.

2. A weather-sealed camera

Every landscape photographer needs a camera, of course, but it’s important that you don’t grab the first (or cheapest) model you encounter. The best landscape cameras tend to feature a large sensor (APS-C can work, but full frame is better), a reasonably high megapixel count, and solid ergonomics. It can also help to buy a camera with a fully articulating or tilting screen; that way, you can capture low-angle shots without getting down in the dirt.

It’s also important to think about weather-sealing. Eventually, you’re going to find yourself working in difficult conditions (e.g., heavy snow). Because adverse weather can make for amazing photos, you won’t want to stop shooting – but unless your camera is adequately protected from the elements, you risk causing serious harm to the electronics.

So make sure you purchase a camera made from durable materials – go for a metal alloy body instead of a plasticky, entry-level camera. My first full-frame DSLR was the Nikon D700, and it would’ve survived anything – even being run over by a small truck.

On a related note, consider investing in a quality raincoat for your lens/camera. I don’t recommend getting one of the cheap, flimsy, clear plastic covers made from recycled sandwich bags; they tear easily and won’t stay put in windy conditions. Instead, get a heavy-duty cover that’ll last a long time. It won’t be too pricey, and it’ll keep you shooting in tough scenarios.

3. A sturdy tripod

When it comes to landscape photography, a tripod is one item you don’t want to mess around with. In fact, it’s the other accessory – along with a backpack – that I recommend you really put a lot of money into.

Why? A tripod is designed to keep your camera steady, handle poor footing out in the muddy, rocky, sandy wilderness, and protect your camera setup from sudden falls. This requires ultra-solid construction – which doesn’t come cheap.

Plus, a flimsy tripod could end up costing you a chunk of cash in repair bills. It only takes one good gust of wind to knock over an unstable tripod. If you buy a nice camera and lens but mount it on an entry-level tripod, it’s like putting old, worn tires on a Ferrari. The car won’t run properly, and it’s dangerous for the rest of the setup.

A good tripod will outlive the rest of your kit, so it’s rare you’ll need to invest in more than one over the course of many years. In my experience, spending a few extra bucks will go a long way toward ensuring a stable, secure setup.

To find an excellent landscape tripod, check out Manfrotto, Gitzo, and Feisol. I’d recommend strongly considering carbon fiber tripods over aluminum models; they’re lightweight, but they’re also ridiculously strong.

4. Lenses

Lenses are where the fun begins and your wallet ends.

See, lenses are the single most important piece of landscape photography equipment you can buy. You might have the best camera, tripod, backpack, memory cards, and other accessories available – but if you don’t have quality glass, you’ll struggle to take a sharp photograph.

I typically prefer to shoot with prime lenses as opposed to zoom lenses. Why? Because I want to get as intimate with the scene as possible. With zoom lenses, I tend to get a bit lazy and shoot without adequately working the scene. There is simply no substitute for moving your feet and seeing the composition with your own eyes rather than through the viewfinder. This special perspective is lost if you zoom instead of walking around and considering the scene.

That said, landscape lens choice is pretty subjective. I know plenty of photographers who prefer using zoom lenses; that’s great, and most of the time, the best gear for you is the gear you’re most comfortable with.

Here’s my suggestion: Before buying any lens, prime or zoom, rent it first. You can’t know how the lens will work for you until you use it in various situations, and while user reviews and recommendations are great, your style and preferences are always going to be unique.

5. The internet

Most landscape photography gear is expensive, but the internet is (basically) free, and it can be a huge help when researching locations. Whenever I plan a landscape photography photoshoot, I usually begin by googling the area, and I suggest you do the same. If you’re planning to shoot in a relatively well-known location (e.g., a national park), you’ll probably find some very interesting, comprehensive websites made by other photographers or adventurers/bloggers.

The problem is that, if your location is famous, you’ll also get a ton of not-so-interesting (and even incorrect) information, too. Going through Google results to separate the helpful and high-quality blogs or websites from the crummy ones is an art form. But with a little practice, you’ll be able to quickly evaluate whether the information you’ve found is worth considering.

If you can’t find two or three really good blogs that cover your location, head over to AllTrails. It has a sizeable database of locations that have been hiked, including user reviews of the location and the level of difficulty. If you’re planning to photograph a famous site, Tripadvisor has a good database of information, including nearby places to stay.

With blogs, AllTrails, and/or Tripadvisor, you’ll be off and running (probably with more information than you need). In most cases, the tricky part is searching through everything you find and turning it into an overall plan of action.

6. A reliable remote trigger or shutter release

Remote triggers are often overlooked by landscape photographers, but I firmly believe that a remote makes a big difference.

Without a remote, you have to physically press the shutter button on top of the camera, and no matter how careful you are and how securely fastened the camera is to the tripod, it’ll introduce some shake. Whereas a remote will let you fire the shutter from a distance (even from dozens of paces away, which can come in handy if you want to avoid including your shadow in the frame).

So if you want a tack-sharp image, don’t let anything touch the camera. Get your setup as steady as a concrete slab, then – instead of pressing the shutter button with your finger – invest in a reliable remote shutter release. These aren’t expensive, but they can go a long way toward keeping your photos sharp.

7. Filters

In landscape photography, some filters are almost as essential as good lenses. I’ll keep it brief here and mention a few basic filters I always travel with:

A circular polarizer

A polarizing filter helps mitigate nasty, harsh reflections off shiny objects such as waxy leaves and wet rocks. Therefore, it’s especially useful when photographing fall foliage and scenes involving water.

Using a circular polarizer is easy; you simply mount the filter on the end of your lens, then turn the front element until you see the glare disappear. Note that you’ll lose some light when shooting through a polarizer, but as long as you have a solid tripod, this shouldn’t be a big issue.

A polarizer will also help darken the sky and make it a deeper, richer blue. Some people like that look, and some don’t. I use a polarizer practically all the time when shooting in daylight, and while I don’t necessarily expect you to do the same, I highly recommend carrying one for each of your primary landscape lenses.

A neutral-density filter

An ND filter basically acts as sunglasses for your lens: it blocks some light from reaching the camera’s sensor, thereby slowing down the exposure.

A 3-stop ND filter, for example, reduces the amount of light hitting your camera sensor by three stops. A 5-stop ND filter will reduce the amount of light by five stops, and so on.

I recommend that serious landscape photographers carry a 2-stop, 3-stop, and 10-stop ND filter, though if you’re just starting out, it might make sense to begin with a 10-stop unit and go from there. If you want to do some long-exposure waterscape work, the 10-stop filter will help make the water silky smooth. You can also use a 10-stop filter to stretch out the clouds (depending on the lighting conditions and the wind speeds, of course).

A graduated neutral-density filter

GND filters are similar to ND filters, but only the upper portion of the filter is darkened:

Generally, these filters are handy in sunrise and sunset situations when the sky is brighter than your foreground. You use a GND filter to darken the horizon while keeping the foreground nice and bright; it allows you to capture these high dynamic ranges scenes without losing detail.

That said, good GND filters are expensive, and you can produce a similar result using bracketing and HDR blending techniques. Some landscape shooters prefer to use physical filters, while others prefer to take the HDR route. Both options have their merits, and at the end of the day, it’s really up to you!

A clear or UV filter

I want to do everything I can to protect my lenses from wear and tear, so I mount a clear or UV filter on the front of every lens I own.

A clear filter does nothing to help improve the photograph, but it will do a great job of protecting the front lens element from dirt and dust. (It’ll also protect the lens in case I walk into a door lens-first, which has happened more times than I care to admit.)

Note that there are a lot of poor-quality clear filters out there, so make sure you buy from a reputable brand such as Hoya or B+W.

8. Extra batteries

Always, without exception, carry an extra battery for your camera and extra batteries for any other battery-powered devices (such as your remote release and flash). You don’t want to head out for a lengthy landscape photography adventure only to have your camera die mid-shoot! Modern mirrorless cameras tend to require a lot of battery recharging, so if you plan to spend several days out shooting, consider purchasing a few additional batteries to be safe.

By the way, if you’re bringing along a flash that takes four batteries, take an extra set of four with you. Chances are you won’t need them – but there will always be that one time when you do want them and wish you had thought to include them in your bag!

9. Extra memory cards

Memory cards, like batteries, tend to stop working in the most inopportune situations. They can run out of space, they can require formatting, or they can just fail on you. If you’re not prepared, a memory card issue can turn into a trip-ending disaster.

Therefore, make sure you carry at least one extra memory card, though carrying two or more spares is safer. Depending on your shooting habits, it may even make sense to cart around a whole case full of memory cards!

10. The Photographer’s Ephemeris

The Photographer’s Ephemeris is a clever little app that accurately details when and where the sun and moon will rise and set. If you’re out chasing sunsets and sunrises for photographs, it’s a must-have.

What’s especially cool about TPE is that you can use it to determine the exact time and location the sun and moon will appear in your compositions – so if you envision a frame that features the moon just above a mountain, thanks to the app, you won’t need to spend hours or days figuring out how to get the shot.

11. A good pair of shoes

No joke. For landscape photographers, having a comfortable pair of shoes is like having good vision. If your feet aren’t comfy, then nothing else matters; you will not be as good a photographer as you would be with comfy feet.

This is especially true if you plan to embark on some longer hikes, so invest in a good pair of hiking boots. Also, make sure the boots strike a balance between breathing well and offering some water resistance.

Essential landscape photography gear: final words

Now that you’ve finished this article, you know all about the best landscape photography gear – and you’re hopefully ready to take a few stunning landscape photos of your own!

So figure out which gear you need, and enjoy a shopping trip. Then get out, have fun, and start shooting!

What do you view as essential landscape photography equipment? What gear do you always take with you when shooting landscapes? Share your thoughts in the comments below!

The post 11 Essential Pieces of Landscape Photography Gear in 2024 appeared first on Digital Photography School. It was authored by Jeb Buchman.

What are the best filters for landscape photography? And how can you use them to achieve consistently outstanding images?

In this article, I offer plenty of tips for working with landscape filters. I discuss the power of circular polarizers, the value of graduated ND filters, and much more. By the time you’re finished reading, you’ll know how to handle filters like a landscape photography professional (and you’ll be familiar with the types of filters that every landscape shooter should own!).

Let’s get started.

1. Use a polarizer to enhance the sky

If I had to pick just one filter to use for landscape photography, it would be a circular polarizer.

Polarizers work by filtering out light that is reflected toward the camera, which means they reduce both reflections and haze. Haze can cause blue skies to appear less vibrant – but thanks to a polarizer, you can minimize unwanted haze and produce a deep blue color:

Note that polarizers work best when you aim the camera at a 90° angle from the sun, so always keep the sun’s position in mind when shooting.

The polarization effect can be enhanced or reduced simply by rotating the filter element on the front of your lens. That way, you can preview the saturated sky colors without needing to take test shots.

Pro tip: Be sure you don’t take the polarization effect too far. It’s possible to over-polarize a scene, creating a dark blue splotch in the sky that’ll make the filter obvious and the image look unnatural. (It’s often a problem when using ultra-wide lenses that capture a huge portion of the sky.)

While there are plenty of great polarizers on the market, the basic Hoya model is a good pick for beginners. Just make sure you grab a filter that matches your lens’s diameter!

2. Use a polarizer to reveal what’s underneath the water

When photographing a stream or lake, the light often reflects off the water’s surface. In fact, it’s often impossible to see the rocks or plants that exist beneath the water, which can be a problem; what if there’s something of interest below the surface, such as rocks, fish, or even logs from fallen trees? What if you want to photograph the light falling on the lake bottom?

Well, using a polarizer, you can eliminate reflected light, see beneath the surface, and capture plenty of detailed images of fish, rocks, logs, and much more. Cool, right?

And as I mentioned in my previous landscape filter tip, the effect doesn’t need to be all or nothing. You can modify the result by rotating the filter slightly to retain some reflected light while still capturing detail from beneath the surface.

No polarizer was used on the left side of this next image. Notice how the reflected light prevents you from seeing beneath the water? But on the right side, a polarizer was used to reduce reflected light, allowing you to see rocks on the stream bottom.

To be clear, a polarizer isn’t always the best move when working with reflective water. Sometimes it pays to include reflections in the scene (especially if the reflections are unusually beautiful). But removing reflections can help focus the viewer, and it can also help saturate colors for a stunning result.

3. Use a polarizer to reduce reflections on wet rocks

Waterfalls are a fantastic landscape photography subject – but when shooting a waterfall, you’ll often run into lots of wet rocks, which reflect light to create an unpleasant shiny effect.

Fortunately, as discussed above, polarizers reduce water reflections. They get rid of the glare and put emphasis on the detail underneath.

Take a look at this waterfall image:

It looks nice, but the rocks feature too many distracting reflections. Add a polarizer, however, and you’ll get a result like this:

Much better! The detail in the rocks is clear, and the result is far more balanced and powerful.

And remember: You can adjust the effect by rotating the filter (and you can look through the viewfinder to see the effect change). That way, you can capture a nice mix of reflected light and rock detail!

4. Use a graduated neutral density filter to darken the sky

When photographing landscape scenes, you’ll often want to include plenty of detail in both the sky and the foreground. Yet you’ll frequently encounter high-contrast scenarios, especially at sunrise or sunset, which forces you to make a choice:

Expose for the sky and let the foreground turn dark, or expose for the foreground and risk blowing out the sky.

Neither option is ideal; unless your camera has a massive dynamic range, you’ll often end up losing detail in either the highlights or the shadows. So what do you do? What’s the best move?

Easy: You slap on a graduated neutral density filter, which will darken part of the frame while leaving the rest untouched. You will need to carefully position the edge of the light-to-dark filter transition along the horizon line (here, your camera’s Live View mode can be very helpful). The sky will darken, the foreground will stay the same, and you’ll get a much more manageable scene:

When you add a filter, watch the way the foreground exposure changes in relation to the sky. It’s possible to overdo a good thing (in other words, don’t let the sky get too dark!). If you notice that the sky is unnaturally dark in relation to the foreground, try a less dense filter.

(Looking for a good starter grad ND set? We recommend the Cokin Creative filter kit, which offers several decent-quality filters for a very reasonable price.)

One more thing:

While graduated neutral density filters are pretty darn useful, they can be a pain to carry around, plus they can be expensive. An alternative is to use exposure bracketing and HDR merging techniques, which will give you the same effect through post-processing. At the end of the day, it’s a matter of personal preference; both options are great and are consistently used by professionals.

5. Use a neutral density filter to control water motion

Moving water is often the most dynamic part of an image, and you can create different moods simply by changing the way you capture water. A longer exposure, for instance, will create a more peaceful effect while a shorter exposure will freeze waves in action.

Unfortunately, while long-exposure ocean and waterfall scenes are incredibly beautiful, it can be tough to get the lengthy shutter speed you need without overexposing the shot – unless you have a neutral density filter.

ND filters simply reduce the amount of light that enters the lens, letting you lengthen your shutter speed for a long-exposure effect. Note that ND filters come in different strengths, so the more filters you own, the more you can carefully control your camera settings.

A 3-stop ND filter is great for slowing down waterfalls just enough to get a nice creamy look. But when capturing waves on the ocean, you may need to use a 4-stop or 5-stop filter.

And if you use a 10-stop ND filter instead, you can slow down your shutter speed to a minute or more and eliminate water movement completely, creating a calm scene that feels quiet and tranquil.

The image featured at the start of this section required a 3-stop neutral density filter to capture the water’s motion as it crashed on the rocks. But for the image below, I used a 10-stop ND filter, which let me lengthen the exposure to a whopping two minutes!

Which neutral density filters are best? We recommend the Tiffen ND Filter kit, which boasts plenty of flexibility at a very reasonable price.

6. Use a neutral density filter to stretch the clouds

Clouds are an important part of nearly every landscape image; they add depth and drama, plus they offer nice background interest.

But while natural-looking clouds can make for a nice photo, you can achieve an even more stunning effect by capturing their movement over several minutes. Check out this standard shot of the New York City skyline:

Then look at how a long-exposure approach gave me a far more striking result:

In particular, notice how the clouds stretched in the second image (thanks to the 60-second shutter speed).

