Luminar Neo Will Gain New Noiseless AI Extension on August 30th

The post Luminar Neo Will Gain New Noiseless AI Extension on August 30th appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Luminar Neo, the latest release in Skylum’s series of AI-driven editing programs, will soon receive a major upgrade: the Noiseless AI extension, designed to remove image noise while retaining crisp, clear detail. 

While Luminar Neo does already offer a noise reduction option, Skylum claims that Noiseless AI is a “higher-quality” tool that ensures you “no longer have to compromise on ISO when capturing photos.” The company explains: “Based on deep photo analysis, Noiseless AI determines an image’s noise level and suggests one of three noise reduction presets…[O]ne click gets rid of noise throughout the photo.” 

Most photographers occasionally struggle with noisy high-ISO images, and in recent years, various software companies have released tools promising an effective solution, such as DeNoise AI (from Topaz Labs) and NoNoise AI (from ON1). It remains to be seen how Skylum’s Noiseless AI program will perform, but Luminar Neo’s inbuilt noise reduction tool is already highly regarded. I’m hopeful that Skylum can build upon its initial success.

Noiseless AI is part of Skylum’s newest software initiative. Instead of producing brand-new Luminar programs, Skylum is releasing a series of extensions that offer expanded image editing functionality to Luminar Neo users. At present, one extension – called “HDR Merge” – is available, and Skylum has already named several upcoming additions:  

• AI Background Removal, which will allow users to easily remove backgrounds from a wide variety of images.
• Upscale AI, which will allow users to improve image resolution for cropping and large printing.

Both AI Background Removal and Upscale AI will launch in November along with two other still-unrevealed extensions. A seventh extension will become available in December (according to Skylum, it will be “extra special”). 

Noiseless AI will be released on August 30th. Unfortunately, the extension isn’t free; even current Luminar Neo owners will need to shell out for the noise-reduction tool. And you cannot grab Noiseless AI on its own. Instead, you’ll need to buy access to the entire Luminar Neo extension pack – either as a one-time purchase or as part of the new Luminar Neo subscription plans (Pro Monthly and Pro Yearly). 

The subscription plans include access to both Luminar Neo and all upcoming extensions, and while Skylum does offer various discounts for current Luminar users (see the list on the Neo FAQ page), the base price is on the high side: $14.95/month for the Pro Monthly plan. The yearly plan is a more reasonable $7.42/month (but paid annually).

For those who prefer one-time payment options, you can currently purchase access to all current and upcoming 2022 extensions for $199. Again, various discounts are available for existing Skylum customers.

If you’re already a Luminar fan and are interested in any of the announced extensions, I’d encourage you to purchase the extension pack while the price is low. However, if you’re worried you may not have much use for Noiseless AI, HDR Merge, AI Background Removal, and Upscale AI, then consider waiting until the remaining extensions have been unveiled before making your decision. 

Now over to you:

What do you think of Skylum’s new extensions? Will you pay for them? Why or why not? Share your thoughts in the comments below!

The post Luminar Neo Will Gain New Noiseless AI Extension on August 30th appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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8 Sunrise Photography Tips for Breathtaking Results

The post 8 Sunrise Photography Tips for Breathtaking Results appeared first on Digital Photography School. It was authored by Tim Gilbreath.

Capturing stunning sunrise photos – the kind that will impress even a professional – might seem difficult, but it’s not as hard as you’d think.

I’ve been doing sunrise photography for years, and over time, I’ve developed plenty of tips and tricks that guarantee great results, including:

• The sunrise camera settings that rarely fail
• The must-have gear for every sunrise photoshoot
• The key steps you should take before you arrive on location
• Much more!

So if you’re looking to get started with sunrise photography or you simply want a few tips to enhance your photos, then read on!

1. Start by scouting the location

As tempting as it is to just show up at a convenient location and start shooting, you greatly increase your chances of success by planning your sunrise photoshoot in advance.

First, you’ll need to determine the best location from which to capture your image. Pick an area that is out of the way of road and foot traffic, where you’re unlikely to be disturbed. If you can, head to the location a few days before the shoot and ensure your view of the horizon will be unobstructed and free of any hazards. (Also make sure that you’ll be able to easily access the location; you’ll be walking around with your camera in the dark, after all!)

