Wrapping your mind around the relationship between these three concepts when you’re just starting out is genuinely hard. I had pages of notes taken from Bryan Peterson’s Understanding Exposure, and I was drowning in diagrams and test shots at every ISO/shutter speed/aperture combination I could think of. One day it clicked, and everything else followed. (Check out our friends at Photzy for more free photography cheat sheets.)

The chart below would have saved me a lot of time if it had existed back then. Daniel Peter of Fotoblog Hamburg created this free downloadable cheat sheet for beginner photographers using clear, simple diagrams. It gives you a visual overview of aperture, ISO, and shutter speed without going deep into the theory behind each one. That’s by design. It’s formatted to print on a business-card-sized piece of paper so you can carry it in your pocket while you practice.

If you’d rather learn by watching, check out the SLR Lounge Photography 101 Workshop. We walk you through how to create strong images with basic gear, how to move from auto modes to manual mode, and how to actually use the exposure triangle in the field. Below is a sample from Photography 101.

Watch: understanding exposure with the exposure triangle

Watch the video below to see how Pye explains the exposure triangle. This is pulled directly from the Photography 101 Workshop.

Expanded explanation of the exposure triangle

Shutter speed is expressed as fractions of a second, so 1/50 is a longer exposure than 1/200. That trips a lot of beginners up. When photographers say “higher shutter speed,” they mean faster, not a mathematically larger number. So 1/200 is the higher shutter speed even though 1/50 is the bigger fraction.

Aperture works the same counterintuitive way. It’s also stated in fractions, so the smaller the number, the larger the opening. An f/1.4 aperture is wide open; f/22 is a pinhole. Bigger number, smaller hole.

A useful analogy: picture a bucket with an adjustable hole at the top and a stream of water pouring in. The smaller the hole, the longer it needs to stay open to fill the bucket. The larger the hole, the faster it fills. In this analogy, the hole is your aperture, the time the hole stays open is your shutter speed, the water is light, and a full bucket is a properly exposed image. Not much light available? Open the aperture wide and/or use a longer shutter speed. Lots of light? Close down the aperture and/or use a faster shutter speed.

Simplified: a lot of light means faster shutter speeds and smaller (higher-number) apertures. A little light means slower shutter speeds and larger (lower-number) apertures.

A full stop means you either double or halve the amount of light in the exposure. With shutter speed, this is straightforward: going from 1/100 to 1/50 is one full stop because you’ve doubled the time light hits the sensor. With aperture, the math is slightly more complex because you’re changing the area of a circle, but the practical result is the same. Each full stop on the aperture scale (f/1.4, f/2, f/2.8, f/4, f/5.6, f/8…) either doubles or halves the light entering the lens.

As you double the light coming in via shutter speed, you need to halve it via aperture to maintain the same exposure. They work in opposite directions, and balancing them is the core skill the exposure triangle is teaching you.

What do these settings actually do to your images beyond exposure? Slower shutters introduce motion blur: streaks of light, flowing water, a moving subject going soft. Faster shutters freeze motion. How fast you need to go depends on how fast your subject is moving. For hand-holding without camera shake, a good starting point is the reciprocal rule.

Aperture controls depth of field. At f/1.4 with focus on one person in a group, everyone in front of and behind that person will be blurry. At f/8 or f/11, far more of the scene stays sharp. This is exactly how human eyes work: squinting to see something more clearly is your iris stopping down. There’s a trade-off at very small apertures, though. Stop down too far and diffraction starts softening your image.

ISO is the third variable. The higher the ISO, the less light you need to achieve a correct exposure, which lets you use faster shutter speeds or smaller apertures than you otherwise could. Think of it as artificially pressurizing the water in our bucket analogy to fill it faster. The cost is image noise: higher ISO introduces grain and reduces fine detail. How much noise is acceptable depends on your camera’s sensor. On modern full-frame cameras like the Canon R6 Mark II or Sony A7 IV, ISO 3200 and even 6400 can be clean enough for professional work. On smaller-sensor crop bodies, we tend to cap things lower. The specifics change with every camera generation, so your own testing in your actual shooting conditions matters more than any general rule.

Flowers provide a unique range of colors, tone, texture, and other attributes that make them perfect subjects. In fact, it is in the details of these attributes that we find ourselves inspired. To prove it, we’ve curated a collection of inspirational macro flower photos that we’d like to share with you. For those interested in taking a more hands-on approach, we’ve also put together a list of tips and the gear you’ll need to practice macro flower photography.  Here’s what we’ll cover in this article:

• Macro Flower Photography Gear
• Tips for Optimal Macro Flower Photography
• Macro Flower Picture Inspiration

The Gear You’ll Need for Macro Flower Photography

While you can’t overstate the importance of education when it comes to exploring new territory, there’s also something to be said about the gear you use on your journey, especially when it comes to macro photography. A number of point-and-shoot cameras offer a macro “mode,” which can get the job done, but I’d like to encourage you to explore other modes (such as aperture priority or manual mode) as they’ll give you more creative control along the way. This might require an upgrade in gear, but use what you have available until you’re ready to take the next step.