If you’re out at night, you may be able to shoot at 30 seconds or greater without issue. But during the day (and especially around noon), you’ll need to use a neutral density filter to dramatically reduce the light hitting your camera sensor.

I’d recommend a 10-stop option (such as a Lee Big Stopper), but if you need a stronger effect, consider stacking a 10-stop filter and a 5-stop filter. That way, you can use a substantial shutter speed that’ll create beautiful motion blur.

Note that the proper shutter speed to capture cloud movement will vary depending on how fast the clouds are going by. The longer the exposure, the more movement you’ll capture. For fast-moving clouds, a 30-60 second shutter speed will result in plenty of motion blur, but the clouds will still resemble clouds. Push the shutter speed out to 120 seconds, however, and the clouds will become unrecognizable streaks of color in the sky.

Landscape photography filter tips: final words

Well, there you have it:

Plenty of tips for using filters in landscape photography.

If you don’t yet own any filters, I’d encourage you to start with a polarizer or a neutral density filter. From there, you can see how you feel about the filter process – and you can think about stocking up on additional models.

Which of these filters do you plan to use? Share your thoughts in the comments below!

The post 6 Tips for Using Landscape Photography Filters appeared first on Digital Photography School. It was authored by Rick Berk.

This article was updated in December 2023 with contributions from Tom Mason, Suzi Pratt, Jaymes Dempsey, and Art Skopec.

If you’re shopping on a budget, then buying used camera gear is a great idea.

Modern digital cameras are updated regularly, so the used market is full of cameras looking for a new home. Used cameras are a great way to upgrade your gear without breaking the bank (and they often offer fantastic value for the money, too).

But shopping on the used market comes with plenty of pitfalls, and without a careful strategy, you may find yourself wasting time, effort, and money on defective or damaged equipment.

As a photographer who relies constantly on the used market, I know how to avoid these problems, and below, I share a step-by-step approach so you can successfully purchase used gear of your own, as well as some pointers to make sure you get the best bang for your buck. That way, you can update your cameras, lenses, and accessories for a fraction of the original price!

How to buy used camera gear: the basic 4-step process

When you’re buying secondhand or refurbished equipment for the first time, this simple approach should help:

Step 1: Price-check used items before buying

Just about every online camera retailer has a used section on their website. Availability of items is variable, but a simple item check can pull up estimates for the current standard used prices of the items you want.

And before you hit that buy button, I encourage you to look at multiple websites, identifying the average and lowest prices to determine the best purchase for your needs.

That said, don’t simply be drawn in by rock-bottom prices! Be sure to note the quality rating and the description for each item and see how it compares to your expectations. Often, used items that are priced too low have some sort of cosmetic or mechanical problem, so if you think a deal is too good to be true, then it probably is.

Another reason to be suspicious of outrageously low prices? The item might be gray market, which means it essentially comes with no factory warranty. The best way to check this is to find the serial number and reference it in the camera maker’s database.

The advantage of buying used gear online – as opposed to in person – is that the gear has often been checked out and issued a rating by the retailer. Additionally, online used gear, especially when it comes directly from users, tends to be far cheaper than used gear purchased from a dedicated brick-and-mortar retailer. There may also be some flexibility in terms of exchanges and returns in case you aren’t happy with your purchase.

Pro tip: Before buying, be sure to double-check and make sure the seller has a good reputation, especially on marketplaces like Amazon and eBay.

Step 2: Ask any relevant questions

If you walk into a camera shop and do a hands-on inspection of the gear you wish to buy (see the next step), this may not be necessary. But if you’re buying online, you’ll generally be working with a limited description of the item, and if you’re not careful, you may end up purchasing a camera or a lens that doesn’t meet your expectations.

That’s why it’s important to read gear descriptions carefully and ask specific questions to gather any missing information. Some sellers simply aren’t aware of certain relevant tidbits, and it takes a bit of prompting before you can get the information you’re after. Others will deliberately hide relevant information, and you must ferret out the truth before buying.

You might be thinking: If a seller fails to disclose relevant information, I can just return the gear, right?

Unfortunately, it’s not that simple. Depending on the return policy, you may only be able to return the item if it’s not as described. And if the description is very vague, you may have trouble obtaining a no-cost return – whereas if you had asked specific questions, you would’ve had a much easier time!

So make sure you submit lots of relevant questions. When buying a used camera, ask:

• How many shutter actuations does the camera have?
• Does the sensor have any significant dirt or dust spots?

When buying a used lens, ask:

• Does the lens have any fungus or haze?
• Does the lens have any scratches on the front or rear element?
• Does the lens have any large pieces of dust?
• Does the lens autofocus work well?
• Does the lens autofocus mechanism contain any sand?

Some of these questions may seem outlandish, but you’d be surprised by what can turn up in a camera or lens. Better to be safe than sorry!

Step 3: Inspect the gear

If you plan to buy your gear in person, you can generally do an inspection before agreeing to purchase the equipment. But if you buy your gear online, you’ll need to do a thorough inspection upon receipt. After all, you don’t want to use a lens for a month, only to realize that a certain feature doesn’t work!

This inspection should differ depending on the item you’re buying.

How to inspect a used camera

Used camera bodies can be tricky to assess, but the right approach will save you a lot of headaches down the line. While it’s perfectly normal for bodies to have physical signs of wear and tear, pay attention to your initial impression of the camera. If the camera appears badly worn and heavily used, it probably doesn’t look any better on the inside.

However, the most telling part of the camera body’s lifespan is the shutter, which is very expensive to replace. People sometimes sell their cameras when the shutter is about to die, meaning the new owner will soon have to spend a lot of extra money to replace it. That’s why it’s important to always assess the shutter count as soon as you receive the camera; how to check this, as well as the number of actuations that are acceptable, depends on the camera make and model. Google searches and forums should offer some resources.

Make sure you also test the camera’s autofocus capabilities. Make sure that both single and continuous autofocus perform as expected, and examine the mount to make sure the lens interfaces securely with the camera.

I’d also recommend taking a few test shots and examining the results at 100% magnification. Look for significant dust spots and any areas of blur, which can indicate potential mistreatment (and can dramatically impact your images).

How to inspect a used lens

Lenses are relatively straightforward to assess. First, investigate the lens thoroughly and look for common problems such as fungus, dust, and scratches. Shine a light through the lens and identify any imperfections. Note that some problems, such as dust and small scratches, are effectively cosmetic and generally won’t affect overall image quality. However, any signs of fungus should be a complete deal breaker as it is incredibly difficult and costly to remove. You should also check the lens contacts to make sure they look relatively clean and in good condition.

Second, do a mechanical test of the lens to see how it performs. It’s best to have your regular camera with you to see how the lens fits. Make sure the aperture blades are clean and can move freely, and try out both the zoom and focus rings. Depending on the lens model, it’s not uncommon for the rings to offer some resistance, but be sure they both operate relatively smoothly. Check out the lens’s autofocus capabilities and make sure focusing is smooth.

Finally, capture some test photos – you can find a test chart online – and zoom in to 100% to assess image quality. Look for unusual amounts of chromatic aberration, front- or back-focusing issues, unusual softness, and significant changes in sharpness across the frame. Be sure to capture test shots at a range of focal lengths and points of focus. (Note that many lenses do vary in sharpness from the center to the corners and from the middle of the zoom range to the extreme ends. But a dramatic loss of sharpness from one side of the frame to the other, or from one end of the zoom range to the other, is not a good sign.)

Step 4: Keep the gear (or send it back)

If you follow the previous steps and you’re pleased with your purchase, then go ahead and keep it! You’ve likely managed to grab a great camera, lens, or accessory at a very cheap price.

However, if you notice some problems during your inspection, it’s up to you to decide whether the equipment is worth returning. If the issues are minor but significant, you can often ask for a discount from the seller. And if the issues are serious, I’d recommend just returning the gear; trying to fix problems yourself or send the gear in for repairs often isn’t worth the cost or the hassle.

How to buy used cameras: an in-depth guide

Cameras are complex machines, so there are a few key indicators to look for when shopping for a secondhand body. While I discussed some of these elements above, it’s worth exploring them in greater depth:

Shutter count

The shutter count of a camera is simply the number of times the shutter has been fired in its lifetime.

(The shutter count is also known as the number of shutter actuations.)

Generally, the shutter count will give you a great indication of the amount of use a camera has seen, similar to checking the mileage on a car. Cameras are rated for shutter durability, with enthusiast models often rated around the 150,000-shot mark, and professional models rated at 300,000 shots or higher.

When browsing, low shutter counts often indicate less heavily used items. Fewer than 10,000 shots on a camera that is 2-5 years old is very low, with the normal amount being around 30,000-50,000.

If a camera has a very high count of 100,000 or more, it’s probably best avoided, especially because this number will also give you a little insight into the owner’s use of the camera. Higher-count cameras may have seen professional use (and a harder life), while lower counts indicate casual consumer use.

So how do you find out a camera’s shutter count?

The number is often provided when cameras are being sold secondhand. But if you’re not sure, you can find it out a few ways, depending on the model. Check out this article for guidance: Finding Your Camera’s Current Shutter Actuations.

Camera checks

When looking at a used camera, there are a few things you can check to get a better understanding of its condition.

First, remove the body cap and inspect the inside of the camera around the mirror, focusing screen, and lens contacts. Look for any signs of damage, oil, or gunk that has collected in these areas.

Oil can indicate that the mechanisms of the internal parts are not functioning correctly, sometimes due to the camera being bumped or dropped. Look for any oil around the sides of the internal section. A small flashlight can be a big help here.

Remember to hold the camera face-down as much as possible to reduce the risk of contamination from dust and dirt.

If you have a lens on hand, it’s worth taking a test shot to look for any issues with the sensor.

Set the camera to f/16 to f/22, point it at a bright subject (a white wall or the sky), and shoot a frame. Play the image back and zoom in on the LCD screen to look for any marks and scratches.

Dust spots are not a huge problem, as a simple sensor clean can take care of them. But lines can be evidence of a scratch on the sensor (which means that the camera is best avoided).

General wear and tear

Of course, it’s also important to look for any external signs of damage. Small scratches, scuffs, and marks should be expected, but heavy blemishes can indicate that the camera has been dropped. Rubber grips often start to come off with heavy use, but these can be replaced at a low cost.

How to buy used lenses: an in-depth guide

Camera lenses are expensive, so secondhand options are a great alternative to buying new.

Once again, however, there are a few things to look for when making a purchase.

Lens blemishes

When inspecting a lens, you’ll want to check both the external and internal optics.

Externally, look for any scratches or chips on the glass. Tilting the lens toward the light can help you make sure the optics are in great condition.

Note that, even if a lens has a front filter, it may not be optically perfect. So unscrew the filter and check the true front element to be sure.

Often, lenses will show signs of wear on their focus or zoom ring and the external barrel. Simple rubbing is normal and isn’t usually a concern.

Moving on, inspect internally for dust and mold. Shine a small light inside the lens and look for any particles. Most lenses will have small dust spots, but look for any large patches or seemingly smeared areas, as these will indicate whether the lens has any fogging or other internal issues.

Aperture blades

On the rear of the lens, you’ll find a small lever that you can push to open the aperture blades. Do this, and check if the blades are snappy and without any stickiness that could be a sign of collected oil.

Look through the lens with the iris fully open, once again checking for any particles or oil spots.

Sharpness

Check the lens sharpness using a test chart. These patterned charts are easy to find online, and they can be stuck on a wall and used to quickly evaluate a lens.

Here’s how it works:

Mount the lens on a camera, then put the camera on a tripod. Focus on the test chart, then fire the camera using a remote release or the self-timer (to make sure you don’t create any camera shake).

Check the shots on your camera LCD (or, if you can, on the computer). Zoom into 100% to be sure of focus. Of course, some cameras and lenses will need fine in-camera adjustments for perfection, but any wildly unsharp tests may indicate a lens has been dropped or is out of alignment.

It’s also a good idea to test the full aperture range and look for sharpness from edge to edge. Even at f/2.8, the center of your test image should be relatively sharp.

Additionally, it’s a good idea to look for any external marks or blemishes when performing these tests, turning the focus and zoom rings to check for any stickiness or grating sounds.

With those checks done, you’ll have a good indication of whether the lens is up to scratch (and worth purchasing!).

Where to purchase used camera gear

If you’re struggling to find high-quality used camera gear, here are a few suggestions:

Camera shops

Lots of camera retailers offer some secondhand stock as well as new cameras. Buying from a dealer has its advantages, because items are often checked before being added to the inventory, plus they’re often serviced before they’re sold.

Also, most dealers will have a return policy, so if you find any faults, you can exchange the used gear for a full refund. Many of the better dealers offer warranties on used gear that range from three months to a year, which will give you excellent peace of mind when purchasing.

Of course, one of the downsides of buying from a dealer is the increased price. Used kit bought from outlets often costs more than gear bought from private sellers – so you must decide if it’s worth that added peace of mind!

Ebay and private sellers

Purchasing from private sellers directly offers the best chance to find a bargain. Some people sell their gear at far below the market value. If you know what to look for, and are confident about the quality and genuine nature of the sale, you can often get an excellent deal.

It pays to be wary when shopping for used camera gear, though. Be suspicious of any deal that looks too good to be true, or of buyers who will only accept cash in person. Using PayPal or PayPal alternatives offers an additional layer of protection (one that’s very important in online sales).

Of course, private sellers generally won’t offer a warranty, but that is a risk you take to get a bargain.

5 questions to ask before buying used camera gear

I’ve bought a lot of used gear over the last decade. A lot of those purchases turned out great. Some of them I still use to this day.

But a large chunk of the used purchases I made?

Trash.

In fact, in my more naive years, I was forced to return over 50% of the gear that I purchased. There were just so many problems: sand in focusing rings, stains on the front element, shutter buttons that couldn’t communicate with the shutter. (Oh, and my least favorite: Fungus inside the lens. Doesn’t that just make you shiver?)

And here’s the kicker:

I bought all of this gear through respectable buyers, who described the equipment as in “excellent condition,” “flawless,” “perfect,” “like new,” – you name it.

It got so bad that I considered leaving the used market entirely and just buying new. But I resisted.

Why?

Used camera gear is a real bargain – if you buy carefully. This is why I took all of my negative gear-buying experiences and turned them into a process for making sure I purchased good used gear.

At the core of that process is a series of questions. Questions that I’m going to share with you today. Some of the questions are for you, the buyer. Others should be posed to the seller before you put any cash down.

Are you ready to discover how to buy used gear effectively?

Let’s get started!

Question 1: Are you buying from a reputable seller with a money-back guarantee?

This is the number one most important thing that you should do when buying used gear.

Purchase from a seller that you trust – and that gives you an enforceable money-back guarantee. You don’t want to purchase a camera online, only to find that it’s full of water damage and sports a cracked LCD.

This means that buying used through Amazon is fine. All of their products are backed by Amazon month-long guarantees.

Buying used through eBay is also fine. Ebay’s buyer protection ensures that you’re not going to get ripped off in such an obvious fashion.

But this makes most forums (if not all forums) off-limits. If the forum doesn’t have a serious money-back guarantee that’s honored by the site itself, then stay away.

This also makes in-person sales off-limits, such as those done through Craigslist. Sure, you can inspect the item upon receipt, but what are you going to do when you get home, put that lens under a light, and realize it’s filled with an army of fungus?

It’ll be too late, and your seller may not be so receptive to a return.

So just don’t do it. Instead, use sites like Amazon, eBay, B&H, or KEH, which all have clear money-back guarantees.

Question 2: Does the seller include actual pictures of the gear?

Sellers not including pictures is a big warning sign, especially on a website like eBay, where pictures are the norm. It should make you ask: Why doesn’t the seller want to show off their “excellent condition” item? Is there something they’re trying to hide?

Another red flag is only showing a stock photo. These are easy to spot; they look way better than anything that a casual, eBay-selling photographer would have taken, and there tends to be only one or two of them.

If you like the price and everything else checks out, then go ahead and shoot the seller an email, asking for in-depth pictures of the item. If the seller refuses, then it’s time to look elsewhere.

