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

BEST FULL FRAME WIDE-ANGLE ZOOM LENS

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

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

BEST FULL FRAME TRAVEL LENS

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

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

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

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

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

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

What actually changed (and what didn’t)

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

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

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

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

The hidden gift of film constraints

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

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

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

The case for both worlds

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

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

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

Light, composition, and the moment: the holy trinity

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

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

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

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5 Affordable Cameras Worth Buying on Amazon

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

1

Canon EOS Rebel T7 DSLR Best entry DSLR

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

2

Canon EOS R100 Mirrorless Best mirrorless under $600

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

3

Sony ZV-1F Compact Best vlogging + stills

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

4

Kodak PIXPRO FZ55 Point & Shoot Most accessible

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

5

Fujifilm Instax Mini EVO Best for prints

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

The takeaway: your eye is the constant

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

RAW vs JPEG

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

What actually is a RAW file?

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

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

So what does JPEG do differently?

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

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

Why does this matter when editing?

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

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

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

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

The colour and white balance advantage

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

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

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

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

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

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

The storage and speed trade-off

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

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

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

Which should you choose?

Here’s a simple way to think about it:

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

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

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

Getting started with RAW

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

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

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

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

How can you create and save presets in Lightroom?

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

Let’s dive right in.

When should you create and apply Lightroom presets?

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

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

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

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

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

And look at it after applying a simple preset:

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

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

How to prepare a useful Lightroom preset: step by step

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

Step 1: Open a photo in the Develop module

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

Hit the Reset button to zero out any existing settings:

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

Step 2: Set your Profile in the Basic panel

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

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

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

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

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

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

Step 3: Apply profile corrections and remove chromatic aberration

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

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

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

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

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

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

And make sure all the other sliders are zeroed:

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

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

Creating a preset in Lightroom

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

Step 1: Click the Create Preset option

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

And select Create Preset:

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

The New Develop Preset window should come up:

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

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

Step 3: Hit Create

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

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

Applying presets upon import

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

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

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

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

Adding copyright info

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

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

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

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

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

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

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

How to create your own Lightroom presets: your turn

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

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

Now over to you:

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

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

Have any lesnes been launched that you think have overtaken the ones in this list? Are there any in this list that should still be at the top of the list?

What do you have that you think is better? (Otherwise you wouldn’t have it, would you!)

I think, for me, in terms of “all-rounder” the Tamron 35-150 has found a permanent spot in my backpack.

This article was updated on Tuesday the 3rd of March, 2026…

No matter your level of experience, if you want to capture beautiful landscape photos, you need to choose your lens carefully. After all, the lens heavily influences the quality of your image; pick a good lens, and you have the potential for crisp, clear, beautifully detailed results. But get the lens wrong, and you may find that your images are consistently unsatisfying.

But choosing the right lens for landscape photography can be tough. There are dozens – even hundreds – of options, ranging from budget kit zooms to $3000+ ultra-wide glass, each with its own benefits (and drawbacks).

Fortunately, as a professional landscape photographer, I’ve spent years working with different lens models. I know how to pick the perfect starter lens, and I know how to find lenses that’ll satisfy the most experienced professionals. That’s why I’ve written this article, which takes you through all the best landscape photography lenses you can buy today – including options for mirrorless and DSLR shooters, choices for Canon, Nikon, Sony, and Fujifilm shooters, and picks at every price point.

So without further ado, here are my top landscape lens recommendations, starting with my number one choice:

1. Sony FE 12-24mm f/2.8 GM

If you’re an experienced photographer seeking the absolute best landscape lens on the market – no matter the cost – then the Sony 12-24mm f/2.8 GM is the model to buy.

It has everything that you could want in a landscape lens, including ridiculously sharp optics that pair beautifully with the high-resolution sensors of the a7R series, incredible build quality that can handle all sorts of weather scenarios, and a surprisingly lightweight body. The lens also boasts an f/2.8 maximum aperture that’s perfect for serious astrophotography (and it also comes in handy if you’re looking to add some artistic background blur to your landscape shots).

