When pointed in the right direction with all its controls set to auto, a modern camera is clever enough to produce a well-exposed image with the right thing in focus. This is alright for simply recording the likeness of a scene before you. To make more of it, though, it’s worth learning the difference between f/1.4 and f/11, amongst other lessons about your camera.

The emotion, atmosphere, excitement and dynamism of your urban surroundings can all be enhanced by your camera and lens settings: to capture images that reach beyond a mere physical likeness of the world about you and the people in it.

Setting up your camera for the street

Where – and, equally, when – something makes you stop and look as you perceive an emergent image from the bustle of the street, you will form an idea of what you want to highlight. From this point your needs are beyond the limitations of your camera’s auto modes.

How to present the essence of your vision so that a viewer’s attention is drawn to it will influence your next decisions. This is when an understanding of why your lens has over 20 aperture settings will come into play – even though you can only use one at a time.

The best camera settings for street photography

Damien’s recommendations:

• Aperture priority
• Widest aperture
• Daylight white balance
• Around ISO 400 (daytime) 6400 (night time)
• Touch Shutter enabled
• Whole area metering

What is the best aperture for street photography?

I’ll start with apertures as they are the main drivers behind my camera settings when shooting street scenes. The aperture value itself is not as important as the depth of field it creates – no one will know which f-stop you used but they will see its effect in the picture; how it controls the way they see the subject. I aim for an aperture that creates a definite visual effect.

These tend to be at the extremes of the range: I like f/1.4 the most for its dramatic pull of the eye and its isolating effect on the subject. f/16 or f/22 will render the whole scene in spectacular and graphic detail. In street photography, I don’t have much use for the ‘safe’ apertures like f/5.6, as they tend to produce a result that is reliable but unexciting.

The best apertures of any lens are those in the middle of the range. This is almost always true, scientifically speaking – it is where resolution, contrast, vignetting, and edge aberrations are most favourable to the technical quality of your pictures. Street photographers, however, aren’t scientists. They are artists, who value the visual and emotional appeal of an image much more than the line pairs per millimetre that can be recorded.

The widest and smallest apertures of any lens tend to be those that perform least well technically; yet they very often produce the most exciting results. But a drop in resolution at f/22 might be worth it if the lens delivers a jaw-dropping sun star. For better technical quality though, stay at least one stop away from the smallest aperture.

What is the best shutter speed for street photography?

Once I’ve picked the aperture I want to work with, I consider the shutter speed needed for the effect I’d like to create. In most cases I want to freeze the action in the street as I’m often shooting people who are moving. Sometimes the people I shoot are static, but to save constantly shifting my settings I tend to keep a fast shutter speed all the time: unless there isn’t much light, in which case I will engage my brain!

For general outside pictures in which people are travelling around the frame I’ll have a shutter speed between 1/500sec and 1/16,000sec. I won’t set this manually as I like to work in aperture priority exposure mode, so adjust my ISO settings to make the shutter speed shift up and down.

Again, to save adjusting the ISO for every shot I generally keep it quite high to give myself a good margin for changing conditions and environments. If the shutter speed slides up to 1/16,000sec it doesn’t matter, but if it drops to 1/60sec it does.  I’d rather have a bit of noise from an ISO 1600 image than subject blur from a shutter speed that was just a bit too long for the encounter. There are no rules in art of course, but street shots in which the subject is slightly blurred can look like mistakes.

If you want blur in your subjects, it’s better to go the whole hog and make it obviously deliberate. The shutter speed that will be right for the occasion will depend on how much blur you want as well as how quickly the subjects are moving across your viewfinder.

Too long a shutter speed and you might find the subject just disappears, so aim to start testing at around 1/4sec for people travelling at a walking pace about 15ft from the camera.

What are the best autofocus settings for street photography?

Adjusting your ISO settings manually does not take very much mental processing power and brings with it many advantages in speed and flexibility. In many other genres of photography your camera’s auto ISO mode can deal with this issue entirely, leaving you to concentrate on your subject. Street photography, though, is action photography, and we need to be in control of our shutter speeds.

Is it okay to shoot with Auto ISO?

Auto ISO modes are designed to avoid camera-shake and will assess the focal length and aperture you are using and then adjust the ISO to deliver a shutter speed that ensures a shake-free image. However, auto ISO doesn’t account for moving subjects, so while 1/125sec might be a safe shutter speed at which to use a 50mm lens, it’s no good if your subject is a person riding a bike, say.

You can of course set limits on the range of ISO values your auto ISO mode can use, and you can also control the range of shutter speeds the camera uses, which will make using auto ISO ‘safe’. Of course, you must unset and reset these controls when you venture into a different environment. This can’t be done properly at a moment’s notice, so could cost you a shot in the new scene.

Avoid using auto white balance

To convey the true atmosphere of a scene in your pictures, avoid auto white balance. Auto white balance settings are very clever and extremely effective at neutralising coloured tints in the lighting of the moment, so that the true colours of the subject shine through.

For the most part we see with a Daylight white balance, so that’s what I always set when shooting the street. People often comment that shooting in raw allows those colours to be added bback in afterwards, but colours are very hard to remember, and most people would forget to consider it while processing. It is easier just to capture the right colours at the time.

Should I use mechanical shutter or electronic shutter?

I really value the ability to shoot silently when I’m in the street, as this allows me to shoot unnoticed and to take multiple shots of the same thing without the shutter sound clearing the area. To shoot silently we need to engage the electronic shutter – something only mirrorless camera shooters can do in a practical way.

Of course, if you look very, very closely you might be able to see that pictures taken with an electronic shutter have slightly more image noise than those shot with a mechanical shutter, but in real life no one is actually going to notice the difference.

The electronic shutter often gives us access to a set of high shutter speeds that the mechanical shutter can’t match, which then allows us to shoot with a really wide aperture in brighter conditions without resorting to a neutral density filter.

Things you’ll want to watch out for though include banding when shooting in areas lit by fluorescent lights – such as in shops and on trains – and distortion when the subject is moving quickly across the frame. Both problems can be fatal to an image and on few occasions will you be able to get away with the effects. In these situations, switch back to a mechanical or electronic first curtain mode.

Most cameras offer to switch between mechanical and electronic shutter modes automatically for you, particularly to reach those high shutter speeds, so it is something to keep an eye on.

Use your in-camera profiles

I like to get my pictures as close to finished in-camera as I can. This isn’t because I’m some fanatical purist who doesn’t crop or manipulate images, but because it makes my life easier during and after the shoot.

I like the Portrait Photo Style in Lumix cameras when I’m shooting in colour, and Monochrome when I’m in black and white. I like to see the full effect of the image while shooting, rather than have to imagine its appearance once it’s been through Photoshop. I adjust exposure (and contrast with the Monochrome Photo Style) so that the picture on the back of the camera looks as close as possible to how I’d like the finished picture to look .

To see the intended image on the back of the camera often inspires me to shoot more because I can see how well it is all working. I might notice something cool in the image or scene that I may have missed had I waited until afterwards to manipulate the raw file. That spurs me on to shoot more and make the most of the element that so appeals to me in the moment.

Equally this helps me to see when things aren’t working, and when I need to change something or simply abandon the idea and look for something else.

Seeing the almost-finished image on the back of the camera should be exciting (if it isn’t, it won’t be later either) and it makes the whole process much more enjoyable. Seeing a technically optimal but flat raw file on the rear screen is never exciting, and it leaves all the creative work until later – when you mightn’t truly remember what drew you to the scene in the first place.

Of course, I shoot in raw so most of the colour and contrast changes I make in-camera are lost in Camera Raw (though some can easily be reinstated in the Camera Profile drop down) but I also process a few raw files in-camera too so that I have references for the way the images looked when I shot them. Shooting all RAW+JPEG is a good, if memory-heavy, way to do this too.

Want to know more about black and white photography? Check out our guide to black and white photography and Black and white street photography tips from the experts.

How to choose the best lenses for street photography

Focal lengths

I like a standard lens for the system I’m using – so a 50mm for full frame, 32mm for APS-C or 25mm for Micro Four Thirds. The angle of view matches what I can concentrate on, and I believe what most viewers are comfortable with. About 90% of my street pictures are shot with this kind of focal length. However, I also like a 24mm-style wide when I’m working close up and when I want to include lots of background.

These standard and wide focal lengths preserve a connection between the viewer and the subject and offer a ‘being there’ perspective that is often lost when captured through long lenses. However, there are no right or wrong focal lengths – just different effects that create a different feel. Experiment and find the angle of view and the distance between you and the subject that suits the look you want. And check our guide to optimal lenses for street photography
Aperture trade-offs

Fast apertures allow us to shoot in low light without having to crank the ISO up into zones in which noise becomes a real problem. Apertures like f/1.2, f/1.4, f/1.8, f/2 and f/2.5/8 all work well, but when you get to f/3.5 you may struggle to shoot at night and to create a shallow depth of field that makes the subject jump out from the frame.

If you only intend to work with small apertures, you’ll have a wider and cheaper range of lenses to pick from, but a more limited range of effects and atmospheres you can produce.

Size and weight

High-spec lenses tend to be bigger, heavier and more expensive than more regular lenses, so you need to decide how much you want a wide aperture and how much weight you can carry all day. Bigger fast-aperture lenses will also make your kit bigger, and you will stand out more, so again determine how comfortable you are with that. While I love a tiny camera with a pancake lens, I’m also prepared to go big and heavy for the sake of really sharp images at really wide apertures.

Best camera-lens combos for street photography

Canon EOS M50 Mark ll with Canon EF-M 32mm f1.4 STM

Price: $579 / £420 (camera), $570 / £360 (lens)

The Canon EOS M series has a limited range of lens options but it does offer Canon technology in a small package and at a more reasonable price than the R system. The EOS M50 ll brings DSLR-like controls to a tiny body, and provides a hinged touchscreen that makes shooting from all angles and focusing anywhere in the frame easy. The 32mm f/1.4 lens acts as a standard lens, and that fast maximum aperture allows low-light shooting and a nice shallow depth of field.

Fujifilm X-Pro3 with XF 50mm f/1.0 R WR

Price: from around $1,995 / £1,150 used (camera), $1,499 / £1,469 (lens)

Okay, so this is a bit of an extravagance, but the XF 50mm f/1.0 is an exceptional lens that not only has a dramatically wide aperture, it is also sharp wide open and creates a unique look. The X-Pro3 is an odd pairing size-wise perhaps, but the smaller body keeps the kit a little more compact, and the X-Pro series all make great street cameras. The camera offers a host of built-in styles for a wide range of looks, and the raw files are lovely to work with.

Hasselblad X2D with XCD 2.5/55V

Price: $8,200 / £7,369 (camera), $3,699 / £3,559 (lens)

A medium format camera mightn’t be an obvious choice for street photography, but the larger sensor of the Hasselblad X series makes for a pretty unique look when you make the most of the faster apertures of the new XCD-V lenses. The AF of the X2D is much quicker than the other X bodies but you’ll need to aim elsewhere in really fast-moving situations – but for walking pace action the camera will keep up, and the pictures will look amazing.

Leica M11 with APO-Summicron 50mm f/2 ASPH

Price: $8,995 / £7,800 (camera), $5,095 / £4,220 (lens)

Manual focus can be hard work if you want a shallow depth of field as moving subjects are a challenge, but stopping right down allows action and focus to come together. The M11 has exceptional image quality and the f/2 APO 50mm has the resolution and contrast to make the most of it. Live view shooting makes the latest Leica M cameras modern, but through-the-rangefinder is still a great way to work. For a classic (softer) look, consider the £3,550 50mm f/1.4.

