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Tip #1 | Watch the Fingers and Natural Pointers

Natural pointers are limbs that can draw attention in a negative way, meaning they draw the viewer out of the image. While natural pointers won’t necessarily make or break the image, they can be distracting, and nuances like these can add up to make an image unappealing. Arms, hands, and fingers can draw a lot of attention to certain areas, which might be unwanted. For example, if one of your subjects is self-conscious about the size of her belly, you would not want to place her in a stacked pose, wherein another subject hugs her from behind and places his hands and arms on her belly. All the attention would be drawn to the exact place she wants to avoid highlighting.

Fingers can be especially demanding of attention. When asking your couple to hold hands, keep their finger placement simple. In other words, avoid interlaced hand holding which creates a “shrimp cocktail” look with the fingers, and instead ask your couple to place one hand over the other.

Hand placement can be distracting, in the photo above we see how our gaze fixates on her hand. This doesn’t inherently “break” the image, but a better pose would have been a relaxed or soft, open hand. Remember to watch out for flexed hands/fingers!

Tip #2 | Ditch the Prom Pose

The “prom pose” has become somewhat of a cliché in portrait photography, where the subjects stand awkwardly with their arms wrapped tightly around each other. Instead of relying on this static and posed positioning, encourage your subjects to engage with each other naturally. Capture the subtle interactions and moments that reflect their genuine connection. By doing so, you can evoke a sense of authenticity and intimacy that will resonate with viewers.

In this playful yet intimate pose, we can see how our models’ arms meet at the belly – naturally, our eye is led there too. Understanding how much visual weight our pointers have is vital to using natural pointers purposefully.

A perfect example of using hands across a belly is a maternity shoot where it is something we want to accentuate. For a client who may have an insecurity, we need to be aware of how a simple hand placement may have a massive impact on how they perceive the image.

Tip #3 | Create intimacy

To create intimacy in a portrait, we kept the pointers (eyes, arms) in a continual loop. With her hands relaxed around his neck and his eyes facing her, our focus remains on their faces and the intimacy of the moment isn’t lost.

We have increased the number of touchpoints by placing her hands on his neck and chest rather than keeping them invisible and out of frame. See four creative ways on how to photograph the couple with a wedding veil incorporated in the photo!

Tip #4 | Use the Open Pose

The hands can be used to create connection between the couples while creating a continual loop.  In an open pose, one of the foundation poses, have the couple face their feet and chest towards the camera and make micro-adjustments to their hands and facial direction.

Keep stray natural pointers at bay with minor directing. In the photo above we directed him to place his hand in his pocket and asked her to relax her bouquet. These subtle changes keep our eyes in a continual loop between our models.

Tip #5 | Avoid Distracting Hand Placement

While it’s essential to guide your subjects towards natural hand placements, it’s equally crucial to avoid distracting positions that draw attention away from the main subject. Ensure that hands aren’t covering the face or important elements in the frame. Pay attention to where hands intersect with the body, and make adjustments to create clean lines and pleasing shapes. Careful observation and small adjustments can make a significant difference in the overall impact of your images.

We will say it again, natural pointers can either compete with or complement our vision. In this case, his hand distracts our eye from their kiss and we see how much impact a simple gesture can have.

Tip #6 | Use Varied Hand Pose Placement for Groups

Encourage individuals to have their hands at different heights and angles, avoiding the formation of identical hand poses. This diversity adds visual interest and prevents the image from appearing too rigid or repetitive. By skillfully arranging the hands of group subjects, you can create a dynamic composition that showcases the unique personalities and relationships within the group.

If you’re trying to make your images appear natural, even when they’re posed, then you’ll likely want to avoid mirrored poses, especially when it comes to hand placement, arm angles, etc. When subjects mirror one another, the pose tends to look very posed. On the other hand, variation in hand placement creates a more natural feel in photographs.

In some group portrait settings, the desired look may be very formal and posed, so mirroring works well to create the desired outcome.

More Information

We’ve all heard, “If it doesn’t look right, it probably isn’t.” Most of the time, we didn’t know why – until now.  Regardless of your pose style, natural pointers can either work for you or against you.

Hand placement and posing play a crucial role in photography, influencing the overall mood, storytelling, and visual impact of your images. By paying attention to the position of fingers, avoiding cliché poses, creating intimacy, using open poses, and ensuring hands don’t distract or obstruct the view, you can elevate the quality of your photographs. Remember that each hand pose should contribute to the narrative or emotion you wish to convey.

Keep these posing tips in mind to transform your images from ordinary to extraordinary. Upgrade to SLR Premium to stream Photographing the Couple Workshop and get unlimited access to our photography education!

Southwest Florida contains the following main cities and areas: Naples, Marco Island, Everglades City, Bonita Springs, Estero, Fort Myers, Fort Myers Beach, Cape Coral, Sanibel & Captiva Islands, and some smaller cities nearby. I’m only going to focus on the areas nearest our studio which is located in North Naples.

As a longtime resident of Southwest Florida, I’m going to focus on my favorite locations that most of my destination clients ask for – the beach & natural Florida greenery.  For other locations, see this list of the best engagement photography locations in Florida.

Lover’s Key State Park (Bonita Springs)

Lover’s Key State Park is highly underrated. It definitely has some quirks (like the trolley only being available for transport from the parking area to the beach until 4:45PM) but you can WALK back on your own. It has a great assortment of areas that you can photograph in – such as the butterfly garden (available in the second parking area), the driftwood area (beach area), fishing pier (beach area), and an expansive beach with the sunset being slightly offset from the middle of the horizon. Parking is $8 and the beach has wifi.

Address: 8700 Estero Blvd, Fort Myers Beach, FL 33931

Bowditch Point Park (Fort Myers Beach)

Bowditch Point Park is a wonderful location for both sunrise and sunset portraits! It has both a green area and a more natural beach. It does have a rock jetty, but you can’t climb or photograph on it (with signs!); however, you can still use it creatively in your portraits. During the heavy rainy season, the beach area breaks out in fields of yellow flowers! It’s just one of my favorite places to shoot. There is a smaller parking lot area and you must leave shortly after sunset. Parking is $2/hour.

Address: 50 Estero Blvd, Fort Myers Beach, FL 33931

Barefoot Beach Preserve (North Naples)

Barefoot Beach Preserve is located in North Naples and is part of the Collier County Parks & Recreation system, so if you are a resident of Collier County, your beach sticker will give you access to Barefoot Beach Preserve free of charge. There are three parking lots and each have great photographic spots depending on what you are looking for (boardwalk, mangroves, seagrass, etc). The beach parking fee is $8.

