I Don’t often do this (around this way, kind of topsy turvy) but after a couple more weeks along from when I wrote up my review below, I wanted to head out and get some extra solid use of the sticks in before sharing my thoughts. A lot of the time, as someone who has been in this ‘review’ game a long time, either submitting reviews or soliciting them for brands that I’ve worked with, there’s a wow-factor at the start of the process when a product is super-slick right off the mark.. That’s exactly how I felt when I took the Peak Design tripod from its box and unzipped the case to reveal its long 3K Weave Carbon Fiber legs.

It looked super-slick, I was a bit wowed if I’m honest, it’s a beautiful piece of gear! But that can be where the trouble starts you see… All that glitters, sometimes, ain’t gold. (Oh, and it really is tall! (I’m 6’3″)

I took the Peak Design Pro Tripod out on a whole bunch of shoots, I took it on a 3 hour public transport trip to the ocean, we went on trains, in cars, I used it low and high and was looking for “the catch” but I didn’t find it.

I’m a big fan of good tripods and have been using another brand for a whole heap of years now, and while I’m not going to compare directly, it’s great to have a comparison in my head of a tripod I’ve used often and like a lot, to this, the Peak Design Pro Tripod.

Tripods are funny things. Most photographers buy a cheap one first, discover its limitations, then eventually buy the tripod they should have purchased in the first place.

Peak Design have sent us across their recently(ish) released Pro Tripod (We have the tall model) for review.

The new Peak Design Pro Tripod feels very much like that second (or third, even) purchase. Peak Design made a name for itself with the original Travel Tripod, a product that challenged the traditional idea of what a tripod should look like. Its compact design packed neatly into a backpack while offering impressive stability for its size. This happened well after Peak Design’s first product, Capture, back in 2011 (I’m pretty sure I still have one of the long-bolt Prototype Captures in my storage locker)

The Pro (Tall, and I make this delimitation multiple times, as there are three models, Pro, Pro Lite and Pro Tall) takes that same design philosophy and scales it up for photographers and videographers who need more height, more rigidity, and more confidence when supporting expensive gear. Importantly, Peak Design continues to sell the original Travel Tripod — the Pro series is an addition to the lineup, not a replacement.

At around AU$1,799, it’s certainly not an impulse purchase. The question is whether it delivers enough performance to justify the premium?

Specifications

First Impressions (After the whole unpack piece!)

If you’ve ever used the original Peak Design Travel Tripod, the Pro Tall immediately feels familiar. The folded shape remains remarkably slim thanks to Peak Design’s unique leg design, which wraps tightly around the centre column and head. Even though this is a significantly larger tripod than the original Travel Tripod, it still slides into a backpack side pocket more easily than many traditional professional tripods. With the legs closing in together, a finished diameter similar to the unique ballhead design means you don’t get that awkward “where does the tripod plate sit when I close my tripod up, etc.

Side benefits of the slim-fold way the Peak Design tripod range are built means that they’re easy to slip into the included protective carry case, it has a carry strap and a sturdy feeling zipper along with a little internal pocket for, I guess, carrying the included tool.

Build quality is exactly what you’d expect at this price point. 3K Weave Carbon Fiber legs, 6061-T6 CNC-machined aluminium components, flip-lock leg levers that are smooth and satisfying to operate — and an overall feeling that somebody really obsessed over every detail. Unlike many tripods that use twist locks, Peak Design has stuck with flip locks across the Pro series. It’s the right call: the non-circular leg profile makes twist locks impractical, (or even impossible?) ..and the flip locks give you clear visual confirmation that everything is secured before you trust them with expensive glass. In use, the flip level leg locks are easy to use requiring little pressure to open or close, I had no “half-locked OH HECK” moments.

Nothing rattles. Nothing feels flimsy. But it comes at a price. Moving on…

Height Matters

The ‘Tall’ in the name isn’t marketing fluff. At 197.4 cm maximum height, this tripod is genuinely tall — a 30% increase over the original Travel Tripod. For many photographers, that means shooting at eye level without extending the centre column very far, if at all. That’s a bigger advantage than it might sound. I’m a 6’3″ human as I mentioned earlier and I almost always have to stoop quite a bit, or put the centre column up, one a larger tripod like the one I use most days, this isn’t an issue, on a travel tripod, things can get a bit dicey! This Pro Tripod is tall enough for my use with the centre column retracted, ultimate stability.

Every tripod becomes less stable as the centre column rises. By building extra height into the legs themselves, the Pro Tall allows photographers to keep the centre column lower while maintaining a comfortable working height. The result is a more stable shooting platform, especially when working with longer lenses.

For landscape photographers, wildlife shooters, and anyone taller than average (I don’t even know what average is… I’m 6’3″ and feel kinda tall, sometimes), this alone could be the feature that sells the tripod. Note: I’m specifically talking about the TALL version, keep in mind that the Tripod Pro comes in three size. Just to reiterate sizing, they come as follows…

• Pro Lite – 133cm (legs only)
• Pro – 138cm (legs only)
• Pro Tall – 162cm (legs only)

The New Ball Head

Peak Design has redesigned the ball head for the Pro series, and it addresses one of the biggest criticisms of the original Travel Tripod. I will say, as this is my first version of the Peak Design Tripod that I’ve spent a meaningful amount of time with, so my comparisons between the original and this ballhead are from researching.