Nikon Z 6ll with Nikkor Z 50mm f/1.8 S

Price: $1,497 / £2,299 (camera), $427 / £489 (lens)

Nikon’s Z 6ll is its most popular camera and it makes a great option for street photographers with its fast reactions, great AF system and in-body IS system. Nikon has just announced a tiny 26mm f/2.8 pancake that looks exciting, but for more regular shooting the 50mm f/1.8 S is a good option and offers a wider aperture. The Z 40mm f/2 SE is very tempting not only for its cool looks but also its nine-bladed iris that’ll produce attractive out-of-focus highlights.

Olympus OM-1 with M.Zuiko Digital ED 12mm F2.0

Price: $1,499 (current Black Friday price) / £1,130 (camera), $400 / £699 (lens)

The Micro Four Thirds format makes a lot of sense for street work, and Olympus has a host of small, light and reactive cameras. The company’s OM-1 has an excellent AF system and fast reactions, making it a great choice for street. It is probably the best MFT camera for stills at the moment, and it offers all the control and image quality of a much larger camera. Coupled with the 12mm f/2 you’ll have a powerhouse with a nice wide view from some first-class glass.

Panasonic S5ll with Lumix S 50mm f/1.8

Price: $1,997 / £1,999 (camera), $447 / £429 (lens)

While the Lumix S5ll is a full-frame camera it is also pretty small, light and has similar reactions to the speedy Lumix G9. The new AF system will help in low light and the exceptional image stabilisation will allow long shutters without a tripod when you want blur. Also small and light is the Lumix S 50mm f/1.8, though the 24mm and 35mm lenses will appeal to those who like a wider view. The f/1.4 50mm is amazingly good, but also big in size and price.

Check out our picks of the best lens for street photography in 2024 for more options.

What is the best camera for street photography? Check out our picks of the very best cameras for street photography as well as the best camera phones for photography in 2024 if you shoot street photography with your smartphone.

Related content:

• Street Photography guide
• Black and white street photography: Tips and techniques from the experts
• The 12 best cities for street photography around the world
• Using smartphones for street photography

Follow AP on Facebook, Twitter, Instagram, and YouTube.

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If you’ve ever been confused by the different labelling on memory cards, then you’re not alone. It’s almost as if they’re trying to confuse buyers with multiple speed ratings and labels all on the same card. By reading through this guide, you’ll quickly understand all the options!

SD memory cards

SD memory cards are the most commonly used memory card in digital cameras. So, let’s dive right in and find out what all the labels and logos mean on the front of an SD card.

SD Speed Class and speed ratings explained…

Unfortunately, there are multiple ways in which companies will tell you how quick an SD card is. Originally, it was simple signified with a large C with a number in the middle, the “Speed class”, however, this was replaced after they reached Class 10.

What does V30/V60/V90 mean?

This is the Video speed class. V30 supports a minimum of 30MB/sec sequential write, V60, 60MB/sec, and V90, 90MB/sec. These higher speeds will be particularly useful for high quality 4K and 8K video recording, and you should check what rating is needed by your camera if you plan on recording video.

What does U1 / U3 mean?

The UHS speed class, U1/U3 has been effectively replaced by Video speed class. U1 means the card has a minimum of 10MB/sec sequential write speed, whereas U3 means the card has a minimum of 30MB/sec sequential write speed. The number is found in the middle of a capital U.

300x, 667x, 1667x, 2000x what?

To confuse things further, some cards will display another speed rating on the front. It’s all well and good saying a memory card is 300x, but 300x what? A card that supports 45MB/s speeds, has 300x on it, and therefore the 300x is 300x 150KB/s. A 2000x card supports 300MB/s speeds. However, be aware that these are the maximum READ speeds, and write speeds are often slower.

MB/s

Many cards will display the MB/s (Megabytes per second) speed the card supports, however, it’s worth noting that this is often the maximum read speed. It’s worth checking the maximum write speed the card offers. On some cards, both the read and write speeds are shown with the read speed shown with a small R, and the write speed shown with a small W.

What about SD/SDHC/SDXC?

SD cards are up to 2GB, SDHC means more than 2GB and up to 32GB, SDXC means above 32GB and up to 2TB. Beyond this, there is SDUC, which is more than 2TB and up to 128TB. However, these are not widely available and not yet supported in cameras.

What’s the difference between UHS-II and UHS-I cards?

UHS-II cards are a newer, faster breed of SD memory cards. With additional contact points, they offer quicker read and write speeds. However, to take full advantage of the higher speeds, you’ll need a camera that supports UHS-II, as well as a memory card reader that supports UHS-II, otherwise the memory card will be used in the slower UHS-I mode. If you’ve bought a UHS-II card but have a camera that only supports UHS-I, don’t worry, you can still use the UHS-II card in your camera. As mentioned, it will run at UHS-I speeds.

You can tell the difference by the number of contacts on display, or by looking for the letter I or II next to the SDXC logo.

Best SD memory cards to buy:

• Lexar 64GB UHS-II SD card (250MB/s) from £24.99
• Sony 32GB UHS-II SD TOUGH (300MB/s) from £64
• Best value: SanDisk 64GB UHS-I Extreme PRO (up to 200MB/s), £17.25

MicroSD cards

MicroSD cards are used in some of the more compact cameras available, and due to them being used in numerous other devices, such as Smartphones, Dashcams and security cameras, they are often available for cheaper prices than SD cards.

However, they don’t always offer as high speeds as UHS-II SD cards, and as they are small, they can be quite fiddly to use. You can use them in SD card slots with an adapter, but these are fiddly and not as reliable as a dedicated SD Card. They could be good for bargain hunters if you want to save money.

Best MicroSD memory cards to buy:

• Samsung 64GB MicroSD card with SD adapter: £8.99
• Samsung 128GB MicroSD card with SD adapter: £14.99

Read our review of the Samsung PRO Plus MicroSD card here.

CFexpress cards

CFexpress was introduced in 2016, and designed to give higher read and write speeds using technology standards that are already widely in use in computing technology. The first cards introduced are physically the same size as XQD cards, with the same contacts*.

*If in doubt, check your camera manual to see what card is best for your model

The release of CFexpress 2.0 in 2019 introduced type A and type C cards, with type A being more compact, type C being larger, and the existing cards, type B sitting in the middle. CFexpress cards often display the speed in MB/s, with some displaying both read (R) and write (W) speeds. If both speeds aren’t shown, then it’s safe to assume that the card is showing the read speed.

Find out more on these cards below.

CFexpress Type A

Supported by Sony and others, Type A offers performance three times faster than the fastest UHS-II cards, with 800MB/s read, and 700MB/s write on SONY and PROGRADE cards.

A 160GB CFexpress Type A card will set you back around £370 – £399, but shop around and you might find better offers.

Best CFexpress Type A cards:

• Sony 80GB Tough CFexpress Type A – £197
• Sony 160GB Tough CFexpress Type A – £279

Cameras that use CFexpress Type A = Sony A7S III, Sony A1, Sony A7 IV, Sony A7R V.

CFexpress Type-B

Available from brands including Sony, Sandisk, and Lexar, the read and write speeds available are impressive, with 1700MB/s read, and 1480MB/s write on the Sony CFexpress Tough G series 256GB card.

Best CFexpress Type B cards:

• 64GB Lexar CFexpress Type B card – £129.
• 165GB ProGrade CFexpress Type B card – £177
• 256GB Lexar CFexpress Type B card – £286

Cameras that use CFexpress Type B = Nikon Z6 (II), Z7 (II), Z9, Canon EOS R3, Canon EOS R5, Fujifilm X-H2S, and X-H2.

XQD cards

XQD memory cards have been around since 2012, but has mainly been used in high-end Nikon DSLRs. The price of the memory cards put many people off using them, especially when CompactFlash cards are available for much less.

However, the benefit of XQD cards are the ability to have quicker read/write speeds, which can be useful if you’re shooting high-speed continuous shots.

Best XQD memory cards:

• 64GB Sony XQD G series card – £119.
• 120GB Sony XQS G series card – £161

Cameras that use XQD = Nikon D6, D500, D850, Z6 (II), Z7 (II), Z9, Panasonic S1 series.

CompactFlash (CF)*

Compact Flash cards have been around since 1994, but it wasn’t until 1996 that the first camera was released with support for CompactFlash cards, the Kodak DC25. Considering they were introduced so long ago, they have survived a surprisingly long time. CompactFlash cards use “UDMA” labels to signify speed, with UDMA 7 being quicker than UDMA 6. There is also a video speed rating, inside as video clapper board.

64GB CF cards are available for around £40 – £70 depending on speed, however, it’s worth noting that the fastest cards available offer around 160MB/s, a speed surpassed by UHS-II SD cards, as well as other cards such as XQD and CFexpress.

Best CompactFlash cards to buy:

• Best value: 32GB Lexar Professional (160MB/s) – £35
• 64GB SanDisk Extreme PRO card – £68
• 128GB SanDisk Extreme PRO card – £133

*Not to be confused with CFast

CFast is yet another memory card format designed primarily for video, CINE and broadcasting use. Unless your camera specifically requires a CFast card, then it’s likely you won’t need one. Cameras that use CFast include the Canon EOS-1D X Mark II, Canon XC15, Canon EOS C200, BlackMagic, ARRI and others.

Redundant memory card formats: XD, Smart Media, Sony memory stick

We’ll keep this short… XD (used by Fujifilm and Olympus), Smart Media and Sony Memory Stick memory card formats are no longer used in new cameras and will only be needed if you are shooting with an old camera. If you do need one of these, then you should be able to find them on second-hand sites such as eBay.

FAQ: Frequently asked questions about memory cards

Q. What is the best memory card?

A. The best memory card is the fastest you can afford, in the right format for your camera. You may also want to consider the brand, and whether there are any extras included, for example, some companies provide free recovery software, so that you can recover deleted images. It’s also worth checking the warranty provided and any “tough” credentials.

Q. Can I use a microSD card instead of an SD card?

A. Short answer, yes. Yes, you can, as many MicroSD cards come with an adapter to let you use them in cameras (or devices) with an SD card slot. However, they are smaller and can be fiddly in comparison, with the adapter adding an extra level of connection that could go wrong.

Q. Should I format the memory card in my camera or on my computer?

A. The general advice is that you should format the memory card in your camera (after backing up all your photos), as then the memory card will be setup with the right file format needed for your camera. If you format the card on your computer, then there are multiple options that could potentially be incompatible with your camera.

Q. What are the disadvantages of an SD card?

A. SD cards are small, and fragile, with small, thin plastic pieces that can easily be damaged if they’re not taken care of. Some companies, such as Sony, offer a range of “TOUGH” SD cards designed to be stronger than normal, and if you’re concerned about breaking a card, then these are worth the extra cost.

Q. How do I choose a memory card?

A. Look for a card with the fastest WRITE speeds. Often a card will say how quick it is in MB/s, and the majority of the time the READ speeds are quicker than write speeds, so you could have a UHS-II card with an impressive 260MB/s read speed, but only 100MB/s write speed, which whilst still quick, isn’t as impressive as the higher number. Why does this matter? Well, the read speed is how quickly you can get your photos or video off the memory card, which is useful for copying and backing up your data, BUT, it’s the write speed that matters when it comes to taking photos and video, and any slow-down here could result in your missing the shot (when shooting continuous), or video recording stopping, if the card can’t keep up with your camera.

Beware of fake memory cards

As the old saying goes, if it looks too good to be true, then it probably is. There are a number of no-name memory cards available, but if you see a 1TB card available for the same price as a 64GB card, then it’s likely it’s not going to work, or even offer that much storage. Similarly, we’d recommend sticking to trusted retailers when buying a memory card, rather than trying to find a cheap deal on eBay. If you do end up with a fake or faulty memory card, then you could end up losing precious photos and being unable to recover them.

