9 Tips for Breathtaking Seascape Photography

The post 9 Tips for Breathtaking Seascape Photography appeared first on Digital Photography School. It was authored by Barry J Brady.

Capturing beautiful seascape photos might seem difficult, but it’s not as hard as you might think – once you know a few simple techniques.

I’ve been doing seascape photography for years, and in this article, I share my top tips, including:

• The best settings for consistent results
• How to choose the perfect lighting for stunning seascape images
• How to pick the right locations and tides for amazing photos
• Much more!

Ready to capture seascape shots like a pro? Then let’s dive right in, starting with my first tip:

1. Take proper safety precautions

First things first:

Seascape photography can be dangerous. As a seascape photographer, you spend time hiking over slippery and sharp rocks as the tide rises and the waves come closer and closer.

So always be aware of your surroundings and constantly observe what is happening around you. I’ve been trapped on a rocky outcrop with nothing but a wild sea around me. I’ve also been completely soaked by freak waves, and I’ve almost lost my camera more than once.

On the other hand, if you take proper precautions, you’ll find that the results of your sea adventures will be well worth it! Wear shoes with plenty of traction, always carry a phone, and keep waterproof bags on hand in case you need to protect your camera. And be mindful of the tide; if it starts to come in, make sure you have a clear exit strategy.

Finally, shoot with fellow photographers so you can help one other if necessary.

2. Scout the area and follow the tides

Once you pick a seascape photography location, start with a scouting trip. Consider possible foreground elements (such as rocks and sand patterns), look for stunning backgrounds (such as sea stacks), and pay careful attention to water levels.

Additionally, you must spend plenty of time researching the tides. Most coastal towns will have a tide table or chart available (you can also simply Google “tide table for [location]”), and I encourage you to study it carefully.

Now, there is no best tide for seascape photos. The right tide depends on the location, which is why a scouting trip is so critical. As you identify key foregrounds and backgrounds, you’ll need to note the tide – then make sure you plan your photo outing for a time when the essential compositional elements are exposed. (You don’t want to scout at low tide, only to return with your camera at high tide and find that the rock you were planning to photograph is now submerged!)

And bear in mind that the tide can affect the water movement and wave size. High tide will often offer lots of wave movement on beaches, but it might restrict water movement in other areas, so pay careful attention and head out when the conditions are right.

Oh, and always remember to look out for areas where the tide might rise. Little channels and gullies might seem innocuous, but they can be very dangerous at high tide; the water may recede when the tide is out, but as the tide comes in, such areas can become impossible to cross.

Pro tip: It can be a good idea to chat with local photographers and fishermen when planning a shoot. The locals often possess tons of knowledge you won’t get from tide charts.

3. Follow the weather

Do you want soft, serene seascape images? Or intense, dramatic shots with stormy skies? Here, the weather makes a huge difference – so it’s important to plan ahead.

Unfortunately, the weather in most coastal areas can be pretty unpredictable. A storm can roll in pretty quickly; alternatively, you may find yourself frustrated by clear skies when you were hoping for dark clouds.

So be sure to check the weather forecast a few hours before you plan to shoot, and then again right before you head out. I’d also encourage you to frequently watch the skies when you’re shooting. That way, if an unexpected storm whips up, you can be prepared.

And bear in mind that the weather, and particularly the wind, can make it tough to shoot sharp seascape photos. Heavy winds will shake your tripod and coat you (and your camera) with seaspray – so always carry a towel, and don’t be afraid to quit if the conditions become too rough.

4. Choose your location and lighting in advance

Coastal areas offer all sorts of photographic opportunities, and it’s easy to get overwhelmed – so I encourage you to identify your areas of interest in advance. (A scouting trip, as I discussed in a previous tip, is invaluable!)

Once you’ve picked a location, use an app like PhotoPills to determine the location of the sun around sunrise and sunset. That way, you can make sure you’re in the right position at the right time.

And speaking of the sun:

The best types of lighting for seascape photography, as with all landscape photography, are the golden hours (just after sunrise and just before sunset) and the blue hours (just before sunrise and just after sunset). The golden hours are a great way to capture magical shots with stunning light and shadows, while the blue hours guarantee ethereal lighting that makes for gorgeous long exposures.

So plan your outings for the right time of day, and get into position an hour or so before the light is right. That way, you have plenty of time to set up and determine the perfect composition.

One more piece of advice:

If you plan to shoot early in the morning or late in the evening, invest in a headlamp. Scrambling over rocks in the dark is not fun, and some extra illumination will go a long way toward keeping you safe.

5. Use the right shutter speed to blur (or freeze) the water

In seascape photography, you generally have two choices:

1. You can blur the water for a magical effect
2. You can freeze the movement of the waves for added intensity

Neither option is better than the other; it all depends on your creative vision. But it’s important that you switch your camera over to Manual mode and choose a shutter speed deliberately.