As the photoshoot nears, frequently check the weather. If your shooting time coincides with an approaching or recently ended storm, the results can be staggering. Rain and storm clouds can add a dramatic layer of dimension to the scene. But you should also take steps to stay safe; don’t go out if lightning is visible, and make sure you carry a flashlight to help you find your way in the dark.

It’s also important that you pay careful attention to the sunrise time. You don’t want to arrive on location only to find that the sun is already above the horizon! I’d recommend pinpointing the perfect time to shoot by using an online tool or smartphone app that displays precise sunrise times for your location. Many low-cost (and sometimes free) solutions are available, including PhotoPills (for Android and iOS) and The Photographer’s Ephemeris (for Android and iOS).

2. Use the light to your advantage

As you probably already know, sunrise light looks incredible; it’s soft, it’s warm, and it creates long shadows that can add a sense of three-dimensionality to your subjects.

So as soon as the sun peeks over the horizon, use the light to your advantage. You can shoot straight into the sunrise, yes – but you can also try turning your camera until you get beautiful texture and drama in the foreground elements (e.g., rocks, trees, or ocean waves).

You should also try turning around completely; for one, the display to the west is often equally stunning, plus the area behind you will be front lit rather than backlit and therefore offer a completely different sense of atmosphere.

By the way, if you’re after ethereal, even surreal photos, make sure you start shooting before the sun rises. The time just before the sun comes up is known as the blue hour, and it’s a favorite of landscape photographers.

Also, bear in mind that your camera will try to neutralize the warming effect produced by sunrise lighting. If you shoot in RAW, you can always remove this white balance setting in post-processing – but it’s often a good idea to adjust your in-camera white balance options so you can get an accurate image preview on your LCD. Try setting the camera to one of its cooler presets (such as Shade) and see whether you like the results.

3. Plan your sunrise photos in advance

While it’s good to do general scouting – where you establish the viability of the location, check the weather, and determine the sunrise time – it’s important to also think about your image specifics before you arrive on location.

Ask yourself:

What look am I after? Do I want to capture a clear subject lit by the sunlight? Or will the sunrise itself be the star of the show? You don’t have to commit to an approach in advance – and you can always try out multiple options once you’re in position – but the sunrise will occur quickly, and if you’re not prepared, you’ll miss out on the action.

When planning beforehand, you should also think about any other special considerations. Will you use neutral density filters to lengthen your shutter speed? Will you use a graduated neutral density filter to balance the foreground and background? Will you use an HDR technique? Make sure you have all relevant filters on hand and be ready to quickly capture bracketed shots as needed.

4. Gather the proper gear

You can’t capture a great sunrise shot without the right gear, so make sure you have everything ready to go before you head out. (I’d recommend packing your bag the night before; that way, you don’t accidentally forget any equipment in the rush to leave!)

First and foremost, you’ll want to bring your tripod. The first handful of minutes before the sun has fully risen won’t offer much light, so you’ll need a steady base for your camera. This is even more important if you plan to shoot in the blue hour before sunrise or if you need to do HDR bracketing.

Second, you’ll want to bring the right lens for the shoot. While beautiful landscapes can be captured using a 50mm to 85mm focal length, a wide-angle lens is generally best. If you’re just starting out, a kit zoom lens (such as an 18-55mm model) will get the job done, but if you have a prime lens in the 12mm to 24mm range, you’ll have a better chance of capturing a sharper image, and you’ll be able to capture a vast, sweeping portion of the scene.

Finally, although using filters can subtly degrade image quality, some can be useful for sunrise photography. As I mentioned above, a GND (graduated neutral density) filter will balance the scene by darkening the upper portion of the sky so you can capture a well-exposed and dramatic shot. And a neutral density filter will block out light, which is helpful if you want to use long-exposure techniques to blur clouds and/or water.

5. Use the right sunrise camera settings

The right camera settings will ensure you capture beautiful colors as well as plenty of detail in both the sky and the foreground. I encourage you to select most of these settings before you even arrive at your photoshoot destination; that way, when the sunrise begins, you’re ready to start shooting!

