Coming up with fresh portrait photography ideas is challenging for many photographers. Whether you take a lot of portraits or are a beginner, it’s always best to have a few good ideas up your sleeve.

So here are 11 portrait photography ideas to create great images of whoever is in front of your camera, starting with…

1. Communicate well

Let your portrait subjects know what you want from them. Talk to them about what you are doing with the lighting, props, and background. This will build their confidence in you and show them you are serious about taking some great portraits.

Don’t be shy. Be interested in who they are and how they are feeling. Ask them questions. Show an interest in what they want.

2. Light based on the mood

Style your lighting to suit the mood of the portrait you are creating. If you want a soft, gentle portrait, use soft lighting and add lights or reflectors to reduce strong shadows. 

Alternatively, embrace the darkness and generate a sullen atmosphere by creating a shadowy, dark effect. Purposely underexpose so you create a sense of mystery.

3. Make use of the environment or isolate your subject

Wherever you are, look around and think about how you can incorporate elements of the environment into your portrait photos. Think about whether showing some of the location will add to the portraits you are making. 

If there’s nothing suitable to include in the photo, then isolate your subject. Blur the background by using a shallow depth of field, or find a plain, blank background to position your subject in front of.

4. Ask your subject what they want

Even if you have some good portrait photography ideas of your own, ask your subject what they want. You may be surprised at what they have to offer. 

The young lady in the photo below told me to include ice cream in our planned portrait session. So I bought ice cream. We were challenged by the weather. Even indoors with the air conditioning on full, the ice cream melted too quickly. So we made the most of it!

5. Use many lighting and background setups

Think outside the box and use different lighting setups and backgrounds during the portrait session. By controlling the lighting and backgrounds, you can create a strikingly diverse set of portraits.

6. Take a series of portraits

Take a series of portraits with the aim of displaying them together. Keep the lighting and background the same for each shot and capture a range of expressions and poses from your model.

If you isolate your model on a plain background, you can print the entire series as a single image. Or you can frame each shot on its own but hang the series together.

7. Photograph your subject’s hands

Hands bring a fresh dynamic and can help add more story to your pictures. You can have the hands holding something, or you can just arrange them nicely.

Giving your subject something to do with their hands will often help them relax. People can feel uneasy when they don’t know how to place their hands. So guiding the hands with some directions or suggestions will help your subject feel more comfortable.

8. Go with the flow

Sometimes, your subject may have some great ideas that are quite different from yours. Go with the flow and include these. Take the photos they want because they will always be enthusiastic and more expressive when trying out their own ideas.

Even if the ideas your subject suggests are not so stellar, take the photos anyway. This will help your subject build confidence and strengthen the relationship between the two of you.

Then, once you’ve spent some time capturing the photos they want, move on to your own portrait photography ideas.

9. Capture the moment

Be prepared to capture special moments as they happen. Don’t be peering down at your camera and fiddling with the settings. Instead, engage with your subject. Be constantly aware of what they are doing and how they are looking. You want to be ready when they smile (and even when they grimace).

When your subject is engaged in an activity, getting your timing right can be more challenging. For the street portrait below, I had to move to keep up with my subject. He was demonstrating the quality of the wallets he had for sale. He poured lighter fluid on one and set it alight to show that it was not made of plastic. It all happened very quickly!

10. Incorporate some movement

Portraits do not need to be still. Movement can help add liveliness to a photo.

Have your subject walk or jump. You can also get them to turn their head quickly, like I did for this photo:

Head movement works best when a person has long hair, but it can be a good idea even for shorter-haired subjects.

Any movement can make way for spontaneity, so don’t forget about the importance of capturing the moment (as I discussed in the previous section). Be ready for anything that might happen.

11. Expose for good skin tones

I’ll add one technical idea:

Set your exposure so your subject’s skin tone is well exposed. This is especially important when there’s a lot of contrast in your composition. 

For instance, wedding portraits of a bride and groom can be challenging. A stunning bride in a white dress and a groom looking handsome in his dark suit can make it difficult for you to find a balanced exposure setting. So spot meter off their faces; this will ensure you end up with a good exposure.

Bonus tip: Show your subject the portrait

Here’s a bonus portrait photography tip:

As soon as you have a few good photos, show your subject. Until you do this, they may not have a clear idea of what you are doing or how you are framing them. But once you show them how good you are making them look in the portraits, they will feel better about themselves. This boosted confidence will only lead to more great portraits.

Portrait photography ideas: final words

It can be challenging to come up with good portrait photography ideas, so I hope this list was helpful.

The next time you have a person in front of your camera, remember these ideas – and use them!

Do you have any portrait photography ideas? Share them (and your portrait photos) in the comments below!

The post 11 Portrait Photography Ideas to Inspire You appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

If you’ve never tried black and white photography before, you may feel a bit intimidated. After all, how do you get started? Should you be shooting black and white on your camera, or should you be converting color images to black and white? And how can you create stunning black and white images, anyway?

In this article, I aim to answer all those questions. I’ll explain the value of black and white, how to do it, plus I’ll share some tips along the way!

Why is black and white photography important?

In the photographic world, black and white is an art form of its own. Some would even say the best photographers work in monochrome. It’s a medium with a rich history; look at the work of Ansel Adams, Edward Weston, or Henri Cartier-Bresson for some truly stunning examples.

Just as importantly, working in black and white can help you become a better photographer. 

How?

It’s all about seeing.

Color is very powerful. It tends to dominate photos – to the point that beginners struggle to see other key elements like contrast, texture, shape, form, and quality of light.

Experienced photographers instinctively see these things, regardless of whether they work in color or black and white. But if you’re just starting out, you may need some assistance. Black and white strips away color, allowing you to focus on the other elements that matter.

Naturally, there are certain subjects that tend to work better than others in black and white. In particular, black and white lends itself to landscapes and portraits.

So if this is your first time shooting in black and white, then those are great starter subjects!

How to shoot in black and white

Before digital photography, the only way to work in black and white was to use black and white film.

But these days, you have two options:

1. You can shoot in color and convert your photos to black and white in Lightroom, Photoshop, or some other post-processing program.
2. You can switch your camera to its Monochrome mode.

I highly recommend you choose the second option, and here’s why:

By shooting in black and white from the beginning, you’ll get black and white previews on your camera’s LCD. You’ll also be able to see in black and white via your camera’s Live View mode. And if you use a mirrorless camera, you can look through a black and white viewfinder – so you know exactly how the different colors will convert before you press the shutter button.

(If you’re not sure how to switch your camera to black and white, check your camera’s manual. Don’t worry; it’s not difficult!)

One last piece of advice here:

Shoot in RAW, not JPEG (or shoot in RAW+JPEG, which will give you a file in each format every time you press the shutter button).

RAW essentially offers you insurance. If you decide you don’t like your shot in black and white, your RAW files can be reverted back to color with the click of a mouse. And if you decide to extensively edit your photos in post-processing, RAW gives you a lot of flexibility.

However, if you’re new to photography, I recognize that you may want to work exclusively in JPEG, and that’s okay. Just know that you’ll probably want to switch to RAW eventually (it’ll deliver better image quality in the long run).

Working in Monochrome mode

As explained above, I highly recommend you set your camera to Monochrome mode. And to get basic black and white shots, that’s all you need to do.

However, once you’re in Monochrome mode, you may have color filter options. And through careful application of these filters, you can capture even better black and white shots.

Color filters

The color filter settings come from the days of film photography. Photographers would use color filters to alter the tones in black and white photos. These days, digital photographers rarely work with physical color filters – instead, they use camera software or post-processing to mimic filter effects.

Your camera likely includes a few color filter options. For instance, you might use a yellow or orange filter to darken a blue sky or a red filter to turn it nearly black.

Here’s a shot before adding a color filter:

And here’s the shot after applying a red filter:

There is also a place for green filters, which can bring out more detail in green subjects like leafy forests.

Those four colored filters (red, orange, yellow, and green) have made their way onto most digital cameras as black and white settings.

Quick tip: Don’t forget about contrast!

If you take a photo in dull light – in shade, for instance, or under a cloudy sky – the photo may look flat (i.e., two-dimensional), especially in black and white.

So what do you do?

You compensate by increasing the contrast. A contrast boost will deepen the shadows, brighten the highlights, and make your main subject pop!

Here’s a portrait without a contrast adjustment:

And here’s the same portrait, but with a contrast boost:

To my eye, the final (adjusted) result is much more powerful.

You can increase the contrast after the photo has been taken (in Photoshop or Lightroom), or you can do it in-camera by adjusting the contrast setting (see your manual if you’re not sure how to do this!).

Composing in black and white

Remember how I said black and white forces you to think about other key elements, such as shape and form?

It’s true. And it’s the reason why composition becomes so important when shooting in black and white.

Unfortunately, there’s not really a quick solution to capturing good compositions; a lot of it just depends on your ability to see shapes, lines, and textures (which you can develop through practice or study or simply by looking at great photography).

However, there is one item that can improve your black and white compositions:

The aspect ratio.

You see, certain aspect ratios (such as the 1:1, or square format) make composition easier. Whereas other aspect ratios (such as most cameras’ native 3:2 ratio) make composition tricky.

So after you’ve set your camera to Monochrome mode, I recommend heading into the settings and changing the aspect ratio to Square. It’ll improve the way you frame scenes (and if your camera has an electronic viewfinder, it’ll let you see the new aspect ratio in real-time!).

Toning in black and white

Toning is the process of adding color to your images, but only after they’ve been converted to black and white.

This can give very cool effects – for instance, it can turn your shots yellow or purple or red.

Now, your camera may allow you to tone your photos when you take them. But the effect is usually very heavy-handed, which is why I recommend you avoid in-camera toning.

Instead, test out toning in post-processing. You can have lots of fun applying a single tone to your images (such as a nice sepia). And if you want to get really creative, you can add multiple tones, an effect called split toning.

Black and white photography: final words

Black and white is a beautiful medium to work in, one that you will appreciate even more as your skills grow.

In the meantime, have fun and enjoy yourself. You are following a path trodden by some of the most famous names in photography!

Now over to you:

Have you tried shooting in black and white before? How did it go? Do you have any favorite black and white subjects? Share your thoughts in the comments below!

The post Black and White Photography: A Beginner’s Guide to Getting Started appeared first on Digital Photography School. It was authored by Andrew S. Gibson.

Photo editing can be pretty daunting. Open up any post-processing program, and you’ll be confronted by a slew of sliders, tools, and options (it’s enough to make anyone feel overwhelmed!).

Fortunately, basic photography editing isn’t nearly as hard as it seems. There are a few simple steps you can take to get great results right off the bat, which I share in this article.

Specifically, I offer a series of basic principles that you can use when editing any image. They’re quick, they’re easy, and they’ll remain useful, even as you level up your editing skills and dive into more advanced applications.

So if you’re ready to get started with photo editing for beginners, then let’s dive right in!

Note: My instructions below reference Adobe Camera Raw and Lightroom Classic, but you can achieve the same results with any editing software, including Lightroom CC, ON1 Photo RAW, Capture One, and more.

1. Make sure you shoot in RAW

Technically, this guideline is about photographing, not editing – but it’s so important that I feel obligated to include it.

You see, cameras offer two main file formats: RAW and JPEG.

And while the JPEG format is nice for quick snapshots, if you want to do serious photo editing, then you need to be using RAW. It’ll give you far more flexibility; with a RAW file, you can dramatically alter exposure, white balance, color, and more. Whereas JPEG files only allow limited changes (and if you edit a JPEG file too heavily, you’ll end up with various unwanted artifacts, like banding).

One RAW drawback: It’s not an easily displayable format. Before you can send a RAW photo to friends, post it on social media, or post it on your website, you’ll need to use a RAW editor to convert it to a JPEG. Fortunately, programs like Adobe Camera Raw and Lightroom are designed specifically for RAW editing, so they make the conversion process quick and painless.

By the way, you can set the file format in your camera’s menu – and if you’re struggling, check your camera’s manual. These days, pretty much every camera offers a RAW file format (even smartphones!).

2. Start by correcting your exposure

When you bring up a RAW file in your editing program, you may find yourself wondering:

Where do I begin?

And while you can technically go in a hundred different directions, I’d really recommend you first look at your exposure, which is simply the overall brightness of your image.

You should see a simple Exposure slider in your post-processing program of choice:

But before you adjust it, ask yourself:

How does my photo look? Is it too bright? Is it too dark? Is it just right?

Generally, you want at least some details in the image shadows and some details in the image highlights. Here, a helpful tool is the histogram, which looks like this:

The histogram shows the distribution of tones in your image. Peaks toward the middle of the histogram represent midtones, whereas peaks toward the left represent shadows and peaks toward the right represent highlights. Note that peaks pressing up against either side of the histogram indicate clipped details, which you should generally avoid (so if you do see these clipped areas, it’s a sign that adjusting your exposure is probably necessary).

After looking at your image and analyzing the histogram, simply move your Exposure slider until you get the result that you want.

(If you’re not sure how to proceed, I’d recommend simply pushing the Exposure slider back and forth while watching your image. You’ll quickly get a sense of what looks good and what doesn’t!)

Note that basic photography editing programs offer additional exposure sliders, and these allow for precise adjustments. For instance, the Highlights slider lets you adjust only the bright areas of the image, the Shadows slider lets you adjust only the dark areas of the image, and so on. Feel free to experiment with these sliders, though always keep your eye on the histogram as you make changes!

