cameras-&-equipment

The post Photography Ideas: 100+ Things to Photograph in 2025 appeared first on Digital Photography School. It was authored by Mat Coker.

How far through your ‘100 Things’ are you? Post your latest in the comments! – Ed

Sooner or later, we all run out of things to photograph. Or we think we do.

In truth, there are countless subjects worth photographing – and many of them can be found in your house, in your backyard, or on a short walk.

I’ve compiled a list of more than 100 photography ideas, which I share below. It includes dozens of things to photograph along with lots of example photos. So if you’re looking for cool photos to take or you’re in need of inspiration, read on!

Note: I include a handful of idea categories, including nature, people, animals, events, and architecture. I recommend you start by tackling a category you’re not especially familiar with; that way, you can spend time exploring an area of photography that feels fresh.

Nature photography ideas

There is a whole wide world out there, and it’s waiting to be explored by you and your camera! I’m not just talking about natural subjects that your eyes can see; I encourage you to find what is hidden underneath and behind and inside.

First, pull out your closest-focusing lens and capture the surfaces of the natural world. Try photographing:

• Flowers
• Trees, branches, and bark
• Vines
• Leaves
• Fruits and vegetables
• Driftwood
• Tall grass

Don’t just go for the typical nature shot. Adjust your angle, experiment with different settings, and do what you can to shoot from close and far away.

Also, photograph these natural subjects at many different times: noon, golden hour, dusk, and everything in between. Don’t forget to photograph after it rains.

Then bring out your wide-angle or telephoto lens and spend time capturing:

• Fields
• Orchards (in bloom or full of fruit)
• Pumpkin patches
• Sunflower fields

Next, explore water. If you’re up for it, consider purchasing underwater housing for your camera. Here are just a few water-related items to take pictures of:

• Water spraying from the sprinkler or hose
• Rain
• Creeks, ponds, lakes, and oceans
• Waves
• Ice
• Snow
• Steam

If you’re interested in more unusual nature photography ideas, consider shooting the ground, such as:

• Rocks
• Sand
• Gravel
• Soil

And if you’re more of a people photographer, bring some friends along with you on a morning walk and include them in your photos. You might capture beautiful shots of people on:

• Pathways
• Trails
• Dirt roads

Portrait photography ideas

Looking for some people photography ideas? Here are a handful of subjects you can photograph from home:

• Newborns
• Toddlers
• Children
• Teens
• Siblings
• Twins and triplets
• A whole family
• 3+ generations

Note that there are many ways to photograph people. You could take posed shots, of course – but you might also capture candid moments.

And don’t pressure yourself to go big. Just find somebody you can take pictures of. You don’t have to know what you’re doing; just aim your camera and something interesting will emerge.

(Worst-case scenario, just photograph yourself! There are plenty of awesome self-portrait ideas worth trying, such as multiple exposures, abstract blurs, and more.)

If you have a child, you can capture an infinite number of possible photos. For instance, you might photograph them:

• Playing with bubbles
• At a playground
• Riding a bike
• Playing sports
• Swimming
• Balancing

Maybe you prefer to photograph friends? That’s okay, too! Grab a friend and photograph them:

• In an interesting job
• Engaging in a hobby
• Playing (or listening to) music
• On a farm
• Playing sports
• Having fun with paints
• Cooking
• Working with tools
• Acting very professional

Really, you could produce an entire portfolio just by photographing one person over a month or two.

Animal photography ideas

If you like the idea of capturing animals, now’s your chance to get started. Consider photographing:

• Pets
• At a farm
• At a vet
• At a shelter
• At an animal rescue
• At a pet store
• At a zoo
• At an aquarium
• Bugs
• Birds
• Local wildlife
• Fish and other water creatures

Event photography ideas

Events combine plenty of great photographic subjects, such as people, places, food, and interesting activities. You can find plenty of events listed on city websites, but consider capturing household events, too.

Here are just a few events to photograph:

• Sports
• Festivals
• Parades
• Local charity events
• Animal shelters
• Farmers markets
• Boating events
• Air shows
• Car shows
• Dances
• Concerts

Architectural photography ideas

Architectural photography might sound a little boring, but in my experience, it can be a whole lot of fun! You don’t need to restrict yourself to the “standard” architectural subjects (like real-estate interiors and churches). Instead, try your hand at a few of these unusual photography ideas:

• Old buildings
• Barns
• Farmhouses
• City neighborhoods
• Ruins
• Modern buildings
• Glass buildings
• Train stations
• Museums
• Walls

Pay careful attention to your perspective, and – if necessary – shoot wide and make distortion corrections during post-processing.

Still-life photography ideas

Still life photography is a great way to memorialize precious objects. You can create complex still life arrangements – or you can capture single items.

Note that you can aim to convey the essence of your subject, or you can strive to tell a story.

Here are just a few meaningful objects to photograph:

• Products for a small business
• Crafts for a friend’s Etsy store
• Family heirlooms
• Museum artifacts
• The items on your desk
• Your cameras
• The furniture in your house
• Junkyard items (such as rusty old cars)

Photo project ideas

Looking for a more contemplative photography idea? Then consider a photography project that spans several months (or even years).

For instance, you might produce a series of photos that aims to convey the essence of:

• Winter
• Spring
• Summer
• Fall

Or you might produce a photo series that captures the essence of:

• Sunrise
• Midday
• Sunset
• Night
• Moonlight
• Cloudy days
• Stormy days

You might also select a single subject (perhaps from the photo ideas shared in previous sections), then capture it across several seasons or across an entire day.

Creative technique ideas

I’ve shared plenty of ideas about what to take pictures of…

…but in addition to all the options mentioned above, consider how you can use different techniques to capture unique shots.

For instance, regardless of your subject matter, you might capture:

• Black and white shots
• Silhouettes
• Close-up or macro shots
• Shadows
• Reflections

Also, consider the different results you can achieve by focusing on:

• Angles
• Backgrounds
• Light

100+ photography ideas: final words

Hopefully, you’ve found this list – detailing over a hundred things to take pictures of – useful!

You have plenty of potential subjects. So grab your camera and start photographing!

Now over to you:

Have any additional photography ideas to add to my list? Share them in the comments below!

The post Photography Ideas: 100+ Things to Photograph in 2025 appeared first on Digital Photography School. It was authored by Mat Coker.

The post Real Estate Photography: The Complete Guide appeared first on Digital Photography School. It was authored by Charlie Borland.

The best thing about trying your hand at real estate photography? You can practice in your own home – over and over until you’re happy with the results. Have you ever thought about it? Tried it? Share a photo in the comments or on our social media #dPSRealEstatePhotography — Updated 2025

Do you want to capture beautiful, eye-catching real estate photos?

You’ve come to the right place.

Real estate photography might seem difficult and even high pressure, but with a little know-how, you can start creating outstanding images right away.

I’ve spent plenty of time learning the ins and outs of real estate and house photography, and today, I’d like to pass that knowledge on to you. So if you’re ready to learn how to photograph houses like a pro, then let’s dive in, starting with:

Real estate photography: key camera equipment

To get started with real estate photography, you’ll need a few basic items:

• A camera
• A wide-angle lens
• A tripod

Your camera should allow you to add a cable release, a flash, different lenses, and wireless triggers. For cropped-sensor cameras, a lens around 10-22mm or 12-24mm is perfect, and for full frame sensor cameras, a lens around 16-35mm will do the job.

Tilt-shift lenses help avoid converging vertical lines such as wall edges and door frames. There are a handful of tilt-shift lenses available, but while these lenses are wonderful to use, they are fixed focal length. So if you need more flexibility, a 16-35mm zoom lens is a great alternative (or companion) to a tilt-shift lens.

Now, real estate shooting techniques can get pretty complex, from exposure blending and HDR to wireless flash and light painting with multiple exposures. No matter your shooting style, the camera should not be moved (to guarantee image alignment of multiple exposures), and the self-timer, a cable release, or a wireless trigger helps ensure zero camera movement. Certain apps will also trigger the camera and provide a preview of the photo on your smartphone or tablet.