The new Pro Ball Head features 360° fluid panning with an independent lock, and allows 90° tilting when the centre column is slightly raised. It’s a meaningful improvement over the original design, particularly for hybrid shooters who move between stills and video. I am reviewing the product as a stills photographer, so I didn’t spend much time using it for any worthy filmmaking – I won’t pretend.

That said, one thing worth knowing if video is your priority: while the integrated fluid panning is genuinely useful, full fluid pan-and-tilt capability requires Peak Design’s optional Tilt Mod accessory, sold separately. If you’re planning to run a dedicated video rig, factor that additional cost into your budget.

The Arca-compatible quick-release system is also improved, with faster mounting and a reassuringly secure hold. A secondary safety lock toggle provides double-locked security for added peace of mind with heavier setups. I had read people were a little concerned with the ability for the plate to fall from the tripod if you accidentally unlock it during use! I found the safety-lock easy to use and engaging it became second nature. I also used the tripod with an L-Bracket from 3LeggedThing with no issue. You can see the safety lock in the photo below.

Engaging the ballhead lock when inserting the plate, for either the included tripod plate, or the L-Bracket was very simple, one side of the plate hooks into one side of the head, the other pressing down on the slender silver button quickly locking the plate in place, then locking the safety lock with your thumb – all in one fell swoop.

I did note that the arca plate that is the foot of my Tamron 150-500mm lens would not fit into the ballhead (it’s designed in a way that it won’t engage the silver lock button) I attached the included tripod plate to the foot and that problem was solved.

So, Who Is This For?

If you’re shooting with an entry-level camera and kit lens, this tripod is probably overkill. But if you’ve already discovered the limitations of cheaper tripods, or you’re investing in landscapes, wildlife, astrophotography, long lenses or video, the Pro Tall starts to make a lot more sense. I’m a bit of an all-rounder these days, but I do like to spend a little time photographing dark skies and sweeping landscapes.

Stability in the Real World

This is where the Pro really earns its keep. Travel tripods always involve compromise. They’re compact because they’re smaller and lighter, which inevitably affects stability. The Pro Tripod feels like Peak Design finally decided to stop compromising.

With a rated payload of about 18kg — double that of the original Travel Tripod — thicker carbon fibre legs, and a more robust centre hub, it handles larger cameras, long telephoto lenses, and video rigs with far greater confidence. Through my general research, multiple photographers who’ve handled both generations have commented on how much stiffer the Pro series feels. That’s exactly what you’d hope for in a professional-grade support system.

What I Like

• The compact folded size remains genuinely impressive for a tripod this tall
• The new ball head is a major improvement over the Travel Tripod
• Flip locks are well-engineered — fast, smooth, and visually clear
• Overall build quality is exceptional throughout
• Extra leg height means less reliance on the centre column for stability
• Despite being significantly more capable, it weighs only 2.04 kg — light enough for travel and hiking
• Load capacity of 18.1 kg handles serious telephoto and cinema rig combinations

What Could Be Better (Well, different things to different people)

• The price is firmly in premium territory — this is a serious investment
• Not quite as compact as the original Travel Tripod if absolute portability is your priority (But they are very different beasts and, as I mentioned earlier, I’ve travelled with this guy a LOT in the last two weeks and it’s been no problem)
• Full pan-and-tilt video capability requires the optional Tilt Mod accessory at extra cost
• The ball head needs the centre column raised a touch to unlock its full tilt range
• Spiked feet for snow or loose terrain are not included as standard
• Peak Design’s unconventional design may require an adjustment period coming from traditional systems – it is a tad unconventional, but honestly, a couple of uses and it was second nature.

My Final Thoughts

The Peak Design Pro Tall Tripod isn’t trying to be the cheapest tripod you can buy. It’s trying to be the last tripod you buy. For photographers who value stability, thoughtful design and long-term durability, it delivers a compelling blend of portability and professional-grade performance. As the old saying goes: buy well, buy once. (I’m pretty sure my mother has told me that…forever)

What’s the verdict?

A premium, professional-grade tripod that closes the gap between Peak Design’s travel-friendly design language and the stability demands of serious photographers and videographers. The spec corrections are minor; the performance ambitions are not. Highly recommended for landscape, wildlife, and hybrid shooters who want one tripod to do it all.

The post Peak Design Pro Tripod – Stands on its own three feet? appeared first on Digital Photography School. It was authored by Sime.

I own several camera bags, and I’m increasingly convinced they gossip when I’m not looking.

The sling bag thinks it’s adventurous because it once visited Iceland. The roller case won’t stop mentioning airports. The backpack believes it’s carrying the entire weight of modern photography despite containing three lenses, two muesli bars from 2023, and approximately seventeen lens caps that fit nothing.

If camera bags could talk, mine would probably stage an intervention. “Simon,” they’d say, “you’re taking six lenses to photograph your 12yo son’s football game. Perhaps… maybe… calm down.”

I’m pretty fortunate when it comes to camera bags, I’ve worked with/for a camera bag company now for about 16 years and I have many! Gotta love options, but because I have those options, the one thing I do consistently is overpack! “Just take a bigger bag!”