Of course, there’s also a stunning 12mm focal length on the wide end, so ultra-wide shooters can capture scenes of all types with a uniquely expansive perspective, while on the longer end, the 24mm perspective will give you a more conventional wide-angle field of view. Unfortunately, the 12-24mm f/2.8 GM is extremely expensive (at the time of writing, it costs nearly $3000), but if you’re a professional or you have the cash to spare, you won’t be disappointed.

2. Canon EF 16-35mm f/4L IS USM

If you use Canon full-frame DSLRs – or even Canon mirrorless models – then the 16-35mm f/4L IS USM is an excellent choice. It carries the prestigious L-series label and boasts a nice range of focal lengths as well as very sharp image quality.

There is an f/2.8 version of this lens, but the f/4 version gives equally stunning results and comes with a cheaper price tag. (The main reason you’d want to consider the f/2.8 version for landscape photography is if you like to capture the night sky; in such scenarios, an ultra-wide maximum aperture will help you freeze the motion of the stars.)

The 16-35mm f/4L is a fast and dynamic model with an ultrasonic focus system and a minimum focusing distance of 11 inches (0.28 meters), so it’s perfect for capturing sweeping vistas that feature close foreground subjects. Plus, the 4-stops of image stabilization and great in-built weather sealing allow you to work handheld in all types of light and weather.

The 16-35mm f/4L is a reasonably priced option for enthusiasts (and is positively cheap compared to other pro-level lenses on this list), though beginners may wish to consider a more budget-friendly model like the 24-105mm f/4L (which is elsewhere on this list!). If you’re a budding Canon landscape shooter – or even a professional – hoping to create stunning images of expansive scenes, then this is one of the best landscape lenses on the market in 2024.

Note: The 16-35mm f/4L is designed for full-frame Canon DSLRs, though you can also use it with any of Canon’s RF-mount mirrorless cameras with the purchase of the Canon EF-EOS R adapter. The adapter is essentially flawless, though if you’re a Canon mirrorless user and you prefer to use RF-mount lenses, take a look at the RF 15-35mm f/2.8L IS USM below.

3. Nikon Z 14-30mm f/4 S

The Nikon Z 14-30mm f/4 lens was Nikon’s first ultra-wide-angle zoom for Z-mount cameras, and it remains one of the best lenses for Nikon full-frame mirrorless cameras in 2024, especially for professionals in search of that ultra-wide perspective. It’s also surprisingly affordable for a Z-mount lens, and while I wouldn’t recommend it to complete beginners, it should certainly meet the budgetary needs of enthusiasts and professionals.

The 14-30mm f/4 is lightweight and relatively compact, so it’s plenty portable – always handy for travel landscape shooters as well as photographers who enjoy backpacking for days on end. It supports direct filter attachment to the front of the lens, which expands the creative possibilities for ultra-wide landscape photography. It’s well-designed with resistance to dust and water, which is essential for landscape photographers who work in blowing sand, seaspray, rain, or snow, and it features fabulous optics for clear and sharp shots.

You get an extra couple of millimeters on the wide end compared to the F-mount 16-35mm f/4G (below), so you certainly won’t struggle to capture breathtakingly wide compositions. And while 30mm isn’t ideal for tighter, more intimate landscape shots, it’s perfect for more wide-angle-focused shooters. Ultimately, the compact design, incredible corner-to-corner sharpness, and wide perspective make the Nikon 14-30mm f/4 a landscape lens worth considering for serious mirrorless photographers.

4. Canon RF 15-35mm f/2.8L IS USM

The Canon RF 15-35mm f/2.8L is the ultimate lens for landscape photographers looking to give their images a professional edge. It’s a great match for Canon mirrorless users, although there is a huge hike in price compared to the Canon EF 16-35mm f/4L (featured above). Note also that this lens will only work on Canon RF-mount mirrorless models like the EOS R5, whereas the EF 16-35mm f/4L can be used on both DSLRs and mirrorless cameras (though you’ll need to use this adapter).

The 15-35mm is a joy to use, and photographers will love its edge-to-edge sharpness, amazing image quality, and superbly silent and fast autofocus. The lens offers image stabilization of up to five stops, which is a big deal if you plan to shoot landscapes handheld in low light. Additionally, the f/2.8 maximum aperture is wide enough for sharp astrophotography, though it isn’t really necessary for non-astrophotography purposes and is one of the reasons for the eyewatering price tag.

