The post Drone Photography: Tips for Stunning Aerial Images appeared first on Digital Photography School. It was authored by Andrew Thomas.

With the latest and greatest from DJI arriving in the form of the Mavic 4 Pro, we’re seeing some amazing drone work, both stills and video, are you flying? Where do you share your work? Drop a link in the comments – we’d love to see it!

Updated 27 May 2025, now, on with our story…

One of the most exciting developments in photography in the last handful of years is the drone camera, which allows you to capture unique viewpoints of common subjects. And while drones were once prohibitively expensive, the cost of getting a camera into the air has dropped dramatically – which means that nearly everyone can capture stunning drone shots!

If you decide to venture down this road, I guarantee you won’t be disappointed; aside from the amazing images you can produce, aerial shooting is just tremendous fun.

That said, creating top-notch drone photography is about more than flying a quality product and pressing the shutter button. Like all forms of image-making, it requires careful attention to light, composition, settings, and more. In this article, I share tips to improve your drone shots, and I also include lots of examples to get you inspired.

Let’s dive right in, starting with my number one tip:

1. Always be careful when flying

One of the big advertising features of most drones these days is their ease of operation. Manufacturers love to talk about their drones’ ability to fly straight out of the box, and it is very true. You can often just charge the battery, download the relevant smartphone app, fire up the drone, and get flying.

However, while it’s easy to get drone cameras off the ground, common sense and great care are a huge part of aerial flying. Otherwise, you risk damaging your drone, damaging the environment, and/or breaking the law, all of which can be devastating.

I suggest you start by adding some limitations to your drone’s operation; these are easily set up on your smartphone app. For instance, it’s a good idea to set a reasonable maximum height and distance. Make sure you also put serious time and effort into understanding your drone’s settings so that you understand each and every button and option before your drone takes off.

Additionally, when you’re flying a drone camera for the first time, start somewhere wide open, such as a local oval or park. Spend some time getting a feel of the controls before you think about pressing the shutter button; practice taking off and landing the drone, and make sure you can effectively turn and move the drone in the air.

Always be aware of your surroundings and the position of the drone in the sky; drone cameras usually have a wide-angle lens, so it’s easy to misjudge your proximity to objects such as trees and buildings, especially if you’re viewing the feed through a smartphone screen. If you’re not sure that you can successfully navigate a certain area, it’s best to stay away until you’ve built up your skills and confidence.

2. Learn (and follow!) the rules and regulations

Most countries have rules regarding drone flight. Needless to say, it’s important that you carefully research all relevant regulations, then follow them carefully when out flying. Failure to do so will stop your drone photo hobby or career before it ever starts.

I can’t mention all the regulations here, but they often include:

• The drone must always be in Line of Sight (LOS), which basically means you should always be able to see the drone when you fly it
• A maximum height of 400 ft (133 m)
• Never fly over groups of people
• Respect others’ privacy
• Don’t fly anywhere near airports and other no-fly zones as specified in each country

Some countries also require drone pilot licenses, though the requirements here may change depending on whether you plan to use the drone as a hobbyist or a professional. Again, be sure that you educate yourself before getting your drone in the air!

One relevant story: A few months ago I was flying above my local railway station and looking for the perfect image at dusk. After happily flying for five minutes or so, I looked down to see two local policemen coming over to me. My first move was to gauge their reaction to drone flying; if there were any concerns, I would have brought the machine down immediately. Luckily, these two policemen were very interested in what I was doing. By showing them exactly what I was seeing, and by explaining the whole procedure and the care I was taking not to fly directly above any people, they left with a very positive attitude.

I think it’s very important to fly with this mindset. Authorities may confront you about your drone use, and you have to be prepared to pack up if needed. One other thing about flying in public places: You will need to be prepared to become the center of attention. In my experience, people are generally quite intrigued by what you doing!

