Talk to an experienced photographer, and they’ll tell you that photography is both incredibly fun and extremely rewarding. When you’re just a beginner, however, it’s easy to become overwhelmed; after all, you have to understand so many details, covering gear, camera settings, post-processing, lighting, and more.

But don’t worry! I’ve been exactly where you are, and in this article, I offer all the beginner photography tips I wish I had when I was starting out. I share plenty of gear advice, I demystify key concepts, and I offer an array of techniques that will ensure your photos improve in leaps and bounds. Specifically, I explain:

• How to buy the right gear
• How to choose the right camera settings
• Where to start with post-processing
• Much, much more!

Are you ready to jumpstart your photography hobby? Let’s dive right in!

1. Research gear (but don’t go overboard)

Your gear does not make you a good photographer.

In fact, if you are just starting out, a top-of-the-line camera will not only be a waste of money, but it will also make your learning process trickier. (Purchasing an expensive camera as a beginner is a bit like buying a race car to learn to drive).

When you want to buy gear – whether it’s your first camera/lens/accessory or your tenth – do your research. It’s helpful to take a look at some photography forums or articles for camera recommendations. Once you find something that sounds viable and fits your budget, read professional and user reviews to determine whether it’ll satisfy your needs. That said, I do have some recommendations:

2. Buy an interchangeable lens camera

You can capture amazing photos with any camera, but certain models will offer greater flexibility (not to mention better image quality). Smartphone cameras and point-and-shoot models are perfectly capable, but they lack one key feature: interchangeable lenses.

You see, DSLRs and mirrorless cameras allow you to swap out various lenses as you shoot, which makes a huge difference, especially if you enjoy photographing multiple subjects. You can use a wide-angle lens to capture a beautiful scenic shot, switch to a telephoto lens to create a tighter composition, then try out a super-telephoto lens for an ultra-close image of a bird as it flies through the landscape.

Of course, each lens does cost money, but there are reasonably priced models designed specifically for beginners. And one of the benefits of interchangeable lens cameras is that you can always upgrade your lenses – while keeping the same camera – as you become more serious.

Which interchangeable lens camera should you buy? The specifics aren’t really important, but you can get great results from an entry-level mirrorless model like the Nikon Z 30, the Sony a6400, or the Canon EOS R50.

3. Use your kit lens often (but upgrade it as needed)

When you purchase an interchangeable lens camera, it will likely come with a zoom lens, which is also referred to as a kit lens. Many serious photographers are critical of kit lenses, but I’d really recommend using your kit model frequently before splurging on additional glass.

For one, kit lenses are designed to handle many different subjects, so you can use one to really explore an array of different photographic genres and techniques. Plus, because kit lenses span commonly used focal lengths – including 28mm, 35mm, and 50mm – you can use a bit of kit lens practice to identify the focal lengths that really feel right to you.

From there, you can make informed decisions about purchasing additional lenses!

4. Consider investing in a tripod

Once you have a camera and a lens, there’s just one more equipment item that I’d urge you to consider: a tripod.

A tripod will keep your camera stable so you can capture sharp photos even in extremely dark conditions. It can be a huge asset in many different photographic genres, including landscape photography, architecture photography, product photography, and wildlife photography.

Now, tripods can be a bit cumbersome to work with, and they’re not right for every photographer. (Street shooting, for instance, is rarely done with a tripod!) But unless you know for certain that you’d never use one, I’d really encourage you to invest in a solid yet lightweight model and see what you think!

5. Take lots of photographs

“Your first ten thousand photographs are your worst.” – Henri Cartier-Bresson

As with any skill, the more you practice, the better you get. So the quickest way to get better? Simply head out with a camera and start taking pictures.

Of course, knowledge does matter, but there’s something essential about holding a camera in your hands, looking through the viewfinder, and considering different compositions. Aim to spend at least a few hours every week behind the lens (and more is better!). It doesn’t necessarily matter what you shoot – as long as you’re shooting, you’re improving.

And don’t beat yourself up if your shots don’t turn out the way you’ve envisioned. Part of photography is about failing repeatedly; over time, you’ll learn how to get the result you want, and you’ll come home with more and more keepers.

6. Read the manual

Camera manuals are quite possibly the most boring thing you have ever read in your life, and reading the camera manual is certainly the most boring thing you’ll ever do in pursuit of photographic improvement.

That said, I suggest you do it anyway.

Why? It’s important to know how your camera actually works, especially in the beginning. And the information will become useful down the line, too. You’ll be out in the field and you’ll want to know how to change a particular setting; if you’ve read the manual thoroughly, you’ll be able to figure it out on the fly. On the other hand, if you haven’t read the manual, you’ll be forced to look up instructions on your phone, and by then your photo opportunity will likely have disappeared.

Of course, you don’t need to read the manual all at once. I recommend you place it where you can push through in small installments while you are killing time, such as in the bathroom, in the car, or in your desk at work.

7. Learn about composition

Composition refers to the way you arrange different elements in your photos. (For instance, do you place your main subject right in the middle of the frame? Do you place it in the corner? Or do you place it somewhere in between?)

And if you can understand how to create balanced compositions, your images will improve in leaps and bounds.

Why? The better your compositions, the more pleasing your images will appear – and the easier it’ll be to capture stunning shots of even the most boring subjects.

One way to delve into composition is through experimentation. Just find a subject (e.g., a flower), then capture lots of images from different positions and evaluate the results. But I’d also recommend reading about the basic composition rules, which will certainly help you successfully frame your shots.

8. Don’t start with workshops

So you’ve got the photography bug. You might be thinking, “Ooh! I’ll sign up to a bunch of workshops; that way, I can improve really fast.”

And workshops are great. But they tend to be geared more toward enthusiasts – photographers who understand the basics and are looking to level up their skills in composition, lighting, and advanced techniques. That’s why I don’t recommend going nuts with workshops right away. Instead, you should really start with the basics:

• How to operate your camera
• The meaning of different photography terminology
• How to determine the proper settings for the situation

Fortunately, you’ve already taken a step in the right direction, because you are currently reading one of the most useful photography sites on the internet. There are more tips and tutorials on this site than you will ever need, especially for a beginner. Once you get the hang of things, then you’ll have a better idea of the type of workshops that would suit you, and you might consider that route.

So I’m not saying that you shouldn’t do a workshop – just that you should wait until you know what suits your needs.

9. Connect with other photographers

Learning photography with others is often invaluable – whether you join an online group or you head to a local camera club.

For one, your photography will progress faster, plus it will be far more fun with the help of your fellow shutterbugs.

Camera clubs often have monthly competitions and may organize photo tours, exhibitions, and other activities. Talking with knowledgeable photographers or even fellow beginners will not only inspire you but also keep you motivated.

Also, sign up to some reputable photography newsletters and Facebook pages, or even reach out to photographers you admire. Most professional photographers don’t mind answering a few questions as long as you are respectful, polite, and don’t demand too much of their time.

10. Try everything

This piece of advice is short and sweet.

While you may have taken up photography with a certain genre or subject in mind, it can be helpful to try all genres. You never know what you might have a knack for, or what you will learn along the way.

So shoot landscapes. Shoot portraits. Head out to the streets and do some urban photography. Find a beautiful flower and photograph close-ups.

You never know; you might find a genre that you absolutely love but hadn’t previously considered.

11. Get feedback

Your friends and family may love you, but they will lie to you about your photography (and they may not even know what to look for). Unless you have a very honest friend or family member who actually knows a bit about art, it’s often more beneficial to get feedback from strangers.

Joining a photo-sharing site where others can comment on your work will get you mostly honest feedback (sometimes brutally so). Years back, I posted the image below on a feedback site. I knew the image had faults, but I was keen to hear what someone else could point out and how they could help me improve.

Well, one fellow submitted a lengthy comment, basically pulling the image apart. He pointed out what seemed like several million faults, and he really went to town on it. But while the comments were painful and borderline unkind, it was useful advice that I could then apply to my next portrait photo shoot.

12. Look at tons of photos

Photography has been around for nearly two centuries, and in that time, practitioners have created billions of images. Many of these photos are bad, but quite a few of them are very good – and by looking at these shots, you can learn from the best of the best.

I’d encourage you to view a handful of photos every single day, no matter what. You can look on Instagram, on a website like 500px, or on photographers’ websites. The key is to find some beautiful images, then spend time absorbing them to the best of your ability. (As you view each file, ask yourself: What makes this shot special? What do I like about it? What do I dislike? How did the photographer use lighting, composition, and other techniques to create a pleasing effect?)

You might also consider heading to your local library and checking out some books created by classic photographers. Sure, viewing contemporary photography is great, but there’s also plenty to be learned from the past!

13. Enter free competitions

If you have money to spend and confidence in your work, by all means, enter some of the big competitions – even as a beginner. You wouldn’t be the first to take a major prize within the first few months of picking up a camera.

Even if you don’t want to spend money to enter competitions, there are plenty of free options. Throw in some images, see how the contest goes, and hey – maybe you’ll win!

14. Test out different lighting scenarios

Lighting is a key component of photography. In fact, lighting can make or break your images, which is why this beginner tip is so important.

When you’re just starting out, it’s essential that you really develop your sense of lighting. In other words, you want to be able to tell the difference between various types of outdoor lighting scenarios and how they affect your photos.

So carefully watch the cloud cover and the time, and make sure you photograph in many different situations. Shoot at dawn and dusk, at high noon, and on heavily overcast days. Then head back home and carefully evaluate the files on your computer. Ask yourself: How does each image look? How do the type and direction of light alter the shadows, the mood, and the effectiveness of each shot?

15. Aim to get off Auto mode

If you really want to be a good photographer, this is vital.

Because while Auto mode is useful enough when you’re just getting started, it’ll eventually hold you back, and it’ll certainly prevent you from realizing your full potential.

You don’t need to rush, though. At first, just enjoy photographing, even if that means using Auto mode all the time.

Then slowly move up the ladder as you familiarize yourself with Program mode, Aperture Priority mode, and eventually Manual mode.

In truth, manual settings aren’t nearly as difficult as some beginners think. It can be a bit like learning to drive. In the beginning, it’ll be challenging to manage gears, indicators, and steering, all while trying not to veer off the road. But with a bit of patience and practice, it’ll become second nature.

(When you are ready to try manual settings, there are plenty of beginner guides and cheat sheets here on dPS!)

16. Get a post-processing program

To become a serious photographer, you’ll eventually need an editing program.

Why? Because these days, editing is an essential part of the photographic process. If you want your photos to look their best, then you must learn to edit.

Which post-processing program is best?

Well, there are free programs such as Darktable and GIMP, which are nice but have their limitations. Then there are the big guns like Photoshop and Lightroom, which can be daunting for beginners. Personally, I recommend just forging ahead with Lightroom; if you intend to eventually get serious with your photography, it’s a hugely useful tool to understand, plus it’s not as difficult as it might initially seem.

Alternatively, you might consider an option such as ON1 Photo RAW or Luminar 4, both of which are slightly more beginner friendly than Lightroom yet pack a lot of power.

17. Have fun

This is the best and most important part of photography:

The enjoyment of it!