The RF 15-35mm f/2.8L also offers a slightly wider focal length than many of the lenses on this list, thanks to that 15mm wide end (versus the more common 16mm). And while a millimeter may not seem like much, it is noticeable in the field and is ideal if you’re looking to capture those ultra-wide, professional-style landscape images.

6. Fujifilm XF 10-24mm f/4 R OIS

Do you shoot Fujifilm rather than Canon, Nikon, or Sony? The Fujifilm 10-24mm f/4 lens is one of my favorite Fujifilm X-mount lenses, and it’s an excellent landscape photography choice for a host of reasons.

Key features include enhanced optical image stabilization, an elegant design, and very quiet focusing. The barrel feels and looks fabulous, and the construction is good quality. You get a minimum focusing distance of 9 inches (0.24 meters) – so you can capture gorgeous low-angle shots – and the lens offers great image sharpness across the focal range.

Fujifilm users should bear in mind that the 10-24mm focal length converts to an effective 15-36mm, which is certainly respective and will work great for wide-angle landscape shots (even if the lens isn’t quite as wide as it initially sounds). Thanks to the beautiful field of view, the 10-24mm f/4 provides gorgeous landscape possibilities for Fujifilm APS-C users – and while it is on the expensive side, for serious landscape shooters, it’s worth every penny.

7. Nikon AF-S 16-35mm f/4G ED VR

The Nikon 16-35mm f/4G is a great option for Nikon full-frame DSLR users, and it’s an especially good pick for enthusiast photographers and up-and-coming professionals in search of that beautiful wide-angle perspective. (Even if you shoot with Nikon’s Z-mount mirrorless models, this lens works flawlessly with the FTZ adapter.)

The 16-35mm f/4G is both portable and durable, plus it packs great image stabilization for low-light handheld photography. (That said, I do recommend capturing most of your landscape photos using a tripod!) The 16-35mm focal length range is ideal for wider scenics and allows you to shoot stunning near-far landscape compositions with great results. It’s also a (relatively) inexpensive lens, plus it’s compact and much lighter than most f/2.8 zooms (at 24 oz/680 g).

The lens accommodates filters with a 77mm thread, a standard filter size that will please a lot of photographers. And the lens optics are beautifully designed to enhance sharpness and contrast, so even professionals should be satisfied.

7. Sony E 10-18mm f/4 OSS

Coupled with a Sony’s E-mount camera, the 10-18mm f/4 is a wide-angle zoom lens, though bear in mind that it’s designed to work with APS-C cameras only (its focal length equivalent is 15-27mm). For most landscape shooters, that shouldn’t be a problem – after all, 15mm is plenty wide if your goal is to capture sweeping seascapes, breathtaking mountain scenes, or stunning forest views – but it won’t get you the gorgeous ultra-wide perspective of the 12-24mm f/2.8 featured above.

The superior glass provides optimal optical performance, with excellent contrast and sharp image quality even at the widest focal lengths. It is one of the best-quality landscape lenses for APS-C Sony mirrorless users out there, plus it’s small and lightweight (it only weighs 7.9 oz/225 grams), so it’s perfect for travel landscape shooting.

The Optical SteadyShot feature keeps handheld shots blur-free (though again, I do recommend using a tripod!), and the constant f/4 maximum aperture is decent enough for noise-free shooting in low light, but for serious astrophotography, you really need an f/2.8 maximum aperture (see the 12-24mm f/2.8 model at the top of this list!). The minimum focus distance of 10 inches (0.25 meters) and attractive zoom range let you capture expansive landscapes with precision, and the price is incredibly reasonable for a high-quality Sony lens – so if you’re a landscape photography beginner or enthusiast with a Sony APS-C camera, this is the lens to buy.

8. Fujifilm XF 16-55mm f/2.8 R LM WR

One of the biggest reasons to grab the Fujifilm 16-55mm f/2.8 for landscape photography is its versatility – it features great build quality so you don’t have to worry when working in tough weather conditions, an excellent maximum aperture for astrophotography, and a nice range of focal lengths that span from wide angle to short telephoto (even if the 24-82.5mm effective zoom range doesn’t quite reach those prized ultra-wide perspectives).