3. Rely on your drone’s technology when possible

Drone photography is a complex endeavor. Not only do you have to fly the drone carefully, but you also have to capture great photos! Therefore, rely on your drone’s technology when you can (and plan ahead when you can’t).

Today, drones offer all sorts of cool features, many of which can dramatically improve your image-making. For instance:

• By connecting your smartphone to your handheld remote control unit, you can see exactly what the drone is viewing. This makes for perfect compositional adjustments, and I encourage you to take some time carefully framing up the shot so as to best capture your subject before firing the shutter.
• Drones can generally hover in one spot with incredible stability, almost like an aerial tripod. Once you’ve determined the proper composition, feel free to take your hands off the controls and evaluate the shot carefully on your monitor. You can also use this feature to capture panoramas and bracketed shots.
• Drone camera controls are extensive and generally include RAW capture, full manual control, and even time-lapse options. Learn what your drone can do, and take advantage of the various controls.
• Understand your battery limitations and be aware of any fail safes. Drone batteries can vary in flight time per charge, but 20-40 minutes is pretty common. This may seem scary – what if your drone dies in midair? – but drones can generally detect when the battery is getting low and will go into RTH (return-to-home) mode, which ensures the drone comes back to you! If for some reason the connection between the remote control and the machine is lost (which can happen when flying behind buildings or trees), the RTH function should be activated. You can also activate the RTH feature manually; for instance, if you lose sight of the drone, you can press the RTH button and your drone will happily return to you.

4. Think about light and weather

When you first start doing drone photography, you may take hundreds of photos, load up your images on the computer, and marvel at the amazing scenes you’ve captured. In my first few weeks of flying, everything I took was thrilling. However, it’s important to realize that, while the world looks cool from above, not every shot is a truly great image.

Remember: Aerial photography is no different from other forms of image-making. The photographic fundamentals – light, composition, and settings – still matter, and it’s important that you do your best to consider each of these elements as you capture photos. In particular, I’d encourage you to pay careful attention to lighting, which will dramatically alter the landscapes you encounter.

First of all, rather than just heading out randomly, aim to shoot when the light is most flattering: during golden hour and blue hour. If you’re after more subdued photos, working on cloudy days can be helpful, whereas you can achieve high-contrast landscapes (which can look great in black and white) by shooting around midday under bright sun.

Additionally, pay attention to the weather conditions and what they might offer. Fog can look amazing in drone shots, and a mix of clouds and sun at sunrise and sunset can also provide lots of potential. Make sure you also check the wind forecasts; drones are not easily handled in high winds, so I’d encourage you to shoot in calm weather whenever possible.

5. Aim to maximize image quality

Drone cameras are generally inferior to the quality you can get with a ground-level full-frame model, but the images you can capture are surprisingly good. While the drone I’m using only offers 12 MP of resolution, I’ve managed to print up to A3 size (roughly 12×16 in), and you’d be hard-pressed to tell they were taken with a 12 MP camera.

But because drone cameras don’t contain top-level sensors, it’s important to take steps to maximize image quality. First, make sure your camera is set to RAW as opposed to JPEG; this will give you a lot more flexibility when editing, and it can ensure that you maintain detail in both the highlights and the shadows even when photographing high dynamic range scenes.

Second, set your shutter speed and ISO carefully. Boosting the shutter speed will lead to sharper shots (up to a point), but you also need to keep your ISO as low as possible to avoid noise. Therefore, it’s essential to strike a careful balance between these two settings.

I should also mention that most drones these days shoot high-quality video, which produces stunning aerial footage. So while drone photography is great, don’t neglect the video side of things!

6. Look for patterns and rhythms in the landscape

Aerial views are often rather stunning on their own, but you can take your images to the next level by seeking out and carefully capturing shots of patterns and rhythms. Some patterns are obvious – such as those created by rows of wheat and farm fields – but others are more organic and can require a good eye and some patience.