So what settings are best for sunrise photoshoots?

I’d recommend using a smaller aperture, such as f/8 or f/11, to maximize the depth of field and capture sharp detail throughout the image. If you’re using a tripod, this shouldn’t be a problem!

If possible, use a low ISO such as 100 or 200 to avoid noise in the final file. As with smaller apertures, this shouldn’t be a problem if you’re using a tripod, but if you’re handholding your camera, you’ll need to bump up the ISO to get a shutter speed fast enough to avoid a blurry photo (generally at least 1/60s).

And although you can shoot in Manual mode, I personally prefer to shoot almost everything in Aperture Priority. That way, I can lock my aperture and let the camera choose the shutter speed that will create a balanced exposure. Since low-light situations can confuse the camera and cause overexposure, you can always use your camera’s exposure compensation to subtly reduce the brightness.

I also recommend choosing your white balance in advance. As I mentioned above, you can use this setting to boost (or reduce) the warmth of your shot. If you’re after a warm, orangish image, set your white balance to Shade or Daylight. If you’re after a cooler effect, try using the Tungsten preset.

And, of course, always shoot in RAW! That way, you can adjust the white balance in post-processing, and you can even recover missing shadows and highlights after the fact.

6. Compose to add interest

Once you’re on location and are ready to take the shot, you must carefully position your camera to create a pleasing composition.

A common error when shooting sunrises is positioning the horizon right in the middle of the frame. While this can make for a nice photo, it normally creates too much symmetry and can make the picture seem static and boring. An alternative is to use the rule of thirds, which encourages you to position the horizon a third of the way into the scene; that way, you end up with a more dynamic, engaging shot.

Don’t just apply the rule of thirds thoughtlessly, however. Take a moment to look your scene over. Ask yourself: What part of the sunrise or sunset is the most dramatic? Are there any parts that aren’t that interesting?

Once you’ve done this, simply compose the shot to include more of the most dramatic scenery. If you have an angry, cloudy sky that accentuates the sunlight, let that occupy the upper two-thirds of the scene. If you have an interesting foreground but a less intriguing sky, let that occupy the bottom two-thirds of the image.

It’s generally best to draw the viewer into the composition, then let their eyes slowly move toward the stunning sunrise.

7. Wait for the right shot

In sunrise photography, you’ll sometimes get lucky and encounter a stunning scene right from the get-go. Other times, however, waiting is the name of the game. Due to the dynamics of natural lighting, a scene can completely change from one hour to the next (sometimes even from one minute to the next).

That’s why you should arrive on location before the sunrise starts and stay until the sunrise ends. Sure, you’ll be there for a while, but you can spend that time testing out different settings and being creative. Try different exposure times and play with your aperture. Let the clouds and sun change positions or move your camera higher or lower for a slightly different angle. And include additional subjects in the frame; put them in the foreground so they contrast with the sunrise.

The longer you’re on location shooting, the more variety you’ll end up with – and the better your chances of capturing an incredible shot.

8. Come back to the same location

Every sunrise is different – so even once you’ve shot the sunrise at a location, try to come back every so often and see what you can capture.

Consider creating a series of images that examine a location in different conditions. Shoot the location in both winter and summer; shoot just before sunrise, at the moment the sun comes up, and a few minutes after the sun has risen. Try out different compositions.

And, above all, have fun!

Sunrise photography: final words

Now that you’ve finished this article, you should be ready to capture some stunning images at sunrise. You know the best sunrise settings, you know how to use the light to your advantage, and you know how to create amazing compositions.

So get up early and create some gorgeous photos!

Now over to you:

Do you have any beautiful sunrise photography you’d like to share? Post it in the comments below!

The post 8 Sunrise Photography Tips for Breathtaking Results appeared first on Digital Photography School. It was authored by Tim Gilbreath.

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How to Focus Stack in Affinity Photo: A Step-By-Step Guide

The post How to Focus Stack in Affinity Photo: A Step-By-Step Guide appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

If you want to keep your entire subject in focus but you don’t have the necessary depth of field, then you should try focus stacking. It’s a handy technique that lets you combine multiple images – focused at different points – to create a merged file that’s sharp throughout.