It also offers the opportunity to capture the landscape with real accuracy; as you can imagine, optical performance is top-notch, and thanks to the f/2.8 aperture, sharp handheld results are practically guaranteed, even in low light. While most landscape photography is done at narrower apertures, the f/2.8 maximum aperture does allow for detailed astrophotography, which can certainly come in handy for the right photographer.

Bottom line: The Fujifilm 16-55mm f/2.8 is perfect for landscape photographers in search of an all-around performer, especially those who require quality, precision, and sharpness across a wide focal length range.

9. Canon EF 24-70mm f/2.8L II USM

Yes, it’s on the pricier side, but the greatest benefit of the 24-70mm f/2.8 lens for landscape shooters is the versatile focal range offered for shoots. At 24mm, you can capture beautiful wide-angle images, while at 70mm, you can shoot intimate landscapes, close-up scenes, and more. You don’t get the same ultra-wide perspective offered by the 15-35mm or 16-35mm lenses shared above, but you do get a set of longer focal lengths that are great for more intimate landscape photos.

As I’ve discussed throughout this article, an f/2.8 maximum aperture isn’t necessary for standard landscape photography – assuming you use a tripod – but it is essential for clean, sharp astrophotography images, and it’s also nice to have if you like to experiment with shallow depth of field landscape shots.

The 24-70mm f/2.8 is also plenty sharp, and the L-lens build quality is great for lengthy outdoor adventures. At the end of the day, the 24-70mm f/2.8 really is an incredible – albeit expensive – landscape lens, and if you can afford it, buy it. For those who want to spend less cash, Canon offers a cheaper f/4 version.

10. Canon EF 24-105mm f/4L IS II

If you’re a more casual photographer in need of a lens that you can keep on your camera at all times – as you shoot landscapes, street scenes, and even portraits – consider the Canon EF 24-105mm f/4L IS II. It’s a versatile lens that extends beyond the 24-70mm lens featured above, plus it’s sharp, versatile, and reasonably priced.

Thanks to the extra reach on the telephoto end, you can zoom in to highlight specific landscape features and create more intimate, even abstract images. But you can always capture standard landscapes in the 24-35mm range, and the image stabilization ensures you can shoot in lower light without a tripod.

As I mentioned above, the lens is also great for non-landscape purposes; it’s a favorite of casual street photographers, and it can handle cityscapes, outdoor events, and even portraits just fine. The f/4 maximum aperture is a bit limiting if you hope to photograph moving subjects indoors, but for outdoor shoots in good light, the 24-105mm f/4L is a stellar choice.

And by the way: While the EF 24-105mm f/4L featured above is designed for DSLRs, Canon does offer a great mirrorless version: the RF 24-105mm f/4L IS USM, which is (at the time of writing) the same price!

11. Sony FE 70-200mm f/4 G OSS

If you’re a Sony mirrorless shooter looking to capture tighter landscape shots, the 70-200mm f/4 G is a great choice; it’s a telephoto zoom lens with a constant f/4 maximum aperture, and it delivers great image quality with wonderful background bokeh.

While the focal length range sits squarely in the “telephoto” arena, you can use the 70-200mm to hone in on various elements of the landscape (and potentially even wildlife, too!). For instance, you can capture abstract mountain patterns, tight forest scenes, and so much more.

The Sony 70-200mm is a fast focuser and performs well in the field, especially when coupled with its image stabilization, which allows for improved performance in low light. The f/4 maximum aperture isn’t ideal for producing shallow depth-of-field shots, but it should be fine for more conventional landscape images.

The best lens for landscape photography: final words

There are quite a few excellent lenses for landscape photography, far too many to list – but I hope this article has been helpful, and that you can now confidently choose the best landscape lens for your needs.

Ultimately, the ideal lens comes down to your own individual requirements and budget, so don’t feel pressure to choose the most expensive or most popular option. Instead, think about your camera model (and its corresponding lens compatibility), as well as features such as image quality, build quality, image stabilization, focal length, and more.

