Smartphone photos inspiration: Books

Books on smartphone photography are (almost) ten a penny, but Jo Bradford is internationally recognised as an authority on the subject. Jo’s first book, Smart Phone, Smart Photography, was published in 2018, and since then she’s become a regular fixture on the camera club circuit, as well as running workshops for the RPS and appearing on the judging panels of several prestigious competitions.

‘Smart Phone, Smart Photography’ was the first book about smartphone photography to top the digital photography best-selling book lists on Waterstones and Amazon,’ Jo notes with justifiable pride. ‘When I wrote that book I was not convinced that anyone would buy a book about phone photography – but it remained a best seller for four years!’

Jo’s latest book, Smart Photos: 52 Ideas to Take Your Smartphone Photography to the Next Level, is full of intriguing and original ideas for smartphone photos beyond the obvious. From panning to pinhole, any remaining smartphone photography sceptics may just be converted. We caught up with Jo to get some expert advice for better smartphone photography, including handset choice, and editing.

‘Every year more people embrace smartphones, but the biggest change I’ve seen since my first book is the rise of algorithms and computational photography,’ Jo observes. ‘As well as powerful image processing, the latest iPhones and Android phones have very effective night modes, for example. The algorithms are using the image data in a much more intelligent way. The hardware is coming on in leaps and bounds, too, and we’re seeing a lot of handsets with three, even five, cameras on the back.’

A painterly scene was created by panning handheld with a slow shutter app on an iPhone 11 Pro Max. Widemouth Bay, Bude, Cornwall. Image: Jo Bradford

It starts with solving problems

Jo wrote the new book to show just how creative smartphones can be, pushing the boundaries of how they are mostly used – typically for selfies, street candids and conventional landscapes. ‘I still shoot with analogue and digital cameras, but I find myself reaching for my phone more and more in my professional work,’ she explains.

‘I wanted to show just how powerful smartphones can be when combined with creative thinking and a bit of know-how. So, I started to look at more complex images that people make with conventional cameras, such as image stacking and panning, and explore how you can do it on a phone. The fun is in the creativity – trying to do something different and problem-solving.’

People with very different skill levels can still get good images from smartphones, which is a big part of their appeal for Jo. ‘Most of the time even total beginners will get a shot with a phone, but beyond that, there are lots of ways to get more- sophisticated results – for instance, by using advanced apps, using the phone cameras in manual mode to control exposure, and so on.’

Are the best smartphone photos shot in RAW?

With algorithms now so advanced, often producing perfectly exposed images straight from the phone, is there still much point bypassing them and shooting in raw? ‘I do shoot in raw but save out the images as a TIFF rather than a JPEG,’ Jo explains. ‘The apps I use – Moment, Halide or Camera Pro – enable me to do this.

Everything I produce will either be printed or exhibited, which is why I prefer TIFF. As you say, when you shoot raw on your phone it enables lots of flexibility at the editing stage, but it does override the often excellent JPEG algorithms that makers have spent a lot of money developing.

Shot in a studio using an iPhone 11 Pro Max, with lighting provided by two torches covered in coloured cellophane recycled from sweet wrappers. Image: Jo Bradford

‘You can get great quality in your photos without needing to shoot raw, however. If you stack images when shooting in low light, using an app like Slow Shutter Cam, can be a great way to reduce noise. As the noise is randomly generated in each image, when the app stacks them, the noise is automatically removed.

You can end up being able to print really big – I go on stage at The Photography Show and invite people to come and ‘pixel peep’ at my prints. Even with photos taken on an older iPhone, there is hardly any image degradation. So don’t feel compelled to shoot raw, but it’s well worth trying – there’s a raw-editing tool in Snapseed too, which automatically opens when it recognises the file.’

Editing smartphone photos and Instagram

This writer is guilty of sticking with a very small toolbox of editing apps, mainly VSCO and Snapseed, and I’m not alone. Jo encourages people to be more adventurous. ‘Snapseed is amazing, I wrote a whole book about it, but there are lots of other, more specialised apps out there. Snapseed has a very basic retouching function, for example, so you can use TouchRetouch for better results – or you can try SKRWT for fine-tuning leaning-in lines and perspective.

I’m also a big fan of editing on my tablet, which gives you more room to edit. VSCO’s film simulations are great too, particularly with black & white; though you often have to dial the filter effects down a bit. Slow Shutter Cam for iPhone is also fantastic for long exposures and image stacking.’

Slow shutter apps, or Live mode, are great for capturing more of the light display at fireworks shows. Using this method you can capture the vertical light that precedes the main burst of colour, too. Shot on an iPhone 13 Pro Max. Image: Jo Bradford

Instagram is the default sharing platform for many smartphone photographers, and Jo has some interesting observations on how it tends to be used. ‘A lot of Instagram users become obsessed with gaining likes and followers, so you start to see a lot of similar kinds of pictures on there.

As creative photographers, we should be innovative and find our own voice, not just emulate other stuff on Instagram – the standard filters can render a lot of images to look alike, too. People want results quickly, however, and don’t always want to put in the time. This is what separates serious smartphone photographers from snappers and hobbyists.’

Read more on how to use social media as a photographer here.

Smartphone Photos – The optical issue

When it comes to future technological developments for smartphones, Jo is keen for more options to control depth of field optically, rather than digitally. ‘I’d really like to see a wider range of better-quality lenses for smartphones. It’ll be interesting to see where we are in five years – whether the makers are still trying to solve everything through algorithms, or go back to finding an optical solution.

Image stabilisation and low-light handling are getting better too (see the new Night mode on iPhones). Again though, it’s doing the same thing, shooting lots of photos in quick succession and putting them all together. It’s the optical side that still lets smartphones down.’

Though clip-on lenses seemed to be dying out, Jo reckons they are growing again in popularity, especially the better-quality ones. ‘I find the lenses from Moment in particular are great. They are not easy to get hold of in the UK and are relatively expensive, but they feature beautiful glass and very low aberration. With the Moments macro and wide angle lenses, you don’t get that overprocessed look you sometimes end up with when the algorithms try to emulate optical lens effects.’

Evangelist yes, zealot no

Jo gives lots of talks and lectures and enjoys challenging traditionalists who still don’t believe phones are up to the job of creative photography. ‘Yes, there are still areas that phones need to improve on, such as astrophotography and underwater shots. For the book, I got Rob Layton to share his techniques for underwater, for example, as he has more specialised knowledge, so I wanted to share his wisdom.

But a lot of anti-phone people end up being my biggest converts when they see what can be achieved. A lot of older photographers aren’t keen on lugging around heavy conventional cameras and lots of lenses, either, which is where phones really come in. It’s almost as if they want “permission” to use smartphones.’

To conclude, it shouldn’t be assumed that Jo is some kind of anti-camera zealot. ‘I love my conventional cameras – mirrorless, DSLRs, and my old film equipment. I’m a big fan of printing my own analogue/film photography in my colour darkroom, and I exhibit and sell analogue fine-art photography in galleries around the world.

As for lenses, for now, nothing beats a big, beautiful piece of hand-ground glass. I would hate to see phones cause the death of all this. For certain genres, such as street photography, I believe smartphones are the best choice, but for a portrait in a studio, you would still be better off with a “proper” camera and lighting rig. It’s about choosing the right tool for the job.’

Creative ideas for your smartphone photos

Fun with freelensing

Ferns photographed with the Samsung Galaxy S21’s camera’s telephoto lens selected. A small detachable smartphone macro lens was held in front of the camera to give a shallow depth of field, thereby creating a pleasing background blur. Image: Jo Bradford

‘I really enjoy freelensing, which is a great way to play with any of your old lenses – a standard 50mm prime lens, for example,’ says Jo. ‘You need a tripod to hold the phone while you experiment with the camera and lens combinations.’

How to do freelensing:

1. Select a phone camera lens – the standard and telephoto lenses on your smartphone work best for freelensing. You are simply handholding the lens near the camera, and trying to look through the extra lens.
2. Position your external lens in front of the phone camera and compose your image. Practise finding focus and lining the lens up so that you can’t see the black edges of the lens housing in your frame.
3. No tripod? Not a problem. You can also attach one end of the lens to the top of your smartphone with a piece of tape. This will hold it roughly in the right place so that you can move the lens up and down and left and right without losing it. Experiment with various different lens combinations until you get the results that you are happy with.

Rembrandt lighting

Shot in a studio with an iPhone 13 Pro Max and a Badger Beam light, with a barn-door light modifier from Interfit. Image: Jo Bradford

In this technique, named after the Dutch Old Master, a subject’s face is half-lit, with a triangle of light appearing on the shadowed side of the face. ‘It’s easy to achieve with your phone and a few household props,’ says Jo. ‘The base of the triangle should sit across the top of the eye, extending along the side of the nose on one side and the cheekbone on the other, with the point sitting roughly on the edge of the lip.’

How to get the Rembrandt look:

1. Set up your backdrop. It needs to be non-distracting and absorb rather than reflect light. Use a dark grey studio backdrop roll or a large piece of dark fabric or board. For a textured, classical look, paint the board in a dark shade or hue with visible brushstrokes.
2. In a darkened room, place the light high on one side of the subject’s face and bring the light forward until the triangle appears. Adjust the light until the triangle is in the right position on the subject’s face.
3. Use the telephoto lens on your camera. Drag the exposure down to darken the image, creating a silhouette. You’ll find the exposure function on your smartphone when you tap to focus.

Top tips for making your smartphone photos stand out

Jo’s advice for smartphone photography:

Handset choice

iPhone back camera lens

‘My favourite handset is still the iPhone – I use the iPhone 13 Pro Max. Huawei phones are great for zooming and there are some really good Android phones, but iPhone images don’t look so overprocessed by the algorithms.’

The power of touch

‘When doing talks I ask how many people touch the screen to focus or set exposure, and few do. This is really important as you are taking creative control. You need to get beyond the point-and-shoot mentality with smartphones.’

After party

Image: Jo Bradford

‘Image capture is just one element. How will you craft the image afterwards? I stack photos, print them, make collages, throw paint at them, and experiment with household props. Don’t be afraid to play with your smartphone photos.’

Make the grade

Image: Jo Bradford

‘It’s actually really easy to do your own colour grading, which really makes your images stand out. I’ve shown people how to get the Edward Weston look, for example, rather than just relying on the standard Instagram filters and getting the same old look.’

Third-party lighting

Interfit Badger beam

‘Interfit’s Badger Beam, a versatile LED video and photo light (priced at $219/£199), is a good entry-level lighting set-up – it also has some great accessories such as colour gels. I also experiment with making my own coloured lights using sweet wrappers and a small torch.’

Instagram

Image: Jo Bradford

‘Don’t just ape what’s trending on Instagram – think about developing your own photographic style.’

More tips from Callum McInerney-Riley:

Use the grid for composition

Without a viewfinder, it can be difficult to compose your shots and get everything evenly within the frame. Turning on gridlines in your camera app settings can help you with composition and ensure you don’t have to crop too much in post-production.

Use your main camera and try manual camera mode

Many of the latest smartphones have an array of cameras with different uses. While the telephoto lens might get you closer to the action, it usually relies on an inferior sensor or lens to your main camera. Stick to the main unit for the best results.

Many smartphones allow you to shoot with manual controls. Often, it’s called something like ‘Pro’ mode when you launch your smartphone’s default camera app. If you don’t have this, you can always use a third-party app such as Adobe Lightroom Mobile or ProShot, which is available on both IOS and Android. Using manual mode will give you more control in comparison to the automatic modes.

I always try and work a bit of colour science into my edits. This orange and blue edit works so well together and brings back great memories of Ibiza. Image: Callum McInerney-Riley

Use spot metering

For speed, use spot metering, touching the interesting area you want to expose for – tapping areas of bright sky or shadowy foreground elements will ensure your exposure is good. You can adjust the rest of the image in post-production but you can’t get back picture information in a blown-out sky.

Edit creatively

Your style is subjective and you can do what you like with the image once you have captured it. However, adjusting highlights, shadows, exposure and manipulating colours, sharpening, contrast and tonality will all make your image pop. Be playful with editing and find a look you really like.

There are a variety of apps available but generally, I prefer Adobe Lightroom Mobile. I like the way it syncs to Lightroom CC on my laptop and I can view my images on a big screen and tweak them before I share them. Snapseed and Adobe Photoshop mobile are also fantastic and will work just as well. Editing will allow you to make the most of golden sunlight, bring out detail in the skies, enhance the colours and be creative. For more options, take a look at our list of the best photo editing apps for your phone.

Using the Xperia 5 II’s Pro Camera App, I was able to shoot with a slow shutter speed and keep the ISO low. That’s given me maximum dynamic range and a good-quality raw file for editing this final image. Image: Callum McInerney-Riley

Look for light

You can have the most technical know-how and the best kit in the world… but if your scene is boring and the light is ‘bad,’ your image will be uninspiring. First light or even before is great for travel photography as places are usually less crowded and the light is usually good.

For more insight read our complete guide to outdoor light in photography and tips on how to get great shots in strong summer light.

The late evening has great potential too. Find good light, take great images – it’s a very basic tenet of photography but without it, your shots are going to be dull.

The best apps for smartphone photography

Jo has tried a very wide choice of apps, but these are her current favourites for shooting and editing, covering iPhone, iPad and Android platforms.

Best apps for shooting smartphone photos:

• Pro Camera by Cocologics (iOS): Very reliable and offers manual functions. Price $12.99/£12.99
• Halide Mark II – Pro Camera (iOS): An App Store Editor’s Choice, this is an award-winning powerful camera app that costs $2.99 monthly, $11.99 yearly or $59.99 as a one-time purchase.
• Slow Shutter Cam (iOS): My go-to app for making long exposures and light trails. I also like using the clever stacking function to deal with low-light shooting and related noise issues. It costs $2.79.
• FOCOS (iOS and Android): A clever app for shooting and editing that lets you mimic a wide array of lens effects and depth of field. Experiment with the aperture shapes over light to create beautiful bokeh. Monthly subscription $3.99, yearly $7.99, lifetime unlimited access $12.99
• Pro Camera by Moment (iOS and Android): Another app for manual controls and long exposures, with quick access to the settings and many features of a DSLR. Priced at $6.99, pro bundle $4.99, slow shutter $3.99

Best apps for editing smartphone photos:

• Snapseed (iOS and Android): A great all-rounder for basic editing, with advanced features like double exposures. Free.
• SKRWT (iOS and Android): A great app for adjusting issues with lens distortions and converging verticals, enabling you to edit with more precision. Cost £1.99.
• TouchRetouch (iOS and Android): A superb app for removing unwanted bits in your photos, leaving you with a cleaner look! £1.25 a month, £14.99.
• LD Photo Editor (iOS and Android): Enhance your photos with beautiful light and elegant overlays.
• VSCO (iOS and Android): This is an editing app and photo-sharing platform, which combines beautiful presets and premium-quality filters such as classic film styles. Annually $29.99.
• Affinity Photo (iPad): This feels like a fully fledged desktop editing tool, but with the freedom to go anywhere. One-off purchase price is £19.99.