The best lighting for exterior real estate photos

The first image a potential buyer (usually) sees when reviewing properties online is an exterior photo, so you must capture a beautiful outdoor shot. A big part of this is lighting, so you’ll need to carefully choose your time of day and lighting quality.

But what type of lighting is best for real estate photography?

Most exterior house photography benefits from lighting early and late in the day, when the light is soft and golden. The sun direction is also important, so you’ll want to use an app such as PhotoPills to determine the sun’s position prior to the photo shoot. In general, aim to photograph with light hitting the front of the home, like this:

In winter, some south-facing homes never have the sun hitting the front of the house. In such situations, I highly recommend keeping the sun at your back, even if it means shooting the home from an angle.

If you don’t like the result you get with morning or afternoon light, you might consider shooting on an overcast day. Cloudy skies can eliminate problems with the sun’s position, but discuss it with your client first, because white skies can lessen the impact of an otherwise great exterior image.

Also, if you’re struggling to find a good time to shoot during the day, you have one more option:

The dusk/dark technique, which gets you photos like this:

Simply head to the house around sunset and choose the best angle to showcase the home, ignoring the ambient light. Turn on all the lights or even add lights to the rooms; then wait until after sunset, when the sky’s exposure balances the room lights’ exposure. That’s when you can create a beautiful, pro-level image!

Getting started with interior photography: composition

After you’ve shot some stunning exterior shots, you’ll need to get on with the interior real estate photos. This can be tedious, but it’s essential you approach the task with care.

Homes come in all shapes, sizes, styles, and conditions. You want the house to look as good as possible, so I recommend you send your clients a task list for prepping the home prior to the photo session.

Once you’ve arrived, photograph the main rooms: the living room, kitchen, dining area, master bedroom, and master bath, all of which are “must-shoot” rooms. There could also be a library, office, large walk-in closet, and more. The client can often tell you what they deem important; don’t be afraid to ask.

Once you’ve entered a room and are preparing to take a photo, seek out the best perspective. I like to use indoor elements – furniture, windows, and room layout – to create visual flow. I generally try to avoid including a large element in the foreground that prevents the eye from flowing through the room.

Key composition tip: get the verticals right

In interior house photography, there is broad agreement among clients and photographers: Verticals must be correct! Most interiors feature plenty of verticals, including edges and corners of walls, door frames, and windows, and these edges need to truly be vertical. Wide-angle lenses that are not level (e.g., they’re tilted slightly upward toward the ceiling or downward toward the floor) will make vertical edges converge or diverge and no longer appear straight.

If you use a tilt-shift lens, the problem is solved right off the bat, but not everyone likes TS lenses. So what do you do? How do you prevent converging and diverging verticals from ruining your photos?

One common approach is to level the camera – that is, ensure it’s not tilting up or down – because a perfectly level camera will record straight verticals. While this is a simple solution, it doesn’t always make for the best compositions; a level camera at chest height can cut off foreground subjects like furniture at the bottom and leave too much ceiling at the top. Lowering the camera height will improve this problem, but how low can you go and still have an effective photo?

So what is the perfect camera height? There are many opinions. Some suggest chest height while others suggest door-knob height or even lower. I prefer chest height or close, and I also correct vertical lines using other methods, like a tilt-shift lens or the Lens Correction tool in Photoshop (or Lightroom).

Real estate photography settings: how to get the perfect exposure

Exposing for interior elements can be challenging, because you’re balancing bright window light with darker interiors.

You can deal with this contrast in many ways; one is to shoot when outdoor light levels are lower, such as during or after sunset, or on a cloudy day. Turning on every light inside increases the interior brightness, and if the outdoor brightness is lower, a RAW file can often capture the scene in one frame. Alternatively, you can shoot a series of bracketed images, then blend them together in post-processing.

Even in low-contrast lighting situations, I’d recommend you take a few extra shots to ensure you have all the necessary exposures for a great image. First, determine your base exposure, the image that has most of the data centered in the histogram. Then bracket in one-stop increments of varied exposures. You may not need these extra images, but if the dynamic range of the scene turns out to be too much, they can really save the day (i.e., you can blend them into a great final image!).

Real estate photography: interior lighting

While some real estate photographers stick to ambient lighting, just like a finely lit portrait, interiors can benefit greatly from carefully styled external lighting. Bracketing and blending can manage scene contrast but cannot create highlights and shadows in areas that have no directional light – and if you have a dark cabinet against a dark wall, for instance, adding supplemental light can bring out the much-needed detail.

Most interiors have two light sources: window light and interior lights. You can add continuous lights or use strobes/flashes. Personally, I recommend flashes or strobes, which provide flexibility when lighting interiors.

Before I dive into the basics of interior lighting, I’d like to emphasize its purpose: to bring out detail, balance the overall lighting effect, prevent distracting dark spots, and emphasize the key parts of the scene. Always think in terms of what the ambient lighting conceals and what your studio lighting will reveal.

Now, photographers shooting for architects or magazines often have plenty of time to photograph a property with finely crafted lighting techniques, but a real estate photographer’s time is usually limited, making flash the perfect tool. You can master the balancing act of using direct on-camera flash to fill in a scene, or you can bounce on-camera flash for great results.

Feel free to take a test shot without flash, then review the image on your LCD and determine the areas that require fill light. That’s what I did for the scene below:

Also popular are multi-flash wireless set ups allowing the flash to be placed around a room for styled lighting. Oh, and you might try the light-painting approach, where areas are selectively lit across several exposures, then all exposures are blended in post-processing.

By the way, you’ll need to be aware of lighting color temperatures and color balance, which can become a problem when indoor lighting (studio or otherwise) is combined with ambient outdoor lighting.

When you have mixed light, such as daylight-colored window light alongside tungsten-colored ceiling lights, and you then throw in a fluorescent kitchen light, you’ll end up with a palette of different light colors in your image. Walls closest to windows will be blue while the walls closest to the tungsten ceiling lights will be amber and the ceiling in the kitchen will have a green tint.

Here’s an image with mixed lighting:

So what do you do about mixed lighting? Two things:

1. Work as much as you can to minimize mixed lighting by color-matching your studio lights to the lights in the scene.
2. Use selective color adjustments in Lightroom, Photoshop, or another post-processing problem to neutralize the unwanted color casts after the fact.

Here’s a corrected version of the previous image:

Providing the client with the final images

Once you have photographed the house and done the necessary post-processing, you will need to deliver the image files. Clients usually request low-resolution files for the web and high-resolution files for print publication.

Be sure to save your files in the proper file format and size for the intended use. Most online listing services specify their accepted formats and acceptable sizes. I use low-resolution JPEGs and high-resolution TIFF files, then I make a final delivery of the images via Dropbox or a comparable online service.

Real estate photography: final words

Now that you’ve finished this article, you’re ready to rock some real estate photos! Here are a few items to remember before heading out to your first house:

• You are not photographing for yourself; you are photographing for clients who will expect professional-quality work.
• Don’t get all the best gear; only buy what is required to do the job well.
• Master the creative side of photography, such as angles, perspectives, and composition.
• Master the technical side of photography, such as exposure, HDR, supplemental lighting, color matching, and exposure blending.
• Be careful when processing real estate images; don’t misrepresent the property.

 And above all, have fun!

The post Real Estate Photography: The Complete Guide appeared first on Digital Photography School. It was authored by Charlie Borland.

The post Patience and Photography appeared first on Digital Photography School. It was authored by Darren Rowse.

“Good things come to those who wait”

This old proverb was one that I heard a lot of growing up – it was a favorite saying around our house and one that I think has had a fairly significant impact upon me in numerous aspects of my life – not the least of which is my photography.

While digital photography is sometimes known for it’s spontaneity I’ve found that most successful photographers also have the ability to sit with a scene or subject for a considerable amount of time until the situation is right to get things just as they should be to get the picture perfect.