Briefly, the Canon EF 16-35mm f/4L and the Nikon Z 14-30mm f/4 S lenses are excellent choices for those looking for a mix of price and quality, while the Sony FE 12-24mm f/2.8 GM is a top pick for professionals. The Canon EF 24-105mm f/4 L IS II and the Sony FE 70-200mm f/4 G are great if you love to capture a range of landscape shots from wide-angle to telephoto. Finally, for anyone looking for a budget-friendly landscape lens, the Sony E 10-18mm f/4 OSS is a reasonable buy.

Now over to you:

Do you have a favorite landscape photography lens? Which lens on this list was your favorite? Share your thoughts in the comments below!

The post 11 Best Lenses for Landscape Photography (in 2025) appeared first on Digital Photography School. It was authored by Jeremy Flint.

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.

Looking to understand the ins and outs of Photoshop’s Overlay blend mode? You’ve come to the right place.

Overlay is a great way to add punch to otherwise flat images, plus it can be used to apply artistic effects such as color tints. It’s a very versatile blend mode, and it’s pretty popular, too – so it pays to understand what it is, how it works, and when you might want to use it in your photo editing.

Below, we offer a thorough guide to this powerful tool. Let’s get started!

What is Overlay blend mode?

Photoshop – and other layer-based editing programs – offer over two dozen blending modes, which determine how different layers interact. The Overlay blend mode belongs to the “Contrast” section of the blending mode menu, which means that it’ll increase the intensity of the blended layers.

Overlay is actually a mix of two other common blend modes: Screen and Multiply. When Overlay is applied to a layer, Photoshop uses the Screen blending mode to handle any tone that’s brighter than 50% gray. And Photoshop uses the Multiply blending mode to handle any tone that’s darker than 50% gray.

So unlike other Contrast blending modes, it takes effect according to the brightness level of the base layer. In other words, it doesn’t apply some distinct operation to the base color of the layer; instead, it Screens or Multiplies.

That said, if the technical underpinnings of Overlay blend mode are making your head spin, don’t worry. The Overlay effect is easy to understand on a visual level: It makes dark tones darker and bright tones brighter. Look at what happens when I take a normal array of gray tones (below the red line), duplicate the image, and apply the Overlay blend mode (above the red line):

The lightest tones (on the left) got even lighter. And the darkest tones (on the right) got even darker.

When should you use Overlay blend mode?

As I mentioned above, the Overlay blend mode is a mix of two other blending modes – Screen and Multiply – so it’s very versatile. You can use it in all sorts of scenarios, though here are a few of the most common:

• When you want to recover the contrast on a faded vintage picture
• When you want to add contrast to a flat picture
• When you want to add a color tint to a photo
• When working on certain composites (e.g., when adding lighting to a sky)
• When applying certain texture overlays

How to use the Overlay blend mode

Using Overlay isn’t especially difficult. Start by opening an image in Photoshop, then add a second layer.

(Why is this necessary? Remember that blending modes tell Photoshop how layers should interact. Changing the blending mode of a single layer doesn’t have any effect; instead, to see a difference in your image, you need a second layer that can interact with the first.)

The type of layer you add doesn’t really matter. It can be a Smart Object, another picture, a solid color, an adjustment layer, etc.

Next, go to the Layers panel, which should be on the right-hand side of the screen. If you can’t see it, select Window>Layers or press F7.

Select the top layer in the layer stack. Then open the blending modes menu by clicking the down arrow next to the current blending mode:

Navigate to the Overlay blend mode. In Photoshop CC, you can see the blend mode’s effect on your image just by hovering over it. In Photoshop CS6, however, you won’t be able to see the effect until you’ve applied it to your image.

That’s it! If you want, you can adjust the layer’s opacity using the slider next to the blend mode menu.

Overlay blend mode: A step-by-step example

As I mentioned, one of the most common reasons photographers and retouchers use the Overlay blending mode is to add contrast. So that’s what I’ll show you in this example.

My sample photo is a bit underexposed and lacks contrast:

So I’ll click on the Create new fill or adjustment layer button and select Levels. (Alternatively, I could select Layer>New Adjustment Layer>Levels in the menu.)