You might come across some sellers who are offering many units of the same item (e.g., five Canon 7D Mark II’s). In this case, they likely have shown a stock photo, or a photo of one item, because they don’t want to go through the effort of photographing each piece of kit.

In such cases, you should message the seller and ask for pictures of the exact item that you’ll be purchasing. It’s too easy, especially with these big sellers, to end up with an item that you’ll have to send back.

Question 3: How many shutter actuations has the camera fired?

(Note: This section is for buying cameras.)

First things first: A shutter actuation refers to a single shot taken with a camera.

Every camera has a number of actuations its shutter is rated for. Once the shutter has reached around that point, it just…fails. While you can get the shutter replaced, it generally costs enough that you’re probably better off buying a new camera body.

If you want to know the shutter actuation rating of any particular camera, you can look it up through a quick Google search.

Of course, the shutter rating isn’t a hard and fast rule. There are some cameras that go far beyond their predicted shutter count, and there are some cameras that fail far sooner. The shutter count is just an average.

Now, when you look at camera listings online, you’ll see that shutter actuations are reported about fifty percent of the time.

But the other fifty percent of the time, there will be no mention of them.

This is for three possible reasons:

1. The seller doesn’t know about the importance of shutter actuations.
2. The seller can’t figure out how to determine the shutter actuations for their camera.
3. The seller doesn’t wish to share the shutter count because it won’t help the sale.

I would never buy a camera without knowing its shutter count. Therefore, I recommend reaching out to the seller and asking.

If the seller refuses to share the count, then let the camera go. If the seller claims they don’t know how to view the shutter count, explain that they should be able to find it easily, either within the camera itself or through a website such as https://www.camerashuttercount.com/.

If they still won’t give you the count, then don’t buy. It’s not worth risking it.

Question Four: Does the lens have any blemishes on the glass, fungus, scratches, haze, or problems with the focusing ring?

(Note that this is for purchasing lenses.)

This is a question to ask the seller, and I suggest you do it every single time you make a purchase.

Yes, the seller may be annoyed by your specific question. But this is a transaction; it’s not about being nice to the seller! And I’ve never had someone refuse to sell to me because I annoyed them with questions.

In fact, what makes this question so valuable is that it often forces sellers to actually consider the equipment they’re selling. Up until this point, the seller may not have really thought about some of these things. So it can act as a bit of a wake-up call and make the seller describe the item beyond “excellent condition.”

When you ask this question, make it clear that you want a detailed description. You genuinely want the seller to check for scratches on the glass, fungus in the lens, problems with the focusing ring, and more. You don’t want a perfunctory examination.

Unfortunately, there will still be some people who don’t do a serious examination, or who lie in the hopes that you won’t notice the issues (or be bothered enough to make a return). But asking the question is the best you can do.

Question Five: Has the seller noticed any issues with the item in the past?

This is another question to ask the seller before you hit the Buy button. It’s meant as a final attempt to determine whether the item has any issues.

In this case, by asking about the item’s past.

Unfortunately, there will be sellers who have had an item break repeatedly – but, as long as it’s working at the moment they take the photos, they’ll give it the “perfect condition” label. Fortunately, many sellers will still be honest with you. If they’ve had a problem with the item, they’ll say.

So it’s definitely worth asking – just to be safe.

Buying used camera gear: final words

Buying used camera gear is all about taking your time to search out a bargain. Carefully study the used gear you’re considering, whether it’s from a dealer or a private seller, and look out for the telltale signs of damage.

Assuming you use careful consideration and do a thorough inspection before buying, the used market is a fantastic way to trade up your gear at a fraction of the cost of buying new.

And this, in turn, gives you money to buy additional equipment – or even better, a trip or two on which you can use it!

Now over to you:

Have you ever bought used camera gear? What was the experience like? Share your thoughts, as well as any tips or tricks for purchasing used gear, in the comments below!

The post How to Buy Used Camera Gear: Tips, Questions, and More appeared first on Digital Photography School. It was authored by Tom Mason.

This article was updated in December 2023 with contributions from Ana Mireles and Jaymes Dempsey.

Are you looking for the best camera for portrait photography, but you’re feeling overwhelmed by all the options? You’ve come to the right place.

You can capture a portrait with any camera, of course – but if you’re planning to buy your first serious camera or you want to upgrade your gear for portrait shooting, you’ll want to pick out your next model carefully. Happily, this list features plenty of options worth considering.

I’ve included some top-notch professional models, but you should bear in mind that the best cameras for portraiture aren’t necessarily the most expensive; hence, you’ll also find some entry-level cameras and budget-conscious recommendations.

So without further ado, let’s get started!

1. Canon EOS R5

If you’re a professional looking to embrace mirrorless technology, then the Canon EOS R5 is a great pick, assuming you can afford the price.

The EOS R5 packs a 45-megapixel full-frame sensor designed for professional photography. For those who like to make action portraits, you get up to 12 fps continuous shooting via the mechanical shutter, and this jumps to 20 fps continuous shooting when using the electronic shutter. The autofocus has Eye/Face/Head recognition, and its 1053 AF zones use 100% of the AF area to ensure the sharpest images.

For maximum flexibility, the EOS R5 has up to 8 stops of shake correction; that way you can shoot handheld portraits even in low light. It also has dual memory card slots, an optional battery grip, the ability to voice-tag photos and videos, and many other features that make it the perfect companion for your photoshoots. And – for those who like to work outdoors – it’s weather, drip, and dust sealed.

2. Nikon Z6 II

If you’re a fan of mirrorless technology but don’t want to shell out for the Canon EOS R5, consider the Z6 II, one of Nikon’s most impressive full-frame mirrorless cameras. While its 24 MP sensor can’t compete with the R5’s high-megapixel capabilities, the Z6 II is packed full of features, including a beautiful 3.69M-dot electronic viewfinder that offers a top-notch shooting experience.

Portrait shooters will appreciate the solid subject-tracking autofocus, which is especially handy when working in faster-paced shooting scenarios (though it’s also highly convenient for more conventional portrait sessions, too). The Z6 II also boasts outstanding image quality, and its low-light performance is spectacular, making it perfect for nighttime and indoor photoshoots. The in-body image stabilization is also a major benefit if you like to shoot handheld in darker scenarios.

While the Z6 II doesn’t come cheap, it’s not obscenely expensive, either, making it a good pick for serious hobbyists and up-and-coming professionals.

3. Nikon Z5

I’ve long admired Nikon’s full-frame offerings, and the Z5 is no exception. Priced under $1000, it’s an attractive option for those wanting to make the jump from APS-C to full-frame. The 24 MP sensor delivers high-quality images across various portrait scenarios, and I’m a fan of the Z5’s viewfinder, which boasts a 3.6M-dot resolution that outshines the Canon EOS RP’s EVF (on this list below!) for a more immersive and realistic shooting experience.

What’s more, the Z5 comes with in-body image stabilization and dual card slots – features often found in higher-end models. For photographers who frequently shoot in low-light conditions, the IBIS will be particularly helpful, while the dual-card slots are essential for redundancy when working with clients.

While the Z5’s 4.5 FPS continuous shooting speed isn’t the fastest, it’s more than sufficient for most portrait sessions. And its compact design is a huge plus for those who prefer a lighter kit and also makes it ideal for on-the-go as well as candid portraits. The Nikon Z5 is a well-rounded camera, offering the benefits of full-frame photography without the hefty price tag; ultimately, it’s a smart choice for portrait hobbyists looking to step up their game.

4. Canon EOS RP

For those ready to delve into full-frame portrait shooting without leaping into the deep end of the price pool, the Canon EOS RP is another solid pick. Priced around $900, body only, it’s an excellent entry point into the world of full-frame photography, even if it struggles to go toe-to-toe with the Nikon Z5 (above).

Despite its age, the EOS RP’s image quality remains impressive; with its 26 MP sensor, you can expect your portraits to be rich in detail, giving you the flexibility to print your work in large formats without losing any of the fine texture that makes a portrait come alive.

The EOS RP is relatively compact for a full-frame camera, a trait that is highly valued by portrait photographers who often find themselves in cramped shooting environments. This camera also opens up a world of possibilities with Canons’ extensive lens lineup; plenty of EF and RF lenses offer sharpness as well as ultra-wide maximum apertures – a key ingredient for that dreamy, blurred background effect in portraits. When I first got my hands on the EOS RP, its ergonomics were a pleasant surprise; it just feels right in your hands. The viewfinder isn’t as high resolution as I’d like, but it does a decent job, and for casual portrait enthusiasts looking to delve deeper into the craft, the EOS RP strikes a perfect balance between price, performance, and portability.

5. Canon EOS 5D Mark IV

If you prefer DSLRs to mirrorless cameras, then my top portrait recommendation is the EOS 5D Mark IV, a camera that – despite its age – produces consistently outstanding photos. The 5D Mark IV is a professional full-frame camera packing a well-designed 30-megapixel sensor, and as a result, images feature great color depth and dynamic range, even at high ISOs.

Its AF tracking and AF face detection ensure that you get the sharpest images for both still portraits and action shots, and even if you miss focus by a few millimeters, the Dual Pixel RAW technology allows you to shift the focus in post-processing. For example, if you get the eyelashes sharp instead of the eye, you can make a few adjustments, and – voila! – the eye appears sharp. Another perk of the Dual Pixel RAW tech is the ability to adjust the bokeh in the background for a more pleasing effect.

The camera has a robust build and environmental sealing, which makes it perfect for outdoor portrait sessions. Just remember that it’s not water, dust, or freeze-proof.

The battery life is around four hours, so you won’t need to worry about interrupting your creative flow. And the 5D Mark IV also features two memory card slots, essential for professionals who need on-the-spot backups of their work.

6. Nikon Z50

This 20.9-megapixel entry-level mirrorless camera was designed as a transition model for creators who generally work with a smartphone, but don’t let that fool you; the Z50 is an outstanding portrait photography camera, especially for beginners and intermediate shooters.

The Z50 is easy to use and the interface is very intuitive, plus the 3.2-inch screen flips 180 degrees. You can use the SnapBridge app for fast photo sharing on social media. The Nikon Z50 has 20 creative modes, including fun effects, to spice up your portraits.

The Z50 performs best with Nikon Z-mount DX lenses, but it’s compatible with all Nikon Z lenses, and you can also adapt Nikon F-mount lenses with zero loss in quality for an even greater range of choices.

The 209 autofocus points cover over 80% of the sensor (both vertically and horizontally), while the eye detection allows you to nail focus consistently. And the Z50 focuses down to -4 EV, so you can shoot long after the sun has set.

7. Sony a7 IV

The Sony a7 IV is a top-notch full-frame camera packing a 33-megapixel sensor, BIONZ XR processing engine, and advanced autofocus technology; in other words, it’s equipped with some of Sony’s latest and greatest features, and is one of the best all-around mirrorless cameras on the market today, as well as the best Sony camera for portrait photography.

The sensor retains fine details and achieves a smooth gradation even at high-ISO settings. And it features a 15-stop dynamic range that will give you excellent-quality portraits even in the most challenging lighting.

The AF/AE tracking with 759 phase-detection AF points covers 94% of the image area. The a7 IV also features Real-Time Eye AF for moving subjects, so you’ll never have to worry about missing the focus on your subject’s eyes.

Sony developed two external flashes to pair with the a7 IV that are perfect for portrait photography: the HVL-F46RM and the HVL-F60RM2. In conjunction with the camera’s face-detection technology, these flashes measure the necessary amount of light and do automatic correction of white balance.

The HVL-F60RM2 also has a rotating head feature called Quick Shift Bounce for flexible positioning when you’re bouncing the flash for soft-lit portraits.

8. Canon EOS R50

If you’re dipping your toes into the world of portrait photography and are on the lookout for a camera that balances features and affordability, the Canon EOS R50 might just be your perfect match.

Priced under $700, it’s the most budget-friendly option on our list, yet it’s packed with features that punch well above its weight class. The 24 MP APS-C sensor, although not as impressive as Canon’s full-frame offerings, delivers more than satisfactory performance, especially in challenging lighting conditions. Whether you’re shooting indoors, in the shade, or at night, the R50 will ensure your portraits come out looking professional (assuming you know how to operate it well, of course!).

One of the standout features of the EOS R50 is its autofocus system, which offers excellent face and eye tracking to keep your subjects sharp even when they’re moving. This is a game-changer for anyone who likes to capture dynamic portraits, where a slight movement can mean the difference between a good shot and a complete failure.

And for those who value convenience, the fully articulating screen and the decent electronic viewfinder make composing shots a breeze, plus you get a compact design that’s ideal for photographers who are always on the move. Whether you’re capturing candid street portraits or posed studio shots, the R50 is versatile enough to handle it all, making it a top camera for beginners eager to explore the art of portraiture.

9. Fujifilm X-T5

The Fujifilm X-T5 is the perfect solution if you want to complement your portrait photography with behind-the-scenes footage or commercial video – or if you want an all-around incredible portrait camera with a retro feel. The X-T5 offers an array of classic shooting dials so you can adjust exposure compensation, shutter speed, and more on the fly, and it looks amazing, so it’s a great pick for fashion-conscious photographers.

The X-T5 also boasts a 15 fps burst mode, which is certainly speedy enough for those split-second action images. You also get fast focusing with 425 AF points and a great shooting experience thanks to a beautiful 3.69M-dot electronic viewfinder. Also, if you’d like to make outdoor portraits, the Fujifilm X-T5 is dust and moisture-proof, so you won’t have to worry when working on beaches, in forests, or even on mountainsides.

Finally, don’t overlook Fujifilm’s 85 years of experience in color technology. This makes for accurate and vivid colors, and you also get plenty of film simulation modes in case you want to recreate some classic looks.

10. Nikon Z7 II

For the portrait photographer who demands the utmost in detail and performance, the Nikon Z7 II is a compelling – if expensive – choice. This camera is a dream for those deeply invested in the Nikon Z-mount ecosystem, especially for those aiming to capture portraits with stunning clarity and detail.

Priced around $3000, it’s a significant investment, but what you get in return is a high-resolution marvel, capable of delivering an impressive 45 MP. This means your portraits will not only be rich in detail but also offer the flexibility for large-scale prints or extensive cropping without any compromise in quality.

One of the Z7 II’s key strengths is its ability to handle high ISOs with minimal noise, making it a robust tool for low-light portrait photography. And the in-body image stabilization is another feature that adds to its versatility; it’s particularly valuable for those capturing portraits in challenging lighting conditions where slower shutter speeds are necessary.

Professional and semi-professional photographers will appreciate the dual card slots, which offer redundancy for paid shoots. While it’s significantly more expensive than its sibling, the Z6 II, the Z7 II is worth it for those who require ultra-high-resolution files.

11. Canon 6D Mark II

If you’re looking to upgrade to a full-frame DSLR but you’re not ready to graduate to a professional model, the Canon 6D Mark II is the perfect entry-level DSLR camera for portrait photography. It features a high-quality 26-megapixel sensor and good noise performance at higher ISO values, even if it’s not on the same level as the top cameras on today’s market.

The 6D Mark II packs Dual Pixel AF with 45 cross-type AF points so you can ensure sharp images, even when your subject is in motion. And thanks to 6.5 fps continuous shooting, you can capture the occasional action shot.

The AF does struggle a little in low-light situations, but you can solve this with Live View. To play back your photos or shoot in Live View, use the 3-inch flip-screen with a vari-angle touchscreen.

The 6D Mark II body is lightweight, plus the camera is dust and water-resistant. So feel free to take it with you for some outdoor portrait photoshoots in any weather conditions. The grip is also quite comfortable.

The 6D Mark II has an EF mount, so you can pair it with a wide range of lenses that are perfect for portraiture. To top it off, you also get built-in Wi-Fi, Bluetooth, and GPS.

12. Sony a6700

The Sony a6700 is the latest powerhouse in Sony’s APS-C lineup and is tailored for a range of subjects, including portrait photography. Priced at about $1400 (body only), it sits on the higher end of the APS-C market, but it justifies its price with a slew of advanced features.

The a6700’s autofocus system is nothing short of outstanding; it locks onto eyes with incredible speed and accuracy, a boon for portrait photographers who work with dynamic subjects such as dancers. The in-body image stabilization is another highlight, enabling you to shoot handheld in low light and still achieve sharp, clear images – a feature that’s particularly useful for natural light portraits.