Address: 505 Barefoot Beach Blvd, Bonita Springs, FL 34134

[Related Reading: Best Engagement Photography Locations In Toronto, ON, Canada]

Wiggins Pass State Park (North Naples)

Wiggins Pass is so cute! I love the natural look of old Florida beaches and Wiggins is no exception. There are so many great spots all along the shoreline. The shoreline is very small unless it’s low tide, and then you get these great expansive beaches for some really gorgeous photos. Admission is $8.

Address: 11135 Gulf Shore Dr, Naples, FL 34108

Koreshan State Park (Estero)

What a great non-beach location. Koreshan State Park has SO MUCH to offer. It has both indoor and outdoor options. You can shoot the entire day at Koreshan and still produce beautifully lit photographs depending on how you read the light and the location. I 10/10 recommend this place. Due to Koreshan’s popularity over the last few years, they have strict photography and video rules. No non-biodegradable confetti or similar, no cake smashes, no smoke bombs, no climbing on rocks/trees/buildings or set ups in the park. What you bring in you MUST take out. It’s a historic site, so please treat the park with respect. Parking is $4 for a single person in a single car and $5 per vehicle.

Address: 3800 Corkscrew Rd, Estero, FL 33928

3rd St South (Downtown Naples)

3rd St South is a posh area in Downtown Naples that gives a charming yet relaxed Florida city feel. You’ll find a great assortment of cute bars and restaurants, cobblestone alleyways, and so much amazing greenery; you can really work in a small area for a lot of variety. Parking is street parking and it’s free. It’s also a short walk to the beach! There is a parking garage located on Board St.

Address: 3rd St. S, Naples, FL 34102

Naples Pier (Naples)

The Naples Pier is one of the MOST POPULAR locations in Naples and for good reason. Naples boasts some of the BEST sunsets and beaches in Florida. It’s extremely hard to get photos at the pier without having a crowd around you. The best way to avoid the crowds is to have a sunrise session! Parking is charged by the hour via a meter or a Collier County beach parking sticker.

Address: 25 12th Ave S, Naples, FL 34102

Downtown Naples

Downtown Naples is HUGE in comparison to everywhere else I’ve shared, because it encompasses so much of what Naples is known for. From 5th Ave, to multimillion dollar homes, to gorgeous architecture, there is just SO MUCH you can do and it can easily become overwhelming. I would highly suggest starting in one area and just exploring the location with your couple making magic together. Parking is free on the street and there is a parking garage with an entrance located on 4th Ave S (for 5th Ave area).

[Related Reading: Best Engagement Photography Locations In Raleigh, North Carolina]

North Gulf Access

A little hidden gem in North Naples. This used to have such a larger beach area and a cute little rock jetty, but after Hurricane Irma came through, the area lost a lot of its beach due to erosion. It’s located near other great inlet beach accesses (Horizon and Miramar, for example) and it’s nestled between luxury condos and homes. You will need a Collier County beach parking sticker or else pay the meter; parking is limited.

Conclusion

I love and respect our area so much – otherwise, I wouldn’t live here! I hope you enjoy visiting and shooting in these locations. Please remember to be mindful of the wildlife, the restrictions, and pick up after yourselves so that others can enjoy these locations as well.

You can find more of Anna’s work via the links below:
Anna Stratton: Website | Instagram | Facebook

Next week, we’ll dive into our Groom and Groomsmen Guide and go from there.  For comprehensive wedding photography education, be sure to check out our full workshops in our Premium. All of the education from the guides is derived from our experience at Lin and Jirsa Photography, a Los Angeles Wedding Photography Studio with over 10 years of experience and over 2,000 weddings.

Introduction to Creating a Wedding Photo Plan

You may find this surprising, but success as a wedding photographer often depends more on soft skills, like the ability to communicate and understand clients, and less on the hard skills, like the technical and artistic components of taking photographs.

Of course, that’s not to say that the quality of the photos does not matter but rather to emphasize that what matters most is the client’s experience, which will be positive when you tailor expectations and plan properly. For this reason, it is worth investing the time needed to improve your communication skills and build relationships with your clients and their families.

In this article, part 1 of the wedding photography tips, we will share information that will help you communicate and effectively plan for consistently amazing images with clients, from the initial meeting to the end of the wedding day and beyond.

1. Understand and Build Trust in the Initial Meeting

Establishing trust with your clients begins upon initial contact, from the first phone call or initial consultation.

For some extroverts and natural born salesmen, this skill is second nature.  For the rest of us, we have to study and practice until we feel comfortable in these situations.  But regardless of your personality, here are a few rules to follow:

1. Have Their Needs in Mind – Instead of spouting off a rehearsed sales pitch or talking about your gear or special techniques, try approaching the meeting with your client’s needs in mind.
2. Find Out Their Priorities – Ask targeted questions to find out what is important to them.  Acknowledge and address each of them.
3. Be Present and Watch Expressions – Watch their expressions, look at their focus and attention, and modify the message as needed.
4. Be Genuine – Smile genuinely, show interest, listen more often than you speak, remember the details, and positively reinforce their requests.

To see our framework for these concepts and to see them in action, we invite you to view this video from our Communication and Planning Workshop: 8 Keys to Building Trust with Clients

2. Review a Moodboard to Sync Your Wedding Photo Plan

Have your clients put together a moodboard before a shoot to help them visually communicate their style preferences.  This ensures that your wedding photo plan is aligned with your clients vision.  While reviewing the moodboard with them, be sure to do the following:

1. Identify their interests: Clients may choose images for a number of reasons: Colors, posing, lighting, location, etc. Ask your clients to identify what they like about the images they’ve chosen and use that information to help guide your photography for their event.
2. Tailor expectations: You may notice this comes up a lot, and that’s because it has a lot to do with client satisfaction and your ability to make your clients happy. During the moodboard review, you’ll have an opportunity to determine if the client’s expectations are reasonable. If they are not, you can help guide them back into a reasonable area with positive reinforcement. Rather than saying “no” to a request, you can note how the difficulty of the request will affect the rest of the shoot so that they know what to expect.
3. Address potential concerns: Unless you are just starting out in wedding photography, most of the images in the moodboard should be yours. If you notice that most of the images were taken by other photographers, you’ll need to address what it is about the style of the images that the client prefers and determine whether or not you can deliver that style.
4. Setup to exceed expectations: By addressing potential concerns during the moodboard review, you can set expectations that will result in a positive experience with your client.

3. Photograph an Engagement Shoot (Optional but Recommended)

The next step in your wedding photo plan is booking an engagement shoot before the wedding is extremely helpful for better serving your clients as a wedding photographer, and here’s why:

1. Capture great images: There is a strong possibility that the engagement shoot will be the first time that the couple will be professionally photographed together.
2. Build a stronger relationship: The more time you spend with your clients, the more opportunity you’ll have to build a stronger relationship. This will allow your clients to get more comfortable in front of the camera, which often translates to better communication throughout the time you’ll be working together.
3. Understand posing: During engagement sessions, there are usually fewer time constraints than wedding days. You can take advantage of the time you have with the clients and educate them on the posing framework you’ll use (such as our foundation posing framework) so that you can quickly direct them in and out of poses.
4. Dial in the vision: The images you create during an engagement session can be reviewed with the client so that you can learn more about what they like and don’t like, which will help you take more photos in the style they like on their wedding day.
5. Capture better wedding day imagery: All of the above points will result in better images on the wedding day.

