The post How to Clean Camera Gear: My Step-By-Step Approach appeared first on Digital Photography School. It was authored by Daniel.

As you’re likely already aware, photography equipment is not cheap. Camera bodies can cost thousands of dollars, and it’s not uncommon for lenses to be even more expensive than the bodies. As a result, it can be very tempting to baby your equipment: treat it with extra caution and wrap it up in cotton wool so that no harm will come to it.

The problem with such an approach is that you’ll miss out on spectacular photos because you’re so focused on taking care of your equipment. You’ll refuse to photograph near sand, near dust, in humid environments, in snow, in rain. And you’ll keep your gear packed away in a bag until the very last moment, which just doesn’t work in many shooting scenarios.

But I have good news. With the right care and maintenance, your camera equipment will last and continue to perform for many years – no matter the conditions, and without the babying!

As a professional photographer, my equipment is often subject to not-so-camera-friendly circumstances. Rain, snow, dust, and even champagne (yes, really!) are not uncommon encounters for my cameras and lenses. Even though I generally take precautions (for example, I use rain covers on my cameras and lenses if it’s raining), there are times when the conditions are unavoidable and my equipment gets a little dirty. It’s going to happen.

But because I care for my equipment (even though it may look like I don’t!), it keeps on performing and hasn’t let me down yet. So I thought I would share my approach to camera care so you can clean and maintain your gear long into the future, too!

My recommended cleaning supplies

The good news about caring for your equipment is that it’s relatively cheap to buy what you need. Given how so few things in photography are cheap, this comes as a nice relief! Here is a list of what I use to care for my gear:

From a camera store

• Rocket blower: I use a rocket blower a lot! Squeezing it blasts out a puff of air to blow away any dust.

• Lens pen: I have just added one of these to my kit. At one end there’s a small soft, cleaning tip. At the other is a retractable brush. I haven’t had the time to use it extensively but have been impressed with it so far. However, the cleaning tip is quite small so it’s not something I use on my larger lenses, such as my 400mm f/2.8; that would take forever!
• Pre-moistened lens wipes: I love these things. These are almost like the refresher towelettes you can get at KFC, but for lenses. They’re pre-moistened with a lens cleaning solution that quickly evaporates from the lens. They’re also dirt cheap. I use the Zeiss brand ones, which cost a little more than $10 for a pack of 200.

• Microfiber cleaning cloths: Another cheap must-have. I like to have several of these. I use one just to buff lenses after using my Zeiss wipes, and I use another to clean the lenses without any product at all. I avoid using the same one across many devices (e.g., I won’t use a cloth to clean my iPhone screen and then use it to clean my lenses.)

From a regular store (non-camera tools)

• A paintbrush: These are very handy at removing dust from the surface of camera bodies and lens barrels. Buy this brand new. You don’t want it to be super soft either, as it’s just being used on the outside of the cameras and lenses and not on anything that needs to be protected.

• Makeup brush: This is something that people often laugh when they see it in my bag. But then they think, “Hey, that’s a good idea!” If you want to add one to your kit, make sure you buy one brand new. You don’t want your partner’s or friend’s blush going all over your lens! Generally, the more expensive brushes are better as their bristles are much softer. The one I have is also retractable, which is ideal as it protects the brush.

• Tek Towel: I got a Tek Towel for my birthday years ago and decided to use it to clean my gear. It works brilliantly, but a clean towel will work just as well.

• Ziploc bag: This is where I store my cleaning gear to keep it clean and as dust-free as possible!

With these items, I am able to keep my lenses and camera bodies looking (almost) like new. Now let’s take a look at my cleaning workflow!

How to clean lenses

Lenses are easy to scratch if you’re not careful, but with the right approach, you can keep your precious glass clean and scratch-free. This is what I do and recommend:

Step 1: Use the rocket blower

The first step is to remove any larger bits of dust and dirt from the front lens element. For this, I use the rocket blower. Squeezing it blows air out of the tip and will blow away larger, looser bits of dust.

It’s important not to use a cloth for this step as this can drag dust over the lens and scratch the glass element. This is why a rocket blower is very useful and should always be used first.

Step 2: Use the lens pen

Hopefully, the blower was able to remove all the dust. However, there are times when some little specs remain. To remove these, I use the brush on the end of my lens pen. A quick flick of the brush around the lens should do the trick.

You shouldn’t need to apply much (or any) pressure. A light brushing motion should remove all the dust from the surface of the lens.

You may need to do a quick repeat with the blower, though. If you don’t have a lens pen, a makeup brush works just as well.

Step 3: Clean the front element

Your lens glass should now be free of dust and other debris. If there are some marks on the glass surface, now’s the time to give it a little clean.

First, use the cleaning end of the lens pen. It is very soft and doesn’t damage the glass at all, so it is ideal for this. Using a circular motion, work your way around the lens until all the marks have been removed. This may take several passes to achieve.

It’s important that you don’t push on the lens too hard. Just keep going around in a circular fashion until it’s satisfied. Give the lens another blast with the blower if necessary.

If you don’t have a lens pen, a clean microfiber cloth will do the job. Just use the same circular motion. Repeating the motion is preferred over applying more pressure!

Step 4: Get rid of stubborn marks

At this point, I am normally done cleaning a lens. Sometimes, however, there is muck on the lens that just will not budge no matter how many times it’s cleaned. This is when I use the pre-moistened lens tissues.

Using the same circular motion as above, I work my way around the lens element until it’s completely cleaned (I normally go over it two or three times). Then I get a microfiber cloth (generally, one that I use just for this purpose) and give the lens a bit of a buff using the same circular motion. I’ll go over it a few times.

I favor these tissues over sprays because I don’t like the idea of having a bottle of liquid inside my camera bag. If it breaks, it can leak into my gear and cause major damage. I also quite like their single-use quality.