There are scenarios when you have NO clue what you’re going to need, so you tend to pack in everything you own, but then, as per my example above, I’ve photographed my kid’s football for many years now and I know what I’ll use, but still pack more than I need.

What is it about photographers that makes them overpack?

Q. Do you tend to over pack your camera bag when it comes to photography gear, or are you in the “only what I need” camp? Let me know in the comments!

NOW, speaking of over-packing, let’s touch on the “look after your body!” side of shooting, because that certainly relates to having too much weight on the one shoulder (pack evenly, if it’s too heavy, use a backpack) This post from Suzi is still very relevant.

If you have self-care tips as a photographer, leave ’em in the comments!

Hope you had a fun 4th of July.

The post The Secret Lives of Camera Bags appeared first on Digital Photography School. It was authored by Sime.

Spirit of the Bush Photography Competition returns for 2026 – celebrating the heart, grit and beauty of rural Australia

Australia’s much-loved photography showcase, the Spirit of the Bush competition, is back for 2026, inviting people from across the country to capture the stories, landscapes and spirit of rural and regional Australia.

ENTER HERE

Hosted by Rural Aid, the competition opens at 8:00am Wednesday 1 July 2026 (AEST) and closes at 5:00pm Friday 31 July 2026 (AEST).

Now in its seventh year, Spirit of the Bush has become a celebrated annual initiative showcasing breathtaking and often unseen moments from farming communities and rural landscapes right across Australia.

Since launching in 2020, the competition has built a powerful visual archive of rural life, capturing the resilience, humour, hardship, pride and beauty that define the bush.

This year, photographers are encouraged to share images that reflect the challenges, determination, people and natural beauty of rural and regional Australia, helping to bring the country to the city through the power of photography.

Capturing the real Australia

Rural Aid Chief Executive Officer John Warlters said the competition continues to reveal the extraordinary stories found in everyday rural life.

“Every year we are reminded just how powerful a single image can be. These photographs do not just show us the bush, they tell us its stories, its resilience, and its heart,” Mr Warlters said.

“Spirit of the Bush continues to bring rural Australia closer to the cities. It opens a window into the everyday realities, the challenges, and the incredible strength of farming communities.”

He said the competition was open to all Australians, regardless of photography experience.

“You do not need to be a professional photographer to enter. Some of our most moving and memorable images come from people simply capturing life as they see it, honest, raw and real,” he said.

Editor’s Note: I grew up on a farm, spent a lot of time on farms and in the bush, this is a great competition that I hope those of you that can, should enter and share the love! — Simon

Here’s a photo of cows, I photographed them a lot a little while back! (If you google hard enough, you’ll find this on the front page of one of Victoria’s larger milk producer’s website – that was a fun shoot!

Prizes and judging

Twelve winning photographs will be selected by a panel of judges, with each winner receiving a $250 prepaid Visa card.

How to enter

Entries can be submitted via: www.ruralaid.org.au/spirit-of-the-bush<http://www.ruralaid.org.au/spirit-of-the-bush

Photographers are encouraged to showcase rural and regional Australia in all its forms, from sweeping landscapes and working farms to candid everyday moments that reflect life in the bush.

Terms and conditions can be found here.

Good luck!

The post Spirit of the Bush Photography Competition returns for 2026 appeared first on Digital Photography School. It was authored by Sime.

If you have a drone and you are in Denver, the first question is usually simple: Where can I fly my drone in Denver? But the answer is not always straightforward, as Denver adheres to both FAA regulations and local regulations that impact airport-related airspace, downtown and park restrictions.

This guide covers the legal regulations, safe flight zones, areas of concern, licensing requirements, and local businesses that may have an interest in hiring a drone pilot in the Denver/Aurora area.

While it is possible to fly a drone in Denver, it is important to adhere to federal airspace guidelines, local ordinances, and location-specific regulations to ensure safety. So, let’s get the detailed information!

Can You Fly a Drone in Denver?

Yes, it is possible to fly a drone in Denver, but only with compliance with FAA regulations and city restrictions. Pilots are required to register their drone if necessary, follow approved altitude limits, and not fly near Denver International Airport, downtown Denver or selected city parks. Failure to follow these rules could result in severe penalties.

Federal vs. Local Drone Laws in Denver — What’s the Difference?

Federal Drone Laws in Denver

When people ask if it is legal to fly drones in Denver, the first thing to understand is the FAA. Federal regulations govern registration, altitude, line of sight, and commercial use that apply everywhere in the United States. These rules are even more important in Denver, where the city is surrounded by busy aviation routes and is located under controlled airspace. For a closer look at how these regulations play out in practice, drone aerial services in Denver offer a real-world example of compliant flying done right. Here are some federal drone laws:

·         Registration is required for drones weighing more than 0.55 pounds for the FAA, and the registration is linked to the aircraft.

·         Recreational pilots must keep the drone within visual line of sight at all times.

·         Unless an authorization says otherwise, the normal maximum height is 400 feet above the ground level.

·         Flying over people is limited, except for a waiver or exception.

·         To fly commercially, drones must be flown under an FAA Part 107 Remote Pilot Certificate.

·         Areas of controlled airspace around Denver may need LAANC authorization for takeoffs.

The rules are federal for a reason, as what’s legal in one location can be illegal in another. In addition, the FAA requires pilots to have knowledge of weather, visibility, aircraft performance, and the surrounding area prior to flight. Violations of these rules may result in a fine, enforcement action, or both for the pilot.