Without ever touching my Levels adjustment, I can simply change the blending mode to Overlay and watch as the contrast is increased:

But if I want to modify the effect, I can use the Levels sliders to adjust the highlights, midtones, and shadows:

If I like the look but feel it’s too strong, I can always decrease the opacity of the Levels layer:

Note: Once you’re done adding contrast via the Levels panel, you can always add more adjustment layers (Curves, Color Balance, Hue/Saturation, etc.) to fine-tune your image, or you can save it as it is.

Overlay blend mode tips

Enjoying the power of Overlay blend mode? Here are a few extra tips so you can really explore its potential!

1. Try adding a tint to your photo

If you’re looking to add a tint, a texture, or some other type of final color grade, Overlay can be very useful.

For this next image, I wanted to add a blue tone to mimic cyanotype printing:

All I did was convert the photo to black and white. Then I added a Solid Color adjustment layer, chose a nice blue color, and changed the blending mode to Overlay. That’s how I got the effect shown above!

2. Don’t forget about the Hard Light blend mode

Photoshop has several commuted blending mode pairs. With a commuted blending mode pair, you get the same result when applying one blend mode to the top layer as when applying the other blend mode to the bottom layer (and reversing the layer order).

Overlay and Hard Light are commuted blending mode pairs, so if you apply the Overlay blend mode to the top layer, your image will look exactly the same as if you applied the Hard Light mode to the underlying layer before switching the layer order. (Just a useful little tidbit to keep in mind!)

3. Add a cool glowing effect

Here’s a fun technique: You can use the Overlay blending mode to add a glowing effect – sometimes called an Orton Effect – to any photo.

Start by duplicating your original layer. You can do this by dragging the layer over the Plus sign at the bottom of the Layers panel.

Then convert your duplicate layer to a Smart Object. (Simply right-click on the layer and choose Convert to Smart Object from the menu. Alternatively, go to Filter>Convert for Smart Filters.)

Technically, the Smart Object conversion step is optional, but it will allow you to go back and adjust your glow effect later on, which can come in handy.

Now select Filter>Blur>Gaussian Blur in the menu, which will open a dialog box where you can set the intensity of the blur (this will directly affect the intensity of the glow effect). Note that there’s no correct blur amount; it depends on the photo and your taste, so you’ll have to use the trial-and-error method.

Once you get a result you like, simply change the blending mode to Overlay, adjust the opacity as needed, and check out your image’s beautiful glow!

Overlay blend mode: final words

I hope you found this guide to the Overlay blend mode useful. As you should now be aware, it’s a helpful blend mode that can be applied in plenty of different situations.

And if you’re not sure whether Overlay might work for a certain scenario, just try it! There’s no harm in experimenting.

How do you plan to use Overlay when editing photos? Do you have any tips? Share your thoughts in the comments below!

The post Overlay Blend Mode: A Comprehensive Guide appeared first on Digital Photography School. It was authored by Ana Mireles.

Lightroom is a fantastic program that’s designed for fast and efficient editing, but if you make all your adjustments using your mouse, you may notice that each little operation starts to add up – until you’ve spent hours upon hours moving your cursor, clicking the mouse, and more.

Fortunately, Adobe built in plenty of handy Lightroom keyboard shortcuts, all of which aim to make life easier for photographers and photo editors. Below, I share a few of the most critical shortcuts, which will allow you to speed up your workflow, improve your editing efficiency, and even access hidden features.

Ready to become a Lightroom shortcut expert? Then let’s dive right in, starting with:

1. Reveal all shortcuts

Lightroom offers dozens of shortcuts, many of which are difficult to remember – especially if you don’t use them often.

Fortunately, you can always tap Ctrl/Cmd+/, and a list will pop up that displays all of the shortcuts available in the current module. Therefore, if you’re working in the Library module, this shortcut will reveal the Library module shortcuts:

And if you’re working in the Develop module, this shortcut will reveal the Develop module shortcuts:

(Once you’re done with this article, I highly recommend you head into Lightroom and read through the shortcuts available for both the Library and Develop modules. You’re practically guaranteed to learn something new!)

When you’ve finished checking out your shortcut options, click anywhere on the list to hide it.