Don’t get bogged down by unsuccessful attempts or by comparing yourself to professionals. Even the best photographers in the world were beginners at some point. Just keep taking photographs, keep learning, keep challenging yourself, and above all, keep enjoying the fun you can have with photography!

Photography tips for beginners: final words

Hopefully, you’re now feeling inspired – and you’re ready to continue the learning process.

Photography is an adventure, and it’s a fun one, too. Sure, there will be ups and downs, but in the end, you’ll be glad you persevered!

Now over to you:

Which of these tips do you plan to use first? Do you have any beginner photography tips that we missed? Share your thoughts in the comments below!

The post 17 Beginner Photography Tips (How to Get Started) appeared first on Digital Photography School. It was authored by Lea Hawkins.

Do your images need that magical touch of sparkles and glitter? Are you looking for an easy way to add a bit of flair to your shots? You’re in the right place.

In this article, I explain everything you need to know to create a sparkle effect in Photoshop. I show you how to make the sparkles, how to add a glow to them, and how to save them as overlays and brushes (so you can use them whenever you like!).

Ready to create some stunning sparkles? Let’s do this!

What is a sparkle effect in Photoshop?

A sparkle effect features one or more twinkly points of light, which can range from highly realistic to cartoonish and cutesy.

You can use the sparkle effect to add a twinkle to someone’s smile or eyes; you might also add a sparkle to a diamond or metallic object. Another popular edit is to add a starburst to lights or the sun.

The sparkle effect is also a great way to add some magic to your images. Whether your goal is to turn a branch into a magic wand or to add a magical light to an open book, this effect will help you out!

How to create a sparkle effect in Photoshop: step by step

There are two ways to apply a sparkle effect in Photoshop.

First, you can use an overlay, which is a quick way to add many sparkles across the entire image or to a specific area (like the top half of the composition, for example).

Second, you can create a brush. This allows you to apply one or more sparkles in a controlled way. You’ll have to add them manually each and every time you want to produce the effect, though.

Below, I explain how to work with both methods. The one you use is your choice!

Method 1: Create a sparkle overlay

An overlay is a layer that you can apply to any picture. Once you’ve created your sparkle overlay, you can quickly and easily add the effect to your files.

Step 1: Set up your document

Start by creating a new document. It can be any size, though since the point of an overlay is to have an asset you can use on any file, pick a size that roughly matches the dimensions of your photos.

Choose black as the background color, and click Create.

Step 2: Turn the background layer into a Smart Object

Smart Objects allow you to modify filters (known as Smart Filters) after they’ve been applied. The sparkle effect does require a filter, so it’s good practice to start by turning your layer into a Smart Object before you get started creating.

To do this, simply right-click on your background layer and select Convert to Smart Object in the menu.

Step 3: Add some noise

Select Filter>Noise>Add Noise. Once the dialog box appears, use the slider to determine how dense you want the noise to be. Since you turned the layer into a Smart Object, you’ll be able to come back and adjust it, so don’t worry too much about getting it exactly right.

Make sure you have the noise set to Uniform and Monochromatic. Then click OK.

Step 4: Adjust using Levels

Now it’s time to modify the noise. Start by adding a Levels adjustment layer (select Layer>New Adjustment Layer>Levels).

In the Levels histogram, use the handles to adjust the contrast. It’s generally good to make some of the noise disappear by deepening the blacks.

You can also try moving the midtones to the right and the highlights to the left. There isn’t a specific formula; just experiment and see what you can come up with. Since you’re working on a layer, you can always modify the Levels adjustment later if there’s something you don’t like.

Step 5: Add a Sponge filter

You’ll need to further modify the effect with a Sponge filter. Go to Filters>Filter Gallery>Sponge, and use the sliders to adjust the effect to your liking. Click OK.

Step 6: Add a Brightness/Contrast adjustment layer

Next, you’ll want to make adjustments using a Brightness/Contrast layer. Go ahead and select Layer>New Adjustment Layer>Brightness/Contrast.

You can use the same values I use (shown in the image above), but it’s better that you move the sliders until you like how the file looks.

Step 7: Create a new merged layer

At this point, you have created the basic sparkles, and in a moment, I’ll show you how to add a glow effect. Note that, if you want your overlay to have more or fewer sparkles, this is the time to go back to the Noise filter and make adjustments. You can also modify your adjustment layers to achieve slightly different looks.

Once you’re satisfied, create a new layer that contains your existing sparkles. You can press Shift+Alt/Opt+Ctrl/Cmd+E, or you can add a new blank layer and select Image>Apply Image, choose Merge, and click OK.

Step 8: Remove the background and add some motion blur

I’d recommend turning off the visibility of the other layers so you’re only viewing your merged (topmost) layer. Use the Color Range tool (Select>Color Range) to select the black portions of the file, then press the backspace key to delete it.

Now you should only see the sparkles. Duplicate the layer by dragging it to the Plus sign at the bottom of the Layer panel. Then choose Filter>Blur>Motion Blur.

In the dialog box, choose the direction of the blur and the distance. (Experimentation can be helpful here, or you can use the settings displayed in the image above). If you’re struggling to see the effect, you can add a Solid Color adjustment layer underneath your sparkle layers.

Repeat the previous step a few more times, changing the direction and distance of the blur as you go. The idea is to ensure that each sparkle glows in a star shape.

Step 9: Finish up and save the overlay

Merge the Sparkle layers together and delete all the other layers. Make sure you save it as PNG; otherwise, it will save with a white background and the sparkles will be lost.

And that’s it! Now you have an overlay that you can use to apply sparkles to any photo.

Method 2: Create a sparkle brush

Another way to create a sparkle effect is with a brush – which, once created, can be used to paint sparkles onto anything you like.

Note that, in order to create a sparkle brush, you’ll need to follow Steps 1-7 in Method 1 (above). Then continue:

Step 1: Select a few sparkles

From your existing overlay, choose a cluster of sparkles that you like. You can use a single sparkle, but using a cluster will help you create multiple brushes with zero extra effort, so it’s more efficient.

Select your sparkle cluster using the Lasso tool. Then copy it onto a new document.

Step 2: Add the glow

Duplicate your main layer and add motion blur (see Step 8, above). You will do this four times, taking care to change the direction of the blur to create a starburst effect.

Feel free to experiment with different levels and directions of blur!

Step 3: Invert the layer

Next, merge all the sparkle layers by selecting Layers>Flatten Image.

Then choose Image>Adjustments>Invert. Instead of seeing a black background with white sparkles, you should see a white background with black sparkles:

Step 4: Save the brush

At this point, you have a sparkle brush, which you can save by selecting Edit>Define Brush Preset. In the dialog box, type a name for your brush, then click OK.

But you can save additional brush tips by making different selections. For example, you can select just two sparkles and save the selection as another preset. Then you can select three sparkles and save the selection again. (This is why I recommended you use a cluster of sparkles! Now you’ll have a bunch of sparkle brushes to choose from.)

Step 5: Modify the brush properties

You’ve created a brush tip, so if you apply a single click to an image, you’ll get a sparkle. But if you apply a brush stroke to an image, it’ll hardly look like many sparkles – just a smudge!

To get a better effect, you must change the properties of the brush. In the Brush Settings panel, start by going to Shape Dynamics. Choose Control>Fade if you use a mouse or Control>Pen Pressure if you use a tablet.

Now drag the Minimum Diameter slider until you like how the brush looks. (You can see a preview at the bottom of the panel, or you can try out the brush on the canvas.)

Go to Scattering in the Brush Settings panel. Here, check the Both Axes option and move the various sliders until you’re satisfied with the results.

Once you like the effect, save it as a brush preset by going to the hamburger menu and choosing New Brush Preset.

That’s it! Every time you open a photo or a document, you’ll have these brushes available to create a sparkle effect in Photoshop.

Sparkle effect step-by-step example

In this section, I explain how you can add the sparkle effect in Photoshop using the tools you’ve built. Before we dive in, make sure you’ve opened the image to which you’d like to apply the effect; for this example, I’m using a photo of a candle.

Step 1: Choose the right color

First, choose the color of your sparkles by clicking on the swatches to open the color picker. You can choose any color you like, though I’m going to sample the yellow from the candle flame:

Step 2: Grab your brush

Add a new blank layer by selecting Layer>New>Layer. This is where you’ll paint the sparkles.

Activate the Brush tool; you can either press the letter B on your keyboard or click on the Brush icon in the toolbox. Choose the sparkle brush you created previously, and adjust the size until you have a result you like.

Step 3: Paint on your sparkles

Now you can add your sparkles! I wanted to create a sparkle trail that went around the candle, so I painted on the layer with my yellow brush, then I used a layer mask to hide part of the trail (that way, the trail appears to pass behind the candle):

Step 4: Add your sparkle overlay

You don’t have to stop there – you can add the sparkle overlay you created, too! Just g to File>Place Embedded. Then select the PNG file you created and apply it to the image.

Make sure to adjust it to fit the picture using the Free Transform tool.

For a more authentic final result, I’ve added a graded layer mask so the effect fades toward the top. I’ve also added a color clipping mask to match the yellow color from the first sparkles:

How to create a sparkle effect in Photoshop: final words

I hope you had fun adding a magical touch to your images with a sparkle effect! Yes, there are a lot of steps involved, no matter the approach you use – but the good thing is that you only have to do it once. Once you’ve created your overlay or your brush, all you have to do is apply the effect to your image and customize it as needed.

So enjoy working with your overlays and brushes. Make some magical edits!

Now over to you:

How do you plan to use the sparkle effect? Share your thoughts in the comments below!

The post How to Create a Sparkle Effect in Photoshop (Step By Step) appeared first on Digital Photography School. It was authored by Ana Mireles.

If you’re struggling to capture consistently great images or you just want to hone your skills, then I highly recommend you try some simple photography exercises. Photo exercises aren’t difficult to do, yet spending a few minutes each day carrying out a handful of exercises can make a dramatic difference to your shots.

In this article, I share my favorite seven exercises, all of which are designed to enhance some part of your photographic practice (whether it’s your sense of lighting, composition, camera settings, or editing). There’s no need to go overboard and spend hours each day running through the entire list, but if you can find the time to do one or two on a regular basis, I guarantee you’ll see some major improvements to your images.

Ready to start leveling up your shots? Then let’s dive right in, starting with:

1. Shoot a single subject from nine different angles

Your first photography exercise – and my personal favorite – is to choose just one subject, then shoot it from at least nine different angles.

In searching for angles, you’ll be forced to stretch the boundaries of your creativity. You’ll be forced to start looking at your subjects in many different ways. The first five angles might be easy enough to find. But the last four will be a struggle – as they should be!

(Does it have to be nine specifically? No, though it’s important that you challenge yourself here; don’t just shoot from two angles and call it a day.)

A few excellent angles to try:

• Shoot on a level with your subject
• Shoot from directly above your subject (if you can)
• Get below your subject and shoot upward
• Walk around your subject until you have a completely different perspective

Then, once you’ve finished the exercise, pull up the photos on your computer. Take note of the different angles and how they gave your subject slightly different looks.

And the next time you’re doing photography, see if you can incorporate those new angles into your compositions!

2. Shoot a subject you normally avoid

This exercise is all about getting you out of your comfort zone. After all, if you don’t get out of your comfort zone, you’ll never grow as a photographer.