Local Drone Laws in Denver

The second level is local rules, which are just as important as FAA rules. Denver can restrict the use of drones in parks, public recreation areas, and event areas. This means a site can appear available on the map, but may not be available for a variety of reasons, including city policy or temporary restrictions. To better understand how professionals navigate these local limitations, Denver video production companies provide a practical example of working within city-specific drone regulations. Below are some of the local drone laws:

·         Drone flights are not generally allowed in Denver city parks unless a permit is issued or special approval is in place.

·         Local rules may vary based on public land, recreation space or private property.

·         Temporary restrictions can be imposed during major events, emergencies or city activities.

·         Local permission does not replace FAA approval when controlled airspace is involved.

·         Private property is still private and will not permit takeoff or landing without the owner’s consent.

·         The rules may change, and verification is necessary prior to each flight.

For anyone asking, are drones legal in Denver? The answer is yes, but with full attention not only to federal rules, but local rules as well. Making assumptions is not a good idea in Denver. The best way to find out is to check the airspace, check the land rules, and make sure it’s a recreational or commercial flight.

Can You Fly a Drone in Downtown Denver?

For everyone who asks Can I fly a drone in Denver or ” Can you fly a drone in Denver, it is the most sensitive part of the city. Because it is a city in controlled airspace, flying in the downtown area of Denver is severely restricted and may even be limited by specific temporary events. In most cases, recreational pilots cannot simply launch and fly without permission.

·         Downtown Denver is a controlled airspace area, and permits are necessary.

·         Temporary restrictions can occur during sporting events, concerts and large events.

·         Rooftop launches do not bypass airspace rules.

·         Typically, hobby pilots require LAANC clearance to fly in the area.

Commercial operators face the same airspace limits, even if they’re certified under Part 107. If approval is requested by a business pilot, the flight will still be subject to any active airspace status and restrictions. That’s why it’s important to always consider downtown Denver as a high control zone, not a free-flying area, as seen in professional drone data collection and processing operations that routinely manage these exact compliance demands. 

Why Downtown Is Complex?

Downtown Denver is complex because several rules can apply at once. Controlled airspace, city activity, event restrictions, and nearby public safety operations can all affect one flight. A pilot who checks only one part may still end up out of compliance.

·         A legal launch point on the ground does not always mean the airspace above it is legal.

·         Events can create short-term no-fly conditions that override normal flight plans.

·         Airspace authorizations are location-specific and time-specific.

·         The pilot is responsible for both the airspace and the land permission.

This is why the question “can you fly a drone in downtown Denver? “ should always be answered with care. In practical terms, downtown is not a relaxed recreational flying area. It requires planning, approval, and constant attention to current conditions.

Where Can You Fly Drones in Denver?

If you are asking where I can fly my drone in Denver or where you can fly drones in Denver, the best approach is to look at places that are generally more drone-friendly, while still checking current conditions. These areas can change depending on park rules, airspace status, and seasonal access. That is why every flight should be verified through a live airspace app before takeoff.

1.       Chatfield State Park: It is often seen as one of the more practical options for drone pilots.

2.      Cherry Creek State Park: may work in certain areas, depending on current airspace status.

3.      Rocky Mountain Arsenal National Wildlife Refuge: It can include open areas with better operating conditions.

4.      Aurora Reservoir: It is often used for scenic and landscape aerial work.

5.      Jefferson County: This has open space areas that may offer suitable conditions in selected zones.

6.      Designated RC/drone flying fields – AMA-chartered flying fields can give pilots a structured and approved flying environment.

7.       Private property with owner permission: Private property can also work when the owner gives clear permission, and the airspace is clear.

These locations are not automatic green lights. Even the most drone-friendly areas still require a current check before flying. That is why pilots should use a live verification FAA B4UFLY app or Aloft app instead of relying on old posts, outdated articles, or word of mouth.

What to Check Before Flying

A safe drone flight always starts with a simple preflight check. This is especially important in the Denver metro area, where conditions can change quickly. A responsible pilot should confirm both the land rules and the airspace rules before launching.

·         Confirm whether the site is public land, private land, or a restricted facility.

·         Check the current airspace status before takeoff.

·         Review whether the park, refuge, or open space has local restrictions.

·         Look at the weather, wind, visibility, and sun position.

·         Inspect the takeoff and landing area for people, structures, and hazards.

·         Carry the needed documents, including registration and certification if applicable.

This approach supports safer operations and also helps improve image quality. A prepared pilot can focus on composition, movement, and visual storytelling instead of legal uncertainty.

Where Are Drones Not Allowed in Denver?

When people search for where to fly drones in Denver, it is just as important to know where not to fly. Denver has several locations where drone activity is prohibited or heavily restricted. Ignoring these limits can lead to enforcement action, especially near airports and event spaces.

·         Near Denver International Airport without the proper authorization.

·         Inside Denver city parks without the required permit.

·         Above 400 feet above ground level under normal FAA rules.

·         Over moving vehicles on roads, highways, or traffic corridors.

·         Over stadiums and sports venues during event restriction periods.

·         Near federal buildings, monuments, and other sensitive government sites.

·         Overactive emergency scenes where public safety crews are working.