Personally, I like to blur the water when my composition includes water rolling over foreground elements. That way, I can give the water a soft, silky effect and create images that look somewhat surreal. To get the look I’m after, I generally need a shutter speed of 1/30s or slower, which is easy to achieve when shooting during the blue hour but tougher to get when the sun is still above the horizon. It’s a good idea to carry a neutral density filter or two; these simply darken down the scene so that you can use a longer shutter speed even in brighter light.

Pro tip: Try combining a neutral density filter with blue-hour light. You can really drop that shutter speed and create a fantasy-like effect – with misty water and streaky clouds.

Note that it’s not always possible to perfectly predict the effect of a slow shutter speed on the water. Different water speeds will produce different types of long-exposure blur, so I’d encourage you to experiment as much as possible and take plenty of images!

If you’re faced with intense wave action, you may wish to freeze the scene instead. For the best results, you’ll need to shoot at 1/1000s or faster – which requires either good light or a high ISO.

6. Use a narrow aperture to keep the scene sharp

Almost without exception, seascape photography is done at narrow apertures.

Why? A narrow aperture increases the depth of field so that you produce photos with the foreground and the background in focus. That way, the viewer is able to appreciate the entire scene in crisp, clear detail, from the nearest grains of sand to the most distant clouds:

For the best results, you’ll want to use an aperture in the f/8 to f/16 range. Apertures wider than f/8 will prevent you from capturing sufficient depth of field, while apertures narrower than f/16 will produce blur-inducing diffraction.

By the way, producing a sharp shot, deep depth of field shot isn’t just about selecting a narrow aperture. You also need to carefully focus your lens for the best results. Make sure to switch your lens over to manual focus, then choose a point of focus that’s about one-third of the way into the scene (the idea here is to approximate the hyperfocal distance, which will maximize your depth of field!).

7. Don’t be afraid to convert to black and white

Seascape images look amazing in color – but they can look great in black and white, too.

So I’d encourage you to shoot in color, but when editing, convert your files to monochrome. See what you think. If you don’t like the results, you can always hit the “Undo” button!

(Doing a quick B&W conversion in Lightroom is as simple as clicking a button, and the same is true of most other programs, too.)

You should also try to “see” in black and white when you’re out on a shoot. The best black and white seascape shots tend to feature silky water – the longer the exposure, the better! – and plenty of contrast in the foreground.

By the way, if you’re out shooting on a drab day, see if you can create more minimalistic compositions (i.e., include lots of negative space). The images may not look like much when in color, but with a quick black and white conversion and a boost in contrast, you’ll end up with a batch of stunning, even timeless, images.

8. Always use a tripod!

Whenever you head out to shoot seascapes, make sure you pack a tripod. A tripod will keep your camera steady as you capture long exposures, it’ll help you get the necessary depth of field, and it will improve your compositions tremendously.

Yes, tripods can be cumbersome. But they’re absolutely worth the effort, so if you don’t already own a sturdy tripod, get one.

I recommend using a carbon fiber tripod; these models combine a sturdy build with a lightweight body. However, if you don’t want to shell out for a good carbon fiber tripod, aluminum is another option (though you’ll need to clean it regularly to prevent corrosion due to seaspray!).

Note that even the sturdiest tripod may struggle to support your camera when buffeted by wind and waves, so when the weather gets really bad, you may want to pack up. And when you set your tripod on a sandy shoreline, beware: as the water comes in, your tripod may sink slightly, causing image blur. Always check your files afterward to be sure that the rocks and the clouds look sharp.

9. Choose the right foreground and background subjects

The best seascape photos feature compelling compositions, generally with an eye-catching foreground element and a beautiful backdrop. So when you’re out shooting, don’t just plonk down your camera and photograph the horizon; instead, look for interesting foregrounds and backgrounds until you find a stunning combination.

If you’re struggling to find good foregrounds, here are a few ideas:

• Rocky outcrops
• Patterns in the sand
• Rivulets of water moving toward the ocean
• Wave action
• Stunning tidepools
• Pebbles

And here are my favorite seascape backgrounds:

• Lighthouses
• Sea stacks
• Stunning sunrise and sunset skies
• Stormy clouds
• Boats

Of course, you don’t need to restrict yourself to items on my list. What’s important is that you find foregrounds and backgrounds that work together to entrance the viewer!

Seascape photography tips: final words

Well, there you have it:

9 tips to take your seascape photos to the next level.

Seascape photography is often exhilarating, magical, and humbling – all at the same time. Just remember: Always stay safe, and do your best to plan out photos in advance.

Which of these tips do you plan to use? Share your thoughts in the comments below!

The post 9 Tips for Breathtaking Seascape Photography appeared first on Digital Photography School. It was authored by Barry J Brady.