Camera (DSLR or Mirrorless) for Macro Flower Photos

Most DSLR or newer mirrorless cameras offer more creative control in terms of exposure, stability, file type, and more. Here are a few great, hi-res options from Canon, Nikon, Sony, and Fujifilm.

Macro Lens Choice for Flowers

First, know that you can capture macro-style photos without a macro lens, using distance or other techniques. For example, you might photograph a flower from a close distance with a longer distance between the flower and the background in order to achieve a shallower depth of field; however, a dedicated macro lens or extension tube will simplify the process and offer more creative options. The focal length of macro lenses varies, but the wider the angle, the closer you’ll have to get to the flower. 100mm (or its equivalent if you’re using a crop sensor camera) is a good go-to focal length. Consider some of these lens options that we’ve reviewed at SLR Lounge:

• Canon RF 100mm f/2.8 L Macro IS Lens
• Nikon Z MC 50mm f/2.8 Macro Lens
• Sigma 70mm f2.8 DG Macro ART Lens
• Fuji Fujinon XF 60mm f/2.4 R Macro Lens

Tripod

A tripod is handy but not absolutely necessary. A tripod will give you the ability to capture sharp images at lower shutter speeds. However, if your scene has plenty of light, then you may not need one.

When shooting close up, motion becomes more exaggerated. Even with image stabilization in the camera and lens, you still risk camera shake, and the last thing you want to do is spend any significant amount of time setting up a shot only to have it come out blurry and destined for the digital trash bin. You can help eliminate (or at least minimize) camera shake by placing your camera on a quality, sturdy tripod.

Lighting

Natural light can work, but a ring light or off-camera flash will come in handy when ambient lighting is less than desirable. You will need to modify the lighting.

Spray Bottle

The unsung hero of macro photography, spray bottles work well for adding a touch of mist to flowers for additional texture.  Combined with angled light, the water droplets created from the spray bottle add texture and interest to a macro flower image.

Tips for Shooting Macro Flower Photography

Focus on Composition

Whether you’re photographing buildings, people, or flowers, you should begin setting up your shot with an emphasis on composition.

For macro flower photography, consider compositional theories like the rule of thirds, depth of field, balance, symmetry, leading lines and other compositional tools to help you create a visually compelling composition.

Ensure You Have a Focal Point

Focus is always important, but it’s especially important in this genre. Use manual or autofocus to pinpoint the exact area of the flower you want to highlight. If the depth of field is too shallow, for example, make adjustments (via stopping down the aperture or by increasing your distance from the flower) until you can see in detail the areas of the flower you want in focus.

Find Unique Angles & Perspectives

Storytelling is key in photography, even when photographing flowers. Capture wide, medium, and tight angles so that you can put together cohesive sequences (perhaps in a blog, social media post, or album). Shoot each of these angles from a different perspective (top-down over the flower, side angle, or underneath the flower, looking up toward the sky) to add visual interest.

Shoot at the Ideal Times

Early morning or late afternoon (perhaps golden hour) sessions work best for getting softer, more pleasant light. Try to avoid the harsh, midday sunshine, if possible; otherwise, look for shade or use a reflector or scrim to diffuse and soften the light falling onto the flower(s). If using natural light, position yourself so that the natural light creates subtle directional light when it falls across the flower. Otherwise, position your flashes (and your camera) in a way that allows you to create directional light.

Use the Right Camera Settings

• Use Depth of Field with Intention – It’s really quite simple. Opt for a shallow depth of field (f/1.2-f/4) if you want to focus on key elements and blur out the rest of the flower’s surface; otherwise, dial your aperture in to f/11 and up to capture a broader range of detail in the image.
• Use a High Shutter Speed – Unless you’re indoors with absolutely no breeze, there’s a good chance the flowers you are photographing are going to blow in the wind and/or move a bit. Along with a tripod, you can dial in your shutter speed to a faster setting (1/200 or faster) to help freeze the action and eliminate camera shake.
• Use a Low ISOs – To maximize image quality, photograph your macro flower photography at low ISOs. Some cameras have better low light performance than others, but in general, try to keep your ISOs at 800 and below.

Mind Your Backdrops

Unlike other genres of photography, macro photography makes it very easy to control the background, especially for those super tight closeup shots. The focus typically falls on the shallower side while backgrounds blur into oblivion.  According to Photography-raw.com, “In a macro image, especially concerning an insect, unless you go for stacking, there will be large unfocused parts.”

Please note, however, that you should still be mindful of any distracting elements in the background and opt for a clean backdrop. You can even use a piece of paper or some other surface of your choosing to create a unique backdrop.

Shoot in RAW

Shoot in RAW (rather than jpeg) to allow for more dynamic edits. For more information about the benefits of shooting in RAW, see our article on RAW vs JPEG.

Macro Flower Photography Inspiration

Without further ado, let’s jump into a collection of inspirational macro flower photography portraits, featuring talented and award-winning artists from around the world.

Conclusion

We hope you enjoyed this collection of inspirational macro flower photography portraits. The list is not exhaustive, of course, but hopefully serves as a starting point to encourage you to further explore this unique genre of photography.