But how can you focus stack using Affinity Photo? Fortunately, doing an Affinity focus stack is incredibly easy, and in this article, I take you through a step-by-step explanation. I share:

• How to focus stack in the field
• How to merge the resulting images in Affinity
• How to fine-tune the result for the best possible photo

Ready to create macro, landscape, and still life photos that feature an ultra-deep depth of field? Then let’s dive right in, starting with the first step:

Step 1: Set up your tripod

Whenever you plan to do focus stacking, no matter your subject, you must use a tripod. It’s critical that no camera movement is involved. If the camera does move as you’re making your series of photos, you’ll need to start again. 

You see, you must have all the images in your focus stack framed the exact same way. If any of the images don’t match up, Affinity will struggle to merge the files, you’ll end up with ghosting, and the finished image won’t look sharp.

Step 2: Select your subject and compose your picture

Once you bring out your tripod, set up your camera and lens. Pick a still subject, then carefully compose your image. Moving subjects will complicate the process too much when you’re just learning the stacking technique – they can easily mess up an otherwise well-executed stack – so make sure your subject is completely stationary.

(If you’re photographing a flower, wait for the wind to stop before you begin shooting. Even a small amount of movement will cause problems!)

By the way: Most focus stacks take 3, 5, or even 20 images. So make sure your composition looks good before you start. You don’t want to get halfway through your stack, then realize that you’ve failed to eliminate a distracting background element. Consider doing a quick inspection of the entire frame before you begin to shoot.

Set your camera mode to Manual. Adjust the aperture, shutter speed, and ISO so you achieve a good exposure. (If you’re not confident you got the exposure right, go ahead and take a test shot.) Then, once you’ve dialed in your manual settings, don’t adjust them. It’s important that all the photos in the series are identically exposed. And set your white balance manually or with a preset; don’t leave it on Auto!

Realize that focus stacking is a time-consuming process. So if you can get the required depth of field without taking extra shots, go that route instead. Only use focus stacking when absolutely necessary!

Here’s my stacking setup:

Step 3: Take a series of photos

Now that you’ve set up your camera and dialed in the correct settings, switch your lens to its manual focus mode. (This is usually done with an AF/MF switch on the side of the lens, though you can sometimes control the focusing mode in your camera’s settings menu.)

The goal here is to capture a series of files, with each new image focused on a different portion of your subject. That way, when you open the images in Affinity Photo, the program can blend all the shots together to create a sharp image.

So start by focusing on the part of the subject that is closest to you and take a photo. If your camera has a depth of field preview button, press it and check to see how much of the scene is in focus. Alternatively, review the image on the camera’s monitor; zoom on in to see exactly where the image begins to fade out of focus. Then adjust your lens so it’s refocused on that spot, and take another photo.

At this point, you simply need to repeat the above process until you’ve captured sharp photos of the entire subject. Keep moving the point of focus farther and farther away, and you’ll eventually cover the subject from front to back. (If you want to get the background in focus, feel free to keep going!)

The number of photos you need to take will vary depending on the lens, the distance to the subject, and the settings you use. Landscape photographers often only capture 2 or 3 images for a focus stack, but macro and product photographers may shoot 10, 20, or 30+ images, especially when working at high magnifications. If you’re just starting out, I’d encourage you to overshoot. Affinity can easily handle any extra shots. But if you fail to capture a necessary file, your final result will look blurry and the stack will be ruined.

(My focus-stacked image, used for illustration purposes, required 4 images.)

Step 4: Focus stack in Affinity Photo

Once you’ve taken your series of files, Affinity Photo makes the focus-stacking process ridiculously simple.

Just open the software, select File, then New Focus Merge:

The New Focus Merge window will open. Click Add, then select the photos you want to focus stack. Click OK:

Affinity Photo will begin to merge the photos. The amount of time this takes will depend on the number of photos you’re merging and their file sizes, but if you’ve only shot 2-10 images, it shouldn’t take more than a few minutes.