The 26 MP sensor performs exceptionally well in low-light conditions, ensuring that your indoor photoshoots are never compromised. While it’s a significant investment, especially for an APS-C camera, its capabilities make it a worthwhile upgrade for intermediate photographers who are ready to move beyond entry-level gear. And its speed and performance make it ideal for those looking to capture more than just posed portraits, so it’s a great choice for photographers looking to delve into more dynamic people photography.

13. Canon EOS R10

If you’re looking for a great crop-sensor camera for portrait photography – one that’s more high-end than the Canon EOS R50 (above) won’t break the bank – the Canon EOS R10 is a great choice. The cropped sensor keeps this model in the prosumer or enthusiast category, but that doesn’t mean it isn’t an excellent camera. For some types of portraits – for example, couples or family sessions – you can absolutely do professional work.

The R10 is still on the newer side, which means it takes advantage of Canon’s more recent technology, including a fantastic 24 MP sensor that captures beautiful images. Autofocus is also impressive; you get 651 focus points plus a host of AF modes, including a powerful face-detection option that’s perfect for keeping subjects in sharp focus even when shooting in tough conditions.

And dance portrait photographers will love the 15 FPS continuous shooting speeds, which will ensure you can capture even the most fleeting moment. Ergonomics are great, too, thanks to a fully articulating LCD (great for low-angle shots) and a solid-quality electronic viewfinder.

One of the biggest benefits of the EOS R10 is the access it affords to Canon’s amazing RF-mount lens lineup, which includes plenty of amazing portrait glass. Bonus: Since the camera is so cheap, you’ll have some extra money to splurge on wide-aperture lenses!

14. Sony a7C

The Sony a7C is a small and light full-frame camera, perfect for casual portraits, candid shooting, and even some street portraiture. Its 24.2-megapixel sensor packs a 15-stop dynamic range and supports 16-bit processing and 14-bit RAW output.

The body allows for interchangeable lenses, although you’ll often find it sold in a bundle with a 28-60mm f/4-f/5.6 lens – not a bad deal for beginner portrait shooters, thanks to the lens’s high-quality images at all focal lengths. It also has a minimum focusing distance of 0.99 feet (0.3 meters) to 1.48 feet (0.45 meters) for detail shots of eyes, hands, and more.

The autofocus uses Real-Time Tracking, Eye AF, and features a whopping 693 phase-detection points, which cover 93% of the image area, along with 425 contrast-detection points for extreme accuracy even when capturing portraits with busy backgrounds.

15. Olympus OM-D E-M5 Mark III

The Olympus OM-D E-M5 Mark III is a 20-megapixel Micro Four Thirds camera, and thanks to a compact and lightweight design, it’s perfect to carry with you wherever you go.

Because of its weather-sealing, you can use the E-M5 Mark III for outdoor portraiture and action shots. However, for long hours of use, you might want to get an external grip; the body is relatively thin and not especially comfortable to hold.

The E-M5 Mark III is the first model in this series to have on-sensor phase-detect autofocus with face and eye detection, which makes it a great choice for enthusiasts or beginner photographers interested in portrait shooting. And while the camera only offers 20 megapixels, you can use the High-Resolution mode to capture 50 MP JPEGs or 80 MP RAW files.

And you get plenty more features and creative options, including Pro Capture, which registers up to 14 high-resolution shots with a half-press of the shutter button. That way, when you press the button all the way down, you get a handful of shots taken before your finger fully hammers the shutter (you can choose the best shot later on!).

While designed for sports photography, Pro Capture is great for working with non-professional models, in case they close their eyes or tense up at the sound of the shutter.

How to choose the right portrait photography camera

Selecting a camera for portrait photography doesn’t have to be an overwhelming task, but it’s essential to keep in mind several key factors that will influence your purchase decision, such as:

Image quality

At the core of portrait photography is image quality. Ideally, a camera for this genre should offer a minimum of 20 megapixels, which ensures ample detail for enlargements and prints. More significant than the megapixel count, however, is the sensor size. Full-frame sensors excel in low-light conditions and provide a shallower depth of field effect, crucial for achieving that dreamy background blur prized in portraiture. That said, while full-frame cameras are often regarded as the gold standard for portraits, APS-C cameras are also capable performers, especially when paired with a lens that has a wide maximum aperture.

In addition to sensor size and resolution, in-body image stabilization (IBIS) is a feature worth considering. IBIS allows you to handhold your camera at slower shutter speeds without sacrificing sharpness and is an invaluable asset when working with natural light.

Autofocusing performance

The importance of a reliable and accurate autofocus system in portrait photography cannot be overstated. When working with a shallow depth of field – common in portrait work – the margin for error is minimal; a slight mistake can lead to the eyes being out of focus, turning a potentially stunning portrait into a missed opportunity. Hence, it’s crucial to select a camera with a capable autofocusing system.

Features like Eye AF are especially helpful here. Eye AF technology identifies and locks focus on the subject’s eyes, ensuring critical sharpness where it matters most. This feature becomes even more vital when photographing moving subjects or working in dynamic environments where focusing can be challenging.

Ergonomics

Ergonomics often get neglected, but comfort in handling can significantly impact your shooting experience, and by extension, the quality of your images. Key ergonomic factors include the design of the camera grip, which should feel secure and comfortable in your hands, and the LCD screen design. A fully articulating or tilting LCD screen offers greater compositional freedom, particularly in challenging shooting angles.

Another aspect to consider is the viewfinder. A high-resolution electronic viewfinder (EVF) or a nice optical viewfinder can greatly enhance your shooting experience, providing a more accurate and immersive view of your subject. While shooting with the LCD screen is always an option, a quality viewfinder offers a more direct connection with your subject, which is often essential for portrait work.

Lens compatibility

In portrait photography, the choice of lenses is as critical as the camera body. The best portrait lenses typically feature ultra-wide maximum apertures, such as f/2.8, f/1.8, or even wider. These apertures allow for a shallower depth of field so you can highlight your subject against a smoothly blurred background. Therefore, it’s important to ensure that the camera system you choose supports a wide range of high-quality portrait lenses.

Fortunately, most major camera brands offer an extensive selection of lenses suitable for portrait work. However, it’s still important to verify that your chosen camera is compatible with the lenses you intend to use, especially if you’re looking for specific focal lengths or apertures.

Price

Last, price is an inevitable consideration in the camera selection process. While higher-priced cameras often come with advanced features, it’s important to balance your budget with your actual photography needs. Cameras under $1000, like the Canon EOS R50, are capable of producing stunning portraits and shouldn’t be overlooked!

Additionally, the most expensive camera isn’t always the best choice for every photographer. Assess your specific needs, such as the kind of portraits you intend to shoot and whether you plan to make large prints. In many cases, a camera with a moderately high-resolution sensor will suffice, and investing in a high-resolution model may only result in unnecessarily large files without a useful gain in image quality. Remember, a significant portion of your budget should also be allocated to lenses and other essential accessories, which are equally important in the art of portrait photography.

The best camera for portrait photography: final words

As you can see, there are many wonderful portrait cameras – but you need to pick the one that’s right for your needs.

So ask yourself: Do I want a mirrorless camera or a DSLR? What type of sensor do I want? From there, you can start to narrow down your choices depending on your style, the type of portraiture you like, and personal preference.

Now over to you:

Which portrait photography camera is your favorite? Which do you plan to buy? Share your thoughts in the comments below!

The post 15 Best Cameras for Portrait Photography (in 2023) appeared first on Digital Photography School. It was authored by Ana Mireles.

This article was updated in November 2023 with contributions from Simon Ringsmuth and Jaymes Dempsey.

Choosing the best camera for street photography doesn’t have to be difficult, but the huge number of cameras on the market – combined with the number of flashy features – can make the task overwhelming, especially if you’re only just getting started as a street snapper.

Fortunately, most of the latest camera models are highly capable, so it’s tough to make a truly bad choice. On the other hand, there are a handful of street photography cameras that rise above the rest thanks to a unique combination of features. While street photography can be done with almost any camera, from mobile phones to medium format models, there are a few key characteristics to look for when making your purchase, including a compact body, easy-to-use manual controls, a quiet shutter, and a fast response time.

Other features like a tilting screen, a built-in ND filter, a bright viewfinder, and weather sealing are nice to have, but they’re not deal-breakers for most photographers. Ultimately, you’ll need to decide what’s important to you and choose accordingly; if you’re not sure where to start, this list should be of use.

So without further ado, let’s take a look at the 11 best street photography cameras in 2023!

(Regarding our rankings: The top three picks are listed in order; after that, every camera is about equally good, followed by four honorable mentions that don’t quite make the cut.)

1. Fujifilm X100V (The best street photography camera)

Back in 2010, Fujifilm released the original X100, a point-and-shoot model featuring a groundbreaking set of features including a hybrid optical/electronic viewfinder and an APS-C sensor. It quickly became a runaway hit.

The X100V is the fifth iteration of this camera, and over the years Fujifilm has steadily refined its street photography capabilities. Aperture, shutter speed, ISO, and exposure compensation settings each have their own control dials, so they’re dead simple to adjust on the fly. The hybrid viewfinder lets you shoot with an OVF, an EVF, or even an old-school rangefinder display, while the flip-out touchscreen makes it easy to compose from low angles.

Other benefits for street photographers include a 23mm fixed lens mated to an APS-C sensor, which results in a 35mm equivalent field of view that’s perfect for street photography. The lens is sharp and bright with a maximum aperture of f/2, so you need not worry about missing shots due to poor light. The built-in leaf shutter makes photography virtually silent, which is great if you value discretion.

The X100V is small but not quite pocketable, and it has a full suite of customizable buttons and dials to suit your style. If you want a virtually no-compromises camera designed from the ground up for street shooters, the Fuji X100V is a fantastic option; it is, in my opinion, the best camera for street photography today.

Pros:

• Stellar image quality
• Easy-to-use controls
• Hybrid optical/electronic rangefinder-style viewfinder (the only one of its kind among all the cameras on this list)
• Beautiful JPEG files with a wide variety of available film simulations

Cons:

• Weather sealing requires the purchase of an adapter ring for the front of the lens
• Autofocus isn’t as fast as some of its peers
• Expensive, especially for casual photographers
• No image stabilization

2. Ricoh GR III (The best budget street photography camera)

The Ricoh GR line of cameras has been a favorite of street photographers for years and with good reason. The third iteration of this venerable camera series continues the tradition; it’s small in size but packs quite a punch, and it offers nearly everything a beginner or intermediate street photographer could want.

An 18mm lens mated to the APS-C sensor results in a 28mm field of view; this is a bit wider than the Fujifilm X100V (above) and more like what you might get on a mobile phone. Some people like the wider approach, and if that’s you, then the GR III will be a good fit (though I must admit that I find the 35mm field of view much more pleasing and versatile). Image quality is outstanding, and high-ISO shots look great. Lots of photographers swear by the Ricoh black-and-white JPEGs, so if you like to take monochrome street shots, this may be a good option.

The Ricoh GR III has plenty of buttons but not as many dedicated controls as the Fujifilm X100V (and other cameras on this list). It’s not quite as easy to rapidly change settings, but many custom functions can be mapped to specific buttons to make things simpler. The maximum f/2.8 aperture isn’t top of the line, but the camera compensates with built-in image stabilization; this makes low-light street photography a bit more practical as long as you are shooting still subjects. A non-tilting touchscreen makes composing shots a cinch, but the lack of a dedicated viewfinder is certainly something to consider if you prefer composing your shots by bringing the camera up to your eye.

Pros:

• The small size makes it easy to carry in a pocket or handbag
• Much more affordable than the Fuji X100V and some other options on this list
• Excellent image quality
• Built-in image stabilization

Cons:

• The f/2.8 lens is not as bright as the competition
• The lack of a built-in viewfinder means photos must be composed using the rear LCD screen
• Battery life isn’t great, so you might consider carrying a spare

3. Sony RX100 VII (The best Sony camera for street photography)

The Sony RX100 line has been around for many years and has gone through myriad iterations to adapt to the demands of photographers. The most dramatic change in recent years is the lens, which used to have a much narrower focal range but now goes all the way from 24mm to 200mm (in equivalent 35mm measurements). This makes the RX100 VII an outstanding camera for many genres, including street photography.

While the lens isn’t nearly as bright as the glass on the Fuji X100V or the Ricoh GR III, its maximum f/2.8 aperture (on the wide end) is great for daytime street photography. This quickly shrinks to a maximum f/4.5 aperture as you zoom in, but most street photographers typically shoot wide as opposed to telephoto, so this shouldn’t be too much of an issue.

The 1″ sensor in the Sony RX100 VII is what enables this camera to have such a versatile lens. And while it’s no match for its APS-C and full-frame siblings’ image quality and high-ISO performance, Sony makes up for it in terms of sheer technological prowess.

The RX100 VII camera is packed to the gills with features normally found on expensive mirrorless cameras. Autofocus is snappy and reliable and includes subject tracking and eye AF, video recording is outstanding, and the pop-up viewfinder will certainly be appreciated by street photographers. A rear touchscreen, a relatively robust set of manual controls, and several customizable buttons mean you can set the camera to suit your preferences. At the end of the day, the reason this camera earns a spot on my list is due to its unique combination of features and size; no other camera offers so much in so small a body.

Pros:

• The small size makes the camera extremely portable and pocketable
• Incredible technology, including 4K video and fast, reliable autofocus
• Versatile lens with a 200mm focal length at the long end
• Optical stabilization helps you get sharp shots of still subjects in low light

Cons:

• f/2.8 aperture is only available at the widest end of the focal range
• The small image sensor results in less depth of field and inferior high-ISO performance
• The pop-up viewfinder isn’t instantly accessible

4. Panasonic Lumix LX100 II (The best Panasonic camera for street photography

While the Panasonic Lumix LX100 II isn’t as feature-packed as other cameras on the list, it’s still an excellent street photography model thanks to its intuitive ergonomics, solid image quality, and compact size.

The LX100 II is easy to use and packs fast autofocus and responsive controls, including dedicated dials for shutter speed and exposure compensation. The built-in 24-75mm lens is great for wide-angle shots as well as tighter crops, and the bright f/1.7 aperture is perfect for low-light photography, though it does shrink to f/2.8 when zoomed to 75mm. Street photographers will love the small size of this LX100 II, though the lens does stick out from the body, so I don’t recommend letting the camera rattle around in a pocket or handbag.

Panasonic packs a lot of technology into its cameras, and the Lumix LX100 II has a range of high-tech features that’ll please street photographers. The AF points cover nearly the entire frame so you can focus almost anywhere, and various built-in crop modes let you frame your shots in a handful of different aspect ratios.

The touchscreen makes focusing a breeze, and the electronic viewfinder is great for composing your photos on the fly. Street photographers will also appreciate the aperture ring, which gives you full control over the aperture without requiring a trip to the camera menus.

Pros

• Manual control dials for shutter speed and aperture
• Built-in zoom lens covers a useful focal range for street photography
• Small size

Cons

• Image quality isn’t as good at higher ISO values
• f/1.7 aperture is only available at the widest end of the focal-length range
• The viewfinder isn’t as sharp and crisp as others on this list, which makes composing some shots a little frustrating

5. Canon PowerShot G1 X Mark III (The best Canon street photography camera)

The Canon PowerShot G1 X Mark III combines the best of compact cameras and their larger-sensor DSLR/mirrorless brethren; as a result, it’s an imaging tool that is well-suited to many types of street photography, including fast-action street snapping, thoughtfully composed street scenes, street portraits, and more.

The G1 X Mark III’s overall appeal is a bit hampered by its size as well as some limitations of the built-in lens, but anyone looking into a first street photography camera would be wise to consider it. The large APS-C image sensor on the G1 X III makes for superb shots in a variety of lighting conditions, and a long list of impressive technical specifications makes this camera great for nailing split-second moments on the streets.

Composing is simple with the rear LCD, and Canon goes one step further than most by offering a fully articulating touchscreen. Autofocus isn’t particularly noteworthy, especially when tracking moving subjects, but that’s usually not a primary concern for street photographers (depending on your style of shooting, of course).