3. Select the right white balance

White balance is designed to counteract any unwanted color casts in your photos, and once you’ve adjusted your exposure, it’s the next beginner photo editing step I’d recommend.

Now, your camera will have already applied a white balance of some sort, but it often needs adjustment. A perfect white balance shows the whites in your images exactly as they look in real life (though you can always tweak this later for artistic reasons). Compare the two photos below, one with a too-cool white balance and one with a too-warm white balance:

Do you see the difference? Neither of the photos is properly white balanced, which is where your photo editing WB adjustment comes in handy.

Simply look for the white balance section in your post-processing program:

Select the eyedropper tool, then click on an area of your image that should be a true white color. Your editor will automatically adjust the image for a perfect result (and if you don’t like the effect, or you simply want to adjust the white balance further for creative reasons, you can always move the Temp and Tint sliders until you get a nice look).

4. Boost the contrast (usually)

Contrast simply refers to the difference between the darks and lights in a photo, where intense darks and intense lights create high contrast, and softer darks and softer lights create low contrast.

RAW files tend to suffer from limited contrast, so it often makes sense to find your Contrast slider and increase it until you get a nice result:

Though you should always be careful not to take the contrast too far; otherwise, you’ll end up creating a garish, nightmarish effect.

By the way, if you’re after a softer, more ethereal look, you may want to decrease the Contrast slider. That’s what photographers often do when shooting in foggy conditions, where a low-contrast look enhances the mood.

(You also have the option to fine-tune the contrast with the Highlights, Shadows, Whites, and Blacks sliders. Have fun experimenting with different effects!)

5. Check the saturation

Saturation refers to the intensity of the colors in your image, which you can adjust via – you guessed it! – the Saturation slider:

By boosting the saturation, you can add pop to your image, and so I do often recommend you add a bit of saturation – but carefully, like seasoning to a meal. It’s easy to go too far, and then you’ll end up with an unpleasant result.

Some post-processing programs offer an alternative, called vibrance. This is like saturation, but tends to be more subtle. If saturation isn’t giving you the look you’re after, go ahead and try vibrance instead. Or start by trying vibrance, then move on to saturation. The order isn’t important; it’s all about experimenting to achieve the effect you want!

On occasion, you should even decrease the vibrance and/or saturation. For instance, if you want a moody image but the colors are just too bright and powerful, try reducing the saturation. Here, a little change can go a long way, and by subtly dropping the saturation, you can get an interesting cinematic effect.

6. Reduce noise and increase sharpening

Here’s the final step in this basic photo editing workflow.

Find the portion of your post-processing program that deals with detail:

And adjust both the sharpness levels and the noise levels.

Now, most RAW photos can do with a bit of sharpening. So go ahead and boost the sharpening amount (be sure to zoom in to 100% while you do this; that way, you can see the effects up close). If your image includes certain areas that you don’t want sharpened – a person’s face, for instance – consider boosting the Masking slider, which will ensure the sharpening only targets the more detailed areas of the shot.

Finally, while every image doesn’t need noise reduction, if you zoom to 100% and see little speckles, you’ll probably want to reduce both luminance noise and color noise. Note that too much noise reduction will decrease sharpness and look all-around bad, so don’t go overboard! Instead, boost the Luminance slider slightly, check the result, and then fine-tune. Do the same to the Color slider.

And you’re done! At this point, you can always dive into more advanced photo editing applications (e.g., adjust specific colors or work with the tone curve). Or you can export your image as a JPEG for sharing and viewing!

Photo editing for beginners: final words

Now that you’ve finished this article, you know how to do basic photo editing – and you’re ready to start enhancing your images!

Of course, I’ve only offered a starting point, but it really will take you far. And once you’ve mastered the basics, the sky is the limit!

Now over to you:

What part of photo editing do you struggle with? Do you have any basic photo editing tips of your own? Share your thoughts in the comments below!

The post Photo Editing for Beginners: A Simple Introduction appeared first on Digital Photography School. It was authored by Lily Sawyer.

This article was updated in January 2024 with contributions from Ed Verosky and Jaymes Dempsey.

Looking to create high-quality indoor portraits? You’ve come to the right place.

Indoor portrait photography has its own set of charms and challenges. Unlike outdoor shoots, you have more control over the lighting, background, and props – but you also have more to get right, and if you’re using natural light, you’ll need to work especially hard to prevent low-quality results.

Fortunately, while shooting indoors can be tough, you can get great results by mastering your lighting, carefully choosing your camera settings, and applying a dash of post-processing, and that’s what I explain in this article. Specifically, I share:

• A few easy ways to set up (or find) beautiful lighting
• How to choose the perfect indoor portrait camera settings
• How to post-process your photos for a beautiful final look
• Much more!

So if you’re scheduled for an indoor photoshoot and you don’t know what to do, or you’re simply looking to improve your portrait shots, then let’s get started!

The best gear for indoor portrait photos

If you want to capture gorgeous portraits indoors – whether you plan to work in a studio or in a more informal area – it’s important to use the right equipment. You’ll be working with limited light, and if you’re not careful, your shots will turn out blurry, grainy, and/or unpleasantly dark. So what gear is necessary for indoor portrait photography?

A full-frame camera

Let’s start with a crucial element: your camera. A full-frame camera is your best bet for indoor portrait photography. It’ll perform exceptionally well in low light – because boosting the ISO is often necessary to get those perfect indoor shots, and a full-frame camera will let you do that without sacrificing image quality.

A fast lens

Next on the list is a fast lens. You want something with a large aperture: think f/1.8 or f/1.4. These lenses let in more light, allowing you to use faster shutter speeds and lower ISO settings. They also enable you to get that beautifully blurred background, keeping the focus squarely on your subject.

A reflector and/or a flash

Even if you have the best camera and lens, poor lighting can ruin your shot. This is where a flash or a reflector comes into play. A flash provides you with a powerful burst of light, ideal for creating different moods. A reflector, on the other hand, is great for balancing out shadows and highlights, and while it won’t be as powerful as a flash, it’s portable and easy to use.

A tripod

Lastly, let’s talk tripods. While not absolutely necessary, a tripod can be incredibly helpful for indoor portraits. Once you frame your shot, you can take your hands off the camera and focus on other elements. Want to adjust your subject’s pose? Go ahead. Need to reposition the lighting? No problem. Your camera will remain undisturbed, freeing you to make any adjustments without losing your original composition.

My recommended settings for indoor portraits

Indoor portrait photography is tricky; you want to keep your shots free of camera shake and motion blur, but you also want to prevent underexposure. It’s important that you use a semi-automatic mode (such as Aperture Priority) or Manual mode so you can have complete control over your settings.

If you’re using a flash or another bright light source, you can often set your camera’s ISO to 100, choose a reasonably fast shutter speed, and choose any aperture you desire, such as f/2.8 (for a shallow depth of field effect) or f/8 (for a deeper depth of field effect). Note that if you use a flash, you can’t push your shutter above the flash sync speed, which is generally around 1/200s. Also, with a flash, you can often set your ideal camera settings, then adjust the flash brightness until you get the exposure you want.

However, if you’re shooting in darker conditions, you’ll need to choose your settings very carefully. My general advice is to think both fast and wide. In other words, choose your lens’s widest aperture, choose a fast-enough shutter speed to avoid blur, then boost your ISO as required to capture a good exposure (while avoiding unacceptable noise levels).

Of course, you’ll have to make some adjustments and concessions depending on the environment you’re working in and the shots you’re trying to capture. Fortunately, most modern DSLRs and mirrorless cameras are capable of producing limited noise even at high ISOs, so if you’re in a pinch, you can generally increase the ISO without too much issue.

(And even if your camera does produce lots of noise at higher ISOs, it isn’t necessarily a big concern. Either leave the noise as a textured effect or reduce it in post-processing.)

With that in mind, these are some good settings to get you started:

• Camera Mode: Aperture Priority
• Aperture: f/2.8 (or the widest possible for your lens)
• ISO: 800
• Shutter Speed: 1/100s or higher

But again, these are just starting points. With a stationary pose and a steady hand, I’ve managed handheld shutter speeds as l

How to capture beautiful portraits indoors: 10 tips

Now that you’re familiar with the ideal equipment and camera settings for indoor portraits, here are a handful of practical tips to level up your shots:

1. Start with natural light

In my view, artificial lighting is perfect for indoor portrait photography – but working with flash can be intimidating, and purchasing all the necessary gear can be expensive, too. That’s why I recommend you start with natural light, which is certainly capable of producing excellent results.

As long as the conditions are right, window light is just about the most beautiful illumination you can find. Try to shoot on days when the sun is behind clouds or during times when the sunlight isn’t streaming directly through the window. (If you can find a north- or south-facing window, you can shoot practically nonstop!)

The window will serve as a huge softbox, and it can even be manipulated using any combination of window dressings such as blinds and curtains. (You can also diffuse harsh sunlight using a white sheet – always a handy trick to keep in mind.)

Simply place your subject nearby the window and let the light create some drama. I like to position the subject so that there are plenty of shadows on one side, which allows me to create beautiful classic portrait looks. With a nice window, you can create Rembrandt lighting, split lighting, loop lighting, and more. Of course, you’re also free to experiment, and you can often get amazing results just by playing around with different lighting styles.

2. Try using household lights

If you don’t like shooting with window light – it can be annoyingly inflexible – or you don’t have a window to use, you have another zero-cost option for your indoor portrait photography: household lights.

It may sound ridiculous, but I actually like to take the shades off lamps and use them as bare-bulb sources. Sure, the effect is harsh, but harsh lighting can look good when used well.

To start, just position the main light in front of your subject and off to one side. (I also recommend raising the light several inches above their head.) This will give you a classic split-lighting or Rembrandt-lighting pattern, though the shadows will look rather heavy. (To soften the illumination a bit, try adding a diffuser in front of the bare lightbulb; it won’t cost much, but it’ll make the lighting far more flattering!)

And once you master the basic one-light setup, place a second light behind and off to the side of the subject. This will serve as a backlight or kicker, adding a bit of three-dimensionality to the shot.

3. Once you’re comfortable, use a modified flash

It’s often best to start out with natural or household artificial light sources, but over time, you’ll likely want some added flexibility. That’s when dedicated flash units will come in handy.

You can purchase flashes with metering capabilities, but I’d recommend using a manual flash instead. You can mount it to a light stand, position it by your subject, then spend some time adjusting the strength until you get a good result. While you may struggle at first, you’ll quickly get a feel for the flash and how it works; pretty soon, you’ll wonder why you ever felt so intimidated in the first place!

I don’t recommend using a flash on its own, however. You’ll want to grab some sort of modifier – such as a softbox – to soften the light. (As you become more experienced, you may find yourself accumulating a whole collection of modifiers, and that’s okay!)

Working with a flash is no different than working with a window or a lamp. You’ll want to start with basic lighting patterns – such as Rembrandt lighting – but as discussed in the previous tips, don’t be afraid to experiment. Eventually, consider purchasing a second flash and even a third; you can use them to create more complex lighting setups that include fill lights, rim lights, and hair lights.

Note that you can always purchase a set of continuous lights rather than flashes. Continuous lights are weaker than flashes, but they do let you see the lighting effect and let you adjust it in real-time, so it’s worth considering whether they might be the better buy.

4. Use a reflector to handle heavy shadows

Shadows can be a tricky business. Even when your lighting seems just right, you might find pockets of darkness that you’d rather do without. A reflector can be a boon in these situations. Placed opposite your light source, a reflector bounces light back onto your subject, filling in those dark shadows to create a more balanced, visually pleasing portrait.

Reflectors are also incredibly versatile. If you’re bothered by dark shadows under the subject’s chin, simply angle the reflector to direct some light upward; if you want a bit more separation between the subject and the background, adjust the reflector so it’s farther back. These are easy adjustments that make a world of difference!

Finally, from collapsible reflectors that are perfect for small spaces to large, more specialized versions, there’s a model for every need and budget. While you can improvise with a simple piece of white cardboard, a professional reflector designed for photography will provide more consistent results.

5. Get the background right

Now, let’s talk about the elephant in the room: the background. A messy or distracting background can pull focus away from your subject, marring what could have been a perfect portrait. One way to mitigate this is to use a wide aperture. With settings like f/1.8 or f/2, your lens will naturally blur the background, putting your subject front and center.

However, the best photos generally start with a clean background to begin with. If you’re striving for a polished, studio-portrait look, consider investing in high-quality backdrops. These can be ordered online and come in various textures and colors. Alternatively, you can also create your own backgrounds. Grab a canvas and some paint, and let your creativity flow! Either way, the more you eliminate distractions from the get-go, the better your photos will be.

6. Shoot in RAW

This is a quick tip, but a necessary one:

No matter your level of experience, make sure your camera is set to shoot in RAW.

The RAW format will retain all data gathered at the moment of capture. As a consequence, you’ll be able to adjust the exposure, the white balance, and the colors in post-processing to achieve a high-quality final image.

If you shoot in JPEG, on the other hand, your camera will discard information, so when you try to shift the colors or recover shadow detail, you’ll get subpar results.

Unfortunately, RAW files are larger than JPEGs and they do require (minimal) processing before they can be shared online or even viewed. But the benefits of the RAW format far outweigh the drawbacks.