Patience comes into play in many forms of photography:

• Landscape – there are many aspects of landscape photography that takes patience ranging from scoping out the perfect place to shoot from to waiting to get the light just right before shooting.
• Sports – last year when I was at the Australian Open (tennis) I went along expecting that the skill I would need the most was to be spontaneous as a photographer but I came away realizing that the only reason I came away with any decent shots was that I’d really persisted and taken my time in thinking through my shots. It was only because I continued to shoot over a longer period of time that I honed my framing and exposure to get things just right.
• Portraits – studio portraits can be a little more predictable than candid portrait shots but in both cases people are unpredictable beings and getting a pose just right or capturing an interaction between two subjects can take considerable time to get right.
• Wildlife – taking photos of animals is even more unpredictable than photographing people and as a result there can be long waits to both find them in the wild but also to get capture them in a the right position, light and framing.
• Macro – similarly taking macro shots is generally not an overly spontaneous thing to do, especially when your subject is a moving one (insects for example) and when you’re shooting in a natural environment when the light changes and wind blows.

The list could go on….

I find that the actual moment that you take an image is often a very spontaneous one but that to get to those moments you often need real patience.

Of course patience is not something you can really teach in an article like this – except to say that it’s a skill to work on and that great photographers generally set aside time to hone their craft.

These thoughts generally ring true today! Looking back through our earlier articles, this one from Darren stood out to me – It’s good to slow down in this fast, mostly digital, Ai filled world and have a little patience in everything we do, and in this case – photography. 30 frames a second is great – when it’s needed – but so is a single, well thought out scene and resultant image.

Good things come to those who wait!

Updated 2025 – Simon ??

The post Patience and Photography appeared first on Digital Photography School. It was authored by Darren Rowse.

The post How the iPhone Saved Photography (Not Killed It) appeared first on Digital Photography School. It was authored by Sime.

Maybe this is a controversial take, but here goes… I’d be keen to hear your thoughts! Leave a comment.

Remember when people were saying the iPhone would be the death of the photography industry?

When the first few generations of smartphones started adding cameras, there was a genuine wave of panic among professionals. The logic was simple: if everyone had a camera in their pocket, who would pay for a photographer?

Fast-forward to today, and we can see that while the industry has changed, photography is far from dead. In fact, I’d argue the iPhone has actually helped photography thrive in ways we couldn’t have imagined a decade ago.

Everyone’s a Photographer Now (And That’s Not a Bad Thing)

The barrier to entry used to be high. You needed a proper camera, some technical know-how, and access to darkrooms or editing software. Now? Just unlock your phone. Granted, a top of the line phone is no cheap ask, but it IS a phone first, not a camera, or is it? More on that in another article maybe…

Millions of people who might never have picked up a Mirrorless / DSLR are now thinking about light, composition, storytelling. They’re documenting everyday life, playing with perspective, and sharing it all with the world.

The result? A global explosion of visual creativity.

The Rise of the Visual Language

Thanks to smartphone cameras, visual communication is now as common as texting. We send photos to say “look at this,” “I was here,” or even “I love you.” In doing so, we’ve all become more visually literate. That helps the whole industry, because the more people care about photos, the more they appreciate what makes a good one.

More Demand for Quality

Ironically, the proliferation of photos has increased demand for high-quality work. Brands, publications, and creators need images that cut through the noise. So while smartphones flooded the world with snapshots, they also raised the profile of skilled professionals who know how to craft an image with impact.

The iPhone as a Gateway Drug

Ask any photographer today how they got started, and chances are good they’ll say it began with their phone. The iPhone has become a gateway into more serious photography. Once someone realises they enjoy shooting with their phone, it’s a short step to learning about lenses, aperture, manual controls—and suddenly, they’re hooked.

Professional Tools in Your Pocket

Let’s not forget that the iPhone itself has evolved into a serious tool. Computational photography, RAW shooting, multi-lens systems—all built into a device that fits in your back pocket. It’s no longer just a casual snapper; it’s a Swiss Army knife for image-making.

My Final Thoughts

The iPhone didn’t destroy photography. It brought it to the masses. It made the medium more accessible, more social, and arguably, more valued than ever. The industry looks different now, yes—but it’s alive and kicking. Maybe even stronger.

What are your thoughts? Share them here in the comments or over on our Facebook or Insta

The post How the iPhone Saved Photography (Not Killed It) appeared first on Digital Photography School. It was authored by Sime.

The post Drone Photography: Tips for Stunning Aerial Images appeared first on Digital Photography School. It was authored by Andrew Thomas.

With the latest and greatest from DJI arriving in the form of the Mavic 4 Pro, we’re seeing some amazing drone work, both stills and video, are you flying? Where do you share your work? Drop a link in the comments – we’d love to see it!

Updated 27 May 2025, now, on with our story…

One of the most exciting developments in photography in the last handful of years is the drone camera, which allows you to capture unique viewpoints of common subjects. And while drones were once prohibitively expensive, the cost of getting a camera into the air has dropped dramatically – which means that nearly everyone can capture stunning drone shots!

If you decide to venture down this road, I guarantee you won’t be disappointed; aside from the amazing images you can produce, aerial shooting is just tremendous fun.

That said, creating top-notch drone photography is about more than flying a quality product and pressing the shutter button. Like all forms of image-making, it requires careful attention to light, composition, settings, and more. In this article, I share tips to improve your drone shots, and I also include lots of examples to get you inspired.

Let’s dive right in, starting with my number one tip:

1. Always be careful when flying

One of the big advertising features of most drones these days is their ease of operation. Manufacturers love to talk about their drones’ ability to fly straight out of the box, and it is very true. You can often just charge the battery, download the relevant smartphone app, fire up the drone, and get flying.

However, while it’s easy to get drone cameras off the ground, common sense and great care are a huge part of aerial flying. Otherwise, you risk damaging your drone, damaging the environment, and/or breaking the law, all of which can be devastating.

I suggest you start by adding some limitations to your drone’s operation; these are easily set up on your smartphone app. For instance, it’s a good idea to set a reasonable maximum height and distance. Make sure you also put serious time and effort into understanding your drone’s settings so that you understand each and every button and option before your drone takes off.

Additionally, when you’re flying a drone camera for the first time, start somewhere wide open, such as a local oval or park. Spend some time getting a feel of the controls before you think about pressing the shutter button; practice taking off and landing the drone, and make sure you can effectively turn and move the drone in the air.

Always be aware of your surroundings and the position of the drone in the sky; drone cameras usually have a wide-angle lens, so it’s easy to misjudge your proximity to objects such as trees and buildings, especially if you’re viewing the feed through a smartphone screen. If you’re not sure that you can successfully navigate a certain area, it’s best to stay away until you’ve built up your skills and confidence.

2. Learn (and follow!) the rules and regulations

Most countries have rules regarding drone flight. Needless to say, it’s important that you carefully research all relevant regulations, then follow them carefully when out flying. Failure to do so will stop your drone photo hobby or career before it ever starts.

I can’t mention all the regulations here, but they often include:

• The drone must always be in Line of Sight (LOS), which basically means you should always be able to see the drone when you fly it
• A maximum height of 400 ft (133 m)
• Never fly over groups of people
• Respect others’ privacy
• Don’t fly anywhere near airports and other no-fly zones as specified in each country

Some countries also require drone pilot licenses, though the requirements here may change depending on whether you plan to use the drone as a hobbyist or a professional. Again, be sure that you educate yourself before getting your drone in the air!

One relevant story: A few months ago I was flying above my local railway station and looking for the perfect image at dusk. After happily flying for five minutes or so, I looked down to see two local policemen coming over to me. My first move was to gauge their reaction to drone flying; if there were any concerns, I would have brought the machine down immediately. Luckily, these two policemen were very interested in what I was doing. By showing them exactly what I was seeing, and by explaining the whole procedure and the care I was taking not to fly directly above any people, they left with a very positive attitude.

I think it’s very important to fly with this mindset. Authorities may confront you about your drone use, and you have to be prepared to pack up if needed. One other thing about flying in public places: You will need to be prepared to become the center of attention. In my experience, people are generally quite intrigued by what you doing!