See more smartphone photography apps here.

Take a look at our best budget phones for photography guide for more budget-friendly phone options.

Your guides:

Jo Bradford

Jo is a widely published photographer who runs workshops and courses on photography and editing. She also lectures at Falmouth University. See www.greenislandstudios.co.uk and Instagram: @greenislandstudios

Smart Photos – book by Jo Bradford

Smart Photos: 52 Ideas to Take Your Smartphone Photography to the Next Level is published by White Lion. It’s available from a wide range of booksellers – visit www.quarto.com

Callum McInerney-Riley

A keen photographer for over 15 years, Callum McInerney-Riley is a former Technical Writer on Amateur Photographer. He now runs a company that creates photography and video content for a host of large brands. See his website here.

Found this article helpful? Why not also check out our street, portrait, black & white, and macro smartphone photography guides?

Want the chance to be featured here on our website and across our social media? All you have to do is share your photographs taken on a smartphone on social media tagging #APSmartphonePicoftheWeek. You can also send in photographs to ap.ed@kelsey.co.uk with “Smartphone Pic of the Week” in the subject line.

Related articles:

• Smartphone vs Digital Camera – which one is better?
• How to take great macro photos on a smartphone 
• Best camera phone tripods and mounts
• How to edit photos with Snapseed

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The post How to take the best smartphone photos appeared first on Amateur Photographer.

And when you’re 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 planning and research. First, although it’s visible all year, 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. 

The PhotoPills app is great for the planning process

How to photograph stars: Location

Once you have a clear night, with little wind and no moon, choosing a location is your next priority. What the vast grandeur of the Milky Way requires is 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 out of the box – and that doesn’t mean another clichéd shot of a ‘person with headtorch’ shining up at the Milky Way!

The DarkSiteFinder light pollution map will help you find a location with the least amount of light.

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 not static, so you need to be on-site in plenty of time to set up. The Milky Way moves from southeast to southwest over the summer months, so you need to 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 the rock 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.

Milky Way over Cranberry Rock at The Striperstones, Shropshire, with the full moon lighting the valley. Canon EOS 5D mark IV, Sigma 14mm f/1.8 DG HSM I Art, 20 seconds at f/1.8, ISO 2000. Image credit: Andrew Fusek Peters

How to photograph stars: Post-processing

Our eyes are not good at night vision and the raw file is just the start of the 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 show what the glory of the sky can offer. 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 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 go 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.

Vertical panorama of Milky Way at Clee Hill radar station. Canon EOS 5D Mark IV, Sigma 14mm f/1.8 DG HSM I Art, 20 seconds at f/1.8, ISO 3200. Image credit: Andrew Fusek Peters

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.

Tesni Ward on photographing birds with the OM-1

Tesni Ward using the OM System OM-1

Using the OM System OM-1 which is almost always fitted with the M. Zuiko Digital ED 150-400mm f/4.5 PRO zoom, Tesni likes that you can customise the camera for your own shooting needs. With the OM-1 (now with firmware v1.5), Tesni has noticed faster, and more responsive autofocus (AF), as well as notably improved bird tracking, which finds and locks on to the bird’s eye.

Tesni also found the blackout-free shooting, at up to 50fps with C-AF, extremely useful for tracking moving subjects. This shooting rate is with full-size Raws too. The viewfinder is also significantly improved, giving a great view, and the improved weather sealing is of particular benefit when shooting in extreme conditions. The camera is also easy to use when wearing gloves.

Tesni has spent a lot of time watching and studying birds, and says the best way to see them is in the real world, so you can see and hear them, and learn their behaviour. This will help you know when something (like flight, flapping, etc) is coming so you’re ready to take the shot.

Top settings to use when shooting wildlife with the OM-1:

• Set up a custom mode for specific shooting scenarios e.g. birds
• Customise buttons to give quicker access to the AF modes needed
• Customise the burst rate to suit you, and make sure you know your camera before shooting
• Ensure the shutter speed is right for the type of shooting, and use burst mode so you’re ready to shoot whatever happens
• Blackout-free 50fps C-AF is amazing for tracking animals in the frame
• Olympus / OMDS cameras are very customisable, which is great, but can be confusing if you don’t know the camera, and it’s worth working out before shooting

OM System OM-1, 150-450mm at 207mm (TC off), 1/800s, ISO 3200, f/6.3. Image credit: Tesni Ward

Top tips for shooting birds and wildlife:

• Look for background colour, and avoid distractions such as brightly lit tree trunks and reeds
• Be prepared for bad weather, look for areas where you can get better colour adding interest into the background
• Watch the weather, as blue skies and bright sun can be too harsh and make photography difficult
• Knowing your subject helps, so you can prepare for when they are about to fly, flap, or duck under water
• You can always crop in post but can’t un-crop if you’ve used too much zoom

OM System OM-1, 150-450mm at 400mm (TC off), 1/1250s, ISO 500, f/4.5. Image credit: Tesni Ward

Join Tesni Ward on an AP Zoom Tours event

Tesni Ward is running a number of different photo holiday tours with Amateur Photographer and Zoom Photo Tours, and you can get great advice from Tesni, as well as the opportunity to shoot several different birds and wildlife.

Joshua Waller photographing wildlife with the OM System OM-1

The vari-angle touch-screen makes it easier to shoot at low-angles

Using the OM System OM-1 for bird photography was particularly easy, once the camera’s Bird Detection AF was correctly setup. This was activated using the camera’s menu, but quicker access to this setting is possible by customising the camera’s function buttons.

The camera can shoot at extremely rapid speeds, and in some cases may be too quick, for example, I personally don’t need to shoot hundreds of Raw files at 120fps, so opted for a slower continuous shooting speed. If you do want to shoot at 120fps, then Pro Capture can help here as it can shoot images before you’ve even pressed the shutter release button. To fine-tune drive settings, in the menu, go to the green Camera 1 icon and scroll to page 7 entitled Drive Mode. Under ‘Sequential Shooting Settings’ you can configure frame rates in the various drive modes as well as limit the number of frames you get in a burst.

Shooting so many frames so quickly means you need to load up with the fastest SD cards you can afford to keep buffering to a minimum. The current fastest SD cards have quoted write speeds of around 250MB/s although in practice you might not get such performance. However, even with fast cards you need to manage your buffer, so don’t overshoot or you might miss a great image because your long sequence of shots is still writing to card.

The camera has an AI (Artificial Intelligence) autofocus system that can detect different subjects including airplanes, animals, motor vehicles, trains as well as birds. There’s also face and eye detection. This combined with the Quad-pixel AF system, with 1053 AF points covering the sensor, makes for an extremely fast AF system, that can work at speeds up to 50fps in SH2 mode with continuous AF tracking – with specific Olympus PRO lenses.

AF settings for subject detection on the OM-1

How to customise and setup Bird Detection AF on the OM-1

• In the Menus – you can find the settings in the AF section, or you can also add “Subject Detection” to the MyMenu section for quicker access
• You can setup a custom button so that you can quickly change the subject detection, by pressing the button and scrolling through the options using a command wheel
• Check your continuous shooting mode, you’ll need SH2 which enables continuous AF and metering, and not SH1 (super high-speed) – SH1 sets AF to fixed / single-AF, rather than continuous. SH2 gives up to 50fps with specific PRO lenses.
• Check your AF setting is set to C-AF + Tracking
• You’ll be able to see the tracking appear in real-time on the screen when the camera detects the subject

OM System OM-1, 40-150mm f/2.8 with 1.4x TC, 210mm, 1/500s, ISO1250, f/4 – Click to view full-size JPEG photo. Image credit: Joshua Waller

Shooting wildlife with the camera, and in this case, birds, was particularly impressive, as the camera’s bird detection AF system is extremely rapid, and reliable, locking onto the bird’s eye, even when the bird was dark in colour. The camera also gave sharp detailed images, even when shooting wide-open at f/4 with the 40-150mm f/2.8 PRO lens and 1.4X Tele Converter.

Jessica Miller photographing wildlife with the OM System OM-1

Jessica Miller using the OM System OM-1

I bought my DSLR as a final year university student just getting into photography. I’ve had plenty of time to get to know my camera well, so it’s quite daunting to use a different system, especially a mirrorless system. However, when the opportunity to try out the OM System OM-1 came about, I was excited to try a new system to me.

OM System ’Olympus’ OM-1 IP53 weather-sealing coming in handy

On the day I took my DSLR camera along to the shoot with Tesni – I certainly noticed the difference when I switched between the two. Firstly, the size and weight. Being able to hold and grip the camera comfortably is quite an important factor for me, and I also like to carry my camera around wherever I am.

The OM-1 body is much more compact than the DSLR, so overall was easier to handle. My camera with an 18-135mm lens attached together weighs over 1.1kg (the body alone is just under 700g). Whereas the OM System OM-1 body on its own weighs 599g – with the 40-150mm f/2.8 lens and 1.4x TC we were using, weighs around 1010g.

Although there isn’t much difference between the numbers here, adding an equivalent lens on the DSLR would it a hefty camera to carry around. Having less weight on your shoulders certainly feels more appealing.

OM System OM-1, 40-150mm f2.8 with 1.4x TC, 90mm, 1/640s, ISO640, f/4 – Click to view full-size JPEG photo. Image credit: Jessica Miller

Another factor I would be looking for in a new camera would be how easy it is to learn and use. On this workshop we set up the Bird Detection AF mode – which was an easy process, and the menu itself was very user-friendly and well designed. The Bird Detection AF mode was particularly helpful in our situation and quick to operate and focus, ensuring we got sharp shots whether the bird was stood still or in flight.

OM System OM-1, 40-150mm f/2.8 with 1.4x TC, 110mm, 1/500s, ISO1250, f/4 – Click to view full-size JPEG photo. Image credit: Jessica Miller

I had a go at using my DSLR for photographing the same birds, and the camera felt slow and clunky after using the OM-1. Overall, I was very impressed with the system and the versatility this camera could have across different genres.

More links:

Read our full OM System ‘Olympus’ OM-1 review

How to edit your wildlife photos (Tesni Ward)

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

The post Why the OM System Olympus OM-1 is great for bird photography appeared first on Amateur Photographer.

We cover how to master night photography: from night landscapes and city scenes, to the Milky Way, stars, and solar and lunar eclipses.

Night photography: Preparing to photograph at night

Whatever camera you’re shooting with, whether a DSLR, mirrorless camera, compact camera, or a smartphone, we outline what you need to know when photographing the night sky.

Checklist: What camera equipment do I need for night photography?

Cameras vs Smartphones: Smartphones like the Samsung Galaxy S23 Ultra, the iPhone 15 Pro Max, and the Google Pixel 8 Pro have made enormous strides when it comes to camera technology, with dedicated night modes. However, a DSLR or a mirrorless camera is more capable when it comes to night photography thanks to having a larger sensor, a bigger range of lens choices, plus more advanced controls.

If you don’t own a camera or one of the latest smartphones, there’s no need to be discouraged. Smartphones can still photograph the night sky, though the results may not be as good. A larger camera is preferable, but there are ways to optimise your photos at night and darker conditions with a smartphone. We cover these here in due course.

• Lenses: The word ‘photography’ literally means to draw with light. So, what do you do when you have so little of it? You let it all in. This means using the fastest, widest lens you can, with a large aperture, and a wide-angle view to capture the whole scene. You’ll find our recommendations for the best lenses for astrophotography. Alternatively, with a tripod and a little patience, you can use long exposures to capture a cityscape with a regular kit lens.
• Tripods: Whether shooting with a camera or a phone, keeping your camera stable is key. In addition, a tripod coupled with a remote shutter-release cable (or remote release app) is a helpful addition when shooting long exposures. This will reduce the risk of any camera shake or vibration. Find the best tripods available.

With a tripod, you can photograph even the darkest scene. Photo credit: Sergio Capuzzimati via Unsplash.

• A flashlight: Unless you’re a photography ninja who can comfortably set up their camera in the dark, a torch, or red-light headtorch, will come in handy.
• Spare batteries (or charger): It’s always good practice to take a few spare batteries with you, particularly if using a camera and shooting long exposures (as you probably will when shooting the night sky), as this will drain your battery life. If it is cold out, remember to keep them in your pocket as exposure to the cold will drain them quicker. If you’re using a smartphone be sure to bring a spare charger.
• Spare memory cards: Photographing at night and in low-light takes planning and, like any other type of photography, some flexibility too. Shooting in raw allows for this flexibility. The downside is raw files take up more space than JPEGs and if you’re looking to shoot both raw and JPEG, extra space is going to be a welcome addition.
• Fingerless gloves: You’ll be outdoors a lot, and stationary for spells. When it’s cold, a pair of gloves is a must.
• Timer: A shutter release cable will help minimise any potential camera shake. For those without this, or when shooting on a smartphone, in place of a shutter release cable, you can use the in-built self timer. The short delay will give time for any movement from pressing the shutter release to die down. For those who use a camera with Wi-Fi or Bluetooth, see if you can use your smartphone as a remote release, as a lot of them come with the option to connect your camera to your phone and use the remote control function.

How to choose the best camera and lenses for night photography

The OM System OM-1 has Starry Sky AF, which uses an algorithm to scan the scene for small points of light (the stars) to acquire focus. It’s night sky focusing made easy. Photo credit: Joshua Waller

• A full-frame camera, will generally perform better in low light than APS-C and Micro Four Thirds cameras. However, some models include features that are specifically designed for night photography, such as the Olympus OM-1.
• If you’re looking to photograph the moon and stars, it is worth noting that many professional astrophotographers prefer manual focus with live magnification over autofocus. Some cameras come with Starry Sky AF, such as the Olympus OM-1 and OM-5, which makes focusing on those white stars in the sky easier. Read more on the best cameras for astrophotography.
• A fast aperture, wide-angle lens is the way to go in order to maximise image brightness plus shoot at a relatively high ISO and ideally in RAW format. For additional suggestions, check out our guide to the best lenses for astrophotography.
• Prime (non zoom) lenses almost always have a wider maximum aperture than zoom lenses, which is great not just for astrophotography, but for any city scenes and streets at night. A ‘fast’ lens will also be a great bonus for indoor shots in restaurants and bars or cathedrals or monuments.
• Ideally, your camera will also be weather-sealed and easy to use in the dark.