7. Experiment with different props

One of the joys of indoor photography is the freedom to use props creatively. The sky’s the limit when you don’t have to cart items to an outdoor location. Consider using everyday objects like books or teacups to add a whimsical or sophisticated touch to your portraits. These props not only make your photos more engaging but also help in telling a story.

Props like umbrellas, balloons, and scarves offer opportunities for dynamic compositions. They add layers to your photos, creating depth and visual interest. You can play around with props of various textures and colors to achieve a look that complements your subject and setting. Experimenting before your shoot can help you find combinations that work well together, giving you a much more harmonious final product.

8. Go for a low-key look

There’s something incredibly dramatic and captivating about low-key portraits, and achieving this look is much easier indoors. Start with your lighting; you’ll need a source much stronger than the room’s ambient light. A standard speedlight or strobe will both work great!

Now, the goal is to have the light source focused on your subject while leaving the background in darkness. Distance is key. Make sure your subject isn’t too close to the background. You want to prevent your flash from illuminating it, keeping the attention squarely on your subject.

Playing around with camera settings and angles can also help you achieve this look more effectively. A good starting point is to position the light source around 45 degrees from the lens. And don’t neglect your camera settings; slight underexposure – by using a narrower aperture and a low ISO setting – can help the background fall into complete darkness.

9. Post-process your indoor portraits

Post-processing is a key part of the image-making process, even though it’s far less glamorous (and fun) than actually shooting with a camera.

Every image is different, but most RAW files can do with a contrast boost, a bit of extra vibrance or saturation, and some sharpening. You can also consider adding noise reduction, especially if you shot at a high ISO – though be careful not to go too far, as excessive noise reduction will degrade image quality.

I’d also recommend carefully adjusting your white balance until your files look natural. Not all light sources produce the same color temperatures, and it’s important that you handle these unwanted color casts from the get-go. If you’re struggling to get the white balance right, you might also try converting the images to black and white.

You can also add some artistic finishing touches to your portraits, such as a vignette or a subtle color grade. Finally, consider selectively increasing the exposure in the subject’s eyes for a bit of extra sparkle.

Even if you’re not totally comfortable working with a post-processing program, I encourage you to spend a little time each day experimenting with different editing sliders. Start small – with minor exposure and white balance adjustments – then build your confidence over time. Make sense?

Indoor portrait photography: final words

By now, you should be armed with a variety of techniques and insights to elevate your indoor portrait photography. From investing in the right gear to the nuanced use of props and lighting, each element plays a pivotal role in the final outcome. And don’t forget the magic of low-key portraits; they offer a dramatic flair that’s easier to achieve indoors.

So find a subject, determine the right lighting, and enjoy yourself. Follow the tips I’ve shared, and you’re bound to capture some amazing images!

Now over to you:

Which of these tips do you plan to use first? Do you have any advice of your own? Share your thoughts in the comments below!

The post A Guide for Stunning Indoor Portrait Photography (+ Tips) appeared first on Digital Photography School. It was authored by Ed Verosky.

This article was updated in January 2024 with contributions from Daniel Korzeniewski and Jaymes Dempsey.

When I was first delving into photography, chromatic aberration (or CA) was a huge fear of mine. I had heard that it could ruin my images, and I knew what it looked like, but I didn’t know how to deal with it effectively.

Fortunately, I eventually learned that while chromatic aberration can create unpleasant, amateurish-looking images, Lightroom offers a way to get rid of it – and it’s so easy that practically anyone can do it.

In this article, I share a simple, step-by-step method on how to fix chromatic aberration in Lightroom. I also offer several more advanced techniques for handling CA, and while my approach won’t handle every instance of CA, it’ll certainly do a great job in the majority of cases.

Ready to get rid of chromatic aberration like a pro? Let’s do this!

What is chromatic aberration?

Chromatic aberration is an optical phenomenon caused by lens imperfections; more specifically, it is a failure of the lens to focus all colors at the same point.

CA appears as purple or green fringing along high-contrast edges. See the ghostly colors at the edges of the building below? The fringes are clearly visible when the image is cropped to 100%:

Not all images suffer from chromatic aberration. Lower-contrast scenes tend to result in little-to-no obvious CA, whereas high-contrast shots – depicting a bird against a cloudy sky, for instance – often feature lots of noticeable fringing. And photos captured with a narrow aperture (e.g., f/8) tend to have less fringing compared to photos captured with an ultra-wide aperture (e.g., f/2.8).

Additionally, chromatic aberration can be variable even within the same image; lenses tend to produce more CA toward the edges of the frame, so when you’re checking for fringing, make sure that you look over the entire shot!

The quality of the lens also plays an important role. Expensive professional lenses are carefully designed to suppress chromatic aberration. On the other hand, cheaper lenses, such as the kind you find in a beginner’s kit, are often plagued by major CA, especially at their widest apertures.

But even the best gear can produce chromatic aberration on occasion, which is why it’s a good idea for every photographer to learn to remove fringing in Lightroom. It’ll help your photos look better on screen, and it’ll improve your prints, too.

One more thing:

Chromatic aberration may be apparent when zoomed in to 100% or 200%, yet it might not appear when viewing an image at lower magnifications. In such cases, you don’t need to remove the CA if you simply plan to share the image online. But if you hope to crop or print the image, you’ll probably want to do some CA correction.

How to fix chromatic aberration in Lightroom

In this section, I explain the exact steps for removing CA in Lightroom.

The process I’m about to share can work on JPEG files, but the result is much better on RAWs. (This is one of the many reasons you should shoot RAW whenever possible!)

Step 1: Find the Lightroom Lens Corrections panel

The Lens Corrections panel is located in the Develop module. You’ll need to scroll down toward the bottom of the panel array, past Basic, Tone Curve, and more:

Make sure the panel is open; you should see a Profile and a Manual section at the top.

Step 2: Enable chromatic aberration removal

Next, you’re going to apply Lightroom’s basic chromatic aberration removal option.

Simply find the Remove Chromatic Aberration checkbox under the Profile section, then make sure it’s checked. Lightroom will go to work identifying and removing any CA present in the file:

(While you’re at it, go ahead and check the Enable Profile Corrections box. That way, Lightroom will attempt to recognize your lens model, and then automatically compensate for any standard distortion or vignetting issues.)

After you’ve enabled the Remove Chromatic Aberration option, zoom in to 100% and evaluate the image, playing particular attention to any high-contrast edges as well as the edge of the frame. Is any chromatic aberration visible? If not, then you’re done – but if you can still see some CA that you think is a problem, continue with the next step:

Step 3: Manually correct chromatic aberration

If you’ve proceeded to Step 3, then some of your chromatic aberration has likely been removed, but there’s still some stubborn fringing that needs to be dealt with.

Click on the Manual option within the Lens Corrections panel. Zoom in to 100% again, then grab the eyedropper tool:

And select the offending chromatic aberration with the tip of the dropper:

You’ll see the Amount and the Purple Hue/Green Hue sliders shift as Lightroom identifies and fixes the remaining chromatic aberration.

Finally, if you check your image at 100% and still see CA, go ahead and move the Defringe sliders manually. The Purple Hue and Green Hue sliders let you target the precise fringing colors (note that the hues between the two slider points will get removed by Lightroom). Then, when you boost the Amount sliders, Lightroom will remove the remaining fringing.

Remember that building image I shared at the start of the article? After some Lightroom chromatic aberration removal, here is the final result:

As you can see, the chromatic aberration is essentially gone and the image looks far better.

And here’s the final shot without the 100% crop:

What if Lightroom can’t remove all the chromatic aberration?

Lightroom’s CA removal tools are excellent, but you’ll occasionally run into situations where the program fails.

So what do you do then? Do you just give up?

While Lightroom doesn’t offer much for additional chromatic aberration removal, you can always right-click on the image and select Edit in Photoshop. There, you can do some clever blending, masking, and even cloning to get rid of the remaining CA.

Is chromatic aberration always a problem?

Cheaper lenses tend to produce more chromatic aberration, so the effect is associated with low-grade optics. And CA can hurt edge sharpness. But is it always bad? Does it always need to be removed?

In my view, you can forget about CA removal in a few specific cases.

First, if you’re planning to convert the final image to black and white, sepia, or some other monochrome look, then removing chromatic aberration is completely pointless. The monochrome conversion will take care of the CA, and you’ll be left with a pristine image.

(In fact, if you can’t seem to get rid of your CA, then you should try converting the shot to black and white!)

Second, in certain situations, chromatic aberration can be used for creative effect. If you like to freelens, for instance, CA can add to that distorted, vintage-style look. Sometimes, fringing isn’t so bad – so if you’re ever unsure whether removing CA is the right move, try activating and deactivating Lightroom’s Remove Chromatic Aberration option. And see what you prefer!

How to fix chromatic aberration in Lightroom: final words

Now that you’ve finished this article, you know how to remove CA using Lightroom’s tools.

And you hopefully agree that removing chromatic aberration in Lightroom is a piece of cake!

So go test the step-by-step process on your photos. And the next time you capture a shot with too much CA, I encourage you to try this approach. In most cases, it’ll get rid of the fringing in about two seconds!

Now over to you:

Do you have any CA removal tips that I missed? Share your thoughts in the comments below!

The post How to Remove Chromatic Aberration in Lightroom appeared first on Digital Photography School. It was authored by Daniel Korzeniewski.

What is commercial photography? And how can you take stunning commercial photos?

In this article, I explain everything you need to know for top-notch commercial shots, including:

• The gear every commercial shooter should own
• How to light your commercial photos for amazing results
• Key steps for processing your files
• Much more!

So if you’re ready to become a commercial photography expert, then let’s dive right in!

What is commercial photography?

Commercial photography refers to photos taken for commercial use, including images for ad space, websites, product placement, and e-commerce listings. These photos generally feature products, but they can also include food, people, fashion models, street scenes, and even landscapes.

For instance, an insurance company might create an ad campaign that relies on images of the Appalachian mountains – and any images taken specifically for such a campaign would be considered commercial images.

These days, commercial photos are more in-demand than ever, thanks to the explosion of product listings on personal websites, Etsy stores, and eBay listings.

5 tips for stunning commercial photos

Below, I share my top five tips for nailing commercial work. I discuss lighting, gear, item preparation, and post-processing, starting with my first piece of advice:

1. Make sure you buy the right equipment

Commercial photography is a gear-heavy genre, and if you want to produce the best images in a reasonable amount of time, you need a few studio accessories to help you out. Fortunately, these aren’t too pricey!

First, make sure you grab some kind of artificial lighting kit. Many professional commercial photographers use studio strobes, but if you’re just starting out, or if you only need to create high-key e-commerce-type images, you can get away with a simple lightbox or light tent.

I like to use a lightbox, which folds and snaps together using magnets for easier setup, takedown, and travel. When you’re working, you’ll need to first assemble your lightbox. Then you’ll need to add in your second key accessory: a backdrop.

You can find backdrops all over the internet, some of them handpainted and very expensive. However, as a beginner, I’d recommend just grabbing a white and a black backdrop; these will be perfect for standard e-commerce setups as well as more advanced low-key images. Many lightboxes will come with a few backdrops, but if yours does not, or if you don’t like what your lightbox kit provides, then you can always grab standard posterboard from the store.

A sturdy tripod will also come in handy. It’ll help you maintain your composition from shot to shot, which is especially useful if you’re working with a high volume of products. And it’ll keep your photos sharp even if your lighting setup isn’t especially powerful.

Finally, consider grabbing a small stand. You can use it to prop up the product while you shoot (though be sure to remove it in post-processing or – better yet – hide it behind the product).

2. Use a close-focusing lens

The camera that you use for commercial photography isn’t especially important as long as it offers a manual exposure mode, interchangeable lenses, and plenty of resolution. However, the lens can make a huge difference.

If you plan to shoot small products – or even large products – grabbing a macro lens is a good idea. These lenses are super sharp, and they can focus up close for beautiful detail shots. I’d recommend working with a focal length of 90-110mm, though as long as you don’t go wider than 50mm, you’ll get solid results. (My all-time favorite lens for commercial work is the Nikon 105mm f/2.8 Macro, which I used to capture all of the images in this article.)

If you can’t afford a macro lens, purchase a lens that can focus relatively close, such as a 50mm f/1.8.

Unfortunately, the closer you focus (and the sharper the lens), the more you’ll start to see unwanted details in your images. Dust, scratches, and fingerprints are all enemies of the commercial photographer, so you’ll need to spend extra time cleaning the product at the beginning, as well as extra time post-processing the product once the shoot is over.

3. Carefully light the subject for the best results

Lighting is a huge part of commercial photography, so if you want great shots, you must learn to manipulate the light.

As I mentioned in a previous tip, high-end commercial photographers use studio strobes. If you’re serious about becoming a well-rounded shooter, this is a skill worth learning. You can start by working with a single light, then add in a fill light or a reflector to deal with unwanted shadows. Make sure you modify your strobes with softboxes, stripboxes, scrims, or umbrellas to get a softer effect, as hard light is rarely flattering in commercial scenarios.

If you prefer to use a lightbox, then make sure to position the item you’re photographing so it’s lit in a flattering and dynamic way. Simply rotate the item and watch as the light changes. Then, when you find an angle you like, take your photos.

One tip: When positioning your items, be careful to avoid reflections and glare. You can deal with these problems in post-processing, but it’s a major headache; if possible, you should use your lighting skills to get a perfect (or near-perfect) result during the actual photoshoot.