4. Request Timelines Far in Advance

A lot can go “wrong” on a wedding day, and timelines serve as hopeful guides for mapping out the day’s activities and identifying potential problem areas. Unfortunately, even the best-built timelines can come undone and leave photographers feeling lost on the wedding day. For this reason, we recommend requesting timelines as soon as possible so that the clients, photographers, and other vendors all get on the same page from the start. When reviewing the timelines with the clients, here are some points to discuss to ensure your wedding photo plan goes smoothly:

1. Tailor expectations based on time allocation: Clients should understand that with limited time, must-have images come first, whatever those may be, and creative/artistic images will follow (if time allows). This is why there are usually fewer epic images and more portraits and emotional candids when time is short. Incredible, epic images take time.
2. Discuss the real purpose of the timeline: In reality, 90% of weddings run late. Bridal prep and transportation are often the cause of why weddings run late, and your clients should know to expect this. As mentioned above, timelines serve more as a hopeful guide than a rigid framework.
3. Ensure that the timeline is padded: Allowing extra time in between events and locations will help ensure there’s adequate time to capture all of those shots from the moodboard and more. When time runs out, expectations are unmet, and clients get frustrated.
4. Evaluate time allotment for couple sessions, family sessions, and bridal party sessions: Determine that amount of time you need for each part of the day.  Many photographers follow the one hour rule, allocating one hour to each major photography event (couples session, family photos, and wedding party photos). This varies, of course, depending on the size of the groups in question. Each session can be done in less time, but the image count (especially during the couples session) will likely diminish relative to the amount of time that is taken away.
5. Discuss pre-ceremony first looks vs. traditional first looks: At the end of the day, some couples will insist on waiting to see each other for the first time when the bride walks down the aisle to join the groom at the altar. That is fine. However, there are many benefits of doing a pre-ceremony first look, and those benefits need to be understood by the bride.
6. Review lead vs. second shooter timelines: Depending on how much time is set aside to cover bridal and/or groom prep, the lead and second shooters can either work together to capture the bride and then the groom, or they’ll have to split up so that the lead can photograph the bride while the second photographs the groom. The benefit of allowing both shooters to work together is that two shooters can capture more creative angles in less time.
7. Create a strategy for family formals: A family formal shot list is a must in your wedding photo plan. One family member should be assigned to assist the photo team in assembling the family members and setting them up as the photographers work through the list. This allows for quicker family formal sessions and acts as a safeguard against accidentally forgetting to photograph any family members.
8. Check time of day & lighting conditions: If the couple wants that sun-drenched, golden hour look to their couple session photos, then the couples session should be scheduled for golden hour, unless you plan to recreate golden hour, which can be done!
9. Suggest day-after session for tight timelines: If the timeline is already too packed and there’s no realistic way to capture all of the amazing images that the couple wants in the allotted time, suggest a day-after session. This provides couples with an opportunity to get the images they really want.

5. Study the VIPs List

Ask your clients to create VIP lists so that you can familiarize yourself with the important people on the day of the wedding.  Even the best wedding photo plan falls apart if you are focusing on the wrong people! This proves beneficial in two ways:

1. Personalized experience: By familiarizing yourself with the VIPs, you can call them by name and get to know them better throughout the day. Remember, the client’s experience is of the utmost importance, and personalizing that experience by “knowing” the VIPs will resonate with your clients.
2. Focused resources: There will always be more guests than hired photographers at a wedding, so knowing who to shoot will save time and spare frustration. You don’t want to end up delivering more images of “plus-one guests” than VIPs, which can happen if you don’t know who’s who.

6. Schedule a Pre-Wedding Talk through

Schedule a final talk through around 1 week before the wedding, to go over the wedding photo plan with your clients one last time. You can start by sending an email 45-60 days earlier (requesting a moodboard and an “official” timeline), and then follow up with a talk through via the phone just prior to the wedding day.

Here is what you should cover in your telephone talk through:

1. Tune into their vision: While reviewing the moodboard, take note of which images your clients like and why. If you shot an engagement session, you can discuss those images as well and try to discover what worked and what didn’t. This will help you tune into your client’s vision.
2. Review the official timeline: Because this is the final timeline, it’s important to comb carefully through the details and make sure again to tailor your client’s expectations based on the time constraints set forth in the timeline.
3. Discuss family portraits: Family formals can really slow down the momentum of a wedding day if they’re not carefully planned and executed. As mentioned earlier, we recommend asking the couple to create a list of those they want to include in the family formal portraits. Additionally, let the couple know that you’ll need a friend or family member designated to help you gather the appropriate parties and line them up for the portraits.
4. Create a condensed itinerary: Once you have the timeline down and have compiled any notes you may have taken, create a condensed, quick-reference timeline that is easily accessible on the wedding day.

7. Prepare on the Wedding Day

The big day is here and the wedding bells are ringing. Don’t show up unprepared to capture one of the most important days in your clients’ lives.

1. Gear checklist: Wedding photographers generally use a lot of gear throughout the course of the wedding day, so there’s plenty to keep track of, or forget! In addition to making certain that your gear is present, be sure your batteries are charged, your memory cards are formatted and ready to go, and if possible, bring along back-ups. We recommend creating a checklist!
2. Dress policy: Clients may provide specific instructions for how the photo team should dress (such as all black attire and accessories), but otherwise keep it professional and consistent within the team. You don’t have to look like matching valets, but the style should be agreed upon before showing up to the wedding.
3. Early arrival: If you show up on time, you’re late. We recommend showing up to the starting location 60-90 minutes early to allow enough time to scout the area for photo sessions, hold a team meeting, and get set up to actually start taking photos at the start time.
4. Scouting: Scouting for the best locations is of paramount importance. This is even true of places you shoot often. Make sure there’s no new construction or other distractions in the locations you wish to use. Your wedding photo plan can fall apart if the wedding venue is different than expected
5. Team meeting/planning: 30 minutes prior to the contracted start time, the team should gather together and walk through the timeline for the entire day. Each team member should know his or her role and how the day has been planned. For example, if a second shooter needs to leave from groom prep by a specific time to get to the ceremony site to photograph ceremony details, that should be understood before the day even begins. The team should have read a condensed itinerary (ideally sent to them by the lead shooter at least two days prior to the wedding), notes, and any other important information. Each team member’s camera should be synched as well before the first image is captured. We recommend synching to time.gov.