For me, using cleaning solutions is an absolute last resort and not something I do each and every time I clean my gear. I also don’t breathe on my lenses (you know, to fog them up to make it easier to wipe off grime) if I can avoid it. If you’re like me and drink a lot of coffee, your breath can be slightly acidic; with repeated use, it can wear down the coatings on your lens. At least that’s what I read in a Nikon article a while back!

Step 5: Don’t forget the lens cap!

The front element is now clean. But for me, the process is still not yet finished. Before placing the lens cap back on, I have a quick look at it – there could be grit and dust on it that is about to be put back on my newly cleaned lens.

Giving your lens cap a quick once over with the blower and a paintbrush will keep it and the lens cleaner!

Step 6: Clean the rear element

Now it’s time to have a quick look at the rear element (i.e., the bit that goes inside your camera). This shouldn’t be too messy; after all, it stays hidden away when you’re photographing. But dust can fall on it, especially when changing lenses – and this dust, while it may not show up in pictures, can definitely make its way onto the sensor.

I like to give it a quick once over with the rocket blower, making sure the bottom of the lens is facing down. (This will stop any dust from falling back on it!) 

Some rear elements are further recessed into the lens than others. With a lens that features a more exposed rear element, I also may give a quick wipe with a microfiber cloth or lens pen.

Occasionally, I’ll give the mount a clean, too, as well as the lens contacts. For this, I just use a Tek Towel, although any clean towel will do. Carefully wipe around the mount and go over it a couple of times. A small amount of alcohol on a cotton tip can be used to clean the contacts. (Cleaning the contacts every now and then can help to prevent errors between the camera and lens caused by a build-up of grime.)

Now it’s time to give the rear cap a quick clean. Remove any dust with the blower and put the cap back on the lens!

Step 6: Clean the outside of the lens

Now that the exposed lens elements (both the front and rear) and the lens mount are clean, it’s time to give the outside a quick look. For this, I whisk away any dust with the paintbrush and wipe the whole surface area with a Tek Towel. If I’ve been at the beach (salt in the air) or my lens got wet with salt water or alcohol, I’ll dampen the towel with fresh water to remove any salt, champagne, etc.

This step, while very quick and simple, has proven to be quite helpful in picking up some things that may need my attention. For example, a while back I was cleaning my 70-200mm lens and I noticed that the end of the barrel was a little loose. I took it to Canon; the team fixed it in 10 minutes and charged me nothing. Prevention is the best remedy.

How to clean a camera

Cleaning the camera is much easier and quicker than cleaning the lenses. I start by giving the outside a once-over with the paintbrush, followed by a thorough wipe-down with the towel. I make sure to dampen the wipe-down towel in fresh water if I’ve been at the beach. I make sure the screens and the viewfinder are all nice and clean, too.

As with lenses, I make sure that the mount and the contacts on the body are clean using the same steps.

While I have the body cap off, I’ll also blow out any dust that may be in the camera with the blower. With this step, I am much more cautious as I don’t want to blow into the body too much. I also have the camera mount facing down to prevent dust from re-entering. This step can help reduce the amount of particles inside the camera that may eventually find their way onto the sensor.

I don’t clean the camera sensor

For me, the camera sensor is where the cleaning process stops. I don’t do my own sensor cleaning because I much prefer it to be done by the right people. Some people like to do their own sensor cleaning, and that’s completely fine. This is just something I like to give to professionals because if anything goes wrong, I can blame them.

My thoughts on filters

You may have noticed that I haven’t mentioned anything about UV filters. The reason for that is simple: I don’t use them. I am yet to be convinced that they will actually save a lens from breaking if it’s dropped and have the view that if a lens is going to break from a fall, it will break, filter or no filter.

I always use lens hoods, which not only help to reduce lens flare but also provide some protection from objects falling onto the front element. However, if you’re in an extremely dusty environment, for example, then a UV filter could be a smart investment.

Keep your camera gear clean!

That’s it for my gear-cleaning process. This isn’t something I do after each and every shoot, but I do try to get to it at least once a month or after shoots where my gear has been a little abused by the elements. It may seem that there are a lot of steps involved, but it doesn’t take that long to do it. It’s even quite therapeutic when you get into it!

I can’t guarantee that cleaning your cameras and lenses will keep your equipment working forever, but it’ll certainly help it last a long time, and it’ll save you from needing to spend tons of money on repairs or new gear.

Now over to you:

How do you clean your gear? Do you have any other tools you use? What’s your procedure and how often do you do it? Please share in the comments below.

The post How to Clean Camera Gear: My Step-By-Step Approach appeared first on Digital Photography School. It was authored by Daniel.

The post A Guide to Wireless Remote Photography appeared first on Digital Photography School. It was authored by Stacey Hill.

This article was updated in July 2024 with contributions from Stacey Hill and Jaymes Dempsey.

Shutter releases, wireless releases, camera remotes; it all sounds rather technical and confusing, yet another item of equipment to master on your journey toward becoming a great photographer…right?

That’s how I felt. In my first 10 years as a photographer, I avoided wireless remotes completely. I didn’t want to spend more money on an accessory that didn’t seem to offer significant benefits. But then, in December of 2019, all that changed.

I was driving through the city after dark, and I was entranced by the nighttime atmosphere: the holiday lights strung through the trees, the glowing storefronts, the warm streetlights. I wanted to photograph it all, so I grabbed my camera and a sturdy tripod, and then I spent hours taking photos. I soon became frustrated, however. While my tripod kept the camera steady as I used long exposures, and while the two-second self-timer eliminated the camera shake caused when I pressed the shutter button, that two-second delay messed with my timing, and it also forced me to slow down when I wanted to be shooting quickly. (I was enthusiastic, after all!)