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Weekly dPS Photography Challenge: Something Sweet

The post Weekly dPS Photography Challenge: Something Sweet appeared first on Digital Photography School. It was authored by Sime.

Ana shared an article earlier on “dessert photography” and I thought ‘Something Sweet’ sounds perfect!

When I’d finished the chocolate chip cookie that my better half had just taken from the oven and made myself a coffee I thought – well, that’s a good theme for this week’s challenge!

Very simple and can be interpreted in many ways I guess – something sweet to me, right now, is cake mostly! But I’m keen to see what you come up with! A single image that’s taken this week and screams “Something Sweet” share it in the comments below OR over on our Facebook Group

Hashtags for this weeks challenge are #dPSWeeklyChallenge #dPSSomethingSweet

Get some dessert photography tips over here

Fruity!

Who doesn’t love a pav!

The two of mine above are old ‘film scans’ but I WILL bake something and photograph it this week in our Facebook Group (Have you joined?)

The post Weekly dPS Photography Challenge: Something Sweet appeared first on Digital Photography School. It was authored by Sime.

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Report: Tamron Is Developing a 50-400mm Zoom Lens

The post Report: Tamron Is Developing a 50-400mm Zoom Lens appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Tamron has unveiled the 50-400mm f/4.5-6.3 Di III VC VXD for Sony, a zoom lens that promises to pack an extraordinary focal length range, speedy autofocusing, and outstanding optics into an impressively compact body.

The 50-400mm will attract plenty of photographers based on focal length alone; bird, wildlife, and sports shooters will appreciate the lens’s super-telephoto long end and flexible zoom range, while travel and portrait snappers will love the lens’s ability to handle scene-setting images, full-body and group photos, and tighter headshots without skipping a beat. Even landscape photographers may consider switching out several primes or telephoto zooms for the new 50-400mm to simplify their kit.

Impressively, the 50-400mm offers 1:2 magnification at its widest focal length, which allows nature shooters to snap stunning close-ups of flowers, insects, and other macro subjects. And thanks to the lens’s lightweight and compact build, it can be carried anywhere – on mountain treks, deep dives into the wilderness, international travels, and more. 

Tamron explains, “[T]his new ultra-telephoto zoom lens for Sony E-mount full-frame mirrorless cameras is the same size as conventional 100-400mm zoom lenses yet offers a wider angle of view on the wide end for excellent versatility.” In other words, you get all the benefits of a superzoom lens without the extra bulk.

Superzoom lenses offer notoriously poor optics, but Tamron guarantees “high image quality” and “unparalleled high performance at all focal lengths.” And such a performance would be in line with other recent zoom lenses from Tamron – like the 150-500mm – which boast excellent sharpness across the board, especially when stopped down.

As for the lens’s autofocusing capabilities: Tamron’s VXD motor has previously proven itself capable of satisfying even bird photographers, where the ability to track moving subjects across complex scenes is essential. Of course, focusing performance also depends heavily on the camera, but paired with a recent mirrorless model like the Sony a7 IV, the 50-400mm should perform well.

While the lens may include high-level optics and quick focusing, the 50-400mm does come with a drawback worth contemplating: Poor low-light capabilities. On the wide end, the lens aperture only opens to f/4.5, which narrows to f/6.3 by 400mm – not ideal for bird and wildlife photography in dark forests, nor nighttime or indoor sports photography. Tamron has added its image stabilization technology (VC, or Vibration Compensation) for sharper shots in tough conditions, but this handy enhancement won’t do much to improve shots of moving subjects such as foraging mammals or flying birds.

That said, the 50-400mm will likely perform exceptionally well in good light, and in tougher conditions, you can always boost your ISO as needed (assuming you’re willing to compromise on image quality).

When will the 50-400mm be released, and how much will it cost?

Tamron notes that the lens will debut sometime in the fall, but the exact release date is still unknown. The price is also under wraps, but going by the $1399 150-500mm, we can perhaps expect a price tag in the $800-$1300 range.

So if you’re looking for a smaller yet powerful telephoto zoom – for sports photography, wildlife photography, bird photography, travel photography, and more – then keep an eye out for further news on the 50-400mm. 

Now over to you:

What do you think of Tamron’s latest lens announcement? Are you pleased? Disappointed? Will you consider purchasing the 50-400mm? Share your thoughts in the comments below!

The post Report: Tamron Is Developing a 50-400mm Zoom Lens appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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8 Dessert Photography Tips (for Delicious Shots!)

The post 8 Dessert Photography Tips (for Delicious Shots!) appeared first on Digital Photography School. It was authored by Ana Mireles.

Dessert photography, like most food photography, can be done in many styles – commercial, lifestyle, flat lay, and so on. But one thing all these approaches have in common? They try to make the viewer feel tempted by the featured dessert.

In this article, I share my top tips to improve your dessert images (regardless of your style). I discuss my favorite settings, how to handle dessert lighting, a simple way to make your images more appetizing, and much more.