Wedding Photo Plan Conclusion

Photographing weddings can sometimes prove nearly as difficult as it is rewarding, but careful planning and great communication from the start will make the experience a better one for all involved. At the end of the day, it’s the experience that clients will remember most, the way you made them feel while covering their big day.

For more information on how to increase your wall art and album sales, be sure to check out our S3: Shooting Stories That Sell workshop, available now to stream for Premium Members.

The article will cover the following aspects of lighting photography:

• Gear
• Safety
• Settings
• Location Scouting
• Lighting Photography at Night
• Daytime Lighting Photography
• Composition Tips

1: Things You Need to Photograph Lightning Successfully

There are a few items that will help you capture the best lightning shots. The good news is that as a photographer, you probably already have them.

• DSLR or mirrorless camera – you’ll need to use manual controls for shutter speed, aperture, etc, and it’s best to shoot in RAW format.
• Tripod – while some folk get lucky with hand-holding their cameras for lightning, using a good tripod will make it so much easier because you’ll likely be using long shutter speeds.
• Lenses – any lens will work for capturing lightning, but if you want to capture lightning as part of a big scene then a wide-angle lens is best. Zoom lenses will also give you more flexibility for shooting lighting at different distances.
• Weather-proofing – As lightning often appears as part of a storm, you should expect to get wet! If your camera and lenses aren’t weather-sealed, then you’ll have to protect them from the rain. You should also think about waterproof clothing for yourself – being wet and cold is no fun. Take several lens cloths with you too, so you can safely clean any raindrops off the front of your lens.
• Remote control or cable release – this isn’t essential but does make it much easier to take sharp photos because you’re not physically pressing the shutter and introducing camera shake.
• MIOPS Trigger (Optional Accessory) – FLEX detects lightning strikes and automatically captures the image. This will allow you to focus more on the creative aspects including exposure, composition, etc.

That’s really all the equipment you need to shoot lightning. However, if you are seriously into lightning photography then you may want to buy some specialized gear, like a lightning camera trigger. This takes a lot of guesswork out of shooting, because this trigger sends a signal to your camera the instant a lightning bolt begins, and it automatically takes photos of it.

2: Think Safety First

Lightning is beautiful, but don’t forget how deadly it can be. If you can, it’s best to be inside a building or car so that you are protected from being struck. It’s really not wise to photograph lightning in an open space, especially if there are trees, water, or tall structures nearby. Don’t be fooled by how far away the lightning looks – if you can see it, it’s close enough to strike you.

3: Understand the Right Camera Settings

When you get to your chosen location, set your camera up on the tripod and set your lens to manual focus. Focus to the distant horizon (infinity), and check it’s sharp by taking a test shot and checking it. Manual focus is best for shooting lightning because if it’s too dark the AF system can have trouble focusing.

The settings below are just a rough guide, but you can use them as a starting point and adjust as necessary..

Use Manual Exposure Mode

Set your camera to manual mode (usually ‘M’) on your mode dial. Auto modes tend to give the wrong exposure when it comes to lighting photography.

ISO for Lightning

Set the ISO to the lowest value your camera has. You should only raise your ISO to capture very faint, distant lightning strikes as part of a much darker, starry nightscape image.

Shutter Speed for Lightning

Setting the shutter speed for a longer time gives a better chance of getting the lightning. Try and set it for between 5 and 30 seconds to start with. This will brighten up the ambient exposure, of course, but as long as you capture lightning during the exposure, your shutter speed will not actually affect the brightness of a single strike, just like how a strobe flash works!

If you’re looking for a dramatic, dark foreground shot, or if lightning is striking so frequently that your exposures are getting blown out, then you might want to try a shorter shutter speed of around 1-3 seconds, and just capture back-to-back exposures!

Aperture for Lightning

A medium aperture of f/4 or /5.6 is a good starting point, if there’s nothing in the foreground of your composition. You may find your images look overexposed at this setting, so try at f/8 instead, or adjust your shutter speed to be faster, if you’re trying to catch faint lightning strikes that might “disappear” as you stop down your aperture.

If there’s a foreground subject in your composition, then you may want to use a small aperture (bigger f/stop) to get more depth-of-field. If you find yourself needing to use f/11 or f/16 to achieve good depth of field in your scene, you might have to raise your ISO a little bit in order to catch those faint lightning strikes.

4: Finding Great Locations

This may be easier for those who live where there are lots of storms! However, it’s not just about capturing lightning bolts in any old scene – the trick is to find an interesting foreground.

This means you may well have to plan ahead. It’s dangerous and pointless to wait until you’re in a storm to find good backdrops for your lightning photographs. Think of some places local to you that you could get to quickly when a storm is brewing, and preferably, shoot safely during the storm. Lightning shots look best when there’s a lot of sky, but also some details in the foreground, such as buildings or hills.

TIP: Here’s how you can tell how far away lightning is from your current location: count the seconds between the flash of light and the boom of the thunder Every five seconds equals one mile. So, if you count ten seconds, you are a lot safer, but if you count just one or two seconds, you could be in extreme danger!

We recommend finding somewhere indoors, for maximum safety if you know a storm is going to pass right over you. If you’re outdoors and a storm is heading towards you, you need to leave the area, of course!

5: How to Photograph Lightning at Night

Shooting lighting at night gives you some really dramatic images,  but there’s no one-size-fits-all solution to the settings you should use. There’s a lot of variables to consider that may make a difference to the settings you use. Once you have set up your camera and manually focused to infinity, ask yourself these questions:

• Is the lighting fairly close? If it’s not a long way away and is striking several times, then it’s best to close down your aperture (higher f/stop) and keep your ISO low. This will help to prevent overexposure.
• Is there a lot of ambient light in the scene? If you are shooting lightning over a cityscape, for instance, you will need a faster shutter speed and a low ISO.
• How fast are the storm clouds moving? If the storm is moving fast and there is a lot of flashing lightning, try using a faster shutter speed to avoid ghosting in the clouds. This is where the same shape is caught in your image as it moves while your camera is taking the photo. This means slower shutter speeds will show more ghosting because the shutter is open for longer while the clouds are moving across the sky.
• Too many strikes in quick succession will also just blow out your long exposures, of course!

Take some test shots with lightning in the exposure, and check to see that you’re happy with the focus and settings you’ve chosen. If not, adjust the focus, shutter speed, or ISO accordingly.