How to use long exposures at night

With long exposures at night, traffic disappears into trails of light. Photo by Mark Denton on Unsplash

The classic method for night photography is to put the camera on a tripod and use a longer exposure, often many seconds, and sometimes even minutes. Light levels are much lower than in the daytime, so the camera needs to keep the shutter open and the sensor exposed to the light for much longer. With a tripod, you don’t have to worry about any camera shake or movement during the exposure. This means you can use a low ISO setting for the highest image quality.

Here’s a quick step-by-step guide to long exposure night photography:

1. Put the camera or phone on a tripod
2. Set the ISO (sensitivity) to the camera’s lowest setting, usually ISO 100 or ISO 200
3. Let the camera’s exposure meter work out the exposure as usual, though sometimes you may need to add 1-2EV of exposure compensation to capture the full brightness of neon lights and city streets at night
4. Use the camera’s self-timer to start the exposure – this gives time for any movement from you pressing the shutter button to die down
5. Wait while the camera completes the exposure!

Sometimes the camera will be ‘busy’ after a long exposure. That’s because long exposures can cause extra sensor noise, so cameras take a ‘dark frame’ straight afterwards so that any noise can be detected and removed. This takes about as long as the original exposure, so don’t worry, your camera has not gone wrong.

Long exposures can produce some very interesting effects. The lights from moving traffic will turn into streaks or ‘rivers of light’, and passers-by will blur or even disappear from the scene entirely. If there is light in the sky, you’ll see clouds blurring into soft streaks too.

Taking photos of cities, buildings and architecture at night is a great way to explore your local area, and add colour to your images, as the night scene will be full of colour from artificial lights, or from traffic and cars in the scene.

Get better night shots of cities

Handheld photography at night

You don’t always need a tripod at night. Handheld photography is often easier than you’d think. With a higher ISO you can get shutter speeds short enough to prevent camera shake and freeze moving subjects like passerby. Venice at night. Fujifilm X-T20, ISO 1000, Fujinon XF23mm F2, 1/60 sec f/2. Photo: Rod Lawton

You can’t always use a tripod in a city at night. Sometimes it’s too busy, sometimes there’s no time and sometimes you won’t have one with you. With modern camera sensors, image stabilization and clever computational technology in many smartphones, it’s possible to capture street scenes at night with the camera handheld.

For this, use the camera’s Auto ISO setting. This will increase the noise levels in your photos, but modern cameras can produce great results even at high ISO settings. Better still, cameras with in-body stabilization (IBIS) may enable you to capture sharp handheld exposures as long as a second. It depends on the camera, and you may need to take a couple of shots to get a good one, but it’s well worth a go.

Handheld IS shot, low-light, Olympus OM-1, 1/15s, f/2.8, ISO1000, -0.7EV, 22mm (12-40mm F2.8 PRO II). Photo: Joshua Waller

Today’s smartphones often have ‘night’ modes that ‘build’ an image from a series of separate exposures taken in quick succession. On most iPhones, for example, you simply need to keep the camera roughly still for around three seconds. The image quality that results can be quite impressive, letting you shoot in light so dim that you might hesitate to use a proper camera.

We’ve got a guide on how to photograph cities at night, plus a guide on how to take cinematic photos of cities.

How to photograph the night sky

Clouds don’t always need to spell the end of your night shoot. They can be used for dramatic effect. Photo credit: Ganapathy Kumar via Unsplash.

The main things to consider when planning a night shoot

• Finding a good location: Clear skies are critical to clearer shots and checking the weather forecast is a must. Light pollution is to be avoided, particularly from artificial light sources like street lights. National Parks are good spots for night sky photography as they are often away from cities and towns. It is also a good idea to avoid a full moon, that is unless you’re photographing the moon, of course. As it is a light source, it will compete with the other light sources in the sky like the stars or the Milky Way.
• Pencil in a date for shooting: The moon, stars and the sky stop for no one. This is why to get your optimal shot of say, the full moon, it is a good idea to keep up with the moon cycle in advance to pencil in a date in your diary for your shoot.
• Composition: The sky is not the limit. Playing around with letting other interesting objects into your frame is a good way to add some more detail to your image, particularly if you’re shooting on a smartphone that doesn’t quite pick up all the fine details. You might even want to arrive at your location earlier to think of ways to compose your shots.

Be creative when taking your night photos, use your surroundings. Photo credit: Yash Raut via Unsplash.

What camera settings should I use for night photography?

• You’ll need to be aware of the holy trinity of settings: Namely ISO, aperture, and shutter speed settings.
• To reduce noise, use the lowest ISO speed possible on your camera, so that any stars don’t get “eaten” or removed with noise. Check what the best “Base ISO” speed is on your camera, as some of the “LOW” or “L” ISO speeds have lower dynamic ranges.
• If you want as much as possible in focus set your aperture to f/10 – f/16 on a full-frame camera, f/8 – f/14 on an APS-C camera, and f/5.6 – f/8 on a Micro Four Thirds camera. However, be aware that this will result in very slow shutter speeds. For those that have a bright, and high-quality lens, you can use it at brighter apertures, such as f/1.4, f/1.8, to f/2.8.
• You will need to experiment with the shutter speed to find out what exposure works best for the scene. The longer the exposure, the more likely you’ll get star trails (as shown above), but to avoid these you’ll need a shorter shutter speed (and may need a higher ISO speed).

Using Starry Sky AF mode on the OM System OM-5 to get a night shot of our view of Lion’s Head from our terrace in Camps Bay. OM-5, 12-45mm, 30secs f/4, ISO 400. Image credit: Nigel Atherton

How do I focus on distant stars?

Set your camera to Manual mode, turn off autofocus and set it to infinity. Use the rear screen to check focus using a magnified view (and live view mode when using a DSLR). If you have a modern Olympus/OM System camera, then you can use the Starry Sky AF setting, and this will set the focus point to the right distance for stars.

What happened to the stars in my photo?

If you’re using a camera in JPEG mode, then you may find you lose stars, as noise reduction, when applied too heavily to an image can end up removing stars from the image. For this reason it’s recommended that you shoot raw images, then you have precise control over how much noise reduction is applied to the image.

For Sony cameras, it’s also recommended that you switch to uncompressed raw, to be sure to avoid the issue of the “Sony Star Eater”. However, it can also vary from camera to camera, and with longer exposures becoming an issue (for example, over 4 seconds, or when using Bulb mode). See Mark Shelley’s site for full details.

What settings do I need for night photography with a smartphone?

For smartphones, tap your screen to lock your focus and set the exposure manually if your phone has manual control – often found as the “Pro” or “Expert” mode. Alternatively, look for a dedicated night mode – most newer smartphones feature this. Google Pixel owners will be able to use the Astrophotography mode when the phone is used on a tripod or stable surface, and the phone will automatically use a longer exposure when it detects a solid support. For more tips on how to use manual focus, click here. If you need a phone support, have a look at our guide to the best phone tripods.

This Milky Way is already breathtaking, but you can add a dash of uniqueness to your image by having elements like buildings, mountains, people, or reflective lakes in your frame. Photo credit: John Fowler via Unsplash.

Can you take pictures of the night sky with a smartphone?

Thanks to rapid advancements in smartphones, you can also take photographs at night and low-light with a smartphone. Our tips above also apply to their use.

You’ll normally need to use a phone tripod or steady surface in order to keep the camera still and steady as possible. A word of warning to smartphone photographers: Do not give in to the temptation to zoom excessively. Just because you can doesn’t mean you should. Your photos will not be as clear, as often smartphones will simply use digital zoom in low-light conditions. The main camera often features a larger sensor, meaning better low-light performance.

Check to see if your smartphone has a manual mode or a dedicated Night mode. If you’re using a Google Pixel phone, then using it on a tripod or stable surface will enable the Astrophotography mode.

Many of the latest smartphones have very good night photography capabilities and many of the principles for shooting the night sky with a camera apply. Photo credit: Joey Huang via Unsplash.

Tips on how to photograph…

If you’re looking for something more specific, say, you really want to photograph the moon or star trails, have a look at our guides below.

How to photograph the Milky Way and other stars

Like with the moon, it’s all about timing with the Milky Way. It’s a good idea to do some research on the Milky Way’s pattern. The Sky Guide app is a superb resource for this. It allows you to check out where the Milky Way is to frame your shot. Given that the Milky Way’s vibrant colours tend to be what catches the eye, shooting in raw is essential. This way you can go back and make adjustments to your image, taking control of how much noise reduction is applied to get your image just right.

For photographing the stars, first of all, look for a dark location: avoid cities as light pollution will conceal otherwise visible stars. The moon acts as a huge light source too, so try to time your shoot for when the nights are darker. Read our guide on how to photograph the stars, for more information and detailed advice.

For a complete guide to shooting the Milky Way and stars, have a look at this article on how to photograph the Milky Way and stars.

How to photograph the Moon

Are you a beginner Astro photographer? Consider starting with the moon. It is considered an excellent starting point because of its brightness.

The 40MP sensor gives a lot of scope for cropping. Fujifilm X-T5, XF 70-300mm F4-5.6 R LM OIS WR at 300mm, 1/1250sec at f/5.6, ISO 200. 2.2MP crop to 1900mm equivalent. Image credit: Andy Westlake

When photographing the moon, the main thing you want to account for is the Earth’s rotation. The moon moves across the sky, and if your shutter speed is too slow, then it will blur as the earth rotates. To learn more, read our guide on how to photograph the moon.

Star Trails

There are a number of ways to photograph star trails. One way is to take a number of photos quickly one after the other and stack them (you’ll need a tripod and stacking software for this one). Another way is to create a time-lapse – using your camera’s time-lapse settings.

The settings that your camera possesses, and the length of exposure you can capture will influence your approach to capturing star trails. Check your slowest shutter speed by having a look at a review of your camera. Those with Live Composite (such as an Olympus / OM System or Panasonic), allow you to watch the exposure on-screen as it happens.

Fireworks

Guy Fawkes night, New Year’s Eve, Chinese New Year, and other special events offer many opportunities for celebratory fireworks shows around the world. Check out our essential tips for photographing fireworks to help.

Image credit: Andy Westlake

Landscapes at night

While the night sky can play havoc with your camera settings, it also provides a real opportunity to produce some great (and spooky!) landscape shots. Things to consider are: the weather, location and light pollution. See our guide to night landscape photography.

Don’t be afraid of using high ISO speeds

Particularly with newer cameras, you don’t need to worry as much about using higher ISO speeds. Noise reduction has improved dramatically over the last 5 years, and even with high levels of noise in images, photo editing software (and AI) has given massive improvements in noise processing.

Being able to shoot at very wide apertures helps with night-time shooting, but a high ISO speed was also needed. 1/80s, f/1.8, ISO5000, Fujifilm 56mm f1.2 lens. Photo: Amy Davies.

Using a higher ISO speed may be needed in situations where you need to keep the shutter speed as fast as possible. See our guide to shooting images in low light: Don’t be be afraid of high ISO.

Article: Isabella Ruffatti, and AP Staff. Featured image credit: Kobu Agency via Unsplash.

Read more on night photography:

• Art Wolfe on his approach to night photography
• Spooky shots: Guide to night landscape photography
• Liam Wong shares new book of cinematic cities at night
• Samsung ‘fake’ moon photos: Has AI photography gone too far?

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

The post Night photography: how to take great photos at night appeared first on Amateur Photographer.

Low-cost activities and inspiration for photographers

Look to the sky

• www.rmg.co.uk
• £10 (adult entry to exhibition)

Every year the National Maritime Museum in London plays host to some of the world’s greatest space photography, from glittering stars to shimmering galaxies and fiery suns, thanks to entrants to the Astronomy Photographer of the Year competition. This year’s exhibition runs until Aug/Sept and is sure to whet your appetite for astrophotography. If you would like to take things further, order a copy of the 2024 Guide to the Night Sky by Storm Dunlop and Wil Tirion.

A vivid aurora over Skagsanden beach, Lofoten Islands, Norway. Circle of Light © Andreas Ettl

Meet the dragon

• www.visitlondon.com
• Free

Celebrate the year of the dragon by joining Chinese New Year celebrations across the UK. Manchester, Belfast and London are just three of the cities hosting events, with colourful parades, lanterns, live performances and traditional food on offer. In London, more than 50 teams take part in a vibrant Chinese New Year parade, which is often followed by firecrackers, speeches and a Lions’ Eye-Dotting Ceremony.

Join the theatre

• Free

Recognised as one of the top 10 free festivals in the UK by The Guardian, SO Festival brings street theatre and outdoor arts to Skegness and Mablethorpe. This year’s event will be held in June and is sure to offer a curated mix of home-grown and international talent. Last year’s festival featured puppets, dancing, installations and circus workshops so there’s sure to be plenty to keep your shutter firing. Other notable outdoor festivals include the Hat Fair in Winchester, parts of Brighton Festival & Fringe and the Festival of Fools in Belfast.

Hit the streets

• Free

Many cities in the UK have fine examples of street art (designs painted with permission), which can serve as wonderful backdrops for portraits, fashion shoots or even make great subjects in their own right. Brighton & Hove, for example, has an international reputation for its street art, while Bristol has designs by world-famous artist Banksy (you can even go on a self-guided walking tour to spot his work)

Meanwhile, London is home to Wood Street Walls – a team who donate time, materials and income to create free artwork in a number of formats. You can download a map of WSW art and take a walk around Walthamstow to see its art.

Colourful street art in Brighton. © Tracy Calder

Take the train

• Free

Home to locomotives in tip-top condition, the National Railway Museum in York is the perfect place for close-up and wider views of some of the world’s finest trains. Star objects include the world’s fastest steam locomotive (the Mallard), a first-generation 1960s bullet train (the Shinkansen) and a beautifully preserved example of the high-speed train that blazed a trail in 1976 (the Intercity 125). This year sees the opening of a number of temporary exhibitions and the return of the Young Railway Photographer of the Year competition.

The turntable at the National Railway Museum. © National Railway Museum

Grow your own

• From £5

The National Garden Scheme (NGS) allows visitors to access more than 3,500 private gardens in England, Wales, Northern Ireland and the Channel Islands, raising money for nursing and health charities through admissions and the sale of teas and cakes.

You can search gardens by type or via the Find a Garden option on the website. Gardens are open for a small fee (most allow photography, but those that don’t usually display a notice at the entrance). Virtual tours of some gardens can be viewed online so you can check out photo opportunities before you go.

The Old Rectory, Berkshire. © National Garden Scheme/ Sussie Bell

Celebrate our heritage

• www.heritageopendays.org.uk
• Free

Every September hundreds of historic monuments and buildings (many of them often closed to the public) throw open their doors. In the past, prisons, archives, inland waterways and churches have all been explored, helping people discover the diverse and rich cultural heritage of England and its communities. The event is England’s contribution to the European Heritage Days festival, established in 1994.