·         Inside controlled airspace without approved FAA access.

For pilots asking can you fly a drone in downtown Denver, these restrictions matter because downtown may sit close to airport boundaries, event zones, or other sensitive areas. A flight may look simple on a map, yet still be illegal because of a temporary restriction or local rule, which is why professionals rely on precise drone imaging services in Colorado to ensure every flight meets current legal and airspace requirements. 

Why These Restrictions Exist

These rules are not meant to make drone use difficult. They exist to protect people, property, aircraft, and active public operations. A drone near an airport or emergency scene can create a serious safety issue very quickly. That is why professional pilots treat compliance as part of the job.

·         Airports require strict airspace coordination because drone interference can affect manned aircraft.

·         Public parks and recreation areas may restrict flights to protect visitors and wildlife.

·         Stadiums and event venues may be protected by temporary no-fly conditions.

·         Emergency response areas must stay clear for police, fire, and medical teams.

The professional standard is simple: know the zone before launch, not after. That rule is especially valuable in Denver, where urban areas and open spaces can be very close to each other.

Who Hires Drone Pilots in the Denver–Aurora Area?

Many pilots search for companies that hire drone pilots in the Denver, Aurora area because the market for commercial drone work is strong. Drone services are now part of many industries that rely on visual documentation, inspection, and marketing content. Denver and Aurora both have active demand for licensed aerial media.

·         Real estate agencies hire drones for listing photos and property videos.

·         Construction firms use drones for progress updates, surveying support, and site visuals.

·         Legal and insurance teams use aerial footage for incident documentation and claims support.

·         Corporate production teams hire drone operators for brand films, recruiting videos, and event coverage.

·         Media outlets rely on drones for news footage and visual reporting.

·         Energy and utility companies use drones for infrastructure inspection and asset monitoring.

·         Government and municipal teams use drones for mapping, planning, and public safety support.

If you are a drone pilot, this market offers a real opportunity, but only if you are properly certified, insured, and able to deliver consistent results. If you are a business, the value is equally clear: drone footage gives scale, context, and visual clarity that ground-based media often cannot match, as demonstrated through professional drone visual inspection services in Colorado that showcase exactly what high-quality aerial imaging can deliver. 

Why Businesses Use Drone Media

Drone photography and videography create a viewpoint that is difficult to achieve from the ground. In industries like real estate, construction, and insurance, this perspective can improve communication, documentation, and trust. It also adds production value to marketing content without needing large crews or complex setups.

·         Aerial photos show property layout, surrounding landscape, and access points.

·         Video footage adds movement, scale, and visual continuity to a project.

·         Inspection footage can reduce the need for riskier manual checks in some situations.

·         Event coverage becomes more dynamic when aerial angles are included.

For businesses in the Denver–Aurora region, working with FAA-certified drone professionals can simplify the process. It ensures the project is handled by people who understand flight restrictions, visual framing, and commercial delivery standards.

Do You Need a License to Fly a Drone in Denver for Business?

Yes. If the flight is for business, the pilot needs a Part 107 certificate. That applies even if the job is small, such as one paid property photo, a single inspection, or a short promotional video. The legal difference between hobby flying and commercial flying is important, and many new pilots miss it.

·         Business drone flights require the FAA Part 107 Remote Pilot Certificate.

·         The certificate is earned by passing an FAA knowledge test.

·         The exam is taken at an approved testing center.

·         Recurrent training is required every 24 months to keep the certificate valid.

·         One paid drone photo or video makes the work commercial, not recreational.

This matters because commercial clients expect more than flight skill. They expect legal compliance, airspace awareness, organized delivery, and professional communication. In other words, Part 107 is only the starting point. The best pilots also understand composition, camera movement, exposure control, and client workflow. And a service provider like “Rocky Mountain Photography’s pilots” is all Part 107 certified.

Why Certification Matters

Part 107 certification is more than just a rule. It shows that the pilot understands airspace, weather, operations, and federal compliance. For clients, that creates confidence and reduces project risk.

·         Certified pilots are better prepared for controlled airspace planning.

·         Commercial projects often require documentation and repeatable standards.

·         Certification supports more reliable coordination with client deadlines.

·   Insurance and liability planning are stronger when the operator is properly credentialed.

Rocky Mountain Photography states that its drone pilots are FAA Part 107 certified and insured, which supports the trust expected in professional aerial production. That level of qualification is especially important for commercial media work in a regulated city like Denver.

Quick Reference Table – Denver Drone Rules at a Glance

Best Practices for Professional Quality

Drone media should do more than show a place from above. It should communicate scale, structure, and story. That requires both legal awareness and production discipline.

·         Use controlled camera movement for smoother footage.

·         Match the altitude and angle to the subject and project goal.

·         Avoid unnecessary or overly aggressive motion.

·         Keep shots stable, clean, and purposeful.

·         Deliver footage that supports the client’s message, not just the novelty of flight.

These are the standards that separate casual drone use from professional aerial production. They also explain why businesses choose trained operators for Denver and Aurora projects.

Wrap up:

While Denver is a great place for drone photography and videography for those who are familiar with the rules and plan accordingly, it is not a safe city for the unqualified and uninformed. The factors that influence the location and manner in which a drone can be flown include federal FAA requirements, local restrictions, and controlled airspace. Can you fly a drone in Denver? Where can I fly my drone in Denver, or is it legal to fly drones in Denver? It all depends on where you’re going, what you’re doing, and who you’re doing it for.