4. Prepare the product and your camera for action

Before you actually begin a shoot – but after you determine the proper lighting setup – you should spend time cleaning the product. Wipe away any fingerprints, and use compressed air to blast dust and dirt off the product surface.

If you haven’t already, put your camera on the tripod, then dial in the proper exposure settings. I generally shoot at narrow apertures to keep the scenes as sharp and in focus as possible, but it can be nice to widen the aperture for a shallow depth of field effect. Note that there is a delicate balance between adding artistry and distracting the viewer, so be sure to keep the client’s intent in mind when shooting.

I’d recommend using your camera’s native ISO value, and as long as you’re working on a tripod, you can drop the shutter speed as low as you need for a detailed exposure.

It’s not essential, but consider grabbing a remote trigger. That way, you can avoid camera shake by firing your camera shutter without pressing the shutter button. If you don’t have a remote trigger, use your camera’s two-second self-timer so the camera has time to settle after you tap the shutter.

5. Don’t forget to do in-depth post-processing

Pretty much every commercial image requires in-depth post-processing! Yes, this will take time, but it makes a huge difference, so you should always block out a few hours (or days) after each shoot to handle the necessary editing.

The commercial retouching process can generally be done in a basic editing program like Lightroom or Capture One, but for high-level commercial work – including any work that involves compositing – you’ll need to use a layer-based program like Photoshop.

Below, I explain my standard editing workflow using Lightroom and Photoshop.

Editing commercial work in Lightroom

If you’re after a high-key e-commerce-type image, boost the Highlights and Whites to blow out the background and create a nice glow to the product. You may wish to boost the exposure on the subject, but be sure not to clip the highlights. (Here, the histogram can help you out.)

This image featured a gray background:

But after adjusting the Highlights and Whites, I got this result:

Be sure to remove any color casts by white balancing your image. To save time, you can do white balancing in camera or you can use a gray card.

Consider adding a bit of Clarity and contrast for extra pop, then right-click and select Edit in Photoshop.

Editing commercial work in Photoshop

You should always clean your product before shooting, but you’ll never manage to remove all of the dust. Luckily, you can select Filter>Noise>Dust and Scratches. Then select the radius in pixels to target the dust specks. The filter isn’t perfect, so you may lose a bit of sharpness, but the result is worth it.

And if you feel like the image is too soft, you can always undo the changes, select – using the Lasso tool – any areas that require dust removal, put them on a new layer, and only then apply the Dust and Scratches filter. Here, you can see that I selected the screen of the phone, created a new layer, then removed the dust and scratches.

That way, I was able to remove dust from the screen while leaving sharper areas, such as the edges, untouched.

If there are any blemishes that the Dust and Scratches filter cannot handle, you can then bring out the Clone Stamp tool or try Photoshop’s Content-Aware Fill option.

And once all the problem areas have been dealt with, add a bit of sharpening – you can try a high-pass sharpening technique – and export the image as a JPEG!

Commercial photography tips: final words

Now that you’ve finished this article, you’re ready to take some stunning commercial photos – so remember the tips that I’ve shared, pay careful attention to the details, and have fun!

And if you don’t own a fancy lighting setup, that’s okay. You can get great results using only a small lightbox.

What subjects will you photograph first? What type of commercial photography do you plan to do? Share your thoughts in the comments below!

The post 5 Tips for Pro-Level Commercial Photography appeared first on Digital Photography School. It was authored by Michael Neal.

This article was updated in December 2023 with contributions from Andrew S Gibson and Darren Rowse.

What’s so great about the square format in photography? And how can shooting square compositions help your photos?

I’m a huge fan of the 1:1 aspect ratio – I use it all the time in my own photography! – and in this article, I aim to explain why it’s such a great idea to shoot square. I also explain several easy ways to work with a square aspect ratio.

By the time you’re done, you’ll fully appreciate the value of square photography, and you’ll be ready to capture some stunning square shots!

Let’s get started.

Square versus rectangular photography

Every photo aspect ratio – square, 3:2, 4:3, 16:9, and more – features a slightly different view of the world.

And these different views lend themselves to different types of compositions.

Therefore, composition in the square (1:1) format is a different process than composition within a standard 3:2 or 4:3 rectangular frame.

Is the square format always better than a wider format? Absolutely not. There are times when you’ll want to shoot with a 3:2 format, for instance, or a 16:9 format (especially when you’re dealing with wider or longer scenes).

But the square format is very well-liked by photographers, and I highly recommend you keep it at the back of your mind when out shooting.

Let’s take a look at why the square format is so great, starting with:

1. Square compositions feature balance and flow

A square is a perfectly balanced shape. Each side is equal in length. Therefore, neither the vertical nor the horizontal direction is emphasized.

Why does this matter? Well, in a rectangular frame, the viewer’s eye is encouraged to move from side to side (in the landscape format) or up and down (in the portrait format).

But in a square frame, with every side equal in length, the viewer’s eye is encouraged to move, not from side to side or up and down, but in a circle. This creates visual flow, always a good thing in photography.

Of course, there are many factors that influence the way the eye moves around a photo, including the use of line, texture, color, selective focus, and negative space. But the shape of the frame is a major factor.

In the landscape below, composed with the 3:2 aspect ratio of my 35mm camera, the eye is encouraged to move from side to side, thanks to the shape of the frame (as well as the horizontal lines):

But in this square format photo, the eye is encouraged to move around the frame in a circle:

Useful, right? It’s especially important when you’re dealing with near-far compositions (as in the shot above) and you want to push the viewer from foreground to background and then to the foreground again.

2. The square format gives the perfect amount of negative space

Negative space is the term used to describe any empty space around a subject. For instance, if you photograph a barn surrounded by a snowy field, the field will often constitute negative space.

Now, it’s common knowledge that you can improve your compositions by getting close to your subject – that is, by eliminating negative space. But when used carefully, negative space can create a wonderful sense of atmosphere. And it can also help emphasize the shape of the subject (i.e., the positive space).

Unfortunately, negative space can be somewhat finicky. Including lots of space in a rectangular frame may not turn out so great, as you’ll end up with too much space and not enough focus on your subject. But negative space often works very well in the square format, as I demonstrate below.

Here is a photo of a lizard in the 3:2 aspect ratio:

And here is the same photo cropped to a square:

Which do you prefer? The square format offers a more balanced composition – featuring lots of negative space, yes, but also a powerful splash of positive space.

3. A square will force you to simplify your compositions

The square format lends itself to a simple approach. It pushes you to pare down your compositions and make every element count.

Why? Because there is less room in a square frame than in a rectangular one. So before you include another element in the frame, you’re forced to ask yourself: What is really necessary? And what can I do without?

Generally speaking, creating a simple composition is hard – but after a bit of time working with the square format, you’ll find it becoming easier and easier.

Remember: for your photos to have impact, you should eliminate as many distractions as possible. The focus should be on your subject. Other unnecessary elements within the frame will simply pull the viewer’s eye away from the subject and reduce the strength of the image.

This photo is about as simple as you can get:

And the square format forced me to keep the strong, simple, in-your-face composition.

4. The square format works great with shapes

Take a look at the images below. How many shapes can you see?

There are dozens – circles, squares, diamonds, rectangles, and more.

Now, shapes tend to look great in photographic compositions. They help stabilize and balance the frame, plus they can create powerful, eye-catching scenes.

And the square format really lends itself to shape-based compositions.

Why? I’m not completely sure, but I think it’s because the square is such a powerful shape that it emphasizes other shapes within it. This is linked to the ideas of balance and simplicity, as discussed above – simplifying the composition emphasizes shapes, which in turn makes shape-based compositions more powerful.

Whatever the reason, just know that geometry looks great in square photos. So if your plan is to shoot (or crop) square, the more shapes, the better!

5. You can create beautiful square centered compositions

Photographers tend to avoid positioning the main subject in the center of the frame. And in most cases, this is a good idea. As the rule of thirds points out, off-center compositions are the way to go.

But did you know that centered compositions actually work well with the square format?

It’s true! With square photography, you can often place the subject in the center of the frame for an effective composition. You can ignore the rule of thirds. And you can get some very unique photos.

Centered compositions work especially well when the image is simple. The fewer distractions present in the frame, the more effective a central composition becomes. If the subject has a strong shape, the balanced empty space around it emphasizes that shape. And the square format provides the perfect frame:

6. The square format works beautifully with black and white

Take away color and what do you get? An image that relies on tonal contrast for impact and that emphasizes visual elements such as lines, textures, and shapes.

In other words:

A composition that looks amazing in a square format.

Honestly, the square format and black and white seem made for each other, which perhaps explains the square format’s popularity with fine art photographers.

So the next time you’re shooting in a square format, consider switching to your camera’s monochrome mode. You’re bound to capture some stunning photos! Alternatively, you can shoot in color and convert to black and white in post-processing (it can be helpful to switch back and forth between color and black and white to see what works best for your shot).

7. The square format works great for street photography

Street photography is often about reacting quickly to the scene in front of you. The fewer decisions you have to make, the quicker you can photograph. With the square format, there is no need to consider whether the composition would be better if you turned the camera on its side. In other words, the square format simplifies the decision-making process.

And as I emphasized above, it’s much easier to create an effective composition within a square frame. This can be beneficial for all forms of photography, of course, but when you’re shooting on the streets, you’ll often be faced with chaos: people running, walking, talking, standing; cars flowing by or parked on the curb; and street signs and advertisements galore. In my experience, working in the square format can help you organize that chaotic scene into a harmonious composition, something that can be tough to do when working with a rectangular aspect ratio.

How to get started photographing with a square aspect ratio

Now that you’re familiar with why the square format is so compelling, let’s talk about how you can use it. There are four main ways you can explore this aspect ratio:

1. Use a medium-format film camera

These can be surprisingly inexpensive on the second-hand market. Look for brands such as Rolleiflex, Mamiya, Bronica, or Hasselblad. Make sure to get the best quality scan you can of your negatives so you can work on them in Photoshop.

2. Use a toy film camera (like a Holga)

Again, a good quality scan is essential to make the most out of the negatives. If you don’t want to use film, you can buy Holga lenses for digital cameras and crop the image to a square. That’s how I created this image:

3. Use a digital camera with a 1:1 aspect ratio setting

Many digital cameras allow you to change the aspect ratio of your photos. You’ll find this option in your camera’s settings menu; just select 1:1, and then start shooting.

There is one caveat to this approach, however:

If you shoot in RAW, when you import your images into Lightroom (or any other post-processing software), you’ll need to re-crop to the 1:1 aspect ratio. This is because the aspect ratio setting won’t truly change the files that your camera sensor captures; instead, it’ll just crop the JPEGs to 1:1 in-camera.

4. Photograph normally and crop during post-processing

If you want to test out square format photography, you can always choose to photograph in your camera’s native aspect ratio (often 3:2), and then just crop the files to a square in Lightroom, ON1 Photo RAW, Luminar, etc.

This method is convenient, though it won’t let you frame your images in the 1:1 aspect ratio through the camera viewfinder, which can be helpful (especially when you’re just starting out).

If you do go this route, I encourage you to visualize your compositions within a square in advance. Don’t just shoot as you normally would – imagine a square in your camera’s viewfinder, and compose as if you won’t have any extra pixels to work with when editing.

Square photography: final words

Now you know all about the power of the square format – and why you should definitely try using the 1:1 aspect ratio in your photography.

It doesn’t matter whether you shoot with the intention of cropping to a square, or you go back over your old images with the aim of making some square compositions; the important thing is that you have fun with the process and that you appreciate the usefulness of square photography!

Now over to you:

What do you think about the square aspect ratio? Do you use it frequently? When does it look best? Share your thoughts in the comments below!

The post Square Photography: 7 Reasons the Square Format Is Amazing appeared first on Digital Photography School. It was authored by Andrew S. Gibson.

This article was updated in January 2024 with contributions from Jim Hamel, Darren Rowse, and Jaymes Dempsey.

The horizon line is a big deal in many forms of photography, including the landscape, travel, and architectural genres. And even if there isn’t a true horizon line in your picture, there’s often a line running through the picture that viewers expect – often subconsciously – to appear straight.

Given that, you might be surprised to realize that crooked lines are a huge problem for beginner photographers (and they can be a problem for more advanced shooters, too!). We often become so wrapped up in our subjects that we fail to notice whether the photo is crooked, but the truth is that a slant is often the first thing non-photographers will see when looking at your shot.

Posting a good photo only for it to appear crooked can be embarrassing, but the good news is that keeping your photos straight and your horizons level is actually very, very easy. You can use two different broad approaches:

1. Get the shot straight in the field
2. Fix a crooked image in post-processing

And in this article, I walk you through tips and techniques so you effectively apply either approach to your workflow.

Sound good? Then let’s dive right in!

How to prevent crooked images in the field

While you can always fix a slanted shot in post-processing, it’s always best to get the composition right in the field. Not only will this save you time behind the computer, but it’ll also prevent you from losing pixels around the edges of the frame, which is a minor but inevitable part of Photoshop-based horizon correction.

So let’s start with a few easy techniques and tools to keep your images straight from the get-go!

1. Just look!

The first step to achieving level horizons is surprisingly simple: just pay attention. Before you take a photo, take a moment to frame your composition and ask yourself a key question: where is the horizon in this shot, and does it look level? This might seem like basic advice, but it’s a critical habit to develop.