So here’s what you do:

Think about the subjects that you normally shoot. And then pick a subject that’s radically different. Photograph it instead!

So if you normally like to capture birds, shoot flowers for a day.

If you normally photograph landscapes, shoot wildlife.

If you normally shoot portraits, try capturing some cityscapes. Just pick something that you don’t normally photograph, then do your best to make it look amazing!

If you want to make this exercise extra useful, don’t just shoot another subject for a single outing. Instead, do it for a week (or even a month). You’ll be amazed by the tricks you pick up from learning another area of photography.

3. Bring just one lens into the field

When photographers go out for a photoshoot, they tend to take multiple lenses (and even multiple cameras). And while this will give you a lot of flexibility, it won’t force you to really work to find great compositions.

But I want you to think outside the box. I want you to consider new ways to capture photos. So the next time you go out to shoot, leave all your standard lenses behind.

Instead, bring just one lens. And (if you’re feeling adventurous) make sure it’s a lens that you don’t use very often. Prime lenses are generally best for this exercise, as they’ll force you to adapt to a single focal length. But you can also use a zoom (though if you do go this route, you might try restricting yourself to a single focal length).

This will force you to think about your compositions in new ways, and it’ll help you take photos that you would’ve never even considered.

4. Shoot a scene with four types of light

Photography is all about the light – so if you want to be a great photographer, it’s an element you must learn to master. You need to understand the theory (such as the difference between backlight, front light, and side light, as well as the different types of light and how they change depending on the source), but you also need to understand the practical effects of light. That’s what this exercise is designed to help you do.

You start by picking a scene. Then you photograph that scene with four types of light:

• Cloudy light
• Midday light
• Sunrise/Sunset light
• Shade

This will undoubtedly involve coming back several days in a row, and certain photoshoots might turn out to be a complete bust (because the sun gets blocked by clouds, for instance). But it’ll be worth it in the end.

Of course, once you’re done, you should look at all the photos you took. And note how the different types of light gave you different types of images!

5. Take both still shots and action shots of your subject

Oftentimes, we get in the habit of shooting the same type of subject over and over again. I’ve already given you one way of avoiding this problem (see Exercise 1). But another way is to keep shooting that same subject in a different way.

Specifically, try to take both still and action shots.

For those of you who shoot birds, wildlife, and events, this shouldn’t be too difficult. But if you’re a flower and landscape photographer? It’ll undoubtedly be challenging.

If you generally photograph still subjects, you may have to get creative. Try to take some intentional camera movement photos. Or see if you can get some sort of action to happen in the frame (e.g., flowers blowing in the wind, waves crashing on the beach).

And that’s it! It may seem simple, but the exercise will force you out of your comfort zone and get you taking some fresh photos!

6. Edit your favorite photo in five different ways

Post-processing is a significant part of capturing stunning photos. In fact, even small adjustments can go a long way.

So for this exercise, you should start thinking about different post-processing options. (You can always use Instagram for inspiration.) And edit your favorite image in five distinct ways.

You should experiment with edits in Lightroom, Photoshop, or another high-quality editing program. See what happens when you increase the saturation. See what happens when you drop the contrast.

And try to do some new edits – things you haven’t done before. For instance, try some yellow/blue split toning. Try playing with the HSL options. Try working with the tone curve. You might even try a black-and-white conversion!

Even if you regularly edit your images, when you take the time to really dig in and make adjustments, you might be amazed by what you can do!

7. Take a photo every single day for a month

This last exercise is a classic – but that doesn’t mean it’s any less useful! You see, one of the absolute best ways to improve your photography is to photograph constantly.

(Practice really does make perfect!)

If you take a photo every day, you’ll find that your mind starts to open up. You’ll see photography opportunities that you didn’t even know were there. Your skills will increase rapidly. And you’ll start to take consistently stunning images.

Note that you don’t have to dedicate hours and hours to photography every day. If you have 15 minutes to spare, it can make a big difference.

Photography exercises: final words

Now you know 7 great exercises that are designed to quickly improve your photography skills.

You don’t have to do them all at once. But try them out whenever you can. The more time you can dedicate to the exercises, the better the results.

And you’ll soon be capturing photos like a pro!

Now over to you:

Which of these photography exercises is your favorite? Which will you try first? And do you have any effective exercises of your own? Share your thoughts in the comments below!

The post 7 Photography Exercises to Take Your Images to the Next Level appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Did you know that you can apply a watercolor effect in Photoshop to any image?

That’s right. You can make any photo look like it was painstakingly painted by hand, which comes in handy if you’re looking to create an abstract effect, or you’re hoping to liven up an otherwise bland image.

In this article, I’ll explain how it works (in simple language that even a Photoshop beginner can understand). I’ll also show you how to use a Photoshop action to create the effect, so you can do it with just a few quick clicks.

Ready to make your photos look like watercolors? Let’s get to it!

What is a Photoshop watercolor effect?

Most of us have done a watercolor painting at some point in our lives. Watercolors are often used by children because, unlike other types of paints, they’re not at risk of being drunk. (Why? Because they’re blocks of pigments bound together by a water-soluble ingredient. This means that the paints are solid – until you rub a wet brush on the pigment block.)

Now, unlike actual watercolor painting, the watercolor effect is done in Photoshop. It’s a post-processing technique that lets you make your photographs look like they were created using watercolor paints.

Not only is it safe, but it’s also easier than painting, and it’s very flexible. You can take full control over the results by proceeding through the steps I share below, or you can use an action, which is basically a preset that lets you automate the process.

When is it useful to create a watercolor effect?

This is an easy question to answer. You should create a watercolor effect whenever you want!

You see, making your photograph look like watercolor paint is a personal choice. Maybe you like watercolors but you don’t know how to paint. Perhaps you simply feel like experimenting with different techniques. Or maybe you just want to create a cool, painterly effect.

In summary, you don’t do the watercolor effect in Photoshop because it’ll help you achieve some other result down the line. You do it because you like how it looks!

How to create a watercolor effect in Photoshop: step by step

There are many ways to create a watercolor effect in Photoshop. For instance, you could go to the Filter Gallery inside Photoshop and choose the Watercolor option.

That’s an easy and quick solution. However, if you want your watercolor effect to look its absolute best, you should probably invest a little more time. The process I explain below is the one I like most. It gives great results, and it’s easy to follow and customize.

Before you start

Before you can create a watercolor effect, you’ll need to download watercolor brushes. For this tutorial, I’ve used the brushes offered by Adobe since they’re included in your Photoshop subscription and they’re easy to use.

To download the relevant brush, activate the Brush tool. Then click on the hamburger menu icon – on the Brush panel – to open the menu. Go ahead and select Get More Brushes…

This will launch the Adobe brushes websites. Click Download on the Watercolor package and save it on your computer. Then go back to Photoshop, open the Brushes panel menu again, and choose Import Brushes.

Then select the file you just downloaded and click OK.

You’ll also need a paper overlay to give your piece that authentic watercolor look. You can download one from many online websites. However, I found it easier to photograph a piece of watercolor paper and use that. Whatever approach you use, have this file ready when you decide to make your Photoshop watercolor effect.

Step 1: Open your photo and duplicate the layer

Start by bringing your photo into Photoshop, then duplicate the layer. This isn’t a step that changes the outcome of the watercolor effect, but I always like to do this so that I have an original version to revert back to if anything goes wrong.

You can do this by tapping Ctrl/Cmd + J. Then, because you’ll be working on the duplicate, turn off the background layer by clicking on the eye icon.

You can duplicate your layer – or revert back to the original layer – at any time. You can also turn the background layer on whenever you want. It won’t affect your work.

Step 2: Convert the layer to a Smart Object

Go ahead and convert the layer into a Smart Object; that way, all the filters you apply to that layer will become Smart Filters, and you can adjust them anytime you like (even once the filter effect has been applied).

To do this, just right-click on the layer and select Convert to Smart Object. Alternatively, you can select Filter in the main menu, then choose Convert for Smart Filters.

Step 3: Add the Dry Brush filter

As I mentioned earlier in this article, you can technically create a watercolor effect by choosing Filters>Filter Gallery>Artistic>Watercolor. But the result won’t look top-notch; instead, I’d recommend using a series of filters, starting with Dry Brush.

So in the menu, select Filters>Filter Gallery>Artistic>Dry Brush. Then move the slider until you like the result. Click OK.

Remember that, because you turned the layer into a Smart Object, you can always go back to adjust the sliders later on. So if you’re not sure you like the look you created, don’t worry!

Step 4: Add (and adjust) the Cutout filter

The next filter you need to apply is called Cutout. To do this, you’ll need to go back to the Filter Gallery, so select Filters>Filter Gallery. Be careful not to click on the first Filter Gallery on the menu:

Now, go to Artistic>Cutout:

Don’t worry if your image looks weird – you’ll need to change the blend mode to get the effect we’re after. So click OK.

Now go to the Layers panel and click on the icon on the right side of the second Filter Gallery effect:

This will open the Blending Options window; use the Mode dropdown menu to select Pin Light.

Now you can double-click the Filter Gallery layer to customize the filter if you want. Unfortunately, you can only see the filter effect without the blend mode in the Filter Gallery window, so adjusting the effect may take some trial and error.

Step 5: Blur the image

Next, you’ll need to create a blur effect. This won’t be found in the Filter gallery; instead, simply go to Filter>Blur>Smart Blur. Adjust the settings in the dialog box, and when you’re satisfied, click OK to apply.

Now change the blending mode to Screen. You’ll be able to open the relevant dialog box just like you did the last time: by clicking the icon next to the filter. Lower the opacity to whatever looks best.

Step 6: Apply the Fine Edge filter

The final filter is called Find Edges, which will mimic pencil traces that show through the watercolor. To apply it, go to Filter>Stylize>Find Edges.

Change the blend mode to Multiply and adjust the opacity to your liking.

Step 7: Add a paper texture

Now you’ll need to add a paper texture to make your watercolor effect more realistic. This is where the photo of the paper comes in handy.

You can add your paper overlay by choosing File>Place>Embedded. Alternatively, you can open the paper on a different tab and select Ctrl/Cmd + C and Ctrl/Cmd + V to copy and paste it into the relevant workspace.

Whichever technique you used, the paper photo should now appear as the top layer of your watercolor image. Be sure to adjust the size of the canvas so that the paper covers the entire image.

Go ahead and change the blend mode to Multiply using the dropdown menu in the Layers panel.

Step 8: Paint on the image

Go back to the layer with your watercolor image. Add a black layer mask (you can do this by clicking on the Add Layer Mask button at the bottom of the layer panel, then hit Ctrl/Cmd + I on your keyboard to fill the mask with black).

At this point, you’ll only see the paper. That’s because the black layer mask is hiding the image. You need to make it visible using white brushstrokes; by doing this right, the image will look painted on the paper.

So grab the Brush tool from the toolbox or enable it by hitting the B key on the keyboard. Go to the Options bar and choose one of the Watercolor brushes you downloaded at the beginning of this tutorial.

Start painting on the layer mask to reveal the image. Make sure you change the brush size often (you can also change the brush tip after a while). This will make the watercolor effect in Photoshop look more real (plus, it’ll look different every time!).