Ready to become a dessert photoshoot master? Then let’s dive right in, starting with:

1. Choose the right settings

Canon 70D | 35mm | f/4 | 1s | ISO 100

If you want to capture consistently gorgeous dessert photos, then you must take control of your camera settings.

I use Manual mode when doing dessert photoshoots, and I encourage you to do the same. However, if you’re not yet comfortable controlling all your exposure settings independently, you can start with a semi-automatic mode like Aperture Priority. (Over time, you can work up to Manual.)

What about your other settings?

As you probably know, there are three factors that determine the exposure of each image: shutter speed, ISO, and aperture. All three need to be in balance to capture the right amount of light. However, each of them also changes the final look of the image (i.e., shutter speed affects image sharpness, ISO affects image quality, and aperture affects depth of field).

Unless there’s a moving subject, start by choosing the aperture. It’ll influence your depth of field – how much of your image is in focus – which can make a dramatic difference in your photos. (Do keep in mind, however, that the aperture isn’t the only factor affecting depth of field; the focal length and the distance between you and the subject are additional variables.)

Once you’ve determined the aperture based on your depth of field considerations, you should move on to the ISO. I’d encourage you to keep this as low as possible. On most cameras, ISO 100 is ideal, and it’ll give you high-quality images with less noise and a greater dynamic range.

Finally, move on to the shutter speed, which you should select based on exposure considerations. The point here is to use the shutter speed to balance out the overall exposure. I’d also recommend following the reciprocal rule – so if your shutter speed value is lower than your focal length, you’ll want to bring a tripod. (For example, if you’re using a 60mm lens, then you’ll need a tripod if you plan to shoot below 1/60s.) That said, tripods are pretty useful regardless of shutter speed as they offer improved control over the composition and focus.

One caveat: If your dessert photos include motion, then start by selecting the shutter speed, not the aperture, as it’ll determine whether the subject is frozen or blurred. Then choose your aperture, and finally select the ISO to balance out the exposure.

2. Use lighting to your advantage

Some people say you should always do dessert photography with natural light, while others say it’s best with studio light. For me, it’s all about the light you have available and what you’re trying to achieve.

Check out the example displayed below. I dropped some macarons from above, and I used a flash to freeze them as they fell. However, I also used a slow shutter speed – letting in some natural light – because I wanted a touch of motion blur to make the image more dynamic.

Canon 70D | 17mm | f/8 | 1/25s | ISO 100

In other words, don’t feel the need to only work with natural light or only work with studio light. Both can get you great results, and you can sometimes get the best results by combining the two! Experiment with different types of lighting, and test out different lighting directions, too.

And remember: You don’t need a big setup and expensive equipment to make mouthwatering dessert photography. What’s important is to understand how light works, and to have a few modifiers that can help you adjust the lighting quality and direction as needed.

3. Choose a color palette

Dessert photography can be very colorful (think about the vibrant hues on ice cream and birthday cakes!). However, it can also be quite muted and monotone – when photographing a rustic strudel, for example.

Before you start setting up your dessert scene, think about your color palette. And whether you decide to make things colorful or subtle, the most important thing is that you create a harmonious combination.

I’d recommend making use of a color wheel to establish a color combination from the beginning. You can then use it to help you find the right background and props. For the scene below, I chose to keep things monochromatic, which meant finding props featuring various shades of purple:

Canon 70D | 55mm | f/4 | 1/200s | ISO 100

But you can also use complementary colors, such as orange and green, to add some eye-catching contrast.

A great free tool here is Adobe Color. You don’t need to have a paid membership or even an Adobe account to use it (unless you want to save your color palettes, in which case you do need a free account, and you’ll need a paid account to share your palettes across Adobe apps). And Adobe Color even lets you extract palettes from photos, plus it offers inspiration from concepts and trends.

Of course, you don’t have to use Adobe Color. Simply do what you can to learn about color theory and use the tools that work best for you!

4. Pay careful attention to the composition

Canon 70D | 55mm | f/2.8 | 1/200s | ISO 100

Pretty much every great dessert photo features a great composition, and even if you only have a few elements in your frame, you can make use of compositional guidelines to make your dessert photos more interesting.

I’m not going to spend time delving into different composition rules and how to use them for dessert photography – that could take up an entire article! – but I will offer a few suggestions:

• Consider using the rule of thirds to place your main dessert item
• Use the rule of odds to keep your dessert compositions more dynamic
• Use props as leading lines (to lead the viewer’s eye toward the main subject)
• Experiment with minimalistic compositions for striking results
• Don’t overfill the scene; make sure to include plenty of negative space to balance out the dessert

At the end of the day, whether you need to position a single macaroon or build a complex flat-lay setup, composition is key. So always keep it in mind as you capture each new dessert photo.