Step 4: Examine the resulting image and fix any problems

Once Affinity Photo is finished processing the focus stack, the Sources panel will appear with a list of images. At the top, you’ll see the new, merged image created by Affinity Photo. Underneath it, you’ll see all of the files that were used in the stack:

Then, with the merged image selected, zoom in. Carefully scroll around the image, looking for imperfections. If you identify any such areas, use the Toggle Source Preview button at the lower left of the Sources panel. Click through all the images in the stack until you find the one that’s the sharpest in the problem area.

In my merged photo, the back edge of the camera shows problematic ghosting:

But clicking through the image stack, I can find two images that are sharp – one that covers the back left of the old camera, and one that covers the back right.

Select the photo in the stack that offers the sharpest rendering of the problem area. Then select the Clone tool. Set it to 100% opacity. Paint over the problematic area, and watch as the ghosting disappears!

How to focus stack in Affinity Photo: final words

Making a focus stack in Affinity Photo is surprisingly simple! I’ve used other software to create focus-stacked images, but out of all the programs I’ve tried, Affinity is the most painless. Being able to simply select the images and stack them automatically is extremely convenient – and Affinity’s Clone tool makes it easy to tidy up any blurry areas.

If you’re new to focus stacking, test it out in a few different subjects and situations. Shoot a landscape or two, do a still life, and capture some macro compositions. Each subject will require a slightly different approach, but that’s part of the fun!

And experiment with aperture settings as you go. I used a 105mm lens set to f/4 for my example photos, but if you have the ability to stop down the lens, go ahead and do it. The deeper the depth of field in each individual image, the fewer images you’ll need to use in your stack.

Of course, as with any new technique, practice lots; over time, you’ll improve!

What type of images do you plan to focus stack? Share your thoughts in the comments below!

The post How to Focus Stack in Affinity Photo: A Step-By-Step Guide appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

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Nikon Autofocus Not Working? Try These 5 Troubleshooting Steps

The post Nikon Autofocus Not Working? Try These 5 Troubleshooting Steps appeared first on Digital Photography School. It was authored by Lily Sawyer.

You’re in the middle of a photoshoot and suddenly nothing is in focus. The camera viewfinder looks blurry, and every time you try to half-press the shutter button, you get no response. You know that your Nikon autofocus system isn’t working, but you don’t have the time or money to send your camera in for repairs – so what do you do?

Nikon autofocusing problems are tricky, but you’re in luck: I’ve run into AF issues on a handful of occasions, and thanks to my experiences, I’ve developed a system to quickly troubleshoot cameras on the spot.

In this article, I explain my step-by-step process so you can have your AF system up and running ASAP. And while I do cater to Nikon users (because I own a Nikon camera myself), these troubleshooting steps should work for cameras of pretty much any brand: Nikon, Canon, Sony, Fujifilm, Olympus, and more.

Let’s dive right in.

1. Make sure you’re using autofocus

It might seem silly, but it’s surprisingly easy to accidentally set your equipment to focus manually instead of automatically (especially if you’re not paying attention, if you’re gripping your setup tight due to windy conditions, or if you’re in a rush to change lenses).

Most lenses include an AF/MF toggle, and if you bump the switch without noticing, your lens’s AF system will suddenly be unresponsive. Some cameras also allow you to activate and deactivate the AF system using the menu, and a few camera models even include an AF switch on the front of the body.

So check that both the lens and the camera switches are set to autofocus, not manual focus. Your lens toggle should be set to M/A, A, or AF:

And your camera switch should be set to A or AF:

2. Make sure the back dial is not locked

Some Nikon cameras feature a back dial that encircles the multi-selector; as you can see in the image below, this can toggle between a dot and an L:

It’s known as the Focus Selector Lock switch, and it lets you determine whether you can select AF points using the multi-selector. The single dot allows you to actively select AF points, while the L will prevent the multi-selector from working.

Check that the switch is pointed toward the dot, not the L setting. It’s easy to flick this dial, especially if you frequently use back-button focusing.

Note, however, that the Focus Selector Lock won’t stop your lens from actually focusing. Focusing will still work – you just won’t be able to switch focus points.

3. Make sure you haven’t locked the focus

Nikon cameras often feature an AE-L/AF-L option (which stands for “Autoexposure Lock” and “Autofocus Lock”):

The AE-L/AF-L button can be configured in various ways, so depending on your camera and your custom settings, it may or may not be capable of locking your Nikon autofocus system.