Into the wild

• From free (although donations are welcome)

The Wildlife Trusts is a movement of 46 independent charities, all sharing the same mission: to bring wildlife back, empower people to take meaningful action and to create an inclusive society where nature matters. You can do your bit by donating, volunteering, taking part in a citizen science project or becoming a member. There are more than 2,300 reserves supported by The Wildlife Trusts.

Piper’s Hill, Worcestershire Wildlife Trust reserve. © Andy Bartlett

Fly high

• Free

Spanning two days in July, the Wales Airshow offers spectators the chance to see aerobatic displays, state-of-the-art aircraft and amazing ground displays, for free! The grand sweep of Swansea Bay provides a picturesque backdrop for the event. Last year’s highlights included a display by the RAF Red Arrows, a Battle of Britain Memorial Flight and some wing walkers. You can get a display timetable by downloading the Wales Airshow app (£1.99).

Up and away

• Free (but car parking must be paid for in advance)

It’s a thrill to see a hot-air balloon drift across the landscape, but if you attend a festival celebrating these flame-filled craft you are much more likely to achieve a frame-filling shot. The Bristol International Balloon Fiesta (held in August) is one of the most popular of its kind. While morning ascents are popular, the event also offers evening events and a night glow (where balloons fire up in time to music).

Podcasts, book and creative communities for photographers

Save the silver

• £10.95
• www.hoxtonminipress.com

A day out in London can be pricey: the cost of Tube fares, coffee, cakes and attractions all add up, and that’s before you factor in the price of getting there! Thankfully, Emma Watts has teamed up with the wonderful people at Hoxton Mini Press to create An Opinionated Guide to Free London, featuring everything from sky-high gardens to picturesque canal walks, photogenic markets and inspiring lectures – none of which will cost you a penny.

An Opinionated Guide to Free London. © Hoxton Mini Press

Follow the news

• Free

Reading a regular newsletter featuring recommendations, tips and observations can serve as creative rocket fuel. In recent years I’ve learnt so much from the scribblings of Austin Kleon, McKinley Valentine and David duChemin. To keep on top of industry news, I read AP’s newsletter. (I also write a newsletter entitled Letter to Creatives – you can sign up via www.cupoty.com.)

Hear this

• Free

In his excellent book Make Noise: A Creator’s Guide to Podcasting, Eric Nuzum suggests that podcasting differs from other forms of audio media because of its unequalled intimacy. Firstly, we usually listen to a podcast through earphones. Secondly, we play an active role in the listening process. My favourite photography and creativity podcasts include SheClicks (hosted by Angela Nicholson), In Discussion (run by Euan Ross) and Letters from a Hopeful Creative (starring Sara Tasker and Jen Carrington). I also like listening to shows from New Scientist, as well as Song Exploder and How to Fail.

Podcasts are a great
source of inspiration

Download inspiration

• Free

While it might feel like everyone is asking for money at the moment, there are still some excellent free resources available. I recently came across a 136-page downloadable PDF from LensCulture entitled Photographers’ Guide to Working with Galleries. Eric Kim’s 100 Lessons from the Masters of Street Photography is also excellent (he has lots of free PDFs on his website) and Scott Bourne’s Essays on Inspiration, Creativity & Vision in Photography is well worth a read.

LensCulture has released a free 136-page PDF. © LensCulture

Community minded

• Free

Joining an online photographic community can result in valuable feedback, excellent technical advice and perhaps more importantly great friendships. There are plenty to choose from, but I personally recommend Two Photographers (run by Tim Clinch and Joanna Maclennan) and SheClicks (run by Angela Nicholson). Two Photographers holds online meetings as well as workshops, mentoring sessions and assignments. SheClicks holds meet ups, competitions, friendly chat, a podcast (and an award from AP!).

Being part of an online community has many benefits

Landmarks, monuments and beauty spots

Lace up your boots

• Free

Going on a walking tour of a town or city is a great way to scout out photo locations and get some salient facts to add to picture captions. You can sometimes download an audio tour of your chosen location, but it’s often more fun to visit the nearest tourist information centre and book a guided in-person tour. Alternatively, search reviews online and book a tour before you go – City Explorers in Edinburgh, for example, offers a two-hour walking tour of the city, free of charge.

Watch the birdie

• Ferry £8 (each way), Entrance to island £5 (RSPB members Free)

The six-mile crossing from the seaside town of Ballycastle in Northern Ireland to the wildlife haven of Rathlin island is the beginning of a mini adventure. On a clear day you can see the Scottish island of Islay, the Mull of Kintyre and, of course, the Antrim coastline. On dry land you can visit the RSPB West Light Seabird centre and enjoy watching guillemots, razorbills, kittiwakes, fulmars and puffins. You can also take a walking trail through the heathland and meadows in search of the Rathlin ‘golden hare’.

Walk this way

• Free
• www.nationaltrail.co.uk

The UK’s official long-distance paths pass through some epic landscapes. The South West Coast path, for example, starts among the heather and scrub of Exmoor National Park and makes its way along the rugged coastline of Devon and Cornwall before heading into Dorset and finishing at Poole Harbour (a total of 630 miles). The North Coast Path is all about big skies and amazing wildlife, and the Pembrokeshire Coast Path covers clifftops, harbours and sandy beaches.

Challenging yourself to walk, and photograph, one of these routes over the course of a few weeks or months is sure to be an unforgettable experience.

Treasure an island

• Free
• www.lindisfarne.org.uk

There are more than 7,700 offshore islands in Britain. These range from volcanic plugs and saltmarshes to beach-fringed islets and inhospitable rocks. Some require fair weather and a fair amount of cash to reach – the isolated archipelago of St Kilda in Scotland, for example – but others are less draining on the stomach and wallet.

One of my favourites is Lindisfarne in Northumberland. You can drive or walk to the island (when the tide is out) and once there you’ll find plenty of plants and wildlife to train your lens on – there’s also a rather fine castle.

Lindisfarne in Northumberland can be reached by car or on foot. © Tracy Calder

Go wild

• Free
• www.thewildatlanticway.com

Few coastal drives boast as many wonders (and twists and turns) as the Wild Atlantic Way in Ireland. Spanning 1,600 miles it’s one of the longest routes of its kind in the world. Starting in the Inishowen Peninsula to the north it winds its way down the west coast, finally ending in the town of Kinsale, County Cork to the south. Along the way you’ll find plenty of reasons to pull over and unpack your camera gear including beaches, ancient monuments, cliffs and picturesque bays.

Join a photography morning

• From £18.20 (standard adult entry including gift aid)
• www.rhs.org.uk

It used to be the case that you turned up at a privately-owned garden and secretly feared being turned away if you set up your tripod. However, in recent years some larger venues have become much more photographer friendly. RHS Wisley, for example, sometimes runs photography mornings where you’re invited to take advantage of the early morning light by entering the gardens before the general public. It’s worth asking if your location of choice offers this.

Market yourself

• Free

Described as a ‘melting pot of music, fashion, experiences and food’, Camden Market is a great place for street photography, candid portraits and, of course, shopping. Established in 1974, it’s just one of many London markets offering a true taste of the capital. Borough Market (one of the largest and oldest food markets in the city) and Portobello Road Market (famous for its antiques) are other fine examples.

Go back to childhood

• £5
• www.ladybirdflyawayhome.com

When I started reading Enid Blyton’s Famous Five novels to my daughter a few years ago, I was struck by the delight the children took in simple pleasures like rockpooling, exploring hedgerows and lazing about on the beach. It got me thinking about how we adults could benefit from being a bit more childlike and curious. Why not dig out your childhood books (the Ladybird series is a good springboard for ideas) and photograph what happens when you take part in activities usually reserved for children.

Rockpooling and beachcombing are not activities reserved for kids. © Tracy Calder

Give in to pier pressure

• Mostly free
• www.piers.org.uk

Apparently 2023 was the Year of the Pier, but if you missed the seaside celebrations you can make up for it this year by visiting some of the 50 or so piers dotted along Britain’s coastline. These glorious structures present opportunities for architectural photography, candid portraits and, in the case of Brighton Palace Pier (and a few others), wildlife shots.

Let us pray

• £11 (standard adult entry), many others free
• www.salisburycathedral.org.uk

There are many churches, cathedrals and chapels in the UK that are free to enter. Often for a small fee (or donation) you can climb towers, explore crypts and enter bell-ringing chambers. These buildings will sometimes offer you a fine bird’s-eye view of surrounding streets and, in the case of Salisbury Cathedral, a view of actual birds – peregrines started nesting in the tower in 1864 and after a long absence have returned.

Projects, learning, shows and videos

Complete a project

• Free

The Centre for British Photography recently announced the creation of a programme of grants and mentorship to support photographers and artists (applications close later this month). If you could do with some help completing a project or taking ideas to the next level, it’s worth looking around to see what financial (and emotional/professional) help is available.

The Royal Photographic Society (RPS), for example, offers bursaries, discounts and scholarships, while the Ian Parry Photojournalism Grant offers support to young (and emerging) photographers.

Rasha Al Jundi was the 2022 recipient of the Ian Parry Photojournalism Grant. © Rasha Al Jundi

Keep it quiet

• From free

The photobook has never lost its appeal and there are wonderful offerings from independent publishers like Hoxton Mini Press, Café Royal Books and RRB Photobooks, as well as big guns like Thames & Hudson, Dewi Lewis and Aperture (to name a few).

However, if you would like to browse a selection of past and present offerings, consider purchasing a membership to the Martin Parr Foundation (MPF), visiting the ‘Photography and the Book’ room at the V&A or popping into a book café (try the Photo Book Café in London)

Photo Book Café is a community café, bar, gallery and photobook library. © Photo Book Café

Take some advice

• Free

Plenty of photo equipment specialists publish free technique and buying guides online. While most will be geared towards the products they sell, they still offer valuable advice and guidance.

Manfrotto, for instance, has useful blog entries on perfecting motion blur and demystifying lighting equipment as well as buying guides for tripods, bags and even backdrops and surfaces. Meanwhile, MPB has photo and video kit guides, interviews with professional photographers and articles offering tips and advice on photo techniques.

Race to the finish

• £6.50 a month which includes co-working sessions

Most of us have photo projects or ideas that we never finish or never start. The best way to ensure that you complete a project is to make yourself accountable: tell other people what you’re doing and encourage them to check on your progress.

Recently, I’ve come across a few online groups that allow you to log in and join others working on projects for a set amount of time. Sara Tasker from Me & Orla runs a Co-Working and Creative Clinic where you can bring along anything you’re struggling with in your creative, online or business life.

One of the best ways to complete a project is to make yourself accountable. © Tracy Calder

Review your progress

• From free

Sometimes it’s hard to see where a particular project is heading or if a series has any real merit and it can help to seek advice from experts in the industry. Some festivals (such as FORMAT24) offer online (or in-person) portfolio reviews enabling you to discuss your work at length.

The Photographers’ Gallery in London hosts Folio Fridays where you can receive feedback during a 15-minute one-to-one review for free. (Alternatively, you can sign up for a one-to-one online review with Gallery curators, which is £25 for a 20-minute session and supports Folio Fridays.)

Folio Friday at The Photographers’ Gallery, supported by The Fenton Arts Trust. © Eric Aydin-Barberini

Be a know-it-all

• www.nisioptics.co.uk, (From £79), Experimenting with what you’ve got, Free

It’s easy to be seduced by new camera gear, but before you upgrade your current kit make sure you have reached the limits of what you’ve already got. A simple job like familiarising yourself with custom menus or reading the manual in its entirety may unlock useful features.

Upgrading firmware can make a big difference too. It’s also worth checking if there are things you can add to your system to get the results you desire – if you want to shoot macro, for example, but can’t afford a dedicated macro lens, an accessory like the Nisi Close-up Lens might do the job.

The Nisi Close-up Filter can turn your current lens into a macro lens. © Tracy Calder

Pick a card

• www.artfund.org (membership £56.25 a year), www.tate.org.uk (membership £72 a year)

Splashing out an annual pass, or becoming a member of a museum or gallery can save you a lot of money in the long run. A National Art Pass, for example, will give you free entry to lots of museums, galleries and buildings, as well as 50% off some major exhibitions.

What’s more, becoming a member of Tate will give you unlimited free entry to all its galleries as well as invitations to special events, viewings, and access to the Members Rooms.

Tate membership has many perks (Tate Britain rehang). © Tate (Madeleine Buddo)

Log on

• From free

In recent years (largely due to the Covid lockdowns) there has been a huge rise in online talks and webinars. Some of my favourites include Martin Parr’s Sofa Sessions, SheClicks webinars and online talks from The Royal Photographic Society (RPS). If you decide to book a ticket, see if a recording will be made available – it’s easy to forget to attend. What’s more, check the time zones!

Martin Parr’s Sofa Sessions are free to watch online

Show time

• £14.95 (for a one day pass)

Whether you’re a beginner or a full-time professional, The Photography & Video Show in Birmingham is a great place to go for inspiration and advice. Plan your visit to make the most of all the talks and demos. Look out for discounts on tickets in the press in the run-up to the show. Parking is cheaper if you book in advance as of course are train fares! You can also save a fair amount by taking your own drinks and food.

London calling

• ticket price TBC

The Guardian describes Photo London as the photography event of the year, and it’s easy to see why. Every May a selection of the world’s leading photography galleries and dealers present their offerings at Somerset House, and this grand showcase is matched by a series of eclectic satellite events all around the capital. The team behind Photo London also hosts a number of talks in the months running up to the show (check the website for details).

Competitions, associations and apps

Pick up the phone

• Snapseed (Free), Canva (Free, basic level), Lightroom (included in Creative Cloud subscription)
• apps.apple.com, www.canva.com, www.adobe.com

Photo-editing apps are great for tweaking (and posting) pictures when you’re out and about and they have come a long way in recent years. My favourites include Snapseed, Canva and Lightroom.

Snapseed has a great range of digital filters, and you can use it to crop, rotate, heal and even tweak white balance. Canva is great for creating social media posts, adding text to images and videos. Finally, the Lightroom mobile app allows you to edit, organise and enhance images on your smartphone or tablet.

Snapseed is a powerful image-editing tool. © Tracy Calder

Become a member

• Free (or from £3)

It took me a while to realise that you don’t always have to be a fully paid-up member of a club or society to participate in some talks, events and workshops. The Royal Photographic Society (RPS), for example, hosts a range of events that are open to all. (On 18th January street photographer Phil Penman will be sharing his views in an online talk.)

The Association of Photographers (AOP) also hosts talks that are open to non-members, while some camera clubs charge a small fee for non-members to join them for a workshop, talk or event.