One more thing: It’s important to remember that you can always take the composition in several different directions. Don’t feel like you need to find a single applicable guideline for each situation – picking the right composition is all about your style and the message you want to send or the effect you want to create.

5. Include texture whenever you can

This tip is a quick one, but it’s incredibly effective:

Whenever possible, include texture in your dessert photos.

If you know how to cook (or you watch tons of cooking shows like me!), you know how important texture can be. That’s why we add croutons to a soup or chunks of goodies to a creamy dessert.

The crunchiness occupies more senses, and that’s also what texture does in a picture. By including texture, the viewer can imagine how the dessert feels – both in their hands and in their mouth. In other words, textures help the viewer engage with the photo.

Note that adding texture doesn’t have to be complex. A handy tactic is to add a dash of an ingredient or two. Another option is to include textured props.

Canon 70D | 55mm | f/6.3 | 1/200s | ISO 100

Look at the example above. Instead of using a fully white background, I chose white paper doilies. I broke some cookies in the background and left the crumbs, and I added a teaspoon full of powdered cocoa (and I sprinkled some around the scene). All these elements add texture while maintaining the dessert’s overall color palette.

6. Adjust your angle

Canon 70D | 55mm | f/5.6 | 1/160s | ISO 100

Different angles can create radically different effects, so I encourage you to think constantly about your camera’s position in relation to the dessert.

If you’re struggling to choose the perfect angle, it helps to consider the dessert’s features. How can you showcase the dessert’s best qualities? For example, cookies are quite flat but often have a nice topping, so it makes sense to capture them from directly overhead (flat-lay style) or at a 45-degree angle. But a layered cake? That can really benefit from a side view.

Of course, while you need to showcase your subject, you also need to consider your style. How much of the background do you want to include? How many props will you add?

The most traditional dessert photography angles are flat lay (directly from above), 45 degrees (as the viewer would see it while sitting at a table), and tabletop (from the side of the dessert at table height).

Once you’ve captured a standard shot or two, I do encourage you to experiment with other perspectives. You never know what amazing results you might get!

7. Include a person

Many beginner food photographers only include the dessert – plus a few props – in their compositions. But while you can certainly capture beautiful dessert images using such an approach, if you include a person, you can make the dessert much more relatable.

You don’t need to incorporate an entire person into the composition; just the hands can look good. Their inclusion should make sense and seem natural, though, so I recommend you spend time thinking about the story that you want to tell.

Is the person preparing the dessert? Is the person eating? Are they passing plates to other characters outside the frame? You can communicate all this with the person’s position and gestures, the styling, and even your technical choices.

For instance, you can freeze the action or allow some motion blur by changing your shutter speed. You can include clean hands (for eating) or have them covered in flour (for cooking). For this next image, the hands suggest someone enjoying the bread:

Canon 70D | 55mm | f/8 | 1/200s | ISO 100

Do you see what I mean? Posing hands (or people) is a long decision-making process, and it often requires some trial and error. You’ll sometimes come up with ideas that don’t actually look good in the final image, and that’s okay. Just keep going, shoot a lot, and you’ll eventually get some great images.

8. Don’t forget to retouch your dessert photos

Pretty much every photo requires a bit of basic editing, such as exposure and color correction. But dessert photography also requires some extra retouching (especially if you’re not working with a food stylist).

For instance, the cookie might have a dent or the ice cream started to melt, in which case you can use Photoshop to get a radically improved result. (In my view, you can pretty much always improve the subject somehow!)

In the “Before” image above, there are many crumbs on the bread edges. And while texture is good (see my fifth tip!), they’re too bright against the darker brown. I should’ve wiped my knife between cuts, but I forgot, which led to a problem. Fortunately, as you can see from the “After” image, I was able to remove the crumbs using Photoshop’s Healing and Clone tools.

Dessert photography: final words

Well, there you have it:

Eight tips to enhance your dessert shots and capture mouthwatering images! I hope you found these tips useful; try them in your next shoot and see what you think!

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

The post 8 Dessert Photography Tips (for Delicious Shots!) appeared first on Digital Photography School. It was authored by Ana Mireles.

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The Lightroom Brush Tool: An Essential Guide (+ 5 Tips)

The post The Lightroom Brush Tool: An Essential Guide (+ 5 Tips) appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

What is the Lightroom Brush tool? How does it work? And how can you use it to enhance your photos?

The Adjustment Brush is one of Lightroom’s most powerful tools; it can help you improve image crispness, add stunning colors, adjust tonality, and much more.

In this article, I explain everything you need to know about the Brush tool in Lightroom. I discuss the Brush’s primary applications, I share step-by-step instructions for ensuring great results, and I offer plenty of tips and tricks along the way.

So if you’re ready to level up your editing, then let’s dive right in!

What is the Lightroom Brush tool?

