After a week full of new cameras being announced, we encourage you to take out the camera (or phone, that’s 100% fine too) and go make the best photographs you can.

Here’s the new Sony a7rvi and here’s the new Canon R6v I’m sure they’re both lovely pieces of gear. You’re on a journey, you’ll get there, go make photos with what you have and don’t be continually ‘inspired to buy new gear’

Here is a list of ten ideas to go try this weekend.

• Decaying autumn leaves and frozen dew textures.
• Blue hour cityscapes and long-exposure traffic trails.
• Early morning ground fog and misty landscapes.
• Abstract macro patterns using crumpled aluminum foil.
• Intentional Camera Movement (ICM) with vertical structures.
• Cinematic portraits using a 21:9 letterbox aspect ratio.
• Repetitive patterns and textures at local farmers’ markets.
• Nostalgic street photography with vintage lenses or filters.
• Toy/miniature photography in real-world environments.
• High-contrast architectural shadows and silhouettes.

It’s 9:36am on Saturday here in Melbourne, I’ve already driven one child to soccer, stayed and grabbed a couple of photographs (Sony a7r3 and a Tamron 35-150mm if you’re wondering) and am now home to collect second child for the swap over…

I have two small LED lights that I’m going to try some product photography with this weekend, that’s my challenge to myself! Sheet of cardboard, two small lights, an idea of what I want to see. Wish me luck!

This was one from earlier that I tried for a review of the Espresso 15 Lite display we did.

Go forth, capture.

— Simon

The post Weekend Warriors appeared first on Digital Photography School. It was authored by Sime.

If you work in the photography world but aren’t the one doing the actual editing, you occupy a curious middle ground when it comes to gear. You need screens. You need them on the go. But you don’t always need the pixel-perfect, colour-calibrated precision that a retoucher or photo editor demands. That’s exactly the niche the Espresso Lite 15 fills — and for my particular workflow, it fills it brilliantly.

A Bit of Context: Two Monitors for Two Different Jobs

When I’m away from home I use one of two Espresso displays depending on the task. When I know I’ll be doing serious visual work — reviewing final edits, checking colour grading, or approving campaign imagery — I reach for the Espresso 17 Pro, with its stunning 4K panel that gives me confidence in what I’m seeing. But that’s not always necessary.

Size matters, sometimes. Below you can see the 15 and the 17 behind it, not a whole lot in it, but as I’ve said, they do different task, you get to choose which one works best for you.

I will say that for basic edits on the go, this monitor is 100% fine – a quick holiday drone flight and some Final Cut Pro over a coffee, sure.. A spot of Lightroom before you share some frames with the world – it handles it easily! It’s just not the 4K behemoth of its more mature siblings.

For day-to-day social media management — scheduling posts, writing captions, reviewing content calendars, monitoring analytics, responding to comments, and coordinating with photographers and clients — I carry the Espresso Lite 15. And it’s been a genuinely excellent companion.

First Impressions: Colour Makes a Statement

The Lite 15 comes in five colour options — black, white, soft mint green, light purple, and a vivid orange — and while the colour lives mainly on the back panel (you’re looking at the screen, after all), it gives the monitor a personality that no other portable display on the market quite matches. Mine is the white model, and I won’t pretend it doesn’t spark a little joy every time I pull it out at a café or a studio. I may have also opted for orange, sexy, but the white is classic!

The body is plastic rather than the aerospace aluminium of Espresso’s premium models, but don’t let that put you off. It feels solid and well-constructed, with a symmetrical bezel on the front that actually looks cleaner than some of its more expensive siblings. It’s slightly thicker than the aluminium Display 15, but it’s also marginally lighter.

The Stand+ Is Genuinely Clever

Included in the box is Espresso’s magnetic Stand+, and it’s one of the smartest bits of monitor hardware I’ve come across. The display clicks onto the stand magnetically — no fiddling, no screws, no latches — and the stand itself can be positioned to sit level with your laptop screen or elevated above it. For social media work, having that elevated second screen means I can keep my content calendar or Hootsuite dashboard up top while my laptop handles everything else below. Switching between portrait and landscape is equally effortless; the magnets handle everything.

The stand does require a flat, stable surface to work at its best, but for desk setups — in an office, a co-working space, or even a clean café table — it’s ideal. I think I have mentioned before that I’d love to see a 1/4 20″ mount hole in the bottom of the base to help with some wild mounting ideas, a boy can dream!

The Display: 1080p Is More Than Enough Here

Let’s be clear about what the Lite 15 is and isn’t. Its Full HD 1920×1080 panel at 60Hz is not the display you want for final colour approval on a photography campaign. For that, I use the 17 Pro. But for everything else? It’s genuinely sharp, bright (up to 400 nits), and more than capable for reading text, reviewing social media drafts, managing CMS platforms, and watching reference videos.