Video: 5 Tips on Shooting Sharp Images with a Wide-Open Aperture

Tip #1: Line Up Your Subjects on the Same Plane

Whenever you’re posing more than one person, you want to make sure to line everyone up on the same focal plane. The easiest way to do this is to actually walk around to the side of your subjects and look at their profiles to ensure they’re lined up correctly.  It also helps to explain to the group what it is you’re doing so that they can assist in staying lined up. I usually tell them I’m shooting at a wide aperture and explain that they need to stay lined up so that everyone is in focus. Once everybody’s lined up, take a test shot and zoom in to make sure nobody looks blurry.

Tip #2: Use Pixel-Based Focusing Systems

If you’re on a mirrorless camera, like a Canon EOS-R or Sony A7R IV, for example, you will generally already be using a pixel-based focusing system. If you’re using an older DSLR, however, like a Canon 5D Mark IV, then turn on Live View and shoot using Live View. The reason for this is pixel-based focusing does a much better job tracking focus than using through-the-lens focus systems, especially when you’re shooting with a wide-open aperture.

[Related Reading: The Ultimate Guide to Aperture]

Tip #3: Use Face & Eye Detection (If Possible)

If your camera features face & eye detection, then make sure it is turned on. Once the group is lined up, make sure your focus is point is placed directly over your subject’s face, and if you have an option to select the eyes, even better.

Tip #4: Understand Distance

It’s important to understand how distance affects depth of field, or the area in focus. The farther you are away from your subjects, the more leeway you have with the depth of field. If you’re shooting wide open on a 50mm prime, for example, you’ll have more wiggle room to capture tack-sharp images standing 15 feet away from your subjects than you would standing only six feet away (with proper social distancing in tact). The closer you stand to your subjects, the more you have to pay attention to the focal plane and other details. If you’re struggling to keep your subjects in focus at close distances, you can also step back and use another focal length (say a 105mm f/1.4 instead of a 50mm f/1.2). Either way, understand the lens you’re working with and how shooting distance affects the area in focus. See the graphic below for a visual representation of this concept.

[Related Reading: 3 Simple Photography Composition Rules for Using Depth of Field]

Tip #5: Know the Lens

Not all lenses are created equal. On the Canon RF 50mm f/1.2, for example, I know that I can still capture tack-sharp images when shooting wide open, but this isn’t the case with all prime lenses. Some prime lenses produce softer focus when shooting with a wide-open aperture. In such cases, the images will always be a little softer. You can stop down the aperture by two or three stops to increase your depth of field, which typically helps, depending on the lens.

If the lens blurs around the edges, avoid shooting wide open when using it for group shots. Stop down the aperture to f/2.8 or f/5.6 (see the image above) to take advantage of a wider depth of field and get edge-to-edge sharpness with a larger group.

This leads us to the first of three bonus tips.

Bonus Tip #1: Do Not Shoot Journalistically Wide Open

If you’re shooting journalistically, do not shoot with a wide-open aperture. When it comes to shooting portraits and your subject is holding still and posing while you work to capture the shot, you have a better chance of capturing an artistic, tack-sharp image with a shallow depth of field.

When you’re shooting journalistically, in the moment, you’re going to get a lot of blurry images with a wide-open aperture. If you’re photographing a bride and groom walking down the aisle during the recessional, don’t shoot it wide open. If you do, you better know your gear and know that the focus can keep up with the action. I typically stop down the aperture during moving shots to ensure more accurate focus. So, on a 24-70mm f/2.8, I know that I can get tack-sharp images at f/2.8 because that lens focuses very quickly and the depth of field is adequate for capturing the bride and groom as they exit the ceremony site. If I’m photographing sports or other types of action shots, then I’ll stop down the aperture a bit more.

Bonus Tip #2: Verify Sharpness

Even though I’m comfortable shooting wide open, I still make sure to look through my images before moving on so that I can make sure the expressions are good and also verify sharpness, especially with group portraits. If I notice the images are not sharp, I will stop down the aperture a little until I get the results I need. It’s better than getting back to the studio later only to realize that half of the shots are out of focus.

Bonus Tip #3: Don’t Solely Rely on Depth

Keep in mind that depth is a wonderful compositional tool, but it’s only one of many available to you! You also have lighting, leading lines, framing, symmetry, and many others at your disposal. When you rely on shooting every image with a wide-open aperture so that your background is blurred, then you’re limiting the diversity of your portfolio. The images in your collection are likely going to look very similar. So, use depth as a compositional tool, but don’t lean on it as a compositional crutch.

Conclusion

We hope you enjoyed this article/video with five tips (plus three bonus tips) on how to shoot sharp images with a wide-open aperture. When you put these tips into practice, you’ll find that your shots are not only sharp at a distance but also when you step in a bit closer, even if you’re still shooting wide open. It’s important to understand that shooting wide open takes practice. Don’t try this out with paying clients without first practicing and mastering the technique.

Be sure to catch our next episode of Mastering Your Craft on Adorama’s YouTube channel next week! If you want to catch up on all the episodes, make sure you check out our playlist!

Follow these natural light portrait tips to use hard light to shape the body with an example from our new Engagement Photography 101 course, which we designed to guide you from communication to capture to create stunning engagement photography using the gear you already have.