The Lightroom Brush tool, also known as the Adjustment Brush tool, works just like a regular old paintbrush: You use it to “paint” across your image. And where the Brush touches, edits are applied.

In other words, the Brush tool is designed for targeted editing. You use it to make adjustments to small portions of the frame, not to the entire image. (If you want to alter the whole image – that is, apply a global edit – you can adjust Lightroom’s sliders.)

Note that you can use the Brush tool to add many different edits to an image. A Brush lets you:

• Apply exposure adjustments
• Change the white balance
• Add or reduce contrast
• Adjust the texture, clarity, and dehaze
• Adjust sharpness and noise
• Shift colors
• And more!

The Lightroom Brush tool editing options.

However, you cannot use the Brush tool to selectively apply all of Lightroom’s adjustment options. For instance, the Brush tool doesn’t let you add color grading to portions of an image, nor does it let you make targeted color calibration adjustments.

When is the Brush tool useful?

The Brush tool applies edits to parts of an image while leaving other areas untouched. This can come in handy if you want to:

• Darken or desaturate distractions in the background
• Brighten or saturate your main subject
• Dodge and burn for improved three-dimensionality
• Selectively sharpen portions of the image
• Selectively soften portions of the image
• Selectively darken the sky

Really, the applications of the Brush tool are limitless, and you can often get great results simply by experimenting. For instance, you might use the Brush to warm up just the sky. Or you might use the Brush to modify the color of a flower or to make the irises pop in a portrait photo.

How to use the Brush tool in Lightroom: step by step

Working with the Brush tool is pretty simple. Start by opening an image in the Lightroom Develop module, then click the Masking option:

The dropdown menu will offer a bevy of options, including Linear Gradient and Radial Gradient, but you should click the Brush option:

You’ll see the Lightroom Brush panel appear, and your cursor will morph into two concentric circles with a “+” inside:

At the top of the Brush panel, you can adjust your Brush properties: Size, Feather, Flow, and Density. The Size slider makes the Brush larger and smaller, while the Feather slider softens or hardens the Brush edges. The Flow slider determines how much of the editing effect is applied on each stroke, while the Density reduces the overall editing effect.

(If you want to apply very subtle edits, then set the Feather to 100 and drop the Flow below 50. On the other hand, if you’re after a heavy-handed effect, keep the Feather low and the Flow high.)

Below the Brush properties, you’ll find your editing sliders. These work like standard Lightroom sliders, except they’ll only be applied in places you paint with your Brush. Go ahead and tweak the sliders as desired. Then paint over the areas you want to adjust.

If you mess up, go ahead and click the Erase option (or hit the Alt/Opt key) and go back over the offending areas.

Once you’ve finished using a Brush, you simply click the Done button at the bottom of the screen, and you can continue editing your image as normal. If you later decide you want to edit your brushwork, you can select the Masking option again, then click on your Brush edit in the Masking panel. You’ll instantly gain access to your Brush panel – with all of your original edits intact – and you can tweak the sliders or paint on the image as needed.

You also have the option to create additional Brushes; just click the Plus icon in the Masking panel, select the Brush option, and follow the process detailed above!

5 tips for outstanding Brush tool results

Now that you know how to work with Brushes, let’s delve into some tips and tricks to enhance your edits:

1. Use the A/B option to alternate between different Brush versions

Each time you select a new Brush (or a Brush Mask), you actually have the option to create multiple Brush versions: an A version and a B version.

These Brush versions don’t affect your actual editing sliders; instead, they let you create two different Brushes with two distinct sets of Brush properties.

In my experience, this A/B Brush option is insanely useful. I often need more than one Brush to make the necessary adjustments, so I simply create an A Brush and a B Brush, then I switch back and forth as I work.

(Pro tip: You can toggle between the two Brush versions by hitting the slash key: /.)

For instance, I might create one small, hard-edged Brush to edit the little details in my image. And I might create one large, soft-edged Brush to handle the bigger subjects.

For this next image, I used a large Brush to adjust the background, and I used a smaller Brush on the flower petals:

2. Create custom Brush presets

Brush presets let you save editing effects for future use. And they’re a great way to speed up your workflow if you find yourself making the same Brush edits time and time again.

Lightroom already offers a handful of default Brush presets, which you can access by clicking the Effect flyout menu. For instance, there’s a preset to soften skin, a preset to whiten teeth, and a preset to enhance irises.

But if you want to create your own presets – which I highly recommend! – simply create a Brush and adjust the sliders. Click the Effect flyout menu, then choose Save Current Settings as New Preset.

You’ll have the option to name your preset. Then click Create and you’re done!

For example, I often like to brush in some sharpness while reducing noise, so I created a custom preset that increased the Sharpness slider while decreasing the Noise slider. I’ve also created custom skin smoothing and teeth whitening presets that are different from the Lightroom defaults. That way, I can switch over to the Brushes as required, and I don’t need to configure the sliders from scratch every single time.