So I purchased a remote release. It was one of the best decisions I ever made, and it’s one camera accessory I almost never leave home without. (Along with my tripod, which I also love, but that’s a subject for another article!)

Anyway, as I soon realized, camera remotes are useful for far more than long-exposure cityscape photography. One simple remote can supercharge your product photography, your still-life shooting, your landscape photography, your self-portrait sessions, and more. No, it’s not right for everyone – but it’s so powerful that I encourage all budding photographers to at least consider whether a remote might be worth adding to their gear bag.

That’s what I address in this article. I explain the precise benefits of wireless remote photography; I also discuss when you should use a remote (and when it’s better to stick to the old press-the-shutter-button standard).

By the time you’re done reading, you’ll know why remotes are so special – and whether you should buy one for your own camera.

Let’s get started.

What is a camera remote?

Camera remotes, also known as remote releases or wireless releases, have one primary purpose: They let you trigger your camera without touching the shutter button.

This offers two benefits:

• It allows you to avoid any camera shake from pressing the shutter, which in turn leads to much sharper photos when working at slow shutter speeds.
• It lets you trigger the shutter from a distance, which can be highly convenient.

And as you’ll see below, these benefits are a big deal in a variety of scenarios.

Now, working with a remote is simple. You generally attach the remote receiver to your camera’s hotshoe and connect it to your camera via a cable. Then, when you press the main button on the remote, your camera will take a photo!

Note that there are technically two types of releases: remote releases and cable releases. In this article, I focus on remote releases, but cable releases – which connect physically to your camera via a cable – offer many of the same benefits and are often much cheaper. If you’re on a budget, a cable release is a reasonable choice.

Six scenarios when a wireless remote is useful

Below, I break down the situations when a wireless remote will come in handy, starting with:

1. When working at high magnifications

If you shoot at high magnifications, your depth of field – that is, the amount of the shot that’s in focus – will be razor-thin. To capture a sharp photo, you must get your focus point exactly right, yet even if you mount your camera on a tripod, the vibrations from pressing the shutter button can mess with the focus and ruin the image.

But with a remote release, you can mount your camera on a tripod, set the focus, and then take a few steps back.

And you can fire your shot from a distance! As long as you stay still and work with a sturdy tripod, your image will turn out tack sharp.

(Pro tip: If you’re shooting with a DSLR, make sure to activate the mirror lock-up feature or shoot in Live View. Also, whether you’re using a DSLR or a mirrorless camera, make sure to activate your camera’s electronic shutter or electronic front-curtain shutter, as the action of the mechanical shutter can cause vibrations and soften your photos.)

I often use my shutter release when I’m working in the studio. This is partially due to focusing concerns, though if I’m using window light, it becomes doubly important since I’m forced to rely on ultra-long exposures.

2. When capturing self-portraits

Self-portrait photography is a lot of fun. It’s also very frustrating; you must set your camera’s self-timer, hit the shutter button, and then run into position – which means you have no time to prepare yourself when posing.

But with a wireless release, you can simply hold the remote against your palm, and then strike your pose. When you’re ready to shoot, press the remote button, and – voila! – you’ll get your image.

Note that you can even combine the self-timer and the remote: Just set a two-second timer, click the remote, and drop it out of the frame. That way, the remote doesn’t appear in your shot, but you still have plenty of time to prepare yourself.

By the way, a remote will double your self-portrait output. You won’t have to keep running back and forth to the camera, but can instead take a shot, pick up the remote, take another shot, pick up the remote, and so on. Easy, peasy!

3. When capturing long-exposure photos

Long-exposure photographers swear by their remotes, and for good reason:

A remote allows you to fire your camera with zero camera shake, assuming – as I discussed in an earlier section – that you have your camera’s electronic shutter activated and its mirror out of the way.

That way, you can capture gorgeous long-exposure photos that feature moving clouds, moving water, car light trails, star trails, and so much more.

Simply set up your camera on a sturdy tripod, dial in the right settings, step back, and fire the shutter with the remote release!

This is useful for cityscape photographers, astrophotographers, and landscape photographers, to name just a few.

I first purchased a remote release out of a desire to do long-exposure cityscape images, and while I now also use it for other purposes, it’s an accessory that I always bring out when the light gets low.

And yes: The two-second (or, if the conditions are windy, ten-second) self-timer can serve the same purpose. But waiting for the shutter to fire is frustrating, especially when there are moving elements in the frame (e.g., cars with light trails, waves crashing on the beach). I much prefer using a remote release, and I’m guessing that you will, too.

4. When photographing skittish wildlife

This form of remote photography is rather specialized, but it’s an easy technique that’ll get you incredible images, so it’s definitely worth learning.

You see, skittish wildlife – such as birds and squirrels – is often difficult to approach with a camera.

But if you put your camera in position, then step away and wait for the wildlife to explore, you can often capture some stunning shots.

(This is also a useful technique for capturing wildlife that isn’t safe to approach. You can set your camera on a tripod, then sit in a nearby vehicle with your remote.)

I encourage you to experiment with wide-angle lenses. Wildlife may come within inches of your camera setup, and a wide-angle lens will offer a truly breathtaking perspective.

5. When doing time-lapse or star trail photography

Some remote releases offer intervalometer functionality, which allows you to capture a series of shots within a specified interval. For instance, you can use an intervalometer to fire the shutter every 30 seconds, as is sometimes done in star trail photography.

You will pay extra for this feature, but intervalometer remotes aren’t too expensive, and it’s a great tool for the budding astrophotographer or time-lapse shooter.

Plus, you can always set up your camera, start your remote, then sit in a warm car while your camera and release do all the work.

Note that working the intervalometer feature of your remote release may take a bit of experimentation – you may even need to read the manual – but in the end, it’ll be worth it!