6: How to Photograph Lightning During the Day

• While shooting lightning during the day can be a challenge, there are a few tricks you can try to get great shots. Set your camera up and manually focus to infinity. Take a test shot to make sure the foreground has enough detail. You may need to go down to f/16 or even more. Set the ISO to the lowest setting, and choose a slow shutter speed.
• You may find it easier to shoot lightning during the day if you use a lightning trigger. This little device will attach to your camera and set the shutter off when a flash of light is caught by the sensor. There’s a big choice of lightning triggers on the market, from budget to professional ones.
• If you don’t have a lightning trigger then another option for photographing lightning during the day is to set your aperture to f/22 or more. Use the lowest ISO, and set your shutter speed as slow as you can. All you have to do then is shoot continuously. Hopefully, you will capture some good lightning strikes, although, with such a dark aperture and ISO, you may not see faint strikes that just aren’t very bright. (Remember, lightning behaves just like the pop of a strobe flash, in terms of setting your exposure; aperture and ISO will make lightning brighter or darker, but shutter speed will not!)
• Take plenty of spare memory cards if you go the route of “spray and pray”, as your card will fill up quickly with all the images. If your camera has it, use a compressed RAW mode so that your camera’s buffer stays ample, too.

7: Composition Tips for Photographing Lightning

Shooting successful lightning photos requires a slightly different composition than you may be used to. For instance, you need to cover more sky than your foreground or background. This might not look right at first, but once the lightning strikes it will become the main focal point of the image.

Because lightning appears in different places, you never know where it’s going to show up in your photo. This is why it pays to use a wider-angle lens than usual so that you can crop to a good composition later if you need to.

Alternately, if you’re feeling really ambitious, and if you have an old beginner SLR lying around, consider setting up two cameras and finding two different compositions of two different parts of the sky!

Final Thoughts

Patience is a virtue when it comes to photographing lightning!  It’s unpredictable, and you’ll find that you take many, many shots without getting anything good. You may also find that your just have to LEAVE an area, for your own safety, especially if a storm is approaching, and not moving away from your position.

[REMEMBER: For every five seconds between the lightning flash and the thunder’s boom, that is only ONE mile between you and the strike. That’s only ~5,000 feet away! Now might be a good time to also remind you that a lightning strike is around 300 million volts and 30,000 Amps. For reference, just a fraction of one Amp, or just 50-100 Volts, can be lethal, depending on the combination of the two. Feeling a little more cautious now? Good.]

Eventually, everything will come together just right and you’ll feel a huge sense of satisfaction at having safely captured the perfect lightning shot!

Hopefully, our tips have given you a bit more understanding of how to photograph lightning. We also hope they inspire you to get out there and have a go. Have fun, and don’t forget to stay safe while shooting!

Proposal Photography Tips

• Location Scout to Prepare
• Plan out the Proposal Details 
• Prep the Proposer for Photos
• Positioning is Everything
• Choose ‘Safe’ Settings
• Use a Versatile Lens
• Tell a Story Through Your Images
• Look for Reactions
• Take Photos of the Ring
• Don’t Forget To Breathe

1. Location Scout to Prepare

Arrive early and start planning out your proposal pictures. This is a great tip for any type of photography but specifically for proposal photography. Location scouting is perfect for understanding what your best angle is without being seen or figuring out spots for photos after the proposal. Make sure the area is blocked off from the public or look for a more secluded spot in order to make it a private moment. Proposal photography is all about the moment so the last thing you want is someone ruining it by photobombing. While you are scouting, pay attention to light direction and make sure you’re setting yourself up for success.

Typically, couples want a few photos together once the proposal is done, and this works as a great opportunity to give them your portrait photography experience. Give them a taste of what it’s like to work with you so they feel comfortable reaching out for an engagement session/wedding.

2.  Plan out the Proposal Details

Oftentimes, they may ask for suggestions since it’s likely that you’ve experienced or been a part of more proposals than they have. We’ve compiled a list of some of our favorite proposal ideas for you to share with potential clients so you don’t have to do the research! A great way to make proposals personalized is to discuss their partner’s interests/hobbies and try to incorporate elements into the plan. Oftentimes people will mention their ideal proposal to their friends or family, so that is generally a great place to start the planning process.

3. Prep the Proposer for Photos

This is (often) someones first time getting down on one knee and asking for a hand in marriage, so take it upon yourself to impart some friendly words of wisdom from the experience of photographing proposals, or even doing one yourself. Make sure the ring box isn’t too bulky to ruin the surprise, take out the box after they get down on one knee, get down on the knee that is closest to the camera so their body is open to the camera, and so on. Ask them to take their time, even though at the moment nerves may get the best of them, letting them know beforehand that the more time you have to capture the proposal, the better. They go by in an instant, so it’s important that you have the time to properly position yourself for the best possible outcome.

4. Position Is Everything

Position yourself perpendicular to the couple so you make sure you get both of their faces in the frame, then start moving around to get over-the-shoulder shots and tighter reactions. By starting this way, you cover all your bases and set yourself up to tell a stronger story. A better way to put it is to get your safety proposal pictures first, then work around the scene, finding foreground elements to shoot through, switching lenses, and focusing on smaller details.

5. Choose ‘Safe’ Settings

If you’re worried that you might miss the moment, we advise you to choose settings that ensure you’ve got the shot. Because there might be action involved in the proposal (a quick hug or kiss, fast reactions, etc.), opt for a shutter speed faster than 1/400th of a second to make sure you don’t get any motion blur. If that means compensating by increasing your ISO, then so be it. For this reason, we also advise shooting on the highest megapixel RAW format in order to be able to crop in if need be. If the subjects are in two vastly different planes or if there is an elaborate decoration involved, don’t be afraid to change your aperture to f/3.2 or f/4. If you struggle with nailing focus, this tip will ensure you get your subjects in focus.

Rewind: 15 Tips For When You’re Having Trouble Focusing Your Camera

6. Use a Versatile Lens

Although shooting on a prime might give you a wider aperture and shallower depth of field, chances are you will want to rely on a 24-70mm or 70-200mm in situations like this. If you don’t need to be hidden, then opt for a 24-70mm so you can move in and out of a scene. If you need to be hidden, then a 70-200mm is your best bet for capturing from afar. You won’t have the luxury of switching lenses in a tense situation like this, so you might as well pick a lens that can do it all. Be careful about switching lenses at the wrong moment because you could end up missing a tear, a laugh, or any number of worthwhile reactions. If you want to stick to primes, I would suggest a 35mm and an 85mm so that you have enough focal length variety to cover multiple scenarios.

7. Tell a Story Through Your Images

When a couple looks back at these images, they want to see the entire moment, from start to finish. Work through the scene use your images to help narrate the action. A great framework to follow is to shoot wide, medium, and tight. Start off with a wide shot to establish the scene. Then, capture the medium proposal pictures to showcase the story. Lastly, get in tight and focus on the intricate details. For example,  if you look at the collage above, you’ll see a series of images that tell the full story of the proposal. Providing context, capturing the details, and shooting through the moments will allow you to depict the entirety of the proposal.