Video: Natural Light Portrait Tips | Use Hard Light to Shape the Body

Natural Light Portrait Tip #1: Compose the Image

Because we’re using the sun as a directional light in our natural light portrait, your composition will depend in part on the sun’s location in the sky and how it affects the light falling on your subjects. In this scene, the sun was still a couple hours from setting, so its position allowed me to use the ocean as a backdrop for the light direction I wanted.

I chose a wide angle 24mm lens to include more of the ocean and rocks in the frame, but you can really use whichever focal length that best suits your needs. To minimize the effects of lens distortion associated with capturing portraits on a wide angle lens, it helps to place the subjects toward the center of the frame. The distortion becomes more obvious the closer the distance between the camera and the subjects.

[Related Reading: 5 Things to Look for When Shooting Natural Light Portraits in Urban Locations]

Natural Light Portrait Tip #2: Dial in Ambient Exposure

As I mentioned before, you can use whatever gear you have to capture natural light portraits, but you’ll still need to use your tools you have available to dial in ambient exposure. For this shot, we opted for a wide aperture (f/1.4) and shallow depth of field to create a bit of separation between our subjects and the background, and this required a faster shutter speed (1/8000) and low ISO (100). The goal is to create a dramatic natural light portrait using hard light, so the ambient exposure leans toward the left side of the histogram while still trying to maximize dynamic range.

Natural Light Portrait Tip #3: Position Your Subjects

Positioning your subjects ties into both your composition (step 1) as well as how you’re going to pose your subjects (step 4), and it holds the key for making this shot work. You want to position your subjects in a way that allows you to make the available natural light work for you while also capturing the scene, or at least as much of the backdrop as you want to reveal. In this particular scene, I positioned the female subject in front of the male subject to prevent her from falling into the male’s shadow, which would’ve happened if he stood at her side, between her position and the sun.

Natural Light Portrait Tip #4: Direct Your Subjects into a Pose

How you pose your subjects will determine your level of success for using hard light to shape the body in your portraits. All of your knowledge of foundational posing will come into play here, as well as light patterns. After moving the subjects into position (in a combination open and stacked pose), I asked the female subject to turn her face slightly toward the sun, which created nice Rembrandt lighting on her face. As hand position is also important, I asked her to hold her dress with her left hand and reach back with the other hand to hold the male subject’s hand. I then asked the male subject to step slightly to his right to reduce the overlap between the subjects. Finally, I directed his gaze to create an “x” pattern between the eye direction of the two subjects, and we were ready to capture the image.

[Related Reading: 5 Primary Light Patters and Their Purposes]

Natural Light Portrait Tip #5: Capture the Shot

To make the image more dynamic, I just needed to wait for the right moment with the crashing waves in the background so that I could capture the shot. You can continue to refine the pose and direct for multiple expressions once you’ve gotten the shot you’re after.

Conclusion

I hope you found these natural light portrait tips on using hard light to shape the body helpful. This technique proves that you don’t have to use flash to capture dramatically lit images. If you’re interested in learning more about how to photograph couples, don’t miss our Engagement Photography 101 workshop, which is available for purchase now.

Fall Portraits Video Tutorial

Gear Used in the Fall Portraits Tutorial

• Canon EOS 5D Mark IV
• Canon 50mm f/1.2L USM Lens
• Profoto B10 Plus
• Peak Design Travel Tripod
• Air Remote TTL
• Umbrella Deep White XL
• Manfrotto Nano Stand

Before you pick up your camera or reach for your flashes, check out our C.A.M.P. framework and simplify your lighting process.

• Composition: What do we want our scene to look like? Where do we want the camera to be? What’s the angle? What do we want our subjects to be doing?
• Ambient Light Exposure: Choose the intention of the scene. Do we want a dramatic image (darkening the ambient light and using more flash) or do we want a softer image (brightening the ambient light and using a more natural power of flash)?
• Modify/Add Light: Are your subjects visible in the frame or do they need to be chiseled out? Do you need to add an additional light source?
• Pose & Photograph: Take your shot!

1. Compose the Shot

I decided early on that I wanted to set the aperture somewhere between f/1.4 and f/2 to leave the shot kind of very blurred in the background, and I knew I wanted to add quite a bit of light to her. The reason for this is so that I can use depth of field and lighting as compositional tools. What you’ll notice in this scene is that the sun is positioned up and to the left, causing light to fall across the scene.

Where you place your subject can make a big difference. For example, the hair light falling on my subject will change depending on where she’s standing. It’s important to think of these things because as we’re shooting, we essentially already have two to three light sources set up for us. We have the sun, which in this case offers a nice hair light and creates kind of a rim light. We also have the sky, which serves as the main light and illuminating her face. We also have other fill light that we’re getting from the scene. Basically, try to start in a spot that already offers good lighting options, and then simply add light to it (if necessary) to get to your final image.

You don’t need a tripod for this shot, but I’ve decided to use one to keep the composition steady throughout the entire session.

2. Dial In Your Ambient Exposure

As a natural light image, this setup works well and you can shoot this as is (see the image above, to the left). What I wanted to do, however, was set the intention for my photograph by going to the “A” in the CAMP framework and exposing the ambient light. As I mentioned before, I wanted to create a kind of a dark, rich autumn tone to the image, so I adjusted my ambient light and brought my shutter speed up to 1/2000. Of course, this meant that I’d have to use high speed sync on my flash, but that was fine.