Colours are vibrant and pleasing to the eye, even if they’re not the rigorously colour-accurate output you’d need for print or professional retouching sign-off. For social media previews — checking how an image looks at Instagram crop ratios, or how a carousel flows — the screen is entirely adequate, and I’ve never felt let down by it in that context.

Setup Is Genuinely One Cable

Plug in a single USB-C cable to your laptop and you’re running. No drivers, no software install required (though the optional Espresso Flow app lets you configure screen positioning, brightness, and colour mode with a clean interface). There are two USB-C ports on the monitor, you can pass power through the display to your laptop (with a charger connected), though most users will still prefer plugging directly into their laptop for full-speed charging

Because the Lite 15 draws less power than Espresso’s higher-specced models, it’s also gentler on your laptop battery — something I noticed on longer days away from a power point.

Who Is This For?

If you’re a photographer, retoucher, or anyone whose livelihood depends on pixel-level colour accuracy, the Lite 15 is not your primary work monitor. (Though it does fine in a pinch!) The Espresso 17 Pro or 15 Pro (with its 4K panel) is the right tool for that job. But if you’re like me — working in photography adjacent roles like social media management, marketing, agency production, or content coordination — this monitor is a near-perfect daily driver. It gives you the productivity of a dual-screen setup without the bulk, cost, or weight of a premium display you don’t actually need for your tasks.

It’s also worth noting: there’s no touchscreen on the Lite 15, which keeps the price down. For social media work, I haven’t missed it.

The Verdict

The Espresso Lite 15 is a smart, well-priced (check it out here) portable monitor for photography industry professionals who need a capable second screen for everything except colour-critical editing. The magnetic Stand+ is genuinely excellent, the one-cable setup is effortless, and the colour options make it one of the few monitors with a bit of personality.

If you already own or are considering a premium 4K Espresso display for your editing work, the Lite 15 makes an ideal companion for your day-to-day screen — lighter on your bag, lighter on your budget, and more than up to the task.

Key Specs at a Glance

• Display: 15.6-inch Full HD (1920×1080), 60Hz
• Brightness: 400 nits
• Connectivity: 2× USB-C (single cable powers and displays)
• Stand: Magnetic Stand+ (included), portrait/landscape
• Colours: Black, White, Mint, Purple, Orange
• Body: Plastic chassis, feels sturdy enough to slip in a camera bag
• Software: Espresso Flow app (optional: I don’t use it with the 15 Lite, Mac’s display options are fine)

The post Espresso Lite 15 Review: The Perfect Portable Second Screen for Photography* appeared first on Digital Photography School. It was authored by Sime.

We shared some news on Freewell filters recently in a review format (First time I’ve tried them, tldr; they’re great) anyhoo – the team have brought out a new kit with Brandon Li and it’s well worth a look!

Take a look at the series here

Here’s what the team at Freewell have to say:

Freewell Introduces the Brandon Li Signature VND/CPL System – The World’s Slimmest Locking VND with a 100% Mechanism-Free Design

Hong Kong – May 2026 – Freewell, a global leader in premium camera accessories, announces the launch of the Brandon Li x Freewell VND/CPL System, a next-generation filter solution built for filmmakers who demand precision, speed, and reliability in real shooting environments.

Co-developed with filmmaker Brandon Li, this system redefines how variable ND filters are designed and used. After around 2 years of development and multiple prototype iterations, Freewell has engineered the world’s slimmest locking VND with a 100% mechanism-free design—removing traditional internal components that often cause failure, inconsistency, or bulk.

Unlike conventional VND systems that rely on complex internal mechanisms, this design delivers pure optical performance with zero mechanical dependency, resulting in a slimmer profile, improved reliability, and consistent results in demanding shooting conditions. Built as a complete modular system, the VND/CPL unit works seamlessly with an included ND32 filter to deliver a full 1–10 stop range, while maintaining control over reflections through the CPL. Optional diffusion filters such as Glow Mist further expand creative possibilities without disrupting the workflow.

The system is designed to reduce friction during production. Instead of carrying multiple filters and constantly swapping them, creators can rely on a single, compact setup that adapts instantly to changing light conditions.

Key Features:

· World’s Slimmest Locking VND – Ultra-thin profile without compromising performance?

· 100% Mechanism-Free Design – No internal mechanical parts, ensuring long-term reliability?

· Hybrid VND + CPL System – Control exposure and reflections simultaneously

? · Expandable 1–10 Stop Range – Combine with ND32 for extended light control

? · True Color Optics – Maintains accurate tones without unwanted color shift?

· Modular Workflow System – Add or remove filters without interrupting your setup?