8. Look for Reactions

Part of the reason you should stick to one lens is to shoot through the emotions and moments of the proposal. When a couple looks back at these proposal pictures, they should feel transported back in time to the exact moment and feelings they had. There will also be moments that involve others who were invited to witness the event or even be included in the proposal process. Take a moment to pay attention to their reactions and make sure to capture a few images of them for the couple to look back on. The couple is so wrapped up in the actual proposal that everything around them is likely a blur.

9. Take Photos of the Ring

Last, but certainly not least, photograph the ring on its own! Rings are often passed down from generation to generation and this can be a great memento for both the couple and the families involved. Even if it doesn’t have any familial significance, photograph the ring in the context of the proposal using props or showing scenery to help tie the story together. This might require you to bring a Macro lens with you, but it’s well worth it!

10. Don’t Forget to Breathe

I wish someone told me this bit of advice before I stepped into my first proposal shoot. Fear of missing a moment or reaction is so real and is absolutely preventable if you follow all the steps we have listed. However, the most important thing to remember before actually capturing any of these moments is to breathe. Don’t let the anxiety and pressure of the moment prevent you from being able to make the logical decisions you need to make to capture the moment. Chances are your calm demeanor will help ease the proposer of the pressure they feel in the moment. Over time, it will become a routine practice of knowing where to be and what to capture and the anxiety of missing the moment will be fleeting.

Conclusion

We hope this guide gives you all the tools and tips you need to help you conquer proposal photography! It can be a tricky moment to capture but you should have no issues after making sure you’ve scouted and prepped all you can. Having open communication with the person proposing and making sure you’re both on the same page will help yield fantastic results!  Like every photography experience, you will get better each time at anticipating moments and feeling more confident in what images to capture to tell a stronger story. Use this as a guide for proposal photography to help capture unforgettable images for your clients. Good luck and let us know if we missed any tips in the comments!

In any case, we photographers have spent our lives trying to figure out how to “fix” such problems. Some types of distortion are relatively easy to correct, but only if you are willing to substantially crop your images. Other forms of distortion have been nigh impossible to fully correct. Until now, that is. Today we are reviewing DxO ViewPoint 6, and we’re excited because it offers a brilliant, cutting-edge solution to the various distortion problems which have frustrated photographers since the beginning of photography itself.

What Is DxO ViewPoint 6, and how can it possibly deliver results as unprecedented as it claims? We’ll dive in-depth into that throughout this review, but suffice it to say, DxO is harnessing the power of AI to recognize the elements of a photo, identify various distortion issues, and correct them in ways that were previously impossible.

Here’s what you should know at a glance: With DxO ViewPoint 6, you can accomplish results such as correcting perspective distortion with minimal or no cropping required at the edges of your frame. You can even correct such distortion “flaws” individually within an image while not affecting the rest of the overall composition. Also, and this is one of my favorite new tools as a portrait & wedding photographer for two decades, …you can correct the distortion that virtually all wide-angle lenses have on human subjects at the edges of your frame. (So now, uncle Phillip won’t look 10 ft tall with a face twice the size of the whole torso of the bride at the center of your photo!)

The other thing you should know is that right now you can get a 15% discount using the code: SLRLounge! (US pricing is set at $129.99 for new users and $84.99 for upgrades.)

What Is DxO ViewPoint 6?

DxO ViewPoint 6 is a specialized app for correcting different types of distortion in your images. It’s capable of running by itself, (stand-alone) and it also integrates seamlessly with your main workflow application such as DxO PhotoLab or Adobe Lightroom.

Within its simple and intuitive interface, you can browse your photos wherever they are on your computer and perform whatever correction adjustments you need. You can open JPG, TIF, and even RAW files!

After our testing, we generally recommend doing most of your color-correction workflow to your raw files in your main editing app, and then bringing that file into DxO ViewPoint 6 as a TIF in the case of Lightroom, or you can stay in the raw format if you’re coming from DxO PhotoLab 9/10.

All in all, ViewPoint 6 is relatively simple and straightforward, yet powerfully advanced. It does what it promises, runs very smoothly without any crashes or lag, and the results, well, speak for themselves…

DxO ViewPoint 6 Review | Who Is It For?

First and foremost, if you do any sort of photography with subjects that include straight lines, then you need at least a few basic distortion correction tools. Truth be told, maybe your existing workflow tool is adequate, if all you ever do is level a horizon or perform minor perspective distortions.

(The built-in DxO PhotoLab lens profiles are incredibly powerful! DxO in general has pioneered the best optical corrections for lens distortion as well as vignetting.)

However, for those of us who are frequently working with photos of more complex scenes, tight composition framing, etc, and especially wide-angle lenses, (whether the subject is a building or a human!) …then you need advanced correction tools.

That is where ViewPoint 6 comes in. DxO has gone beyond basic distortion corrections, and created an advanced tool. We’ve taken this latest version of DxO ViewPoint for a test spin, and spent a lot of time mastering its newest features; ReShape Fusion with AI masking, which allows us to correct distortion locally in specific parts of an image, without affecting the rest of our composition. (We’ll dive deeper into this next!) Also, ViewPoint 6 now integrates RAW file support, instead of just TIF/JPG.

Additional tools round out the feature set and make DxO Viewpoint 6 worth checking out: perspective correction can be done automatically! Traditional lens distortion can be individually corrected for just horizontal or vertical or diagonal.

DxO ViewPoint 6 Review | What’s New?

There are a few key things to point out which are new in DxO ViewPoint 6. As ever in 2026, AI plays a role. In this case, what we’re seeing is a straightforward yet powerful addition: AI masking is now helping out with the ReShape Fusion tool, so you can effortlessly select objects in an image for localized correction.

If you’re looking to correct one element in an image without affecting the rest of the overall framing and scale in that photo, then this tool alone is worth the investment or upgrade.

volume deformation correction (faces/bodies stretched at frame edges in wide-angle shots

As you can see, the ability to target an object with extreme precision is a huge lifesaver in compositions where you don’t want to compromise any of the edges of your frame! The above example of correction would have been impossible for us with almost any other tool. The top of the building might have gotten cut off, or the foreground would be severely distorted.

With DxO ViewPoint 6, we were able to precisely correct the perspective, while leaving the edges and the entire lower half of the composition alone!

Another major advantage of ViewPoint 6 is that basic corrections can be automated. If you have a handful of photos with a prominent horizon and some minor vertical line corrections to do, the automatic perspective correction is a solid time-saver. Whether we are doing portrait & wedding photography at architectural type venues, or we’re doing real estate photography, having ViewPoint 6 in our workflow toolkit is a must.

Last but not least, one cool feature that we love for purely creative reasons is the tilt-shift “miniature” or “diorama” effect. Although it’s a “once in a while” type of artistic look, the impact is eye-catching. When done right, it’s one of our favorite creative tools!