Check to be sure that your thumb is not pressing the button while shooting. And to be extra safe, give the button a quick press and fire your camera shutter; that way, you can cancel out potential autofocus lock settings.

4. Check your lens for problems

No one ever wants to have a problem with their lens – but if your lens is broken, at least you can quickly switch to an alternative and continue shooting.

Remove your lens from your camera. Inspect the front and rear elements for smudges or dirt. Check that no part of the lens is damaged. And if you have filters on your lens, be sure that they are clear and have no cracks. If you do notice any issues, replace the broken filters, and clean off dirt and smudges with a lens cloth.

Note: Lens cloths are usually lint-free and should be used with a special lens cleaning solution. Do not blow on the lens; this can contribute to lens damage since breath can contain harmful acids. If you need to blow away dust or debris, use a rocket blower or a brush.

Then re-attach the lens, listening carefully for the click that indicates it’s in position.

5. Make sure your viewfinder is sharp

If your viewfinder is dirty, your lens will focus but the viewfinder image will still look blurry. (Note that this can be an issue with both optical and electronic viewfinders.)

So try taking a picture, then zoom in on your camera LCD to check for sharpness. You might also check your viewfinder for oils, smudges, and dirt. (I often run into this issue; somehow, my sunscreen always seems to find its way onto the viewfinder element!)

If you are having viewfinder issues, you can clean the glass the same way you clean your lens: using a lens cloth and a special cleaning solution.

By the way, viewfinder blurriness isn’t only caused by dirt and grime. Cameras also have a diopter control, which lets you adjust the viewfinder’s sharpness. The idea here is to compensate for vision problems – and carefully adjusting your diopter control will let you see clearly without glasses even if your vision is poor – but if you accidentally adjust the diopter, your viewfinder will instantly turn blurry.

As with the viewfinder issues discussed above, an accidental diopter adjustment won’t affect your images. It’ll only defocus the viewfinder, and you can quickly refocus it by moving the dial in the other direction.

Bonus: Turn your camera off and on

If you try all the steps I shared above and your Nikon autofocus still isn’t working, then it’s worth simply turning your camera off, waiting for a few seconds, then turning it back on again.

This is basically a camera reboot, and it will sometimes fix the issue. If it doesn’t work, you can also try removing the battery for a minute or two (remember to turn the camera off before removing the battery). And as a final option, you could try resetting the camera to the factory default.

One more thing: Before you give up, test your camera with another lens. If the second lens works just fine, then you’ve got a lens problem, not a camera problem, and you should probably take your lens in to be repaired.

Nikon autofocus problems: final words

Hopefully, now that you’ve finished this article, you’ve fixed your Nikon autofocus issue.

I encourage you to write down these troubleshooting steps and keep the paper in your camera bag. That way, if the issue crops up again during a shoot, you’ll immediately know what to do.

Do you have any Nikon AF troubleshooting tips? Share your thoughts in the comments below!

The post Nikon Autofocus Not Working? Try These 5 Troubleshooting Steps appeared first on Digital Photography School. It was authored by Lily Sawyer.

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How to Reduce Camera Shake (11 Powerful Techniques)

The post How to Reduce Camera Shake (11 Powerful Techniques) appeared first on Digital Photography School. It was authored by Natalie Norton.

Are you struggling with camera shake? Do your photos turn out blurry whenever you handhold the camera?

You’re not alone.

Camera shake is a huge problem. It’s the reason why beginners (and even experienced photographers!) often end up with soft, blurry, forgettable photos.

Fortunately, there are a few powerful methods you can use to ensure that your photos never suffer from camera shake again! So here are my 11 favorite techniques for avoiding camera shake and achieving tack-sharp images – no matter what.

Let’s do this!

Camera shake solutions: the basics

All cameras shake (if only microscopically). But as long as your camera is relatively steady and your shutter speed is fast enough, this shake won’t be noticeable and your images will turn out sharp.

Problems arise, however, when you combine two factors:

1. An unsteady camera
2. A slow shutter speed

If your hands are swaying back and forth and your shutter speed is too slow, you’ll end up with a blurry image. But if you can stabilize your hands or increase your shutter speed, you can often eliminate the problematic shake and capture a tack-sharp photo.