Memory card readers

If you have a high-speed card, then you’re going to need a high-speed memory card reader, so make sure you get the latest USB 3.x memory card reader that is compatible with your computer. To get the full speed benefits of the card, you need to make sure it supports your memory card, so if you have a UHS-II SD card, make sure you get a high-speed memory card reader designed for use with UHS-II cards.

Related reading:

• How to make sure you never lose your photos again
• How to recover your photos for free
• Beginners guide to file and photo management

Follow AP on Facebook, Twitter, Instagram, and YouTube.

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There’s an eclectic mix of ideas that will suit different types of photographers, with a few alternatives for those who want to do something a little less orthodox.

Of course, you don’t need to restrict yourself to one revenue stream. Many photographers make good money by various means, so you can mix it up to some extent as you like. Whether it’s your full-time job or a side hustle, there will be something here for you.

45 ways to make money from photography

1. Stock photography

Stock photography can be a good way to top up your income. But be warned, big companies like Getty, Adobe Stock, Dreamstime and Shutterstock are not as profitable as they once were due to the large competition. Consider smaller agencies such as Envato and Yay Images or look at James Abbott’s alternative guide to Stock Photography for further tips.

2. Sell your work on online

There are many online marketplaces where you can sell your work: from Ebay, Fine Art America to Etsy. They all attract large audiences and could be considered by any artistic photographer looking to sell their photographic products. These products could be anything from cards, fine art prints to gift type items such as calendars and mugs.

3. Sell your work from your own platform

If you’re keen on the thought of selling your work online but want to keep 100% of your profits, then do it yourself. This can be achieved through most website providers. For something bespoke, though, you’ll need either the skills or to pay someone to build it. You’ll have a much smaller target audience compared with the likes of Etsy and other online marketplaces but, if you have a platform to find that audience, then you will benefit from having full control.

4. Wedding photographer

If you’re a people person and enjoy capturing the moment, a career in the wedding industry might be the perfect job for you. Photographers make good money from this sector as there is a large target audience that is willing to pay good money to record their special day. See our latest wedding photography tips and technique guides to learn more about this genre.

5. Sell your images and stories

If you have a set of inspiring images that tell an interesting story, a publishing company somewhere will be interested in featuring it. As a start there are many different types of magazines out there from Amateur Photographer to those like National Geographic that you could try. If you’re unsuccessful pitching to one, don’t be disheartened as it is a competitive industry that demands perseverance. Making sure your pitch is clear goes a long way to getting results. See our guide on how to get involved with AP.

6. Event photographer

There is money to be made from event photography. Routes to go down range from corporate events to black tie dinners. There are two ways to shoot an event – the first is to simply document what is happening, and the second is to set up an area where clients can have formal portraits taken. You could offer one or both of these services.

7. Sell your fine art prints

If you are creatively minded and have an artistic approach to the photographic medium, becoming an artist and selling your fine art prints is a great career. There are many outlets where you can sell your work; like galleries or retailers in the home decor industry. In the right location, you could have a shop gallery: although overheads are pricey and few get to sustain themselves like this.

8. NFTs

Non-fungible tokens (NFTs) are a unique digital file. Many collectors are now buying original digital photographic artworks through this online system. You can only buy and sell an NFT using cryptocurrency so before you begin you need to set yourself up. But be warned, the NFT market can be extremely volatile, and nobody should enter it uninformed.

9. Music Photographer

Although many people are willing to shoot gigs and festivals for free (especially if it’s a well-known band), those who are good at it can get paid for the work. See our guide for more tips on how to shoot a music event.

10. Start a blog

Blogging is a great way to get people to notice you and to see what you do, as well as share your stories as a photographer. Starting a blog in itself won’t make you money it is a platform from which other opportunities can be launched; so play the long game and build a following.

11. Lifestyle photographer

There are many ways to make money from lifestyle route to snapping portraits out on location, new-born images to formal family shots in the studio. Develop your own style and offer unique packages that distinguish you and your work from others.

12. Portrait photographer

If you’re keen on shooting portraits but unsure about the lifestyle route, there are other opportunities in the field. Headshots for actors or business owners are a couple of avenues that spring to mind. Read our best portrait advice from the Pros for more inspiration.

13. Fashion photographer

From the catwalks of Paris to product shots on retailers’ websites, there are many ways the fashion industry and photographers can work together. See Amanda Thomas’ guide where she shares her top tips with us.

14. Enter photography competitions

What better way to get your name out there than by winning a prestigious photography competition! Ok, it’s a long shot but can really boost your confidence and get your name out there, even as a runner-up. Simply trying is likely to motivate and improve you, and teach you something new in the process. We have some top insights into this.

15. Landscape photographer

From the sprawling seascapes to the rolling hills, landscape photography for many is a hobby but can turn into a career for those at the top of their game. If you want to take landscape photography seriously, here’s our guide to the best cameras for landscape photographers and some fantastic books of landscape photography.

16. Edit and retouch images

Some photographers hate being stuck on the computer, especially those that have too much work and would benefit from help in editing and retouching images. Earn money by offering your services to those in need of a good photo editor. Here are our top software picks for editing.

17. Paparazzi photographer

If taking pictures of celebrities looking their best or worst excites you, then a job as a paparazzi photographer could be worth exploring. The work is intrusive though, and requires a certain type of character to fulfil it; so won’t be everyone’s cup of tea.

18. Pet photographer

People love their pets, and are willing to spend money on them. It’s not an easy genre to shoot and requires much patience plus a few tricks in the bag! See our pet photography guide for more tips.

19. Film set photographer

A film set photographer or unit set still photographer (as they are often referred to) takes photographs during filming that can be used to market and publicise the film. What a great job!

20. Commercial photographer

Many businesses out there need professional looking images. As a branding photographer you cover many different genres and it is the perfect career for anyone who enjoys mixing it up!

21. Write about photography

If you have a way with words, then you can make a living writing about photography. There are many businesses and publishing houses that are looking for talented writers. Articles range in content from conducting interviewing, writing technique guides to compiling definitive lists like this one!

22. Architectural Photographer

From big buildings in the centre of the city, estate agents to holiday lets on Airbnb, there are many opportunities to shoot properties both inside and out. A wide-angle lens is a must if you go down this route! Check out these pro tips for some inspiration.

23. Self publish a book

From Blurb, Amazon KDP to Reedsy there are many established platforms out there that allow you to self-publish and sell your own book. Think about how you can make your book unique and how to present the content, so you stand out above your competition.

24. Self publish an eBook

If publishing a physical book doesn’t appeal, creating an eBook could be more accessible. Lulu, Tradebit, NOOK Press and Smashwords are all viable channels through which to create and host your eBook.

25. Studio photographer

A studio photographer shoots all sorts of genres from products to portraits. Becoming a studio photographer is a big investment but once you have the kit there is plenty of opportunity to earn a decent living.

26. Assist other photographers

Assisting is an excellent way to learn from those who have been in the industry for a while. You can get assisting jobs on a freelance or permanent employee basis.

27. Press photographer

Press photographers take all sorts of images that cover current news events, including travelling to war torn countries. The latter isn’t an easy job and one that takes courage and difficult decision making. See our interview with Nick Ut to get a better understanding behind one of the most iconic war images ever taken.

28. Sports photographer

If you love sports, what better way to make a living than to photograph them! Most sports photographers have a long telephoto lens in their kit bag. If you’re unsure where to begin, start local. Build up a portfolio, make contacts and see where it takes you.

29. Wildlife photographer

For those who love nature, a career as a wildlife photographer could be an amazing undertaking. There are many different ways to make money from this genre from running workshops to capturing the story of an unusual animal and pitching your story to a magazine. See our guide to the best wildlife lenses for some kit inspiration.

30. Travel photographer

If you love to travel with your photography, considersharing your top tips and locations with others. From blogging, creating maps and guides to running travel photo tours, travel photography has many opportunities. Get some inspiration from our Photo Tours to see the different possibilities.

31. School Portraits

There’s lots of money to be made from taking children’s school portraits of both individuals and groups. If you want to go into this line of work in the UK you’ll need to be DBS checked to work around children.

32. Go for a grant

There are many different photography grants out there for various genres and for photographers of all different ages and abilities. In the UK, Arts Council is a good place to start to see what is available. you are more likely to receive a grant for your work if it benefits the community: so think on.

33. Teach photography

If you are a people person and enjoy sharing your knowledge with others, then a career in teaching could be an excellent path to undertake. You would need the right qualifications to teach photography in the formal educational system, of course. But if you are good and can prove it, or have a reputation locally, then you could teach adults privately.

34. Food & drink photographer

Food glorious food! Many restaurants and food manufacturers seek professional food photographers to capture delicious looking images. Food photography is a lovely genre to shoot and once the job has finished you can eat!

35. Product photographer

Products come in all shapes and sizes from clothes to gifts. Product photographers predominately work in the studio but can also shoot out on location depending on the subject. Jewellery photography is one area that is in high demand.

36. Start a YouTube channel

YouTube is an excellent resource for those who are good in front of the camera. Many photography YouTube stars make their money by reviewing kit, unboxing new cameras and sharing behind the scenes videos from their photo shoots.

37. Become a social media superstar!

Although social media doesn’t pay out directly, if you gather a large following on popular platforms such as Instagram and TikTok then you may find many exciting opportunities coming your way. These could be anything from the big camera and tech companies asking you to be an ambassador to interview opportunities in magazines. See our guide for using social media as a photographer to get you started.

38. Create and sell presets and profiles

If you’re a Lightroom guru who enjoys styling your images, a great way to bring in some extra money is to sell your Profiles and Presets. Presets and Profiles can be sold to a large target audience however it does help if you have a good social media following where you can market these products. See our guide on how to use Lightroom Presets & Profiles for some tips.

39. Workshops and photography tours

If sharing your love of photography is something you enjoy, running your own photography workshops or tours is a great way to bring in some extra income. To do this well you need to be a people person, and it greatly helps if you have an established and well-respected reputation in the industry.

40. Career in the forces

Did you know in the UK the RAF, Navy and Army all have their own photographers? If you love adventure, travelling and being on the go this could be a great career.

41. Forensic photographer

This job is not for the faint-hearted! A forensic photographer takes photographs of crime scenes to capture evidence and document whatever they can find.

42. Astrophotographer

If you have an interest in space, then a career as an astrophotographer could take you to a galaxy far far away! Improve your night photography with our guide.

43. Review photography kit

There are many photographers and journalists out there that make a living from reviewing photographic equipment. Just look at our experienced team at AP! You’ll need to enjoy writing and understand the camera market inside and out.

44. Share your images and get paid

ClickASnap allows users to share images whilst getting paid at the same time! Though it’s not a get rich quick scheme and it won’t pay the mortgage. Think of it like a small bonus on the side of your other profession.

45. Exhibit your work

What better way to get your images out there than by putting on an exhibition! This could be a solo or group exhibition if you find the right photographer/s to exhibit with. Think carefully about framing, costs, and marketing to ensure it is viable.

Also have cheaper items for sale such as prints and cards for those with smaller budgets as these sales will add up. For more tips follow our guide to exhibiting your work.

46. Sell used camera gear

If you’ve an old camera, old lenses, or other old camera gear you don’t use, why not free up some spare cash to buy new kit, or the extra bits and pieces you’ve been wanting? Or just keep some extra dough in the bank for a rainy day. The easiest way to sell old camera gear is to MPB.com, but to squeeze out every penny, check our guide to taking product photos for eBay and try your luck there. 

Featured image: There are many different ways to make money from your photography. Copyright: Ben Eaton on Unsplash 

Further reading:

• Cash from your camera: How to make money from photography
• Make money from landscape photography

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• To jump straight to the best cameras, see our guide to the best cameras for video and vlogging.