3. Rely on your drone’s technology when possible

Drone photography is a complex endeavor. Not only do you have to fly the drone carefully, but you also have to capture great photos! Therefore, rely on your drone’s technology when you can (and plan ahead when you can’t).

Today, drones offer all sorts of cool features, many of which can dramatically improve your image-making. For instance:

• By connecting your smartphone to your handheld remote control unit, you can see exactly what the drone is viewing. This makes for perfect compositional adjustments, and I encourage you to take some time carefully framing up the shot so as to best capture your subject before firing the shutter.
• Drones can generally hover in one spot with incredible stability, almost like an aerial tripod. Once you’ve determined the proper composition, feel free to take your hands off the controls and evaluate the shot carefully on your monitor. You can also use this feature to capture panoramas and bracketed shots.
• Drone camera controls are extensive and generally include RAW capture, full manual control, and even time-lapse options. Learn what your drone can do, and take advantage of the various controls.
• Understand your battery limitations and be aware of any fail safes. Drone batteries can vary in flight time per charge, but 20-40 minutes is pretty common. This may seem scary – what if your drone dies in midair? – but drones can generally detect when the battery is getting low and will go into RTH (return-to-home) mode, which ensures the drone comes back to you! If for some reason the connection between the remote control and the machine is lost (which can happen when flying behind buildings or trees), the RTH function should be activated. You can also activate the RTH feature manually; for instance, if you lose sight of the drone, you can press the RTH button and your drone will happily return to you.

4. Think about light and weather

When you first start doing drone photography, you may take hundreds of photos, load up your images on the computer, and marvel at the amazing scenes you’ve captured. In my first few weeks of flying, everything I took was thrilling. However, it’s important to realize that, while the world looks cool from above, not every shot is a truly great image.

Remember: Aerial photography is no different from other forms of image-making. The photographic fundamentals – light, composition, and settings – still matter, and it’s important that you do your best to consider each of these elements as you capture photos. In particular, I’d encourage you to pay careful attention to lighting, which will dramatically alter the landscapes you encounter.

First of all, rather than just heading out randomly, aim to shoot when the light is most flattering: during golden hour and blue hour. If you’re after more subdued photos, working on cloudy days can be helpful, whereas you can achieve high-contrast landscapes (which can look great in black and white) by shooting around midday under bright sun.

Additionally, pay attention to the weather conditions and what they might offer. Fog can look amazing in drone shots, and a mix of clouds and sun at sunrise and sunset can also provide lots of potential. Make sure you also check the wind forecasts; drones are not easily handled in high winds, so I’d encourage you to shoot in calm weather whenever possible.

5. Aim to maximize image quality

Drone cameras are generally inferior to the quality you can get with a ground-level full-frame model, but the images you can capture are surprisingly good. While the drone I’m using only offers 12 MP of resolution, I’ve managed to print up to A3 size (roughly 12×16 in), and you’d be hard-pressed to tell they were taken with a 12 MP camera.

But because drone cameras don’t contain top-level sensors, it’s important to take steps to maximize image quality. First, make sure your camera is set to RAW as opposed to JPEG; this will give you a lot more flexibility when editing, and it can ensure that you maintain detail in both the highlights and the shadows even when photographing high dynamic range scenes.

Second, set your shutter speed and ISO carefully. Boosting the shutter speed will lead to sharper shots (up to a point), but you also need to keep your ISO as low as possible to avoid noise. Therefore, it’s essential to strike a careful balance between these two settings.

I should also mention that most drones these days shoot high-quality video, which produces stunning aerial footage. So while drone photography is great, don’t neglect the video side of things!

6. Look for patterns and rhythms in the landscape

Aerial views are often rather stunning on their own, but you can take your images to the next level by seeking out and carefully capturing shots of patterns and rhythms. Some patterns are obvious – such as those created by rows of wheat and farm fields – but others are more organic and can require a good eye and some patience.

A little advice:

First, don’t be afraid to simply fly back and forth over a landscape as you look for different patterns. The world looks very different from above, and you may be surprised by what you find.

Second, it can be a great idea to identify the area you plan to photograph in advance, then spend some time perusing the overhead view in Google Maps or Google Earth. These programs, while not always up to date, can make it very easy to determine potential compositions – and that way, you can maximize the use you get from your drone’s limited battery life (and from the often fleeting light).

Drone photography tips: final words

I’ve been doing landscape photography for a number of years, and I love aerial imaging. It’s a great way to give your portfolio an extra edge, and it’s a ton of fun, too.

So if you don’t already own a drone, I encourage you to go out and grab one. And if you do, wait for the light, find a good location, and enjoy some photography!

Now over to you:

Have you tried drone photography? Do you have any tips of your own? Share your thoughts in the comments below!

The post Drone Photography: Tips for Stunning Aerial Images appeared first on Digital Photography School. It was authored by Andrew Thomas.

The post 10 Tips for Beautiful Black and White Headshots appeared first on Digital Photography School. It was authored by John McIntire.

Have you tried B&W headshots? Is it something you aspire to? What tips below do you think you could add to your ‘bag of tools’ when it comes to your photography?

Black and white has long been a popular way to capture headshots with impact and visual interest. The lack of color helps to emphasize the subject while discarding information that isn’t relevant.

And in this article, I’m going to share 10 black and white headshot tips to help you get the best results.

Let’s get started.

Headshots vs. portraits

If you’re new to portrait photography, it might help to clear up what a headshot actually is before you try to create one.

Portraits: In general terms, a portrait photograph is a representation of a person. Portrait photography is a broad genre that encompasses nearly every subgenre that involves photographing people. It doesn’t matter if we’re talking studio portraits, street candids, or fashion photography. If it has a person in the frame, it’s probably a portrait.

Headshots: Headshots are a subgenre of portrait photography. The difference is that headshots serve a very specific purpose. Whether it’s actors’ headshots or corporate headshots, the purpose is to sell something. That something could be an actor’s ability to fit a role’s physical requirements, or it could be your business professionalism.

Headshots are limited to close-up images of the subject’s head. They can also include head and shoulders as well as half-length shots. Before capturing a headshot, it’s important you understand where and how the photo will be used so you can get the right shot for the right purpose.

Tips for black and white headshots

There are no hard and fast rules for creating headshots. However, following these tips will hopefully help!

And as always with photography, remember: There is no one way to do anything.

In other words, nothing listed here is a rule of any sort. If a tip fails to help you get the results you want or need, then discard or revamp it.

1. Remember that a headshot is different from a portrait

Yes, we’ve already discussed this – but when you’re in the middle of a session, it’s easy to get caught up and start changing your approach. This may not be a problem in a normal portrait session, but with headshots, you need to make sure you’re focused on the specific end result. If you change tack and the results aren’t showing your subject in the desired manner, you’ll have wasted time and effort on images that are unsuitable for the subject’s uses.

One way to help keep you on track is to ask your subject to share the purpose of their headshot. Allow them to be as specific and detailed as possible. Once you have an answer to that question, you should find it much easier to stay on track.

If you are photographing an actor with representation, ask them for their agency’s headshot guidelines (or ask the agency yourself). This will give you a strict set of limitations and help to ensure you get the required result.

2. Getting it right in-camera is just as important as ever

Depending on where your headshots are going to wind up, you might find that you can’t do any edits beyond basic retouching. You should be allowed a black and white conversion and some basic blemish removal, but much more than that might not be acceptable.

Therefore, do whatever you can to get your images right in the camera. Light your images well with good exposure and good contrast. Learn your lighting patterns and use a meter if you have to.

Get this step right, and you might find that you have little more editing to do beyond the actual black and white conversion.

3. Start in color

It might be tempting to set your camera to a black and white mode at the point of shooting. You can do this – but if you shoot JPEGs, I would advise against it.

By choosing this route, you will be discarding a huge amount of color information at the very beginning. For the best conversions, you’ll want to later manipulate your color information to get the very best black and white results.

(However, note that RAW shooters can use a black and white mode while still retaining color information.)

4. Avoid shooting to crop

This might be controversial, but I’ll stand by it. When you are creating black and white headshots, try to get your composition as close as possible to how you want it to end up.

