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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.

The post Memory cards are all the same, right? appeared first on Digital Photography School. It was authored by Sime.

Memory cards are all the same, right?

Well, yes and no. I believe that if you’re simply a hobbyist and you’re not to worried about ever losing data on a card then it’s not going to make much difference if you get a pricey card or a cheap card. Though I would also suggest if you always get cheap cards, get small ones that don’t store too much data, that way, when, not if they fail, you don’t lose too many photos or videos.

There is an old saying, that goes “there are too kinds of digital storage, those that have failed and those that haven’t failed yet”. Cheaper and more expensive cards can both fail, they are both physical manufactured things. But the difference I have often found is that with some products that cost more, you’re not just paying for how they perform but also how the company that makes them performs when something goes wrong.

I have been exceptionally luck over the years, that I haven’t had more than 2-3 horror stories of hard drives or memory cards failing on me. Though most of the times when they have failed it hasn’t been a huge horror story as I am fanatical about backup, but that is for another article. 

I got my first set of ProGrade memory cards back in 2020. I was sent them for long term review and I think 5 years later definitely counts as long term. I got sent 1x V90 128gig and 1x V90 256gig and have been using them solidly for 4 or so years since. Not only that, but those two worked so well for me that I also bought 3 more of the 256gig cards.

I’ve have used them on countless projects for my production company as well as my Youtube channel over these last few years, they have captured probably thousands of hours of 4K and 6K high bitrate content, in some pretty challenging conditions and never missed a beat.

I’ve used them in cameras ranging from Sony, Panasonic, Canon and Nikon.

Even though I’ve never really needed to make use of ProGrade’s support, they have some pretty useful features. They have a free app you can download for Mac or Windows called PreFresh Pro which you can use to check your cards health. After all my cards have been though they all still show as 99.9% healthy. The app suggests that if you card gets down by 10% then you should look at replacing it as soon as possible.

You can also “Sanitise” your cards with the ReFresh app which will wipe then clean, but also optimise them for best speed and use. Though I’ve never really noticed the cards having any issues with speed on read or write. Please note that you do need to use a ProGrade card reader in order for the app to recognise your cards and work with them. Also even though the software is free, you do need to “order it” via their website. I am assuming they do this to limit the bandwidth of people downloading it over and over again from them website.

ProGrade also sell a $49 USD app called Recovery Pro for recovering lost data from a card. Of course this will depend on what has gone wrong with the card if you can get anything off it or not. So your mileage will vary, but it’s nice that they sell an option for this. Also note the purchase price is for a one year licence only, but they do have a free evaluation copy you can use to scan your files and see if they app thinks it can recovery anything you can use before you buy.

Thankfully, I’ve never had the need for that app and fingers crossed I never will.

In conclusion, even though I generally hesitate to ever outright recommending something, I have no hesitation outright recommending the ProGrade SD cards. I’ve not used any of their other cards, but from the last 5 years of my experience with these cards, they work every time and have never given me any issues. Which is pretty much all you want from a memory card, isn’t it?

This article in from our friend and Filmmaker, Lee Herbet – Find out more about Lee here

The post Memory cards are all the same, right? appeared first on Digital Photography School. It was authored by Sime.

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

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

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

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

Let’s dive right in!

1. Carry backup cards whenever you shoot

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

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

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

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

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

2. If disaster strikes, stop shooting

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

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

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

3. Treat your cards well

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

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

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

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

4. Avoid deleting files one by one on your camera

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

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

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

5. Remove cards safely from your computer

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

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

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

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

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

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

7. Keep your cards organized

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

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

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

8. Avoid filling your cards completely

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

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

9. Periodically reformat your cards

This memory card tip is quick but essential:

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

10. Format your memory cards in the right camera

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

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

11. Switch off your camera before removing the memory card

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

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

12. Transfer photos as soon as you can

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

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

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

13. Keep your camera up to date

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

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

14. Periodically update your cards

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

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

15. Replace batteries before they die

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

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

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

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

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

17. Keep your memory cards safe

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

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

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

18. Prepare your cards in case they’re lost

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

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

How to use camera memory cards: final words

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

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

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

Now over to you:

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

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

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

This article was updated in January 2025 with contributions from Tom Ang and Kim Brebach.

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

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

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

Let’s dive right in!

What are ultra-wide angle lenses?

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

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

So what focal lengths correspond to ultra-wides?

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

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

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

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

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

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

When should you use an ultra-wide angle lens?

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

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

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

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

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

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

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

6 reasons to use ultra-wide angle lenses

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

1. Ultra-wides immerse the viewer in the scene

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

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

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

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

2. Ultra-wides help you avoid perspective distortion

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

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

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

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

3. Ultra-wides reverse scale

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

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

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

Or you can use it to enhance visual flow:

4. Ultra-wides can create pseudo-panoramas

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

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

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

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

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

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

5. Ultra-wides are great for reflection shots

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

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

6. Ultra-wides include so much detail

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

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

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

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

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

Tips for capturing beautiful ultra-wide angle photography

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

1. Pay attention to the distortion

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

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

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

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

2. Focus manually

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

3. Watch for flare

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

4. Use a tripod whenever you can

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

5. Avoid close-up portraits

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

Ultra-wide angle lenses: final words

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

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

Now over to you:

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

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