© Phil Penman

Be in it to win it

• From free

Doing well in a prestigious photography competition can boost your career, give your work global exposure and earn you some decent prizes! Many competitions now charge an entry fee, but there are still a few that are free to enter. The Sony World Photography Awards is a great example (the Professional round closes soon).

AP also runs an annual competition (APOY), with an additional free entry per round using a code printed in the magazine. The 2024 competition details are to be announced, but in the meantime take a look at the top 10 images from each round of the 2023 competition here.

Sriram Murali won 3rd Place in the Professional competition, Wildlife & Nature, Sony World Photography Awards 2023. © Sriram Murali

Go round in circles

• From free

In his book The Accidental Creative: How to be Brilliant at a Moment’s Notice, Todd Henry talks about the importance of joining a group of fellow creatives. ‘Small group meetings can stoke your passion, help you stay aligned with what matters most, inspire and give you new ideas or directions for projects,’ he suggests. Meeting regularly with people who are willing to encourage you and offer constructive feedback is a great way to keep motivated – look up your local camera club, join an artist collective or start a creative circle of your own.

Go on trial

• Free

If you’re thinking about joining a society or organisation but you’d like to try it out before you make a commitment, look out for trial memberships. The Society of Photographers, for example, offers two months professional membership for free. Benefits of signing up to the Society include competitions, access to a mentoring programme, a forum and photographic webinars.

Also, plenty of software programs offer free trial periods including Zerene Stacker, Lightroom and Canva. Set a reminder on your calendar to tell you when the trial is up so you can make a decision ahead of the first payment.

© The Society of Photographers

Second-hand, hire, care, repair

Take care

• Price varies

According to Fjällräven, the more we use an item the more we develop a relationship with it, so that jacket that kept you warm on a mountain top might well hold special memories in its fibres. To keep gear fighting fit, you’ve got to treat it right. Fjällräven has some care and repair videos on its website and Paramo offers a repair service for its kit (and a discount on new items if your old gear can’t be repaired).

Billingham also offers a repair service for its camera bags. Spend a little time caring for your kit and it could save you pots of cash.

Fjällräven has some great product-care videos on its website

Protect to preserve

• Free

Protecting your kit from unforgiving environments will prolong its life and maintain its performance. When it comes to cameras and lenses the main threats are heat, dust, condensation, water, extreme cold, and human neglect. Regular camera care will help to keep everything in tip top condition.

Canon has a good basic care video on YouTube and there’s a great camera maintenance guide on the AP site too. If your gear has developed a serious problem, take it to a service centre approved by your camera or lens manufacturer.

Offer a second chance

• Price varies

Preowned camera equipment is big business. In recent years there’s been a resurgence in film (and darkroom) use, which has given analogue kit a second life, and the market for top-of-the-range digital cameras is still strong. What’s more, fast zoom lenses and primes are much in demand.

When buying preowned, condition is everything. Buy from a reputable retailer, find out about the returns policy and the length/extent of the guarantee and take it for a test drive. (AP recently published an article on the best second-hand full-frame camera bargains.)

The market for preowned cameras is strong at retailers such as London Camera Exchange

Take the hire road

• From free, price varies (bear in mind you will need to pay a security deposit when borrowing equipment)

If you want to try a big-budget piece of kit before committing yourself or you just need something for a one-off job, why not consider hiring. Services like Hire a Camera will lend you everything from medium format cameras to top-of-the-range lenses and accessories including tripods, filters and memory cards.

Some manufacturers will lend you gear and offer you a money -off voucher if you go ahead and buy it. Fujifilm even lends cameras and lenses out for 48-hours free of charge so you can try before you buy.

© Hire a Camera

Don’t despair, repair

• Quote £6 per item

I’ve spoken to enough camera manufacturers and retailers over the years to know that there are certain repairs you shouldn’t attempt at home (the rise in ‘how-to’ videos has led to a rush of people taking things apart and not being able to put them back together!) but if your camera starts misbehaving, don’t write it off.

There are plenty of camera repair shops and services available – Sendean Cameras, for example, uses 3D printing to make parts that are no longer available.

Sendean Cameras has been repairing kit since 1926. © Sendean Cameras

Cheap project ideas

Send some flowers

• Price of bouquets varies

During the first covid lockdown I ordered myself a bunch of flowers and challenged myself to photograph it in the 30 different ways during a 24-hour period. Setting strict boundaries really helped to keep me focused. I sketched a few ideas in a notebook, worked out which blooms might wilt first (freezing a few petals in an ice cube tray) and set to work. I really enjoyed raiding my props cupboard, looking at what worked and learning from what didn’t.

Set yourself
a project with
clear limitations. © Tracy Calder

Pocket the difference

• £10 (or less)

Head out with £10 in your pocket and buy something (or go somewhere) to improve your photography. Whether you purchase a vintage prop, a gadget, a book, a train ticket or a coffee for an artist friend (listening is free after all), use the exercise to prove to yourself that creativity needn’t be costly. Some of my favourite haunts are charity shops and Oxfam bookshops.

A baking tray bought from a car-boot sale made a great backdrop. © Tracy Calder

Indulge yourself

• Free

Shoot a series of self-portraits, without appearing in any of the pictures. Think about the physical imprint you leave behind in your home: the indent on a bed, the hair in a brush, the leftover food on a plate, and use this as your inspiration. Next, take a series of portraits with your face (or part of your body) in the picture. For inspiration look at the work of Vivian Maier, Francesca Woodman and Jo Spence.

Adopt a bird’s-eye view

• Free

When I first started playing around with flat lay photography (shooting carefully arranged objects from above) it was just for fun, but as I worked away, I found it taught me so much about composition, balancing positive and negative space and using colour for maximum impact. It was also surprisingly calming!

Anything in large quantities can look good, but it helps to tell a story of some kind. Gathering berries, leaves or twigs from the same tree, for example, can say so a lot about a location. For inspiration, I look at paintings, graphic art and, of course, photographers and artists such as Mary Jo Hoffman and Philippa Stanton.

What grows together goes together. ©Tracy Calder

Set yourself a project

• Free

Creating a coherent set of pictures can be challenging, but it’s a great way to learn about sequencing, storytelling, editing and defining the purpose of your work. In 2021 I started a photo project entitled Plant Scars and it proved to be a great way of refining my skills.

It’s important to edit tightly – including an image just because you feel emotionally attached to it might not be enough if you plan to share your project with a wider audience. Each picture must earn its place.

In 2021 I started a photo project entitled Plant Scars. © Tracy Calder

Related content:

• Best photography competitions to enter
• Best photography exhibitions to see
• UKBFTOG take over Notting Hill Carnival!
• How to Photograph street style at Fashion Week
• Eurovision 2023: Behind the scenes with a Eurovision photographer

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

The post What to photograph this year: 50 creative ideas and inspiration for 2024 appeared first on Amateur Photographer.

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

Vlogging is a term with a broad definition, but generally refers to the practice of posting short, self-shot videos online. These might document an activity, show off a location, or explain a point of view, for examples. A vlogger often talks directly to the camera throughout the video, and may also take it 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.

A good vlogging camera should make it easy for one person to get all the footage they need by themselves. Photo credit: Richard Sibley

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 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.

Guide to the different 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:

GoPro Hero10 Black

Action cameras, such as the GoPro HERO range, which is down to just $249 / £249 for the GoPro Hero11 Black Mini. These are designed to withstand rough treatment, as well as being waterproof (although check each models specific abilities first).

Sony ZV-1 Mark II. Credit: Andy Westlake

Compact cameras, such as the Sony ZV-1, and ZV-1 Mark II, are easy to use compact cameras with features designed to make it easy for vloggers of all types to get up and running. There’s also a more budget option available in the form of the Sony ZV-1F, and Canon V10.

Nikon Z30. Photo credit: Tim Coleman.

Mirrorless 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, as well as a wide range of compact and wide-angle lenses.

The Blackmagic Pocket Cinema Camera 6K G2 features an EF lens mount

CINE cameras, such as the Blackmagic Pocket Cinema 4K, 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.

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. You might, for example, want to create a vlog about a local beauty spot and explain aspects such as how to find it, where to park, 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.

Think about the stories you want to tell before you start shooting.

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 you’re 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 help 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 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.

The GP-VPT2BT shooting grip with wireless remote commander, offering additional stability and comfort combined with cable-free connectivity.

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.

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 ($25 / £24)

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.

The Manfrotto Pixi tripod is a great portable support for light cameras.

X-Rite ColorChecker Passport Video ($115 / £138)

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.

The X-Rite ColorChecker Passport Video is hugely useful for colour grading.

PolarPro Peter McKinnon Variable ND Filter – 2-5 Stop ($249.99 / £249.99 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 having to swap filters throughout the day and allows subtle adjustments in exposure.

PolarPro Peter McKinnon Variable ND Filter – 2-5 Stop.

RØDE Videomic NTG ($249 / £199)

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 other 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 Videomic NTG

RØDE Wireless Go II ($228 / £549)

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 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.

The RØDE Wireless Go II has a 200m range and up to seven hours of battery life

Rotolight NEO 3 ($499 / £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.

Rotolight’s award-winning NEO 3 LED light

Your guide: Angela Nicholson

Photographer and journalist Angela Nicholson is our former Technical Editor and the founder of SheClicks, a community for female photographers. She’s been testing camera gear since 2004 and is regularly behind and in front of the camera, shooting stills and video for a variety of platforms. 

Related articles:

• Best cameras for video, vlogging, and videography in 2023
• Best smartphones for video in 2023
• 17 Essential accessories for video
• Eight best filmmaking apps for your smartphone
• How to get outstanding audio in your videos

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

The post Best vlogging tips and how to get started appeared first on Amateur Photographer.

James Abbott’s tips for using filters for long-exposure landscapes

Every landscape photographer strives to put their stamp on the locations they shoot, and while most are best shot at a specific time of day to take advantage of the best light possible, one way of finding your unique voice is to take control of exposure times using ND filters.

Lower-strength ND filters can be as simple to use as attaching them to your lens and shooting normally, while the more extreme filters ranging from 6-stops and above require a little more care and attention to ensure correct exposures. In this long-exposure masterclass, we’re going to take a closer look at long-exposure landscapes and how to successfully shoot them using ND filters to achieve a range of effects.

This image taken at Wastwater in the Lake District was shot using a 6-stop ND to smooth the choppy water and help to capture a reflection of the sky

Filter densities explained

Different filter manufacturers use several methods of displaying ND filter densities and these include how many stops of light the filter reduces, which is the easiest, optical density, and ND factor. Once you buy into a filter system, it pays to familiarise yourself with the method used so you can quickly identify filters.

Sony A7R III, 16-35mm, 1/10sec at f/13, ISO 100, Polariser

Sony A7R III, 16-35mm, 0.8sec at f/13, ISO 100, 3-stop ND filter

Sony A7R III, 16-35mm, 5sec at f/13, ISO 100, 6-stop ND filter

Sony A7R III, 16-35mm, 64sec at f/13, ISO 100, 10-stop ND filter

ND filters compared

ND filters come in a range of light-reducing densities, and with screw-in filters you can get variable ND filters with strengths ranging from around 1.5 stops to 8 stops. For ultimate flexibility and control, the four filters that you need to control overall exposure are a polarising filter, a 3-stop ND, a 6-stop ND and a 10-stop ND.

You can buy other densities, but with these four filters you’re covered for practically every eventuality. The four images here were shot in bright conditions so exposure times show a clearer progression of blur as filter strength is increased.

Polarising filter 1/10 sec: Polarisers are often used in combination with ND filters as they remove surface reflections from water and can deepen blue skies, but, with the ability to reduce exposure by up to 1.5 stops, can also be used as a weak ND filter.

3-stop ND 0.8 sec: The humble 3-stop ND filter is arguably the most versatile of all ND filters since it’s ideal for shooting in low light conditions and around golden hour when you wish to achieve a longer exposure but not one that’s several minutes long.

6-stop ND 5 seconds: 6-stop ND filters require exposure to be calculated, either by counting stops or using an exposure calculator app. This filter is best used when a 3-stop ND doesn’t extend exposure time enough, but a 10-stop filter makes exposure times unnecessarily long.

10-stop ND 1 minute: 10-stop NDs were the first ‘extreme’ ND filter to be released and provide the ability to shoot extremely long exposures in low light conditions, or even exposures that are 30 seconds or longer in bright and sunny conditions.

How to use extreme NDs

Learn how to correctly calculate exposure when using high-density ND filters that throw the standard rules of exposure out of the window

Extreme NDs, Big Stoppers and Little Stoppers are all names you’re likely to have heard of, and in a nutshell, these simply refer to ND filters that reduce light entering lenses by more than 4 stops. ND filters in this category can’t be used like lower-strength NDs where you simply attach them to the lens and shoot as normal; these filters require you to calculate exposure based on what the ‘standard’ exposure should be, then shoot in Bulb mode and manually time exposures if they’re longer than 30 seconds.

A 10-stop ND filter transformed what would have been a ¼sec exposure into an exposure that was over 4 minutes in duration to smooth the water and blur the clouds in the scene

Unfortunately, most cameras have a maximum shutter speed/exposure time of 30 seconds, which is often too short when using extreme NDs. Owners of higher-end Fujifilm cameras such as the X-T4, GFX100S and X100V can set exposure times up to 60 minutes in duration so you don’t have to shoot in Blub mode.

For everyone else though, Bulb mode is the key to long-exposure success. On a technical level, a long exposure is essentially any shutter speed that’s too slow for the camera to be handheld without causing camera shake. However, in terms of aesthetics in landscape photography, it’s often not until shutter speeds are around one second that photographers consider exposures to be long exposures.

Exposures up to 30 seconds using extreme NDs can be dealt with by the camera, but beyond this we have to manually time exposures and hold the shutter open in Blub mode, so let’s take a look at how it’s done.

How to calculate correct exposure times

1. Attach ND grads: Securely attach your camera to your tripod to ensure that it can’t move during the exposure and compose the shot. At this stage, attach a filter holder and any ND grads required to maintain sky detail. Manually focus 1/3 of the distance into the scene beyond the foreground for a large depth of field and to lock focus.

2. Identify ‘normal’ exposure: Select aperture priority mode at f/11 with ISO 100 and apply any exposure compensation as required for a correct exposure. The shutter speed here was coming in at 1/4sec, but if it was much slower than this it would have been beneficial to increase ISO to 200 to halve the exposure time.

3. Use a calculator app: Use a free exposure calculator such as the LEE Stopper app or NiSi Filters app. Both allow you to select which filter density you’re using, and you simply need to input the standard exposure time for the app to then give you the exact exposure time required. Both apps feature a timer.