How to create a watercolor effect using Photoshop actions

As I explained above, an action is a way to automate a Photoshop process, very much like a preset. There are already many Watercolor Effect actions available for Photoshop, and they’re very easy to use. Simply download them, import them into Photoshop, and run the action.

Of course, you won’t get much control over the final result. That’s the trade-off; sure, you save time, but you lose customizability.

That said, some Photoshop actions do let you customize the effect slightly. It depends on the action. (And if you like the watercolor effect an action creates, you might not want to customize it!)

In case you want to try creating the effect using an action, I’ll quickly share a step-by-step explanation of how they work. (Note that I’ve already downloaded a cool watercolor action from Adobe.)

First, install the action. To do this, go to the Actions panel. Open the hamburger menu, and choose Load Action. Then, click on the action you downloaded; it should have an ATN file extension.

Once the action is loaded, you’ll find it listed in the Actions panel. If you’re using Adobe’s watercolor action, you’ll see it as a folder because it has two steps. However, if you’re using another action that only has one step, simply click Play and the watercolor effect will appear.

To use the Adobe action, open the folder and select the first step, called Setup. Click on the Play button to start:

Read the instructions and accept:

Select the subject as instructed. I’ll be using the Lasso tool, but feel free to use the tool of your choice. Then click on Watercolor Artist in the Actions panel and click Play:

And that’s it! Your image should now look like a watercolor. Note that the Adobe watercolor action leaves all the layers available for you in case you wish to make adjustments:

How to create a watercolor effect: final words

As you can see, applying a watercolor effect in Photoshop is not very difficult. You can use a filter, a handful of filters, or even an action – and once you’re done, all your favorite photos with look like gorgeous watercolor art.

You can also print the photos on watercolor paper and hang them around the house! So pick a few photos, then test out the watercolor effect. I bet you’ll like the results!

Now over to you:

Do you have any Photoshop tips for achieving amazing watercolor effects? Do you have any images using the technique that you’d like to share? Leave your thoughts in the comments below!

The post How to Create a Watercolor Effect in Photoshop (Step-By-Step Guide) appeared first on Digital Photography School. It was authored by Ana Mireles.

When I first started out in photography, I was told that shooting in RAW was a waste of time. “You won’t need all that information. Shoot in JPEG; it’ll save space.” Unfortunately, that advice, while well-intentioned, wasn’t right for me – and it probably isn’t right for you, either.

Yes, it’s true: JPEGs are far smaller than RAW files (and they require less post-processing work, too). But RAW files come with several outstanding advantages that are especially valuable to landscape photographers. In fact, if you’re a landscape photographer and you’re not shooting in RAW, I encourage you to head over to your camera right now, find the Image Quality setting, and change it to “RAW.” Working this way will be a game-changer, and while you will likely need to grab an external hard drive to handle all those big files, you certainly won’t regret the shift.

Why is RAW so great? In this article, I share my top five reasons why every landscape shooter should work in RAW, starting with:

1. You get extra detail

As I mentioned above, RAW files are bigger than JPEGs. But this isn’t because they contain unnecessary data; instead, it’s because the RAW format doesn’t discard image information that’s captured in the scene. When you shoot a JPEG, however, the JPEG algorithm tries to discard information without changing the way the image looks. That is great for saving space on your memory card, but not so good if you intend to edit your images in Lightroom, Adobe Camera Raw, or other RAW processing software.

The reality is that your camera can capture lots of data that never makes it to the JPEG file – but if you shoot in RAW, you’ll retain the data, which in turn gives you much more flexibility when editing. On average, a normal JPEG file will be a handful of megabytes, but the same image shot on the same camera in 14-bit lossless RAW format will be far, far larger (often 25 MB, 50 MB, or even 125 MB).

While you often won’t notice the loss of data when comparing a RAW file and a JPEG straight-out-of-camera, that extra information often proves critical in post-production. You can get so much detail out of a RAW image – when pulling back blown-out highlights and bringing back detail in the shadows – that would be impossible to recover in JPEG format.

Here’s an underexposed image that I captured in RAW:

And here’s the same image after a bit of tweaking in Adobe Camera Raw, Photoshop’s RAW processor:

This doesn’t mean you should be sloppy and not pay attention to your exposure, but it does mean that in tricky lighting conditions, you will be able to get a shot that’s usable (even without using HDR techniques). And because landscape photography often deals with high dynamic range scenes, a RAW file is often the difference between a keeper and a reject.

2. You have more flexibility with colors

JPEG files save fewer colors than RAW files. Therefore, by shooting in RAW, you’ll capture as much color information as possible – which can then make a big difference when processing your images.

You see, while JPEGs do contain plenty of colors for most scenarios, you may start to notice a banding effect when colors are gradual, such as in a beautiful pink sky. This can become especially noticeable if you try to adjust the colors during post-processing; as you push the colors of that pink sky, banding will become more and more obvious, until your image is unusable.

And if you’re shooting a landscape scene, you undoubtedly want to get as much color information as possible. That way, you can make subtle color adjustments in post-processing, such as color shifts (e.g., turning a blue sky more purple) that help unify the scene and create a refined effect.

Note that RAW files are designed to look rather flat, so it’s important that you do a bit of color adjustment to pretty much every RAW landscape photo that you take. It’s often enough to simply boost the Vibrance or Saturation slider until the scene looks the way you remember it:

3. You can capture cleaner images

The exposure refers to the overall brightness of your scene, and in general, the best exposures feature detailed highlights, midtones, and shadows.

But in recent years, some photographers have started using a technique called expose-to-the-right (ETTR). Basically, by deliberately overexposing your images, you can ensure that as little noise as possible appears in the shadows for the sharpest, cleanest results. (Of course, you won’t want to leave your images overexposed; you’ll need to drop the exposure back down in post-processing!)

Now, the ETTR technique technically works when shooting in RAW or JPEG. However, if you try the technique on a JPEG file, you’ll have far less latitude, and it’s very easy to expose too far to the right and lose key details.

RAW files, on the other hand, handle the technique far better. You can push the exposure further, and once you get back home and process the shots, you’ll have plenty of gorgeous images that are full of beautiful detail!

4. Your images will be future-proof

What’s the best part about RAW files? They give you flexibility. When processing a landscape shot, you’ll have tons of information to work with, and you can use that information to create the best possible image.

Even if you try editing a RAW file and a JPEG file side-by-side and don’t notice a huge difference, it’s difficult to predict the sorts of editing tools that’ll be available down the line (and it’s difficult to predict the editing style that you’ll find interesting in a few years, too). You don’t want to shoot JPEGs because they seem sufficient in 2023, only to realize – five years later – that you could really use some extra detail.

I myself have gone back and reworked older images in light of new editing tools, and because the RAW file had lots of information, the added functions brought out the best of that scene!

5. You get the best quality

Every RAW image must be edited; there’s no way around it. RAW files aren’t displayable on browsers, plus they’re huge and difficult to send over email. Instead of trying to display RAW files, photographers edit in RAW, then convert the image to a JPEG (without destroying the original file!) for sharing.

Therefore, editing a RAW image is a two-step process. The first step is working on it via a RAW processor. (Lightroom can handle RAW images, as does Adobe Camera Raw and many other image editors.)

Then you must convert the file. If you plan to work on it in Photoshop, you can convert it to a PSD – and if you plan to share the photo directly, you can simply convert it to a JPEG.

Personally, I like to work on my images in Photoshop, and it’s only if I’ve first done some RAW processing that I know that I’ll have the best possible image quality to work with. And remember: image quality is basically the holy grail of photography. Ask any photographer what’s most important to them, and it will often just boil down to image quality.

(To be clear, when I say “image quality,” I’m talking about sharpness, noise, dynamic range, color, tone, chromatic aberration, and so on. Anything that adds to the overall look and feel of the image.)

Here’s what I’m getting at: If you carefully work on a RAW file in your RAW processor and then edit it in Photoshop, the image quality will be fantastic if you work carefully in your RAW converter and edit well in Photoshop. You can get good image quality in JPEG, but you will be able to squeeze that much more out of the image if you shoot in RAW.

RAW landscape photography: final words

RAW is a great format to use no matter the type of images you shoot; whether you do fashion, food, architecture, or portrait photography, I’d really recommend considering a RAW workflow. However, RAW is especially essential for landscape photographers. A RAW file will contain key details that you simply cannot recover from a JPEG, which will let you capture sunrises, sunsets, and other high dynamic range scenes in a single shot.

Remember, however, that RAW will require a different post-processing workflow. You can’t upload a RAW file straight to social media – instead, you’ll need to spend time carefully processing each shot. It’s the cost of working in RAW, but the benefits are truly incredible!

If you’re skeptical, why not test it out for yourself? Shoot some high dynamic range scenes as RAWs and JPEGs. Then compare them side by side. Try adjusting different editing sliders and see if you can recover lost details. I bet you’ll be impressed by the RAW files!

Now over to you:

Do you plan to shoot RAW in your landscape photography? Why or why not? Share your thoughts in the comments below!

The post RAW Landscape Photography: 5 Reasons to Shoot Landscapes in RAW appeared first on Digital Photography School. It was authored by Barry J Brady.

Headshot photography is one of the most popular forms of portraiture, and for good reason. Pretty much everyone needs a pro-looking headshot at some point in their lives, whether it’s for a social media profile, a staff page on a business website, or a résumé.

But capturing gorgeous headshots isn’t as easy as it might seem. You need to carefully choose the right settings, determine the proper composition, ensure a beautiful background blur, make sure the subject’s expression looks good – the list goes on.

I’m a veteran headshot photographer, and in this article, I share my top tips for stunning results, including various tricks and techniques I’ve developed through lots of trial and error. I also share plenty of professional examples so you know exactly what to look for. By the time you’re finished reading, you’ll understand precisely how to create a refined headshot, no matter the situation.

Let’s get started.

1. Have a pre-session consultation

There are many different headshot styles – and different models/clients/subjects will need specific stylistic results depending on the headshot purpose. For instance, an artistic, color-graded look might work great for a fashion model but won’t be appreciated by a corporate client.

So before your session, have a sit-down with your subject. Make sure you know exactly how your headshot photograph will be used. You might even ask, point-blank: “What kind of style would you like?” And be prepared to show plenty of examples that convey their options.

This consultation can take place on the phone or face-to-face. I don’t recommend communicating in writing, though; talking to your subject will help them relax much more than an email, and you can use the consultation to help them prepare for the session, too (by explaining what to expect and by answering their questions).

Pro tip: If the headshots will be used for corporate materials, use the consultation to find out your subject’s profession. A corporate lawyer may opt for a clean white background look (above), while a more relaxed professional (e.g., a yoga instructor) may prefer a colorful, environmental image (below).

And an actor or writer may desire the more dramatic effect created by a black background:

2. Help your subject choose the right clothes

Generally speaking, solid, neutral colors work best for headshots, as you want to avoid anything that distracts from people’s faces.

If you’re looking to achieve a formal style, make sure everyone remembers to bring their best work clothes. Men often forget their jackets, so for a consistent look, try to have a spare one on hand, even if you need to clip it at the back. And if possible, send out a reminder the day before your scheduled photo shoot. (Oh, and include an ironing reminder, too – there’s nothing more frustrating than a photo ruined by wrinkled clothes!)