Doing this will ensure that your images are as big as possible and have as much detail as possible when you pass them on to your client. If you shoot before cropping out significant parts of your image, you will lose out on a large chunk of resolution.

5. Control contrast with light, not post-production

This point goes back to getting it right in-camera, but specifically for lighting.

One of the quickest ways to ruin a portrait is to add a lot of unnatural contrast in the post-production phase.

Avoid this by setting up your lights to get the contrast you want from the very start.

You can do this through modifier selection and lighting ratios.

6. Use fill to control your contrast

If you want to decrease contrast, make sure to do it in-camera.

You can do this with fill light. Whether you work with a dedicated second light source or a reflector, introducing fill into your images is a great way to control exactly how your black and white headshots turn out.

7. Think in values rather than color

Because you are starting in color, it can help to think of things in terms of values.

At its most basic, value simply describes where colors fall on a spectrum between pure white and pure black.

Now, once converted to black and white, almost everything in your images will appear as a shade of gray. If you can visualize how the colors you see with your eyes will be represented in a black and white conversion, you will be better able to design your lighting before your subject even arrives.

How do you learn to do this?

Practice. A lot of it.

Get out there and photograph anything and everything you can, then convert to black and white so you can build this skill.

Remember, different conversion techniques affect color and value in different ways, so be sure to practice with as many conversion methods as possible.

8. Minimize details in the frame

Because we are talking about headshots, you’ll need to remember that the entire point of the photograph is the person. Any extra details will only serve to detract from your subject.

So do what you can to minimize the impact of the background, the subject’s clothing, and other elements in the photo.

For backgrounds, you can focus your efforts on finding the cleanest, most non-distracting backdrop. For clothing, ask your subjects to dress without distracting elements that would take the focus off of them. Patterns can be fine, but it might be best if you avoided particularly bold choices like leopard-print and zebra-stripe tops.

9. Focus on form

This goes back to basic lighting skills.

You need to shape your subject’s face in a flattering way that also helps it stand out in the frame.

You are trying to minimize other details, so it is the subject’s features you must focus on. Make as much use of them as you can.

10. Eyes and expressions are more important than ever

As the goal of a headshot is to make your subject look as good as possible, and as you have already reduced the impact of distracting elements, your subject’s eyes and expression become more important than ever.

Lighting for the eyes will keep them bright and prominent in the frame. Doing this also means you won’t have to spend time processing the eyes, which might work well for your client’s requirements.

Also, to get the best expressions, ensure that your subject is comfortable and that you have a good rapport with them.

Black and white headshots: (not) the end

On their own, headshot photography and black and white photography are broad topics that are truly impossible to distill into a short list of tips. However, I do hope that these ten tips for black and white headshots will help you get started on your journey.

As always, none of these tips are rules, just guidance. If you feel that something I said doesn’t suit you or your photography, that’s perfectly fine.

Now over to you:

Which of these black and white headshot tips did you like the most? Do you have any tips for black and white headshot photography? Share your thoughts (and photos) in the comments below!

Updated 2025!

The post 10 Tips for Beautiful Black and White Headshots appeared first on Digital Photography School. It was authored by John McIntire.

The post Tethered Photography: A Step-By-Step Guide appeared first on Digital Photography School. It was authored by Suzi Pratt.

This article was updated in May 2025 with contributions from Simon and Lauren @ Tether Tools.

When I first delved into studio photography, I was so excited. I had my lighting, I had my camera and lenses, and I had some great subjects.

But after spending a few weeks shooting, I became frustrated. In the studio, every little detail counts. A blemish or piece of dust on a product, a slightly out-of-position light on a portrait, a too-powerful flash, an off-color ambient light; each has the potential to ruin the photo and make it useless to both you and your clients. Yet the camera LCD, and even the viewfinder, just didn’t offer large enough previews to check for these issues. I needed a better way to evaluate my studio shots. That’s when I tried tethering, and I immediately realized that it was the perfect solution to my problems.

So what is tethered photography? How does it work? And how can you efficiently tether your camera while shooting?

In this article, I explain everything you need to know about tethering, including:

• How tethering can instantly improve your workflow
• When you should (or shouldn’t) tether your camera
• Two simple ways to shoot tethered

Let’s dive right in.

What is tethered photography?

Tethered photography is the process of connecting your camera to a computer, tablet, or even a smartphone via a cable or wireless app. Once you’ve successfully connected the devices, any new image captured by the camera is then passed directly to the computer and saved in a designated folder.

Therefore, as soon as you press the camera shutter button, you can see your image displayed (in high resolution) on the computer screen. If you’re tethering in a program like Capture One or Lightroom, you can even make adjustments to your file; for instance, you can boost contrast, convert the shot to black and white, and apply presets.

Many tethering programs allow you to adjust camera settings from your computer, tablet, or smartphone – and you can fire the camera shutter from your device, too.

The benefits of shooting tethered

Tethering lets you quickly preview each photo on a large monitor within moments of firing the shutter button. That way, you and your client can scrutinize your shots on a big screen. You can check for perfect composition, focus, exposure, and subject blemishes – and your client can indicate what they like or dislike about each new file.

Depending on the tethering software you use, you might be able to apply various presets to the image, so as to better visualize the final (edited) result.

Tethering also lets you organize your images as you go along. In a program like Lightroom, you can add notes, star ratings, keywords, and more to each new photo. That way, you can stay on top of your file management, and you can record key information while it’s still fresh in your mind.

The downsides of tethered shooting

Tethering is great – but if you’re not careful, it can cause problems, too.

For one, you or your client might get too caught up in little details while inspecting the photos, which can stall a photoshoot. When tethering, it’s important to set expectations with your client. Let them know how you work and do what you can to set a steady pace.

Tethering can also suck the battery life out of both your camera and your connected computer. You should always carry extra batteries and – if possible – shoot near a wall socket in case you need to plug in your laptop. Tether Tools makes an external Camera power system that can give you all day uptime. It connects any USB battery pack to your camera through a battery coupler so you never have to stop your shooting to change batteries.

And tethering software is notoriously finicky. It sometimes stops working for no apparent reason, so you’ll want to get set up and take some test shots before your photoshoot starts (so you have time to troubleshoot). You should also have a backup plan, just in case.

Finally, tethering requires extra equipment, such as a lengthy cord and a laptop or desktop computer. So while it might be tempting to tether for on-location shoots, consider carefully before hauling along your expensive electronics.

Ultimately, whether you tether is up to you. It’s a great way to improve the final product – but it can be slow, plus it involves extra software and moving parts, so if you need to do a fast-paced portrait session or an outdoors product shoot, it might be better to shoot the “normal” way.

Tethering your camera: essential equipment

The traditional and most reliable way to connect your camera to a computer or another device is with a cable. There are a variety of different cables and ports available, so the specifics will depend on your exact devices. (For further information, check your camera manual.)

Some cameras even offer wireless tethering. The image transfer process can be slower compared to cabled tethering, but if you prefer to work without a cord, this is a great method to try.

If you plan to tether with a cable, you’ll need:

• An extra-long (e.g., 15 feet) USB cable to connect your camera to your computer
• Tethering software, such as Adobe Lightroom (paid), Capture One (paid), or Canon EOS Utility (free)

I’d also recommend a portable table to hold your laptop such as the Tether Tools Aero Table, as well as a TetherGuard to prevent your USB cable from being yanked from your camera.

One thing to be aware of: with is the latest USB-C ports on newer cameras, USB-C 3.2 Gen 2, the port protocol is designed to transfer both power and data.  Cameras with two USB-C ports may designate one port for power and one port for data/image transfer, so be sure you connect your tether cable to the right port.  For cameras with only one port, you’ll want to turn off camera power in your camera settings so that power is not sent or received through the USB port while tethering.  Another option is to use a cable that does not have Power Delivery (PD) to ensure the power does not conflict with data transfer.

If you’d prefer to tether wirelessly, then you can forgo the cable and the Jerkstopper – but you’ll still need the laptop, the table, and the tethering software.