Rocky Mountain Photography provides aerial media services that are FAA certified and full-service media production support for professional aerial media. Check out our website for more details!

FAQ

Q1. Is it legal to fly drones in Denver?

Yes, but FAA rules, city restrictions, and airspace approval requirements must all be followed.

Q2. Are drones legal in Denver?

Yes, drones are legal in Denver for recreational and commercial use when rules are followed.

Q3. Can I fly a drone in Denver without a license?

Recreational flying may not require a license, but business use requires FAA Part 107.

Q4. Can you fly a drone in downtown Denver?

Downtown is heavily restricted and often requires LAANC approval before any flight.

Q5. Who hires drone pilots in the Denver–Aurora area?

Real estate, construction, media, insurance, utilities, and government teams commonly hire them and for hiring check out Rocky Mountain Photography.

The post Is It Legal to Fly a Drone in Denver? The 2026 Complete Guide appeared first on Digital Photography School. It was authored by Sime.

Red Dot Design Award Winners: iT32, iT30Pro, X3Pro, and ML80Bi  

Light Without Limits. Honored by Red Dot

This year, four Godox products — the iT32, iT30Pro, X3Pro, and ML80Bi — have been honored with the Red Dot Design Award. This recognition is more than an award for design. It reflects our continuous pursuit of refinement — in every detail shaped for real-world creation, and every innovation driven by how creators actually work.

The Award-Winning Lineup

• iFlash Camera Flash iT32: Honored as a revolutionary modular lighting system, the iT32 flash pairs with different X5 versions to seamlessly adapt to major camera brands, delivering full TTL and HSS compatibility. Combining magnetic modularity with Godox 2.4GHz wireless integration, this compact powerhouse functions as both an on-camera flash and an off-camera trigger, enabling photographers to shape light effortlessly anywhere.
• iFlash Camera Flash iT30Pro: Delivering “pocket-sized, pro results,” the iT30Pro packs full TTL and high-speed sync capabilities into an ultra-compact body. It sets a new standard with its vibrant full-color touchscreen interface, a built-in wireless master/slave X system, and a one-click quick-release hot shoe.
• Wireless Trigger X3Pro: Serving as a precise command center, the X3Pro redefines wireless control with its highly responsive touchscreen interface. It features seamless Godox 2.4G X system integration, remote smartphone APP control, and a pocket-friendly designed for effortless workflows.
• ML80Bi LED Light: The Godox ML80Bi is a compact yet powerful LED light designed for portable creativity. With the ML-Z Zoom Lens Reflector, it delivers brightness comparable to a 100W LED light. Its modular design supports a wide range of optical accessories, while the built-in battery and optional power adapters enable flexible power solutions for extended shoots.

Where Innovative Design Meets Creative Freedom.

The post Good lights? Red Dot think so! – Congrats, Godox appeared first on Digital Photography School. It was authored by Sime.

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.

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.

This article was updated in January 2024 with contributions from Kelly Wolfe, Dave Spates, and Jaymes Dempsey.

Photographing dogs in action is an absolute thrill. One moment they’re a ball of energy, and the next, they’re soaring through the air to catch a Frisbee. Those freeze-frame shots elicit smiles from everyone who sees them.

But it’s not just about clicking the shutter. A lot goes on behind the scenes. Dialing in the right camera settings, keeping the dog focused, and maintaining their enthusiasm are all part of the equation. In this article, I’ll share some golden nuggets that have helped me capture those split-second wonders on camera.

So whether you’re photographing your own furry friend or working on a pet photography gig, you’ll find some actionable advice here. Let’s jump right in and elevate your dog action photography skills!

1. Use the right gear

Before I delve into practical tips for dog action shots, I want to briefly explore the importance of gear, which can make or break your images.

If you want to take better action photos of dogs, I recommend a camera body with a fast burst rate. From my experience, five frames per second is the minimum. If your camera has a faster frame rate than that, you are going to increase your keeper rate as long as your approach and technique are on point, which we will get to shortly.

Additionally, fast autofocusing is a must-have. Fortunately, many modern mirrorless cameras do an excellent job of tracking subjects as they move – and some even include animal eye AF modes so you can focus consistently on the dog’s eye as they bound around the space!

I also recommend long and fast lenses. I’ve tried to photograph action shots with the 50mm f/1.8, and the Tokina 100mm f/2.8, with very little success. While both of these lenses are incredibly sharp, they are soft wide open and do not focus well on moving subjects.

Longer lenses with fixed apertures generally focus on moving subjects much faster than shorter lenses. They also keep you and your camera gear safer. Think about it. If you have a 45 point Border Collie running full speed right at you, you need to get the photograph and get out of the way quickly.

A longer lens will give you the time you need to move once the dog starts to fill the frame. I personally use the Nikon 300mm f/4 and sometimes I’ll even throw a teleconverter on it for extended reach and cleaner bokeh.

A 70-200mm f/2.8 lens can also be very effective for dog action shots. The focal length is versatile enough for close-ups and wide shots, while the large aperture allows for shooting in lower light conditions!