A little advice:

First, don’t be afraid to simply fly back and forth over a landscape as you look for different patterns. The world looks very different from above, and you may be surprised by what you find.

Second, it can be a great idea to identify the area you plan to photograph in advance, then spend some time perusing the overhead view in Google Maps or Google Earth. These programs, while not always up to date, can make it very easy to determine potential compositions – and that way, you can maximize the use you get from your drone’s limited battery life (and from the often fleeting light).

Drone photography tips: final words

I’ve been doing landscape photography for a number of years, and I love aerial imaging. It’s a great way to give your portfolio an extra edge, and it’s a ton of fun, too.

So if you don’t already own a drone, I encourage you to go out and grab one. And if you do, wait for the light, find a good location, and enjoy some photography!

Now over to you:

Have you tried drone photography? Do you have any tips of your own? Share your thoughts in the comments below!

The post Drone Photography: Tips for Stunning Aerial Images appeared first on Digital Photography School. It was authored by Andrew Thomas.

The post 10 Tips for Beautiful Black and White Headshots appeared first on Digital Photography School. It was authored by John McIntire.

Have you tried B&W headshots? Is it something you aspire to? What tips below do you think you could add to your ‘bag of tools’ when it comes to your photography?

Black and white has long been a popular way to capture headshots with impact and visual interest. The lack of color helps to emphasize the subject while discarding information that isn’t relevant. 

And in this article, I’m going to share 10 black and white headshot tips to help you get the best results.

Let’s get started.

Headshots vs. portraits

If you’re new to portrait photography, it might help to clear up what a headshot actually is before you try to create one.

Portraits: In general terms, a portrait photograph is a representation of a person. Portrait photography is a broad genre that encompasses nearly every subgenre that involves photographing people. It doesn’t matter if we’re talking studio portraits, street candids, or fashion photography. If it has a person in the frame, it’s probably a portrait.

Headshots: Headshots are a subgenre of portrait photography. The difference is that headshots serve a very specific purpose. Whether it’s actors’ headshots or corporate headshots, the purpose is to sell something. That something could be an actor’s ability to fit a role’s physical requirements, or it could be your business professionalism.

Headshots are limited to close-up images of the subject’s head. They can also include head and shoulders as well as half-length shots. Before capturing a headshot, it’s important you understand where and how the photo will be used so you can get the right shot for the right purpose.

Tips for black and white headshots

There are no hard and fast rules for creating headshots. However, following these tips will hopefully help!

And as always with photography, remember: There is no one way to do anything.

In other words, nothing listed here is a rule of any sort. If a tip fails to help you get the results you want or need, then discard or revamp it.  

1. Remember that a headshot is different from a portrait

Yes, we’ve already discussed this – but when you’re in the middle of a session, it’s easy to get caught up and start changing your approach. This may not be a problem in a normal portrait session, but with headshots, you need to make sure you’re focused on the specific end result. If you change tack and the results aren’t showing your subject in the desired manner, you’ll have wasted time and effort on images that are unsuitable for the subject’s uses.

One way to help keep you on track is to ask your subject to share the purpose of their headshot. Allow them to be as specific and detailed as possible. Once you have an answer to that question, you should find it much easier to stay on track. 

If you are photographing an actor with representation, ask them for their agency’s headshot guidelines (or ask the agency yourself). This will give you a strict set of limitations and help to ensure you get the required result. 

2. Getting it right in-camera is just as important as ever

Depending on where your headshots are going to wind up, you might find that you can’t do any edits beyond basic retouching. You should be allowed a black and white conversion and some basic blemish removal, but much more than that might not be acceptable. 

Therefore, do whatever you can to get your images right in the camera. Light your images well with good exposure and good contrast. Learn your lighting patterns and use a meter if you have to. 

Get this step right, and you might find that you have little more editing to do beyond the actual black and white conversion.

3. Start in color

It might be tempting to set your camera to a black and white mode at the point of shooting. You can do this – but if you shoot JPEGs, I would advise against it.