4. Shoot the long exposure: Set the camera to manual mode and if the exposure is longer than 30 seconds, rotate the thumbwheel until Bulb is shown. Make sure aperture and ISO are the same as in step two, and you’ll need to use a shutter remote to release the shutter at the same time as starting the app timer.

5. Reattach filters and shoot: Attach your chosen ND filter and then the graduated ND if you used one. Release the shutter with the remote, at the same time as the app timer, and make sure it locks to hold the shutter open – depending on model. Press the shutter button to end the bulb exposure when the timer ends.

Approaches to long-exposure

All landscapes have moving elements, whether that’s grass, water or clouds etc. Many even have a combination of some or all of these factors, so there’s always a huge amount of potential for creative long exposures. The most dramatic, and often interesting, movement can be found in water and clouds, and exposure time itself can produce drastically different results depending on what you’re aiming for.

Midday long exposure 10-stop ND filters allow you to capture long exposures in even the brightest conditions. This 62-second exposure was taken around midday and was used to smooth the water and blur the clouds

Scenes with clouds in the sky look great when you use a long exposure to capture them streaking towards the camera, and depending on how fast the clouds are moving the exposure required could be anywhere from 30 seconds to several minutes. Whereas with water, exposures between 1 and 3 seconds provide the most texture and definition in the water, while exposures of 30 seconds and above create a silky water effect in waterfalls and the completely smooth water in lakes and the sea.

The latter is a popular approach when it comes to shooting minimalist images of a tree, for instance, surrounded by silky-smooth water.

Low-light long exposure. Not all long exposures require the use of filters; this image was taken before sunrise and the exposure time was 10 seconds. If you don’t have ND filters, aim to shoot before sunrise and after sunset for naturally long exposure times

Getting the look

One thing that will always make long exposures effective is a static visual element within the scene that remains pin-sharp. Not only does this contrast and accentuate the movement in the scene, it also acts as a visual anchor that avoids images becoming a pure blur and ultimately abstract.

Cloudscape This simple, almost abstract, image is all about the colourful sky. By using a 6-stop ND, it was possible to achieve a 25-second exposure to blur the clouds and water

Personal preference will often dictate which exposure time you opt for, but light levels can also be a factor; it’s easier to extend exposure time than reduce it, which is why it’s essential to carry several ND filters with you when shooting landscapes. For instance, when shooting waterfalls, you’ll often be in dark locations so a 3-stop ND filter may allow you to achieve exposure times of 1-15 seconds while shooting in the morning.

However, shooting in the afternoon might require a 6-stop or 10-stop ND to be used to achieve an exposure long enough to blur clouds.

Waterfall To achieve a 13-second exposure to blur the water in this stream, a 3-stop ND filter was perfect. Using a stronger density would create a longer exposure, but for no additional visual benefit

Fake the effect in Photoshop

You can fake the look of ND filters by shooting five to ten exposures of a subject with the camera on a tripod. You then need to sync the raw files in Lightroom before opening all the exposures as Layers in Photoshop. Next, go to Edit>Auto-Align Layers and leave the Projection set to Auto and hit OK.

On the Layers panel left mouse click on the top Layer, hold down Shift and click on the bottom Layer so all are selected, then right mouse click on the Layers and select Convert to Smart Object. Once the Smart Object has processed, go to Layers>Smart Objects>Stack Mode>Median. Once the mode has been applied the image will look like a long exposure.

Finally, flatten the image and crop the edges to remove space left after the image alignment.

James’ Kit list

Tripod
A tripod is essential for long-exposure photography because the camera must be kept completely still during exposures to avoid camera shake in areas of the scene that should be sharp.

Shutter remote
Using a shutter remote allows you to fire the shutter without touching the camera and causing camera shake. They’re also necessary for shooting in Bulb mode to manually hold the shutter open.

Exposure calculator apps
The LEE Stopper and NiSi Filters apps allow you to dial in the standard exposure and will calculate the exposure required for a variety of ND filters including 6, 10 and 15-stop NDs.

Filter holder
If you plan to combine ND filters with graduated ND filters to maintain sky detail, you’ll need a filter holder where 100mm filters slot in place and can be stacked according to requirements.

Variable ND filter
Variable ND filters are a budget option providing a variable density ranging from roughly 1.5 stops to 8 stops, which is controlled by rotating the front part of the filter.

James Abbott
James is a freelance photographer and photography journalist specialising in creating shooting and editing techniques that help photographers improve their skills. His first book, The Digital Darkroom: The Definitive Guide to Photo Editing in Adobe Photoshop and Affinity Photo, is on sale now. www.jamesaphoto.co.uk.

Guy Edwardes’ tips for creative long exposures in landscape photography

I think it’s important to start by stressing that I never use long exposures just for the sake of it! I always consider whether a long exposure is appropriate, as well as how long it should be. There are certainly times when a longer exposure can be beneficial, but also times when it could be detrimental. My incentive for using longer exposures is to help inject life and a sense of movement into otherwise still images of the landscape. The exact length of exposure required for this will vary and may depend upon several factors.

I always work in manual exposure mode when shooting long exposures. This allows me to choose the perfect aperture, ISO and exposure time, and to then use neutral density filters to control the brightness of my image. I also use manual focus, as stronger neutral density filters can cause the autofocus to hunt. In this article I will run through the three main reasons why I might consider the use of a long exposure in my own landscape photography.

Start Point Lighthouse at sunrise, South Hams, Devon, Canon EOS R5, 11-24mm, 60sec at f/16, ISO 100, Image: Guy Edwardes

Canon EOS R5 · f/16 · 1/0s · 11mm · ISO100

Capturing cloud movement

Long exposures can add a dramatic effect to a landscape scene, especially when clouds are moving quickly and in the right direction! The best effect will be achieved when using a very wide-angle lens and when clouds are either moving towards the direction you’re photographing, or directly away from it. You may need to experiment a bit to find out exactly how long your exposure will need to be, as this will depend upon how quickly the clouds are moving. It could be anything from a few seconds to several minutes, and you would control this using neutral density filters. Whenever you shoot long exposures it’s worth taking several frames to choose from later, as the effect will be slightly different in each one.

Canary Island Pine Forest with clouds moving over the Atlantic during a long exposure, Teide National Park, Tenerife, Canary Islands. Image: Guy Edwardes

Canon EOS R5 · f/16 · 1/5s · 120mm · ISO100

Creative control of water movement

For me the most effective use of long exposure times is to control the way moving water is recorded in my landscape images. In coastal locations I may be looking to smooth out the texture and contrast of ripples and waves to help emphasise features such as boulders, piers, sea stacks and rock arches. In poor light I often use very long exposure times, often of several minutes, to create minimalist seascapes by smoothing out the water to an almost glass-like state. A longer exposure time can also be used to create separation between the flowing water in a river and static rocks within the river and along the riverbank by reducing contrast and texture in the water. Using a fast shutter speed to capture landscape images that include moving water can result in a ‘frozen in time’ look that seems unnatural to my eye. To overcome this, I will decide upon an appropriate exposure time that I feel suitably captures the flowing nature of the river at the time.

Dail Beag beach, Isle of Lewis, Outer Hebrides, Canon EOS R5, 11-24mm, 2sec at f/14, ISO 100. Image: Guy Edwardes

Canon EOS R5 · f/14 · 1/1s · 11mm · ISO100

Working with the conditions

In windy weather when vegetation is blowing around, I often choose to work with the conditions, rather than fighting against them. The latter usually results in compromises to image quality from using high ISO settings and wider lens apertures to achieve a shutter speed fast enough to freeze wind movement.

Therefore, try sticking to a low ISO setting, along with the aperture you require for sufficient depth of field, and simply allow the vegetation to blur during the resulting long exposure. This approach can help to capture a more atmospheric result, indicative of the weather conditions at the time. It should be obvious that you deliberately intended to blur the vegetation, so a neutral density filter may be required to set a long enough exposure time, although in overcast light a polarising filter is normally sufficient.

Beech trees at Kingston Lacy, Dorset, Canon EOS 5D Mark IV, 100-400mm, 3.2sec at f/16, ISO 400, Variable ND filter, Image: Guy Edwardes

Canon EOS 5D Mark IV · f/32 · 1/0s · 286mm · ISO400

Problems to overcome

Always take the time to use neutral density filters to achieve your long exposure, rather than expanded low ISO settings or a very small lens aperture, both of which are detrimental to image quality. Remember to turn off in-camera and lens stabilisation when shooting long exposures, otherwise the stabiliser can blur the whole image. Long exposures cause the camera sensor to get hot, which in turn can lead to ‘hot pixels’ showing up in your image. For this reason, it’s best to turn your camera off whenever you’re not taking pictures to allow the sensor to cool. Some camera bodies include the menu function ‘pixel mapping’ to remove hot pixels – it is worth running this before taking any long exposures.

Sligachan, Isle of Skye, Scotland, Canon EOS R5, 11-24mm, 1 sec at f/16, ISO 100, 3-stop ND filter,      Image: Guy Edwardes

Canon EOS R5 · f/16 · 1/2000s · 19mm · ISO100

Another option is to use in-camera long exposure noise reduction, but this takes time and is therefore impractical when shooting very long exposures. Perhaps the best solution is to shoot a final long-exposure image with your lens cap on. This black frame will still show the hot pixels and can be used to perform a dark frame subtraction in Photoshop. Place the dark image as a new layer on top of the image you’re working on and change the blending mode to subtract. Most hot pixels will vanish, and the remainder can be removed using the spot healing tool.

There is certainly a degree of trial and error in long-exposure landscape photography, but as a creative technique it may help to elevate your landscape shots to the next level.

Benijo Beach and Roques de Anaga, Tenerife, Canary Islands, Canon EOS R5, 11-24mm, 1sec at f/11, ISO 250. Image: Guy Edwardes

Canon EOS R5 · f/11 · 1/1s · 13mm · ISO250

How to shoot moving water with long exposures in high-contrast lighting

1. High-contrast scenes require exposure bracketing and blending if you don’t use graduated ND filters. However this can cause problems when shooting long exposures with moving water, as the water effect will vary in each bracketed frame. I overcome this by using a variable neutral density filter (VND).

2. Choose the ideal camera settings for your shot. This would normally be a low ISO to minimise noise and a middle aperture for the best image quality. You can also set what you consider the perfect exposure time for the effect you’re trying to capture.

3. Turn the VND filter until the scene appears dark enough to capture plenty of detail in the brightest highlights. This can be judged by using the live histogram on your rear LCD screen. Note that if you have the sun in the frame this first image will be very dark indeed! Take the first image.

4. Without changing any camera settings, carefully turn the VND filter until 1-2 stops brighter. Take a second image. Repeat this process until you’ve captured a final image with plenty of detail in the darkest shadow areas. The number of images required will depend upon the contrast in the scene.

5. The water movement in each frame will be similar, as the exposure time remained the same. Therefore, the resulting set of images can be blended, in Adobe Lightroom (Merge to HDR) into a single DNG RAW file with expanded dynamic range. This can then be processed as normal, but with the increased capacity to recover highlight and shadow areas. If using an exposure time of only a few seconds, it may be necessary to refine the end result by blending the best single exposure for the water with the HDR file using layers and masks in Photoshop.

Why it Works

For this shot of Porth Nanven in Cornwall I used a very long exposure time of five minutes. This was achieved using a 15-stop neutral density filter. It is a single exposure at f/11 and ISO 100 to maximise image quality. I chose to use such a long exposure for two reasons. Firstly, as the clouds were moving directly towards me and I was using a 16mm wideangle lens, I knew that a long exposure would transform the clouds into streaks that would help to draw the viewer’s eye into the centre of my composition. Secondly, I wanted the nice smooth boulders to form a prominent and important element in the foreground. The water flowing around the boulders during the long exposure has helped to isolate individual boulders, as well as simplifying the overall composition by smoothing out the texture and contrast in the waves and ripples that would otherwise have made the image very busy.

Sunset from Porth Nanven, Cot Valley, St Just, Cornwall, Canon EOS 5DS R, 16-35mm, 339sec at f/11, ISO 100, Image: Guy Edwardes

Canon EOS 5DS R · f/11 · 1/0s · 16mm · ISO100

Guy’s Kit list

Wide-angle lens
Although lenses from wide-angle to telephoto can all be used successfully for shooting long exposures, ultra- wide-angles tend to produce the most dramatic effects if you’re trying to capture water or cloud movement. My Canon EF 11-24mm f/4L is my most-used lens when shooting long- exposure landscapes.

Tripod
A sturdy tripod and head are essential for long- exposure landscape photography. Spiked tripod feet and a weighted bungee cord can help improve stability, especially in windy conditions. I use a Sachtler Flowtech 75 video tripod and Really Right Stuff BH55LR ballhead.

Neutral density filters
I recommend having a minimum of 3-stop, 6-stop and 10-stop ND filters available. Even 15-stops can be useful in very bright conditions. I use a set of Breakthrough drop-in ND filters and variable ND filter via my Canon EF-RF drop-in filter adapter.

Remote release
For exposure times longer than 30 seconds you may need a remote release to use the bulb setting on your camera. However, many modern cameras allow bulb to function through the use of touch shutter, or the setting of longer exposure times directly.

Cauldron Force, West Burton, Yorkshire Dales National Park, North Yorkshire, Canon EOS 5DS R, 16-35mm, 10sec at f/22, ISO 250, Image: Guy Edwardes

Canon EOS 5DS R · f/22 · 1/0s · 29mm · ISO250

Guy Edwardes

Based in his home county of Dorset, Guy has been a professional landscape and nature photographer for almost 30 years. He is represented by major picture libraries, and he runs a series of photographic workshops and tours around the world. See his latest work and available workshops at www.guyedwardes.com.

Further reading:

• The top three filters you need for superb landscape shots
• Lee filters Super Stopper targets long-exposure photography
• Guide to fine art landscape photography
• Guide to Moonlight Landscape Photography

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The post Master long-exposure landscapes appeared first on Amateur Photographer.

All that’s needed is a little adjustment in mental approach to picture-taking, and perhaps learning a new editing trick or two to make the most of your vision. For those who still own a film camera, sticking with analogue techniques is an option. You could always pick up a pre-owned film camera or take the low-fi Lomography route. I have several toy cameras including pinhole models that see regular use and I scan the negatives to work on.

See our pick of the best cameras for black and white photography, which gives a selection for all budgets from more expensive Leica models to the very reasonably priced.

In very contrasty light an exposure bracket of several frames can be merged in software to produce a fully toned image. Nikon Z7, 35mm, 1/3200sec at f/4.5, ISO 400. Photo: Will Cheung

When I embarked on my photography journey, there was only film with the choice of colour print, colour slide or black & white. Going monochrome was the obvious route because as a schoolkid, it was the only affordable one. Not only that, but the pictures I saw in magazines and books that fired my imagination were in black & white.