Vlogging is a broad term, but essentially means the practice of posting short, self-shot videos online. These might, for example, document an activity; show off a location; describe how something works; or explain a point of view. A vlogger often talks directly to the camera throughout the video. Some go out and about, filming different places and subjects. While some vlogs are shot with a crew of multiple people, many are produced, shot and edited by people working independently and alone.

We’ll guide you through everything you need to get started, plus pick up a few of our great accessory choices as well, to make sure you have everything you need.

How to choose the best cameras for vlogging

• Easy-to-reach controls: a large easily accessible record button is helpful, and some cameras are compatible with a grip that has a few controls.
• Mic port: for the best audio quality use an external mic. If your camera has a mic port, usually a 3.5mm connection, you can record the audio directly onto the camera.
• Vari-angle or 180° screen: to see yourself when talking to the camera, a vari-angle screen, or one that can be flipped 180° so it’s visible from in front of the camera, is ideal.
• Reliable Autofocusing: eye detection is fairly new to video. Face detection is the next best alternative. The key is that the camera keeps the focus on you when you’re talking to the camera.
• Stabilisation: If you’re going to handhold the camera it’s helpful if it or the lens has stabilisation built-in to take out some of the shake and wobble.

Types of cameras for vlogging

The compact camera is where most people start, but there are a range of options from compact action cameras, to compact cameras for vlogging, as well as mirrorless cameras that let you change lenses when needed. Here we’ll go over the main options available:

Action cameras

Action cameras, such as the GoPro Hero11 Black Mini from the GoPro HERO range, is available for just $249 / £224. These are designed to withstand rough treatment, as well as being waterproof (check each model’s specific capacities first). Action cameras are not just more affordable, they are also easy to use and extremely compact, you will be able to fit it in your pocket and carry with you wherever you go without worrying about size or weight. They feature built-in image stabilisation, which is especially handy for recording sports or point-of-view shots.

On the other hand, the small size can carry some limitations, for example, some action cameras have limited manual settings, meaning you have less control over exposure or focus. Another possible downside is audio quality, as these super compact cameras have more basic built-in microphones, however, this is becoming less of a problem as newer versions support wireless sound recording, allowing you to connect external microphones. Even though action cameras are capable of recording 4K or even 8K videos (like the Insta 360 Ace Pro) their footage may lack the cinematic look achievable with professional cameras.

Are you considering an action camera for vlogging? Check out our guide to the best action cameras to buy this year.

Compact cameras

Compact cameras, such as the Sony ZV-1, and ZV-1 Mark II, are easy to use with features designed to make it straightforward for vloggers of all types to get up and running. There are also more budget options like the Sony ZV-1F or the Canon V10. Unlike action cameras, compact cameras offer wider manual control over settings and combine the comfort of a small body with some modern mirrorless camera technology.

Compact cameras beat phones and action cameras with better quality lens optics, brighter apertures and larger sensors. They provide the ever-desired shallow depth of field effect to blur backgrounds and create a more cinematic look. They don’t have interchangeable lenses but feature wide angle zoom or super-zoom lenses that cover a useful range for vlogging. Another downside to compacts for vlogging may be video quality and low light performance as their smaller sensors won’t match the dynamic range of cameras with bigger sensors.

Are you considering a compact camera for vlogging? Check out our guide to the best compact cameras to buy this year.

Mirrorless cameras

Mirrorless cameras feature the latest imaging technology and provide the versatility of a wide range of lens options. Cameras such as the Nikon Z30, Sony ZV-E10, and Sony ZV-E1 have been specifically made for vloggers, with a screen that tilts forwards, and video-specific ports and connections. In mirrorless cameras continuous autofocus and focus tracking help to create smooth transitions and keep your moving subject in sharp focus. These cameras also have larger sensor than their compact counterparts resulting in better image quality and low light performance.

Keep an eye on built-in stabilisation as not all mirrorless cameras have it by default, this is especially important if you are planning to record hand held footage.

CINE cameras, such as the Blackmagic Pocket Cinema 6K, are for more advanced users who prioritise control and manual operation, making these most suited to experts, or more advanced videography.

For more options, including the pros and cons of why we have chosen these cameras, have a look at our complete guide to the best cameras for vlogging and video and to the best cameras for video on a budget.

Getting started with vlogging and video

Before creating a vlog, you need knowledge of, and passion for your subject, and clarity about your key messages or aims. For example, to create a vlog about a local beauty spot, you might explain how to find it, where to park, the best times to visit and good shooting locations. By making these decisions you can think through (and write down) the shots that you need to capture so that you’ll be more organised when it comes to filming.

Scripting your video

You also need to think about your script. Some people like to write a complete script while others prefer bullet points. However, when starting out, I’d encourage you to write down everything that you want to say because this will help you ensure that you record enough footage. Time how long it takes you to read your script at a nice steady pace and practice doing so.

Getting the key shots

When thinking about creating a video there are usually a few key shots that pop into one’s head. These become the main clips that tell the story and will need to be supported by B-roll footage that helps set the scene.

With our beauty spot video, a wide shot of the location would be part of the main footage, for instance, while close-ups of details such as leaves waving in the breeze, tumbling water in a stream and a squirrel gathering nuts make a nice B-roll, helping the viewer to experience the location without actually visiting.

You will be in a lot of the main footage, talking to the camera. Many vloggers do this with the camera handheld, often mounted on a mini-tripod. With a full-size tripod, you can be a bit further away with more of the background visible.

A standard photographic tripod is fine to start with, but a fluid video head like the Manfrotto 500 ($200 / £149) is useful for making smooth tilt and pan movements. When you’re in front of the camera, look into the lens. The screen is useful for checking that you’ve nailed the composition, are standing in the right place and the camera has focused on you. However, once you start speaking, don’t look at it.

Recording the audio

A shotgun mic fitted with a windshield that can be mounted in the camera’s hotshoe or other convenient point is ideal for capturing ambient sounds when you’re outside. Provided you’re close, it can also be used to record your speech, but it’s often best to use a lavalier or wireless clip mic connected to your camera.

The easiest way to get good footage of you speaking is to memorise short sections of your script and repeat them to your camera a bit at a time. You can use B-roll between the clips. Even if you plan to make the majority of the audio a voiceover, it’s worth recording it on location as you’ll capture the ambience of the place.

Editing and publishing your vlog

After you’ve downloaded all your files, watch through everything and make a note of the best footage and audio before importing the relevant clips into your video-editing software. There are lots of options for editing video but Adobe Premier Pro Elements makes a great starting point. Adobe Premiere and Apple’s Final Cut Pro X (Mac only) are both excellent step-ups used by many professionals.

You can also check out our guide to the best video editing software for more options.

As a general rule, tighter (i.e. shorter) vlogs are better received than long videos with little action. There are alternatives, but YouTube is the go-to platform for vlogs. After you’ve created an account you can create a channel to host your videos. Then it’s just a case of uploading your first video and following the steps to publish it. Once your channel is 30 days old and has at least 100 subscribers, you can set a custom URL. You need at least 1,000 subscribers to start making money from your channel.

Vlogging accessories

Manfrotto Pixi ($33 / £28)

This inexpensive mini tripod doubles as a comfortable grip to hold your camera at arm’s length and it locks tight enough to hold quite large SLRs and mirrorless cameras. When you’re not holding it, you can use the Pixi as a tripod and support your camera on a table or desk as you record your audio, looking into the lens.

* Calibrite ColorChecker Passport Video ($138 / £139)

* formerly known as X-Brite

It might seem expensive but the ColorChecker Passport Video can save you a heap of pain, especially if you’re shooting Log footage, as it enables you to set a consistent white balance whatever the lighting. Some video grading software such as DaVinci Resolve, Color Color Finale, 3D LUT Creator and CinemaGrade can even use a clip with the Passport in it to get colour spot-on.

PolarPro Peter McKinnon Variable ND Filter – 2-5 Stop ($250 / £250 for 67mm)

If you want to blur the background, you need to use a wide aperture. However, you can’t push the shutter speed up in video like you can with stills so you need a good-quality neutral density filter – this one is first rate and doesn’t introduce a colour cast or vignetting. A variable ND saves you from having to swap filters throughout the day and allows subtle adjustments in exposure.

RØDE Videomic NTG ($249 / £219)

This shotgun mic has a built-in rechargeable battery that gives over 30 hours of life but only takes 2 hours to charge. It comes with a Rycote shock mount to mount it in your camera’s hotshoe or another convenient point. It connects to the camera via a 3.5mm cable but it can also connect to a computer via USB-C, making it nice and versatile.

RØDE Wireless Go II ($228 / £209)

This inexpensive, easy to use and great-sounding wireless mic kit links to your camera via a 3.5mm connection in the receiver. You can use it with a lavalier mic if you like, but the transmitter has a mic built in and there’s a clip to attach it to your clothes. You can even connect the Videomic NTG to the transmitter to use it as a wireless boom mic.

We compiled 10 reasons to use the RODE wireless Go II for your videos, you can also read our full review of this small but very capable microphone

Rotolight NEO 3 ($494 / £514 Starter kit, £494 NOW for Ultimate kit. )

Sometimes you need extra light and the Rotolight NEO 3 is a great LED solution that runs on mains power but can also run on AA batteries. It has simple control over the brightness and colour temperature and comes supplied with a small selection of gel filters and diffusers as well as a hotshoe adapter. It can be handheld or mounted on a stand or tripod.

Article by Angela Nicholson with contributions from AP Staff

Related articles:

• Do you really need cine lenses for video?
• Best smartphones for video in 2024
• 17 Essential accessories for video
• Eight best filmmaking apps for your smartphone
• How to get outstanding audio in your videos

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Learning how and when to use flash is an important part of mastering light, particularly when it comes to portraits. Ian Pack shares an insight into flash and his tips for using it in your photography:

Pop-up flash

Many crop-sensor DSLR and mirrorless cameras have a pop-up flash on top of the camera. This is used a little by few photographers, and not at all by others. But with care it can be used outdoors to fill-in shadows and create catchlights in the eyes of the subject.

Pop-up flash is a small, hard and direct light source which doesn’t create flattering light on its own: but several diffusers are available which profess to soften the light from a pop-up flash. They are still a relatively small light source close to the flash, which alone doesn’t provide optimum diffusion.

Pop-up flash can also be used to control off-camera flashes, but is limited to short range line of sight. Dedicated flashes and wireless triggers will give better results.

Hot shoe flash or Speedlites

Many photographers own a hot shoe flash or Speedlite and mainly use it as a convenient way to illuminate a photo. There’s so much more to Speedlites. When fitted to the camera hot shoe there will be the facility for TTL (through-the-lens) auto exposure which can be adjusted independently of the camera with the exposure compensation facility.

Most Speedlites have a flash head that swivels allowing you to bounce the light from nearby ceilings or walls, to create a large, flattering, soft light. Do remember that any bounce surface that is not white will create an overall colour cast in your photos.

There are many light modifiers for Speedlites ranging from $20 / £14 to hundreds. One of the least expensive is the white translucent, shoot-through umbrella which diffuses the light from a Speedlite and is ideal for lighting solo portraits or small groups. Don’t be put off by the low power of Speedlites which average 50-60Ws (Watt seconds). Used with mid-range ISO settings and an aperture of f/4 or f/5.6, a Speedlite is a versatile tool.

Indoors simple solo portrait set-up

All you need to start creating beautiful portraits are a Speedlite, wireless trigger, a white shoot-through umbrella, an umbrella swivel, a light stand and a reflector to bounce light into shadows. This is my go-to headshot set-up.