Therefore, this article presents two broad categories of techniques to handle camera shake. The first type relies on technical changes (i.e., changing your camera settings or purchasing special equipment). The second type relies on physical changes (i.e., adjusting your posture to stabilize your camera).

How to prevent camera shake: technical solutions

If you’re noticing lots of blur due to camera shake, then consider making these adjustments to your camera setup:

1. Increase your shutter speed

The faster your shutter speed, the less likely it is that camera shake will lead to blur. So if you’re noticing a lot of shaky images, your shutter speed may just be too slow.

How slow is too slow? It depends on the situation. If you’re using a long lens and you’re in a very unstable position, you’ll often need a shutter speed of 1/500s or more. However, if you’re using a short lens and solid handholding technique, you can often shoot at 1/80s – or lower – without issue. I’d encourage you to experiment with different shutter speeds and frequently check the images on your camera LCD and computer. Over time, you’ll determine the necessary shutter speed for different situations.

Unfortunately, you can’t just raise your shutter speed without consequences; to keep a balanced exposure, you’ll need to offset any shutter speed boost by increasing your camera’s ISO or widening your lens aperture.

Start by widening the aperture, which will narrow the depth of field but won’t otherwise affect image quality. Then if you still need a faster shutter speed, increase the ISO. Just beware: A higher ISO leads to more noise. So only boost the ISO when it’s absolutely necessary!

2. Use image stabilization

These days, many lenses – and even some cameras – feature built-in image stabilization, sometimes referred to as vibration reduction or vibration compensation. This technology is specifically designed to compensate for camera shake, so thanks to image stabilization, you can often use a ridiculously slow shutter speed and still come away with sharp photos.

Now, not all image stabilization is equally effective, so if you do have an image-stabilized lens or camera, I’d recommend doing some tests to see whether you can capture crisp images at, say, 1/60s, 1/30s, 1/15s, and so on.

Two quick tips:

1. Before you start shooting, make sure you turn on the image stabilization setting. If your camera includes IS, this should be in the settings menu; if your lens includes IS, this should be on the barrel.
2. If you use a tripod (see the next tip), make sure to turn off image stabilization. The tripod and the IS technology will clash and can actually lead to softer photos.

3. Put your camera on a tripod (or a monopod)

While this article primarily addresses methods of preventing shake while handholding your camera, always keep in mind the simplest and most effective method for dealing with camera shake:

Mount your camera on a (stable) tripod.

A good tripod will prevent camera shake no matter your shutter speed. That way, you can capture creative long-exposure images, full of smooth water and stretchy clouds, with shutter speeds of 1s, 5s, and longer.

Unfortunately, some tripods are pretty flimsy and won’t manage to hold your setup steady, so make sure you invest in a good-quality model.

If you like the idea of stabilizing your camera but find a tripod too cumbersome and/or inflexible, consider using a monopod. While monopods aren’t as effective as tripods, they’ll certainly reduce camera shake and are a great way to do fast-paced shooting in low light.

4. Use a remote release or the self-timer

If you do use a tripod and you drop your shutter speed beyond 1/60s or so, then you risk another type of camera shake, produced when your finger taps the shutter button.

The solution? Instead of pressing the shutter button directly, trigger the shutter from afar using a remote release, or use your camera’s self-timer to delay the shutter and give the vibrations time to fade away.

Either of these options can work, though I personally prefer using a remote release. It’s quicker, and it’s especially helpful if you need to time your shutter precisely (e.g., you need to fire the shutter at the moment a wave hits the beach).

5. Use a shorter lens

The longer your lens, the more you’ll notice camera shake in your photos.

Why?

Longer lenses capture a smaller field of view, which means they magnify the effects of subtly shaking hands. Plus, longer lenses are heavier and are therefore more difficult to hold steady.

So if camera shake is becoming a problem and you can’t increase your shutter speed or stabilize your setup using a tripod or monopod, consider switching out your lens for a shorter option. Wide-angle lenses will reduce camera shake the most, but even 50mm lenses will let you drop your shutter speed down to around 1/60s while handholding.