The 24-72mm (35mm equivalent) focal range of the zoom lens means you can capture a mix of wide shots and tighter street portraits, though the aperture range on the lens is definitely less than ideal. The f/2.8 maximum aperture (when zoomed out) is respectable, but the f/5.6 aperture when zoomed in severely limits this camera’s functionality at telephoto focal lengths in low light.

However, high-ISO shots look great, and street photographers will love using the abundance of control dials and function buttons to access commonly used settings. The electronic viewfinder is crisp and sharp, and while it may not be as nice as the EVFs built into Canon’s high-end cameras, it’s certainly good enough for street photography.

Pros:

• Excellent image quality, especially compared to some cameras on this list with much smaller sensors
• Leaf shutter lets you use very fast internal flash sync speeds
• Built-in neutral density filter lets you explore more creative possibilities

Cons:

• Small maximum aperture limits the usefulness of the built-in lens, especially when zoomed in
• Battery life is not great
• The lens isn’t as sharp as others on this list

6. Nikon Z5 (The best full-frame street photography camera)

The inclusion of the Nikon Z5 on this list might seem a bit strange – after all, it’s not a dedicated street photography camera – but hear me out. While the Nikon Z5 isn’t specifically designed for street photography like the Ricoh GR III or Fuji X100V, and while it’s larger and heavier than most of the other cameras on this list, it has one standout quality for street photography: it is currently the cheapest Nikon full-frame mirrorless camera on the market. So if you’re a street photographer who values image quality above all else, the Nikon Z5 is definitely worth considering.

Plus, the Nikon Z5 has plenty of other features that’ll make street photographers sit up and take notice. The flip-out touchscreen lets you work from all sorts of unique angles, and it has plenty of manual controls and customizable settings for improved efficiency when shooting. It features a bright viewfinder, fast autofocus, built-in image stabilization, and an (optional) fully electronic shutter for discreet street snapping.

The Nikon Z5 can be paired with Nikon’s Z lenses, many of which are outstanding for street photography. Bear in mind that the Z5 is expensive, heavy, and downright cumbersome compared to the nimbler models featured elsewhere on this list – but for photographers desiring a full-frame camera, it’s one of the best options available.

Pros:

• Exquisite image quality and autofocus performance
• Dual memory card slots
• Built-in image stabilization helps you get great shots with slower shutter speeds

Cons:

• Larger than almost every camera on this list
• Very few small Z-mount lenses

7. Olympus PEN E-PL10 (The best Olympus street photography camera)

The Olympus PEN series has long been beloved by street photographers, and while it’s not quite up to the standards of some of its peers, the PEN E-PL10 definitely holds its own in key areas. It sports a powerful Micro Four Thirds (MFT) sensor, which sits comfortably between the 1″ sensor of the RX100 series and the APS-C sensors offered by cameras such as the G1 X Mark III and Fuji X100V, and it strikes a nice balance between size and capability.

Like the Nikon Z5, the PEN E-PL10 does require a separate lens, but MFT glass is much smaller than its Nikon/Canon/Sony counterparts. For example, the 14-42mm lens (28-84mm equivalent) shown in the photo above makes the E-PL10 about the same size as the Fuji X100V when the lens is at its widest. And there’s a huge variety of MFT lenses, many of which are great for casual street shooting.

The PEN E-PL10 isn’t as feature-rich as some of its more pro-oriented siblings, but it has a full complement of manual controls so you can confidently capture the shot you’re after. Some street photographers might lament the lack of a dedicated viewfinder, but the articulating rear touchscreen makes composing photos easy and enjoyable.

The E-PL10 also stands out thanks to built-in image stabilization and fast, reliable autofocus. And the PEN E-PL10 is much less expensive than other cameras on this list, which makes it a great option for people looking for a starter street photography model.

Pros:

• One of the smallest interchangeable lens cameras on the market
• Excellent manual controls and built-in image stabilization
• Inexpensive, even when factoring in the cost of a lens

Cons:

• An MFT sensor means high-ISO shots aren’t top-notch
• No dedicated viewfinder
• Serious street shooters might quickly outgrow the feature set

Honorable mentions

The cameras listed below are all well-suited to street photography, but while they are all worth considering, each is limited by some important factors. Therefore, I would generally recommend one of the initial seven cameras on this list over one of my honorable mentions.

However, if affordability, size, and access to the latest technology are not your primary concerns, then do take a look at the models listed below; maybe you’ll fall in love!

8. Leica Q2

The Leica Q2 is a no-compromise street photographer’s dream. Everything about this camera is ideally suited to street photography, from its full-frame sensor to its exquisitely sharp 28mm f/1.8 lens to the excellent optical viewfinder, durable construction, and weather sealing. Unfortunately, the Q2 is also insanely expensive, so it’s out of reach for most beginner (and even professional) photographers.

But while you could buy several Fujifilm X100Vs and a Ricoh GR III for the same price as a Leica Q2, you would be making some compromises and tradeoffs in the process that you simply don’t have to think about with the Leica. So if money is no object and you don’t mind a massive lens protruding from the camera body, the Leica Q2 is my top recommendation.

9. Sony RX1R II

If you’re searching for an ideal street photography camera but can’t afford the Leica Q2, then the Sony RX1R II should be at the top of your list. It’s similar to the Leica in many ways, with specs that surpass almost every camera at the top of this list, even if it doesn’t quite reach the same soaring heights as its German-made counterpart.

If the Q2 sits at the top of the podium, the RX1R is a very close second place. It’s expensive but not quite as much as the Q2, and its 35mm f/2 lens isn’t as wide or bright as the Q2’s lens, either. While it has a viewfinder, this pops out like a periscope instead of being elegantly embedded in the camera body. And while the rear screen flips out for greater versatility, the camera sacrifices weather sealing as a result.

In short, the Sony RX1R II is an outstanding camera, but it’s generally not one I would recommend for casual street shooters.

10. Sony a6100

The Sony a6100 isn’t designed for street photography, but it shouldn’t be overlooked. It’s a small, well-rounded, full-featured APS-C camera that also serves the needs of street photographers surprisingly well.

Everything you would expect in a proper camera is here: manual controls, a bright viewfinder, great autofocus, and a flip-out rear screen. It’s small enough to tote around but not as pocketable as the Ricoh GR III or Sony RX100 VII. I would recommend pairing a6100 with the 20mm (30mm equivalent) f/2.8 pancake lens, which essentially transforms it into a Fujifilm X100V.

Strictly from a street photography perspective, I prefer the X100V – but some might appreciate the technology and the ability to change lenses offered by the a6100.

11. Fujifilm X-E4

It almost doesn’t seem fair to relegate the Fujifilm X-E4 to the bottom of my “Honorable Mentions” category. In many ways, it’s a great street photography camera – but while this model has an extensive list of features that appeal to street snappers, I can’t recommend it over the Fuji X100V.

The X-E4 and the Fujifilm X100V share many common elements, from the sensor size to the flip-out screen to manual controls and even a built-in viewfinder. But while the X-E4 is newer and less expensive, it doesn’t come with a lens, and by the time you add one that is suited to street photography, the price is almost the same as an X100V.

And the X100V boasts a wide-aperture lens, better manual controls, and a hybrid optical/electronic viewfinder that will appeal to a lot of street photographers. As a small, capable, interchangeable lens camera, the X-E4 is great. But for street photography, the X100V is the better choice.

How to pick the perfect street photography camera: 5 key characteristics

There are five basic features you’re going to want with any street photography body. While finding them all in a single camera can be tough, depending on your current lens lineup and preferred system, I’d recommend getting a camera that offers as many as possible.

And if you can find a camera that includes all of these features, you know it’s going to be a great street shooting option.

1. A compact body

When you look for a street photography camera, the very first aspect you’ll want to consider is size.

Because here’s the thing about street photography: The less that people notice your camera, the better.

As soon as people start to see your camera, they get nervous, you get nervous, and photography becomes uncomfortable.

And while it’s inevitable that your camera will be seen, the smaller it is, the less this will happen.

That’s why I recommend you get the most compact camera you can find. Or, at least, a camera that offers a small form factor.

(Another advantage of a compact body is that they’re easy to carry around. You can take a Fujifilm X100V with you wherever you go so that you never miss a shot!)

So start your search by looking for a small body, and only then should you consider the rest of the features on this list.

By the way:

It’s not just the camera that should be small; you’ll want small lenses, as well. One of the best ways to ensure you have plenty of small lenses to choose from is by working with a Micro Four Thirds camera (which is offered by both Panasonic and Olympus).

These systems have unusually compact lenses, thanks to their smaller sensor size.

2. A high continuous shooting speed

If you’re planning on doing lots of street photography, then you’re going to need a camera that shoots fast.

Why? The best street photos tend to involve a convergence of elements. Three people are perfectly aligned with a building, a person makes a sudden strange expression, or a biker passes in front of an interesting facade.

And you’re going to miss out on these moments, unless your camera can fire off a burst of shots in quick succession.

I’d recommend a continuous shooting speed of at least five frames per second, and more is better. For me, the 8-10 range is ideal, which you can find on quite a few cameras these days.

And honestly, anything more than 10 FPS is overkill for most street photography purposes. You’ll run through your memory cards ridiculously fast, and end up with a huge amount of unnecessary shots.

You’ll also want to get a camera with a decent buffer. There’s no use in being able to shoot at 10 fps if you can only capture 15 frames. So I recommend you look for a camera with a buffer of at least 25 RAW files (and more is better!).

3. Excellent autofocus with strong eye detection

As I said above, street photography happens fast, and you’re often reacting to moments that come and go instantly.

That’s why the best street photography cameras have lightning-fast autofocus and, ideally, face/eye detection.

I’m talking about systems that can nail focus instantly, as well as track a subject through a complex array of objects without losing focus.

Now, it is possible to do street photography with a less AF-adept camera. But you’ll frequently struggle, especially when trying to lock focus for spur-of-the-moment shots.

You’ll also want good AF for situations when you’re shooting from your LCD or from the hip. If your camera can grab focus with ease, you’ll end up with quite a few keepers, even if you’re firing the shutter without looking!

4. A silent shooting mode

Getting a camera that can shoot in silence was a real game-changer for my street photography. Finally, I could shoot without people realizing it, and it made me feel so much less anxious.

And the truth is that most street photographers feel anxious at one time or another, and a loud shutter sound just makes that anxiety worse.

(If you’re a street photographer who never feels uncomfortable, please share your secret in the comments!)

In fact, I almost quit street photography. It was only once I had a camera that could do true silent shooting that I was able to resume and feel better about what I was doing.

That’s why I recommend you get a street photography camera that has some sort of silent shooting mode. Ideally, it has an electronic shutter, one that allows you to shoot in total silence (though any silent shooting mode is better than nothing at all).

You’ll want to be careful, though:

Some cameras can be restricted when using a silent shutter. For instance, my Sony a6300 can only shoot bursts at about 3 frames per second when silent, and this can be extremely frustrating. So I’d suggest looking for a camera that can maintain both silence and fast continuous shooting speeds.

That way, you can capture bursts of action without dealing with the chatter of a camera shutter!

5. A tilting screen

This feature is a bit more optional, but it’s still useful in quite a few situations.

You see, there will be times when you want to shoot from the hip (i.e., keep your camera held down low and fire off some shots).

I do this while walking past people on busy streets because I don’t want to bother them with the sight of my camera. And I also like the low-angle look that it creates!

Of course, you can do this blindly, and you’ll end up with some keepers.

But if you have a tilting screen, you can look down at the camera while you walk to ensure perfect focus and composition!

Note that you don’t need a fully articulating screen, as you won’t need to shoot from ultra-strange angles. A screen that tilts up 90 degrees will do just fine.

And since we’re talking about screens, I’ll mention that a touchscreen can be pretty useful in these situations, too. If you can tap to set focus, you can quickly choose a subject while looking down at your LCD, then fire off shots as they come closer.

Make sense?

The best camera for street photography: final words

Street photography is all about capturing the candid everyday moments that make up the world around us. And almost every camera can capture those shots, including mobile phones, pocket cameras, and DSLRs with big lenses.

There’s no rule that says the camera you already have won’t work for street photography. And your only limitations are the ones you set for yourself. But if you’re looking for the best camera for street photography, I hope this list gives you plenty to think about!

Street photography camera FAQs

The post The 11 Best Cameras for Street Photography in 2023 appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

This article was updated in November 2023 with contributions from expert photographers Simon Ringsmuth, Christian Hoiberg, Gavin Hardcastle, and Darren Rowse.

What’s the best tripod for landscape photography you can buy today? When considering the perfect landscape tripod, there are literally hundreds of products to choose from – the tricky part is narrowing down all the options to find one that’s right for you!

This guide will help you wade through the various tripods on the market to find the one that fits your needs. Of course, as with many aspects of photography, it’s difficult to offer a single best tripod to purchase for capturing landscapes. It depends on your goals, your gear, and whether features like budget and portability matter more than height and durability.

I would, however, caution you against getting a very inexpensive, do-it-all model like the kind you might find at a local department store or online retailer for $25-$50 USD. These tripods might seem good, and some have long lists of features, but they are often made with cheap materials that will not hold your camera steady and will break very quickly. So if you’re after a genuinely good tripod for landscape photography, scour this list; you’re certain to find a much better option that suits your needs.

(Also, if you want to learn when you should use a tripod for the best landscape images – and how you should work with a tripod for pro-level results – make sure to read all the way to the end!)

Let’s get started.

1. Peak Design Travel Tripod (Best overall tripod for landscape photographers)

When Peak Design released its Travel Tripod in 2019, it sent shockwaves through the photography community. The tripod was (and is!) small, light, and incredibly versatile, which made it appealing to a wide range of photographers.

All was not sunshine and roses, and shutterbugs quickly took note of some important downsides. This new tripod was expensive, limited in certain ways, and included some highly unconventional design choices. But despite the drawbacks, the Peak Design Travel Tripod earns my recommendation as the absolute best tripod for landscape photography you can buy.

I have used this tripod extensively, from mountaintops in the southwest United States to remote hiking locales along the USA-Canada border, and there’s simply nothing else like it. Its diminutive size when fully collapsed, coupled with the extremely low weight, is a boon to landscape photographers who value quality as well as portability. The built-in ball head is flexible, the legs are stable, and with the center column extended, the entire package is nearly as tall as any other tripod on this list.

I wouldn’t recommend the Peak Design Travel Tripod for use with ultra-heavy cameras, since the thin (but very strong) construction can’t quite keep up when you start attaching pounds of gear. But for most landscape photographers, this tripod hits the sweet spot between size, features, and portability.

Pros

• Outstanding portability
• Highly flexible
• Lots of little design touches, like the phone holder tucked into the center column

Cons

• The carbon fiber version is very expensive
• Not as tall as other tripods
• Not designed for very heavy camera/lens combinations

2. Benro MeFOTO Roadtrip (Best budget landscape tripod)

If you’re a landscape photographer on a budget, you can’t go wrong with the Benro MeFOTO Roadtrip. It’s not as compact or versatile as other items on this list, but it offers amazing flexibility – especially considering the price.

The legs fold up around the ball head to save space, and you can lock them into several positions during setup. The center column makes it easy to adjust your landscape photography framing along the vertical axis, and it extends the overall height of this tripod to 61 in (157 cm), which should suit the needs of many landscape photographers reasonably well.

The legs each have a series of twist-lock mechanisms to extend the sections and keep them in place. I’m personally not a big fan of this style and instead prefer the clip-lock or twist-lock systems found on other tripods, but again, the main point of this tripod is to serve a more budget-conscious audience.

One nice feature is the ability to convert it to a true monopod by removing a leg and attaching it to the center column, though that’s not highly relevant for landscape shooters. It does speak to the overall versatility of this tripod, and for photographers who want one inexpensive option for landscapes plus other situations, the Benfro MeFOTO Roadtrip is a solid choice.