6. When faced with physical difficulties

Sometimes, you may want to capture a shot (or two, or three)…

…but you don’t want to get in position for more than a few seconds.

For instance, you may need to assume a physically difficult pose, such as crouching, kneeling, or bending to the side. Or you may need to stand in water or lie on the cold, wet ground until your subject comes by.

In all of these cases, a remote release will be a huge help. You can set up your camera on a tripod, then sit or stand comfortably while you wait for the right compositional elements to appear. When they do, you can fire the release (still feeling comfortable!) and capture a perfect shot.

Should you purchase a wireless remote?

Wireless shutter releases are great, but they’re not a necessity for every photographer.

I encourage you to purchase a remote release if:

• You shoot long-exposure photos on a regular basis
• You want to do time-lapse or star trail photography
• You photograph landscapes
• You shoot macro subjects
• You want to shoot wildlife from a distance
• You want to capture stunning self-portraits

And as I discussed above, a remote release can be useful in various other situations, too, such as when you’re struggling with the physical requirements of capturing a photo. If that sounds like something you might experience, then I’d suggest purchasing a remote release anyway; you can keep it in your bag, and if you do find yourself in an uncomfortable situation, you can whip it out and get your shot.

(One piece of advice: Remote releases require batteries, so be sure to pack plenty of spares. You don’t want your release to die in the middle of a photoshoot!)

On the other hand, if you only ever shoot handheld – for instance, you like to capture sports or wildlife in action using a telephoto lens – then a remote release is probably a waste of money.

Wireless remote recommendations

There are a slew of camera remotes available today, many of them offering all sorts of fancy features: long-exposure bulb modes, interval shooting, and more. They tend to be pretty inexpensive, too.

The trick is to find a remote that’s compatible with your camera, that’s relatively easy to operate, and that can handle a bit of bad weather (if you’re an outdoor photographer, at least). The remote that I use, and that I’ve been using ever since 2019, is this Aodelan WTR-2 model. I’ve had to replace it once, but only because I dropped it on concrete and it broke open; aside from that, it’s worked quite well! Just make sure you purchase the model that’s compatible with your camera type, as Aodelan sells products for Canon, Nikon, Sony, etc.

Another (slightly cheaper) option is the YouPro YP-870, which is pictured above. It includes basic shutter release settings as well as more advanced features for time-lapse photography, ultra-long exposures, and more.

I’ll also mention that many cameras can now be controlled by smartphone apps thanks to wi-fi or Bluetooth integration. If you’re not ready to invest in a dedicated remote release but want to get a taste of its capabilities, this is a great approach!

Remote release photography: final words

Now that you’ve finished this article, you know why remote release photography is so great – and you know whether a remote release is right for you.

So if you need a remote, get one! And have plenty of self-portrait, long-exposure, and time-lapse photography fun.

Now over to you:

Do you plan to purchase a remote release? What will you use it for? Share your thoughts in the comments below!

The post A Guide to Wireless Remote Photography appeared first on Digital Photography School. It was authored by Stacey Hill.

The post Prime vs Zoom Lenses: Which Lens Type Is Best? appeared first on Digital Photography School. It was authored by Kunal Malhotra.

This article was updated in July 2024 with contributions from Kunal Malhotra and Jaymes Dempsey.

Which is better, a prime or a zoom lens? What kind of lens should you get? The prime versus zoom lens debate goes back decades, but here’s the truth: Neither lens type is fundamentally better than the other. Instead, different lenses are useful for different situations, different budgets, and different shooting preferences.

How do I know? Well, in my 10+ years as a photographer, I’ve owned plenty of prime lenses, and I’ve owned quite a few zoom lenses, too. Even today, my gear bag contains a solid mix of primes and zooms: a wide-angle zoom, a super-telephoto prime, a telephoto zoom, a 50mm prime…In other words, I’ve spent enough time with primes and zooms to know when they perform well and when they disappoint.

Here’s what I think: if you’re struggling to choose between primes and zooms, you should start by identifying what you’re looking for in a new lens. From there, you can determine the lens type that matches your shooting requirements. And that’s where this article comes in handy.

Below, I explain everything you need to know about primes and zoom lenses: what they are, how they work, plus their main benefits and drawbacks. By the time you’ve finished reading, you’ll be ready to shop for your next lens, and you’ll be able to make informed purchasing decisions that meet your needs as a photographer.

Let’s dive right in!

What is a prime lens?

A prime lens is a lens with a fixed focal length. Therefore, when a prime lens is mounted to your camera, you cannot zoom in or out. If you want to change the magnification of the frame – that is, if you want to capture photos that appear closer or farther from the subject – you need to physically move forward or back.

There are hundreds of prime lenses available on the camera market, designed for DSLRs and mirrorless cameras, and these range from wide-angle and standard primes (e.g., the 24mm and 50mm primes) to telephoto and super-telephoto primes (e.g., 300mm, 400mm, 500mm, and 600mm primes).

What is a zoom lens?

A zoom lens offers a range of focal lengths in a single package. Common zoom lenses include the 24-70mm zoom, the 16-35mm zoom, and the 70-200mm zoom.

When using a zoom, you can magnify your subject – that is, zoom in – without adjusting your position. Simply turn the zoom ring on your lens, and your subject will occupy more (or less, if you zoom out!) of the frame.

Like primes, zoom lenses are very popular. Every major manufacturer offers wide zooms (such as the 16-35mm zooms I mentioned above), as well as standard, telephoto, and super-telephoto zooms. Manufacturers also make multi-purpose zooms (sometimes referred to as superzooms), which cover a huge focal length range (such as 18-300mm options).

Prime vs zoom: Why choose a prime lens?