I grew up loving and being inspired by the work of many legends of photography including Ansel Adams, Bill Brandt, Henri Cartier-Bresson, Duane Michals, Arnold Newman, Irving Penn and Sebastião Salgado, to name my magnificent seven.

Their work continues to inspire me and no doubt many others. If their names are unfamiliar to you, they’re well worth a look. If you are already a keen mono shooter, you will have your favourite workers. If you’re finding your way in the medium, however, and need inspiration, now’s the time to get on the internet or to a bookshop. Whether you’re fired up by the work of old masters or more contemporary visionaries, there’s a lot of wonderful imagery out there.

Which subjects work best in black and white?

My view is that black & white can be applied very successfully in almost any genre. This is not to say you should turn every image in your archive into shades of grey, or that these will be more successful than full-colour shots. Our message is rather that black & white is a much more versatile medium than you may think, and can be indulged to great effect in almost any medium.

It may seem paradoxical to say that the absence of colour can an extra dimension to your creative output. Monochrome images can evoke moods or impressions that colour photography simply cannot. Naturally, some subjects and scenes are better suited to colour, but here we consider some with great scope and potential for shooters to explore in black and white.

Mono excels in dull light when you might not even bother taking the camera out. Shoot anyway and go moody monochrome! Nikon D3s, 24-70mm, 1/30sec at f/5.6, ISO 800. Photo: Will Cheung

Some subjects are also inexorably linked to colour photography. Take nature as an example, where the goal is to portray reality in all its elements; colour an obvious one. But shooting in black & white offers a whole other world of views in the wild. For evidence that it can work exceptionally well, check out the remarkable output of Nick Brandt.

The dull morning light meant the original image looked dull. A mono conversion and a little work on the computer resulted in a character-packed portrait Canon EOS-1Ds Mark II, 500mm, 1/160sec at f/4, ISO 1600. Photo: Will Cheung

With mono, there are plenty of creative avenues to explore. With most of us now capturing digitally, shoot raw and the world is your oyster because you can take any route you want. That said, I have not totally bucked convention, and suggest six subjects that work exceptionally well in monochrome, and six that are less successful. Continue reading to discover more.

Just remember there is no right or wrong. Choosing to use monochrome is a creative decision. If the medium works for you and it suits the pictures you’re taking and your style, don’t worry about convention. Then work on developing a style that suits your evolving pictorial approach.

Six subjects that work well in black and white photography

Black and white is a powerful creative medium and is incredibly versatile. Next time you’re out shooting, select the mono picture mode and give it a go. Shoot raw + JPEG so you get a mono preview but still have the colour option. You can explore black & white right now on existing files in software. In Adobe Lightroom, a single click takes you from colour to mono so you get an idea of the potential, and if you like what you see, work on the conversion for the best result.

Black and White: Architecture

Interiors or exteriors, modern or classical, overall view or detail – whatever your taste, black & white is a good option. One advantage when tackling interiors in black & white is that you don’t have to worry about weird and not-so-wonderful colour casts created by artificial lighting. Church and cathedral interiors, for example, can have very warm lighting and the vivid orange cast is almost impossible to neutralise satisfactorily. No problem in black & white, though.

Where colour would distract, black and white add a powerful contrast to architectural photography. Photo: Will Cheung

Black and White: Close-ups

Close-up details, patterns and texture can look wonderful in black & white and even better when side-lit to add an extra splash of contrast – but not too much! Such images in full colour can look a tad too busy with different hues competing for attention or look unsettling with clashing colours. Of course, this can work in your favour, so be prepared to explore both options. In mono, try the halfway option and tone your shots in editing.

Black and white close-ups lend a timeless element to any subject. Photo: Will Cheung

Black and White: Portraits

Nothing beats black & white for character portraits, whether using natural light, LED lights or flash. Unless you are going for a beauty shot with diffused lighting, try Rembrandt or split lighting for contrast. Be brave and put away the reflector, to keep the shadows deep. In editing, use the highlight and shadow recovery sliders sparingly to keep the contrast high. Adding digital noise for a film-like grain effect can be very effective too. See more black & white portrait guidance here.

Black and white portrait photography. Photo: Will Cheung

Black and White: Night photography

Vibrant colour abounds at night with office lighting, street lamps and car trails. Again, shooting in colour is the obvious thing to do, yet monochrome can produce rewarding images too. Blackness and deep shadows inevitably dominate, and any highlights present in the scene are often intense and can burn out. But the high contrast, relative lack of delicate mid-tones and darkness can work very nicely in black & white. Shoot raw to give more flexibility when it comes to dealing with the highlights and pools of darkness.

Building lights in black and white. Photo: Will Cheung

Black and White: Scapes

Seascapes, landscapes and urbanscapes all suit the monochrome approach. Whether you envisage your final shot to be in colour or in mono, good light to bring out texture or add warmth is always a benefit. But when the lighting is flat and there’s lots of cloud cover, shooting in mono route can work really well. Make more of a cloudy sky by taking one correct exposure and then one under-exposed by one or two f-stops, so the sky shows greater detail. The two shots can be merged in editing.

See more advice for creating moody monochrome landscapes.

With no colour to rely on, use light, texture and composition to add dimension to the image. Photo: Will Cheung

Black and White: Street photography

Shoot mono and explore your inner Cartier-Bresson. Few can get anywhere close to the work produced by the master of street photography but taking the mono option is at least a start and can add a unique mood to your shots. A popular form of street photography is using full sunlight, bold shapes and contrast.

This approach can be very powerful in monochrome, especially if you keep the contrast high and perhaps recover the highlights a little in editing. See our full guide to black and white street photography.

Street photography in black and white. Photo: Will Cheung

How do you take good black and white photos?

The first steps in black and white photography

Just set the digital camera to shoot monochrome. Digital cameras have picture modes and among the colour and subject settings, you’ll find monochrome as a menu option. With this mode selected, take a picture and the preview will be in mono regardless of the image format you have set.

If you usually shoot raw you’ll still get files with everything recorded by the sensor, so once opened in your usual editing software the image will be colour as norma,l and you’ll need to do some work to get mono shots. However, if you want mono shots straight out of camera, select JPEG image format and what you see previewed is what you get. In this case, however, you can’t decide to go colour later, so that is something to bear in mind.

Repeating patterns and texture suit the mono approach. Nikon D700, 90mm, 1/50sec at f/3.2, ISO 800. Photo: Will Cheung

The third way, and the best of both worlds, is to set the camera to monochrome picture mode and shoot both JPEGs and raws in-camera. The JPEGs mean you have mono shots for immediate use and also proof images that can help when you process the raws. Essentially, this option is win-win with the only downside being the memory needed for shooting and storing two files of every image. This is the method I use although I only archive a few JPEGs.

Add power to your street shots by removing the distraction of colour Fujifilm X-T2, 18mm, 1/680sec at f/5.6, ISO 400. Photo: Will Cheung

Whichever method you adopt, using monochrome picture mode means you see the shot in shades of grey, which is of great benefit to new and regular mono shooters. The thing about using the default monochrome picture mode is to treat it as a start.

There’s no problem with raw files because the hard work begins on the computer, but if you’re expecting to use the in-camera JPEGs then fine-tuning the mono settings is essential because the default settings often give anaemic results lacking in any depth and punch. For more information on how to setup your camera before you shoot, check out these 14 tips to setting up your camera.

Going for bold compositions works really well for impactful mono shots. Fujifilm X-T1,18-55mm, 1/60sec at f/9, ISO 200. Photo: Will Cheung

Going mono in camera

Digital cameras have mono picture modes so you can enjoy out-of-camera black & white JPEGs by doing nothing more than digging into the camera menu. One thing to consider: if you are shooting mono JPEGs only and later decide you would like the shot in colour, tough.

So, set the camera to shoot raws as well as mono JPEGs, so the colour option is available. Also, raws give superior results with much more control over contrast, exposure and tonality in post-processing. In-camera monochrome shots can look flat and rather dull at default settings, so you need to exploit the options your camera offers. The usual parameters that you can adjust are contrast, clarity and sharpness (and these apply only to JPEGs) although the nomenclature varies from brand to brand. Filters and even toning can be applied too.

JPEG taken on a Canon EOS R5 with the in-body filter set to no filter. Photo: Will Cheung

The two shots (above and below) were taken with and without the camera’s red filter setting. Fine-tune the parameters and make a note or save them as a preset for future use. This takes time and some fiddling with the settings, but the effort is worthwhile.

JPEG taken on a Canon EOS R5 with the in-body filter set to red filter. Photo: Will Cheung

What is the best way to use filters for black and white photography?

Another way to modify images during capture is to use filters. Black & white film photography and filters are joined at the hip. Most mono films are over-sensitive to blue light: a nicely lit scene on a sunny day will come out blank and lack detail in the sky space. A coloured filter to reduce the amount of blue light reaching the film will rectify this. A yellow filter has the weakest effect, orange is stronger and red is even more potent.

Generally, film photographers keep with yellow or orange for results that don’t look unnatural. It’s different with digital capture but filters still have their uses. Of course, use a coloured filter on a digital camera and the result will match the filter’s colour; and there’s no point having a single-coloured yellow, orange or red image. In digital cameras there are virtual filters that try to emulate the effect achieved with the filters on monochrome film. These are often in the same menu as the mono picture mode settings.

“Try” is the operative word; while they have an effect it is usually limited so don’t expect too much. The best thing is to utilise the various filters. If you prefer skies darker, dial in the orange or red filter and tweak the contrast and clarity settings, too. Fun with filters In-camera filters have no effect on raw. Regardless of the kind of image you’re shooting, get physical with actual filters to really produce files with more sky detail. Then work on them in editing.

See our guide to the best camera filters.

When there’s a good sky, shoot extreme long exposures for impact. Nikon D800, 24-120mm, 4 minutes at f/11, ISO 100. Photo: Will Cheung

ND (neutral density) graduated filter

This filter type helps control sky brightness giving a better tonal balance with the foreground, which is why it is a common accessory among scenic shooters. If you had to pick one to buy or use, the 0.6 (2 stop) soft grad is a good all-rounder. The ND grad is a good choice and not dependent on light direction which is not the case with the second option, the polariser. When it comes to skies, popular belief has it that the polariser has magical powers and can transform an insipid sky into something spectacular.

Well, it can do a brilliant job, but not all the time. On a sunny day, shooting towards or away from the sun a polariser has little effect on the clouds or sky and that’s because there is less polarised light in those regions to filter out. However, turn 90° to the sun and you can get fabulous skies with the assistance of a polariser. Next time you’re out there with the polariser, use the ‘rule of thumb’. Make a pretend gun with your hand, i.e. thumb up, forefinger out, the other fingers tucked out of the way.

You can cure overexposure by deploying a Neutral Density filter. Photo: Will Cheung

Point at the sun with the forefinger and then rotate your hand at the wrist. The areas where the thumb points (90° to the sun) is where the polariser has the strongest effect. There is lens choice to consider too. If you enjoy ultra-wide lenses such as a 20mm lens on 35mm format, use a polariser – applying the rule of thumb – and you’ll find the central area of blue sky looking lovely and rich while the edges of the frame look unaffected. Uneven polarisation does not look great and while you might be able to correct it in post, it’s best to avoid it in the first instance and use a less extreme focal length or take the filter off.

Just beware, though, because on very bright days, at higher altitudes or in sun-drenched countries, a polarised sky can be overpowering and look unnaturally dark. It is always best to rotate the polariser and shoot when the effect is optimum for the shot. On cloudy days, when there is not much-polarised light around, a polariser can still cut down glare and make greyness look slightly more intense. Generally, unless you’re using the polariser as an ND filter, it’s not worth fitting on a grey day.

What if I don’t have filters?

If you’re filter-less, another technique for more sky in the final result is to shoot a correctly exposed shot followed by an underexposed one (by -1 or -2 f-stops) so that the sky records with some detail. In editing software, the sky from the underexposed shot can then be used on the correctly exposed shot. Using a tripod is ideal if you want perfect registration but this technique works with shooting handheld too.

Engage the camera’s autoexposure bracketing mode to make this easier; many cameras have two-frame bracketing but use three frames if there’s no choice. The way forward You can take the first serious steps into monochrome image-making right now by turning on the computer – assuming you have editing software – and exploring your back catalogue. At this time of year when it’s cold out, this has an obvious appeal and seeing how colour pictures you’re familiar with look in mono is time well spent.

Two dials on top of the EOS R8 control exposure settings. Image credit: Andy Westlake

However, there is nothing better than actual experience so with your camera set up to shoot monochrome, you can start exploring the world in shades of grey and experimenting with exposure, picture settings and filters. Learning how to shoot without the realism of colour obscuring your creative vision might be alien initially. ‘Seeing’ or visualising images is not easy but as legendary landscape photographer Ansel Adams said, ‘Visualisation is the single most important factor in photography.’

However, you have one tool at your disposal that Adams didn’t have. If you want to see how a scene looks in monochrome, just take a shot and check over the preview. It might not be an accurate depiction of how the final edited picture will look – it rarely is, in my experience! – but it’ll certainly be a big clue and will reveal the tonal relationships between the main elements of the scene.

What’s more, there is no cost and you’re learning in real-time, so just shoot away even on scenes that may have no potential. With practice and experience, you’ll soon learn how scenes will look in monochrome without having to ‘proof’ them first.

Clean, simple compositions can add impact to your shots – whether in mono or colour. Nikon D810, 24-120mm, 1/125sec at f/5.6, ISO 100. Lit with flash. Photo: Will Cheung

What is the best light for black and white photography, and how to get the exposure right?

Colour and black & white images can succeed in all manner of lighting conditions, and it’s always a good thing when the sun’s shining and there are some photogenic clouds. In some ways there is more tolerance in black & white and the flattest lighting can give eye-catching pictures, especially with an injection of contrast. Also, if you are confronted by a detail-less sky, compose to crop it out, just as you would when shooting colour.

With black & white there’s no issue with the light’s colour. You get lovely, warmer or more red light at both ends of the days and it’s neutral and cool in between, which is why colour landscape photographers are busiest early and late on and relaxing in between. In black & white, you can shoot all day long and the higher contrast and harshness are powerful tools. Whether you’re taking the raw or JPEG road to monochrome, the exposure process is the same as for colour.

If a histogram shows peaking on either end of the graph, some pixels are clipped. Photo: Will Cheung

As always with JPEGs, you need to be more accurate because there is less data to work with and advanced editing is not an option. There’s no real need for special exposure techniques and certainly nothing like the Zone System which expert film users employed. Just get it right in-camera and learn how to read a histogram, the graphic that appears when you review an image in-camera.