Using a fast shutter speed (e.g. 1/2000) does a couple different things. First, it allows me to get the background exactly where I want it, which gives agency to my intentions as an artist. It also allows me to notice where the light is landing, specifically on my subject’s face. In this scene, I noticed that the light was coming in from the top left side. I decided to place my light kind of on the top left as well to simply add to the existing light direction.

3. Modify (or Add) Light

At this point, we need to either modify or add light (or possibly both). In this scene, modification wouldn’t have worked, really, as I didn’t have any way to effectively reflect light. So, I added a Profoto B10 Plus and used a large modifier.

I used a deep umbrella in order to keep the light that I added to the scene very soft and natural looking. I wanted it to match the light coming in from the sky. When I took a test shot, I noticed that everything went bright. This happened because I had the shutter speed set to 1/2000, but I forgot to press sync on the remote and go to high speed. It was a quick and easy fix, but it’s something to look out for if you run into a similar situation.

All that’s left in this step is to choose our power. The benefit of using the CAMP framework is that it allows us to cover all of the important aspects of setting up a shot while working through one variable at a time. I recommend using the histogram and highlight alert to make sure that you’re good in terms of light and exposure. You should know immediately if any details are blown out or otherwise lost.

Please note: Although I used a Manfrotto Nano Stand with an umbrella for this shot, this is not the stand that I would say that you should work with if you’re shooting solo in a scene like this. Instead, you’re going to want to use something heavy duty, like a C-stand. You’ll also want to place the stand(s) in flat areas with sandbags to keep them secure and stable. Luckily, the subject’s mom is also a photographer who knew exactly what we were doing and she was able to help.

4. Pose and Capture the Portrait

All that’s left is to direct your subject into a pose, give cues to draw expressions, and capture the shot. I like to use live view to shoot these because the Canon 5D IV uses a pixel-based focus system. When I’m shooting with a wide-open aperture, live view on a 5D IV basically guarantees really sharp results each time. I finished off the image using our Mood Lightroom Preset Pack from Visual Flow Presets.

Before & Afters

5. Post Production

Make sure you download the exercise files so you can edit along with me! Autumn photos typically work well with a warmer color palette in order to blend the colors of the foliage with the tones in the photo. To edit, we’re using the Visual Flow Presets Modern Pack. Since the presets are designed with lighting conditions in mind, I chose Soft Light for this photo to match the ambient light.  I then applied that same preset to the other images that I wanted to composite into the frame. In order to create a more full effect, I added images that had a higher density of leaves in the frame to create more interest. This is another crucial reason why using a tripod for composite imagery is highly beneficial. Once I’ve selected all the images to composite, I open them in Photoshop with the applied presets and Auto-Align the layers. I create a Layer Mask for each image that I want to add leaves from and here is the final result:

Conclusion

Hopefully, you found our tips on how to create rich & moody autumn portraits helpful. We started with a nice, natural light look and ended with our dramatic, autumn-tone image. The noticeable difference between these two shots really comes down to the intention of the photographer. I shot both images at the same time of day, but one simply features natural light while the other demonstrates how added light can transform an entire scene.

For more Profoto lighting tutorials, be sure to check out our Slice of Pye Series on their IGTV!

The article will cover the following aspects of lighting photography:

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

1: Things You Need to Photograph Lightning Successfully

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

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

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

2: Think Safety First

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

3: Understand the Right Camera Settings

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

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

Use Manual Exposure Mode

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

ISO for Lightning

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

Shutter Speed for Lightning

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

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

Aperture for Lightning

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

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

4: Finding Great Locations

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

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

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

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

5: How to Photograph Lightning at Night

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

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

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

6: How to Photograph Lightning During the Day

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

7: Composition Tips for Photographing Lightning

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

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

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

Final Thoughts

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

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

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

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

In order to deliver a complete wedding photography product, you’re going to need lenses that allow you to capture each of these aspects with artistry and creativity. In a perfect world, we’d have the finances and manpower to haul every available lens to the venue; in reality, we’re limited to a handful of lenses, each of which needs to be accessible, high-quality, and versatile.

Here is a subjective list of 6 must-have lenses for any given wedding.

1. 70-200mm F/2.8 Zoom Lens

This is my favorite lens. It creates beautiful bokeh (blur) at f/2.8, and the compression you get when you’re zoomed in from 150-200mm gives your image a look that’s hard to achieve with any other lens. It also allows you to get in close to the action without disrupting the moment.

The 70-200mm also allows you to capture candids, from the tears at a wedding ceremony to the laughs at a wedding reception.

Mirrorless Options

• Sony FE 70-200mm f/2.8 GM OSS Lens (Full review here!)
• Canon RF 70-200mm f/2.8 L IS USM Lens (Full review here!)
• Nikon NIKKOR Z 70-200mm f/2.8 VR S Lens (Full review here!)
• Tamron 70-180mm f/2.8 Di III C VXD G2 (Full review here!)
• Sigma 70-200mm f/2.8 DG DN OS Sports
• Fujifilm XF 50-140mm (75-210mm equiv.) f/2.8 R LM OIS WR Lens

DSLR Options

• Canon 70-200mm f/2.8L IS III USM Lens
• Nikon AF-S NIKKOR 70-200mm f/2.8E FL ED VR Lens
• Sigma 70-200mm f/2.8 Sport
• Tamron SP 70-200mm f/2.8 Di VC USD G2

2. 50mm Prime Lens

This is another one of my favorite lenses. The 50mm focal length is great for portraits, and it can save the day when the light starts to drop; the wider aperture allows you to depend less on your flash and it creates a softer, more natural look for your subjects.