By choosing this route, you will be discarding a huge amount of color information at the very beginning. For the best conversions, you’ll want to later manipulate your color information to get the very best black and white results.

(However, note that RAW shooters can use a black and white mode while still retaining color information.) 

4. Avoid shooting to crop

This might be controversial, but I’ll stand by it. When you are creating black and white headshots, try to get your composition as close as possible to how you want it to end up.

Doing this will ensure that your images are as big as possible and have as much detail as possible when you pass them on to your client. If you shoot before cropping out significant parts of your image, you will lose out on a large chunk of resolution.

5. Control contrast with light, not post-production

This point goes back to getting it right in-camera, but specifically for lighting.

One of the quickest ways to ruin a portrait is to add a lot of unnatural contrast in the post-production phase.

Avoid this by setting up your lights to get the contrast you want from the very start. 

You can do this through modifier selection and lighting ratios. 

6. Use fill to control your contrast

If you want to decrease contrast, make sure to do it in-camera.

You can do this with fill light. Whether you work with a dedicated second light source or a reflector, introducing fill into your images is a great way to control exactly how your black and white headshots turn out.

7. Think in values rather than color

Because you are starting in color, it can help to think of things in terms of values.

At its most basic, value simply describes where colors fall on a spectrum between pure white and pure black.

Now, once converted to black and white, almost everything in your images will appear as a shade of gray. If you can visualize how the colors you see with your eyes will be represented in a black and white conversion, you will be better able to design your lighting before your subject even arrives. 

How do you learn to do this?

Practice. A lot of it.

Get out there and photograph anything and everything you can, then convert to black and white so you can build this skill.

Remember, different conversion techniques affect color and value in different ways, so be sure to practice with as many conversion methods as possible. 

8. Minimize details in the frame

Because we are talking about headshots, you’ll need to remember that the entire point of the photograph is the person. Any extra details will only serve to detract from your subject.

So do what you can to minimize the impact of the background, the subject’s clothing, and other elements in the photo.

For backgrounds, you can focus your efforts on finding the cleanest, most non-distracting backdrop. For clothing, ask your subjects to dress without distracting elements that would take the focus off of them. Patterns can be fine, but it might be best if you avoided particularly bold choices like leopard-print and zebra-stripe tops.

9. Focus on form

This goes back to basic lighting skills.

You need to shape your subject’s face in a flattering way that also helps it stand out in the frame.

You are trying to minimize other details, so it is the subject’s features you must focus on. Make as much use of them as you can. 

10. Eyes and expressions are more important than ever

As the goal of a headshot is to make your subject look as good as possible, and as you have already reduced the impact of distracting elements, your subject’s eyes and expression become more important than ever. 

Lighting for the eyes will keep them bright and prominent in the frame. Doing this also means you won’t have to spend time processing the eyes, which might work well for your client’s requirements. 

Also, to get the best expressions, ensure that your subject is comfortable and that you have a good rapport with them.

Black and white headshots: (not) the end

On their own, headshot photography and black and white photography are broad topics that are truly impossible to distill into a short list of tips. However, I do hope that these ten tips for black and white headshots will help you get started on your journey.

As always, none of these tips are rules, just guidance. If you feel that something I said doesn’t suit you or your photography, that’s perfectly fine.

Now over to you:

Which of these black and white headshot tips did you like the most? Do you have any tips for black and white headshot photography? Share your thoughts (and photos) in the comments below!

Updated 2025!

The post 10 Tips for Beautiful Black and White Headshots appeared first on Digital Photography School. It was authored by John McIntire.

The post Tethered Photography: A Step-By-Step Guide appeared first on Digital Photography School. It was authored by Suzi Pratt.

This article was updated in May 2025 with contributions from Simon and Lauren @ Tether Tools.

When I first delved into studio photography, I was so excited. I had my lighting, I had my camera and lenses, and I had some great subjects.