When I was getting started in photography, I spent months researching different lenses and lens types. One thing that stood out to me was that many serious photographers, especially professionals, seemed to swear by their prime lenses – and they often claimed that primes were ideal, not just for advanced shooters, but for beginners.

Here’s why:

1. You get more features for less money

Prime lenses tend to offer all kinds of useful features, such as wide maximum apertures, robust build quality, and compact designs.

And while I expand on some of those features below, it’s worth recognizing that, despite their impressive feature set, prime lenses tend to be cheap – incredibly cheap, in many cases. Most manufacturers offer a 50mm prime lens for less than $300 (and if you buy used, you can often get it for under $100).

Which makes primes ideal for beginners looking to get started without sacrificing quality.

Zoom lenses, on the other hand, do offer similar features, but you’ll need to shell out thousands of dollars. You can get rock-solid build quality and an f/2.8 maximum aperture, for instance, but you’ll pay an arm and a leg, which is often unthinkable for beginners (and even for more serious photographers on a budget).

2. You can create shallow depth of field effects

As I mentioned in the previous section, prime lenses tend to offer fast maximum apertures, such as f/2.8, f/1.8, and even f/1.2. (The ultra-fast f/1.2 and f/1.4 lenses admittedly cost an arm and a leg, but the f/1.8 versions of many primes are very affordable.)

Zooms can’t match many of these apertures, and while some zoom lenses do offer f/2.8 apertures, the resulting lenses are big, heavy, and pricey.

Why is a wide aperture such a big deal?

For one, it’ll create a beautiful shallow depth of field effect, where your subject is rendered in sharp focus but your background turns into a stunning blur:

This isn’t useful for all photographers, but if you do portrait photography, street photography, event photography, or wildlife photography, a heavily blurred background can make a huge difference. It’ll help your subject stand out, plus it just looks amazing.

3. You can shoot handheld in low light

You know how prime lenses tend to offer wider apertures compared to zoom lenses? Well, wide apertures come with another key benefit:

They let you shoot in low-light conditions.

You see, the wider the aperture, the more light hits the camera sensor, and the brighter the resulting exposures. So as the light gets dimmer, you’ll be able to achieve a sufficiently fast shutter speed simply by widening your aperture (rather than raising your ISO, which will create image-quality problems). And because prime lenses tend to offer wide maximum apertures, you can generally maintain a usable shutter speed with a prime – while you’ll struggle to get a good result with a zoom.

This is essential if you plan to shoot in the evening or indoors, and it can also be useful when shooting in the shade or on cloudy days.

(The exception is if you work with a tripod. A sturdy tripod will let you use a narrow aperture even in near darkness, though you will lose the ability to photograph moving subjects.)

4. Image quality is improved

Prime lenses are built differently than zooms; as a consequence, they produce fewer optical flaws such as softness, chromatic aberration, and lens distortion.

In other words, prime lenses produce images that are far sharper and that look much better, at least compared to similarly priced zooms.

Are there sharp, error-free zooms on the market? Sure, but they’re very expensive, and they still may not match up to higher-quality prime lenses.

So if you like to capture stunning landscapes or close-up macro scenes, where sharpness and detail are key, you may wish to maximize image quality with a prime lens.

5. Primes are small and lightweight

Prime lenses, especially wide-angle prime lenses, tend to be tiny. In fact, some prime lenses are so small that you can fit them in your pocket.

They’re also incredibly lightweight; you can slap a prime lens onto the front of your camera and leave it on all day without even registering the extra heft.

These small, light lenses are great for travel photography because you can head across the globe without burdensome equipment. They’re also perfect for walkaround photography and street photography – you won’t notice the extra weight, and your candid subjects won’t be intimidated by the size.

While there are plenty of heavy primes, many of the wider and standard primes really are insanely light. Zoom lenses tend to be much heavier (especially if they feature wide maximum apertures).

Prime vs zoom: Why choose a zoom lens?

Prime lenses are great, but there are a couple of major reasons to pick a zoom lens instead. My workhorse lens is a 24-70mm zoom, and while I switch to my primes in several scenarios, if I could only have one lens, it’d be a zoom. Here’s why:

1. Zooms are highly versatile

The biggest advantage of a zoom lens is that it allows you to change focal lengths without changing your lens.

That way, you can use dozens of focal lengths without needing to swap lenses, which will save time and may ensure you get shots you’d have otherwise missed.

For instance, if you’re composing a wide-angle landscape shot at 24mm – on a 24-70mm zoom lens – if an elephant waltzes into the scene, you can zoom to 70mm and capture a beautiful tight shot. Whereas if you were shooting on a 24mm prime lens, then you’d have no chance of capturing a detailed close-up.

This is also hugely useful in event photography scenarios. You can capture wide-angle shots of the entire venue, then zoom in for detail shots, then zoom out for full-body shots, then zoom in for headshots. Make sense?

Of course, the level of flexibility depends on the zoom lens itself. A 12-24mm zoom won’t let you shoot anything but wide-angle images, whereas an 18-200mm zoom will let you go from wide angle to telephoto with a twist of your wrist:

Bottom line: If you frequently find yourself needing to switch between various focal lengths, then a zoom might be the better option!

2. Zooms are portable

I know what you’re thinking:

Didn’t I just say that primes are more compact and lightweight?

It’s true: Primes, on an individual basis, tend to be smaller and lighter. But consider a zoom lens like the Canon 70-300mm. It might not be the lightest of lenses, but it’s basically five primes in one; it covers a handful of commonly used focal lengths, such as 85mm, 100mm, 135mm, 200mm, and 300mm.

Imagine how heavy it would be to carry around five primes – and then imagine how easy and light it would be to carry a single 70-300mm lens. It’s especially helpful for travel photographers who need an array of focal lengths in their bag, as well as landscape shooters who spend long hours in the wilderness.