How to prevent camera shake: physical solutions

While technical solutions are a great way to handle camera shake, it also helps to keep yourself as steady as possible. In this section, we share our top tips for steadying yourself in any situation, starting with:

1. Tuck your elbows in

This technique is simple, yet it really works.

Just pull your elbows in toward your body and let them rest against your torso. (You can press your elbows firmly into your torso for greater stability.) Like this:

It will give your arms a rock-solid foundation to work with so that your hands are totally motionless. And when you press the shutter button, you’ll end up with no visible camera shake.

Another quick tip:

Once you have your elbows tucked in, exhale completely before hitting the shutter.

Why?

Because even the slightest movement – such as your chest rising and falling! – can cause unwanted shake, especially as you lengthen your shutter speed.

2. Raise your left shoulder

If you’re a right-eyed photographer, then you’ll need to shift to your left eye to use this technique. If you’re a left-eyed photographer, then you won’t need to change a thing!

Here’s what you do:

Raise your left shoulder high. Then brace your left elbow against your ribcage. For further stability, you can pull your right elbow into your torso (as discussed in the previous section).

Again, make sure you exhale completely before pressing the shutter button to avoid introducing additional shake.

3. Create a tripod with your knee

If you’re taking a photo low to the ground…

Or you don’t mind getting a little dirty…

Then this is the camera shake reduction technique for you! Fortunately, it’s pretty easy to pull off.

Simply sit down. Bring your knee up. Then rest your elbow on your raised knee, like this:

(Also, bring in that other elbow for greater stability!)

You’re essentially creating your own tripod – so you have solid support wherever you go.

4. Lie down on the ground (or lean against something stable)

If you’re not using a tripod, this is generally the most effective way to avoid camera shake. All you do is lie flat and let the base of your camera press flat against the ground.

To prevent any downward tilt, you can put a hand underneath the lens barrel or lens hood – and if that doesn’t do the trick, you can always create a fist.

In the lefthand image below, you’ll notice that I placed my hand flat against the cement and balanced the lens on top to give myself some height:

In the second image, I created a fist with my hand to give myself extra room to shoot.

Of course, this technique isn’t always feasible. If your subject is high off the ground, you’re probably not going to want to shoot from such a low angle. (Imagine doing an engagement session while lying flat against the ground!) Plus, lying on the ground can be uncomfortable, especially if you’re shooting on cement, in mud, in water, etc.

If you don’t want to get down on the ground, try find a stable surface, like a car hood, a car window, a wall, or a tree. Then lean your body against it; your camera will become rock-solid, and you’ll be able to handhold at surprisingly slow shutter speeds!

5. Use the machine-gun hold

This next technique is sometimes referred to as the machine-gun hold, because you hold your camera like, well, a machine gun.

Personally, I don’t use this technique much. I find it awkward and difficult to maintain for more than a second or two. But just because it doesn’t work for me doesn’t mean it won’t work for you. So give it a try and see what you think!

Here’s what you do:

Hold your camera to your eye with your right hand. Then raise your left elbow until your lens barrel can rest on it comfortably. For added stability, place your left hand on your right bicep.

Like this:

Practice until you can do the position quickly and comfortably. That way, you can create a tripod out of your arms as needed.

6. Cradle your camera

Here’s your final technique for reducing camera shake:

The camera cradle. Like this:

As you can see, I crouched down and placed my left elbow on my knee. Then I created a sort of cradle for the lens between my shoulder and my wrist.

It’s a pretty solid hold. Unfortunately, it’s tough to change positions once you’re cradling your lens, so the hold works best if you’re shooting an unmoving subject (e.g., a model during a portrait session).

How to reduce camera shake: conclusion

Well, there you have it!

You now know 11 techniques for reducing – or eliminating – camera shake. I can assure you that they work well; they’re the exact techniques that I myself use to avoid blur!

Which of these techniques is your favorite? Have you tried any of them? Share your thoughts on camera shake – and camera shake reduction techniques – in the comments below!

The post How to Reduce Camera Shake (11 Powerful Techniques) appeared first on Digital Photography School. It was authored by Natalie Norton.

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