Our eyes can be easily tricked by surrounding landscapes or the angle of the camera. By consciously acknowledging the horizon’s position, you’ll already be on a path to more professional-looking photographs. You’ll be amazed at the difference this small step can make!

2. Turn on your viewfinder gridlines

If you’re not using your camera’s gridlines, you’re missing out on a powerful tool. Most modern cameras come with an option to display a grid overlay in the viewfinder. This grid typically divides the view into nine equal segments, a three-by-three matrix. And it’s not just there to look pretty!

First, it’s a useful compositional aid, especially when you want to align subjects according to the rule of thirds. But more importantly for our discussion, it’s incredibly useful for keeping horizons level. Simply align the horizon with one of the horizontal lines in the grid, and voilà – you’ve got a level shot.

I use this technique frequently, and over time, it becomes second nature. When you look through your viewfinder and see the gridlines, aligning them with your horizon will become an automatic part of your process.

3. Use your camera’s electronic level

Many newer mirrorless cameras come with an electronic-level feature. This can be activated to appear in the electronic viewfinder or on the LCD screen. It’s an incredibly convenient, cost-free way to ensure your horizons are straight.

Personally, I don’t always keep the electronic level active as I find it a bit distracting. But when I need it, I set up my shot, turn on the electronic level, adjust accordingly, and then switch it off before capturing the image. If you’re not sure whether your camera has this feature, it’s worth checking. It can significantly streamline the process of achieving level horizons.

4. Buy a hot shoe level (or use the level on your tripod)

If your camera lacks an electronic level, or if you prefer a more traditional approach, consider a hot-shoe level. These are small bubble levels that attach to your camera’s hot shoe, and they’re generally inexpensive.

However, they do take up the hot shoe, which means you can’t use the shoe for a speedlight or remote release receiver. If you’re a frequent user of flashes or remotes, this might not be your best option.

However, many tripods come with built-in bubble levels. Using a tripod with such a feature can be a fantastic way to ensure your camera is level, especially for landscape shots. While it’s another piece of equipment to carry, the precision it offers in aligning your horizons can be well worth it. And speaking of tripods:

5. Always bring a tripod (if you can!)

A tripod can be a game-changer in achieving level horizons. When I use a tripod, I find it encourages me to slow down and consider each element of my shot more carefully, including the horizon. It’s particularly useful if you’re struggling to keep the horizon level in hand-held shots.

A tripod not only helps you get your camera level but also keeps it steady, which is invaluable for a series of shots in the same location. Remember, a good tripod doesn’t have to break the bank. However, investing in one with a sturdy build is crucial. As an added bonus, using a tripod opens up new possibilities such as stunning long exposures and night photography.

How to straighten a crooked image in post-processing

Ideally, you should aim to get your horizons straight in-camera. But sometimes, despite your best efforts, you might end up with a slightly tilted horizon. That’s where post-processing comes in. Most photo editing software, including Lightroom, offers simple tools for straightening horizons. Here are a few tips to get you going:

1. Use the Crop tool effectively

The easiest way to straighten your horizon line is with the crop tool. Virtually every photo editing software package in existence has a crop tool, so it should be familiar to you.

Most of the time this tool will also let you change the angle of the picture. And quite often that’s all you need to do.

In Lightroom or Adobe Camera Raw (ACR), select the Crop Tool, and then move your cursor slightly off the picture. The cursor will change to a curved line with arrows at either end, which indicates that clicking and dragging will now change the angle of the picture. Click and move it around to straighten your horizon line.

You can also do it by filling in the angle percentage on the far right.

2. Apply distortion correction

Sometimes your picture will appear crooked even when it’s level. That’s because most lenses have at least some barrel distortion, which makes the horizon line sag toward the sides of the picture.

This really affects things when you crop one side of your picture. The sag will show on one side (the one you didn’t crop) but not the other, so your picture will appear to be leaning to one side.

You can fix this with the leveling functions mentioned already. But another way to fix it is to cure the distortion, which can be done easily in Lightroom and ACR.

Find the box labeled Lens Corrections, and check the box next to Enable Profile Corrections. The software will then apply an automatic correction tailored to the lens you used. You might need to help the software find your lens by selecting the manufacturer and perhaps even the model. But usually the software will find it for you and apply an automatic correction.

3. Use Lightroom’s Transform tools

Sometimes you need a little help determining what is truly level. Your eyes can play tricks on you, particularly when you have different lines running in different directions in your picture. Lightroom can provide some help in the Transform panel.

The best way to get familiar with these controls is to just play with them. Go through them all and watch how they affect your photos. After that, you’ll know which controls will be the most useful.

You can have Lightroom level your photo automatically by pressing the Level button at the top left. However, this doesn’t always work, in which case you can do it manually using the Rotate slider.

This is a great set of tools to use when you have multiple distortions working at the same time. Here’s a picture that isn’t level, and also seems to be suffering from vertical distortion.

And here’s the same picture after pressing the Auto button in the Transform panel.

Pretty dramatic improvement, isn’t it? If you don’t like what you get, you can always perform manually tweaks using the sliders. It won’t always be that easy, but sometimes this control is like magic.

4. Use the Photoshop ruler

Say you’re struggling to tell if your horizon line is actually level. We already talked about the Level tool in Lightroom’s Transform panel. But there’s perhaps an even better way: Photoshop’s Ruler tool. It’s not something you’d know about until someone shows it to you!

Start by selecting the Ruler tool from the tools on the left side of your screen. Then draw a line along your horizon line. If you can’t see all of the horizon in the picture, just use the part you can see. And don’t worry – you can re-do this as many times as you want.

Once you’ve drawn your line:

1. From the main menu choose Image > Image Rotation > Arbitrary. This will bring up a dialog box with a number in the angle box. This is the angle Photoshop has set based on the line you just drew with your Ruler. Don’t change it.
2. Click OK.

Photoshop will now level the picture according to the line you just drew.

If it looks right, crop away to fix the edges. If it doesn’t look right, just undo it and try again.

How to keep your horizons straight: final words

Capturing photos with level horizons might seem like a small detail, but it makes a significant difference in the professional appearance of your images.

From simply paying more attention to your framing to utilizing tools like gridlines, electronic levels, or a tripod, there are many strategies to ensure straight horizons. And, of course, you can always post-processing can correct minor mistakes!

Now over to you:

Do you have any additional approaches for leveling your horizons that I missed? Share your thoughts in the comments below!

The post 9 Powerful Tips for Keeping Your Images Straight appeared first on Digital Photography School. It was authored by Jim Hamel.

This article was updated in October 2023 with contributions from eight expert photographers: Darren Rowse, Alana Orth, Valerie Jardin, Steve Berardi, Craig Colvin, Darlene Hildebrandt, Simon Bond, and Jaymes Dempsey.

Silhouettes are a wonderful way to convey drama, mystery, emotion, and mood. They often stand out thanks to their simplicity and incredible storytelling capabilities, not to mention the breathtaking colors and shapes.

But creating top-notch silhouette photography can be hard, especially when you’re just starting out – and that’s where this article comes in handy. Below, I share all the essential details for anyone hoping to become a silhouette master, including:

• How to choose the right subject and location
• How to handle different lighting scenarios
• How to choose the best settings
• Creative silhouette photography ideas to get you inspired
• Much more, including in-depth discussions of both portrait silhouette photography and street silhouette photography!

So if you’re ready to discover everything you ever wanted to know about photographing silhouettes, let’s dive right in!

What is silhouette photography?

Silhouette photography is all about capturing subjects so that they lack detail. The focus is on creating striking black shapes against a beautifully exposed background. It’s a technique that emphasizes the shape and form of the subject, resulting in minimalistic and graphic effects:

Silhouettes also allow you to showcase the vibrant colors of the sky behind your subject, adding an extra level of visual impact. Imagine capturing a stunning sunset or sunrise with the silhouette of a tree or a person standing tall against the vivid hues of the sky.

The best part? Silhouette photography is accessible to everyone, regardless of the equipment you own. Whether you’re shooting with a high-end mirrorless model or a smartphone, you can try your hand at capturing these compelling shots, making it an ideal creative outlet for photographers of all levels!

When should you try silhouette photography?

If you’re looking to add some pizzazz to your portfolio or spice up your social media feed, silhouette photography is the way to go. These graphic, eye-catching shots can truly make your work stand out.

I talk a lot about light later on in this article, but in general, sunrise and sunset are like magic hours for silhouette photography. The soft, warm light during these times creates the perfect backdrop for your subjects to take center stage as striking silhouettes. If you already like photographing during the golden hours, then you’re off to a great start.

You can capture silhouettes of pretty much any subject – people, buildings, animals, trees, flowers – given the right light, but they’re not ideal for all occasions. Silhouettes tend to lean towards the artsy side, so if you’re doing more formal photography (e.g., a real-estate photoshoot), you might want to opt for more straightforward shots.

Happily, silhouette photography is not limited to any specific skill level or equipment. Anyone can dive into this captivating genre without breaking the bank or spending hours learning new techniques, so if you’re on the fence about trying out silhouettes, I highly recommend giving it a go. It’s a whole lot of fun, and you never know what magical results you might create. Plus, you’ll have the opportunity to explore a new world of colors and shapes!

Tips and tricks for stunning silhouettes

In this section, we’ll delve into practical tips that will take your silhouette shots to the next level. Get ready to elevate your photography game, starting with:

1. Find a flat or raised location

When it comes to capturing stunning silhouette shots, the location plays a crucial role. The right environment will help you achieve that captivating contrast between your subject and the sky, while the wrong environment will distract the viewer or even prevent you from creating a crisp silhouette.

First and foremost, opt for locations that offer a flat or raised vantage point. Why is this important? Well, silhouettes tend to work best when your subject is framed against the sky, with the dark figure standing out against the bright background.

Beaches are a popular choice for silhouette photography because their flat landscapes make it easy to position your subject against the vast expanse of the sky. The uninterrupted low horizon provides the ideal opportunity to capture the outline of your subject in all its glory. Prairies are another solid option, though you’ll need to be careful to prevent high grasses from obscuring portions of your subject.

But what if you can’t find a flat location nearby? Don’t worry, you can still create captivating silhouettes in areas where your subjects are raised off the ground. Bridges, hills, boardwalks, mountains, and even parking garage roofs can serve as elevated platforms to showcase your silhouetted subjects against the backdrop of the sky.

Pro tip: Crouching down low to the ground can also work wonders, especially when your subject isn’t already raised above you. Don’t be afraid to get dirty!

2. Choose a strong subject

Almost any object can be made into a silhouette. However, some objects work better for silhouettes than others.

I recommend choosing a subject that has a strong and recognizable shape – one that’ll be interesting in its two-dimensional form. Silhouettes can’t draw on colors, textures, and tones to make themselves appealing, so the shape needs to be distinct.

Ask yourself: Can you tell what your subject is simply by seeing its shape? Or does it just look like a blob? Does the shape look eye-catching and interesting, or does it feel relatively boring? (Also, sometimes the things that seem boring during the day can make great subjects for silhouettes – remember that it’s about the shape, not the overall look!)

People make great silhouette subjects, but if they’re doing something interesting – running, jumping, or riding a bike – the shot will look even better. The best silhouette shots often feature props, such as a bike, a basketball, or a skateboard.

3. Find your subject well before sunrise or sunset

Preparation is key in silhouette photography. Timing plays a crucial role, especially if you’re looking to capture the rich colors of sunrise or sunset. You’ll want to identify your subject and set up your shot well in advance.

The sky can change dramatically within a short period. That’s why I recommend being in your chosen location at least 30 minutes before the sun makes its appearance or takes its leave. You should have your camera (and tripod, if you’re using one) set up and ready to go a few minutes before the magic begins, and if you’re working with a model, ask them to arrive a little early and use the extra time to get them prepared for the photoshoot.

And you should also make an effort to stay after the sunrise or sunset. You might think you can predict when the sky will be at its most vivid, but nature often surprises us. Sometimes the most amazing colors appear when you least expect them. So it’s wise to be present for the whole event – before, during, and after the sun crosses the horizon.

(How long should you stick around? At least 30 minutes after the sun has risen or set is a good rule of thumb. This ensures you don’t miss out on any late surprises the sky might have for you.)

4. Make sure your flash is off

Silhouette photograph often involves shooting in dim light (at the start and the end of the day), and most silhouette subjects look pretty dark, too. Therefore, if you have your camera in Auto mode, it may try to turn on the flash, which will ruin the shot.

You see, to capture a silhouette, you need to have as little light as possible on the front of your subject. The goal is to keep the subject dark and the background bright, not the other way around.

So make sure that flash is off! You may need to set your camera to Aperture Priority mode or Manual mode to control the flash (and as I discuss below, these modes are highly useful for silhouette shooting anyway!).

5. Get the light right

Silhouette lighting doesn’t work like normal photographic lighting. To capture a conventional shot, you generally want to ensure that your subject is lit from the front (so that the sun is coming from over your shoulder and striking your subject) or the side (so that the sun is off to your right or left and is striking one half of the subject).

But when you’re shooting silhouettes, you’ll need to reverse this approach. Find the scene’s main light source, then ensure that it’s shining from the back of the subject, not the front. Remember, the goal is to keep the background bright and the subject dark. You don’t need the light to come from directly behind the subject, but the brighter the background, the better.