Pros

• Inexpensive
• Flexible
• Can be converted to a monopod
• Includes a nice ball head

Cons

• Not as tall as other options
• Twist-lock extension mechanisms aren’t to everyone’s liking

3. Manfrotto MT190XPRO3 with Manfrotto 496 Center Ball Head (Best semi-professional landscape tripod)

There’s a bit of a paradox with camera gear: the more you spend, the less you get. Whereas many less expensive tripods come with everything you need to go out and start shooting, higher-end tripods often come as two separate pieces: legs and heads. The Manfrotto MT190XPRO3 is an outstanding set of tripod legs, but it also needs a head, and for that I recommend the 496 Center Ball Head.

The Manfrotto legs aren’t small and light so they might not be the first choice for travelers, but they are strong, sturdy, and tall enough to give you unique landscape photos you can’t get with shorter tripods. The legs can be locked into several positions, and adjustments are quick and easy thanks to the clip-lock leg extensions. My favorite feature is the center column adjustment, which lets you extend the column and then reposition it horizontally to capture photos in entirely new ways.

The 496 Center Ball Head refines the design Manfrotto has used for years, and while it doesn’t offer anything particularly revolutionary, it does give you stability and impressive ease of use. Large, chunky knobs let you easily reposition the ball head and then lock it firmly in place, and it’s designed to hold over 20 pounds of gear.

Bottom line: This setup is great for landscape shooters who use professional-grade cameras and lenses and don’t trust their gear to a flimsy support system.

Pros

• Sturdy
• Easy to adjust ball head position
• Simple but effective leg-locking mechanisms

Cons

• Bulky and not ideal for backpacking
• Not as tall as other tripods

4. Gitzo GT2545T Series 2 Traveler (Best professional tripod for landscape photographers)

For landscape photographers who want a no-compromise solution to the tripod problem, it’s hard to beat the Gitzo GT2545T Series 2 Traveler. It’s small, lightweight, extends to over five feet, and is designed to take a beating.

Gitzo has made a name for itself in the photography community as a maker of tough, reliable gear for the most demanding situations, and this tripod is no exception. While it’s not quite as small and compact as the Peak Design Travel Tripod, it folds down small enough to fit in most backpacks or suitcases, and the carbon fiber construction keeps it lightweight for hiking out to your favorite landscape photography spots.

This tripod frequently comes paired with a ball head, but you’re free to just buy the legs and choose your own head to fit your needs. However, the often included ball head is great for landscape photographers and one I strongly recommend. Its huge knobs are easy to loosen and tighten, and the head can be moved into nearly any position you need. Unlike some less expensive ball heads, this one is coated with a special material to minimize sticking – perfect for photographers who shoot in inclement weather.

Pros

• Extremely high-quality build
• Very lightweight but capable of supporting large cameras and lenses
• Folds down small for portability

Cons

• Expensive
• Not as compact as others on this list
• Height is decent when fully extended, but not outstanding

5. JOBY TelePod Pro (Best tabletop tripod for landscape photography)

Large tripods that extend high up into the air are great for capturing nature and landscape shots, but sometimes you just need something small and versatile. And if you prioritize compactness over everything else, I recommend the JOBY TelePod Pro.

Designed for small setups like a consumer-grade DSLR or mirrorless camera paired with a lightweight lens, this tripod folds down smaller than a water bottle so you can literally take it anywhere. It has sturdy, rubberized feet and a fairly unique design element: an extendable center column instead of extendable legs. This comes at the cost of stability but helps maintain the outstanding size and portability.

Of course, with the JOBY TelePod Pro, it’s important to keep expectations firmly in check. It’s almost like a selfie stick with three feet, and that makes it unappealing for a lot of longtime landscape photographers. But for those new to this type of photography, or people who don’t have big cameras and lenses, the TelePod Pro is just about perfect.

Pros

• Inexpensive
• Incredibly compact
• Highly portable
• Easy to use in a wide range of landscape situations

Cons

• Not ideal for large cameras
• Extending center column design limits overall stability

6. Feisol Elite Tripod CT-3472LV M2 (Best heavy-duty tripod)

In landscape photography, wind, snow, rain, dirt, dust, extreme heat, and cold are all par for the course – and in such conditions, it helps to have a tripod that will never let you down. That’s where the Feisol Elite Tripod comes in.

It’s a great option for those who value build quality and durability over all else, thanks in part to thick legs capable of holding over 60 pounds, which eclipses just about everything else in its class. The carbon-fiber construction results in a high price tag but a reasonable weight, which is great if you’ll be carrying this on your back or over your shoulder for long distances.

While not as versatile as some other options on this list, the Feisol Elite Tripod does have one key advantage: its size. It’s certainly no tiny, compact device like the Joby TelePod Pro. The Feisol Elite Tripod is approximately two feet long when folded, and it reaches a towering height of nearly six feet to help you get the shots that other landscape photographers can only dream about.

Pros

• Large chunky legs offer amazing stability
• Can support far more weight than other tripods

Cons

• Expensive
• Does not include a ball head
• Not ideal for photographers who value portability

7. Manfrotto MK055XPRO3-3W (Best full-size landscape tripod)

The Manfrotto MK055XPRO3-3W tripod packs everything but the proverbial kitchen sink. Yes, it’s large and definitely not appropriate for long hikes or tromping around through the backcountry, but if you’re a landscape photographer who wants to buy one single tripod that includes everything you need for rock-solid stability, this one is it.

You won’t get a carbon fiber build, and good luck stuffing this beast in a backpack – but it is rock solid, has easy-to-use flip locks to extend the legs, and reaches a stratospheric height of more than 72 inches. It will handle any situation you can throw at it as long as you’re able to lug it to your location.

While you can customize this tripod with a different ball head, the included 3-way pan/tilt head is excellent for landscape photography. It offers a more careful, considered approach than the knob-turning of other ball heads, and the large adjustment handles connect you to the tripod in a way that I really like. As with other high-end Manfrotto tripods, the center column can be repositioned horizontally for even greater maneuverability.

Pros

• Great compromise between features, flexibility, and price
• Sturdy, supportive legs
• Can extend over six feet

Cons

• Included pan/tilt head is not suited for everyone
• Not very portable
• Load limit is good but not great considering the size

8. Vanguard Alta Pro 263AP (Most flexible tripod)

The Vanguard Alta Pro 263AP is an excellent option for landscape photographers who want advanced features at a much more reasonable price point than Gitzo or Feisol tripods. It’s relatively compact – though not as diminutive as the Peak Design Travel Tripod – and extends to a very respectable 70 inches. The center column can be positioned in a variety of ways, and the ball head can be rotated and repositioned in almost every manner imaginable.

What I really like about this tripod for landscape photography are the little touches that make your shooting experience just a little more pleasant. The feet have metal tips for maximum stability (and while they might not seem especially useful, you’d be surprised how often they come in handy when you’re shooting in the great outdoors!). The center column can be repositioned while also adjusting its height, allowing you a near-unprecedented level of versatility.

And while some photographers would rather have a more traditional ball head, I do appreciate the large, easy-to-use handles that let you adjust pan, tilt, and rotation separately. I wouldn’t hesitate to recommend this tripod to most photographers, as it is well-suited to almost any photographic situation.

Pros

• Relatively inexpensive compared to some others on this list
• Highly versatile
• Great for a variety of situations, not just landscapes

Cons

• Included tripod head is not to everyone’s liking
• Not very small when collapsed

9. Joby GorillaPod with smartphone mount (Best tripod for smartphone landscape photography)

It’s often said that the best camera is the one you have with you, and for many people, that means their mobile phone. Extend that maxim just a bit, and we might say that the best tripod is the one you have with you. For landscape photographers who rely on their smartphone to create landscape images, this tiny Joby tripod is one that I’m always happy to recommend. Its unique wraparound legs let you capture stable images on just about any surface imaginable, and the entire tripod can be wrapped around objects, including trees, fence posts, benches, and more.

While I wouldn’t recommend a GorillaPod to anyone who shoots with a DSLR or mirrorless camera, it’s ideal for mobile phone shooters. The tripod will sit firmly in place with a phone attached, and the ball head is great for repositioning your phone to get your shot just right. It’s small, light, highly portable, and comes at a very reasonable price.

If you shoot landscapes with your mobile phone, there’s almost no reason not to get this tripod. And despite some limitations, it’s a great solution and a welcome addition to your gear kit.

Pros

• Inexpensive
• Small
• Flexible
• Highly portable

Cons

• Very short
• Not well suited for dedicated cameras

How to choose the perfect landscape photography tripod

A tripod is an essential piece of equipment for a landscape photographer. Sure, you won’t always need to use it. But you’ll find yourself in situations where it can help you capture a high-quality image you wouldn’t be able to get otherwise.

But how do you choose the right tripod? There are hundreds (if not thousands) of options out there, with prices ranging from $10 to more than $1000. How do you know which one will best suit your needs?

The first tripods I bought were cheap $20 aluminum models from the local electronic shop. While most photographers start with such a tripod, I strongly advise you not to buy one. For landscape photography, they simply won’t do a good job. In some situations, they may even do more harm than good (and they also break more easily than a higher-quality model).

So what should you consider before purchasing your next tripod for capturing landscapes? Here are a few things to keep in mind:

• Price and quality (i.e. what does your budget allow?)
• Flexibility
• Weight (aluminum vs carbon fiber)

Taking these topics into account before you buy will make it easier to find the best one for your needs.

Price

The first thing most of us consider is the price. Photography equipment is rarely cheap, and if you want quality, you need to pay for it. As I said earlier, a tripod can cost you anything from $10 to several thousand. But are more expensive tripods necessarily better?

In general, yes. A $1000 tripod will outperform a $200 tripod in most tests. But that doesn’t mean it’s the right one for you. Ask yourself what you need. What type of landscape photography do you do? Do you need the most expensive model? For most people, the answer is no.

Chances are a mid-range ($200) tripod will be more than adequate and perform perfectly in most scenarios.

Flexibility/height

What about specs? Should you choose a short tripod or a tall one? Can the legs spread wide, or are they locked into a fixed position? Do you prefer flip-locks or twist-locks?

Let’s start with the height. In most situations, you won’t need a tall tripod – yet if you shoot landscapes frequently enough, there may well come a time when you need that extra leg length. Is it worth paying extra for? If you often find yourself photographing in rivers, on top of rocks, or along rugged seasides, then yes. But if you’re not into extreme landscape photography and always mount your tripod on flat and stable ground, I wouldn’t bother.

Next, while a tall tripod is nice, it’s also handy to have one that lets you get close to the ground. For this next image, the tripod held my camera just a few inches off the ground, which allowed me to get extra close to the flowers in the foreground:

So what’s more important to you? Having a tall tripod or being able to take photographs from a low perspective?

The good news is that some of the more expensive tripods can give you both. While they can stand close to six feet tall, they can also lay more or less flat on the ground for those low-perspective scenic shots. 

Weight

The final thing to consider is the tripod’s weight. This is important, especially if you head out on long hikes. Your backpack can get quite heavy once you add all the gear you need, so the last thing you want is unnecessary weight from a tripod.

Now, a lightweight tripod isn’t necessarily low-quality. In fact, some of the best tripods out there are lightweight. You just need to make sure they’re sturdy and can support the weight of your camera. Unfortunately, these tripods are rarely cheap and are often found at the higher end of the price range.

If you’re an avid hiker and tend to go a long way to photograph your subjects, I strongly recommend looking into a lightweight carbon fiber tripod. These tripods are just as sturdy (if not more sturdy) than the heavier aluminum alternatives.

But if you’re not into hiking, weight might not be such an issue. In fact, if you photograph in rough conditions, you may prefer the extra weight. When photographing beaches in Arctic Norway, I depend on having a sturdy tripod that won’t break when hit by waves or move when the waves are receding. In these situations, a low-quality travel tripod is far from ideal. Even strong winds can make these tripods vibrate, leading to blurry images. A heavy and solid tripod is a much better option.

Which tripod should you buy?

Unfortunately, I can’t answer this question for you. It really depends on who you are and the kind of photographs you take. But when you’re ready to buy one, consider what I’ve talked about and ask yourself what you need. Do you need a light tripod you can easily bring on long hikes? Do you need a sturdy tripod that can handle wind and rough conditions? Perhaps you need a combination of the two.

And what about the price? Do you really need the most expensive model, or will a medium-priced alternative do the job?

Answering these questions should help you narrow down the options, and help you find the tripod that is best for you.

Personally, I have two tripods: a lightweight travel tripod I can bring on long hikes, and my main tripod that’s a little heavier (and more expensive) but solid enough to use in even the roughest Arctic conditions.

Tripods in landscape photography: a quick guide

Now that you’ve (hopefully) identified the right tripod, let’s take a look at how and when you should use a tripod for amazing landscape shots.

When is a tripod necessary for landscape photography?

Tripods are bulky and heavy. For some, a tripod is just another object that makes shooting landscapes more difficult due to the inconvenience. So the question arises – is the effort worth the cost?

I certainly think so; for most forms of landscape photography, a tripod is an essential piece of equipment.

Tripods are essential for capturing razor-sharp images, especially in low-light situations where you want to keep your ISO low.

While increasing the ISO lets you use a quicker shutter speed, it can introduce unwanted grain/noise and reduce the overall quality of your image. But keeping the ISO low means you’ll need a longer shutter speed. (Yes, you can adjust the aperture. But I won’t be talking about that here).

Capturing a sharp image using a shutter speed of 1/10th of a second or slower with a handheld camera is almost impossible. It’s very difficult to avoid any camera movement which, with such a slow shutter speed, means you’ll introduce some blur into the image.

Mounting the camera on a tripod lets you use slower shutter speeds and still capture sharp images. The camera sits still on the tripod, so you don’t have to worry about the motion of you holding it.

Using a tripod also allows you to use even slower shutter speeds and capture long exposures (i.e. images that make use of extra slow shutter speeds).

Tips for using a tripod in landscape photography

Over the years, I’ve learned some hard lessons when it comes to landscape photography and the obligatory use of a tripod. Love them or loathe them, tripods are an essential piece of kit for landscape photography. With these 5 simple tips, I hope to help you love your tripod and improve your photography experience.

1. When going vertical, use the right approach

When you need to shoot a vertical image, you’ll find it much more comfortable to tilt your camera to the left (counterclockwise) when using a ball head. If you tilt it to the right (clockwise), you’ll discover that things get really cramped, especially if you want to get your camera low to the ground; you may not be able to physically fit your arm in the space you’ve got left.

Also, most cameras also have the battery compartment under the handgrip on the right side, so when you need to change batteries, you’ll find it much easier if your camera is tilted to the left. If you look at the image above, you’ll notice all of the camera controls are easily accessible on the top of the camera.

2. Don’t force your tripod into position

I often see my beginner students trying to use brute strength to reposition the camera on their ball head tripod. The result will eventually be a broken ball head, and on one extreme occasion, I actually watched the camera pop out of the clip and plummet to its untimely death.

So if you need to reposition your camera, simply loosen one of the locking mechanisms on the ball head, reposition it, and then tighten the locking mechanism. You’ve paid for all of that engineering; you might as well use it!

3. Let go of the tripod when you shoot

Sounds obvious, right? I’ve been shooting professionally for years, and yet I still occasionally do this. It makes sense to hold onto your tripod when shooting in gale-force winds. But in most circumstances, you won’t need to do that, and you’ll capture much sharper images without the vibration caused by your hands touching the tripod.

The purpose of a tripod is to keep your camera perfectly still so that you capture a sharp image. Touching it defeats the purpose – so hands off!

4. Make sure everything is locked down tight

A common problem with tripods is that the screw that attaches the clip mount to the ball head works itself loose. Be sure to always carry the correct hex key for those rare but vitally important moments when you need to apply a bit of tightening.

I also recommend that you make sure that all of the other mechanisms on your tripod are firmly locked down. If there’s even the slightest amount of play, you’ll have problems during post-processing if your images don’t line up and you plan on blending multiple exposures.

Check that the legs lock securely, as well; the screws may need to be tightened from time to time. Sometimes the legs work themselves loose and can slowly close in on themselves, causing movement during your exposure or even the entire tripod to collapse.