But after spending a few weeks shooting, I became frustrated. In the studio, every little detail counts. A blemish or piece of dust on a product, a slightly out-of-position light on a portrait, a too-powerful flash, an off-color ambient light; each has the potential to ruin the photo and make it useless to both you and your clients. Yet the camera LCD, and even the viewfinder, just didn’t offer large enough previews to check for these issues. I needed a better way to evaluate my studio shots. That’s when I tried tethering, and I immediately realized that it was the perfect solution to my problems.

So what is tethered photography? How does it work? And how can you efficiently tether your camera while shooting?

In this article, I explain everything you need to know about tethering, including:

• How tethering can instantly improve your workflow
• When you should (or shouldn’t) tether your camera
• Two simple ways to shoot tethered

Let’s dive right in.

What is tethered photography?

Tethered photography is the process of connecting your camera to a computer, tablet, or even a smartphone via a cable or wireless app. Once you’ve successfully connected the devices, any new image captured by the camera is then passed directly to the computer and saved in a designated folder.

Therefore, as soon as you press the camera shutter button, you can see your image displayed (in high resolution) on the computer screen. If you’re tethering in a program like Capture One or Lightroom, you can even make adjustments to your file; for instance, you can boost contrast, convert the shot to black and white, and apply presets.

Many tethering programs allow you to adjust camera settings from your computer, tablet, or smartphone – and you can fire the camera shutter from your device, too.

The benefits of shooting tethered

Tethering lets you quickly preview each photo on a large monitor within moments of firing the shutter button. That way, you and your client can scrutinize your shots on a big screen. You can check for perfect composition, focus, exposure, and subject blemishes – and your client can indicate what they like or dislike about each new file.

Depending on the tethering software you use, you might be able to apply various presets to the image, so as to better visualize the final (edited) result.

Tethering also lets you organize your images as you go along. In a program like Lightroom, you can add notes, star ratings, keywords, and more to each new photo. That way, you can stay on top of your file management, and you can record key information while it’s still fresh in your mind.

The downsides of tethered shooting

Tethering is great – but if you’re not careful, it can cause problems, too.

For one, you or your client might get too caught up in little details while inspecting the photos, which can stall a photoshoot. When tethering, it’s important to set expectations with your client. Let them know how you work and do what you can to set a steady pace.

Tethering can also suck the battery life out of both your camera and your connected computer. You should always carry extra batteries and – if possible – shoot near a wall socket in case you need to plug in your laptop. Tether Tools makes an external Camera power system that can give you all day uptime. It connects any USB battery pack to your camera through a battery coupler so you never have to stop your shooting to change batteries. 

And tethering software is notoriously finicky. It sometimes stops working for no apparent reason, so you’ll want to get set up and take some test shots before your photoshoot starts (so you have time to troubleshoot). You should also have a backup plan, just in case.

Finally, tethering requires extra equipment, such as a lengthy cord and a laptop or desktop computer. So while it might be tempting to tether for on-location shoots, consider carefully before hauling along your expensive electronics.

Ultimately, whether you tether is up to you. It’s a great way to improve the final product – but it can be slow, plus it involves extra software and moving parts, so if you need to do a fast-paced portrait session or an outdoors product shoot, it might be better to shoot the “normal” way.

Tethering your camera: essential equipment

The traditional and most reliable way to connect your camera to a computer or another device is with a cable. There are a variety of different cables and ports available, so the specifics will depend on your exact devices. (For further information, check your camera manual.)

Some cameras even offer wireless tethering. The image transfer process can be slower compared to cabled tethering, but if you prefer to work without a cord, this is a great method to try.

If you plan to tether with a cable, you’ll need:

• An extra-long (e.g., 15 feet) USB cable to connect your camera to your computer
• Tethering software, such as Adobe Lightroom (paid), Capture One (paid), or Canon EOS Utility (free)

I’d also recommend a portable table to hold your laptop such as the Tether Tools Aero Table, as well as a TetherGuard to prevent your USB cable from being yanked from your camera.