Whether for (certain) candid moments or posed portraits, a 50mm lens is simply one of the best all-around prime lenses for all types of photography, especially weddings.

The 50mm definitely allows you to create stunning portraits, especially with modern-day options reaching such impressive apertures as f/1.2. Just 10+ years ago, you would need to stop down most 50mm prime lenses to f/4 or f/5.6 if you really wanted sharp results, thus throwing away the highly unique and advantageous aperture.  Simply put, the shallow depth of field that softens your subjects’ skin and makes them pop off the page.

Ultra-Fast Mirrorless 50mm Prime Lens Options

• Sony FE 50mm f/1.2 GM (Full review here!)
• Canon RF 50mm f/1.2L USM Lens (Full review here!)
• Nikon NIKKOR Z 50mm f/1.2 S Lens (Full Review Here!)
• Sigma 50mm f/1.2 DG DN Art Lens for Sony E
• Rokinon AF 50mm f/1.4 FE Lens for Sony E
• Fujifilm XF 33mm (50mm equiv)  f/1.4 R LM WR Lens

Normal Mirrorless 50mm Prime Lens Options

• Sony FE 50mm f/1.4 GM
• Nikon Z 50mm f/1.8 S (Full Review Here!)
• Canon RF 50mm f/1.8 STM
• Sigma 50mm f/1.4

DSLR 50mm Prime Lens Options

• Canon EF 50mm f/1.2L USM Lens
• Nikon AF-S NIKKOR 50mm f/1.4G Lens
• Sigma 50mm f/1.4 DG HSM Art Lens for Canon EF

2024 Update: After more than 15 years in business, we have noticed something rather common with our wedding photographers: If you like 50mm, you should also try 35mm, too! This slightly wider-angle prime lens is still relatively “normal”, but its angle of view is often perfect for more active, candid, and in-the-moment images compared to a 50mm. So, try both, and see which one you like more! All brands that have excellent 50mm options, also have multiple excellent 35mm options too.

3. 24-70mm F/2.8 Zoom Lens

The versatility of the 24-70mm zoom lens is critical for smaller spaces and high-action moments. For example, a tea ceremony in a Vietnamese wedding is commonly held in a living room. The 70-200mm would be too compressed for this situation, and a 50mm or any other prime lens would not provide enough versatility, as you typically don’t have much room for movement.

Indeed, with many cultural wedding ceremonies, you may often find yourself in a packed small room, shoulder-to-shoulder with other guests, and a 24-70mm zoom is the only way to adequately document the whole event.

Mirrorless Options

• Sony FE 24-70mm f/2.8 GM II Lens (Full review here!)
• Canon RF 24-70mm f/2.8L IS USM Lens (Full review here!)
• Nikon NIKKOR Z 24-70mm f/2.8 S Lens (Full review here!)
• Sigma 24-70mm f/2.8 DG DN Art Lens for Sony E (Full review here!)
• Fujifilm XF 16-55mm (24-80mm equiv) f/2.8 R LM WR Lens

DSLR Options

• Canon EF 24-70mm f/2.8L II USM Lens
• Nikon AF-S Nikkor 24-70mm f/2.8E ED VR Lens
• Sigma 24-70mm f/2.8 DG OS HSM Art Lens for Canon EF
• Tamron SP 24.-70mm f/2.8 Di VC USD G2 Lens for Canon EF

2024 Bonus Recommendation: Modern advancements in optical technology have given us some incredible alternatives to the traditional 24-70mm focal range. For example, if you mostly do posed portraits and not much close-quarters photojournalism, consider the truly amazing Canon RF 28-70mm f/2 (yes, that’s right, f/2!) …with its stunningly gorgeous prime-like bokeh. Or, if you barely use zoom lenses OR the normal zoom ranges, you can go with a lightweight, compact, budget-friendly alternative such as the Sigma 28-70mm f/2.8, Tamron 28-75mm f/2.8, Nikon 28-75mm f/2.8. Last but not least, if you want even more zoom range than 24-70mm offers, there are a few highly unique options such as the Sony 20-70mm f/4 G, or the more common f/4 alternative, the 24-105mm’s.

4. 100mm Macro Lens

If your bride and groom are spending thousands of dollars on the details of a wedding, they are sure to appreciate you capturing the event in detail. With a 100mm Macro, you can capture detailed shots with the same quality and detail as product advertisements in magazines. Add your touch of lighting and creativity, and you get ring shots like the one below.

Be sure to check out Wedding Workshop 6 | Photographing The Details for an in-depth overview of how to capture details that get shared and published.