(This also helps balance out the cost of expensive zooms, by the way. You pay a lot for a single 24-70mm lens, but if it prevents you from buying a 24mm prime, a 35mm prime, a 50mm prime, and an 85mm prime, then you end up saving money, right?)

Prime vs zoom lens: Which should you get?

As you’re hopefully now aware, prime lenses and zoom lenses both offer plenty of benefits, and there are significant reasons to go in either direction.

But which lens type should you buy?

If you’re just starting out with photography but you’re looking to get the best-possible image quality, then I’d recommend grabbing a prime lens. A 35mm or 50mm prime is highly versatile, will cost very little, and will offer great results.

Additionally, go with a prime lens (or a set of primes) if you’re looking for the sharpest images, you want to produce beautiful bokeh, and/or you plan to shoot frequently in low light.

On the other hand, if you need top-notch flexibility, grab a zoom lens. For instance, if you shoot events and need to have a range of focal lengths at your disposal, a zoom lens or two will be a game-changer.

I’d also recommend a good zoom for travel photography, especially if you don’t know the area well. You’ll be able to capture a wide variety of images, and you won’t need to lug around a bag full of primes.

At the end of the day, however, both primes and zooms offer plenty to be impressed by. So if you’re still struggling to decide, don’t worry too much. You’ll get great photos either way!

Now over to you:

Which do you plan to purchase, a prime vs a zoom? Share your thoughts in the comments below!

The post Prime vs Zoom Lenses: Which Lens Type Is Best? appeared first on Digital Photography School. It was authored by Kunal Malhotra.

The post How to Get Sharp Photos With a Tripod: 6 Essential Tips appeared first on Digital Photography School. It was authored by Kunal Malhotra.

This article was updated in July 2024 with contributions from Kunal Malhotra and Jaymes Dempsey.

I love my tripod. Aside from my camera and main lens, it’s my most-used piece of equipment. I carry it everywhere: when shooting in my small town, when headed into the big city, and even when taking cross-country trips by train or plane. I do this for a variety of reasons – it improves my compositions and it helps me with focusing stacking, to name two – but the biggest reason I use a tripod, and the reason why I bought one in the first place, is to keep my images tack-sharp when using a long shutter speed.

If you’re reading this article, then I’m guessing that you, too, are looking to capture tack-sharp photos, and you think a tripod is the way forward. I’m happy to share that tripods are indeed great for keeping your files crisp, but that comes with a big caveat: Plonking your camera on a tripod and just firing off shots like normal is not going to net you sharp images. Instead, you must carefully adjust your tripod, your settings, and your accessories to maximize sharpness – and that’s what I discuss in this article.

Specifically, I share six fundamental tripod photography techniques for sharp photos, and I include a handful of examples so you know exactly what my techniques can offer. Whether you’ve tried to use a tripod but you keep producing blurry photos, or you’ve only just purchased a tripod and you want to get off on the right foot, you’re bound to find this article useful!

Let’s dive right in.

1. Extend the tripod legs only when necessary

Before buying a tripod, you likely researched its maximum height; after all, you probably didn’t like the idea of stooping for each and every shot. But while purchasing a tall tripod is completely fine – and you’ll certainly run into scenarios when taller is better! – I don’t recommend extending your tripod to its maximum height the moment you pull it out of the bag.

I see budding photographers do this all the time, but here’s the truth: As you extend the length of the legs, the stability and sturdiness of the tripod are reduced. And this loss of stability can impact sharpness, especially if you’re working on uneven ground, shooting ultra-long exposures, or are set up in a windy location.

Of course, lengthening the legs to their full height is sometimes unavoidable. But if you do wish to extend the legs, start by opening up the top (larger/thicker) section of the legs, and only then move to the lower (thinner) ones.

You should extend your tripod’s center column (the tripod “neck”) last of all. Center columns are very prone to causing shake, and you definitely don’t want to shoot with an extended center column in wind, rain, or rushing water unless you can see no other way of capturing the photo.

Bear in mind that your results will also depend heavily on the type of tripod you’ve purchased. A big, heavy, rugged model may be capable of extending to its full height – even in tougher conditions – without a significant loss of stability, while a lightweight travel tripod (especially if it’s on the cheaper side) will be far more impacted.

2. Switch off any image stabilization

Does your camera offer image stabilization? How about your lens?

These days, a lot of equipment boasts stabilization, which can be hugely useful for capturing sharp handheld shots at slow shutter speeds. However, if you take image-stabilized equipment and mount it on a tripod, the stabilization will cause the lens or camera internals to move after you press the shutter button (it looks like a slow drift in the viewfinder).

As you can probably imagine, a moving image isn’t so great for sharpness, and while it isn’t a problem when shooting at shutter speeds of around 1/60s and above, as soon as you get into long-exposure territory, you’ll start to see its effects.

My recommendation? As soon as you mount your camera on a tripod, make sure that all stabilization technology is turned off. You can generally deactivate camera stabilization in the menu, while lens stabilization can be deactivated by a switch on the barrel:

Note: If you’re shooting in unstable conditions (e.g., high winds), it might be worth switching the image stabilization back on. It’s tough to determine whether stabilization is ideal in such situations, so I’d really encourage you to capture a handful of shots, some with stabilization and some without, just to be safe.

I’ll also mention that if you’re using a tripod while shooting with a reasonably fast shutter speed, it’s okay to use image stabilization. When using my 24-70mm lens, I’ll often keep the image stabilization active until the shutter speed drops below 1/80s or so. Once the shutter speed gets lower than that, I’ll switch it off. But it heavily depends on the camera and the lens as well as the shooting conditions, so I recommend you evaluate your own equipment (and when in doubt, take more shots!).