2. Make sure the dog is safe

First and foremost, safety should be your priority. Dogs are not just subjects to be photographed; they are living, breathing beings that deserve respect and care.

Always choose a location where dogs are allowed. You don’t want to get into trouble with authorities or risk the dog getting hurt in an unfamiliar environment.

Opt for areas that are far from any hazards. A busy road, a steep drop, or any place where a dog can get hurt should be avoided. Keep a close eye on the dog, especially if they’re off-leash.

Ensure the area is secure enough so that the dog won’t dash off to chase a squirrel or another dog. This might mean choosing a fenced-in park or similar space.

Know the dog’s limits. Some dogs might have health issues that prevent them from running or jumping. Others might be too young or too old for strenuous activity. Listen to the dog’s owner and observe the dog’s behavior. Remember, capturing their personality is more important than getting an action shot at the expense of their well-being.

If the dog seems uncomfortable, slow down. It’s perfectly fine to capture them at their own pace. No photograph is worth risking the safety or well-being of your subject.

In essence, always prioritize the dog’s safety. This will not only make for a more relaxed and enjoyable session but will also ensure that you get natural, happy shots that reflect the dog’s true spirit.

3. Get a real expression from the dog

Capturing genuine emotion in a dog’s eyes can transform a good photo into a great one. The key to this lies not just in your camera skills, but also in how you interact with the dog.

Use a positive, encouraging voice when calling the dog over. Our four-legged friends are very attuned to human emotions, so a happy tone can go a long way. Make sure you and the dog’s owner are both creating an atmosphere of positivity.

Prepare some rewards to place by your camera. Dogs love treats and toys, so having some handy can help you get those tail-wagging, tongue-out smiles. Discuss with the dog’s owner to find out what their pet finds irresistible – be it squeaky toys, tennis balls, or treats.

Let the dog approach the camera naturally, enticed by rewards and your encouraging voice. The owner will know what will make their pet tick, so take their advice into account.

As you interact, watch for those perfect moments. Sometimes the ideal expression will come naturally as the dog reacts to your voice or the promise of a treat. Be ready to capture it.

4. Learn about the dog in advance

Prior knowledge about your four-legged subject can make or break your photography session. You need to know the basics, such as the dog’s training level, to strategize your shots effectively.

Start with a conversation with the dog’s owner. Find out about the dog’s health, especially if they have any mobility issues or dietary restrictions. This information will help you decide how active the photography session can be and what treats you can use.

Ask about their personality traits. Is the dog energetic and outgoing, or more shy and reserved? Knowing this will allow you to set up your shots in a way that brings out their true character.

Query about their training level. Does the dog know basic commands like sit, stay, and come? This can have a huge impact on how you orchestrate the shoot. Well-trained dogs may allow for more complex setups, while a younger or less-trained dog may require a simpler approach.

Safety is another concern that goes back to knowing the dog. If you’re aware of their temperament and any potential health concerns, you’ll be better equipped to ensure a safe and enjoyable session for everyone involved.

5. For running shots, have the owner call the dog

Getting a dog to run is only half the battle. The real trick is guiding them in the direction you want. For well-trained dogs with a solid “sit and stay,” I typically position the owner about 20 meters behind me. They call the dog, who then races directly towards the camera.

For younger or less trained pups, it’s essential to pick a secure location with minimal distractions. Think a dog-friendly park or even the dog’s backyard. You can also enlist the help of an extra person to hold the dog in place if they haven’t mastered the “sit and stay” command.

Some photographers opt for the dog to be on a leash. This can work, especially if the owner jogs along with them. You can always edit the leash out later if it interferes with the shot.

Keep your position in mind. If you want the dog to run directly toward you, be sure you’re in a spot that allows for this. An alternate option is to place yourself so that the dog will cross your path, giving you ample opportunity to capture a series of action shots.

6. Let the dogs be themselves

While it’s natural to have a list of shots you want to capture, remember that dogs have personalities too. And sometimes, they just want to do their own thing.

Let them! Some of my best shots have come from moments when the dogs were simply enjoying themselves. They could be chasing after a ball, bounding through tall grass, or playing a game of tug-of-war.

When you let dogs be themselves, their personalities shine through. And that makes for truly unforgettable photographs. You’ll find that the spontaneity adds a layer of authenticity and emotion that is often missing in overly staged shots.

So if you find that the dog isn’t interested in running directly towards you, but would rather sniff around and explore, go with it. Capture those candid moments. They’ll likely end up being some of your favorites from the shoot!

7. Get down low

Photographing from up high might work for humans, but dogs? Not so much. The simple act of lowering your camera can transform your dog action photos.

When you’re at the dog’s level, the images have a unique intimacy. You’re entering their world, capturing life from their viewpoint. This makes for some really compelling photos.

Another perk is the background. Being low increases the separation between the dog and the background. This helps in creating that beautiful, blurry backdrop, also known as bokeh, which makes the dog pop in the image.

So don’t hesitate to get a bit dirty. Crouch down, kneel, or even go flat on your stomach. Experimenting with these angles can add a dynamic touch to your images.

Remember, varying your height and angle can yield a variety of shots, all in one session. So pack some knee pads along with your camera gear and get down to the dog’s eye level.

8. Choose the right settings for dogs in action

Camera settings can make or break action shots. For starters, I like to use Manual mode. This gives me complete control over the aperture, shutter speed, and ISO.