Also, if you’ll have lots of time with a person, get them to bring a few items of clothing. You can do changes throughout the session and provide them with a variety of final images.

Here are some examples of good clothing choices:

Notice how the tops are generally solid in color and relatively plain? That keeps the focus on the subject’s face.

3. Create separation from the background

Great headshot photography generally includes separation between the subject and the background. There should be a clear foreground subject (the head!) and a clear (ideally blurred) background.

The easiest way to achieve this effect is by positioning your subject a handful of feet in front of any background elements, be it trees, grass, a stairwell, a building, or a desk. For indoor portraits, don’t let your subject lean against the wall; instead, bring them out so the wall can blur.

Also, if you are using a studio background (or the wall in an office) and you let your subject get too close, you may see shadows on the wall, which makes the images look less professional. Bottom line: get your subject away from the background, no matter how interesting or nondescript it seems.

You can also enhance the subject-background separation by widening your aperture, which will decrease depth of field to create nice background bokeh. Typically, I aim for an aperture of f/4 for environmental and natural light sessions; the aperture is wide enough for background blur but narrow enough to keep the subject’s head sharp. However, you can always experiment with even wider apertures, such as f/2.8 or even f/1.8. You may struggle to shoot your entire subject in focus, but in the right scenario, this can look great.

(Note: If you’re doing a studio session, with lights and prepared backgrounds, you’ll have more leeway. For such portraits, I often just use an aperture of f/8.)

4. Shoot in Manual mode

If you’re just starting out with headshot photography, you may be tempted to use your camera’s Auto mode – but while such an approach will often get you decent results, if you want to capture consistently great images, I’d really encourage you to use Manual mode instead.

With Manual mode, you can set your aperture, shutter speed, and ISO independently, which means that you can set up your lighting, take a few test shots to set the exposure, and then simply leave your settings as they are for the rest of the session. (Of course, if you change locations or the lighting changes, then you’ll need to set the exposure again!)

That way, you can focus on shooting rather than on tweaking the aperture or shutter speed as you go along. And you’ll finish your shoot confidently – because you’ll know that you consistently nailed the exposure.

5. Give your subjects time to relax

Whether you are photographing headshots for a single person or a whole team, make sure you have a general chat with each person before firing the camera. In my experience, this is the best way to help your subject relax, and relaxation leads to the best images.

Your chat can be pretty quick, too. It can be a 10-second, confident handshake and a “How are you?” Though if you have time, I’d recommend going a little deeper; people generally feel very nervous about having their photograph taken, and talking about something within their comfort zone (where they live, if they have children or pets, etc.) will really help them become more comfortable.

If you’re anxious about interacting with people – or you’re just not sure what to say – try coming up with a few lines in advance. Obviously, you don’t have to stick to your script, but a handful of memorized questions can be the difference between an engaging session and a stiff, uncomfortable one.

6. Ask for silly faces

Here’s one of my favorite tips for taking headshots, and while it’s a little unorthodox, it gets the job done:

Once your subject sits down and you’re ready to take a test shot or two, ask them to pull a funny face. You can shoot it as a first frame. It’s a great way to break the ice, and very few people will refuse to do it.

Once your subject has pulled a silly face, everything else is easy! It’s the technique I used for this headshot photo:

Which then led to this professional result:

Of course, don’t go overboard, and if your subject feels uncomfortable with the idea, don’t push it. The idea is to make them more comfortable, not less!

7. Light like a pro

Lighting is an essential part of professional headshot photography, and you one-hundred percent cannot skimp on your lighting techniques. Lighting should be controlled and carefully positioned. Fortunately, once you know the basics, getting a good, consistent look is actually quite easy.

For business and actors’ headshots, I tend to light quite evenly. There are a few circumstances where the images are low key (i.e., moody with a black background), but for the most part, I like to go for a balanced, detailed effect. A classic beauty lighting setup works well, with one light above and a second light, or a reflector, supplying fill light from below. You can also try positioning your key light slightly off-center to add a bit of definition to your subject’s features.

Ensure the subject’s body is turned 45 degrees away from the camera, while their face remains pointed toward you. You may need to guide people to look straight down the lens. You may be surprised how many people, when left to their own devices, will look off-camera, at the flash, or somewhere random – and it won’t turn out so great!

As you can see from the behind-the-scenes shot below, I’ve asked my subject to turn her body 45 degrees from the camera. (She’s still looking straight into the lens, though!) I’ve added a large light in front (slightly to the left), and I’m using a reflector below her face to reduce harsh shadows. I’ve also included a small softbox behind my subject to separate her hair from the background.

And here’s a headshot example that I captured using a similar setup:

8. Shoot in RAW

If you’re already working in RAW, then you can skip this tip – but if you’re currently working in JPEG, then it’s essential that you read this section carefully.

You see, while JPEG files do come with several advantages – they’re far smaller and require zero processing – these are far outweighed by the disadvantages. Because JPEGs are compressed, they don’t retain all the data from the moment of capture, which means that you lose color information and tonal information when you hit that shutter button.

RAW files, on the other hand, are uncompressed. When you shoot in RAW, the files are a lot larger, but this is because they contain lots of extra information discarded by JPEGs. And it’s this extra information that will allow you to recover detail and adjust colors without issue.

Sure, most of your JPEGs will look pretty good straight out of camera. But what if you accidentally overexpose or underexpose a series of headshots? If you had the RAW file, you would likely manage to recover the lost highlight or shadow detail – but because you’re shooting in JPEG, that information will be lost forever, and your shots will be ruined.

So whatever you do, shoot in RAW! You’ll need to spend a bit of time post-processing the images when you’re done (see the final tip in this article), but I promise that it’ll be worth the extra effort.

9. Sit people down

People often feel more comfortable sitting down, and at the end of the day, comfort is king. Feel free to offer the option of standing, though – people will prefer this on occasion.

Ask your subject to rest their hands on the tops of their thighs (it gives them something to do with their hands!). It also ensures that the subject knows where they need to be and won’t move around too much.

And honestly, it’s pretty tough to tell whether a headshot is taken standing up or sitting down, so don’t stress too much about how either option looks.

10. Pay attention to the little things

What separates a great headshot from an average one are generally very small changes – little adjustments that can make all the difference.

So once you’ve got your lighting set up and your subject relaxed and ready to go, don’t rush. Instead, take the time to make changes: The slight tilt to the head, a subtle lean forward, a gentle but intriguing smile.

Don’t be afraid to ask someone to make very specific changes to their expression and position until you get the image you’re looking for. And once you do have the perfect shot, feel free to experiment a little with poses and even (if you’re not working with a series of clients) lighting. Who knows when you’ll come up with the next great look!

Below is a professional headshot example. Can you spot the little things that make it great?

11. Keep talking and be positive

When you’re taking photographs, talk to your subject. Reassure them that they’re doing it right and that you’re getting great images. It’s hard to do, yes – but it’s worth it because your subject will remain comfortable and you’ll stay on track to get professional headshot results.

In fact, even if you’re not satisfied with the images you’re getting, continue to praise your subject. When your subject turns their head in a certain direction or when the light falls in a bad way, never express those feelings. Instead, tell them they’ve done a great job – then subtly prompt them to make adjustments to their pose.

Bottom line: Silence will kill the atmosphere, so no matter what is happening, just keep chatting. Stay positive!

12. Shoot tethered

This isn’t essential, but if you have all the necessary equipment, I highly recommend you shoot tethered. And if you don’t have all the equipment, consider investing, because tethered shooting can be an absolute game-changer.

Note: Tethered photography involves connecting your camera to your laptop or desktop computer. As soon as you fire off a shot, it’ll appear on your monitor. You can even change your camera settings and hit the shutter button using your computer!

What makes tethering so effective? For one, when your subject can see a couple of shots on the screen, they’ll quickly get an idea of what needs to be changed. And tethered shooting is great for you, the photographer; you can see whether your lighting looks good, whether your subject is in focus, whether they’re nicely posed, etc., much more easily than on your camera’s LCD preview or in the camera viewfinder.

13. Don’t forget to process your photos

Before you post an image online or share it with your clients, make sure you always, always, always spend time editing it in Lightroom, Photoshop, or your program of choice.

While you don’t need to go overboard with post-processing, a little work can go a long way. Make sure you correct the white balance to achieve natural colors, adjust the exposure until you have plenty of nice shadow and highlight detail, and try boosting the contrast for a little extra pop.

You might also add a slight vignette to the headshot to help the viewer focus on the main subject. And if you’re up for it, you can do some higher-level retouching to remove blemishes, whiten teeth, and subtly improve skin.

If you’re feeling intimidated by post-processing software, I’d really encourage you to head into a program and spend some time playing around with different sliders and tools. With enough experimentation, anyone can get great results!

Headshot photography tips: final words

I hope you find these tips for better headshot photos helpful. Commit them to memory, make my suggested changes, and pretty soon, you’ll be capturing pro-level images!

Now over to you:

Do you have any other tips we missed? Please share them – and your favorite headshot photos – in the comments below!

The post 13 Tips for Breathtaking Headshot Photography appeared first on Digital Photography School. It was authored by Sean Gannon.

In the days before digital imaging, if you truly wanted to elevate your photography to the level of art, you learned how to process your images in the darkroom. You learned dodging, burning, masking, sandwiching negatives, flashing, and fogging – all designed to get the most out of your images and deliver your artistic vision to your viewers.

But with the advent of digital imaging, photographers have a new way to bring their artistic vision to life: the digital darkroom. Adobe Photoshop, in particular, is an extremely powerful program for processing images; that’s why it’s used by photographers of all stripes, including world-class professionals.

Photoshop is highly capable, but it’s not exactly beginner-friendly. It’s easy to feel overwhelmed when you first open an image in the program, and even once you’ve familiarized yourself with the Photoshop layout, you may miss quite a few key tools that have the potential to revolutionize your editing workflow.

Below, I share a list of six must-know Photoshop tools to help you get started editing your images. They aren’t the only tools you need, but the list should give you some idea of where to start. So if you’re ready to really commit to post-processing, then let’s dive right in, starting with:

1. Adobe Camera Raw

It is my personal belief that if you aren’t shooting in RAW, you’re doing yourself a disservice as a photographer. When you allow your camera to convert your image into a JPEG at the moment of capture, you’re throwing out potentially critical data. You are trusting your camera to make creative decisions about the color, contrast, tone, and more, when you might later change your mind completely.

To get the most out of your image, you’ll need to instead set your camera to capture the image as a RAW file. A RAW file contains unprocessed, uncompressed, grayscale data from your camera’s image sensor as well as metadata about how the image was captured.

And then, once you open the RAW photo in Photoshop, the program will automatically launch Adobe Camera Raw, a sort of plugin that you can use to effectively process the image data.

When you open a RAW image in Adobe Camera Raw, you’ll be presented with a tool palette on the right-hand side. It’ll be divided into nine tabs: Basic, Curve, Detail, Color Mixer, Color Grading, Optics, Geometry, Effects, and Calibration. The tabs I use most in my workflow are Basic, Optics, Effects, and Calibration, but you’re free to experiment with literally any tab, slider, or tool.