5. Empty the water out of the tripod legs afterward

If you do a lot of shooting in rivers, lakes, and oceans, you’ll discover that your telescopic tripod legs magically suck in and store water. To avoid a surprise drowning of your camera, be sure to remove the camera before you pick up the tripod and tip it upside down. Otherwise, water from the legs will pour out of the top of the tripod – all over your precious camera.

It’s also a good idea to do this before putting the tripod back in your car, tent, or camera bag. The last thing you want is a soggy tent!

One more resource for landscape tripod photography

In this video from Julian Elliott Photography, you get seven handy tips for using a tripod in landscape and travel photography:

So watch Julian’s video and find out how to get the most out of your tripod, how to keep it in good condition, and how to use it.

The best tripod for landscape photography: final words

While you don’t necessarily need a tripod for landscape photography, it will get you consistently better results. You can use lower ISO values, narrower apertures, and longer shutter speeds, plus you can capture shots you just can’t reach when shooting handheld.

If you’re looking for your first tripod, or if you already have a tripod and are aiming to upgrade, hopefully one of the options on this list will be just right for you!

And remember, these are my personal picks for the best tripods for landscape photography, but if you have a favorite I would love to hear about it – so leave your thoughts – and share any of your own landscape photos – in the comments below.

Landscape tripod FAQ

The post 9 Best Tripods for Landscape Photography in 2023 appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

This article was updated in November 2023 with contributions from Tom Ang and Kim Brebach.

What is an ultra-wide angle lens? What type of effects do ultra-wides produce? And should you use them in your photography?

I’ve been working with ultra-wide angle lenses for well over 30 years, and in my view, they’re incredible. They offer plenty of practical benefits, they’re a great way to improve your photography, and they’re lots of fun to shoot with, too.

In this article, I explain everything you need to know about ultra-wides, including what they are and why I highly recommend them. I also include plenty of examples, so you know exactly what ultra-wide lenses can do, and I close with a handful of ultra-wide angle photography tips!

Let’s dive right in!

What are ultra-wide angle lenses?

Ultra-wide angle lenses are extreme versions of wide-angle lenses. Instead of producing a field of view that’s subtly wider than the human eye, they offer a field of view that’s far wider. They create a beautifully expansive effect:

Notice how, in the photo above, I’ve managed to capture over half of the room. That’s the power of an ultra-wide lens!

So what focal lengths correspond to ultra-wides?

Well, as you may already be aware, a 50mm lens (on a full-frame camera) closely approximates the field of view of the human eye. And wide-angle lenses feature smaller focal lengths, generally from around 24mm to 49mm.

Therefore, ultra-wide angle lenses have focal lengths that are wider than 24mm. A 10-20mm lens, for instance, is an ultra-wide zoom, while a 14mm lens is an ultra-wide prime.

(Note that these focal lengths are approximate; there’s no single agreed-upon set of focal lengths for wide and ultra-wide lenses.)

Take a look at this image, which is taken with a wide-angle (28mm) lens:

Then see how an ultra-wide focal length (11mm) widens the scene even further:

So while wide-angle lenses and ultra-wide angle lenses have a broad field of view, the ultra-wide effect is much more extreme.

When should you use an ultra-wide angle lens?

Ultra-wide lenses are hugely helpful, but you don’t want to use them all the time. For instance, trying to shoot a distant bird with an ultra-wide lens will get you nothing but a landscape and a distant blotch of feathers.

On the other hand, you can use ultra-wide lenses to capture entire scenes in a single shot. For instance, you can photograph an entire city skyline from end to end. Or you can photograph a beautiful mountain scene and include a foreground, a middleground, and plenty of mountain background.

Here are a few genres where ultra-wides are useful:

• Landscape photography
• Architectural photography
• Real-estate photography
• Cityscape photography

And here are a few genres where you should generally avoid ultra-wides:

• Bird photography
• Wildlife photography
• Portrait photography
• Product photography
• Street photography

Of course, you don’t need to follow this breakdown to the letter; it’s just a guideline. But it can be helpful, especially when you’re just starting out!

6 reasons to use ultra-wide angle lenses

In this next section, I share my six top reasons to work with ultra-wides. By the time you’re finished reading, I guarantee you’ll want to work with an ultra-wide angle lens or two in your own photography!

1. Ultra-wides immerse the viewer in the scene

Ultra-wide angle lenses draw the viewer into the situation.

They surround the viewer with the scene, and for that reason, the resulting shots feel stunningly real and full of detail.

And ultra-wides don’t just immerse the viewer in the scene; they immerse you, the photographer, which can be a wild experience.

As you shoot, you’ll feel like the entire scene is wrapping around your head. You’ll be pulled into the action, which is a great place to be!

2. Ultra-wides help you avoid perspective distortion

Perspective distortion causes vertical lines to converge, and it’ll even make buildings look like they’re falling backward. While it’s possible to fix distortion in post-processing, it’s much more efficient to avoid it in the first place – and ultra-wides can help you out.

You see, perspective distortion is produced when you tilt your camera downward or upward to photograph a scene. For instance, you might point your camera up to photograph a cathedral like this one:

And it’s that movement – that tilt up – that results in distortion.

But ultra-wide lenses are so wide that you often don’t need to tilt the camera when capturing a building. Instead, you can point the camera straight ahead and just…shoot. You’ll avoid distortion, and you’ll get a beautiful architectural image.

3. Ultra-wides reverse scale

Ultra-wide lenses tend to make objects that are close to the lens look enormous, while they make objects that are farther away look tiny. The wider the lens, the greater the effect!

(This is another consequence of perspective distortion, which I discussed in the previous section.)

While such distortion isn’t always desirable, it can look stunning when carefully incorporated into your photos. You can use it to magnify interesting foreground subjects:

Or you can use it to enhance visual flow:

4. Ultra-wides can create pseudo-panoramas

A panorama encompasses a huge portion of the scene and is generally far longer than it is tall, like this:

Unfortunately, panoramas are difficult to do well. You generally need to work on a tripod and take multiple images while carefully moving your camera. Plus, panoramas require significant post-processing.

But with an ultra-wide lens, you can create handheld panoramas with very little effort. Here’s what you do:

First, capture an image using an ultra-wide focal length:

Then open it in your favorite post-processing program and slice off the top and bottom of the frame:

That’s all there is to it! You’ll end up with a stunning panorama, and you won’t need to learn any additional techniques to get it right.

5. Ultra-wides are great for reflection shots

Do you love working with reflections? Do you want to take photos that feature expansive reflections, like the one displayed below?

Then use an ultra-wide angle lens! They’re so wide that you can easily include puddles, lakes, and reflective metal in every scene. Just make sure you get as close to the reflection as possible – don’t be afraid to place your camera on the ground – then shoot away.

6. Ultra-wides include so much detail

Every ultra-wide lens includes a huge field of view…

…and thanks to the huge field of view, you can include nearly everything in a single shot.

If you want to photograph a beach landscape, you won’t just get the water and the sky. You’ll get the sand, the rocks, the people on the beach, and maybe even your own feet.

And if you want to photograph a cathedral, you won’t just get the artwork on the ceiling or the stained-glass windows in the distance. Instead, you’ll get everything, from the ceiling and the pews to the windows and the walls. Ultra-wides are wide!

Capturing entire scenes isn’t always desirable, but when you encounter a sweeping scene that takes your breath away, you’ll be glad you had your ultra-wide angle lens!

Tips for capturing beautiful ultra-wide angle photography

Ultra-wide lenses are powerful, but in order to create amazing shots, you have to use the right approach. Here are a few tips to get you started:

1. Pay attention to the distortion

The first thing you notice is the exaggerated perspective, the distorted edges, and the relationships between foreground and background objects that are stretched, sometimes unnaturally. Wide-angle scenes can contain many objects at different distances, which helps to draw the viewer in.

You’ll also get a different perspective compared to other lenses. As a rule, you’ll find yourself moving much closer to the subject, stepping right into the scene. Think of ultra-wide lenses as the opposite of tele lenses where you tend to back away from objects. Telephoto lenses tend to flatten the scene, ultra-wide angle lenses exaggerate it. This makes background objects appear further from foreground ones than they actually are.

If your camera is even slightly tilted, verticals will converge. Buildings will develop a lean, which adds a sense of drama to otherwise dull scenes like this one:

Sometimes you don’t want this effect, and then it’s best to make sure your camera is perfectly level. You can correct perspective distortions in post-processing, but you’ll end up with much smaller images by the time the edges are chopped off.

2. Focus manually

On ultra-wide lenses, the auto-focus also faces new challenges since objects just a few meters away can be quite small and hard for the AF to lock onto. Beyond the first few meters, ultra-wide lenses tend to take a guess at focus, and that doesn’t help with sharpness – manual focus can often be a better way to go. The main thing is to decide on the visual centre, and focus on that.

3. Watch for flare

Flare is a real pain with ultra-wide lenses, blowing out highlights with little provocation. The broad field of view means you often have a source of bright light not far from the frame, and that’s enough to do the damage. The best times to use these lenses are the magic hours of early morning and late afternoon, outside, or middle of the day inside.

4. Use a tripod whenever you can

By now, it should be pretty obvious that pointing and shooting is the wrong technique for ultra-wide photography. Shooting early or late in the day, or inside, and stopping down to f/11 or more, means using a tripod. Add manual focusing and we’re back in the good old days of carefully composing each shot, following a set of rules. Not a bad idea for landscape and architecture photography, but not practical for action or street photography.

5. Avoid close-up portraits

Ultra-wides don’t make good portrait lenses unless you’re looking for cartoon-like comic effects. In close-ups, you can get plenty of distortion that exaggerates the bits in the foreground, like noses and foreheads. Ultra-wides are useful though when you want to capture people in their environment, in a shop or office or artist studio, and want to show a lot of their surroundings. Perhaps a bit too much in this case:

Ultra-wide angle lenses: final words

Now that you’ve finished this article, you know all about ultra-wides. You know what they are, when you should use them, and what makes them so special.

So grab an ultra-wide angle lens. Head outside, practice, and have plenty of fun!

Now over to you:

Do you plan to buy an ultra-wide angle lens? What will you use it for? Share your thoughts in the comments below!

The post Ultra-Wide Angle Lenses: A Guide (+ 6 Reasons to Love Them) appeared first on Digital Photography School. It was authored by Tom Ang.

Memory cards are an essential part of digital photography. They record your precious files and keep them safe until you’re able to transfer them to your (hopefully) full-fledged storage solution – which means that it’s essential that you understand how to use memory cards correctly.

After all, a properly cared-for memory card will often perform flawlessly for years – while a poorly looked-after card will be prone to errors, corruption, and loss of files.

In this article, I share 18 tips for keeping your memory cards in good condition. I explain how you should correctly eject your cards, how often (and when) you should format your cards, and more.

Let’s dive right in!

1. Carry backup cards whenever you shoot

Card failure is unpredictable, and the last thing you want is to miss a once-in-a-lifetime shot because your only card decided to act up.

Therefore, I’ve made it a habit to carry at least three cards with me on every shoot. And while it might seem excessive, it’s better to be safe than sorry!

Imagine you’re capturing a breathtaking sunset or a candid moment at a child’s birthday party. Suddenly, your camera stops working due to a card error. If you have a backup, you just switch cards and continue shooting. But without a backup, that moment is lost forever. (Of course, it’s not just about having extras; it’s also about ensuring you have enough storage to keep shooting without worries.)

For different shoots, the backup cards you choose can vary. For a casual day out, a couple of smaller capacity cards might suffice. But for a professional gig, you might want to carry a handful of larger, high-speed cards. These backups will be your photography lifeline.

By the way, one thing I’ve noticed that’s true, at least for myself: having backup cards provides immense peace of mind. When you’re focused on getting the perfect shot, the last thing you want is to worry about storage space or card failure. The backups serve as a guarantee that no matter what happens, your photography can go on uninterrupted.

2. If disaster strikes, stop shooting

If you’re in the middle of a photoshoot and you run into a memory card problem – for instance, you accidentally delete your images or see a card error message – then stop photographing immediately.

Turn off your camera, eject the card, and store it in a safe place. When you run into one of these problems, all is not lost, and you may still be able to recover the images. However, it’s important that you stop using the card; otherwise, you might overwrite the files. Data recovery services and other tools are often very effective, especially when recovering accidentally deleted files, but once an image is overwritten, then it’s often lost forever.

If you do have a memory card issue while shooting, you can always continue the session with another card. The key is to safely remove the problematic card as soon as possible.

3. Treat your cards well

It’s crucial to treat your memory cards with care, especially when you’re out in difficult conditions. In the heat of the moment, switching cards quickly might seem necessary, but it’s also essential to take the time to handle them properly. I’ve seen too many instances where a little negligence led to big problems. A few tips here:

First, always ensure your hands are clean when handling memory cards. Dirt and oils don’t mesh well will the delicate connectors. And hold the cards gently by the edges, avoiding the gold contacts. This might sound like overkill, but it’s these small habits that can prolong the life of your cards.

Another key point is to be focused when handling your cards. Distractions can lead to accidental drops, especially in outdoor environments. I’ve heard of photographers dropping cards into puddles. Don’t let that be you!

Proper storage is also vital. When not in use, keep your cards in a protective case to shield them from dust, moisture, and physical damage. Avoid extreme temperatures and magnetic sources as these can damage the data. Think of your memory cards as fragile; that way, you’ll have the best shot at preserving the images they hold.

4. Avoid deleting files one by one on your camera

Did you know that repeatedly deleting images from an in-camera card while the card is still in your camera can actually shorten that card’s life? It’s true.

The rule is that the fewer times you add or remove data on your card, the better. So instead of selectively deleting files as you shoot, aim to erase all the images at once after uploading them to your computer. That way, you delete the files in a single cycle, not one at a time.

(Or better yet, use the Format function on your camera to wipe the card before each new photoshoot!)

5. Remove cards safely from your computer

It’s tempting to connect a memory card to your computer, transfer the images, and then pull it out of the card reader slot.

But that’s an easy way to cause problems, so after uploading images to your computer, make sure you take the time to eject the card before removing it from your card reader.

(If you use a Mac, you’ll probably need to right-click the relevant drive and hit Eject. If you use a Windows PC, you’ll need to use the Safely Remove Hardware option in your system tray.)

6. Multiple small cards can be better than one big card

These days, you can grab memory cards that store 128 GB, 256 GB, and beyond. But while these products do offer significant advantages – you need to carry far fewer cards, for one! – they also come with a significant drawback: You’re reliant on one (or a few) cards to get you through lengthy photoshoots and even week-long photo adventures.

I myself learned this lesson on a recent trip; I had a memory card die on me, and if I only owned one huge card, I would’ve been unable to continue using my camera. That’s why it’s at least worth considering multi-card storage solutions (plus, if you do lose the data on one card, not all of your images from a shoot will be lost).

7. Keep your cards organized

With memory cards, a little organization can go a long way! It’s easy to mix up cards when you’re juggling multiple shoots or locations. You don’t want to reach for a card during an important shoot, only to find it full. Or worse, realize that you just formatted a card that holds valuable images.

I’ve found that a clear system can be incredibly helpful. I use a memory card case for this purpose. My fresh cards always go on the left side, and the used ones on the right. It’s simple but effective. When I’m in the field, this system saves me from second-guessing. I always know exactly where my empty cards are.

Of course, what works for me might not work for you. Some photographers prefer labeling their cards with stickers or using different colored cases. The key is consistency. Stick to your chosen method so it becomes second nature.

8. Avoid filling your cards completely

My friend recently had an issue with a memory card. When he took it into the store, the clerk asked if he’d completely filled the card with images – and when he nodded, he was told that this could occasionally cause problems with some types of cards.

Let me be clear: I’ve not heard this advice before, and I’m somewhat skeptical about it myself, but it’s probably worth keeping in mind. The advice would be to regularly take images off your cards rather than only removing images when the cards are full; this is a good idea anyway because it’ll prevent significant heartbreak if you lose the card or the files are corrupted.

9. Periodically reformat your cards

This memory card tip is quick but essential:

Reformat your memory cards every so often, and do it with your camera, not your computer. This will clean the card and get it ready for a new batch of images. Of course, you should only do this after you’ve downloaded all files – otherwise, you’ll lose them!