Using the following settings as a starting point you can create portraits or head shots within just minutes. With your camera set to manual, set the shutter speed around 1/125sec to 1/250sec depending on your camera’s flash sync speed. ISO 320, aperture f/5.6, daylight white balance. For flattering results without much distortion use a short telephone lens or a zoom setting from 70-85mm.

The Speedlite should be set to manual with the power at 1/16th. This is normally done with the wireless trigger. The spread of the beam from the Speedlite can be changed using the zoom setting. This does not affect the hardness of the light; just the coverage. 50mm is a good starting point when photographing with a shoot-through umbrella.

With the Speedlite, umbrella and light stand assembled, set the umbrella slightly above head height to one side of the subject, pointing the umbrella shaft at the subject’s nose. Turn the umbrella slightly toward the camera – this is known as feathering. Take a test frame to judge the exposure, lighting and pose. Adjust as necessary using the camera histogram to judge the exposure.

In the first frame with the shoot-through umbrella the background is lighter and busier than expected. I moved the Speedlite closer to my model, Max, and flagged one side of the flash to reduce the light falling on the background. The photos you see here are straight out of camera with basic raw processing.

In the final frame I’ve added a soft gold reflector to open the shadows or give them more detail as they were too dense for my liking. The reflector has also warmed the skin tone on the shadow side of Max’s face.

Outdoor portrait

It’s also possible to create stunning outdoor portraits with a little thought and planning. Here I positioned Max in the shadow of a building to reduce the ambient light falling on him. The camera was set to Av, the Speedlite set to TTL and modified with a RogueFlashBender 3 Large Reflector with diffuser panel giving me a 25cm soft box.

Using the small soft box meant that Max was lit only to his waist. If you have a Speedlite, don’t let it gather dust, take it out and use it. If you want to begin using off-camera flash, a Speedlite is a great introduction to flash photography, both indoors and outdoors.

Ian’s top tips for flash photography

Creative coloured gels

Coloured gels are an inexpensive accessory and great fun to experiment with. They can be used to add colour to shadows, as an accent light for portraits, the key light for added interest or a background light.

Flag the light

Light from umbrellas can be controlled by attaching a black board or flag to the Speedlite head. I use foam core board held in place with a strip of hook and loop fastener.

Get in close

By moving the light closer to the subject the background becomes darker and the light more flattering when using light modifiers like soft boxes/umbrellas. The ideal distance for a light modifier from the model is equal to the longest dimension of the light modifier.

Stabilise the stand

It’s good practice to ensure that your light stand is stable when you’re working alone. You can put the light stand riser through the handle of your camera bag. When using a hard case I attach the case to the light stand with reusable cable ties.

Use an umbrella swivel

For any photographer who works with Speedlites off-camera, a means of mounting to a light stand is essential. Umbrella swivels are essential. Most only tilt, and some have a ball head which aids accurate positioning of the Speedlite.

Choice of background

With care, even unpromising locations can create usable backgrounds. The piles of pallets created the industrial dockside feel I wanted. I used a 200mm prime to isolate Max from the surrounding distractions and a wide aperture threw the background out of focus.

Kit list for flash photography

Pixapro Li-Ion580 MkII Speedlite

This compact hot shoe flash can be used on and off camera with a wireless trigger. It has TTL auto exposure linked to your camera exposure meter, manual setting for ultimate control and a multi-flash function for creating stroboscopic images.

Rogue FlashBender 3 Large Reflector

These reflectors fold flat, so slip easily into a camera bag. With the addition of a diffusion panel you have a small soft box. Smaller soft boxes are ideal when working outdoors in windy conditions as they have a smaller surface area than umbrellas.

Nam Grip LS-255C Carbon Fibre Light Stand

Weighing 500g this stand is ideal for mounting your Speedlite. It extends to 220cm and closes to 48cm. Where weight and bulk are an issue, it’s possible to carry a single Speedlite kit weighing around 1,500g.

White Translucent Shoot – Through Umbrella

One of the first light modifiers for anyone who works with Speedlites or other flashes. Available in sizes from 80cm to 200cm. Some fold down small enough to fit inside a camera bag, making them ideal for photographers on the move.

Related articles

Essential guide to using flash

How to use flash on location
Essential guide to off-camera flash
Best flashgun soft boxes 

Further reading for beginners:

• Beginners guide to different camera types.
• Beginners guide to different lens types.
• Beginners guide to using a camera taking photos.
• Beginners guide to Exposure, aperture, shutter, ISO, and metering.
• Understanding white balance settings and colour
• 10 essential cameras accessories for beginners
• Beginners guide to the Art of photography and composition
• Beginners guide to Photoshop Elements and editing photos
• Beginners guide to Portrait Photography
• Beginners guide to Macro Photography
• Beginners guide to Street Photography
• Beginners guide to Landscape Photography
• How to shoot Action and Sports Photography
• How to shoot wildlife photography
• Raw vs JPEG – Pros and cons
• How to create stunning black and white images
• How to photograph events and music
• Pet photography – how to photograph pets

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There’s nothing wrong with all the auto-fix everything and computational photography/AI features now built into many phones, but as with conventional cameras, it’s useful to know how to shoot raw on your phone. Why? Well, you can end up with better-looking images, for a start.

When you shoot raw on your phone, minimal processing is applied, enabling you to fine-tune the image as you want, and it makes even more sense now larger, more-sophisticated sensors are appearing in phones.

As we’ll reveal, raw phone shooting is not hard, whether you use an iPhone or Android device. It’s not going to break your phone, and you can always go back to JPEG shooting, so give it a go!*

*Just one word of warning – raw images are usually larger than compressed JPEGs, so bear this in mind if your phone or cloud account is running low on storage space.

Shooting raw on an iPhone

Originally from the US but a digital nomad since 2016, Zach Leon is always travelling and relies upon his iPhone to record his insights, passions and adventures. Here, Zach explains why he often chooses to shoot raw. See his website and @zachtheleon on Instagram. All image credits: Zach Leon.

Take back control

If we wish to carry our photo skills over to our phones, shooting raw is a great way to retain control over our images. Rather than relying on your phone to guess at your individual taste, shooting raw practically guarantees you will express it.

For a family photo or casual selfie with friends, the phone’s JPEGs do their job well, but if you’ve left your dedicated camera at home or you’d like to take your mobile shots to the next level, consider shooting raw. With a minimally processed image and exposure controls at your fingertips, you can ensure your creative vision is realised.

Nailing the shot

Shooting raw comes with its benefits, namely extra latitude when you come to edit your images, as no additional processing has been applied by the phone. But what can we do to ensure we’re getting the best results before  taking the shot?

Tied for first and second is nailing composition and focus. These two can’t be altered in editing, so it’s important to get them right the first time. My advice regarding composition would be to get in close. I’m a 35mm guy, so I’m not used to the 28mm or wider lens in my phone. I often find myself taking two or three steps closer to get the shot I want.

As for focus, tap your screen where you want to set it, or, if it’s a particularly important shot, shift into manual focus to override the phone’s estimation. Third, and finally, set your exposure as you want it. If you want dark shadows, make them dark. Relying on post-processing to fix poor/incorrect exposure can be a pain and could unnecessarily degrade your image.

Tools of the trade

I prefer to use an iPhone 13 – you’ve been able to shoot raw on iPhones since 2016 – but Android phones are fine for shooting raw, too. Simply go to your iPhone Settings> Camera>Formats, then turn on Apple ProRAW or ProRAW & Resolution Control (depending on your model).

I’ve found that Lightroom Mobile does the trick for me and I use it for both my shooting and editing. In terms of shooting, I’ve added the Lightroom widget to my home screen, making it only one extra gesture away compared to the Apple camera app.

Within the app I can adjust my exposure, white balance, shutter speed and more. After I’ve taken the photo, it appears in the gallery portion of the app, ready to be processed and exported.

The beauty of using Lightroom Mobile is that I can easily access and adjust my presets. Ultimately, this seamless set-up encourages me to shoot raw on my phone whenever I go to take a photo, providing me with exactly what I need to reach my mobile photography goals.

You can’t skip editing

When shooting raw on your phone, editing is a necessity. You can end up with a flat, seemingly lifeless image, and it’s up to you to revive it. Personally, I start by applying one of my mobile presets. I use these as a base for the sake of consistency, followed by minor, individual adjustments.

Within the presets are general things like tone curve adjustments, tweaks to shadows and highlights, and common colour shifts. Afterward, I’ll make final adjustments to my exposure and white balance, as the presets don’t account for each image’s specific requirements.

It may seem an extra burden, but playing around at the editing stage is half the fun. This is where your taste really comes through – where the photo becomes wholly yours, rather than what the phone maker thinks you want.

Shooting raw on Android phones

Geoff Harris is the deputy editor of Amateur Photographer and as a keen travel, documentary and street photographer, both for work and pleasure. he has been taking smartphone pictures for longer than he cares to remember (as well as using conventional cameras). Geoff has only recently started shooting raw, for the extra latitude that it provides, and explains below why shooting raw is also very easy with Android phones – so you should never feel left out if you don’t own an iPhone!

Shooting raw is easier than you would think

Shooting raw on my current Android phone, the Xiaomi 14, is actually very easy – indeed, ‘Pro’ is the first option you see on the camera app interface and just about every editing app or program can open the raw DNG files it generates.

A live histogram makes it simple to adjust exposure settings and Focus Peaking is also available should you want to focus manually – say when trying your hand at macro, for example.

As with many Android handsets designed with social-media posting in mind, the JPEGs can sometimes look oversaturated and overprocessed, but I don’t have this problem with raw (though there is the option to use the Leica Vibrant filter for images with more ‘kick’).

UltraRaw is also available, which supports 14-bit raw format, and there may be similar options on your smartphone.

Whose exposure is it anyway?

While shooting raw might be slower than just firing off a JPEG, sometimes it’s often good to take a more considered approach to your smartphone shooting.

With a live histogram reading, you can instantly see how adjusting exposure can be used for different creative effects when shooting raw – something that you might not think about when taking a JPEG because the phone processing is doing the work.

With the Xiaomi, I find that slightly underexposing brighter scenes often yields good results when editing or adding app effects, and this can be quicker to achieve when shooting raw via the histogram.

More natural-looking images

We mentioned earlier that shooting raw may seem a more laborious process because you’ll nearly always need to edit the raw images, but there is a counter-argument – with some phones, the heavily processed JPEGs can end up looking rather lurid and unnatural, particularly when it comes to skin tones.

Makers are under pressure to make JPEGs look ‘oven ready’ for social media, so you can’t blame them for this – the smartphone market is insanely competitive.

So, you might end up having to edit the JPEGs anyway. When shooting raw, I find colours and skin tones look more natural/neutral. Moreover, the ‘light touch’ in-camera processing of DNG files can sometimes minimise noise, or make it easier to reduce at the editing stage.

Editing flexibility

As with shooting raw on a camera, you get to tweak the raw file to your own tastes, recovering shadow or highlight detail as needed. Most of the time, optical distortions are corrected automatically in the raw files, too.

As raw files from my phone are saved as DNGs it’s easy to process them in Photoshop, Lightroom, or my editing apps of choice, namely Snapseed and VSCO – the latter is particularly good for adding classy film simulations and surprisingly convincing infrared effects, but it’s not free.

We hope you’ve enjoyed this guide to raw shooting on phones and do share your best images with us – email ap.ed@kelsey.co.uk

The post Never shoot raw on your phone? You are missing out appeared first on Amateur Photographer.

If you’re new to photography and have invested in a new camera, then have hope not fear: we all start somewhere. We have plenty of quick hints and tips to share that will help you get better, sharp blur-free photos, as well as guide you on some of the important first things you need to know about cameras.

If you aren’t already, it’s worth being familiar with the main camera types.