The beauty of using a processor like Adobe Camera Raw file is that you can apply various effects as often as you like. If you don’t like what you’ve done, or you want to try something different, you can always revert the image back to the original settings, and the file will be the same as it was when you downloaded it from your camera.

So don’t be afraid to play with the sliders and see what they do. You can’t ruin the RAW file, so you might as well have fun!

By the way, after you’ve processed your RAW file using ACR and taken it into the main Photoshop interface, you can always regain access to the RAW processor’s tools by selecting Filter>Camera Raw Filter.

2. Layers and Layer Masks

Technically, these are two separate tools, but if you’re going to learn layers, you’re going to have to learn layer masks as well.

In Photoshop, one of the first things you’ll notice when you open an image is the Layers Palette on the right side of the screen. Initially, it will likely only have one layer, called Background, containing your image.

But you can then add new layers as needed. You have a wide variety of options, including adjustment layers (which I discuss in detail later on in this article) and image layers. You can also add empty layers, which allow you to paint, draw, or copy portions of the image below onto them, and you can also use layers to create a composite from multiple images. Layers can be adjusted to different opacities using the Opacity slider at the top of the palette, so they can be made partially translucent (allowing the layers underneath to show through).

Once you understand the concept of layers, you can create layer masks; these show or hide portions of a layer and allow you to see the layer or layers beneath. You simply paint black on the layer mask to hide that portion of the layer or paint white to make sure that portion of the layer shines through.

Layers give you room for quite a bit of creativity and let you edit areas of an image non-destructively. If you don’t like a layer’s effect, you can simply delete the layer and start over. Additionally, you can sandwich together two separate images – much the way you’d sandwich negatives in a wet darkroom – to create photo composites.

3. Blend modes

As I mentioned above, the Opacity slider allows you to blend the active layer with the layers beneath. The blend modes, found in a drop-down menu to the left of the Opacity Slider, work in a similar fashion, but they use various mathematical calculations to change the appearance of the layer being blended.

For instance, if you simply duplicate an image and set the Blend Mode to Multiply, it will darken the image by about a stop; Screen blend mode, on the other hand, will lighten the image by a stop. If you create a layer on top of your image with black text inside a white box, using Multiply will eliminate the white box and allow the layer below to show through. Screen will do the opposite (see the image above!).

Photoshop currently offers 27 blend modes. The two modes I noted above are ones I use often (I tend to also adjust the opacity slider to get to my final look). Knowing what each mode does will help you choose which one to use for your particular purpose, so either read up on the different options or spend a good hour or two experimenting!

4. Adjustment layers

I’ve already discussed the importance of layers, but adjustment layers are so powerful that they deserve a section of their own.

You see, adjustment layers are a great way to make standard edits – such as saturation boosts or tonal changes – without actually modifying the original file. They’re an easy way to make modifications that you can go back and change again later as needed (as long as you’ve kept the layers intact, that is, by saving the file as a PSD or TIFF).

There are 19 different adjustment layers, which can be combined to create different effects. Some basic layer uses include color adjustment, contrast adjustment, saturation, and black-and-white conversion. In addition, you can use layer masks to apply the effects to specific areas rather than to the entire. And you can adjust the opacity of an adjustment layer to reduce the intensity of the effect.

Adjustment layers provide a ton of flexibility without forcing you to make a change that can’t be easily undone easily!

5. The Spot Healing Brush tool

The Spot Healing Brush is one of the primary retouching tools in Photoshop; it allows you to quickly and effectively remove blemishes and errors from your photos. In the digital age, the bane of all photographers’ existence is dust on the imaging sensor, and the Spot Healing Brush tool makes quick work of any dust-spot-related issues. Note that the Spot Healing Brush works similarly to the Clone Stamp tool, in that it samples from one area of the image to correct other areas.

The Spot Healing Brush automatically detects the content or texture of the surrounding areas and attempts to replicate it wherever you click in the image. There are several ways to fine-tune the effect, all of which appear at the top of the screen. These include brush size and hardness, blend mode, and the type of fix you want to use (i.e., Content Aware, Create Texture, or Proximity Match). Each image will have different needs depending on the content, so if you’re not happy with the results you’re getting, it’s best to experiment with the various settings.

6. The Clone Stamp tool

The Clone Stamp tool and the Spot Healing Brush tool are both used for retouching images, and both work with the sampled areas of the existing image. Clone Stamp, however, allows you to select the area from which to sample by holding the Ctrl/Cmd key and clicking; it then creates an exact copy of the sampled area. Then you can simply click on the area you want to clone out and a copy of the area you sampled will appear.

You have various options for adjusting the effect, including blend modes, an opacity slider, and the layer(s) you’d like to sample. You can also change the edge hardness and size of the tool. The Clone Stamp tool is particularly effective when you have a well-defined edge to maintain, such as the wall of a building. (The Healing Brush tool tries to blend edges, which can cause a blurred mess.)

Essential Photoshop tools: final words

The six tools shared above are my go-to options for editing in Photoshop. In fact, I’d estimate that about 90% of my post-processing is done using those tools.

Yes, Photoshop offers dozens, even hundreds more options – but if you can master the tools I’ve shared, you’ll be off to a great start.

Now over to you:

What are your favorite Photoshop tools? Which of these tools do you plan to use first? Share your thoughts in the comments below!

The post 6 Photoshop Tools Everyone Should Know appeared first on Digital Photography School. It was authored by Rick Berk.

Landscape photography is breathtaking, exhilarating, and lots of fun – but it can also be difficult, disappointing, and downright frustrating, especially when you’re just starting out. Composition, lighting, camera settings, and more; it’s a lot to wrap your head around, but if you don’t use the right strategies and techniques, you’ll often end up with subpar images.

Fortunately, I’ve spent years capturing the landscape, and in this article, I share my best tips, including:

• Key landscape imaging accessories
• The best light for incredible shots
• Easy ways to improve your compositions
• Much more!

So if you’re ready to level up your landscape photos, then let’s dive right in!

1. Pick your location carefully (and scout in advance)

Landscape photography is as much about planning as it is about the actual process of photography. Don’t just wander around with your camera; instead, always have a clear idea of where you are planning to go and the time of day that will allow you to capture the best photographs.

Learn how to read maps and understand how you can utilize them to find the perfect location. You can use photography apps (like PhotoPills) to anticipate the sun’s direction long before you arrive on-site, and you can use Google Earth to check topography and even consider potential compositions.

Of course, the best way to pick locations is by visiting potential spots in advance, but due to time and travel constraints, that’s not always possible. Regardless of how you approach it, scouting and planning will ensure you can make the most of your time; it’ll also ensure that you get to your location safely and in plenty of time and that you find your way back (usually after sunset).

2. Be patient

It’s a fact of (landscape photography) life: The elements are practically always conspiring to ruin a perfectly composed photo.

Therefore, landscape photography requires patience. If you arrive on location only to find the sunset blocked by clouds, don’t head back home. Set up your composition and wait – just in case the clouds disperse just long enough to allow the sun to break through.

It’s important that you always plan for extra time at a location just in case waiting is necessary. Relatedly, check weather forecasts before leaving so you know what to expect!

3. Don’t be lazy

One of the reasons we’re often stunned by an impressive landscape photo is because it features a scene captured in a unique, never-before-seen way. Such images often take significant effort to take, but they’re absolutely worth it. A photo taken from the top of a mountain, for instance, requires a huge amount of time and effort. But it displays a view that most people will never see for themselves.

So don’t rely on easily accessible viewpoints that everyone else can just drive up to and see. Instead, look for those unique spots that offer amazing views, even if they require real effort, determination, and planning to get there.

(On the other hand, don’t shy away from capturing an image just because the location was easy to access. The best landscape images sometimes are actually rather simple!)

4. Shoot in the best light

Light is one of the most important factors in any photograph, but this is especially true for landscape photography. If the light doesn’t do a scene justice, then it really won’t matter how great the location is or how you compose your photo; the image will fail.

So what’s the right light for landscape images? It does vary depending on your photographic goals, the weather, and the scene itself, but the best light is generally early in the morning or late in the afternoon (the golden hour). The time just before sunrise and just after sunset – known as the blue hour – is also very nice, though the lack of sun does lead to certain technical difficulties.

That said, don’t limit yourself based purely on the light. Part of the challenge of landscape photography is adapting and coping with different lighting conditions; for example, great landscape photos can be captured even on stormy or cloudy days. The key is to use the best light whenever you can and to make the most of the less-ideal light when you can’t.

5. Always carry a tripod

Simply put, if you want to capture the best photographs, then a tripod is an essential piece of equipment. Much landscape shooting occurs in low-light conditions (e.g., early morning and late evening), and if you don’t use a tripod, you’ll need to increase your ISO, which will in turn degrade image quality.

Additionally, if you want to capture a scene using a long-exposure technique (when photographing moving clouds or water, for instance) then unless you have a tripod on hand, you simply won’t be capable of creating sharp photos.

Good landscape tripods can be pricey, but I encourage you to really invest. A sturdy model can last years, and it’ll dramatically increase your photographic capabilities!

6. Maximize the depth of field

The best landscape photos are usually sharp throughout, from the nearest foreground object to the most distant background element – and to achieve such a deep depth of field effect, you’ll need to carefully adjust your camera settings.

Start by setting your camera to Manual mode or Aperture Priority mode, then choose an aperture of f/8 or narrower. (For very deep scenes, you may want to shoot at f/13 or even beyond.)

Focus about a third of the way into the scene, then take a test shot. Zoom in on your LCD and check for sharpness in both the foreground and the background. If portions of the shot aren’t sharp, try narrowing the aperture or tweaking the point of focus. Eventually, you should get your desired effect, though if you’re struggling, you can always try using a focus-stacking technique where you capture multiple images and blend them together in Photoshop.

7. Use landscape composition techniques

Composition – that is, the arrangement of different elements in your images – is an essential part of good landscape photography. And while it’s possible to improve a composition through cropping, you should always aim to get it right when out in the field.

So how do you capture great compositions? Start by training yourself to use various techniques, such as the rule of thirds, leading lines, and symmetry. Learn the techniques, then experiment with applying them in real-time. As you practice, you’ll become better and better at honing your compositions, and the process will eventually become second nature.

8. Don’t forget to bring filters

Every landscape photographer should carry two types of filters:

Neutral density (ND) filters and polarizers. Often, you’ll find yourself needing to manipulate the available light, and that’s what these filters do best.

For example, if you’re taking photos that include water, you may wish to avoid reflections from the sun. A polarizer will minimize the reflections and consequently enhance the colors (i.e., the greens and blues of the water). It’s important to remember, however, that polarizing filters often have a limited effect if you’re facing into the scene or turned so the sun is at your back. For the most dramatic results, position yourself between 45° and 90° in relation to the sun.

Another big challenge in landscape photography? Getting an exposure that shows movement in clouds and water – even when the light is bright. A neutral density filter will block out the light so you can extend your shutter speed without overexposing your files.

Note that you should choose your filters carefully. There are a lot of cheap polarizing filters and ND filters available on Amazon and eBay, but they rarely work well and will instead decrease image quality. A good set of filters is expensive, but it’s definitely worth the investment.