The DxO ViewPoint 6 tool for “Miniature Effect” is incredibly realistic, with accurate simulation of various types of bokeh. In other words, it actually looks like we used a tilt-shift lens!

DxO ViewPoint 6 Review | Pros & Cons

This is a rather technical tool, so the advantages and disadvantages are going to be a little bit nerdy. The bottom line, however, is this: ViewPoint 6 is very capable and powerful, offering tools that no other integrated workflow tool can provide at present.

Another huge advantage which is worth mentioning these days is, you won’t need to invest in an expensive RAM or CPU upgrade for your computer! We even tested DxO ViewPoint 6 on an older Intel-based Mac, and found that the software ran perfectly smoothly. Even the AI-based selection masking and the automatic previews showed barely any lag whatsoever. Kudos to DxO for this!

The only noticeable downside is the rather steep learning curve that applies when you want to fully utilize the most complex types of corrections, and that’s an understandable hurdle to overcome.

Pros

• Advanced, powerful toolset
• Selective control of different corrections
• Smooth, fast operation (even on older computers!)
• Seamless integration with your main workflow app
• Raw file support (enhances lens-based corrections)

Cons

• Steep learning curve to master the most advanced tools
• Could use additional controls for “fixed points” in “Forced Parallel” tools

That last “Con” deserves a bit more info, since it’s definitely a complex nuance for advanced users. Here is what I would like to see, simply put: When performing targeted corrections (Reshape Fusion) using the “Force Parallel” tool, the results can adversely affect one or two edges of the image. This is because all four points of the parallel tool are going to move when the correction is applied, and there is not (yet) a way to “lock” one or two of those points. This would be a highly useful feature to see in a future update! For now, various work-arounds can handle de-stretching undesirable results.

DxO ViewPoint 6 Review | Conclusion & Pricing

Whether you’re looking for the ultimate Lightroom Plugin to take distortion corrections to their highest capability, or you’re expanding your DxO PhotoLab workflow space, either way we strongly recommend checking out ViewPoint 6.

In our real-world testing, the tools provided totally new opportunities, and we can see major benefits both as portrait & wedding photographers, and certainly as architectural, real estate, etc. photographers.

As with any technical workflow need, the learning curve is a little intimidating at first, but that is normal for such a powerful toolset. We found that the balance of simple interface and various helpful tutorials to make the mastery process relatively swift.

All in all, combined with the fact that this software conforms to DxO’s attractive offer of a perpetual license, (buy it once, own it forever!) …we once again highly recommend DxO ViewPoint 6.

To learn more about ViewPoint 6 and take it for a 30-day test run, you can download it here. If you’re a new customer, you can use the code: SLRLounge …to get 15% off! (New users; the normal price is $129.99, upgrade buyers will pay $84.99.)

Action Photography Video Demo

In this article/video, we’ll start by showing you what to avoid for capturing an action photography shot, and then we’ll go through the artistic process of finding better picture angles to get to our final image. We cover these concepts and more for all cameras, including smartphones, in our Creative Photography 101 Course.

6 Steps to Better Action Photography

Avoid the “Walk Up” Shot

Before we get into the steps for capturing an exciting action photography shot, let’s talk about walk up shots and how to avoid them. To illustrate, we began this session by capturing a walk up shot of our model Derek doing a backflip on the beach. The shot is framed well enough, but the background is distracting and the picture angle is average at best. Unfortunately, this is the picture angle that most people would use when walking up with their smartphones or cameras to capture the action.

Use a Wide Angle Lens for Action Photography

First, lens choice. As a general rule, you want a lens that is as sharp and fast as possible. Depending on what you are shooting, you are likely going to want something that can get close to the action. If you are shooting a sport like baseball, hockey, soccer, football, or anything else with a large playing surface, your best bet is to purchase or rent a fast zoom lens such as a 70-200mm f2.8 or something similar. If you have good lighting, there are quite a few options for longer telephoto lenses that won’t break the bank but that will still provide great images.

For non sports action photography, start building your action photography shot by using a wide angle lens, such as a 15-35mm lens at 15mm, which will allow you to move in closer and actually get into the action. 

Basically remember:

• Large playing surface = Use a zoom lens to get close to the action.
• Smaller playing surface = Move around!

Action Photography Composition

Rather than relying on a perfect background, we can look for creative picture angles that use available objects in our favor. For this shot, I chose to lie on the ground and shoot toward the sky, incorporating the palm trees that the model used to launch into a backflip. The trees (along with the sand that I’ll introduce later) serve as a thematic element for the beach, but they also help frame the subject, leaving plenty of negative space in the blue sky to highlight the backflip and make the model’s outfit pop against the background.

Pro Tip: Snap a reference shot. Ask your subject (or an assistant) to step in while framing your shot so that you don’t have to repeat the action because you didn’t frame it properly.

Whenever your subjects are moving in a direction, a basic rule of photography is to leave room in the direction the subject is moving. This rule is important because the viewer’s eyes are naturally drawn from the subject to whatever the subject is looking at or facing. If the subject is facing the edge of the frame, it leaves the viewer wondering where the subject is looking. Furthermore, if the subject is moving toward the end of the frame, it leaves the viewer wondering where the subject is going, leading the attention off of the image. Lastly, if the subject is moving toward the edge of the frame, the subject can seem confined and enclosed. As always, showing is more effective than explaining, so as you view these images, imagine how they would look if the subjects were cropped at the other end of the frame.

Shot at the 2009 University of Utah vs. San Diego State Football Game in San Diego, CA on a Canon 40D with a 70-200mm f/2.8L Zoom Lens at 1/250 f/2.8 ISO 400

Shot at the Summit House in Fullerton, CA on a Canon 40D with a 70-200mm f/2.8L Zoom Lens at 1/400 f/2.8 ISO 200

Dial In Your Exposure Settings

Before you cue the action, make sure to dial in your exposure settings. If you aim to freeze the action, prioritize your shutter speed and then adjust your ISO and aperture until you get a balanced exposure. Ideally, you want to maximize your dynamic range to maintain as much of the highlights and shadows as possible. You can enable the highlight alert and use the histogram to help ensure that you’re not blowing out any highlights on your subject’s skin. I like to use live view for this step.

Pro Tip: Set your camera to burst mode (or some similar high-speed setting) so that you can shoot through the action as it unfolds and choose the best frame for your final image.

Lock Your Focus

You don’t want your camera to hunt for focus during your action photography, so lock in your focus ahead of time. For this shot, I set the focus on the model’s head while he stood by for the reference shot and then enabled the focus lock feature on my camera. You can also switch the lens to manual focus.