There is no such thing as an average scene but if there were, the histogram will show some information in the shadows (left side of the histogram) and some in the highlights (right side) and there’ll be a big middle hump between the two extremes.

Unless the scene is very dark or very light, you don’t want a histogram too left or right-sided. With careful metering and using exposure compensation or exposure lock to deal with awkward lighting, try to keep the histogram mostly in the centre, and especially try to avoid overexposure. Read more on ISO, exposure and metering here.

A digital raw file has much more tolerance to underexposure compared with overexposure. Recover a grossly overexposed shot in editing and the highlights will come out veiled and slightly off-grey; it is not a good look.

There are issues with heavily underexposed shots too. While editing might give a decent tonal range the image might suffer from artefacts or digital noise, which looks like mottling and is also not a good look although it might be okay. Some photographers like to expose so that the histogram has a right-sided bias but without the graph bleeding off to the far right. The preview image might look bright but the aim here is to get more information into the shadows so when they are lifted in editing there is less digital noise in evidence.

An interesting play of light suits a contrasty, graphic approach. Fujifilm X-E3, 14mm, 1/320sec at f/8, ISO 800. Photo: Will Cheung

Editing black and white images

By now, you should have a good idea of how to shoot mono images successfully including camera set-up, file format choice, applying in-camera and lens filters and how to use the histogram. The next step – a big one – is turning on the computer and processing and fine-tuning your shots. The computer and editing software play the same role as film processing kit and the enlarger in the wet darkroom. It’s where the magic takes place. See our guide to the best programs for editing black and white images.

Out-of-camera mono JPEGs can look great and be perfectly usable but having the capability to edit the raws is the ultimate in flexibility and it’s where you make your black & whites truly sing. My workflow is based on Adobe Lightroom Classic supported by a few plug-ins. You can see how images look in black & white with a single click and check out any potential. If not, another click restores the colour preview.

Interior lighting can be tricky to get cast-free in colour. Changing to black & white gets around the issue and adds an extra dimension too
Fujifilm X-T1, 14mm, 1/15sec at f/7.1, ISO 1250. Photo: Will Cheung

How you progress the mono conversion depends on what software you have, and there are plenty of great options when it comes to working with raw files. Profiles, plug-ins, using masks and different conversion techniques in software are all fair game. If you’re already a keen mono worker you probably have a process that works for you. Mono newbies will be on a voyage of discovery and with most software and plug-ins available as limited-time, fully functional demo versions it’s time to trawl the world of apps.

There are packages from the likes of Adobe, Affinity, Capture One, DxO, Luminar and Topaz. Some are available on subscription, others are outright purchases and there are free/shareware options too. Most of my mono conversions are done through Silver Efex from DxO’s Nik Collection which I use as a plug-in in Adobe Lightroom. I will apply some Lightroom adjustments before taking the file into the plug-in. Usually, it’s some highlight and shadow control, plus tweaks in contrast and clarity.

You have to be careful because significant adjustments can result in halos where shadows and highlights meet. As with most plug-ins, Silver Efex has a wide range of presets and you can create your own. I often start with a preset – I like More Silver – and will try several and when I settle on one will spend time adjusting the sliders to taste. A great DxO feature is the ability to fine-tune images locally with control points that you can place in any area of the image and use as many as required.

There is much more too with the ability to add vignettes and grain, emulate films, burn in edges, tone images and add frames. It’s not perfect but it is a capable mono plug-in that I have used for years.

The latest version of the Nik Collection costs £135 for new members or £69 for Nik Collection 4 & 5 users looking to upgrade. A more detailed breakdown of all the features and creative possibilities with Silver Efex can be found here.

Learn more about how to enhance your black and white images with Silver Efex. 

Don’t forget to print!

Shooting and making black & white images is all very well, and of course, you can appreciate your handiwork on screen, just as you would with your colour images. However, if you really want to marvel at your talent, get your favourite images printed. Canson, Fotospeed, Hahnemuhle and PermaJet are among the many brands offering baryta papers that have the feel and look of a traditional wet darkroom print. It would be a shame to expend all your creative energy into making mono images you’re proud of, and not to show them at their very best. See our guide to the best printers and papers.

If you decided to go all traditional and use an analogue camera read our guide on how to develop your black and white film at home here.

Black & white works really for nature too. Bold sidelighting brought out the texture in the seals’ fur. Nikon D700, 400mm + 1.7x teleconverter, 1/350sec at f/5.6, ISO 400. Photo: Will Cheung

Six subjects that don’t work so well in black and white

Black & white doesn’t work for everything, but it’s always worth trying and has more creative potential than many assume. Here are a few subjects that are perhaps less successful in shades of grey.

Sunrises and sunsets

Every day, nature provides two spectacularly colourful events (unless it’s cloudy!) just aching to be photographed. All those intense shades of yellow, orange and red look wonderful in colour, and rather less interesting in shades of grey. That said, with nice clouds or a bold foreground, black & white sunsets can look good.

A black and white sunrise. Photo: Will Cheung

Twilight

That brief period before sunrise and after sunset when the sky can be a palette of beautiful colours is a must for the camera, but perhaps not in mono. While those gorgeous, vibrant hues or a mackerel sky can look absolutely stunning in colour, they are much less effective in black & white. A bold foreground in silhouette might work, though.

A gradient contrast of clouds. Photo: Will Cheung

Flowers

Colourful blooms photographed in monochrome might seem a wasted opportunity, and often it is, but check out Robert Mapplethorpe’s images of irises and see how it can be done. His fine art images were created in the studio and that’s probably why they work. Pictures taken in the back garden might not have the same resonance.

Flowers work better in colour than in black and white. Photo: Will Cheung

Butterflies

Many nature subjects work in black & white, but butterflies don’t. A painted lady, a swallowtail or a marbled white as in this shot do not look great in shades of grey. They are such beautiful insects that they deserve the full-colour treatment. However, the combination of a clean background, good lighting and a nice pose can succeed.

Black and white is not the best option for an image like this. Photo: Will Cheung

Light trails

A popular and fun technique especially at this time of year. A long exposure using a tripod-mounted camera of a busy road or traffic junction can give awesome results – in colour! Red tail lights, blinking orange turn indicators and the warmth of artificial light, often combine to give magical and very vibrant results.

Black and white night trails don’t have the same impact as they do in colour. Photo: Will Cheung

Autumn colour

There are some subjects that simply cry out for colour and the monochrome route is almost inevitably less captivating. Garden scenes, fireworks and autumn, to name but three. If you want to make the most of vibrant acers this autumn, colour is the way to go, but if you have the raws there’s time to explore the creative options retrospectively.

Autumn colours need colour. Photo: Will Cheung

Quick black & white photography tips:

1. Choose your subject wisely and try “seeing” in black and white. Setting your camera to monochrome mode will help.
2. Keep an eye on the direction and intensity of light
3. Look out for interesting shapes, contrasts and textures

Photography holidays – try out your black and white skills

Put your black and white photography to the test on our upcoming photography holidays! We have landscape and wildlife trips coming up in 2023 and 2024. See the full programme here.

Ready to take the next step with your black and white photography?

Learn how to put together a successful portfolio or try entering your images to photography competitions.

Further reading

• Complete guide to fine-art black and white photography
• Black and white editing with Snapseed on your smartphone

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There’s an eclectic mix of ideas that will suit different types of photographers, and a few alternative options for those who want to go down the less traditional route.

Remember you don’t need to stick to one avenue either! Many photographers bring in multiple incomes through various measures so you can mix it up to some extent however you like!

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 different online marketplaces where you can sell your work from Ebay, Fine Art America to Etsy. They all attract large audiences and should be considered by any artistic photographer wanting 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 you can do it yourself. This can be achieved through most website providers, or if you want something bespoke then you’ll either need the skills or pay someone to build it. Keep in mind though you’ll have a much smaller target audience compared with the likes of Etsy and other online marketplaces, but on the plus, you are in full control.

4. Wedding photographer

If you’re a people person and you enjoy capturing the moment, a career in the wedding industry might just 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 significant amounts to record their special day. See our latest wedding photography tips and technique guides if you want to learn more about this genre.

The wedding industry has many opportunities for photographers to make a decent income. Copyright: Claire Gillo

5. Sell your images and stories

If you have a set of inspiring images that tell an interesting story the chances are that a publishing company will be interested in featuring it. As a start there are many different types of magazines out there from Amateur Photographer to magazines like National Geographic that you could try. If you’re unsuccessful pitching to one don’t get disheartened as it is a competitive industry, and you have to keep going. Making sure your pitch is clear will go 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 may want to 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 from approaching galleries to retailers in the home decor industry. You could even go one step further and set up your own shop gallery although overheads can be pricey so do the maths first.

8. NFTs

NFT stands for non-fungible token and they create 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. Although be warned, the NFT market can be extremely volatile!

9. Music Photographer

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

The Long Run playing at Dart Music Festival this year. Copyright: Claire Gillo

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 you stories as a photographer. Although starting a blog in itself won’t make you money it can lead to many different opportunities so keep going.

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 separate you from your competition.

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 as she shares her top tips with us.

Shot at Slapton Sands in Devon. Dress by Sister Organics, model Jade Lyon. Copyright: Claire Gillo

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 it really can boost your ego and get your name out there if you do get a win or even just some recognition as a runner up. Stuck on where to start? See our list of the best photography competitions to enter.

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 who are 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.

16. Edit and retouch images

There are some photographers that hate being stuck on the computer or others that have too much work and need help when it comes to editing and retouching images. You can earn money by offering your services to those in need of a good photo editor.

17. Paparazzi photographer

If taking pictures of celebrities looking their best or worse grabs your interest, then a job as a paparazzi photographer could be worth exploring. This job is intrusive though so won’t be everyone’s cup of tea.

18. Pet photographer

People love their pets, and they 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) takes photographs during filming that can be used to market and publicise the film. What a great job!

20. Commercial photographer

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

Barrington House in Devon on a summer’s day. Copyright: Claire Gillo

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 spark your interest, how about creating an eBook! Lulu, Tradebit, NOOK Press and Smashwords are all viable options 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.

Assisting an established photographer is an excellent way to get into the industry and learn whilst on the job. Copyright: Kal Visuals on Unsplash

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 your 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 if you want some kit inspiration.

30. Travel photographer

If you love to travel with your photography, have you considered sharing 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.

There are many ways to make money from the travel genre. Copyright: Claire Gillo

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. Arts Council is a good place to start to see what is available. Remember you are more likely to receive a grant for your work if it benefits the community.

33. Teach photography

If you are a people person and you enjoy sharing your knowledge with others, then a career in teaching could be an excellent path to undertake. To teach photography in the formal educational system you will need to have the right qualifications.

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.

Grow your social media following and see opportunities arise. Copyright: Karsten Winegeart on Unsplash

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 the perfect career path for you.

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!

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 if you want to go down this route.

Andy Westlake reviewing the Nikon Z9 back in February this year. Copyright: AP

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 and costs to ensure it is profitable for you.

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.

Exhibiting your work is an excellent way to get yourself out there. Copyright: Juliette Contin on Unsplash

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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The post 45 ways to make money from photography appeared first on Amateur Photographer.

One of the best things about them is their relative simplicity – you can point and shoot and get great pictures. But, if you want to take your shots to the next level, there are lots of different things you can try to get just a bit more out of your device – some of which are a little hidden away.

Most of these tips and tricks can be used with all of the recent iPhone models, so you don’t necessarily need to have the very latest (iPhone 15 series) to take advantage of them – but we’ve marked where a couple 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

Toggle ProRAW control on in the settings menu of your iPhone. Photo: Amy Davies

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, you’ll need to 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.

If you want 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 for more considered shots, it can be a good choice.

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 is becoming a more and more easily read format, but it’s still not as universal as JPEG.

iPhone photography tip 2 – Choose your resolution

Shooting in the maximum resolution can come in handy in some situations. Photo: Amy Davies

If you’ve got an iPhone 15 series phone, then the default output of images taken with the main sensor will be 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) if you want to shoot something with lots of detail. Alternatively, you can also 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)

Caption: Tap the 1x lens to move to 1.2x or 1.5x. Photo: Amy Davies

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, you can also switch off any of the two extra “lenses” that you don’t want, which would enable you to jump from 1x to 1.5x for example.

The settings menu showing the Main Camera options. Photo: Amy Davies

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 1x lens sample image, a cathedral with trees and graves

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

The same scene at 1.2x (28mm equivalent). Photo: Amy Davies

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

The same scene, but at 1.5x (35mm equivalent). Photo: Amy Davies

iPhone 15 Pro · f/1.78 · 1/7937s · 6.86mm · ISO80

iPhone photography tip 4 – Extend Night mode exposure time

Use the slider to increase Night exposures. Photo: Amy Davies

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 manually selected, but, you can take some additional control once it does to potentially get even better pictures. If you swipe up from the bottom of the screen and tap on the moon icon (as shown in our picture here), you’ll be able to adjust the shutter speed beyond what the phone has decided is appropriate.

If you’re 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

The macro mode should automatically activate when you bring it close to a subject. Photo: Amy Davies

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 also 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)

Portrait detection should automatically recognise a dog . Photo: Amy Davies

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.

In the standard Photo mode you can set the iPhone 15 series to automatically recognise subjects such as dogs and create Portraits. Photo: Amy Davies

iPhone 15 Pro Max · f/1.78 · 1/211s · 6.86mm · ISO64

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.

You can switch the Portrait effect on/off after you’ve taken the shot. Photo: Amy Davies

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

Switch on the different Picture Styles to change the look of your photos. Photo: Amy Davies

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 to turn them off when you don’t want to use them – if you’ve got one 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 you can shoot Live photos (where a short amount of video is captured with the style).

An image shot with the “Standard” Picture Styles activated. Photo: Amy Davies

iPhone 15 Pro · f/1.78 · 1/7092s · 6.86mm · ISO80

The same scene with the “Warm” Style. Photo: Amy Davies

iPhone 15 Pro · f/1.78 · 1/7092s · 6.86mm · ISO80

iPhone photography tip 8 – Switch on the Level and Grid

The grid and the level come in handy for composition. Photo: Amy Davies

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

You can see straightaway how certain filters will look. Photo: Amy Davies

If you like the idea of your photos having a different look, but you’re 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.

An image shot using the “Silvertone” Filter. Photo: Amy Davies

iPhone 15 Pro · f/1.78 · 1/1597s · 6.86mm · ISO80

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

You can shoot in three different aspect ratios by default. Photo: Amy Davies

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

Preserving your settings is a good way to speed up your shooting process. Photo: Amy Davies

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

With view outside the frame enabled you can easily see things that are about to enter the shot. Photo: Amy Davies

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.

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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The post iPhone photography: tips and tricks to get better pictures appeared first on Amateur Photographer.