9. Use the histogram

A histogram is a simple graph that displays the different tones in a file. The left side of the graph corresponds to dark tones, while the right side of the graph represents bright tones.

Most modern cameras allow you to access the image histogram moments after you’ve pressed the shutter button (and some cameras even let you see a histogram preview in advance!). So after (or before) you take each image, give the histogram a look. If the majority of the graph is shifted to one side, it’s an indication that the photo is too light or dark (i.e., overexposed or underexposed).

Overexposure or underexposure isn’t necessarily bad – some images look good either way or can be processed to look great – but if you find that the histogram peaks push up on the right or left edge of the graph, that’s a sign that you’ve lost detail in your images, which is rarely ideal. So if you do notice this issue, make a slight adjustment to your camera settings and reshoot.

10. Never settle for a good photo

This is true no matter the genre of photography. It doesn’t matter if it is a landscape or a portrait; if you can do it better, then you should.

But often because of the time and effort that landscape photography requires, people settle for a good photo rather than waiting or coming back later to take a great one. In my view, you should always aim to photograph your subject at the best possible time, in the best possible way, even if that means waiting or coming back later.

Of course, you may not always have the option to come back down the line, and if that’s the case, don’t simply ignore a landscape because you can’t capture a perfect shot. Aim to do your best, even if it’s not perfect.

11. Shoot in RAW format

This landscape photography tip is quick but essential:

If your camera is capable of capturing photos in RAW format, then you should always capture RAW files. They contain much more information, and they give far greater flexibility in post-production.

Remember, you can always save RAW files in any other formats after the fact, but you will not be able to save JPEGs as RAW files; if you shoot in JPEG, you’re ultimately limited by the level of compression.

12. Experiment

For all the techniques and rules that exist to help aid your compositional and settings choices, there is always room to experiment. The beauty of digital photography is that taking a photo isn’t wasting a negative (and costing money), so there is ample opportunity to break the rules and even your own style sometimes.

Even if the majority of the time the experimental images don’t work and you’re disappointed in the result, that’s completely okay. You’ll still learn something new – and every now and again, you might end up with a gem!

Landscape photography tips: final words

Landscape photography is one of the most rewarding genres you’ll ever encounter – and while it might seem difficult, with practice, hard work, and patience, you can capture stunning landscape photos that will look great in your portfolio.

So take some time and think about potential landscape opportunities. Go for a hike. Peruse Google Earth. Then spend some time with your camera!

Now over to you:

Do you have any landscape tips you want to share? Which of these techniques do you plan to use first? Share your thoughts in the comments below!

The post 12 Tips for Stunning Landscape Photography appeared first on Digital Photography School. It was authored by Kav Dadfar.

I live in London; it’s a big city with an array of portrait photography location choices, but it’s a fast and busy place. Other cities are similar: New York, Paris, Tokyo, Berlin, Beijing, and more. Even smaller cities can get pretty busy in certain areas, which is why, no matter your location, it pays to understand exactly how to navigate the hustle and the bustle so you can capture gorgeous portrait shots.

In fact, with the right approach, you can not only create great images, but you can even improve your shots by using the hubbub and the constant activity to your advantage. In this article, I share five tips to capture amazing portraits in busy cities – and by the time you’re finished reading, you’ll be prepared to produce gorgeous shots in the world’s most frenetic locations.

Let’s dive right in.

1. Scout out the location and look for potential spots

It’s always a good idea to scout out portrait photoshoot locations in advance, but this is especially important for busy-city photographers. I’d recommend taking a walk around the same time you plan on having your portrait session (so that the activity levels mirror the activity levels you’ll experience during the actual shoot) and identifying areas of interest.

In particular, keep an eye out for locations that, despite the hubbub around them, manage to stay rather quiet and empty of people. Little corridors, nooks, and crannies can work great for this, such as this delightful little alley that leads toward a restaurant:

Once you’ve found some options, talk with your portrait clients. Give them some location ideas and options from which they can choose. While this isn’t particular to busy city photography, if you can get them involved in the process, they’re more likely to look forward to the photoshoot and really own it.

When discussing locations, you should also talk about outfits, as clothing is important to the overall look and feel of the images. It’s important that the clothing matches the feel of the location; otherwise, you’ll end up with a strange contrast between the background and the subjects.

For the example photoshoot depicted throughout this article, we had two different locations in mind, each with its own ambiance and style. Originally, the couple wanted to photograph outside an old ruined church, with its stunning walls, old architecture, and some greenery. The church offered a really cozy country feel, soft light, and an enchanting ambiance (in many ways, it offered the opposite of a busy city feeling).

But the couple had already decided on their outfits and had purchased them specifically for the photoshoot. In my opinion, the outfits worked far better in an urban environment than in a rural scene, so I encouraged them to go with a busy-city location instead.

One quick piece of advice:

As you scout out locations – and as you pitch different locations to your subjects – try to match their personality to the scene. If you’re photographing a somber, serious individual, you might want to choose a more monochromatic, quieter location. But if you’re photographing a bubbly couple, a colorful, bustling market backdrop will make far more sense.

2. Incorporate icons and landmarks

Every city – no matter how small – has its own landmarks. In major metropolises, you’ll come across world-famous icons such as Buckingham Palace and the Eye of London. But even little cities feature specific sculptures, buildings, and streets that are iconic in their own way.

So before heading out for your photoshoot, determine a few fun landmarks to incorporate into your shots. (Your subjects’ input can be very helpful here – ask them in advance if they have a favorite building or attraction.) You don’t have to go landmark-crazy, and not every busy-city photoshoot needs to include an array of recognizable attractions. But if you’re looking to embrace the city feel while also capturing images that feel unique to that location, it can be a helpful approach.

For my example photoshoot, we chose boutique shops and food stops that were traditional and well-known in the area, and I elected to use their shop windows as backdrops. Again, it’s important that you know a little about your couple and what they like so you can keep your eyes peeled for anything that appeals to them. In this case, Tom is English and likes beer, so we stopped by a tavern:

You don’t have to restrict yourself to photographing outside, either. Plenty of locations won’t mind if you come inside for a few portrait shots, though it’s important that you always ask for permission, first. (Usually, the shopkeepers are helpful and allow you to grab your photos if you are quiet, non-disruptive, and quick. But some may refuse and that is perfectly fine. Don’t take it personally!)

3. Leverage the busyness

If you choose to photograph on crowded, busy streets, there’s just no getting away from people. Often, it’s a waiting and asking game. You either wait for people to walk past and clear your space, or you ask them to move away. (Do it very politely, and if they agree, thank them profusely.)

However, if you don’t want to wait or you’re looking to create something different, why not leverage the busyness by incorporating motion into your images? That’s how I got this photo:

Try slowing down your shutter speed, narrowing your aperture (for extra sharpness throughout the scene), and either mounting your camera on a tripod or using a setup with impressive image-stabilization capabilities. Also, make sure that your subjects stay very still while you shoot. Wait for a bus or car to drive by, then fire the shutter!

Note that it can take several attempts to get a good result as it’s a difficult setup with no planning ahead or anticipation of what is to come. Of course, if things don’t go quite right, you can always rely on a bit of Photoshop magic.

4. Do something fun and quirky

Busy locations offer all sorts of attractions, including colorful buildings, interesting parks, and public art. If you’re working with the right subjects, try to keep the photoshoot lighthearted and fun by finding some unusual spots and asking the subjects to do some quirky things. You may not end up using the images in the end, but it’s generally worth a shot and will help keep the photoshoot interesting!

For this next image, my subjects stood between huge exhaust installations with the BEL-AIR sign in the background, and they pretended to get blown away:

But to be safe, I also captured a few normal shots:

Then we found this old chapel with sculptures and thought it would be funny to copy the sculpture poses:

Remember: A photoshoot is more than just taking pictures! It’s an experience, so aim to make things both fun and easy. That way, your subjects head home with the feeling that it was time well spent.

5. End on a high note

As you’re shooting, don’t forget to include key indicators: How far you are into the photoshoot, other plans you may have in terms of locations, certain shots you want to try, etc. As you walk to new locations, explain to your subjects how far you are into your plan, and always make it clear when you’re nearing the end of the session.

Why is this so important? People appreciate knowing where they are in a photoshoot! Some people cannot handle more than half an hour of portrait posing and these markers help them get through it. Others like long photoshoots, so you need to keep tabs on your time to ensure you don’t run over. But whatever you do, don’t look at your watch.

As you reach the end of the shoot, do your best to end on a high note with lots of laughter. If you can achieve this, it greatly helps reinforce good photoshoot memories so that there will be another photoshoot down the line. You want your subjects to look back and remember good times (rather than the bad weather, the cold, the hassle of waiting for people to get out of the way, and so on).

Relatedly, when you show your couples their image gallery, end with happy photos, too!

Portrait photography in busy locations: final words

Now that you’ve finished this article, you’re ready to capture some amazing portrait shots – even if you live in hustling, bustling cities like London, NYC, or Tokyo.

So remember the tips I’ve shared. Do some location scouting, pay attention to your subjects’ personalities, and above all, have fun!

Now over to you:

Do you have any additional tips for shooting in busy locations? Where do you plan to photograph next? Share your thoughts in the comments below!

The post 5 Tips for Portrait Photography in Busy Locations appeared first on Digital Photography School. It was authored by Lily Sawyer.

Sunset photography is fun, rewarding, and often breathtakingly beautiful – but creating stunning sunset shots can be tough, especially for beginners. The bright skies and dark foregrounds lead to exposure problems, while the limited lighting can encourage blur due to camera shake.

That’s where this article comes in handy! Below, I share 15 easy-to-follow tips that’ll instantly improve your sunset images, including:

• How to capture beautiful tones consistently
• How to create balanced, pro-level compositions
• The best type of weather for sunset photos
• A simple trick to make your shots stand out
• Much more!

So if you’re ready to become a sunset photography master, then let’s dive right in.

1. For the best shots, plan ahead

While you can sometimes capture beautiful sunset shots without any forethought, the best shots usually come from real planning.

So scope out places that might be good for sunsets the day or two before your shoot. Look for interesting locations – locations where you can photograph the sun all the way down to the horizon line, and where there will be opportunities for shots that include foreground elements and silhouettes.

The sunset window is often rather short, which is why you want to think about these elements before the sunset begins. Otherwise, you might miss the best shots.

Find out when the sun will set, then arrive at least half an hour beforehand. While you can capture incredible shots of the sun sinking below the horizon, you’ll often encounter plenty of magic in the lead-up to the sunset.

And keep an eye on the weather. There are a variety of different types of sunsets that produce a range of different types of lights and patterns in the sky. Don’t just head out on clear days, because while these can produce some wonderful colors, it’s usually the days with (partial) clouds when the real action happens.

(Also, dust and smoke in the air can produce amazing results, too.)

Consider the equipment you might need. Take a tripod, lenses with a range of focal lengths, and extra batteries. That way, when the sky turns beautiful, you’ll be ready!

2. Use the right camera

Technically speaking, you can capture amazing sunset images using any type of camera, from the cheapest smartphone model to the most expensive medium-format mirrorless unit. But certain cameras do offer advantages, so if you’re serious about sunset (or sunrise) photography, it may make sense to purchase a new model.