How to shoot tethered: step-by-step instructions

In this section, I explain how to tether with two low-cost, simple programs: Adobe Lightroom and EOS Utility. I’m assuming you’re tethering with a cable (the process is similar when tethering wirelessly, albeit with a few extra wireless activation steps when starting out).

Shooting tethered in Lightroom

If you already own Lightroom, the quickest way to get started tethering is with the Lightroom Tethered Capture feature.

Step 1: Connect your camera to the computer

Make sure your camera is turned off. Connect one end of the cable to your camera and the other end to your computer. Then turn the camera on.

Step 2: Start Tethered Capture in Lightroom

Open Lightroom. Select File>Tethered Capture>Start Tethered Capture.

Step 3: Choose your tethered settings

In the Tethered Capture Settings dialog box, you can enter a session name, select a file naming template, pick a file destination, and apply metadata and keywords.

Pay careful attention to where the photos will be saved (you need to be able to find them later!).

Once you’re satisfied, click OK.

If all goes well, you’ll see the screen displayed below, with a narrow control panel and a Library where photos captured via the tethered shooting connection will appear. You should see your connected camera listed on the left-hand side:

Lightroom sometimes has difficulty detecting the connected camera. In that case, you’ll get a No Camera Detected message:

If that happens, make sure your version of Lightroom and your camera’s firmware are up to date. Also, check to ensure your camera can do tethered capture in Lightroom. If your camera cannot tether in Lightroom, you can use a third-party plugin as a workaround; do a search for your camera model and you may find a solution.

Finally, try rotating through several different USB cables to make sure they’re working well.

If you’ve done all of the above and you still can’t get tethering to work, you might want to try tethering using a different program, such as EOS Utility:

Shooting tethered with EOS Utility

If you own a Canon camera, you can use the free EOS Utility software, which offers a simple tethering program. In my experience, this method is more reliable and consistent than Lightroom’s Tethered Capture option.

Step 1: Download EOS Utility and connect your camera

Head over to the Canon website, find your camera, then select the latest version of EOS Utility:

Download the program. Then – with your camera turned off – plug in your tethering cable. Turn your camera back on.

Open the EOS Utility program on your computer. The software should recognize your connected camera, which means you can then select the Remote shooting option:

Step 2: Work with the EOS Utility interface

Once you’ve successfully selected Remote Shooting, you should see the following interface:

The display lets you adjust certain settings from your computer, though there are some functions, such as lens zooming, that you’ll need to do manually.

Next, if you have the option, set your camera to Live View mode. Your camera display should appear on your computer screen, so you can see exactly what your camera sees.

Then, when you take a photo, the file will appear on your desktop!

You’ve made it this far, you could pop over and check out ‘best practices’ from the tethering geniuses at Tether Tools – Troubleshooting Tethering

Enhance your photoshoots with tethering!

Now that you’ve finished this article, you know how to shoot tethered in both Lightroom and EOS Utility. And you’re ready to do some high-quality product or portrait photography.

So connect your camera to your computer. Test out tethering. See what you think!

Now over to you:

What type of photoshoot do you plan on tethering? Which software will you use? Share your thoughts in the comments below!

The post Tethered Photography: A Step-By-Step Guide appeared first on Digital Photography School. It was authored by Suzi Pratt.

The post Front Light Photography: A Complete Guide appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Editor’s Note: I’ve been seeing a lot of this in our feeds, so I thought I’d pop this article back at the top of the pile for you to take a look at! — Enjoy.

What is front lighting in photography? And how can you use front light to capture stunning photos?

In this article, I break it all down for you:

• What front light is
• When you should use front light (and when you should avoid it)
• How to work with front light to create the best images

Front light photography is powerful, it looks great, and it can certainly level up your portfolio – so if you’re ready to become a lighting master, then let’s dive right in, starting with the basics:

What is front light photography?

Front light illuminates the subject from the front, which means that the light itself generally comes from behind the photographer. In other words, the light travels over the photographer’s shoulder and impacts the subject head-on.

Because front lighting hits objects directly, front-lit photos tend to feature limited shadows and eye-catching, in-your-face subjects. Here’s an example front-lit image; pay attention to how the front of the hook is bright and lacks shadows:

Note, however, that front lighting can come from high above the subject, far below the subject, or on a level with the subject. The angle of the front light source will determine shadow strength and positioning. While a scene that’s front-lit from the subject’s level will feature limited (or zero) shadows, a scene that’s front-lit from high above will generally have more noticeable shadows (e.g., shadows below a portrait subject’s nose and chin).

When should you use front light?

Because front light produces minimal shadows, front-lit photography tends to look flat and lack depth. This isn’t necessarily a bad thing, but if you’re looking to create deep, three-dimensional images, side light – which comes from beside your subject and features lots of shadows – is often the better choice.

On the other hand, front light is great for capturing two-dimensional abstract shots:

It’s also good for many types of nature photography – including bird, wildlife, and macro photography – as it tends to clearly illuminate the subject and the background.

I’m a particular fan of using front light in portrait photography:

Front lighting makes skin look smoother, particularly when the light is filtered and soft – while side lighting has a tendency to emphasize skin blemishes and wrinkles.

Plus, when a subject is front-lit, it’s easier to capture a well-exposed image.

Why? Front light tends to be very even, so your camera won’t struggle to determine proper exposure settings. For this reason, if you like to use your camera on an automatic or semi-automatic exposure mode, front light will often get you great results.

Tips and techniques for front light photography

In this section, I share my key tips and tricks for front light photography settings, lighting choices, and more.

1. Use open shade for front-lit portraits

As I explained in the previous section, front lighting is great for portrait photography. However, you need to be careful when doing front-lit portraits; unless you’re working on an overcast day or late in the afternoon, a bright sun will produce all sorts of unpleasant shadows. It’ll also cause your subject to squint.

My recommendation? Maintain the front-lit direction, but move your subject into open shade. Position your subject near the edge of the shade, but don’t let them step over the shadow line; that way, their face will be softly illuminated and they won’t need to squint, but you’ll have plenty of bright light to work with.

By the way, you should also pay attention to reflective objects. Light can reflect off the ground, nearby cars, or building walls, and by positioning your subject near these reflective light sources, you can get beautiful effects.

Finally, if you’re stuck shooting with harsh midday light and you cannot move your subject into a shaded area, I encourage you to bring in some artificial lighting. A flash, an LED panel, or even a reflector will reduce hard shadows and add some shape to your subject.

2. Trust your camera’s exposure recommendations

As I emphasized above, front lighting is very even – which means that, when you point your camera at a front-lit subject, you’ll generally get a good exposure reading.

Of course, your camera can still make mistakes, especially when you’re shooting very light or very dark subjects. But overall, front lighting makes for easy exposures, whether you’re using Aperture Priority mode, Shutter Priority mode, Auto mode, or even Manual mode.

So when you’re working with front lighting, don’t stress too much about exposure adjustments and exposure compensation. Instead, review your images for exposure problems, but let your camera do the heavy lifting!

3. Don’t be afraid to turn your subject

Front lighting can produce flat images.

And while flat shots can look interesting, many types of photography thrive off of three-dimensionality and depth.

Fortunately, there’s an easy solution:

If your shot is looking a little flat, then just turn your subject. This works great for portraits, and it’s also a good trick for shooting products and certain still-life subjects.

Of course, you don’t want to turn your subject too dramatically, but go for a subtle turn and see what you think. If you’re working with a portrait subject, ask them to turn slowly, and carefully watch how the light and shadows affect their face. (You may only need a slight turn to create a more three-dimensional photo!)

4. Pay attention to the light height

The height of the light source will dramatically affect your photos, so whenever you’re doing front light photography, you must pay careful attention to the light’s position!

Note that this is true for natural light and artificial light – though you do have more control over a flash or LED panel. If the sun is positioned too high or too low, you’ll often need to wait a few hours or come back another day, but if you don’t like the height of your off-camera flash, you can simply raise or lower the light stand. Make sense?

So when you’re using a flash or continuous light, experiment constantly with the light height. And as you work, watch how the light position affects shadows and creates different effects.