· Multi-Size Compatibility – Works across lenses from 49mm to 95mm?

· Integrated Protection – Front and rear caps included with built-in grey card

“This system was built to remove the usual friction filmmakers deal with when traveling or shooting on location. You don’t have to think about swapping filters. It just works the way you need it to.”? — Brandon Li

“This product took around two years of development and multiple iterations to get right. The goal was simple but difficult to execute: remove all mechanical dependency and create the slimmest possible locking VND without compromising optical performance. What we ended up with is a system that’s more reliable, more compact, and built for real-world use.”? — Gary Lu, Product Designer, Freewell

The post Freewell Mag Filters and Brandon Li – Cool collab appeared first on Digital Photography School. It was authored by Sime.

If you’ve ever lost a shot because your tethering software dropped the connection mid-shoot, you already know how frustrating a bad cable can be. Tethered photography — connecting your camera directly to a computer or tablet so images appear on screen the moment you shoot them — is one of the most powerful workflows in modern photography. But it’s only as reliable as the cable linking those two devices together.

Enter the TetherPro Optima 10G series from Tether Tools. Recognised by the Professional Photographers of America as one of its 2025 Hot Ones, this cable line was engineered from the ground up specifically for photographers and digital techs who demand stable, high-speed image transfer on every single shot.

Here’s what makes it stand out — and why it might be the single best upgrade you can make to your tethered shooting setup.

The Problem With Ordinary USB-C Cables

When USB-C became the standard connector for modern cameras and laptops, it brought a welcome convenience: one cable for data and power. Sounds ideal, right?

For photographers, it’s actually a problem.

USB 3.2 introduced a feature called Power Delivery (PD), which can push up to 240W through the same cable used for data transfer. The issue is that Power Delivery is known to cause instability in tethered connections — resulting in dropped connections, slow transfers, and that dreaded moment when Capture One or Lightroom loses sight of your camera entirely mid-shoot.

Generic USB-C cables don’t solve this. They were designed as general-purpose cables, not specialist tools for a demanding studio workflow.

What Makes the Optima 10G Different

1. Dedicated Data Transfer — No Power Delivery Interference

The most important engineering decision Tether Tools made with the Optima 10G series was removing Power Delivery from the cable entirely. This is a dedicated data-transfer cable. By eliminating PD, they’ve removed the primary cause of connection instability in tethered workflows.

The cable still provides the standard low-level power (1.5A) that comes with USB 3.0 and above — enough to keep your camera communicating — but without the interference that causes dropped connections. The result is a rock-solid link between your camera and computer, every time.

Better still, the Optima 10G series is plug and play. There’s no need to adjust your camera’s power settings before shooting. Just connect and go.

2. Blazing-Fast 10Gbps Transfer Speeds

The “10G” in the name isn’t just branding. These cables are rated for 10 Gigabits per second — the full USB 3.2 Gen 2 specification. For photographers shooting high-resolution RAW files, this means images appear on your tethering screen almost instantly after capture.

When you’re directing a client or working with a creative director reviewing shots in real time, that speed matters enormously.

3. Built-In TetherBoost Technology for Long-Distance Reliability

One of the most technically impressive features of the Optima 10G series is the built-in TetherBoost signal amplification. Standard USB cables begin to degrade signal quality the longer they get — this is physics, not a flaw.

Tether Tools counters this with dual reinforced TetherBoost Pro IC chipsets integrated directly into the cable. These retimer chips actively boost and stabilise the signal, ensuring consistent performance even over longer runs. The Optima 10G is available in lengths from 3 feet up to 31 feet, and when paired with a TetherBoost Pro Core Controller and 16-foot extension cables, you can tether reliably up to an impressive 63 feet without any signal loss.

The post Why the TetherTools TetherPro Optima 10G Cable Series Is a Game-Changer for Tethered Photography appeared first on Digital Photography School. It was authored by Sime.

Refined and capable, the next evolution of the AirHed Cine arrives with a redesigned panning arm, upgraded quick-release plate, and rotatable clamp for vertical video.

Following on from the popularity of the original AirHed Cine, 3 Legged Thing has launched the AirHed Cine CC. This robust, compact fluid video head is packed with features for content creators, as well as wildlife and birding enthusiasts.

The AirHed Cine CC is a compact fluid video head with 360? panning and 165? of total tilt (90° forward / 75° back). Each axis has smooth cinematic movement, and separate lockable controls.
It has several key improvements over its predecessor:

• The Arca-Swiss-compatible clamp rotates 90? allowing use with Arca L-brackets and cages for shooting vertical video
• The panning arm is retractable for easier transportation, and can be mounted on either side of the head for right or left-handed use
• The new XP 100 Ultra Plate quick-release plate adds versatility with its patented triple-axis XPAND slot for use with 3LT’s XPAND system Cheese Plates and Risers. It has a sliding camera screw sled with retractable locator pin and ¼”-20 camera screw; cable management hook at one end, and multiple thread options for accessory attachment.