2. Tap “R” to access the crop function

This shortcut is a simple one, but it’s a big timesaver. Whenever you need to crop an image, simply head into the Develop module, then hit the R key. The crop overlay will immediately appear:

And you can get to work cropping your file!

Additionally, if you don’t like the direction of the crop overlay, just tap X, then watch as it’s rotated:

This can be especially useful if you’re trying to crop a portrait image with a landscape aspect ratio and vice versa because Lightroom automatically creates crop overlays that match the orientation of the image file.

3. Use the “/” key to resample the image

Lightroom has several healing modes, all of which can be accessed with the Q key. Each of these modes approaches the healing process – which replaces content from the image by sampling content from elsewhere in the image – differently.

The wonderful thing about the Lightroom Healing tool is that it’s quite good at guessing which part of the image it should sample to create a natural-looking result. It’s a great way to correct dust spots, unwanted facial blemishes, and distracting dirt or rocks on the ground around your subject.

However, despite the Healing tool’s impressive capabilities, it doesn’t do a perfect sampling job all the time. That’s where this shortcut comes in handy!

Start by selecting one of the healing modes and clicking on your image. If you don’t like the sampling choice, just press the / key, and Lightroom will choose a different area of the image to sample. You can repeat this as often as you like until you get a satisfactory result!

For this next (zoomed-in) image, I wanted to get rid of this distracting dark blob in the background:

However, Lightroom’s first guess didn’t really work:

I hit the shortcut key, Lightroom resampled the image, and the result was much better:

Pro tip: If you keep resampling the image and you can’t do any successful healing, you can always sample the file manually by using your cursor (though this does take longer than using the shortcut).

4. Use the “Shift” key to set the white and black points

RAW files often appear a bit flat, and an easy way to add some pop is by carefully setting a white and a black point – that is, by adjusting the Whites slider until the brightest tones stretch to the right side of the histogram, and by adjusting the Blacks slider until the darkest tones stretch to the left side of the histogram.

The process of setting the white and black point can be arduous – unless you know a handy little shortcut!

Normally, if you double-click on the Whites and Blacks sliders in the Basic panel, Lightroom resets them to zero. But if you hold Shift while double-click on these sliders, Lightroom calculates where to position both sliders so that the histogram stretches all the way from the left side of the graph (shadows) to the right (highlights):

This quick fix makes most photos look better right away!

5. Use the apostrophe key to invert a Linear Gradient

Lightroom offers an array of local adjustment tools, including the Brush, the Radial Gradient (formerly known as the Radial filter), and the Linear Gradient (formerly known as the Graduated filter).

The Linear Gradient allows you to apply natural-looking adjustments to a portion of the image, such as the sky or the foreground of a landscape, without modifying the rest of the scene. Normally, you would create a Linear Gradient (you can tap Shift+W to open the Masking panel), then drag it over the foreground or sky of your shot as you see fit.

But what if you want to reverse the direction of the effect? Just press the apostrophe key – ‘ – and the Linear Gradient will flip!

Here’s a great way to use this shortcut:

1. Create a Linear Gradient over the sky of a landscape. Drop the Exposure slider to darken that area.
2. Right-click on the Gradient’s pin. Select Duplicate to create a new Linear Gradient with the same settings as the first.
3. Press the apostrophe key to flip the Gradient. The negative Exposure setting will be applied to the foreground, but you probably don’t want to make the foreground darker; instead, double-click the Exposure slider to return it to zero.
4. Now you’re ready to use this new Linear Gradient to enhance the foreground. Boost the Clarity slider to emphasize foreground texture. You might also subtly darken the foreground by dropping the Exposure slider (which will help retain a sense of drama and depth).

Once you’ve made all the above adjustments, you’ll have a beautiful file modified by two Linear Gradients!

Lightroom keyboard shortcuts: final words

Now that you’ve finished this article, you’re ready to head into Lightroom, create some stunning edits, and speed up your workflow with these handy shortcuts.

So what are you waiting for? Get post-processing!

Now over to you:

Which of these keyboard shortcuts do you plan to use? Do you have any favorite shortcuts we missed? Share your thoughts in the comments below!

The post 5 Lightroom Keyboard Shortcuts Everyone Should Know appeared first on Digital Photography School. It was authored by Andrew S. Gibson.