10. Format your memory cards in the right camera

As I discussed in the previous tip, it’s a good idea to format your memory card in a camera. But you shouldn’t format the card in just any camera; instead, make sure you format it in the camera you plan to shoot with.

For instance, if you’ve been using your card in your Canon DSLR but want to start using it in your Canon mirrorless camera, you should safely store all the images, then reformat the card when you put it in the mirrorless camera for the first time.

11. Switch off your camera before removing the memory card

Years ago, it was said that a camera could give a card “voltage shock” when the card was pulled out of the camera without first turning the camera off. But while manufacturers seem to have since made improvements in this area, it’s better to be safe than sorry! That’s why I recommend you always turn off your camera before you remove a card.

(Additionally, if your camera is on, it might still be in the process of writing images – and if you remove the card, those images may become corrupted or go unwritten.)

12. Transfer photos as soon as you can

There’s a simple rule I follow: transfer your photos as soon as possible. Why? Memory cards are reliable, but they’re not infallible. The longer your images sit on a card, the higher the risk of loss, either through card failure or misplacement.

I’ve made it a habit: every time I return from a shoot, I transfer my images to my desktop hard drives. Then, once the images are safely transferred and backed up, I delete them from the card. This routine ensures I always have a fresh card ready for my next adventure.

But there’s another reason for this habit: untransferred images are easily forgotten. You might capture an amazing moment, only to forget about its impact and relevance when it sits unseen on a card for months.

13. Keep your camera up to date

Every so often, camera manufacturers will release firmware updates, which keep your camera up to date and include fixes for errors or problems that are identified with the camera.

Some of these fixes can relate to the camera’s interaction with the memory card, so I encourage you to check for camera firmware updates every few months and download them as needed.

14. Periodically update your cards

Memory cards can last a long time – even years. However, like all electronics, they wear down with constant use, so it’s important that you update your set of cards periodically to prevent issues.

Fortunately, memory card prices are always dropping, so updating your cards has become a surprisingly inexpensive task!

15. Replace batteries before they die

When you’re on a photoshoot, it’s important that you keep an eye on your battery levels – and if the battery does get low, either pause for a recharge or swap it out for a fresh one.

You see, when a battery runs out just as you take a shot, it can prevent your camera from writing the image to your card. This can also cause card errors, so make sure you keep an eye on those batteries!

16. Don’t switch off your camera too quickly after shooting

This one really depends on your camera model. If you fire off a burst of photos, your camera will need a little time to write all of the data to the memory card – and if you switch the camera off during this process, some cameras will simply lose the images and even end up with errors.

However, recent models will continue buffering even after you switch them off (thus avoiding the problem). If you’re not sure how your camera handles the issue, check the manual or do some Googling.

17. Keep your memory cards safe

Perhaps this memory card tip should go without saying, but whenever you’re shooting, do what you can to keep your cards safe.

Make sure the cards stay dry and clean – a dedicated memory card case is perfect for this – don’t expose them to extreme temperatures, don’t drop, bend, or puncture them, and don’t expose them to electromagnetic currents.

That way, your cards remain in good condition for years!

18. Prepare your cards in case they’re lost

This last one is optional, but if you’re afraid that you might lose your camera and/or memory card, you might try taking a picture of a luggage tag or business card complete with your contact details, then keep it as the first image on each of your memory cards.

Then lock the image so it’s not deleted. If you lose your camera or card and an honest person finds it, they’ll hopefully see the image and get in touch!

How to use camera memory cards: final words

Now that you’ve finished this article, you know how to take care of your memory cards – and you’re well-equipped to prevent common card errors.

Bottom line: Having backup cards, organizing them effectively, transferring photos promptly, treating them with care, and more – these aren’t just recommendations, they’re necessities for any photographer who values their work. Implementing these habits will save you from the heartache and frustration that come with memory card mishaps.

So remember the tips I’ve shared, keep your memory cards safe, and (with a bit of luck) you won’t run into any issues.

Now over to you:

Do you have any memory card tips that I missed? Share them in the comments below!

The post How to Use Camera Memory Cards: 18 Essential Tips appeared first on Digital Photography School. It was authored by Darren Rowse.

Every landscape photographer needs at least one wide-angle lens. Wide-angle glass offers a wonderfully expansive perspective that’s perfect for capturing grand vistas, emphasizing lines, adding breathtaking three-dimensionality, and so much more.

But creating gorgeous wide-angle landscape photography can be a challenge. Beginners often struggle to come to grips with the wider field of view, and even advanced landscape shooters often fail to access their lens’s full potential.

I’ve been capturing wide-angle landscapes for years, and in this article, I share my best tips for outstanding shots. I discuss composition, angles, and common pitfalls – so if you’re ready to make some gorgeous images, then let’s dive right in!

1. Emphasize a foreground element

Professional landscape photographers love wide-angle lenses, and they’re always using the wide field of view to emphasize foreground elements while letting the background recede.

You see, wide-angle lenses allow you to get really close to an element in the foreground, which will then loom large in the frame. (A wide-angle lens, thanks to perspective distortion, changes the relative size of the objects in the frame; objects close to the lens look huge, while objects far from the lens appear very small.)

If you include a foreground subject close to the lens, it’ll instantly captivate the viewer. Then, once the viewer has appreciated the foreground, they’ll be drawn toward the smaller background objects (e.g., a sunset, a mountain, or an ocean horizon).

Try getting low and moving as close as you can to your main subject. Don’t be afraid to get just inches from a flower, a rock, a pattern in the ice, etc. Even if you think you might be too close, you’ll often look through the viewfinder only to discover that objects don’t appear quite so close through the lens!

2. Work with leading lines

In the previous section, I emphasized the value of adding a strong foreground to add depth to your images. Now, let’s focus on a specialized way to make that foreground sing: leading lines.

What exactly are leading lines? Think of them as guides, paths that steer your viewer’s eye from one part of the frame to another. They build a sense of movement, enticing the eye to travel from the foreground elements all the way to the majestic background.

Don’t think you need to find a perfect straight line etched in the scenery. Rivers winding through valleys, pathways through fields, or even rows of trees can serve this purpose. Nature often provides these lines freely, if you know where to look.

Why does this technique work so well in wide-angle landscape photography? Because wide-angle lenses exaggerate distances and scale, these lines often appear more dynamic, more elongated. They beckon your viewers into the scene, providing a near-3D effect.

So take a moment during your next shoot to scout for these leading lines. Sometimes they’re obvious, like a long, deserted highway. At other times, they might be subtler, like cracks in a dry lake bed or bending reeds in a marsh. Once you begin integrating them, your compositions will become more engaging and visually complex.

3. Photograph a subject in its environment

As I mentioned above, the best wide-angle photography tends to include a main subject that’s large in the frame – but it’s important that you don’t become so focused on the main subject that you forget about its surroundings!

My favorite way to use a wide-angle lens is by getting ultra-close to my main subject, but then taking care to include key environmental elements in the composition, such as:

• Interesting rock formations
• Gorgeous clouds
• Stunning sunrises and sunsets
• Mountains

By including both a unique foreground subject and beautiful surroundings, you can create a storytelling image that offers plenty of interest and context:

4. Make sure the entire scene is in focus

Another fantastic part of using wide-angle lenses? The depth of field (that is, the sharpness throughout the scene) is often incredible.

The specifics depend on the exact lens and the aperture you choose, but you can generally get everything in the scene – from two feet away to infinity – in focus without much issue. However, you will need to take steps to make sure you’re keeping the entire scene tack-sharp.

First, make sure you use a relatively narrow aperture. A good starting point is f/8, but if your foreground object is especially close to your lens, you’ll want to increase the f-number to f/11, f/13, or even f/16.

Second, make sure you carefully focus your lens about a third of the way into the scene. This will help maximize the depth of field and prevent distant or ultra-close elements from going out of focus.

Pro tip: If you’re struggling to capture tack-sharp images, you can always use a hyperfocal distance calculator to figure out where you need to set your point of focus!

5. Include layers in your compositions

Wide-angle lenses offer more than just a broad view. They give you the freedom to play with multiple elements within your frame. Instead of settling for one or two features to capture, aim for a multi-layered composition.

What does that mean? It’s simple. Use your wide-angle lens to include something interesting in the foreground, a captivating subject in the mid-ground, and a scenic view in the background. Each layer serves a role in creating a sense of depth, offering your viewers a journey through the scene.

Don’t worry if you’re not sure how to balance these layers. It comes down to practice and a bit of intuition. Look for elements that harmonize, yet stand distinct from one another. A bed of colorful flowers in the foreground, a serene lake in the mid-ground, and a snow-capped mountain in the background – each component contributes to a well-rounded story.

One word of caution: be mindful of how the layers interact. The last thing you want is for one element to overpower the rest. A foreground that’s too busy or a background that’s too overwhelming can throw off the balance.

Spending a few moments arranging these layers can be a game changer. Once you master this technique, your wide-angle landscapes will take on a richer, more complete form.

6. Watch out for distractions

Since wide-angle lenses include a lot in the frame, you’ll need to be extra vigilant to make sure your landscape compositions include zero distractions. Everything in the frame should have a purpose.

So before you press the shutter button, check your shot to make sure there are no eye-catching elements in the foreground. You should also review the background, and if you do notice unwanted elements, adjust your angle or your focal length to exclude them.

In general, you’ll want to keep your compositions simple and elegant. Clearly show the main subject, make sure any supporting elements actually contribute to the shot and avoid including anything else. Simple is generally best!

7. Take the time to evaluate the entire composition

The power of a wide-angle lens is its ability to capture a whole landscape in one frame. But there’s a flip side to that coin: it’s incredibly easy for unwanted distractions to sneak in. These tiny intrusions can mess up an otherwise perfect shot, and so as I discussed in the previous section, it’s essential that you pay careful attention to every detail and do your best to simplify.

However, I really recommend you take this a step further: Before hitting that shutter button, scan the scene to evaluate everything your lens is capturing. Look at the edges of your frame. Are there any stray elements, like tree branches or random objects, poking in? Scan the mid-ground and background too, making sure every element complements, not competes with, your main subject.

This level of scrutiny may feel tedious and unnecessary. But trust me, investing that time beforehand will save you a lot more time later in editing. You’ll notice your photos emerging cleaner, and more importantly, more impactful.

Your patience will pay off, not just in the short term but in your long-term growth as a photographer. The more you get into the habit of composing carefully, the easier it’ll become.

8. Keep the camera level to prevent distortion

The wider the focal length, the easier it is to introduce visible perspective distortion into the frame (where objects appear to bend inward or outward depending on the angle of the lens).

While perspective distortion can be corrected in post-processing, it’s generally better to avoid it in the field whenever possible. Also, the process of correcting perspective distortion will crop away pixels, which can become a problem if you want to print large or if key compositional elements are positioned along the edges of the frame.

So how do you prevent distortion? You keep your camera level! In other words, the lens should be parallel to the ground rather than angled upward or downward.

Of course, you’ll run into scenarios where – for compositional purposes – you’ll want to angle your camera, and that’s okay. But do what you can to keep the angling to a minimum, and if you do have key elements along the edges of the frame, deliberately shoot wide so you can crop in later without ruining the file.

9. Angle your camera upward

I know, I know; in the last section, I told you that you should keep your camera as level as possible! But while a level camera will prevent perspective distortion, you can also use this distortion to your advantage.

If you get up close to a tall object, such as a mountain or a waterfall, then you tilt your camera upward, the edges of the object will appear to converge on a point high above, creating a highly dramatic effect. Such an image may not look strictly natural, but it’ll certainly look cool!

10. Angle your camera downward

In the previous tip, I discussed how you can emphasize tall objects by pointing your camera upward and relying on the perspective-distortion effect.

Well, you can also emphasize leading lines on the ground – such as ripples in the sand or rivulets of water running toward the ocean – by pointing your camera downward.

This technique will create a composition that really draws the viewer in, one that’ll carefully guide the viewer from the near foreground to the distant background:

11. Don’t be afraid to shoot in close quarters

While it’s virtually impossible to capture landscape photos in a cramped space using a telephoto lens, the same is not true of a wide-angle lens. With a bit of creativity, you can use a wide focal length to produce gorgeous images of small areas!

For instance, you can zoom all the way out to encapsulate a huge portion of the scene:

And you can also capture intimate shots by finding interesting patterns in the scenery, then getting in close.

Be sure to pay careful attention to objects around the edges of the frame. If you’re not careful, distractions may start to creep in, which can harm – or even ruin – your otherwise beautiful shots.

12. Beware of polarizing filters

You may already be familiar with polarizing filters, which can darken skies, reduce reflections, emphasize clouds, and saturate colors. Landscape photographers love working with polarizers, but when you’re using an ultra-wide lens, you can run into issues.

For one, depending on the angle of your camera, you may end up with a polarization effect that’s applied unevenly across the scene. This is due to the nature of polarizing filters – they work differently depending on the filter’s angle relative to the sun – and while it’s not an issue on telephoto lenses, it can come into play if you’re shooting at, say, 15mm. When this happens, it’s generally better to avoid a polarizer completely.

Second, some ultra-wide lenses feature a bulbous front element that simply cannot take a polarizer. So if you’re using an ultra-wide lens, you may need to adjust your compositions or even choose different subjects to prevent unwanted reflections from plaguing your images. If your lens won’t take a polarizer, you may want to consider avoiding waxy leaves, water, and wet rocks, all of which will create reflections and reduce image saturation.

13. Include a human to show scale

Capturing the grandeur of a landscape can be tricky. Everything is framed within your lens, but sometimes the true scale gets lost. A towering mountain can look like a mere hill; a sprawling forest might appear more like a grove of trees.

A simple solution? Include a human element. A person standing near the base of a mountain, or along a rocky shoreline, instantly provides a sense of scale. It gives your viewers a tangible point of reference, helping them grasp the enormity of the scene.

You don’t need to make the human figure the centerpiece of the shot, by the way. It’s just a tool to aid comprehension, a way to make the vastness more understandable. Just make sure you position this figure thoughtfully, ensuring it complements the landscape rather than distracting from it.

Whether it’s you in the frame or a friend you’ve dragged along, having a human reference can turn an impressive wide-angle landscape into an awe-inspiring one!

14. Manage uneven light

When photographing landscapes with a wide-angle lens, you’ll frequently encounter varying amounts of light in the frame. Often, the background sky will be much brighter than your foreground objects, and this can cause significant exposure problems. Do you expose for the sky and lose detail in the foreground? Or do you expose for the foreground and blow out the sky?

My recommendation is to use a graduated neutral density filter, which will darken the top portion of your composition while leaving the foreground untouched. You might also consider using a bracketing and blending technique, where you capture several images at different exposures, then merge them together in post-processing.

In truth, both of the above approaches have their merits! Filters do tend to be expensive, but they’ll also save you time behind the computer, while bracketing can be highly effective but takes greater patience when editing. If you’re not sure which technique you like best, rent some filters, try both options, and see what you think!

15. Don’t forget about post-processing

So you’ve got your amazing shots. But the journey isn’t over. Post-processing is how you transform a good photograph into a great one.

Think of your camera as an interpreter. It does its best to relay what it sees, but sometimes the essence gets lost in translation. That’s why you need to roll up your sleeves and dive into editing.

A straightforward place to start is with basic adjustments. Tinker with contrast, brightness, and saturation to get closer to what your eyes saw. You can add vignettes to direct focus, and use dodging and burning to bring out the texture and depth in various areas.

Remember, post-processing isn’t about altering reality; it’s about making it more perceptible. The goal is to help convey the scene as vividly as you remember. The aim isn’t for over-the-top effects, but subtle improvements that amplify the mood and message of your photograph.

Wide-angle landscape photography: final words

Wide-angle lenses are often the most-used glass in a landscape photographer’s kit. Hopefully, with these tips, it’ll become the most-used glass in your kit, too!

Just remember the different approaches I’ve shared, pay careful attention to your compositions, watch out for distortion, and you’ll end up with amazing results.

Now over to you:

What do you plan to photograph with your wide-angle lens? Share your thoughts (and images!) in the comments below.

The post Wide-Angle Landscape Photography: 15 Tips for Stunning Results appeared first on Digital Photography School. It was authored by Anne McKinnell.