“We’re excited to release the AirHed Cine CC,” said Stuart Boston, Chief Operating Officer, 3 Legged Thing. “We’ve taken feedback from its predecessor and incorporated new features that increase usability. We’re sure customers will love it!”

The AirHed Cine CC is perfect for videographers and content creators using mirrorless and lightweight cinema cameras up to 10 kg / 22 lb, and can be attached to any tripod or monopod with a 3/8”-16 screw thread. The head’s smooth pan and tilt motion will also appeal to birders, wildlife and sports photographers, and spotting scope users looking for a stable mount for their gear.

The head weighs just 690 g / 1.5 lb, giving it an impressive 14:1 load to weight ratio.

Availability
AirHed Cine CC is available starting today from 3LeggedThing.com and all good camera retailers, with a suggested retail price of £229.99 / US $249.99.

For more information, visit www.3leggedthing.com.
Need to see it in person? Find your nearest stockist at 3LeggedThing.com/where-to-buy

The post 3 Legged Thing Launches AirHed Cine CC Fluid Video Head for Modern Creators appeared first on Digital Photography School. It was authored by Sime.

Tamron, a leading provider of high-quality lenses, announces the presentation by the Technical Image Press Association (TIPA) of its TIPA Award 2026 to two lenses; 16-30mm F/2.8 Di III VXD G2 (Model A064) for “BEST FULL FRAME WIDE-ANGLE ZOOM LENS” and 35-100mm F/2.8 Di III VXD (Model A078) for “BEST FULL FRAME TRAVEL LENS”. With these latest accolades, TAMRON has been honored with TIPA Awards for thirteen consecutive years.

BEST FULL FRAME WIDE-ANGLE ZOOM LENS

TAMRON 16-30mm F/2.8 Di III VXD G2 (Model A064)

This lightweight and fast ultra wide-angle zoom delivers exceptional sharpness from edge to edge, even at F2.8. It combines outstanding optical performance with a robust Moisture-Resistant Construction suited for demanding environments. Its impressive versatility makes it ideal for capturing a wide variety of subjects, even in challenging lighting conditions, making it an all-around choice for landscape, architecture, event, and travel photography. Performance-wise, it delivers fast, reliable autofocus to ensure success in both still and video capture. This affordable lens has an MOD (Minimum Object Distance) of 0.19m at 16mm and 0.3m at 30mm, creating even more potential for exciting imaging opportunities.

BEST FULL FRAME TRAVEL LENS

TAMRON 35-100mm F/2.8 Di III VXD (Model A078)

This handy, take anywhere lens offers an exceptional blend of optical performance, portability, and innovation. It delivers consistently sharp images across its versatile zoom range and maintains a bright F2.8 aperture, excelling in low-light conditions while producing beautifully rendered depth and clarity. The advanced VXD (Voice-coil eXtreme-torque Drive) linear motor focus mechanism ensures rapid, precise, and silent focusing to meet the demands of both still and video creators. Remarkably compact and lightweight for its class, this lens redefines mobility without compromising on image quality. 

While you’re here, you should also pop across to Tamron Australia’s Podcast series – Get The Shot, a great series with insights from many and varied photographers.

The post Tamron Wins more TIPA gold! appeared first on Digital Photography School. It was authored by Sime.

There’s a Nikon FM2 sitting on a shelf in my office. It hasn’t had film in it for years, but I can’t bring myself to move it. Something about its heft, its cold metal body, the satisfying click of its shutter — it reminds me why I fell in love with photography in the first place. These days, my best shots often come from a camera I carry in my pocket everywhere I go: my phone.

Sound familiar? If you’ve been shooting for any length of time, you’ve probably had this same quiet reckoning. The tools have changed so dramatically that it can sometimes feel like photography itself has changed. But I’d argue it hasn’t — not even a little.

What actually changed (and what didn’t)

Let’s be honest about what modern cameras and phones have improved. Autofocus is faster and more reliable than the best manual glass from the 1970s. Image sensors capture dynamic range that would have required a master darkroom technician to coax from a roll of Kodachrome. Computational photography — the ability of software to merge multiple exposures, reduce noise, and sharpen edges in real time — has genuinely pushed what’s technically possible in a photograph.

But here’s what hasn’t changed: you still have to decide where to stand. You still have to choose your moment. You still have to ask yourself what this photograph is about.