That’s why it’s easy to create silhouettes at sunrise or sunset; you can position yourself so that you’re shooting into the low sun, and you can frame the dark subject with the bright sky in the background. However, it is possible to capture silhouettes during the middle of the day. You just have to figure out a way to shoot your subject against strong light. For instance, you can:

• Crouch down so that your subjects are framed against the high afternoon sun
• Photograph from below (e.g., folks walking over a bridge)
• Seek out shadowy subjects walking by a brightly lit wall
• Photograph indoors against a bright window

6. Frame your subject with negative space

Even once you’ve chosen the right subject and found the right light, you’ll need to pay careful attention to your composition. The best silhouette shots tend to feature a single subject (or group of subjects) surrounded by empty space, like this:

The empty space (also known as negative space) helps the shot breathe, and it also focuses the viewer on the main subject.

One trick is to shoot when the sky is bright and cloudless; that way, you don’t have to deal with any distracting clouds. You might also try photographing in areas with lots of empty space (e.g., fields, grassy plains, parking lots).

That said, you can also capture fantastic silhouettes that feature more than just a subject plus negative space. Don’t restrict yourself, but do make sure that you only include subjects that contribute to the shot.

7. Prevent shape intersections

If your silhouette composition includes multiple shapes, do your best to keep them separate. A person walking can look great, and a tree can look great, but if the person and the tree overlap, you’ll end up with a confusing mess. The two shapes will merge into one, and the viewer won’t know what’s happening.

Instead, carefully observe the scene and isolate only those shapes that are highly distinct. If you want to include multiple shapes that are currently overlapping, try changing your angle until the shapes separate.

Alternatively, if you’re photographing a moving subject, you can always wait until it changes position.

One related tip: If you’re photographing people, you probably want to silhouette them in profile, not head-on. That way, their features (nose, mouth, and eyes) will be outlined, and they’ll be more recognizable to the viewer.

8. Carefully adjust your exposure for the best results

Most modern cameras are pretty good at exposing photos so that everything is nice and bright. That can cause a problem; after all, you don’t want your subject to turn out nice and bright in a silhouette shot.

So what do you do? You trick your camera.

Simply set the camera to your shooting mode of choice (Aperture Priority can work great for this, but you can try Auto mode, too). Then point your camera at the brightest part of the scene and press the shutter button halfway. On many cameras, this will set the exposure, and as long as you keep the shutter button half-pressed, it’ll remain locked in.

Next, while still partially depressing the shutter button, point your camera at your subject and frame up your composition. Finally, press the shutter button the rest of the way.

With most digital cameras, this will result in a silhouetted subject! Pointing your camera at the bright part of the scene will cause your camera to darken the exposure – and then, when you do take the shot, the main subject will be rendered as a dark silhouette.

Note that some cameras also have a spot metering mode that helps with the above technique. Spot metering causes the camera to set the exposure based on the central part of your frame; with it, you can tell your camera the exact portion of bright background you want to use to determine the exposure. So if you’re not getting the shots you want using the technique discussed above, you can always try switching your metering mode and see if that helps.

9. Try shooting in Manual mode

The technique I discussed above often works well, but if you want even more control over your settings, I’d really recommend shooting in Manual mode.

Manual mode lets you input each and every exposure variable on your own. It can be a little difficult at first, but after a few hours of practice, you’ll get the hang of it.

Once your camera is set to Manual, I’d recommend dialing in a low ISO (100 is a good starting value) and a mid-level aperture (such as f/6.3). Then point your camera at the brightest part of the scene, and adjust the shutter speed until the exposure bar in the viewfinder is balanced.

Take the first shot and review the results on your camera’s LCD. If the image looks too dark, you can always lower the shutter speed, and if the image looks too bright, you can always increase the shutter speed instead.

(If you’re working with very limited light and your shots are turning out dark, you can also widen the aperture or boost the ISO to increase the exposure, but do so sparingly; widening the aperture will limit the area of the photo that’s in focus, while boosting the ISO will add unwanted noise to the image!)

I’d also recommend capturing the same shot using a variety of different exposures – just so you have slightly darker and slightly lighter versions as backup files.

10. Take steps to keep the subject sharp

The best silhouette photograph tends to feature sharp, in-focus subjects.

Unfortunately, this can make the automatic metering process – described in Tip 6 – somewhat tricky. You see, pushing your shutter halfway down to get the metering right also means that your camera will focus on a spot in the background rather than on your subject.

If you’re using the Manual mode shared above, you won’t run into any issues. You can always acquire your exposure settings by pointing your camera at the background, dialing them in, then focusing on your subject. But if you prefer the Auto mode strategy, then you have two options.

First, if your camera offers manual focusing, you can prefocus on your subject. Then, when you meter off the background, the point of focus won’t change. You can effectively frame up your composition before triggering the shutter.

Second, you can try adjusting the aperture to maximize your depth of field (i.e., the amount of your image that is in focus). For this, you’ll need to set a small aperture (i.e., a large f-number, such as f/11 or f/16).

If the f-number is large enough and your subject isn’t too close to the camera, you’ll end up with a sharp subject and a sharp background, even if your camera is focused on the area behind your subject.

11. Look for action

If you’re seeking silhouettes that pop off the screen, think action. A bit of movement can bring a unique layer of interest to your photos. Picture a dancer frozen in mid-leap or a skateboarder executing a trick. These dynamic moments create shapes and lines that captivate your audience.

The key is timing. You’ll want to be ready to click the shutter at just the right moment. Don’t worry; with practice, you’ll get the hang of it (though burst mode can be helpful, too!).

Your camera settings are also crucial here. If your subject is moving fast, you’ll need a quicker shutter speed (1/500s is a good starting point, though you can go slower or faster depending on the speed of your subject).

You don’t always have to plan these action shots, either. Sometimes, the best moments are spontaneous. Keep your camera ready, and keep an eye out. You never know when a cyclist will zoom by, perfectly framed against the setting sun.

12. Be aware of your surroundings

Now that you’re in your spot and set up, it’s easy to become fixated on the spot where the sun is rising or setting. But don’t let that narrow focus limit your creative vision. The sky is a vast canvas, and sometimes the most extraordinary colors appear where you least expect them.

Take a look around. Not just left and right, but also behind you. Sometimes, the sky opposite the rising or setting sun takes on hues just as dramatic, or even more so. These moments can be fleeting, and you have to be prepared to capture them.

If you’re working with a tripod, it should be easy to move. In the rush of capturing a great shot, you might need to pivot quickly to face a different part of the sky. Make sure your tripod and camera setup allow for this.

Bottom line: Keep your eyes peeled and your camera ready. The sun has a way of illuminating clouds and creating color spectacles in unexpected places. So be aware of your surroundings, and be ready to capture the magic wherever it happens.

13. Incorporate reflections into your shots

One trick that can apply that extra touch of magic to your shots? Adding reflections. Not only do reflections add pizzazz to your images, but they also break up the monotony of an all-black foreground.

Once you’ve found the perfect location for your silhouette shoot, keep your eyes peeled for a reflective surface in the foreground. Look out for small pools of water or wet areas, especially if you’re shooting by the beach.

Once you’ve found a nice surface, don’t just shoot without thinking. Instead, you’ll need to adjust your angle to ensure that your entire subject is reflected. For example, if you’re photographing a graceful jogger against the vibrant sunset, you wouldn’t want the reflection to accidentally cut off their head! Try shooting from higher or lower vantage points until you achieve the best composition.

Keep in mind that incorporating reflections into your silhouette photography can require some patience. It’s not always easy to stumble upon the perfect combination of a reflective foreground, a compelling subject, and a captivating background. But the reward is well worth the effort. Don’t give up! Keep exploring, keep searching for those hidden gems, and you’ll be amazed at the incredible opportunities that you uncover.

14. Try partial silhouette photography

While a total silhouette with a crisp, dark subject can be powerful, also consider capturing some partial silhouettes. I’m talking about photos that include some detail on the subject, like this:

As you can see, the subjects are dark, but they’re not completely dark, and you can still see a bit of detail in the sand and the subjects’ clothes.

Sometimes, a touch of light makes the subject slightly more three-dimensional and real, which – depending on your goals – can work well. Plus, a bit of extra detail can add to the mysterious feel of the image.

And if you’re not sure whether to create a full silhouette or a partial silhouette, that’s okay; just bracket your shots! That’s the beauty of bracketing: it will leave you with both total and partial silhouettes to choose from.

15. Create a halo effect

Ever seen those breathtaking silhouettes framed by a heavenly glow? That’s the halo effect, and it’s not as hard to achieve as you might think. This effect adds a radiant outline around your subject.

Now, to get that glow, you’ll need to position your subject directly in front of a light source. The setting sun is ideal for this, of course – so work hard to get the right angle as the sun lowers in the sky. If you can ensure that your subject is the right size in relation to the sun, and you can position your subject so the sun is almost entirely blocked, you can get a beautiful halo around the subject’s edges.

Your camera’s exposure settings come into play here. Experiment with different settings. You’ll find that slight adjustments can make your halo more or less pronounced.

Composition matters, too. Make sure there’s nothing intersecting with your subject’s outline. Random objects or clutter can disrupt the halo. So aim for a clear and unobstructed view.

If you’re struggling, don’t get discouraged. This technique takes practice. Start with simple subjects and work your way up!

16. Include props for unique results

Most photographers create candid silhouettes of distant strangers, but if you’re up for a bit of creative experimentation, why not try some posed shots? While I generally wouldn’t recommend capturing only silhouette shots during a portrait photoshoot, incorporating a few well-placed silhouettes can provide your subject with some cool and artistic photos that stand out from the crowd.

And if you’re really looking to elevate those images, try adding a prop or two. Whether it’s umbrellas, hats, musical instruments, or any other object that catches your fancy, props can inject personality and storytelling into your silhouette images. Just imagine a silhouette of a musician with a guitar, or a dancer with a flowing scarf.

When adding props to your compositions, keep in mind that they should be highly visible and not overshadow your subject. Also, ensure that the prop doesn’t intersect with your subject in a way that detracts from the clear outline you’re trying to create.

Remember, incorporating props is all about adding that extra touch of creativity and fun to your silhouette photography. So don’t be afraid to experiment and think outside the box. Let your imagination run wild!

17. Take a storytelling silhouette

Silhouettes hold the power to tell a story in the simplest sense. Strip away the clutter, the colors, and the chaos, and what you’re left with are raw emotions and actions that speak volumes. Picture a parent stooping to tie their child’s shoelaces, or an elderly couple holding hands while watching the sunset. These moments tell stories that resonate with us all.

Adding more elements to your scene can make it even more dynamic. Think of a busy marketplace with various vendors and shoppers, all silhouetted against the evening sky. Props can also play a role. Imagine a fisherman with his net, or a musician playing a saxophone. Their outlines not only identify them but also say something profound about their life or passion.

As I’ve emphasized throughout this article, it’s crucial to keep your subjects’ outlines clean. Intersections are the enemy of good silhouette stories! So do your best to avoid these overlaps as much as possible.

One final tip: the environment can be a supporting actor in your storytelling. A silhouette framed against a stormy sky can add drama, while a peaceful sunrise can impart a sense of hope or a new beginning.

18. Don’t just photograph people

Most silhouette photographers focus on people, and people do make great silhouette subjects. But you can also capture beautiful – and original – shots by focusing on other interesting objects.

For instance, you can create silhouettes of staircases (by getting down low and shooting upward), buildings, pets, planes, cars, and so much more.

Really, whenever you see a subject with a compelling shape, see if you can position yourself so that you have a nice backlighting effect, then try to shoot a clear silhouette. You’ll often fail to get the result you’re after, but occasionally the photos will look amazing.

19. Try photographing at sunrise

There’s no denying the challenge wind can pose in silhouette photography, especially with plant subjects. A slight breeze can introduce unwanted motion, turning what could have been a crisp silhouette into a blurry mess, especially when the light is very low. One way to circumvent this issue is to schedule your shoot for the early morning hours.

Generally, the wind is much calmer during the sunrise than at sunset. This tranquility allows for steadier shots, particularly if you’re trying to capture delicate subjects like leaves or flowers. The early morning atmosphere tends to be more stable, making it easier to get that perfect shot without any motion blur.

Now, if you’re not a morning person, don’t fret. There are alternatives. For those instances when you have to shoot later in the day, consider increasing your shutter speed. This will help to freeze any motion, reducing the chance of blur. Of course, this might require adjustments to aperture and ISO settings to maintain proper exposure, so be sure to make any necessary tweaks!

20. Use a flash as your main light source

Throughout this article, I’ve talked about photographing silhouettes using natural light. But did you know that you can capture gorgeous shots using flash, too? One benefit of flash silhouette photography is that you can completely control the light direction and strength, which allows you to achieve all sorts of cool effects.

Working with flash can be a bit intimidating, but the goal is simply to make the background brighter than the subject. Position your subject in front of a light-colored backdrop (such as a white wall), point the flash at the wall, then take some shots, with the goal of overexposing the background while underexposing the subject.

You might also try positioning the flash behind your subject so that it’s pointed directly at their back; this will create a rim-lit effect, which can look wonderfully artistic.

21. Spend some time processing your silhouette photos

Even if you nail the silhouette exposure in-camera, I’d recommend making a few minor tweaks using an editing program like Lightroom.