Cue the Action and Add Variations

All that’s left at this point is to cue the action and capture the shot. After looking at my initial capture, I liked the results, but I wanted to see how it’d look if I added another visual element. I decided to throw sand over the subject during the flip, which you can see in the final images below.

Pro Tip: I would recommend exercising caution when photographing at the beach, especially when playing with sand. Cameras and sand don’t mix well!

Final Images

Before

After

Settings for the Final Image: 15-35mm at 15mm, 1/2000, f/4, ISO 100 | Edited with Visual Flow Presets > Mood Pack > Hard Light

What Kind of Motion Should You Show?

There are two approaches to photographing motion. You can freeze the motion in progress or you can capture it in a manner that shows the motion. If you choose that option, there are two ways to do it. You can either allow motion blur into the photograph, or you can pan along with your subject and blur the background to indicate motion.

Motion Blur for Action Photography

To introduce motion blur to a photo, simply lower the shutter speed enough that the sensor picks up a bit of your subject’s movement. You can simply take the photo as you follow your subject with your camera and with a slower shutter speed they will leave “trails” as they progress through their motion. Or, if you know where your subject is going to end up (like a runner at the finish line or a baseball player at home plate, etc.) you can pre-focus on where they will end up and snap the picture as they move into the frame. This will also capture the motion while helping provide a sense of action to the shot. Another fun way to be creative with this is to use a slower shutter speed that shows motion blur while turning your flash on in rear curtain sync mode. This will fire your flash at the end of the exposure capturing both the motion trails and a relatively sharp capture of your subject.

Freezing Motion in Action Photography

This might actually be one of the simplest pieces of the puzzle! Freezing motion is all about getting your shutter speed high enough that the camera doesn’t show the movement. Depending on what you are shooting, you might have to get shutter speeds up into the thousandths of a second! Of course, when doing this, you have to be in an area that has excellent, bright lighting. Obviously, the shutter isn’t open very long in these cases so, the more available light in this case, the better.

Conclusion

As photographers, we really have no excuse for capturing uninteresting photos. Most everyone has access to quality cameras these days, even using their smartphones. Where people tend to come up short is technique. As you can see here, putting in a little creative effort can go a long way to build a worthwhile action photography shot.

If you’d like to dive deeper into your photography education and exercise your creativity side, our latest course, Creative Photography 101, provides frameworks for training your creativity so that you can stop settling for boring photos.

There are three primary ways to get there: carefully choosing aperture and focus, focus stacking, or using a tilt-shift lens. While all are effective, this guide will focus on the most practical method—mastering aperture and focus—since it’s accessible to every photographer, costs nothing, and works well when you need to shoot quickly in changing outdoor conditions.

three Options when it comes to nailing that mind blowing DOF.

1. Choosing the right aperture and focusing carefully
2. Focus Stacking
3. Using a Tilt-Shift lens

For this article we’re going to explore the first option of ‘Choosing the Right Aperture and Focusing Carefully’ because this is within the capabilities of all photographers, costs nothing and allows you to shoot fast when under pressure.

Focus stacking is great but it’s a slow process during shooting and editing. Tilt-shift lenses are awesome but by heck they’re pricey!

Choosing the Right Aperture and Focusing Carefully

1. How to Choose the Optimal Aperture

Aperture directly influences how much of your scene appears sharp. Narrow apertures like f/22 can bring nearly everything into focus, but they also introduce diffraction, which can soften details. Instead of always defaulting to the smallest aperture, aim for balance. For most lenses, the sweet spot falls between f/8 and f/16, where you’ll achieve both sharpness and depth.

2. Experiment With Your Lens

It’s essential that you put your lens through its paces by testing the results of images taken at different apertures. I find that my Canon 16-35mm gives me the sharpest images at apertures between f/8 and f/16 with f/11 being my ‘go-to’ setting for most shooting situations. Take the same shot at different apertures in the same lighting conditions and see which gives you the sharpest results. The shot below had an  aperture of f/11.

3. Balance Foreground and Background

So lets say you’re shooting a forest scene and you’ve got some really interesting mossy rocks in your foreground about 8 ft away from the lens. You’ve recently determined that your lens produces it’s sharpest results in low light with an aperture setting of F/8. You take the shot but that foreground looks kind of blurry.

This is where you’ll have to compromise on overall image sharpness so that you can get everything in focus, including that essential foreground. You could focus stack and stay at f/8 but lets say that time wont allow that. Try setting your aperture to f/16 and you’ll likely find the perfect compromise of image quality and corner to corner sharpness that you desire.

4. Choosing Where to Focus

This is a question I get asked all the time by new photographers. Here’s my method. For landscape photography with a huge depth of field I’ll usually pick an object that’s about two thirds of the way into the distance. The object must have some contrasting line that I can view in my cameras Live View mode. I’ll manually rotate the focus ring on my lens until that object appears sharp in my live view screen.

Examples of where to focus for big DOF:

In my shot ‘Steamy Mornings’ of Punchbowl Falls in Oregon, I chose to focus on the small branches of a tree about two thirds of the way into my distance.

As you can see they offered the perfect subject in which to place my focus because they were sharp edged and in contrast with the dazzling morning mist. Lucky eh? I chose an aperture of f/16 in order to get the foreground leaves sharp.

In my shot of Portland Japanese Garden, I deliberately chose NOT to focus on the tree which was my obvious subject. Instead I focused on a sharply back lit tree branch in the background.

I used an aperture of f/16 because I was quite close to the foreground. and I wanted the moss and leaves to be in focus. My DOF was… well, massive.

Finally my shot of ‘El Capitan’ in Cabo San Lucas, Mexico offers a very obvious focus point which also happens to be my main subject.

I used an aperture of f/11 to achieve a huge depth of field and used the sweet spot of sharpness in my 16-35mm lens.

I also prefer the sunstar at f/11 for this shot.

Step 5: When to Compromise

It’s important to remember that “maximum depth of field” doesn’t always mean flawless sharpness everywhere. Sometimes you’ll need to trade a little foreground clarity to protect background detail, or vice versa. Compared with alternatives like focus stacking (which requires multiple frames and editing) or tilt-shift lenses (effective but expensive), aperture control is the fastest and most practical approach for most outdoor scenarios.

Quick Tips for Achieving Maximum Depth of Field

• Use a tripod to stabilize shots at narrower apertures.
• Switch to Live View for precise manual focusing.
• Explore hyperfocal distance charts or apps to maximize sharpness.
• Zoom in on your LCD at 100% to check sharpness before moving to the next location.

Conclusion: Mastering Big Depth of Field Without Extra Gear

Achieving big depth of field doesn’t require complex techniques or specialty lenses. By understanding your aperture, testing your lens, and carefully choosing where to focus, you can consistently capture landscapes with striking, corner-to-corner clarity. The more you practice, the more intuitive these decisions become—and soon, achieving maximum depth of field will feel second nature.