Mirrorless 100mm Macro Lens Options

• Sony FE 90mm f/2.8 Macro G OSS Lens
• Nikon Nikkor Z MC 105mm f/2.8 VR S Macro Lens
• Canon RF 100mm f/2.8 L Macro IS USM Macro Lens (Full review here!)
• Sigma 105mm f/2.8 DG DN Macro Art
• Tokina FiRIN 100mm f/2.8 FE Macro Lens for Sony E
• Fujifilm XF 80mm (120mm equiv.) f/2.8 R LM OIS WR Macro Lens

DSLR 100mm Macro Lens Options

• Canon EF 100mm f/2.8L Macro IS USM Lens
• Nikon AF-S VR Micro-Nikkor 105mm f/2.8G IF-ED Lens
• Sigma 105mm f/2.8 EX DG OS HSM Macro Lens for Canon EOS
• Tamron SP 90mm f/2.8 Di Macro 1:1 VC USD Lens for Canon EF

2024 Update: A lot of non-macro lenses today are also offering modest macro capabilities, such as 0.5x or “half” of a dedicated macro lens, or 2:1 reproduction. If you aren’t going to be doing a ton of macro photos, but want get some close-up images at weddings, consider one of these lenses. With subjects such as jewelry, shoes, flowers, food, and other things, you can choose any prime lens from 35mm to 85mm or 105mm, that offers roughly 0.5x macro. One of our favorites is the Canon RF 85mm f/2 IS STM, because it doubles as one of our final recommended lens categories. (Spoiler!)

5. 16-35mm Wide-Angle Zoom Lens

Sometimes the 24-70mm lens just isn’t wide enough to capture everything you want, especially at a wedding! The ultra-wide angle focal lengths beyond 24mm help you capture the whole environment, and even exaggerate perspective.

Venue and scenery/landscape shots also provide a great addition to your wedding day coverage, as they set the scene for the day and allow you to take full advantage of the scenery, especially at beautiful venues. If you don’t have a wide-angle detail photo in your wedding album.

Whether you had a giant party at a tropical resort hotel, or you eloped on a mountaintop, you need a 16-35 or similar!

Mirrorless Options

• Sony FE 16-35mm f/2.8 GM II Lens
• Canon RF 15-35mm f/2.8L IS USM Lens
• Nikon NIKKOR Z 14-24mm f/2.8 S Lens
• Fujifilm 10-24mm f/4 OIS WR Lens

DSLR Options

• Canon EF 16-35mm f/2.8L III USM Lens
• Nikon AF-S Nikkor 16-35mm f/4G ED VR Lens
• Sigma 18-35mm f/1.8 DC HSM Art Lens for Canon EF

2024 Update: This category of lenses has been one of the most-improved in recent years, thanks to mirrorless optical designs. Want something even wider? Every lens mount has a 14-24mm option; some even 12-24mm! Want something extremely compact, lightweight, and affordable? There are multiple excellent choices, such as the Sigma 16-28mm f/2.8, or the Tamron 17-28mm f/2.8 and the Nikon 17-28mm f/2.8. Or, Sony just released an impressively compact 16-25mm f/2.8. Alternatively, if you want more zoom range, the Tamron 17-50mm f/4 offers a unique perspective.

6. 85mm Prime Lens

When this article was first published in 2009, (yes, we’ve been in business THAT long!) …the Canon EF 85mm f/1.2 was in our honorable mention category. It created beautiful images, but the autofocus was terrible and the sharpness was average.

Over the years, we have fallen in love with this focal length, and the options have drastically improved! The 85mm lens is a true portrait lens compared to a 50mm; it doesn’t distort the perspective of the subject, especially if a face or body part is placed around the edges of the frame. This lens also offers great compression and background bokeh at wider apertures. Thanks to the longer focal length, even an f/2 or f/1.8 aperture will provide incredible bokeh!

Mirrorless 85mm Prime Lens Options

• Sony FE 85mm f/1.4 GM Lens
• Canon RF 85mm f/1.2L USM Lens (Full review here!)
• Nikon NIKKOR Z 85mm f/1.2 S Lens (Full review here!)
• Sigma 85mm f/1.4 DG DN Art Lens (Full review here!)
• Fujifilm 56mm f/1.2 R WR Lens

DSLR 85mm Prime Lens Options

• Canon EF 85mm f/1.4L IS USM Lens
• Nikon AF-S Nikkor 85mm f/1.4G Lens
• Sigma 85mm f/1.4 DG HSM Art Lens
• Tamron SP 85mm f/1.8 Di VC USD Lens

Honorable Mentions | Best Lenses For Wedding Photography

We have had a lot of favorite lenses over the years as wedding photographers, and while some of them were purchases that we actually regretted, many deserve an honorable mention because we still love and use them today!

• 24mm f/1.4
  For those who do a lot of low-light event photography, such as a wedding reception dance floor or a portrait under the stars, you should strongly consider investing in this relatively specialized lens. A 24mm f/1.4 is available for almost every camera mount today, both mirrorless and DSLR, especially with an adapter.
• F/2 zooms
  We mentioned one of these already, but there are more! The Canon RF 28-70mm f/2 is an incredible mid-range zoom with the buttery bokeh of our favorite 2-3 prime lenses all in one. There is also the new (as of July 2024) Sigma 28-45mm f/1.8, with a slightly more modest zoom range but a slightly faster aperture and a much more modest price tag! Additionally, for those who are looking for something longer, Tamron and Rokinon/Samyang have made 35-150mm f/2-2.8 zoom lenses. None of these zooms are universal enough for us to recommend them to all wedding or portrait photographers, but each one is a truly unique offering that deserves a mention.