“The camera is an instrument that teaches people how to see without a camera.” — Dorothea Lange

That quote, from one of the greatest photographers of the 20th century, was true when she was shooting on large-format film in the 1930s. It’s equally true today. The art of photography is the art of observation — and a smartphone hasn’t changed the nature of observation any more than a ballpoint pen changed the nature of writing.

The hidden gift of film constraints

Photographers who came up shooting film will tell you something that sounds almost paradoxical at first: having fewer shots made them better. When you only had 36 exposures on a roll — and developing cost money and time — you thought harder before pressing the shutter. You waited for the light to be right. You watched your subject until the perfect moment arrived.

That discipline is still available to anyone who wants it. Some photographers deliberately shoot with apps that simulate a 36-shot roll. Others commit to only keeping one photo per outing, regardless of how many they took. The constraint isn’t in the camera — it’s in the mind of the photographer.

“Every generation of photographers inherits the same essential challenge: learning to see the extraordinary inside the ordinary.”

The case for both worlds

Something interesting has happened in the last few years: film photography has experienced a genuine, sustained revival — and it’s being driven largely by young people who grew up with smartphones. They’re not rejecting digital photography; they’re adding to their practice. They shoot film because it slows them down. Because holding a physical print feels different from swiping through a gallery. Because the grain and the imperfection feel honest.

Meanwhile, serious photographers are doing extraordinary work with smartphones. The photographers publishing in major magazines, winning awards, and building huge audiences online are increasingly using mobile cameras not as a compromise, but as a deliberate creative choice. The intimacy a phone allows — the way it doesn’t intimidate subjects the way a DSLR might — has opened up entirely new photographic possibilities.

The best photographers today understand that the question isn’t “film or digital?” or “camera or phone?” The question is always the same one Henri Cartier-Bresson was asking in 1940: what is the decisive moment, and am I ready for it?

Light, composition, and the moment: the holy trinity

Every photography teacher, from Ansel Adams to the best YouTube tutorials today, comes back to the same three fundamentals: light, composition, and moment. These are the elements that make a photograph sing — and they are entirely independent of the gear you’re holding.

A vintage Leica rangefinder and a flagship iPhone both need the same golden-hour light to produce a glowing landscape. A medium format film camera and a mirrorless body both require the photographer to understand the rule of thirds, leading lines, and negative space. And no camera ever invented can press its own shutter at precisely the right instant — that’s still you, every single time.

This is the most liberating truth in photography: the equipment matters far less than the eye behind it. The best camera you own is, overwhelmingly, the one you have with you and know how to use.

?

5 Affordable Cameras Worth Buying on Amazon

If you’re ready to step up from (or complement) your phone, here are five well-reviewed, budget-friendly options available on Amazon right now — from approachable point-and-shoots to capable mirrorless bodies.

1

Canon EOS Rebel T7 DSLR Best entry DSLR

A classic starting point for new photographers. The Rebel T7 pairs a 24.1MP CMOS sensor with Canon’s reliable DIGIC 4+ processor and ships with an 18–55mm kit lens, giving you a versatile everyday focal range right out of the box. Built-in Wi-Fi makes sharing straightforward, and the optical viewfinder delivers a satisfying, traditional shooting experience. An excellent choice for anyone who wants to learn on a real DSLR without breaking the bank.

2

Canon EOS R100 Mirrorless Best mirrorless under $600

The most affordable new mirrorless camera on the market, the R100 features a 24.2MP APS-C sensor — the same chip found in Canon’s pricier R50 — with a reliable dual-pixel autofocus system that handles portraits and moving subjects well. It’s compact, comfortable to grip, and opens the door to Canon’s growing RF lens ecosystem. A sensible, future-proof investment for first-time mirrorless buyers.

3

Sony ZV-1F Compact Best vlogging + stills

Don’t let the “vlogging camera” label fool you — the ZV-1F’s 1-inch sensor, best-in-class autofocus, and compact form factor make it a genuinely capable still camera too. Its 20mm fixed lens is ideal for environmental portraits and street photography, and the flip-out display makes it easy to compose shots from unusual angles. For photographers who also want to shoot video or create content, it’s arguably the best value in this price range.

4

Kodak PIXPRO FZ55 Point & Shoot Most accessible

Sometimes you just want a simple, reliable camera you can hand to a friend or toss in a bag without anxiety. The FZ55 delivers 16MP images, a 5x optical zoom, and 1080p video in a lightweight body, all for well under $150. Amazon reviewers consistently praise its ease of use and image quality for casual shooting. It’s a great gateway camera for young photographers or anyone looking for a low-stakes way back into dedicated-camera shooting.