For instance, full-frame cameras – especially the latest full-frame mirrorless cameras – offer breathtaking dynamic range. This allows you to capture dark shadows and bright highlights in a single frame, which comes in handy if you prefer to photograph the sunset in a single shot (as opposed to using a bracketing or HDR approach). These full-frame cameras also offer impressive low-light performance, and while this isn’t a huge deal if you plan to shoot in decent light and use a tripod, it can make a big difference if you choose to shoot handheld or at night.

It’s also a good idea to grab a camera with a decent number of megapixels. Most modern mirrorless cameras offer at least 20 MP, but it pays to purchase a 30 MP, 40 MP, or even 60 MP model, especially if you want to create large prints from your photos.

The specific camera you buy will depend on your interests, your budget, and your brand of choice, but a few great options are the Sony a7R IV, the Canon EOS R5, and the Nikon Z7 II. (Note that the best sunset photography cameras overlap almost perfectly with the best landscape photography cameras, so you can always check out our landscape camera recommendations!)

3. Shoot at a variety of focal lengths

Most sunsets are photographed with wide-angle lenses, and these focal lengths can make for beautiful images. A lens in the 10-30mm range will give you sweeping shots of your sunset scene.

However, if you want the sun itself to be a main feature of the shot, you’ll need to zoom on in. The sun is just half a degree across, so when you shoot with a wide-angle lens, the sun will be tiny in the frame. If you want to highlight the sun, you’ll need to zoom in with a 200mm lens or longer. (This, in turn, will increase your need for a tripod, which I discuss below.)

Also, be hyper-aware of eye-safety concerns because looking at the sun is always dangerous. And it’s even more dangerous when you look at it through a telephoto lens. So if you do include the sun in your composition, never look through your camera’s optical viewfinder. Instead, use Live View to check your composition and exposure on the rear LCD.

(If you use a mirrorless camera, this won’t be an issue. You can safely look at the sun through an electronic viewfinder.)

4. Use the rule of thirds to improve your sunset photography compositions

The rule of thirds states that you should position key elements of your scene a third of the way into the frame. So instead of putting the horizon in the center of the landscape composition, put it toward the top or the bottom, like this:

Do you see how the horizon is a third of the way up from the bottom? That’s what the rule of thirds suggests.

And it’s not just about horizons. You can also use the rule of thirds to position the sun, foreground elements, background elements, you name it.

Of course, the rule of thirds isn’t a requirement. And you can break the rule of thirds for stunning results in certain situations. But in general, the rule of thirds is a great starting point – so unless you have a good reason to do otherwise, I highly recommend you follow it!

5. Experiment with different exposures (to achieve a magical result)

When doing sunset photography, you should always shoot with a semi-automatic or Manual mode. Don’t let your camera dictate your settings for you (in other words: get off Auto mode immediately!). So before starting a sunset shoot, switch your camera over to Aperture Priority mode, Shutter Priority mode, or Manual mode.

And don’t just take one shot using one exposure. Instead, take a variety of shots at different exposures.

While you can try a “standard” exposure based on your camera’s recommendation, don’t be afraid to underexpose by raising your shutter speed or narrowing your aperture. And don’t be afraid to overexpose by doing the opposite.

The great thing about sunsets is that there is no one “right” exposure. You can get stunning results with underexposure and overexposure; the key is to experiment.

(Personally, I tend to start with a relatively quick shutter speed, then slowly work down to slower shutter speeds for brighter, more luminous shots.)

6. Bracket often

In the previous tip, I talked about experimenting with different exposures. But if you want to take a more formal exposure approach, I’d recommend using a bracketing technique.

Here’s how it works:

First, take a photo using your camera’s suggested settings.

Then adjust the settings (either manually or via exposure compensation) to slightly underexpose the photo. Take a shot. And then adjust the settings to slightly overexpose the photo. In other words, if your camera says to shoot at f/8, you would take your first shot at f/8, as recommended. But your second shot would be at f/5.6, and your third shot would be at f/11. That way, you’d end up with a “standard” shot, a darker shot, and a brighter shot, all of which will give you different colors and effects.

It’s a good way to guide your experimentation, and it’s also a good way to create “insurance” photos – so that, if you overexpose the standard shot on accident, you still have a darker file on your memory card. Make sense?

7. Auto Exposure Lock is your friend

Bracketing can be a lot of fun, but it also takes time – and if you only have time for a shot or two, it’s not the most precise way to create a well-exposed image. That’s where Auto Exposure Lock (AEL) comes in handy.

Using AEL is simple. First, you point your camera at the area of the scene you want perfectly exposed, such as a beautiful foreground feature. Then lock the exposure. Finally, reframe the picture (while maintaining the exposure lock).

Basically, it lets you determine the exposure without interference from the ultra-bright sunset, which can wreak havoc on a camera’s meter.

Also note that you can use Auto Exposure Lock to create beautiful silhouettes; just point your camera at the brightest part of the sky, lock the exposure, and then reframe with a foreground subject. The result will look like this:

8. Experiment with different angles

Once you’ve got started with sunset photography, you may be tempted to constantly shoot from the same chest- or eye-level vantage point. After all, if it isn’t broken, there’s no reason to fix it, right?

On the one hand, this standard vantage point will get you great shots. And there’s nothing wrong with applying a certain compositional tactic across many photoshoots.

But eventually, you may want to capture images that stand out from the pack – and a great way to do this is by varying your angle.

Instead of always placing your camera on your fully extended tripod and pointing it at the horizon, try to mix it up. For instance, you can:

• Get down low to emphasize the foreground
• Find a high vantage point to produce unique overhead shots
• Shoot from an oblique angle for a more energized composition
• Shoot through a foreground subject to give a feeling of peeking out at the sunset

Of course, don’t give up the more conventional approach completely, but do try these other perspectives and see what you think!

9. Shoot in RAW whenever possible

Many photographers, especially when they’re starting out, are inclined to capture JPEG images, which are small, highly shareable, and require no special editing.

But while JPEGs are convenient, they come at a cost: When your camera creates a JPEG, it compresses the image data, which ultimately results in less information in the file. RAW files, on the other hand, contain all the image data from the moment of capture, which offers several major advantages, including:

• RAW files have more color information, so it’s easier to push colors in different directions without introducing unpleasant banding effects
• RAW files have more tonal information, so you can recover detail in the shadows and the highlights that is completely lost in JPEG files

In sunset photography, when you’re often working with lots of gorgeous colors and a huge dynamic range, the ability to make these tweaks and recover lost information is invaluable. And while RAW files don’t look as stunning as JPEGs right off the bat, you only need a little bit of editing knowledge to make them look incredible!

Note that you will need some form of RAW processing software to make your files shareable, but there are plenty of amazing programs out there, including paid options like Lightroom Classic and Photoshop, as well as free programs like RawTherapee.

10. For the best colors, get off Auto White Balance

Your white balance setting adjusts the temperature of the colors in your scene. So depending on the white balance, you’ll end up with a cooler (bluer) photo or a warmer (redder) photo.

When the white balance is set to Auto, your camera will automatically deal with the color temperature. And while this can sometimes work, it often gives subpar results – where you lose the warm golden tones of your sunset.

Therefore, instead of using Auto White Balance, switch your camera to the Cloudy or Shade presets, which will warm things up a little. Alternatively, if you’re shooting a sunset and you do want a cooler, moody shot, you can experiment with other white balance settings, such as Incandescent.

One more thing:

If you shoot in RAW, it’s true that you can always tweak the white balance during post-processing. However, this is often pretty inconvenient; after all, how much time do you want to spend adjusting the white balance in front of your computer? That’s why it’s worth getting the white balance right in-camera.

11. Always bring a tripod for the sharpest results

If you’re shooting at longer shutter speeds, such as 1/60s and beyond, then a tripod makes a huge difference. It’ll keep your camera stable – so that your files remain tack sharp.

When you’re out doing sunset photography, you don’t need to start the shoot with a tripod, because the minutes leading up to a sunset bring plenty of light.

But as the sun sinks on the horizon, a tripod will become more and more necessary. (And by the time the sun is gone, a tripod will be absolutely essential.)

Note that you might want to use a tripod for your whole photoshoot, especially if you plan to capture long exposures that feature moving water, like this one:

What if you don’t have a tripod or you forget to bring one? In such cases, I recommend you stabilize your camera against an object. You can put it on the hood of a car, or you can just set it on the ground; whatever allows you to minimize movement as much as possible.

12. Use a remote release or a two-second timer

If you’re using a tripod to capture your sunset images, then you’ve already removed one major source of blur: shake due to handholding.

However, it’s also important to address another source of blur: the vibrations created when you press the shutter button. You may not realize it, but every time you press that shutter button, you’re creating a slight amount of vibration – and if your shutter speed is slow enough, that vibration will blur the image.

Fortunately, there are two easy methods to avoid this problem:

• Use a remote release, which allows you to trigger the shutter without actually touching the shutter button
• Use your camera’s two-second self-timer, which gives the camera vibrations a few seconds to die down before the shutter actually fires

A remote release tends to be a bit more convenient, plus it helps with timing if you’re photographing waves – but a two-second self-timer is built right into your camera, so it’s the easier and cheaper route.

13. Don’t be afraid to focus manually

We all love autofocus – but sometimes, when shooting in extreme lighting conditions, autofocus just won’t get the job done. Your lens will hunt all around, and the shot will end up out of focus.

That’s where manual focus comes in handy.

Now, not all lenses support manual focus. Some only allow for autofocusing, in which case you’re out of luck.

But many lenses do let you focus manually (and you can generally activate manual focus by pushing the AF/MF switch on the lens barrel to MF).

So when your lens starts to hunt, don’t fret; just swap over to manual focus and keep shooting!

14. Shoot more than just the sunset

Here’s one of the many wonderful things about sunsets:

They don’t just create wonderful colors in the sky; they also cast a beautiful golden light that is great for other types of photography!

So as the sunset progresses, keep an eye on other photographic opportunities around you. For instance, you can capture portrait, landscape, or macro shots. In the light of the setting sun, it’ll all turn out amazing!

15. Keep shooting (even after the sun is gone)

A sunset constantly changes over time – which means that every additional minute is an opportunity for a different shot.

So don’t take a few shots and call it an evening. Instead, stick around and photograph the sun as it goes down. You can continue to capture the same composition, or you can test out different compositions; the key is to keep your camera out and your finger on the shutter button.

Also make sure to capture different exposures (bracket!) and consider working with different focal lengths, as I’ve discussed above.

And finally:

Don’t pack up once the sun is gone. The period after the sun has disappeared – called the blue hour – can be great for photography, too, thanks to its beautiful colors and ethereal light. So if you still have the energy, keep finding compositions until the colors have vanished completely from the horizon.

Sunset photography tips: conclusion

Now that you know these tips, you’re well on your way to capturing some stunning sunset photography of your own.

So the next time the sun starts to get low in the sky…

…grab your camera and head outside!

Amazing images await.

Now over to you:

Which of these sunset photography tips is your favorite? Are you going to use any of them the next time you photograph a sunset? Share your thoughts (and sunset photos) in the comments below!

The post 15 Sunset Photography Tips for Beautiful Results appeared first on Digital Photography School. It was authored by Darren Rowse.