You’ll also need to watch out for unpleasant reflections. When shooting shiny subjects, for instance, a light positioned on a level with the subject will reflect right back into the camera lens, producing a distracting highlight. To avoid these reflections, try moving the light higher, lower, or (slightly) to the side.

5. Shoot during the golden hours

Afternoon front light can look nice, but if you want to really level up your photos, I encourage you to shoot during the golden hours – that is, the hour or two after sunrise and before sunset when the sun is low in the sky and the light is a beautiful golden color.

For one, the low sun produces very even front light, which offers minimal shadows and highly detailed results.

Plus, the light is more diffused – that is, softer – during the golden hours, so the shadows that do appear on your subject will look far more flattering.

And warm, golden light pretty much always looks incredible:

Front light photography: final words

Now that you’ve finished this article, you know all about front light, when you should use it, and how you can adjust your settings and scenes for the best results.

So head out with your camera and do some front lighting practice. See what you think of the results. Carefully watch your subjects and review the images as you work. Pretty soon, you’ll be using front light like a pro!

Now over to you:

When do you plan to use front lighting in your photos? Have you taken any front-lit photos you’re proud of? Share your thoughts – and photos! – in the comments below.

The post Front Light Photography: A Complete Guide appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

The post What Do the Numbers on Your Camera Lens Mean? appeared first on Digital Photography School. It was authored by Darlene Hildebrandt.

Camera lenses include quite a few numbers – and many of these are often confusing or obscure, especially for beginners.

That’s why, in this article, I’m going to run through all the important camera lens numbers you’ll encounter. I’ll explain what the numbers actually mean, and I’ll also explain why they matter for your photography.

By the time you’re finished, you’ll be a lens number expert, and you’ll never find yourself confused by your lens markings again.

Let’s jump right in.

Common numbers on newer digital lenses

Depending on the age of your lens, you’ll run into different markings. In this section, I’ll discuss numbers frequently found on newer lenses (though note that many will apply to old lenses, as well!).

Focal length

Zoom lenses feature a zoom ring; twist it, and your lens will zoom in and out.

Next to this ring, you’ll generally find focal length numbers. For example, if your lens is a 70-200mm zoom like mine (below), you’ll see markings that span from 70mm to 200mm. I’m currently at around 100mm:

A lens will never display every focal length but will instead offer a few useful intervals, as you can see in the image above.

If you are using a prime or fixed lens, you won’t have a zoom ring. Your lens will simply indicate the focal length on its barrel, as you can see on my 85mm lens:

Maximum aperture

The maximum aperture is the largest aperture opening your lens is capable of achieving. Note that the larger the aperture opening, the smaller the f-number (so f/2.8 corresponds to a very wide aperture, while f/22 corresponds to a very small aperture).

Larger apertures like f/2.8 or even f/1.8 are highly desirable because they allow you to shoot in low-light conditions while maintaining a fast shutter speed. So the best lenses – and the most expensive lenses – tend to offer a very wide maximum aperture.

(Note that some zoom lenses have a variable maximum aperture, where the maximum aperture will change depending on the focal length; this is represented as a range of numbers, such as f/3.5-6.3.)

Now, pretty much every lens has the maximum aperture written somewhere on its body. You can usually find this information in one of two places (or perhaps even in both):

1. Right on the end of the lens barrel
2. On the front of the lens inside the filter ring area

In the photo below, you can see two different lenses: my Tamron 17-35mm and my Canon 85mm. On the Tamron, you should see “1:2.8-4,” and on the 85mm, you should see “1:1.8.”

What does this mean? It’s simple: the maximum aperture on the 85mm lens is f/1.8, and on the Tamron zoom, the maximum aperture changes from f/2.8 to f/4 as you zoom the lens. (At the lens’s widest, 17mm, I can open the aperture to f/2.8. But if I zoom all the way to 35mm, my maximum aperture becomes f/4.)

These variable maximum apertures are pretty common with kit lenses, and especially kit lenses with a large focal length range such as 28-300mm or 18-200mm.

Focusing range and distance scale

On some – but not all! – lenses, you will see a range of distances, usually marked in two scales, feet and meters. These lens numbers indicate the distance at which your lens is currently focused.

So at one end of the scale, you’ll find the infinity symbol, and at the other end, you’ll find the lens’s minimum focusing distance (i.e., the closest the lens can focus).

Check out the two lenses below. The distance scale on the 70-200mm (left) is under a cover, and you can see that the lens is focused somewhere between 10 meters and infinity. The distance scale on the 17-35mm (right) is on the lens’s focus ring, and you can see that the lens is focused quite close, at around 0.5 meters.

Note that, as you focus your lens, the distance scale will change to reflect your new point of focus.

Lens diameter (filter size)

Every lens has a diameter, the distance across the center of the lens. This diameter also corresponds to the filter size (if the filter’s diameter doesn’t match the lens diameter, it won’t properly screw onto the front of the lens).

You’ll find the lens diameter written on the end of your lens (often on the edge of the barrel), preceded by a symbol that looks like a zero with a strike through it:

So for the lens pictured above, the diameter is 77mm. And if I wanted to use a polarizing filter or a clear filter, I’d need to grab one with an equivalent diameter.

By the way, you can also find the lens diameter on the back of the lens cap, as displayed above.

Less common lens numbers (often seen on older, manual focus lenses)

Now that you’re familiar with all the common camera lens numbers, let’s take a look at some of the less common markings. These numbers are pretty rare on lenses designed for digital cameras, but you may come across them if you purchase older, manual focus glass.

Aperture ring

Most newer lenses set and control the aperture through the camera. But back in the days of film, you would set the shutter speed on your camera and the aperture on the lens (via an aperture ring).

So while newer lenses rarely include aperture rings, you’ll find them on plenty of older lenses. An aperture ring displays different aperture settings, like this:

And by rotating the ring, you widen or narrow the aperture.

Note that some modern lenses do include aperture rings; Fujifilm is known for this, as are other brands that offer manual focus lenses (e.g., Samyang).

Hyperfocal distance scale

A hyperfocal distance scale helps you determine the depth of field for a scene, given a particular focal length, point of focus, and aperture.

Most zoom lenses don’t offer hyperfocal distance scales (because depth of field varies with focal length). But if you have a prime lens – especially an older model – you may see an extra ring of numbers on the barrel, such as in the image below:

Note that, in the image, you can see three sets of numbers:

• the distance scale
• the hyperfocal distance scale
• the aperture ring that actually sets the lens aperture

And this is by design. The hyperfocal distance scale uses the distance scale to display the expected depth of field. Here’s how it works:

First, focus your lens and set your aperture. Then look at the hyperfocal distance scale and find your chosen aperture on either side of the red line. Finally, look at the focusing distances that correspond to the apertures – these will be your near and far depth of field limit.

Make sense?

Camera lens numbers: final words

Well, that’s it for lens numbers! Hopefully, you now feel much more confident (and much less confused) when looking at your lens.

And if there are any lens numbers I missed, don’t worry – just share pictures in the comments below, and I’ll see what I can do to help out!

The post What Do the Numbers on Your Camera Lens Mean? appeared first on Digital Photography School. It was authored by Darlene Hildebrandt.

The post Aiarty Image Matting: Photographer’s Secret to Streamlined and Flawless AI Background Removal appeared first on Digital Photography School. It was authored by Sime.

Ever spent hours painstakingly masking hair strands or fixing jagged edges after removing a cluttered background? What if you could skip the tedious work and let AI handle the heavy lifting—while you focus on creating stunning images?

You know backgrounds can make or break a shot. A messy room, harsh lighting, or an overcast sky can ruin an otherwise perfect portrait. But manually removing backgrounds? That’s time you could spend shooting, networking, or simply enjoying life behind the lens.

Aiarty Image Matting is designed to tackle these very challenges head-on. This isn’t just another “magic wand” tool. It’s an AI-powered background remover. No more wrestling with Photoshop’s Quick Selection Tool or drawing manual trimaps. Aiarty Image Matting delivers precision on tricky details (think frizzy hair, lace veils, or water droplets) and speed for batch-editing thousands of images—all with one-click simplicity.