5

Fujifilm Instax Mini EVO Best for prints

In a world of ephemeral digital images, the Instax Mini EVO bridges the gap between digital convenience and the tangible joy of a physical print — something that resonates deeply with the spirit of film photography. It combines digital shooting with instant printing via its hybrid design, and its retro aesthetic makes it genuinely pleasurable to use. For photographers who want to reconnect with the physical side of the medium, this is a uniquely satisfying option.

The takeaway: your eye is the constant

The history of photography is really a history of tools getting out of the way — getting lighter, faster, cheaper, and more forgiving — so the photographer can focus on what was always the point: seeing. Every great image ever made, from Dorothea Lange’s “Migrant Mother” to a viral phone photo taken this morning, began with someone paying attention.

So shoot with your vintage film camera. Shoot with your mirrorless. Shoot with your phone at breakfast. The art doesn’t live in the equipment. It never did. It lives in you — in the moment you decide that this is worth preserving, and you raise whatever camera you have and press the shutter.

That moment is identical whether the year is 1965 or 2026. That’s the beautiful, stubborn truth at the heart of photography…

Get, make photographs, come back and tell us what you learned.

The post The art of photography hasn’t changed though… appeared first on Digital Photography School. It was authored by Sime.

You’ve got a decent camera. You understand exposure. But something about your photos still feels… off. More often than not, the culprit isn’t your gear — it’s composition. The good news? These mistakes are easy to spot once you know what to look for, and even easier to fix. Here are ten composition habits that might be holding your photos back.

1. Putting the subject dead-centre every time The rule of thirds exists for a reason. Placing your subject slightly off-centre creates visual tension and a more natural, engaging image. Try positioning eyes, horizons, or focal points along the grid lines instead.

2. A cluttered, busy background Your background is working either for you or against you — there’s no neutral. Before you shoot, scan the whole frame. Distracting elements behind your subject? Move your feet, change your angle, or open up your aperture.

3. Cutting off limbs at the joints Cropping someone at the wrist, ankle, or knee looks awkward and unintentional. If you need to crop a person, do it between joints — mid-forearm, mid-shin, mid-thigh.

4. A horizon that’s not actually horizontal A tilted horizon is one of the most common and most fixable mistakes in photography. Use your camera’s built-in level (most have one), or spend 10 seconds straightening in post.

5. No clear subject Ask yourself: what is this photo of? If the answer is vague, your viewer won’t know where to look. Every strong image has a clear visual anchor. Find yours before you press the shutter.

6. Not using leading lines Roads, fences, rivers, staircases — these are gifts. Leading lines pull the viewer’s eye into the frame and give your image depth and direction. Look for them in every scene.

7. Shooting everything from eye level Eye level is comfortable, but it’s also predictable. Get low and shoot upward for drama. Get high and shoot down for context. Even a small change in angle can transform a photo entirely.

8. Ignoring negative space Empty space isn’t wasted space. Negative space gives your subject room to breathe and can make an image feel calm, deliberate, and modern. Don’t feel compelled to fill every corner of the frame.

9. Merging edges — where your subject “touches” the background When a tree, pole, or wall appears to grow out of someone’s head, it’s called a merge — and it’s distracting. Check your edges before shooting and adjust your position to separate the subject from the background.

10. Forgetting to simplify The best compositions usually have one thing to say. Before you shoot, ask: what can I remove from this frame? Great composition is often about subtraction, not addition.

The great thing about composition is that it costs nothing and improves everything. You don’t need a new lens or a camera upgrade — just a more intentional eye. Pick one of these to focus on during your next shoot and see what a difference it makes.

The post 10 Composition Mistakes That Are Quietly Ruining Your Photos (And How to Fix Them) appeared first on Digital Photography School. It was authored by Sime.

RAW vs JPEG

If you’ve poked around your camera’s menu settings, you’ve probably come across an option that says something like “Image Quality” or “File Format” — and two choices staring back at you: RAW and JPEG. Most beginners shrug and leave it on JPEG because, well, it’s the default. But understanding this one setting could genuinely transform the photos you’re able to produce. Let’s break it down in plain English.

What actually is a RAW file?

Think of a RAW file as a digital negative — it’s all the data your camera sensor captured, completely unprocessed. When you shoot RAW, your camera records everything: every detail in the shadows, every highlight, every colour nuance. Nothing is thrown away.

The trade-off? Your camera doesn’t do anything with that data. RAW files can’t be posted to Instagram straight out of your memory card. They need to be processed in editing software like Adobe Lightroom, Capture One, or even the free Darktable before you can share them. That’s extra work, but it’s also where the magic happens.

So what does JPEG do differently?

A JPEG is a finished product. The moment you press the shutter, your camera applies sharpening, contrast, colour, and noise reduction — automatically — and then compresses the image down into a smaller file. It’s ready to share immediately.

The downside is that your camera makes those decisions for you. And in doing so, it throws away a lot of data to achieve that smaller file size. Once that information is gone, it’s gone for good.