We are talking about digital cameras here – there are four essential components for a digital camera to work. These are:

• The camera
• The lens
• The battery
• The memory card

Without these, you’ll have great difficulty taking any photos. Ensure that the battery is charged, and that your memory card isn’t full. With these factors in place, it’s time to get to know the main components and parts of a camera.

Let’s start with the main parts from the top of the camera:

Lens – See our guide to lens types to learn more about lenses: without one, you won’t be able to take any photos!

On/Off switch – A useful tip: make sure you switch it off when not in use to save your battery life.

Shutter release button – This is what you use to take photos, and it has two stages or steps. If you learn the two-step process, it’ll help you make sure you get correctly focused photos. Half press this to activate Auto Focus (AF). By looking at the screen or viewfinder you’ll be able to confirm that focus is correct. With this done, then fully depress/press the button to instruct the camera to “release” the shutter and take the photo.

Command dials – These are used to adjust settings, such as exposure compensation, or the aperture and shutter speed, depending on which mode you are in.

Mode dial – Most cameras feature a mode dial. If yours doesn’t have one then it may have a mode button, or other way of switching to different shooting modes. For the purposes of this article we’ll run through the main modes on a dial.

The P or Program is a good place to start, or the iA/Auto dial. These are the modes where the camera chooses the shutter/aperture and ISO settings for you, letting you just focus on taking the photo.

Here are some other main modes found on most cameras:

• Auto (or intelligent Auto)
• P = Program (Program Auto)
• A = Aperture priority (Av on Canon/Pentax cameras)
• S = Shutter priority (Tv on Canon/Pentax cameras)
• M = Manual shutter/aperture control

Aperture and shutter priority modes let you set the aperture or priority and the camera will work out the rest for a correctly exposed photo.

The camera from the back:

Viewfinder (if it has one) – With a Digital SLR, this is an optical viewfinder that lets you see through the lens. With a mirrorless camera, this will be an electronic viewfinder, showing you exactly what the camera’s sensor sees.

Rear screen – On many cameras this will include some form of tilt system, so you can tilt the screen up or down, or move it to face forwards. It’s used to compose shots and change settings. In cameras that lack a viewfinder (mainly mirrorless), the screen is the view through which you take photos. Whether you prefer to use the screen or viewfinder will be down to personal preference; but the viewfinder is helpful when outdoors in bright light. Many modern cameras feature a touchscreen, allowing you use the screen to set the focus point or change settings.

Controls / Dials (Rear) – You’ll often find a scroll wheel or a 4-way controller, that can be used to change settings, such as the focus point, or to choose different options and settings in the menus. It’s worth familiarising yourself with the controls so you can find and change settings when needed.

Playback – The playback button is what you press to access and view the photos you’ve already taken. It’s a good idea to learn where this is, so you could find it in the dark ie when shooting in low-light.

Main areas of interest from the front of the camera:

Image sensor – The image sensor is the part of the camera that absorbs the light from the scene, after it travels through the lens. This can vary in size, but the most important thing to remember about it is that any dust or dirt that gets onto the image sensor can damage image quality eg specs of dust on images; so it’s best to leave the body cap or lens on the lens at all times. It’s much easier to keep a sensor clean, than it is to clean a dirty sensor.

Lens mount – The lens mount is what the lens attaches to, and you can line up the red/white dot on the camera body to the red/white dot on the lens, and then simply twist the lens till it clicks into position.

Lens release button – You will need to press this when you want to release a lens from the camera body, in order to change lenses. You only need to press this when taking a lens off the camera, not when putting one on.

The main parts of a camera – from the bottom:

Battery compartment – On most cameras, the battery compartment will be underneath the camera.

Tripod socket – You’ll also find the tripod socket underneath the camera, and this will be a metal, circular socket, with a metal thread (on most cameras).

Memory card slot – The memory card slot will normally be next to the battery, underneath the camera, but could also be on the side of the camera, so check your manual, or have a look around the camera to find where your memory card slot is.

Setting up your camera…

Once familiar with the main parts on your camera, with a memory card and battery installed in it, and a lens attached, you can switch it on and start taking photos.

If you have the camera’s manual, we recommend reading it for any specific things you wish to, or should know about it. If you don’t have one, you should be able to find the manual on the manufacturer’s website.

With your switched your camera on, check through a few settings to ensure you achieve the best image quality possible: here are some quick and simple things to run through:

• Image size – check you’re shooting at the highest resolution available.
• Image quality – check you’re shooting at the highest possible quality, such as Fine or Extra/Super Fine. If you want to edit photos later, then you can shoot JPEG+RAW
• White balance settings – Check your white balance settings. Leaving this on Auto will generally give you great results. If you’ve accidentally changed it or left it at a wrong setting, then this can result in colours looking wrong or odd.
• Exposure compensation – this is normally shown with a +/- bar and/or number.  Check this if your photos are looking over-exposed (too bright), or under-exposed (too dark).
• Focus settings and switches – make sure your lens and camera are set to auto-focus (AF) instead of manual-focus (MF), as these can sometimes be knocked when taking cameras out of bags.
• Memory card space – how many photos you can take will be displayed on screen. If not displayed, then you can toggle through the display with the DISP/display button – or check your memory card. To learn more about memory cards, have a look at our complete guide to memory cards.
• Battery life – again, this will be displayed on screen. There is variation between models in battery endurance, so it’s worth a regular glance at this while you get used to your camera. A most gifted photographer won’t look like one if out of power at a shoot.

How to hold your camera…

Hold the camera with two hands where possible for a better grip, and to keep it more steady in your hands. This is useful for achieving sharp shots, as any camera movement can result in blurred (or shaky) shots. You’ll feel more secure in yourself, too, to the same effect.

By holding the camera with two hands in this way, there is a firm hold on the cameras main grip, with the index finger positioned ready to take a photo. The left hand supports the lens, and can be used to adjust the lens zoom or focus if needed.

Using this method gives you two points of contact with the camera, and gives a relatively steady grip, which is great if you are using the screen on the back of the camera to compose your images.

The next step is to use the viewfinder… (if the camera has one)

Holding the camera up to your eye gives a great view of the scene you are photographing, especially if your camera has a large viewfinder. However, it also provides the benefit of having a third contact point with the camera; naturally improving stability when taking photos.

Now that you’ve got this nailed, you can get out there and start taking photos, and really learn about your camera. The more familiar you are with your camera, the easier you’ll find it to change settings when needed, and have the right settings for taking your next brilliant photo!

See other beginners’ guides here:

• Beginners guide to different camera types.
• Beginners guide to different lens types.

Find the latest Improve Your Photography articles here.

The post Beginners guide – How to use a camera and take photos appeared first on Amateur Photographer.

One of the best things about them is their relative simplicity – point and shoot and you get great pictures. To take your shots to the next level, though, there are lots of different things you can try to get more out of the cameras – some of which are somewhat hidden.

Most of these tips and tricks can be used with all of the recent iPhone models, so you don’t need to have the latest (iPhone 15 series) to take advantage of them, however we’ve marked a couple that are currently unique to the newer models.

So, read on to find out how you can unleash the power of your iPhone camera and get your best smartphone photos yet with our iPhone photography tips and tricks.

iPhone photography tip 1 – Shoot in raw format

Many of the top-end smartphones now offer you the opportunity to shoot in raw resolution. This gives you great scope for editing your shots later down the line to bring out extra detail, particularly in areas of highlight and shadow.

Apple calls its raw format “Apple ProRAW”, but it’s universal DNG format, meaning you’ll be able to open it on your computer using software such as Adobe Photoshop CC, or on your phone with editing apps such as Adobe Lightroom Mobile.

In order to see the raw option when shooting, head into the phone’s main Settings, then select Camera, then Formats. Select ProRAW & Resolution Control and you’ll now see it in the main shooting window. You can also choose a default resolution for your raw images too.

To save space, you can toggle raw format shooting on and off – you probably don’t need to use it for a quick snap of your dinner for example, but this can be a good choice for more considered shots .

It’s also worth noting in this menu that you can either shoot in “most compatible” or “high efficiency.” Most compatible will leave you with JPEG images that can be read by just about everything, while high efficiency means you’ll shoot in HEIF – this format is becoming increasingly readable, but is not yet as universal as JPEG.

iPhone photography tip 2 – Choose your resolution

With iPhone 15 series phones, the default output of images taken with the main sensor is 24 megapixels.

However, you can choose to shoot at a different resolution, depending on your needs. Firstly, you can shoot at the maximum 48 megapixels (in either JPEG or raw format) where lots of detail is desired. Alternatively, you can reduce the resolution to 12 megapixels in order to save more space on your device, too.

First, head into Settings > Camera> Formats. From here, tap “Photo Capture” and you can reduce the standard output from 24MP to 12MP if you prefer. In the same menu, you can also toggle on ProRAW & Resolution control, and also set a default for the ProRAW setting (JPEG Max (up to 48MP), ProRAW 12MP or ProRAW Max (up to 48MP).

Now, when you go back into the camera app, you should see “RAW” at the top of the screen. A single tap of this will switch raw shooting on or off, while if you hold it down you’ll be able to toggle between the different resolutions available.

Just to note – it says “up to 48MP” in the Settings menu, because if you shoot with other lenses aside from the main one, the resolution will drop to match that sensor.

For other recent iPhone series models, such as the iPhone 13 Pro and the iPhone 14 Pro, the default resolution from the main sensor is 12MP, and it can’t be increased to 24MP. With the iPhone 14 Pro, you can still shoot at the higher resolution, though – up to 48MP.

iPhone photography tip 3 – Choose a 1x lens (iPhone 15 Pro series only)

A fun new feature of the iPhone 15 Pro series is the ability to choose a different “1x” lens from the standard 24mm option.

In the main camera app, tapping the “1x” lens will take you to 1.2x (28mm equivalent) and 1.5x (35mm equivalent) very quickly. Tap again to return to the standard 1x option.

If you find you’re regularly shooting at 1.2x or 1.5x, you can opt to have this as your default option, too. Alternatively, switch off any of the two extra “lenses” that you don’t want, to enable you to jump from 1x to 1.5x for example.

Go to Settings > Camera > Main Camera, where you can toggle lenses on and off, and choose a different default if you prefer.

Note that this is only available for iPhone 15 series phones, for now at least.

iPhone 15 Pro · f/1.78 · 1/5814s · 6.86mm · ISO80

iPhone 15 Pro · f/1.78 · 1/6410s · 6.86mm · ISO80

iPhone photography tip 4 – Extend Night mode exposure time

All of the recent iPhone models have had an automatic Night mode, which should kick in when the phone detects that there isn’t much light in the scene.

It’s a shame that the Night mode can’t be selected manually but, once it works, you can take additional control for potentially even better pictures. Swipe up from the bottom of the screen and tap on the moon icon (as shown in our picture here), and you’ll be able to adjust the shutter speed from what the phone thinks is appropriate.

When using a tripod or balancing the phone on a steady surface, you’ll be able to increase the shutter speed to several seconds (the phone automatically knows when it’s stable).

iPhone photography tip 5 – Switch on macro mode

Macro mode has been a feature of iPhones for several generations now. It works by automatically detecting when you are very close to a subject and switching to the ultrawide lens.

You should notice that a small flower icon appears when you get close to a subject. If you don’t see this, make sure macro detection is switched on in the main menu (Settings > Camera > Macro Control).