First, adjust the white balance until you get the results you want, then raise or lower the exposure to add or remove detail on the subject. You can also adjust specific tonal sliders for a more refined effect.

If you’re after a punchy silhouette shot, try adding some contrast – and if the image features a beautiful sunrise or sunset in the background, consider boosting the vibrance or the saturation.

Finally, experiment by adding a vignette, creating an eye-catching color grade, or selectively dodging and burning different parts of the image.

22. Try a black-and-white conversion

While the vibrant colors that often accompany silhouettes can be breathtaking, there are times when the color can be a bit too distracting or overwhelming. That’s when a black-and-white conversion comes to the rescue, allowing you to emphasize your subject’s form over the background colors.

Applying a black-and-white conversion can help strip away the distractions and accentuate the interesting outline you’ve captured. Plus, by converting your silhouette photograph to black and white, you’ll give the shot a timeless and artistic quality.

But here’s the best part: If you try a B&W conversion and aren’t entirely convinced by the black-and-white look, don’t fret! If you use a non-destructive editor like Lightroom, you can easily revert back to the original color version without losing any precious details. This gives you the freedom to experiment and determine whether your shot looks best in color and monochrome.

So the next time you’re editing your silhouette photos, consider giving the black-and-white conversion a try. It’s a simple yet powerful technique that can bring out the subject while de-emphasizing the background, and it can add an extra layer of depth and artistry to an already captivating image!

Silhouette portrait photography tips

In the previous section, I offered tips and tricks for silhouette photos more generally – but in this section, I want to focus specifically on how to capture portrait silhouettes.

1. Shoot low and head to toe

Powerful silhouette portraits start with clear, minimalistic compositions. Here’s what I recommend:

Place the subject’s entire body, from head to toe, against the sky. To pull this off, you’ll need to be lower than the subject, so try lying on your back or stomach.

If you are unable to get low enough, you may need to have your subject get higher; ask them to stand on a rock, small hill, or sand dune. In most circumstances, this will allow you to get an angle that places the subject’s entire outline against the sky. (You can see a variety of examples throughout this article.)

Why is this so important?

If you can’t place your subject’s body against the sky, they will merge with the background, and the recognizable silhouette will be lost. You’ll end up with a lot of confusing darkness, and your viewer won’t be able to immediately tell what’s going on.

Also, pro tip:

It’s so, so, so important that your subject’s feet are outlined against the sky! Legs in a silhouette portrait that are cut off above the feet look like weird, short stumps:

Even with all this composition advice in mind, there will be times when you just can’t find a suitable spot for a full-body-framed-against-the-sky type silhouette.

And when that happens, you don’t need to give up on silhouettes entirely. Just get closer to your subject and create tighter compositions, focusing on the areas of your subject that are framed by the sky.

2. Use perfect silhouette portrait posing

Silhouettes are very forgiving of poor facial expressions (because you cannot see them!). But silhouettes are very harsh when it comes to posing.

Here are a few things to keep in mind when posing subjects for a silhouette:

1. Hugging poses do not work. A hug silhouette looks like a great big blob monster. Instead, all subjects need to be clearly defined, which means they need to be at least a couple of inches apart from each other. It’s nice for subjects to still be connected – but by holding hands or kissing, not by hugging.
2. Have your clients look away from the camera. Face profiles look beautiful and natural.
3. Watch the clothing. Very baggy clothing won’t work well for silhouettes; the shape can become unflattering. It is best to wear form-fitting clothes, as this helps clearly define your subject against the sky.

3. Take portrait silhouettes whenever you can (because they sell!)

Try to capture at least one silhouette at every photo shoot, whether it is a family portrait, maternity, engagement, or wedding.

Why? Because silhouettes sell!

Here are some reasons why silhouettes are great for client shoots:

• Silhouettes add variety to the series. Silhouettes are so different in their colors and style – and the variety they give instantly makes any shoot more interesting. Plus, because silhouettes are unique compared to standard portraits, they’re easy to sell individually as a piece of artwork.
• Silhouettes are perfect for shy clients. Some clients hate the idea of their faces hanging up on the wall. This makes silhouettes the perfect compromise! A silhouette can be marketed to a client as the perfect piece of personalized artwork – without making them feel uncomfortable or self-conscious.
• Silhouettes look better when printed big! Wide-angle silhouettes and scenic, environmental compositions look great, especially when printed large. So if you do capture wider silhouettes, you can sell them as a large piece of artwork. The client will love it, and it’ll be a more profitable sale for you.

Street photography silhouette tips

Street photography silhouettes are eye-catching, not to mention beautiful. But beginners often struggle to achieve great results – the kinds of compositions that feature clear main subjects, complementary backgrounds, and gorgeous light.

Here’s the good news: Creating silhouettes on the street is a lot easier than you think. I’ve been doing it for years, and below, I share everything you need to know for amazing results!

1. Shoot in the right light

For the best street silhouettes, you must shoot a dark subject against a well-lit background – which means that the more contrasty the lighting, the better.

You may have heard that great photographers only ever shoot in the morning and the evening (during the golden hours). But when it comes to street photography, nothing could be further from the truth.

Instead, many street photographers love to shoot in the middle of the day, when the sun is high overhead and produces harsh light. The harsh light ensures that certain subjects are powerfully lit, while the high lighting angle creates plenty of interesting shadows (especially in cities with tall buildings).

And shadows are the best friend of the silhouette street photographer.

Why? Because if you can find a bright background, and then – just in front of the background – is a shadow, subjects who walk by will be darkened by the shadow and silhouetted against the bright background.

Of course, you can capture great results when the sun is lower in the sky. An evening sun can produce long shadows (so you can create the same effect discussed above). Plus, if you shoot during the golden hours, you can angle your camera so that your subject is silhouetted against a breathtaking sunset.

If you’re after silhouettes, I’d encourage you to avoid photographing on cloudy days, though. Clouds soften the light and limit contrast. (If you’re dead set on capturing silhouettes, try shooting indoors, where you can use the contrast between your subject and a window to get a beautiful result!)

2. Choose the perfect camera settings for street silhouettes

To shoot a street photography silhouette, you must take control of your camera. Silhouettes require radical underexposure, so work in Manual mode (so you can choose your settings independently) or Aperture Priority (so you can underexpose via exposure compensation).

Make sure your flash is turned off, then – if you have the time – take some test shots of your scene. You’ll want to keep adjusting the exposure until your foreground subjects are completely black; add negative exposure compensation or boost the shutter speed.

A timesaving trick here is to point your camera at the bright area behind the subject, lock the exposure settings, recompose, and capture your shot. That way, your camera will expose for the background and render the foreground black. Make sense?

Another option is to set your camera to its spot metering mode, then meter off the brightest area behind the subject.

(If you leave your camera to its own devices, it’ll often try to expose for your subject. The result will include far too much detail in the subject and blow out the highlights in the background.)

Make sure you carefully focus on your silhouetted subject. If you’re struggling to lock onto your subject, you can try switching over to manual focus. To give yourself room for error, narrow the aperture to f/8 or so for a deeper depth of field.

3. Don’t be afraid to blow out the highlights

Some street photography silhouettes rely on highlight detail. Subjects captured against a rising or setting sun, for instance, can feature beautiful background clouds that add plenty of color and atmosphere.

That said…

Sometimes you can let the highlights blow out for a more dramatic effect.

In other words, you can subtly adjust your exposure to create a bright-white background, like this:

To get this effect, you’ll need to make sure your subject is sufficiently shaded and your background is sufficiently bright. You need real contrast. If you’re outdoors, try to find a bright white background and wait for a subject to walk by; if you’re inside, look for larger windows that’ll offer plenty of brightness.

And aim to set your exposure somewhere between the shaded subject and well-lit background. You can expose for the subject but drop the exposure a few stops, or you can expose for the background but raise the exposure a few stops. (If you’re not sure which method you prefer, try both!)

4. Capture the right outline

Great street photos don’t include just any silhouette. Instead, they feature silhouettes that:

• Are well-defined
• Have a recognizable shape
• Do not have any additional items (such as signs) protruding from the main outline

What’s important here is that the viewer can clearly tell the silhouette is created by a person. Therefore, it’s best to shoot subjects that are facing sideways (so that their nose and chin are visible) or forward (so that you can see their arms, legs, and head), and it’s important to avoid letting the silhouette overlap with other silhouetted objects, such as street scenes or even other people.

For an even more dynamic image, capture subjects in mid-stride or mid-gesture:

To get the best results with moving subjects, you’ll need to be fast. Raise your camera to your eye a few seconds before the subject walks by, then hit the shutter button just as they take a step!

5. Avoid obstructions

The best silhouette street photos contain an unobstructed view of the subject. In other words, the image should have no foreground or background elements that cross the subject, such as posts, signs, other people, or cars.

Why is this important?

Good silhouettes feature clear outlines. But if elements cross your subject, the outline will become confusing, and the viewer will struggle to interpret the shot.

So before you take an image, glance across the entire composition. Ask yourself: Do I see any problematic elements that could muddy up the silhouette? If so, see if you can fix the problem by moving a few feet to the left or the right. You can also try dropping down low – or, if you’re shooting a moving element, you could simply wait until it changes position.

When capturing the image below, I waited until the woman with the suitcase walked between the posts. Then I fired the shutter!

6. Add in a creative effect or two

If you want to take your street photos to the next level, don’t just achieve a solid silhouette outline and call it a day. Instead, strive to incorporate creative effects into your shots!

For instance, by stopping down your lens aperture and positioning the sun along the edge of an object, you can create a beautiful sunburst:

Another option is to shoot with flowers or leaves close to your camera, then use a wide aperture to create a pleasing blur.

I’d also encourage you to change up your angle. By getting down low, you can make your silhouetted subject loom over the viewer – and by getting up high, you can capture wider street scenes that feature all sorts of action.

7. Try a minimalist approach

Minimalism refers to a compositional approach that includes plenty of negative space. The subject is often small in the frame, like this:

And because silhouette scenes tend to lack lots of detail and because the main subject is generally so eye-catching, they lend themselves well to a minimalist approach.

The key here is to find a scene that offers plenty of negative space. Look for buildings with bright windows, stretches of ocean with silhouetted passersby, and bridges that you can photograph from below.

Get into position. Make sure to compose so that you include lots of empty space around the subject. Test out a few compositions if you have the time, just so you can get a sense of what works and what doesn’t.

Then, when the right subject walks through the area, take a shot! The small silhouetted person will anchor the composition, and you’ll end up with a beautifully minimalistic street photo.

8. Enhance your street silhouette in post-processing

Great street photos start in the field. If you don’t get the camera settings right, the composition right, and the lighting right, then your shots just won’t look good no matter how much time you spend on editing.

However, once you’ve captured a good silhouette in the field, you can certainly enhance it with a bit of post-processing. (And if you work in RAW – which I highly recommend! – then processing is a necessary part of your photography workflow anyway.)

Start by tweaking the exposure and the white balance. Make sure you have the overall look that you’re after, then dive into your heavier editing options. Boosting the contrast is generally a good move. If you find that your subject includes too much detail but you don’t want to tweak the highlights, try dropping the blacks or the shadows; conversely, if you like the look of your subject but you want to brighten the background, try boosting the whites or the highlights.

You might also play with different saturation values. And if you want to create a very unique effect, consider adding some sort of color grade. At the end of the day, this is about personal preference – so you won’t know what works until you try it!

Silhouette photography ideas to get you started

So you’re ready to dip your toes into the captivating world of silhouette photography but you’re not sure where to start? Don’t worry – ideas are your starting points, and I’ve got a bundle to fuel your creativity.

Landscape lovers, consider framing a silhouette with a waterfall in the background. Or how about capturing the outline of a lone tree against a fiery sunset? Don’t shy away from using natural elements like mountains or oceans as a backdrop. They can add a powerful touch to your silhouettes. Here are a few additional landscape photography silhouette ideas to consider:

• Mountain peaks outlined by twilight
• A cactus in a desert landscape with a colorful sky
• A waterfall with rocks or foliage in the foreground
• Cloud formations with a cliff edge
• A pier stretching into a sunset-lit ocean
• Silhouettes of boats on a calm lake
• A windmill against a dramatic sky
• An island surrounded by a glowing horizon
• A snowy field with barren trees

Now, if you’re more into people and portraits, think about expressive poses. A simple yet impactful idea is having someone leap into the air with their arms stretched out. Capturing a couple’s embrace during a setting sun can evoke intense emotion. Need more portrait photography silhouette ideas? Check these out:

• A musician playing an instrument
• Someone meditating in a peaceful setting
• A dancer frozen mid-leap
• A fisherman casting a line
• Kids playing catch in a field
• A jogger in motion
• Someone reading a book under a tree
• A person holding an umbrella in the rain

For those of you who love the urban buzz, street photography has its own charm in silhouette form. Imagine a cyclist riding past a lit-up billboard at night. Or a crowded bus stop with people absorbed in their own worlds. You could also look for architectural elements, like archways or staircases, to frame your silhouette subjects.

For more street silhouette ideas, why not photograph:

• Street performers in action
• A taxi against neon signs
• Pedestrians crossing a busy intersection
• A vendor selling street food
• An old man sitting on a park bench
• Kids skateboarding on a ramp
• Silhouettes inside a subway car
• A joyous parade

Feel free to mix, match, and tweak these ideas. The goal is to get your creative juices flowing. And once they are, there’s no stopping you.