Fast shutter speeds are essential. Dogs are quick creatures, so to freeze their motion, I generally start with a shutter speed of 1/1000s. Don’t be afraid to ramp it up even more if the dog is particularly fast.

Aperture plays a role too. A wide aperture can help create a shallow depth of field, blurring the background and making the dog stand out.

Then there’s ISO. While you’ll want to keep it as low as possible to avoid grain, don’t be too concerned if you have to increase it to maintain a fast shutter speed. A slightly grainy shot is far better than a blurry one.

If Manual mode intimidates you, Aperture Priority and Shutter Priority are solid alternatives. They allow you to control one aspect, while the camera adjusts the other. Just make sure you’re still keeping an eye on those crucial settings like shutter speed.

9. Nail that focus!

Ah, focus: the nemesis of many action photographers. With dogs bounding around, keeping them sharp in your frame can be challenging.

For fast-paced action, using a single focus point and continuous focusing mode (AF-C) has always worked for me. With back-button focusing, the camera continues to refocus as long as you hold down the button.

Some cameras offer tracking options. These can lock onto the subject and adjust the focus as they move. Give it a try; it may work wonders depending on your camera’s capabilities.

Animal eye autofocus is another feature to explore if your camera has it. This function focuses directly on the animal’s eyes, ensuring a sharp, expressive face.

Don’t underestimate the power of practice. Take the time to understand how your camera’s focusing system responds to fast-moving subjects. Get out there and shoot, analyze your results, adjust, and shoot some more.

Mastering focus in action photography isn’t something you’ll do overnight. But with consistent effort and the right techniques, you’ll see marked improvements in your work.

10. Practice your timing

Timing is everything in action photography, especially with subjects as quick and unpredictable as dogs. So how can you get that perfect mid-air leap or playful sprint?

Start by observing the dog’s movements. Dogs, like many animals, have a natural rhythm when they move. Take the time to notice this pattern before you start clicking away.

Adopt a technique often used by equestrians: counting strides. When a horse rider is learning to jump, they count the horse’s strides to anticipate the perfect moment for a jump. Apply this method to dog action photography.

Each time the dog’s front legs leave the ground, count it out. One, two, three, and so on. This rhythm helps you anticipate when the dog will be in the ideal position for a fantastic shot.

This counting method might be easier with larger breeds that have a longer stride, but don’t worry if you’re photographing a small dog. Practice will help you adapt this technique to any dog size or speed.

Ultimately, your timing will improve with experience. The more you practice, the better you’ll get at capturing that decisive moment. And remember, digital film is free – so don’t hesitate to take many shots and refine your timing as you go.

How to photograph dogs in action: final words

And there you have it: the nuts and bolts of capturing dogs in exhilarating action!

The safety of your furry subject is paramount, so always choose a secure location and be aware of the dog’s comfort level. Each dog is unique, and getting to know them can inform your approach and result in more authentic photos.

Your gear and settings are crucial, but remember, they are just tools. It’s your understanding of the dog, your timing, and your technique that will set your images apart. Your role is that of both a photographer and an animal lover. Never lose sight of the latter.

Be prepared to adapt. Dogs, like any other models, have their own personalities and quirks. Sometimes the unplanned shots are the ones that capture the animal in the most beautiful way.

Thank you for joining me in this exciting realm of photography. Grab your camera, find a willing pup, and create some memorable, tail-wagging art!

Now over to you:

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

The post 10 Tips for Breathtaking Dog Action Photography appeared first on Digital Photography School. It was authored by Kelly Wolfe.

The Meitar Award for Excellence in Photography, a distinguished collaboration
between PHOTO IS:RAEL and the Zvi and Ofra Meitar Family, marks its tenth
anniversary this year. This prestigious prize recognizes a cohesive body of work that
exemplifies superior photographic practice and profound artistic vision.

The 2026 edition is a significant milestone for us. Since its inception in 2016, the Meitar
Award has evolved into a vibrant global beacon of excellence, annually attracting
thousands of creators who challenge and expand the boundaries of the medium. Over
the past decade, it has cultivated a vital space for multicultural dialogue, serving as a
definitive home for the most compelling and urgent voices in contemporary
photography.

At the heart of the award is our esteemed international jury—a panel of world-class
photographers, curators, and critics at the forefront of the global field. The jury will
select 20 finalists to be featured in a centerpiece group exhibition at the International
Photography Festival in Tel Aviv in November 2026.

Evaluations will be based on the originality, conceptual depth, and technical quality of
the submissions. Particular emphasis will be placed on portfolios that demonstrate the
maturity and potential to evolve into a powerful solo exhibition.

The award winner, to be announced in November during the festival, will receive a
$14,000 grant to present a solo exhibition at the following year’s photography festival.

Registration Schedule:
Registration is open from February 23, 2026, to April 12, 2026.
? Early Registration: February 23, 2026 – March 19, 2026, fee: $35.
? Late Registration: March 20, 2026 – April 12, 2026, fee: $45.

Photographs must be submitted via the contest website: https://meitar.photoisrael.org
For further information, please contact: info@photoisrael.org

The post Meitar Award for Excellence in Photography 2026 Celebrating a Decade appeared first on Digital Photography School. It was authored by Sime.