At any time, you can switch off macro, too – this can be useful in some circumstances. As the phone is switching to the ultrawide lens, you lose the ability to shoot in high resolution, while the aperture of this lens is narrower than the 1x lens. If you’re doing some close-up work, but you’re not *too* close, it can be worth tapping the icon to switch back to the main camera. Try experimenting with how close you can get with that to see what works best.

iPhone photography tip 6 – Switch on Portrait detection (iPhone 15 Pro series only)

One of the new introductions of the iPhone 15 series was automatic portrait detection. This works by recognising when a portrait subject is in front of the lens (human, dog or pet) and capturing all the necessary detail required to create a “Portrait” (shallow depth of field image).

This is great when you’re using the main Photo mode and want to quickly capture a moment without having to switch to the specific shooting mode.

You will notice when a Portrait subject has been recognised by the appearance of a small “f” (to denote aperture) in the corner of the screen. Once you’ve taken the picture, you’ll be able to add or remove the Portrait stylings as you see fit.

If you don’t see the f, make sure it’s switched on in the main menu (Settings > Camera > Portraits in Photo Mode).

With iOS 17 you can also adjust the focus point for your portraits after the fact – perhaps the phone has focused on your dog’s nose, rather than its eyes for example. This is a feature that should work with any iPhone from the 13 series onwards, so you don’t need to have the latest 15 models for this part of the tip.

To try it, open a Portrait and tap Edit in the top right hand corner. Tap anywhere around the screen to change the focus point as you see fit. You can also adjust the level of blur to create a more – or less – pronounced effect too. When you’re happy, click Done to save your changes – you can revert back to the original, or remove Portrait styling altogether at any time too.

iPhone photography tip 7 – Experiment with Picture Styles

A fun way to change up the look of your photos is to shoot using different Picture Styles.

To access them, swipe up from the bottom of the main camera window and tap on an icon which looks like three squares.

From here, you can swipe to move from the default option (Standard), to Rich Contrast, Vibrant Warm, Warm, and Cool. These are all fairly subtle, but are worth experimenting with – some will suit some situations better than others.

You can also customise each Style by adjusting Tone and Warmth to get a slightly different look again. If you do that, the names of the styles will change – for example to “Vibrant Cool”. You can reset the Styles any time you like.

A couple of things to note about Picture Styles. You can’t remove them after you’ve shot a picture – so make sure they are turned off when you don’t want them – if one is activated you should see an icon at the top of the screen to allow for a quick removal (or change) of the Style. Secondly, you can’t shoot in raw format with Styles activated, but can shoot Live photos (where a short amount of video is captured with the style).

iPhone photography tip 8 – Switch on the Level and Grid

This is a feature which has been around in cameras (and other types of smartphones) for a long time and always comes in handy when trying to compose things like landscapes and architecture.

iOS 17 introduced the ability to switch on a level which you can see in your main camera window – it’ll turn yellow if you hold the camera straight.

To switch it on, go to Settings > Camera and toggle “Level” on. Although not a new feature, it can also be worth switching on the Grid too, to help your composition too (Settings > Camera > Grid).

iPhone photography tip 9 – Try different filters

If you like the idea of your photos having a different look but are put off by the permanence of Picture Styles, then take a look at Filters.

These can be accessed by swiping up from the bottom of the screen, swiping along the various options presented here, and tapping the icon that looks like three overlapping circles.

The filters are a lot more dramatic than the Styles, and include monochrome options too. You will see how your picture looks during composition too. The good thing about these is that you can remove or change the filter after you’ve taken the shot by tapping “Edit”, and, you can also shoot in raw format with filters switched on too.

iPhone photography tip 10 – Adjust aspect ratio

By default, the iPhone will shoot in 4:3 ratio, which works well for many different scenarios.

But you might not be aware that there are other aspect ratios which you can select too. To access them, swipe up from the bottom of the screen and tap the circle marked 4:3. You’ll now see options to shoot in Square (1:1) or 16:9 ratio.

Remember to change back to your preferred ratio – though if you forget, you’ll be able to access the default (4:3) ratio by tapping Edit, selecting “Crop” and then “Original” too – which is handy to know.

iPhone photography tip 11 – Preserve your settings

If you regularly shoot one particular subject, it can be quite frustrating when the settings reset every time you open up the camera app.

Happily, there’s a way around this – head to “Preserve Settings” (Settings > Camera > Preserve Settings) and you can toggle on (or off) a number of settings, including Exposure Adjustment, settings you’ve changed with Night Photo, Creative Controls and more.

Setting it to “Camera Mode” is a good one to select if you’re shooting lots of video in a day – as you won’t have to keep going back to the video mode every time you open the app.

There’s an explainer about what each setting does if you’re not sure, which comes in handy.

iPhone photography tip 12 – View outside the frame

This feature is particularly handy for street photography and similar situations.

By enabling “View Outside the Frame” (Settings > Camera > Composition) you can see on either side of the frame what’s about to come into view. This can be helpful for waiting for the opportune moment. It’ll also give you a good idea of how an image will look when shot at a wider focal length, without actually having to adjust the length, too.

The data for this setting comes from the wider camera, so it’ll work when shooting in 1x, 2x, or 3x/5x (depending on your model of iPhone), but you won’t be able to use it with the ultrawide lens, since that’s already the widest you can go.

And finally… tip 13 – Editing

Don’t forget to edit your photos if you want to make your photos POP. All you need to do is select the image you want to edit in the photos app then press edit in the top of your screen. There is a whole range of options, but if you just want a quick fix to your photo you can just press the auto button and it will edit it for you. If you want more advanced editing options have a look at our guide to the best photo editing apps for your phone.

Related reading:

• Best photo editing apps for your phone
• 10 ways smartphones can help your photography
• iPhone vs Android: Which is better for photography?
• iPhone 15 Pro Max vs iPhone 15 Pro: Do you need a 5x zoom?
• iPhone 15 Pro Max vs iPhone 14 Pro/Max: Should you upgrade to get 5x zoom?

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And when you’ve finished, don’t miss our guide on how to photograph the moon.

How to photograph stars: Timing

Shooting landscape photography that incorporates the Milky Way requires a fair amount of research and planning. First, the galactic core itself, which gives such oomph to night shots, is not visible in the Northern Hemisphere during winter. April is the first month to start planning your shoot, and September the last. The PhotoPills app will help you plan your shoot on or around the new moon; since with moonlight, the Milky Way appears washed out. The app also gives information on when astronomical twilight is over and the stars are fully visible.

For more on the best apps for photography, see our guide. 

How to photograph stars: Location

Once you have a clear night, with little wind and no moon, choosing a location is your next priority. The vast grandeur of the Milky Way requires a good foreground to anchor the final picture. There are many foregrounds that suit the Milky Way, from water to rocks, old buildings, hills, mountains and silhouetted trees. The only essential requirement is for there to be as little light pollution as possible, and you can find the best places by using sites such as Dark Site Finder.

Unfortunately, the UK does not have many light-free areas, so if there is a distant glow from a town, try to make it work for you as part of the picture. Here is your chance to do something different. Several of the spots I have worked at had never been photographed at night, so it was a joy to do something fresh and different. Think outside of the box – and that doesn’t mean another clichéd shot of a ‘person with headtorch’ shining up at the Milky Way!

How to photograph stars: Setting up

Setting up your shot when you want to photograph stars, requires thought, practice and patience. Remember, the Milky Way is in constant flux, so you want to be on-site in plenty of time to set up. The Milky Way moves from southeast to southwest over the summer months, so position your camera and tripod facing this direction. If your land feature is a rock formation, one aim is to have the diagonal of the Milky Way (rising from right to left) coming out of, or over the rock.

It’s important to think of the overall composition. Again, the Sky Guide app is useful, as the virtual view shows exactly where and when the Milky Way will rise, and most importantly when the galactic core is visible.

How to photograph stars: Focusing

Once you have an idea of your composition, there are various ways to focus when you want to photograph stars. I have found using live view with a torch, or having a friend aim their torch onto the foreground, both work pretty well. Some Astro shooters swear by focusing on the stars, but infinity on wide lenses such as the Samyang 14mm f/2.8 or the Sigma 14mm f/1.8 is pretty close, so anything focused over two to three metres away is sharp all the way to the stars themselves.

Check out our guide on how to focus manually.

It’s worth noting that the rising Milky Way looks pretty dull and nothing like most published astro shots. Start with a tungsten white balance, as this can be warmed up later if needed.

How to photograph stars: Post-processing

Our eyes are not good at night vision and the raw file is just the start of a processing journey. With a good raw image, bring up shadows and blacks (unless you want a silhouette). Use an adjustment brush on the stars to bring up exposure, clarity and contrast to taste. There is much more detail in the raw, and I like to think of a good astro photograph as showing an owl’s eye view. There is nothing wrong with adding punch to your picture but don’t overdo it. A mask sharpen filter in Photoshop can help ping out the stars, and if necessary, run Nik Define to reduce noise. The result should portray the glorious potential of the sky.

Once you have mastered the basics, then it’s time to take it up a notch. With a geared or panoramic head, try for a Milky Way panorama.

One of my best Milky Way shots was when I went out for Aurora (no-show in Shropshire!). I thought I’d might as well set up for astro and as I did, the full moon rose in the east. Ignoring all that I had learnt, I continued shooting and one photo came out perfectly, with foreground rocks on the Stiperstones, the full-moon light turning the valleys strange and ethereal, and the Milky Way leading up and vanishing into the high clouds. Learn the rules, then try for something new.

10 simple Steps for the Best Camera Setup for Astrophotography

1. A full-frame camera that can cope with high ISOs is recommended for this type of work. Often you are dealing with a fair amount of dynamic range.
2. Raw all the way! Shooting in raw gives you so much more control over processing your final file, to recover shadow detail and dial down bright starry highlights if needed.
3. Use the 500 rule to avoid trailing stars. This is 500 divided by the 35mm equivalent focal length. So, 500/14 for the Samyang equals 35 seconds. In practice, I try to shoot shorter – around 25 seconds.
4. Shoot in manual or bulb mode. If using a 14mm f/2.8, start with ISO 3200, 25 seconds, f/2.8 and alter ISO to suit.
5. Use live view as it causes less vibration when the shutter opens and closes.
6. Your head torch can now help you focus on the foreground you have picked. Use live view to focus, then turn off AF. The Sigma 14mm f/1.8 is sharp to infinity beyond about three metres, even wide open.
7. Because of the shape of the Milky Way, it is often better to set it up in portrait mode, with the Milky Way as a diagonal lead-in line.
8. It’s important not to touch the camera at all, so use a remote cable to get the sharpest image possible.
9. Take lots of test shots, and adjust settings and position accordingly to make sure your horizon is straight.
10. Don’t worry if the image on the back of your camera looks slightly dull. The raw file is only step one on the journey to bringing the stars to life.

Kit list for photographing stars and the Milky Way

Tripod

A strong, lightweight tripod is essential for the long exposures needed to capture stars, as well as a geared head for precise adjustments to frame both foreground and sky. I use the Manfrotto 055 Carbon Fibre with the Xpro Geared Head.

Fast wide-angle lens

The superb new Sigma 14mm f/1.8 has completely changed my shooting, enabling me to go wide open with a lower ISO. The Samyang 14mm f/2.8 is a fantastic budget lens which is surprisingly sharp.

Check out our guides to the best Canon EF lenses, best Nikon F-mount lenses, Best Sony E-mount lenses and best Micro Four Thirds lenses.

Sky Guide and any weather app

The right weather is crucial to a good night shoot. Checking weather updates right up until heading out is essential. A clear night with no moon is best for the Milky Way and stars. Sky Guide has a superb overlay to check out where the Milky Way is, in order to frame your shot.

Andrew Fusek Peters is a conservation photographer and nature writer. He is currently on commission for the National Trust and Natural England on Shropshire’s uplands. His books include Wilderland, Upland and the National Trust guidebook for the Long Mynd. www.fusekphotos.com.