How to photograph silhouettes: final words

Now that we’ve reached the end of our journey into the captivating world of silhouette photography, I hope you’re as excited as I am about all the incredible possibilities this technique offers.

Remember, there are no rules when it comes to silhouettes. You can stick with vibrant colors that sing harmoniously or go for the drama of black and white. And don’t be afraid to incorporate props for that extra touch of uniqueness – imagine a dancer twirling with an umbrella under a fiery sky!

Now, armed with the knowledge we’ve shared, it’s time for you to unleash your creativity. Grab your camera, and embrace the simplicity, the elegance, and the pure artistry of silhouettes!

Now over to you:

Have any silhouette tips or photos you’d like to share? Share them in the comments below!

The post Silhouette Photography: The Ultimate Guide (+ 33 Tips) appeared first on Digital Photography School. It was authored by Darren Rowse.

This article was updated in December 2023 with contributions from Jim Hamel, Amy Renfrey, and Darren Rowse.

Sometimes, I feel cursed. Like any parent, I want to take pictures of my kids doing their activities – but my daughter is a gymnast, which means I’m stuck dealing with a toxic combination of very fast action and generally poor light.

If you’ve ever tried to capture low-light sports games or dance recitals, you’ll understand my frustration. Action plus bad light generally leads to one of three things:

• Blurry photos
• Noisy/grainy photos
• A deer-in-the-headlights flash look

And when I first started photographing my daughter, I was constantly plagued by these problems. Fortunately, however, I didn’t give up, and I developed a handful of tips and techniques that allow you to capture stunning action shots when the light is terrible. That’s what I share in the article below.

So if you’re ready to learn how to photograph basketball, swimming, ballet, gymnastics, or any other fast-paced indoor activity, then prepare yourself for 16 hands-on tips, starting with:

1. Understand the event

Capturing the essence of an indoor sports event or a dance recital in low light isn’t just about having the right equipment or knowing the right settings. And while I talk about those in detail below, I want to start with something even more critical:

Understanding what you’re photographing. The more you know about the event, the better your shots will be.

Start with the basics: learn the rules of the game. If it’s basketball, know when the key plays happen. If it’s a dance performance, understand the sequence of movements. This knowledge lets you anticipate the action. You’ll know where to position yourself and when to press the shutter.

But don’t stop there. If you’re photographing a team or group for a full season, get to know the players or the performers. Each athlete, each dancer has their unique style. Learning about them can help you predict their movements, allowing you to capture more compelling and personal images.

One of the best ways to get a feel for the event is to attend rehearsals or prior games. Observe how the action unfolds. Note the lighting conditions. Plan out potential shots – and then, when the big game occurs, you’ll be able to envision amazing images just before the action heats up.

2. Use Manual mode

Before you even think about pressing that shutter button, make sure your camera is set up for success – starting with your shooting mode.

No matter the mode you normally use, in low-light scenarios, you need a lot of control over your camera’s settings. That’s where Manual mode comes in; it gives you complete control, so it’s generally a good choice. But if you’re not comfortable using Manual or you’re dealing with changing light conditions, use Aperture Priority instead.

3. Use fast lenses

Next, you’ll need to decide which lens to use. It’s a simple process, fortunately: Choose your longest and fastest (i.e., wide-apertured) lens. The low-light environment means that you’ll need a fast lens to let in plenty of light. And since action subjects tend to be far away, you’ll also need a longer focal length. I personally use a 70-200mm f/2.8 lens and it works great, though you could also go longer (or wider) depending on the scenario.

If your lens is on the shorter side, you may be inclined to use a teleconverter to get some extra reach. (If you aren’t familiar with teleconverters, they are extensions that fit between your camera and lens; they’re designed to increase the magnification of the lens). In certain contexts, teleconverters work great, but in a low-light environment, they don’t; you see, teleconverters actually sacrifice light, which will magnify the problems caused by dark interiors.

So if you need extra reach, purchase a longer lens or shoot wider and crop the image in post-processing.

4. Shoot wide open

Once you’ve chosen your shooting mode and your lens, it’s time to prepare the shot. The first exposure setting is the aperture, and when it comes to photographing in low light, picking an aperture is easy:

Set it to its widest available option (i.e., the smallest f-number, which is generally f/4, f/2.8, or even wider).

This will let in the most light (which in turn will allow you to keep your shutter speed fast and your ISO low). The downside, however, is that you’ll get a very shallow depth of field, so the area of sharpness within your images will be very narrow.

In this context, however, that shouldn’t matter. You’ll only need to keep your subject in focus, and having some background blur should be fine (or even preferable).

5. Set a fast shutter speed

Next, you’ll need to set your shutter speed, and the trick here is to make sure it’s fast. If your subject is not moving, then you can use the Reciprocal Rule (which states that you should choose a shutter speed that’s the inverse of your lens’s focal length).

However, if your subject is moving, you’ll need to crank your shutter speed upward. I find that 1/200s is the minimum you need for a moving subject if you want to avoid blur. I’d recommend starting there, then increasing it if you can.

And try hard to avoid using a slower shutter speed unless you are deliberately hoping to convey a sense of movement. Otherwise, even if your images look tack-sharp on the camera LCD, you may be very disappointed when you get back to your computer to find you have a card full of blurry files.

6. Set the ISO as high as necessary (but no higher!)

So you’ve chosen your aperture and shutter speed; now you need to dial in an ISO.

While picking an ISO may seem complex, it’s actually pretty easy. Just set the ISO to the value you need to achieve a proper exposure!

Don’t be alarmed if you need to give the ISO a significant boost. I routinely use ISO 1600 or 3200, and sometimes I even set it to ISO 6400. In most other scenarios, I wouldn’t even think about using such a high ISO value, but they’re often necessary when photographing low-light action.

7. Test the exposure before the action begins

Once the action starts, you’ll often need to start shooting with abandon, and you won’t have any time to test out your exposure and make modifications.

That’s why I encourage you to arrive early for any scheduled events, find your seat (or a good vantage point), and spend some time taking exposure test shots.

Since you’ll generally be indoors, the light probably won’t change over the course of the event, so you can generally just set your exposure settings and forget about them while you concentrate on the action. (Of course, if the light is changing, you’ll need to frequently take breaks to test your exposure.)

8. Do plenty of experimentation

When you’re trying to capture fast-paced action in low light, it’s easy to make mistakes, to mess up, to end up with images that are blurry or poorly composed or slightly behind the moment. The key to dealing with this? Experimentation.

Your first few shots might be a bit off. Maybe you chose a shutter speed that’s too slow, causing blur. Or perhaps your AF mode wasn’t quite right, leading to focus issues. That’s perfectly normal. The trick is to keep trying different settings. Play around with your shutter speed. Adjust your ISO. Change your focus mode.

And don’t be afraid to take loads of photos. Review them on the spot. See what works and what doesn’t. This hands-on learning is invaluable. You’ll start to understand what settings work best in the specific lighting you’re dealing with. And before you know it, you’ll be capturing those dynamic, sharp action shots with ease.

9. Zoom in

This is a quick tip, but an important one:

If you want to create impactful action shots, it’s important that you zoom your lens (or physically move) until the subject fills the frame.

In other words, don’t leave a lot of background. Your subject is the most important part of the composition, so they should dominate. You don’t want to leave room for major distractions.

(The one exception is if you’re aiming to create an environmental, scene-setting shot; in these situations, it can help to zoom out to capture the entire area.)

10. Wait for peak action

Once the action begins, you may be tempted to start holding down the shutter button so you don’t miss any critical moments.

But while this can be a successful method of capturing action, I prefer to take a more deliberate approach. Instead of machine-gunning my camera, I set my camera to its continuous shooting mode, then I anticipate moments of peak action.

When the action arrives, I quickly capture a burst of 2-4 shots, then I recompose. I wait for more action, and when something else of interest happens, I’ll take another burst, and so on.

These days, camera burst modes are so fast that – if you’re not choosy in your shooting approach – you can easily fire off hundreds or even thousands of shots in a couple of minutes, which will be a pain to sort through later.

11. Use a monopod

When you’re on the sidelines of an indoor sports event, camera in hand, ready to capture every thrilling moment, stability is key. But here’s the catch: a tripod might be too bulky or simply not allowed. That’s where a monopod comes in.

Think of a monopod as your portable stabilizing buddy. It’s like a tripod, but with just one leg. This simplicity is its strength. A monopod gives you that essential stability for crisp shots, without the bulk. It’s easy to carry around, quick to set up, and doesn’t take up much space.

Now, you might wonder, how do you pick a good monopod? Look for one that’s sturdy yet lightweight. Adjustable height is crucial, as it allows you to quickly adapt to different shooting angles. And don’t worry about the cost; monopods are generally quite affordable.

12. Don’t ignore breaks in the action

It may seem odd, but breaks in the action are often great times to take some photos.

By “break in the action,” I’m referring to two times:

1. A momentary pause during the event. For example, after a difficult gymnastic move, there is typically a momentary pose. The same holds true in singing and dancing; the performers often hold a pose after finishing a part of the routine. This pose often makes for a great shot – plus, since the subjects are frozen, you won’t have as big an issue with blur.
2. An actual break, like the end of a period in sports. During these breaks, there are often warm-up drills that lend themselves to great shots. And you’re typically allowed a bit more latitude in terms of your own movements, so you can potentially walk around and find some interesting angles. The best part? Even if you shoot during a break, no one will know whether you took the shot during a drill or the real game/match/meet. In fact, after a year or two, you probably won’t remember, either!

13. Nail the focus

Because you are shooting with your aperture wide open, you’ll have a very shallow depth of field. That means the focus will be unforgiving, and if you miss it, there will be no leeway.

So what should you focus on? Well, the subject, of course! If your subject is a person, then always focus on the eyes. If the eyes are on different planes, focus on the nearest eye.

This is why it pays to be comfortable with your camera’s autofocus modes. Your camera will have a mode designed to focus on stationary points (Canon calls this One-Shot and Nikon and Sony call it AF-S). Your camera will have another autofocus mode designed to track moving subjects (Canon calls this AI Servo and Nikon and Sony call it AF-C). In the case of a moving subject, this mode will continuously track your initial focus point and readjust as it moves. Most photographers use this mode in the case of a subject that is moving. I personally almost always use the stationary autofocus, but use whichever one you are comfortable with!

Another decision you should make to help with your focusing is whether to use back-button focus. Normally, your camera focuses when you press your shutter button halfway down. You can, however, set your camera to focus when you press a button on the back of the camera instead. I prefer this method because the focus will not automatically reset with each picture. Either way is fine, but back-button focus gives you slightly more control over your camera’s focus, so you might want to give it a try.

14. Chimp!

That’s right, I want you to chimp. This refers to the act of looking at your photos on the camera’s LCD screen.

Some photographers look down on this practice and referred to it as chimping (supposedly because the people looking at the LCD make “ooh, ooh!” noises while looking at their pictures, similar to chimpanzees). I actually think you should look at your LCD in any shooting context, but in this situation, it is especially important to do so.

There is just too much that can go wrong, and you need to make sure you’re getting the shots. You might have the exposure wrong, your focus might be off, the action might be too fast for your shutter speed, and so on. You don’t want to get home and discover you were doing something wrong that could have been corrected while you were shooting.

15. Add some noise reduction

You will have your own workflow for post-processing your pictures, so I won’t dwell on that too much here. There are a few things, however, that are particularly important in this context and that I want to pass along.

The first is that you will need to do some noise reduction; you’ll be using high ISOs for these shots, and you should probably do it in a manner that is a little different than you are used to.

Start off by using Lightroom’s noise reduction in the usual manner. Push the Luminance slider to the right. (There is an equivalent slider in Adobe Camera Raw if you use Photoshop or Photoshop Elements.) Keep the increase moderate at this point, usually in the range of 10-15.

After that, reduce the noise in the background further. The background of your picture will usually be blurry because you used a large aperture, so the loss of detail from the additional noise reduction will not hurt anything. In Lightroom, use the Brush and paint the noise reduction selectively. You can do the same in Adobe Camera Raw, or you can head into Photoshop, create a new layer with noise reduction, and mask the subject.

16. Sharpen the subject

Next, sharpen your photo, but not all at once; instead, like the noise reduction discussed above, you should tailor it to the image. To start off, apply a slight amount of sharpening to the whole file.

Then apply sharpening to the subject only. In Lightroom, use the Brush again. This time increase the Clarity and Sharpening amounts. Apply the effect only to your subject, while leaving the background alone.

You can do the same thing in Adobe Camera Raw, or you can take the file into Photoshop, create a new layer, sharpen the layer, then mask out everything but your subject. The extra sharpening will help make your subject stand out a little bit better, and it’ll also emphasize the tension produced by the action.

Action photography in bad light: final words

Photographing action in low light is a severe test of your camera equipment and your photography skills. It pays to have fast glass and a camera that performs well in low light, but gear isn’t everything!

Using the tips in this article, you should be able to set up your camera and create the proper exposure settings. It will take practice to consistently nail the focus, but once you get really good, you’ll be unstoppable!

Now over to you:

Do you have any other tips or tricks that you use when shooting action in bad or low light? Share your thoughts in the comments below!

The post Action Photography in Bad Light: 16 Practical Tips appeared first on Digital Photography School. It was authored by Jim Hamel.