Special Offer: Ready to ditch the tedious background removal grind? Aiarty Image Matting offers a 1-Year License Giveaway so you can test its power firsthand. For photographers ready to level up their workflow, unlock unlimited access at an unprecedented low price. Or you can directly grab our AiMeida package here!

Try Aiarty Image Matting Risk-Free and Claim Your Free Trial Now!

Smart Tools for Specific Photography Needs

Let’s face it: not all background removal tools are created equal. Aiarty’s AI is built to tackle the unique challenges photographers face daily. Here’s how it simplifies your workflow while delivering pro-level results.

Flawless Edges, Even on Tricky Details

Struggling with frizzy hair, lace veils, or splashing water? With the unique Alpha Matting, Aiarty handles semi-transparent edges and fine details effortlessly. No more jagged halos or lost textures—just clean, natural blends that look like you spent hours masking (but you didn’t).

One-Click Simplicity, Pro-Level Results

Why waste time on complicated tools? Aiarty offers four models trained for different image types. Import your image, choose a model, and let Aiarty work its magic. It’s that easy, making advanced techniques accessible to photographers of all skill levels.

Refine with Control, Not Complexity

Need a quick tweak? Aiarty’s smart editing brush tools let you refine edges or restore details in seconds. Think of it as a digital eraser—but one that actually understands your subject. In addition to the precise AI detection, you can use Manual Selection to adjust the area you want to keep.

Batch Process Thousands in Minutes

Shooting a wedding or product catalog? Aiarty edits loads of images at once, so you can focus on what matters: capturing moments, not clicking buttons. Edit 3,000+ wedding or product photos in one go. Ideal for high-volume projects. It’s faster than brewing your morning coffee.

How to Use Aiarty Image Matting

Editing doesn’t have to be a headache. With Aiarty Image Matting, you can go from raw image to polished masterpiece in just a few simple steps. Here’s how it works:

Step 1: Import Your Image

Drag and drop your photo into Aiarty Image Matting—whether it’s a single portrait or a folder of 3,000 product shots. The software supports raw and high-resolution files, so your 4K edits stay crisp and professional.

Step 2: Choose Your AI Model

Aiarty offers four specialized AI models to match your subject:

• AlphaStandard V2: For hair, lace, and semi-transparent edges.
• EdgeClear V2: For sharp, detailed subjects like jewelry or wildlife.
• AlphaEdge V2: For mixed edges needing both softness and clarity.
• SolidMat V2: For solid objects like furniture or gadgets.

Select the model that fits your needs, and then click Start to launch AI reference.

Step 3: Refine (If Needed)

Not quite perfect? Use Aiarty’s smart brushes to tweak edges or restore details:

• Eraser Tool: Fix stray hairs or halos.
• Brush Tool: Enhance edges or add softness.
• Dodge/Burn Tools: Adjust lighting for seamless blending.

Step 4: Export and Publish

Once your edit is flawless, export the image as a PNG with transparency or layer it into a new background in the software. Aiarty’s high-quality output ensures your work looks professional, whether it’s for a client portfolio, social media post, or e-commerce listing.

Where Aiarty Shines in Real-World Photography

Aiarty Image Matting isn’t just a tool—it’s a game-changer for photographers across genres. Whether you’re shooting portraits, products, or wildlife, Aiarty solves real-world challenges and unlocks creative possibilities. Here’s how it transforms your workflow.

For Personal Projects & Hobbies

For portrait photographers, delivering studio-quality headshots is now easier than ever. Cluttered backgrounds can ruin an otherwise perfect shot. With Aiarty Image Matting, you can replace messy backdrops with clean, neutral tones or custom designs in seconds. It excels at handling tricky details like frizzy hair, flyaways, or translucent fabrics, ensuring your subject blends naturally into the new scene.

For Professional Creatives

For travel and wildlife photographers, Aiarty Image Matting helps you isolate birds, animals, or landmarks from cluttered foliage or crowds. You can even replace dull skies with vibrant sunsets for a dramatic finish.

Wedding photographers know that every detail matters. From lace veils to tulle skirts, Aiarty ensures flawless edits for semi-transparent fabrics and flowing hair. Batch-process hundreds of ceremony and reception photos in minutes, and create dreamy composites by layering subjects into new scenes.

For E-commerce & Business

If you are a product photographer or a business owner, Aiarty Image Matting is your secret weapon for e-commerce success. Marketplaces like Amazon demand pure white backgrounds, and manually editing hundreds of product shots can be a nightmare. Aiarty delivers crisp, razor-sharp edges for gadgets, jewelry, or furniture, even under challenging lighting. Plus, its batch processing feature lets you edit 3,000+ images in one go. Swap uneven studio backdrops for consistent and client-ready results.

Why Photographers Trust Aiarty’s Tech

Aiarty Image Matting is designed to handle the toughest editing challenges. Here’s why photographers rely on Aiarty for precision, speed, and creative freedom.

Four AI Models for Every Editing Scenario

Aiarty doesn’t rely on a one-size-fits-all approach. Instead, it offers four specialized AI models, each optimized for different types of images.

• AlphaStandard: Perfect for semi-transparent edges like hair, lace, or water. It preserves soft transitions and delicate textures, making it ideal for wedding photographers or portrait artists.
• EdgeClear: Tackles sharp, detailed subjects like jewelry, wildlife, or furniture. It enhances edge clarity while retaining fine details, so your edits look crisp and professional.
• AlphaEdge: Prioritizes edge sharpness over smooth transparency variations. Balances softness and sharpness for mixed-edge subjects, like flowing dresses with intricate lace. It’s the go-to model for fashion photographers or creatives working with layered textures.
• SolidMat: Handles complex image structures for better matting accuracy and detail preservation. Delivers clean, precise cuts for solid objects like gadgets, shoes, or buildings. It’s a lifesaver for product photographers or real estate professionals.

Matting vs. Segmentation

Traditional background removal tools often leave harsh, jagged edges—especially around tricky details like hair, glass, or water. Aiarty Image Matting uses alpha matting, a sophisticated technique that blends edges like a soft brush, not scissors. This means your subjects transition seamlessly into new backgrounds, with no unnatural halos or lost details.

How Aiarty Stacks Up Against Traditional Tools

When it comes to background removal, not all tools are created equal. Here’s how Aiarty compares to traditional options or online background removers across key areas.

Ease of Use: Compared to the steep learning curve of traditional image editors, Aiarty is designed for photographers of all skill levels. No advanced editing knowledge required—just import, click, and refine.

Performance: Photoshop is powerful but time-consuming. Online tools often struggle with accuracy, especially with semi-transparent or fine details. Aiarty Image Matting handles complex edges (hair, glass, water) with AI-powered precision. Delivers natural blends and sharp details in seconds.

Upscaling Capabilities: Aiarty Image Matting comes with an AI Enhance feature to enhance image quality and resolution. With three built-in AI models, you can enhance the original image quality to extreme detail and upscale the resolution by up to 2X. This is a bonus feature you can’t find in most background removers.

Batch Processing: Aiarty Image Matting can edit thousands of images at a faster speed in one go—perfect for weddings, events, or e-commerce catalogs.

Elevate Your Photography with Aiarty

You didn’t become a photographer to spend hours hunched over a computer, wrestling with clunky tools. You became a photographer to create—to capture moments, tell stories, and deliver images that leave clients speechless.

Aiarty Image Matting is here to help you do just that. With its AI-powered precision, batch processing speed, and photographer-first design, it’s more than a tool—it’s your new creative partner. Whether you’re editing hair-flyaway portraits, polishing product catalogs, or crafting dreamy wedding albums, Aiarty handles the tedious work so you can focus on what matters: your art.

Why Wait? Join our Free License Giveaway and start your free trial from today. Your next masterpiece is just a click away.

The post Aiarty Image Matting: Photographer’s Secret to Streamlined and Flawless AI Background Removal appeared first on Digital Photography School. It was authored by Sime.