3. Use a Brush to add color to your photos

If you want to enhance your photos with creative edits, then you’re going to love this trick.

Create a Brush, then select a color:

And brush the color directly onto your image!

For a realistic effect, I’d recommend keeping the color saturation low (in other words, select an area near the bottom of the color menu). And it’s a good idea to experiment with different colors, so try selecting a handful of different colors – with various saturation levels – and see what you think!

I used this technique to add a subtle splash of color to the baby’s face:

But you can also use it on a much more significant scale – to change the color of flower petals or to dramatically alter the eyes of a portrait subject, for instance.

4. Use Auto Mask to restrict the Brush to specific areas

One of the most frustrating things about the Adjustment Brush tool is that, unlike regular paintbrushes, it only comes in one shape: a circle.

And when you’re editing photos with hard lines and edges, this can present a bit of a problem. How do you confine your Brush edits to a specific area?

Enter the Auto Mask feature! Hit the Auto Mask checkbox, and Lightroom will do its best to identify edges and keep the Brush strokes from straying outside the lines. It’s hugely useful when editing portraits, wildlife, birds, and more.

For this next image, I used the Auto Mask option to keep my Brush edits inside the flower petals:

Check out the red overlay, which corresponds to my Brush strokes:

5. Use handy shortcuts to speed up your workflow

The Adjustment Brush is powerful, but it can be slow going; after all, you need to set all your brush parameters, adjust your editing sliders, and carefully paint across your image. That’s why I encourage you to speed things up with a few useful Lightroom shortcuts:

• To create a new Brush, hit K on your keyboard
• To reset all your sliders, double-click on the word Effect at the top of the panel
• To quickly change the size of the Brush, adjust your mouse scroll wheel up and down

As I mentioned above, you can also create Brush presets, which you can rely on as needed. And don’t forget about the A/B Brush switching, either!

The Lightroom Brush tool: final words

Well, there you have it:

Everything you need to know to create beautiful edits with the Adjustment Brush.

If you struggle to use the Brush at first, don’t give up. Just test out different options, play around with new edits, and create all sorts of wild results. Pretty soon, you’ll be a Brush master!

How do you plan to edit your photos with the Lightroom Brush tool? Share your thoughts in the comments below!

The post The Lightroom Brush Tool: An Essential Guide (+ 5 Tips) appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

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10 of Our Favorite Photography Accessories

The post 10 of Our Favorite Photography Accessories appeared first on Digital Photography School. It was authored by Darren Rowse.

Recently, we took a look at the most popular digital cameras and most popular lenses among the Digital Photography School community.

Both lists got a lot of positive feedback, but a couple of readers asked if we could do a similar list of our most popular photography accessories.

So we decided to put a call out to our Facebook group and our Facebook page. Our members’ recommendations are displayed below, along with a few recommendations from myself and our team here at dPS. (We’d love to hear your own recommendations in the comments below!)

1. Bellroy Venture Camera Sling 10 L

Let me kick things off by sharing my favorite photography accessory purchase of 2022: the Bellroy Venture Camera Sling.

I’ve long been a fan of Bellroy’s wallets and backpacks, and I’ve been pestering them on social media to create a camera bag. When I heard that one might be on the way, I got excited – and what they produced managed to exceed my expectations.

I just love it. The material and zippers are weatherproof, the bag is big enough for a camera body and a couple of lenses (I even can squeeze in a body with a 70-200mm lens!), and it’s comfortable to wear. Plus, the padded dividers can be folded away if you don’t need them, there are a couple of straps to attach a tripod/rain jacket, it’s fashionable (and comes in three colors), it’s discrete, and it’s made of recycled materials yet doesn’t sacrifice on quality.

I like it so much that I use it most days, whether I’m packing a camera or not. And it always gets commented on.

So do yourself a favor and check out the Bellroy Venture Camera Sling!

2. Focpro Tripod Leveling Base (with offset bubble level)

Kevin suggested the Focpro Tripod Leveling Base in our Facebook group, and it’s an accessory that anyone looking to level their camera will find useful.

He writes:

“I couldn’t afford the big names, Benro, Manfrotto, RRS so I got a FOCPRO which is identical to a Leofoto model.”

Check out this tripod leveling base on Amazon.

3. Lowepro Slingshot 202 Camera Bag

Sue over on our Facebook Page recommended the Lowepro Slingshot 202 Camera Bag, which is a favorite of quite a few dPS readers!

Sue wrote:

“Easy access and works well when I kayak, I secure it to the kayak just in front of the cockpit and the side entry onto the bag makes it easy for me to change lenses while on the water.”

It’s a great bag if you want to carry a camera body and 3-4 lenses – thanks for the fantastic pick, Sue!

You can check out the Lowepro Slingshot 202 on Amazon.