What do you think? What are your must-have lenses?

If you haven’t done so already, check out our Lens Wars series, the ultimate visual guide to real world differences between a whole host of Canon professional zoom lenses and primes. In total, we tested 25 Canon lenses valued at over $40,000 dollars starting from 17mm to 300mm focal length.

CREDITS: All photographs by Lin and Jirsa Photography are copyrighted and have been used with permission for SLR Lounge. Do not copy, modify or re-post this article or images without express permission from SLR Lounge and the artist.

Milk bath photography has been a big favorite in creative boudoir images ever since Annie Leibovitz teamed with Whoopi Goldberg for the iconic milk bath image. One of the reasons it’s so popular in boudoir is because it gives a dreamy, ethereal quality to the images, especially with the addition of flower petals to the bath. While boudoir photography is well known for more intimate portraits in bedroom settings, milk bath photography provides a creative alternative. 

If you’re not sure where to start with milk bath photography, then we’ve got some top tips for you in this article to help create intimate and sensual portraits. 

1. How to Set up for Milk Bath Photography

You’ll need the basics, of course. Milk, warm water, and a bathtub are all you need to set up for a milk bath photo shoot, so it’s not going to cost you a fortune.

How much milk do you need? Usually around 3-6 liters of milk for each shoot. Whole milk works the best, but if you don’t have it, milk powder will do. Fill the bathtub with warm water and start adding milk. Bear in mind that less milk will give you translucent water, and more milk gives an opaque mixture that hides everything below the surface of the water.

If you’re not sure how much to add, don’t put all the milk in at once. Add it gradually until you get to a level of transparency that you like. Leave the milk to mix and settle for around 10 minutes before starting the shoot, and if you use milk powder make sure it’s well-mixed with no unsightly clumps and lumps in the water!

Make sure your model has a set of dry clothes for after the shoot – and she should bring at least one towel. You should use a clean floor mat and have a couple of towels handy for wiping any water on the floor so it’s not slippery.

2. Clothes and Accessories for Milk Bath Photography

If your model wants to wear something, then a sheer, see-through dress, lingerie, or fabric made of lace or chiffon will work well. If they want a bit more modesty, then a white dress will also work. It’s worth experimenting with different clothes and fabrics, especially if you or the model wants a more fashion photography vibe to the shoot.

3. Choosing Camera Settings

If you want a minimalistic, dreamy look, choose a shallow depth of field between f/1.4 and f/5.6. If you are using props, then you want a wider depth of field to keep them sharp too. Anything from f/6.3 to f/9 is where you want to be aiming, depending on the props you’re using.

If you shoot in any of the Auto modes on your camera, then it will likely give you underexposed photos. This is because the bright white surface of the milk confuses your camera’s light meter. To avoid this, use exposure compensation to overexpose your shots by one or two stops.

If you don’t already shoot in RAW format, you should for milk bath photography. This is because it’s easier to correct exposure issues like burned-out highlights and color temperature in post-processing software after the shoot. 

4. The Perfect Lighting for Milk Bath Photography

Natural light is the perfect partner for milk bath photography (but not direct sunlight). Natural light gives soft shadows and even light, which is ideal. However, it’s not always possible to use natural light, so you may need to go with an off-camera flashgun or two with softbox modifiers to give a soft light. Large white reflectors can also lift any shadows.

Studio strobe lights are often too big and unwieldy to use in a small bathroom, and there’s also the danger of water and electricity mixing, so it’s best to avoid studio monolights unless you have the space to use them safely.

Some photographers decide to use inflatable pools outdoors for milk bath shoots so they can make use of natural light. However, in cold climates, this is not going to be an option – hotel rooms with decent natural light can be a good alternative if your budget will stand it.

Because milk baths are reflective, watch where you stand during the shoot, or you may end up with reflections of yourself in the photos!

5.  Props and Posing

Rose petals and different flowers are popular for milk bath photography, but you don’t need to stick to this. Use colored glitters on the model’s face or body to give a different look, or use sliced fruits instead of flowers in the water.

If you’re using flowers, they need to be clean and not full of pollen. You don’t want dirt or pollen polluting the whiteness of the milk bath, so artificial flowers are often the way to go instead.

Keep the colors as neutral and soft as possible. Pastel colors don’t clash with the bright white of the milk, so they are ideal for this kind of shoot.

Posing your model effectively can be hard, but with milk baths, the milk and water help a lot as only the parts above the water show. This is good if your model has certain body areas she doesn’t want in the photos, as you can experiment with poses to hide the bits she doesn’t want everyone to see.

Make use of the white negative space around the model that the milk bath provides, but don’t forget to home in on the smaller details in some photos.

Final Thoughts

Milk bath photography doesn’t have to be cliched. You can create original, subtle, or sultry boudoir images with the right lighting and props, and the only limit is the imagination. We hope you gained some knowledge and inspiration from our milk bath photography tips to use in your next photography project.