Further reading

• The best cameras for astrophotography
• A guide to night landscape photography
• Get better night shot cities
• Essential guide to astrophotography
• Milky way photographer of the year

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The post The night sky: How to photograph stars and the Milky Way appeared first on Amateur Photographer.

Whether you are into landscapes, still-life, and macro photography, tripods are useful. They force you to slow down, making it easier to make fractional adjustments to compositions and settings. These invariably result in a more considered approach and, consequently, better results. We rounded up some tripod advice from professional photographers just for you. 

Featured image: Storm approaches Enys Dodnan Arch, the Armed Knight Rock, and Longg Ships lighthouse at Land’s End, Cornwall, UK. September 2016. Ross Hoddinott.

Specialist tripod heads

Ball and three-way heads are perfect for smaller budgets and a variety of subjects. However, if you specialise in landscapes or architecture and need absolute precision, invest in a geared head, and if you’re passionate about wildlife and need to pan and tilt while keeping your camera level, a gimbal head (pictured)will transform the way you shoot.

Tripod plates

While most manufacturers produce their own tripod plates, the Arca-Swiss is a universal quick-release plate compatible with most tripods. And as plates are always the first tripod accessory to go missing – who hasn’t left theirs attached to the bottom of a camera? – it’s wise to invest in a few spares so you don’t get caught short

For tips on how to choose a tripod, have a look at our complete guide to tripods. 

Pro tripod advice from Ross Hoddinott

Creating a stitched panoramic

The misty conditions were irresistible on this particular morning. With such a wide and impressive vista to capture, I didn’t want to be confined to my camera’s standard aspect ratio. The scene suited a letterbox format, so I decided to create a stitched panoramic. It is best to do this in vertical format to create less distortion and capture more information. A tripod is key for this technique. It is essential to get the legs completely level, so ideally I would use a tripod that has a built-in spirit level – a dedicated levelling base is better still. In this instance, I carefully adjusted my tripod legs, peering down at the spirit level on the top plate of my Gitzo Systematic until the bubble was perfectly central.

Once the legs are level, use the virtual horizon on your camera (or a hot-shoe-mounted spirit level) to level your camera. Now, when you pan your camera, it should remain perfectly level. You are ready to capture your sequence. It is important to ensure exposure and white balance remain constant frame to frame, so I recommend you shoot in manual exposure mode and select one of your camera’s WB presets or a custom WB. It is also best to avoid using a polariser, as the level of polarisation will alter as you move the camera. Pan the camera between each shot, allowing an overlap of around 30% from one shot to the next. Allow extra space top and bottom of the composition for cropping.

Shooting low-light landscapes

Typically, the best time of day to capture moody landscape images is at dawn and dusk, when skies can be full of drama. The blue hour, prior to the sun rising and following sunset, is one of my favourite times of day and can provide magical conditions, but light levels are low. If you are shooting a coastal scene such as this one, you will typically want to select a smallish aperture – in the region of f/11 or f/14 – to provide front-to-back sharpness. As a result, shutter speeds will be lengthy and a tripod will therefore be essential. When using a tripod, remember to switch off Auto ISO to prevent the camera from trying to compensate for the lack of light by selecting a high but noisy ISO speed.

A tripod is not only essential to ensure shake-free images in low light, but it allows you to use corrective and creative filters. For example, in this instance, I needed to use a graduated ND filter to reduce the contrast between the bright sky and darker landscape, but the camera needs to be in a fixed position to align the grad precisely with the horizon. A tripod also allows photographers to use solid ND filters to generate artificially long exposures of several seconds (or even minutes) to creatively blur subject motion.

Using a tripod for wildlife photography

A long lens in the region of 400mm or 500mm is often essential if you wish to capture frame-filling shots of wildlife. However, telephotos are typically long, heavy and unwieldy. To ensure stability and comfort, particularly if working from a hide, a tripod is a must-have support and it was essential when I captured this shot. A gimbal head is a good choice when using longer lenses, as they are designed to balance your camera and lens and provide fluid and seemingly weightless movement compared to a standard head.

A low, ground-level viewpoint can produce very natural and intimate images of nature. Opt for a tripod design that allows you to splay legs wide and work close at a low level. Tripods with a short centre column, or a centre column that can be positioned horizontally, are a good choice. If you want to shoot from ground level, it may be best to swap your tripod for a beanbag to support and cushion your telephoto instead.

Using a tripod for still-life photography

When I took this image, I carefully arranged the sweets, creating a little tower of love hearts. To highlight the top sweet against a diffused backdrop of colour, I opted for a large aperture of f/5. When using a large aperture at a high magnification, the depth of field is wafer-thin so focusing has to be pinpoint-precise. But, thanks to using a tripod, I could activate live view and then use the zoom button to magnify my point of focus for ultimate focus accuracy.

When shooting still-life shots in a studio, or maybe your dining room table, take time to construct and refine your composition. I favour using natural light whenever possible, and a low ISO to generate the best image quality. However, shutter speeds are often slow as a result. Using a tripod gives me the stability I need. And to ensure I don’t create any small movement by physically depressing the shutter button, I always use a remote device or my camera’s self-timer.

Ross’s pro insight

I’m a long-term Gitzo and Manfrotto user and their head and support have always met my demands. I mostly use Gitzo Systematic legs. These are designed without a centre column, allowing me to quickly shoot at a low-level perspective when shooting close-ups of flowers and insects. It is sturdy, reliable and – thanks to its carbon construction – doesn’t weigh a ton. Even when shooting the coast in wild weather or long exposures in low light, it remains steady.

I’ve long favoured a geared head for my photography, using Manfrotto 405 and 410 heads. Geared heads allow you to make micro-adjustments to your composition without needing to release and tighten levers or knobs. The precision this head allows is great for macro photography, but it is great for landscapes too. If I need to travel light, I will swap to a Gitzo Traveler or Manfrotto Befree GT XPro.

Your guide: Ross Hoddinott – Ross is one of the UK’s best-known landscape and nature photographers. Based in north Cornwall, Ross is a multi-award-winning photographer and a Manfrotto Ambassador. See his website for more.

Pro tripod advice from Verity Milligan

Using a tripod for architectural photography

Tripods are essential for the type of architectural photography that I undertake. Often, I am shooting at either end of the day when I’m capturing outdoor scenes and therefore I’m working with little light. This advice applies even more when capturing architecture indoors at any time of the day. For this image, taken in the old postal tunnels under the Mailbox in Birmingham, there was only minimal lighting and it would have been impossible to get this image without the use of a sturdy tripod.

Interior architectural photography is a different medium from outdoor architectural endeavours. When capturing images in an indoor space, it’s not always about shooting wide-angle, but more about a sense of place and detail. For this shot, I wanted to capture the curve of the tunnel and so I used a 70-200mm lens. The lens was mounted onto my tripod using the tripod collar rather than the camera to ensure maximum stability.

HDR – High Dynamic Range

North Norway in winter is a changeable place. There are only a few hours of light, but the sun remains low in the sky and feels like a perpetual sunrise/sunset. A tripod is essential because you’re always working with low light and therefore a slow shutter speed. Using a wide-angle lens I positioned the tripod and camera at a high angle to ensure I could capture both the foreground and mountains.

There are only certain times I use HDR as a photographic technique, and it’s usually when I’m pushing the dynamic range of my camera to the maximum, the conditions are changing fast, and I need to ensure I retain as much detail as possible. I take three images: normal exposure, 1 stop down and 1 stop up. This usually gives me enough information to combine the images together in Lightroom. I make sure that my focal point is positioned around two-thirds into the frame so I get an even exposure as a base image, allowing the camera to compensate up and down a stop for the other two captures.

When you’re taking several images at various exposures it’s important that those images align when you’re post-processing. If there’s any movement this can create ghosting and misalignment, which can ruin the photo.

Verity’s Pro Insight

I use a Gitzo Mountaineer Series 2 with a Gitzo Series 3 quick-release centre ball head. I’ve used many tripods in the past and always compromised on cost, which ended up with me feeling frustrated when the results were less than desirable.

I’ve rarely had that issue with the Gitzo: it’s sturdy, portable and resilient. It has been up mountains and in the sea and has been worth every penny. The ball head allows me to quickly move from landscape to portrait orientation with minimal fuss, which is exactly what I need when I’m in the field.

Your guide: Verity Milligan – Verity is a professional urban/landscape photographer based in Birmingham. She has worked on campaigns for international organisations, leads workshops for Light & Land and is an ambassador for Zeiss and Lee Filters. She’s happiest when outdoors at dawn. See her website for more.

Pro tripod advice from Tim Cornbill

Using a tripod to capture traffic trails

Start by thinking about a location – a first port of call may be somewhere high up. Traffic trails work best when you can see them laid out in front of you, rather than standing by the side of the road. This could be a bridge looking over a busy motorway or even a car park in a city centre. Compose the shot so the traffic disappears into the distance so you get the Star Wars-esque ‘travelling into hyperspace’ feel.

Depending on how busy the roads are you will have to set your exposure time to ensure you get the full shape of the road in the shot. Be wary that if you set the exposure time too long you can end up with a block of light, rather than pin-stripe lights, which can ruin the desired effect. If you’re looking at slow-moving traffic, think about using an aperture of f/16 or above, which will help to extend the exposure time in order to get the full trail in while also creating starburst effects from any static light sources. Try this with different lenses and you’ll see that the stars will have more spikes dependent on how many elements are within the lens.

More on painting with light.

Using a tripod for astrophotography

In order to capture any detail in the night sky you’ll naturally be looking at long exposure times. Dependent on the focal length of the lens, there is a simple ‘rule of 500’, meaning you divide 500 by the focal length of the lens in order to determine the maximum exposure before stars will start to trail due to the rotation of the Earth. For example, if you are using a 16mm wide-angle lens to capture the Milky Way, your maximum length of exposure will be 31.25 seconds (500 divided by 16).

To work with long exposures, you should consider using an equatorial mount, which attaches to the top of a tripod. You will have to align the mount with Polaris (the North Star), and depending on the accuracy of the alignment, you can then extend your exposure times beyond what is determined by the 500 rule.

Focusing in the dark is tricky as you’ll be reliant on manual focus. If you leave autofocus on, the lens will endlessly zoom in and out trying to find a light source, which generally won’t be bright enough for it to detect. The only sources you may be able to autofocus on will be the moon and the brighter planets. To manual focus, move the focus point to the infinity marker, shoot a long exposure and review the image. Zoom in on the stars and check whether they are sharp, and if not give a slight tweak to the focus and try again.

This trial-and-error method may be laborious, but it will save you a huge amount of disappointment when you load your images up on the big screen and can see immediately that they are out of focus. Beware also that the focus may slip on certain lenses, either by a small touch, or by the weight of the focus ring, so it is always best to keep checking.

Tim’s Pro Insight

I started with a Manfrotto Befree tripod (which I still use), but this doesn’t hold up with larger bodies and lenses, so I invested in a Manfrotto XPro 90 Carbon, which didn’t weigh a huge amount more than the Befree, although it is a little longer to carry around. I couple it with a ball head to give me a fast method of composing my shot when I couple the camera to the mount, and the flexibility to track subjects when loosed off. It’s been a reliable companion for me over the past five or so years.

For my more technical astrophotography work, I couple the tripod base with the Sky-Watcher Star Adventurer, which is an entry-level portable equatorial mount for my camera. When aligned correctly it gives great accuracy for tracking the rotation of the Earth, so you can get away with even longer exposures of the night sky.

Your guide: Tim Cornbill – Tim is a multi-award-winning photographer based in Birmingham. He is the author of Urban Photography and was the winner of the Sony World Photography Award for Architecture in 2017. Visit his website for more.

Further reading

• Best tripod to buy
• The ultimate guide to tripods

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