Why does this matter when editing?

This is where the RAW vs JPEG debate gets really practical. Let’s say you take a beautiful landscape photo, but you slightly underexposed it — the image looks a bit dark. Here’s what happens in each format:

With RAW, you open the file in Lightroom, drag the Exposure slider up a couple of stops, and the detail that was hiding in the shadows comes right back. The image still looks natural.

With JPEG, you try the same thing. The image brightens, but the shadows turn muddy and noisy. You might also start to see banding — those ugly stripes of colour where smooth gradients used to be. That’s because the data you needed to recover the image simply isn’t there anymore.

RAW files typically give you around 4 stops of exposure recovery in either direction. JPEGs? About one stop, if you’re lucky. That headroom is the difference between a recoverable mistake and a deleted photo.

The colour and white balance advantage

Here’s another thing beginners often don’t realise: white balance is completely non-destructive in RAW. Shot your indoor portraits under warm tungsten light and forgot to adjust white balance? No problem — in Lightroom, you can fix it perfectly after the fact with zero quality loss.

In JPEG, changing white balance in post is genuinely editing the image data. You can nudge it slightly, but a major correction will shift colours in ways that look artificial and degrade quality.

“But my JPEGs look great straight from the camera!”

They might! Camera manufacturers have put enormous effort into their in-camera JPEG processing, and modern cameras produce lovely JPEGs. If you’re shooting fast-moving events, sports, or documentary work where you need to hand off photos quickly, JPEG is completely legitimate and used by professionals every day.

The question is: are you getting the most out of your camera, and do you have the editing control you need?

If you’re learning photography and want to understand how exposure, colour, and light work together, shooting RAW forces you to engage with those decisions in post. That process is incredibly educational. You start to see what the camera captured versus what you created — and that gap is where you grow as a photographer.

The storage and speed trade-off

RAW files are big. Depending on your camera, a single RAW file can be 30–80 MB, versus 5–20 MB for a JPEG. If you’re shooting hundreds of frames, that adds up fast. You’ll need bigger memory cards, more hard drive space, and longer backup times.

RAW files also slow down your camera’s burst shooting because there’s more data to write to the card. If you shoot action or wildlife where you’re hammering that shutter button, this can matter.

Many cameras offer a great middle-ground solution: RAW + JPEG. You get both files simultaneously — the JPEG for quick sharing and preview, the RAW if you want to edit properly later. Storage hungry, but flexible.

Which should you choose?

Here’s a simple way to think about it:

Choose RAW if you care about getting the best quality from every shot, you enjoy or plan to learn editing, you shoot in challenging lighting conditions, or you’re working on portraits, landscapes, or any photography where the final edit matters.

Choose JPEG if you need photos ready to use immediately, you’re shooting high-speed action and need fast burst rates, or you genuinely don’t want to edit and your camera’s JPEG output already makes you happy.

Choose RAW + JPEG if you want the best of both worlds and don’t mind using the extra storage.

Getting started with RAW

If this has convinced you to give RAW a try, here’s how to start: change your camera’s image quality setting to RAW (or RAW + JPEG), and download Adobe Lightroom (there’s a free mobile version) or the free desktop app Darktable.

Take a photo in tricky lighting — something with bright windows and shadowy corners is perfect — and spend 10 minutes just moving sliders around. Watch how much detail you can pull back from areas that looked completely lost. That moment of “oh, wow” is what turns most people into permanent RAW shooters.

Got questions about RAW editing or what software to use? Drop them in the comments below — we’d love to help.

The post RAW vs JPEG: What’s the Difference and Which Should You Be Shooting? appeared first on Digital Photography School. It was authored by Sime.

How can you create and save presets in Lightroom?

In this article, I’m going to take you through the simple process, step by step. By the time you’re done, you’ll be able to confidently make presets of your own – and I’ll even show you how to make and apply import presets for high-quality, lightning-fast edits.

Let’s dive right in.

When should you create and apply Lightroom presets?

There are mundane edits in Lightroom that you should carry out on almost every photo.

And you can save time by creating presets that perform these jobs automatically upon import. That way, you don’t have to do editing later.

In other words: I highly recommend you apply presets to pretty much every photo you take.

(You can also apply presets during the editing process, but you’ll want to use these more sparingly.)

The fact is that RAW photos need edits to look good. And presets will help you do those edits faster than a standard editing workflow. Look at this unedited RAW file:

And look at it after applying a simple preset:

That’s what I’m going to teach you how to do in the next section:

Create a simple preset that you can apply upon importing. But note that you can use these instructions to create a preset of any type, whether you plan to apply it on import or not.