4. SanDisk 4 TB Extreme PRO Portable SSD

This is another personal recommendation, and it’s an item that has helped my own photography workflow a lot.

I’ve recently started doing some sports photography, and it’s not uncommon for me to return from a football game with upwards of 3,000 images! Needless to say, I’ve been forced to rethink how to work through them all on my computer, which has a modestly sized hard drive.

Thanks to SanDisk’s 4 TB drive, I can cull, process, and export images quickly without clogging up my system. The 2000 MB/s speed is blazingly fast, and while 4 TB may be overkill for some, I got the drive at a too-good-to-be-true price (at the time of writing, it’s still heavily discounted!). The 1 TB and 2 TB versions are more affordable alternatives.

Note: Sandisk is also still selling the first versions of its Extreme SSD drives, which boast 1050 MB/s read speeds and up to 1000 MB/s write speeds. I’ve used these in the past, and they too are excellent (and come in 500 GB, 1 TB, 2 TB, and 4 TB options).

Get your SanDisk 4 TB Extreme PRO Portable SSD on Amazon!

5. Joby Gorillapod

Carol made a suggestion that we know many of our readers love: the JOBY Gorillapod.

I still remember when Joby released the first version of this innovative accessory. I marveled at a YouTube demonstration in which a photographer used the Gorillapod to mount their DSLR to a tree branch on a mountain biking course and came away with some amazing photos.

Carol explains her reasons for recommending the Gorillapod:

because it’s sturdy and small so I carry it with me more often than a larger tripod.

These days, Joby offers Gorillapods for 1 kg and 3 kg setups – not to mention an amazing variety of other accessories, including microphones, a phone gimbal, and much more.

6. Godox AD200Pro Pocket Flash

Tara recommended the Godox AD200Pro over on our Facebook page, and it came at a good time: I was only just looking at options for a pocketable strobe, and I’m a bit of a fanboy for some of Godox’s latest releases (I use their continuous lights).

Tara writes:

I love the size and the ease of use. It’s actually easier to use than my TT350 mini-flash.

Thanks for the recommendation, Tara!

7. Kingston Canvas React Plus 256 GB SD Card

A few months back, I upgraded my main camera body to a Sony a7 IV, and my a7 III became my second body. I’ve loved the a7 IV’s higher-megapixel sensor and the CFExpress card slot, but I’ve certainly noticed my cards filling up faster (do you see a theme in my recommendations so far?).

As I mentioned above, I’m now shooting a lot of sports, and I often don’t have time to switch out my cards, so I decided to bite the bullet and get a larger-capacity product.

After a bit of research, I found that the Kingston Canvas React SD cards top the charts for speed and buffer on most testing sites. They’re also cheaper than Sony’s Tough cards. “Faster” and “cheaper” are two of my favorite words, so I snapped one up and couldn’t be happier.

The 256 GB card is the largest option, but they also come in 128 GB, 64 GB, and 32 GB versions. They come with an SD card reader, too (and it’s always handy to have a spare!).

8. Manfrotto L Bracket

This recommendation comes from Barry, who writes:

The Manfrotto “L” bracket for my Manfrotto tripod for going from landscape to portrait orientation in seconds. It is invaluable for me in the field. Love it!

This bracket comes with three different plate attachments depending on which one you use. There’s the Q2, the Q5 (pictured), and the RC4.

You can grab the bracket on Amazon!

9. Fotasy Premier Konica AR Lens to Fuji X Lens Adapter

This Fotasy adapter is another recommendation from Tara, who writes:

There is a unique magic to the combination of the Konica glass and X-Trans sensor.

We’ve noticed a lot of our readers in the past year or two buying lens adapters like this one, particularly with a growing number of people moving from DSLRs to mirrorless systems and/or switching brands.

It’s wonderful to see these clever devices allowing our old lenses to get used on our modern cameras.

Amazon now has a whole category page dedicated to lens adapters, so check it out to see if the combination you need is now supported.

10. Peak Design Travel Tripod

When Ben messaged us to recommend the Peak Design Travel Tripod, it wasn’t the first time we’d heard a reader raving about it.

It is by no means the most affordable option, but it folds down small yet can be extended to a good height. Here’s what Ben wrote:

I almost let the price of it put me off but I’m so glad I didn’t. I took this on a recent trip around Europe and it was so handy to have with me. It’s light, small, and still sturdy.

This tripod comes in aluminum, though if you want to upgrade, there’s a carbon fiber one, too!

What is your favorite photography accessory?

We’ve shared 10 of our favorite photography accessories. What would you add to the list?

We’d love to create these lists semi-regularly, so if you’ve got an item you love to use – whether it’s a camera bag, a lens accessory, a storage solution, or something completely different – let us know about it in the comments below, and we might feature it in our next accessory roundup!

The post 10 of Our Favorite Photography Accessories appeared first on Digital Photography School. It was authored by Darren Rowse.

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