3. Make sure the camera mirror is out of the way

DSLRs include mirrors, which reflect light up through the viewfinder so that you can see through the lens. However, the main mirror – which sits in front of the camera sensor – flips up when you press the shutter button, and this “mirror slap” can cause internal vibrations that lead to – you guessed it! – blur.

Fortunately, there are a couple of easy ways to avoid blur due to mirror slap. You can use your camera’s mirror lock-up setting; when activated, this will generally cause the mirror to flip up when you press the shutter button (though you’ll need to press the button again to actually take the photo). Another option is to switch your camera to its Live View mode, which automatically flips the mirror out of the way.

Note that mirrorless cameras – as the name suggests – lack this mirror, and therefore avoid mirror slap entirely.

One more (related) tip: Even once you’ve dealt with any mirror-related vibrations, your camera shutter can produce vibrations when it moves to expose the sensor. You can prevent this, however, by setting your camera to its electronic front-curtain shutter mode or its standard electronic shutter mode.

4. Use the two-second timer or a remote shutter release

Do you ever use the shutter button to take a photo when the camera is resting on a tripod? In other words, you lock down your tripod, then you press the shutter button with your finger?

If the answer is “Yes,” then you’re likely introducing blur simply by pressing the shutter button with your finger – so it’s essential you switch on your camera’s two-second timer.

A two-second timer will add a two-second gap between the moment you press the shutter button and the moment the shutter actually fires, which gives any vibrations a moment to die down before the image is captured. Note that you’ll need to take your hands off the camera after pressing the shutter button; otherwise, you may continue to introduce vibrations and cause blur.

If you want to be extra cautious, however – or you don’t like the idea of waiting around after each press of the shutter button – then you can use a remote release. This will let you trigger your camera wirelessly, thus ensuring that you never touch the shutter button and your images are crisp and sharp.

I started out using the two-second timer, but I ultimately purchased a (relatively inexpensive) remote. Waiting for the shutter to fire was frustrating, and it also caused me to miss shots because I couldn’t always get the timing right. When shooting a 1s exposure of a wave breaking on a beach, for instance, I would sometimes fire the shutter too late, so after two seconds, the wave had already fallen away. Whether that’s an issue for you depends on the type of photography you do!

By the way: Some cameras allow you to create the same effect using your smartphone, so if you don’t want to pay for a remote, I recommend looking into this option!

5. Make sure your tripod is sturdy

Even if you do everything right, you might still end up with blurry photos – simply because your tripod is sabotaging your good technique.

Some tripods are simply flimsy, especially plastic models you can buy for a few bucks off of Amazon or eBay. I really recommend purchasing an aluminum or carbon fiber model (aluminum tends to be cheaper but heavier, while carbon fiber is lighter but pricier).

You should also make sure that the tripod you purchase is capable of supporting your camera setup’s weight; a compact mirrorless camera with a 24mm prime lens is far easier to keep stable than a heavy DSLR with a 70-200mm f/2.8 lens.

You’ll need to think about head strength, too. Just because your tripod is sturdy doesn’t mean your tripod head can do the job (and vice versa). A strong tripod and a flimsy head can still result in plenty of camera shake, so make sure that your entire support setup can handle your camera. If needed, purchase your tripod and head separately.

Finally, bear in mind that even a relatively flimsy tripod can be used for sharp shots if you shoot in good conditions and do everything else right. (On the other hand, a rock-solid tripod will still result in blurry photos if you ignore all the other advice I’ve shared in this article, so don’t think that a fancy tripod will prevent you from needing to use it properly!)

6. Pay attention to the weather

When I first started using a tripod, I failed to take the weather into account. And as a result, I ended up with a lot of blurry shots.

I’m mostly talking about wind, which can destabilize a good tripod (especially if the legs and the center column are fully extended). The same is true of rushing water (if you’re shooting on a beach or in a river, for example). Heavy rain can also cause camera shake – though I’m guessing not many of us plan to shoot in such conditions, so it’s probably less of a concern.

You can purchase rugged, ultra-sturdy tripods that can handle extreme conditions, but these tend to be prohibitively expensive or uncomfortably heavy. I’ve found that removing my camera strap in heavy wind can be helpful, and in bad weather, I try to keep my tripod lower to the ground for more stability. Some tripods include hooks or bags that dangle from the center and which you can fill with rocks or weights in rough conditions. Whether this is helpful or harmful, however, is debated among photographers, so you’ll want to think carefully before trying it yourself.

Sometimes, it’s simply not possible to get a sharp shot with the equipment you own. If that’s the case, you’ll either need to accept a bit of blur or come back when the conditions aren’t so difficult.

How to capture sharp photos with a tripod: final words

Now that you’ve finished this article, you know how to capture sharp shots while using a tripod, and you’re ready to head out with your camera and get some amazing photos!

Just remember to use that two-second timer or wireless remote, pay careful attention to the conditions, deal with any problems caused by camera internals (e.g., image stabilization), and ensure you have the right gear for the job.

Now over to you:

Do you have any tips for sharp tripod photography that I missed? Share your thoughts in the comments below!

The post How to Get Sharp Photos With a Tripod: 6 Essential Tips appeared first on Digital Photography School. It was authored by Kunal Malhotra.

The post How to Choose the Right ND Filter for Long-Exposure Effects appeared first on Digital Photography School. It was authored by Christian Hoiberg.

Long-exposure photography has quickly become one of my favorite styles, which is evident when looking through the images I’ve captured over the last few years. More and more of my images use a shutter speed slower than half a second, and I take fewer handheld shots.

One reason I’ve become such a big fan of long-exposure photography is that it opens many creative doors. You’re less limited in your work and have endless options for how you want your image to look. You can use ultra-long shutter speeds for ethereal skies and silky water, or you can use more moderate shutter speeds to create blur while maintaining texture.