How to prepare a useful Lightroom preset: step by step

Now let’s take a look at the simple instructions for making a useful Lightroom preset:

Step 1: Open a photo in the Develop module

Start by selecting the photo you plan to use as your preset base. Open it in the Lightroom Develop module.

Hit the Reset button to zero out any existing settings:

(You may find it helpful to make a Virtual Copy of the photo first so you don’t undo any edits you have already made; you can do this by right-clicking on the image, then selecting Create Virtual Copy.)

Step 2: Set your Profile in the Basic panel

Next, you’ll need to pick a Profile. Think of this as a starting point or base layer, on top of which you’ll make all your edits.

So head up to the Basic panel and click to open the Profile fly-out menu:

Lightroom’s default Profile is Adobe Color, and this is where I often leave my photos – but if you’re a frequent landscape photographer, you might try Adobe Landscape, portrait photographers might try Adobe Portrait, and black and white photographers might try Adobe Monochrome. Really, it’s all about experimenting. Test out a few options and see what you like!

Remember that, even if you save a profile as part of a preset, you can always change it after applying the preset if you decide it doesn’t work for a particular shot.

(Also, note that your Profile options may vary depending on your camera, so if you can’t find one of the options I suggested, don’t worry; you probably have other cool Profiles to try out instead.)

If you shoot a number of different genres or in a number of different styles, or if you simply like several profiles, you might consider creating a preset for each one!

Step 3: Apply profile corrections and remove chromatic aberration

Most shots suffer from slight issues due to lens aberrations. The specifics depend on your lens, which is why Lightroom comes with profiles for a huge number of lenses:

So head down to the Lens Corrections panel and check Enable Profile Corrections:

If Lightroom offers a profile matching your lens’s make and model – and it almost certainly will! – the profile corrections will be applied automatically.

I’d also recommend checking Remove Chromatic Aberration, which will get rid of fringing (which you pretty much always want to do!).

Step 4: Make sure the Basic panel is ready to go

Now it’s time to look at the Basic panel. Make sure the white balance is set to As Shot:

And make sure all the other sliders are zeroed:

If you’re a fan of Lightroom’s automatic settings, you can hit the Auto button. This will automatically set the exposure, contrast, highlights, shadows, whites, and blacks, along with the vibrance and saturation. I don’t do this myself, but if it’s helpful to you, then go ahead and try it!

Also, if you shoot a mix of color and black and white, consider creating one preset for color photos and a second preset for black and white shots. Simply set the Treatment to Black & White:

Creating a preset in Lightroom

Now it’s time to actually make a Lightroom preset. The process is extremely simple:

Step 1: Click the Create Preset option

Make sure you’re in the Develop module, then click the Plus icon next to the Presets panel:

And select Create Preset:

Step 2: Determine which settings should be a part of your preset

The New Develop Preset window should come up:

Give your preset a name and select a folder to save it in:

Then select the settings you’d like to save as your preset. Hitting Check All works fine if you’re creating the preset I discussed above – though if you’ve decided to create a more targeted editing preset, you may want to only check certain boxes.

Step 3: Hit Create

Finally, once you’re ready to save your preset, press Create:

And that’s it! It’s a simple process that doesn’t take very long and can save you a lot of time when importing or editing your photos.

Applying presets upon import

To apply the preset you just created upon importing your photos, launch the Import window:

Then head over to the Apply During Import panel and set the Develop Settings menu to the appropriate preset:

(This is where creating several presets helps saves time, as you can pick the best preset for the photos you are importing.)

Then, when you click the Import button, Lightroom applies the settings from your selected preset!

Adding copyright info

While you’re in the Import window, it’s worth setting up another preset to automatically add copyright information to photo metadata upon import.

So go to the Metadata menu in the Apply During Import panel and select New.

Lightroom will open the New Metadata Preset window, where you can add information such as your name and copyright details:

So give the preset a name, then click the Check Filled button (so the relevant boxes are checked as you go along):

Under IPTC Copyright, set Copyright Status to Copyrighted and fill in the other fields appropriately (my entries are shown below).

Under IPTC Creator, add your name, website, email address, and any other appropriate details. Personally, I leave out my address – I move around a lot so it’s constantly changing (plus identity theft is a risk).

Click Done when you’re finished. Then, when you import photos, simply select the preset from the Metadata menu:

How to create your own Lightroom presets: your turn

Hopefully, you’re now ready to create Lightroom presets of your own (and you have some ideas for useful presets).

That way, you can save time and speed up your workflow!

Now over to you:

What kind of presets do you plan to create? How do you plan to use them on your photos? Share your thoughts in the comments below!

The post How to Create Your Own Lightroom Presets (Step By Step) appeared first on Digital Photography School. It was authored by Andrew S. Gibson.