However, this benefit also presents a challenge: How do you choose the right shutter speed for long-exposure photography? And, since achieving long-exposure shutter speeds almost always requires a neutral density filter, which ND filter should you use?

I don’t believe there’s one correct shutter speed or filter for long-exposure photography. A big part of the creative process is to follow your preferences and aim for the look you want to achieve. However, to achieve the desired look, it’s crucial to understand how different ND filters affect your image.

In this article, I explore how three common ND filters (3-stop, 6-stop, and 10-stop) impact your images and the scenarios where each is most beneficial. By the time you finish reading, you’ll know how to match the neutral density filter to your creative vision!

Let’s dive right in.

Which neutral density filter should you use?

Neutral density filters are designed for one simple purpose: they block light from entering the lens, allowing you to lengthen your shutter speed (or widen your aperture) beyond what the light levels normally allow.

For instance, when shooting in bright light at ISO 100, you might need an aperture of f/8 and a shutter speed of 1/1000s to capture a well-exposed image. If your goal is to capture a long-exposure shot, you’ll need to block a lot of light to drop your shutter speed to the requisite level – and that’s where an ND filter comes in handy.

Since ND filters come in different strengths, long-exposure photographers generally carry a few in their camera bags. Then, depending on the look they’re hoping to achieve and the light, they pick the perfect filter and capture the image.

Of course, this is easier said than done. Predicting the effects of an ND filter takes an understanding of its strength, combined with an understanding of moving subjects and how they’re affected by different shutter speeds. Let’s take a look at the most popular ND filter strengths and what you can expect from them:

3-stop ND filter

If you’re even loosely familiar with neutral density filters, you may know that a 3-stop filter won’t have a huge impact during brighter hours. Compared to the 6-stop and 10-stop filters, the 3-stop is not particularly dark and won’t allow for extremely slow shutter speeds of several minutes. Remember that three stops of light is fairly small; it’s the difference between 1/800s and 1/100s.

That said, the 3-stop ND filter remains one of my favorites. I particularly enjoy using it when photographing waves from a low perspective.

The picture above was taken a couple of hours after sunrise, and due to the sun’s low position in the Arctic sky, it wasn’t daytime-bright. Without a filter, the shutter speed would have been too quick to capture the motion I wanted in the water. But slapping a 3-stop ND filter over my lens allowed me to lengthen the exposure time to 1/3s, which was just enough to capture the motion in the rushing waves and achieve the look I wanted. As you can see, the waves aren’t silky smooth – there’s still some texture and a sense of energy and motion – but they’re not completely frozen, either!

Had I used a 6-stop ND filter instead, the image would look quite different, as the longer shutter speed would have blurred the water and caused me to lose the texture I was aiming for.

Basically, the 3-stop filter is good for those situations where you’re dealing with relatively dim light, and you want to slow down the shutter speed in order to gain a bit of motion blur without getting that ultra-long-exposure look.

6-stop ND filter

A 6-stop ND filter might sound only a little stronger than a 3-stop ND filter, but the name is misleading. You see, a 6-stop ND filter lets you lengthen the exposure time by six stops. In other words, it’ll block eight times as much light compared to a 3-stop ND filter.

As a result, if you’re already using a relatively slow shutter speed due to the sun’s low position, you can achieve a very slow shutter speed with this filter.

For the image above, I used a 6-stop ND filter to blur the water and create a softer feel. The filter allowed me to extend the exposure time to 15 seconds, which was enough to blur the water and create motion in the sky.

Look carefully at my sunset shot, and you’ll notice that the iceberg in the foreground actually started to blur with a 15-second shutter speed. Had I used a 10-stop ND filter and an exposure time of a few minutes, all the ice would have been blurry due to constant movement. On the other hand, a 3-stop ND filter wouldn’t have slowed the shutter speed enough to blur the water and achieve the desired look.

10-stop ND filter

The 10-stop ND filter is perhaps the most popular filter for those new to long-exposure photography. The effect is highly visible, and the images created with it can grab attention immediately. Though darker filters are available (such as 16-stop and 20-stop models), the 10-stop filter is often associated with long-exposure photography.

If you use a 10-stop filter in bright light, you can drop your shutter speed to around a second or longer (depending on the intensity of the light and your other exposure settings). This comes in handy for those daytime shots where you want to capture some nice motion blur (or where you want to render certain moving subjects, such as pedestrians, mostly invisible). Use a 10-stop ND filter in relatively weak light, and you’ll be able to lengthen your shutter speed from fractions of a second to minutes.

The image above is a typical example of how a 10-stop ND filter can create a surreal look. With the filter in front of my lens, I used a shutter speed of four minutes to blur the lake and achieve a soft, dramatic look in the sky as the clouds were dragged out.

While it requires more planning and patience than the other two filters, the 10-stop filter has the biggest visual impact straight out of the camera.

Capture beautiful photos with an ND filter!

As I mentioned earlier, there’s no single correct filter. Instead, you should understand how different filters affect your image and choose the one that brings you closest to your envisioned result. If you want a bit of motion blur and you’re already working in dim light, a weaker ND filter, such as a 3-stop model, is often the way to go. On the other hand, if you want a lot of motion blur, or if you’re shooting in bright light and require some motion blur, a 10-stop ND filter is the better choice.

Long-exposure photography opens many creative doors and provides several new elements to work with. A big part of this technique involves trial and error, but as you continue learning, you’ll begin to see what you need to capture the images you want!

Now over to you:

Do you have a favorite ND filter? What do you think about different ND filter effects? Share your thoughts in the comments below!

The post How to Choose the Right ND Filter for Long-Exposure Effects appeared first on Digital Photography School. It was authored by Christian Hoiberg.