One thing to be aware of: with is the latest USB-C ports on newer cameras, USB-C 3.2 Gen 2, the port protocol is designed to transfer both power and data.  Cameras with two USB-C ports may designate one port for power and one port for data/image transfer, so be sure you connect your tether cable to the right port.  For cameras with only one port, you’ll want to turn off camera power in your camera settings so that power is not sent or received through the USB port while tethering.  Another option is to use a cable that does not have Power Delivery (PD) to ensure the power does not conflict with data transfer.  

If you’d prefer to tether wirelessly, then you can forgo the cable and the Jerkstopper – but you’ll still need the laptop, the table, and the tethering software.

How to shoot tethered: step-by-step instructions

In this section, I explain how to tether with two low-cost, simple programs: Adobe Lightroom and EOS Utility. I’m assuming you’re tethering with a cable (the process is similar when tethering wirelessly, albeit with a few extra wireless activation steps when starting out).

Shooting tethered in Lightroom

If you already own Lightroom, the quickest way to get started tethering is with the Lightroom Tethered Capture feature.

Step 1: Connect your camera to the computer

Make sure your camera is turned off. Connect one end of the cable to your camera and the other end to your computer. Then turn the camera on.

Step 2: Start Tethered Capture in Lightroom

Open Lightroom. Select File>Tethered Capture>Start Tethered Capture.

Step 3: Choose your tethered settings

In the Tethered Capture Settings dialog box, you can enter a session name, select a file naming template, pick a file destination, and apply metadata and keywords.

Pay careful attention to where the photos will be saved (you need to be able to find them later!).

Once you’re satisfied, click OK.

If all goes well, you’ll see the screen displayed below, with a narrow control panel and a Library where photos captured via the tethered shooting connection will appear. You should see your connected camera listed on the left-hand side:

Lightroom sometimes has difficulty detecting the connected camera. In that case, you’ll get a No Camera Detected message:

If that happens, make sure your version of Lightroom and your camera’s firmware are up to date. Also, check to ensure your camera can do tethered capture in Lightroom. If your camera cannot tether in Lightroom, you can use a third-party plugin as a workaround; do a search for your camera model and you may find a solution.

Finally, try rotating through several different USB cables to make sure they’re working well.

If you’ve done all of the above and you still can’t get tethering to work, you might want to try tethering using a different program, such as EOS Utility:

Shooting tethered with EOS Utility

If you own a Canon camera, you can use the free EOS Utility software, which offers a simple tethering program. In my experience, this method is more reliable and consistent than Lightroom’s Tethered Capture option.

Step 1: Download EOS Utility and connect your camera

Head over to the Canon website, find your camera, then select the latest version of EOS Utility:

Download the program. Then – with your camera turned off – plug in your tethering cable. Turn your camera back on.

Open the EOS Utility program on your computer. The software should recognize your connected camera, which means you can then select the Remote shooting option:

Step 2: Work with the EOS Utility interface

Once you’ve successfully selected Remote Shooting, you should see the following interface:

The display lets you adjust certain settings from your computer, though there are some functions, such as lens zooming, that you’ll need to do manually.

Next, if you have the option, set your camera to Live View mode. Your camera display should appear on your computer screen, so you can see exactly what your camera sees.

Then, when you take a photo, the file will appear on your desktop!

You’ve made it this far, you could pop over and check out ‘best practices’ from the tethering geniuses at Tether Tools – Troubleshooting Tethering

Enhance your photoshoots with tethering!

Now that you’ve finished this article, you know how to shoot tethered in both Lightroom and EOS Utility. And you’re ready to do some high-quality product or portrait photography.

So connect your camera to your computer. Test out tethering. See what you think!

Now over to you:

What type of photoshoot do you plan on tethering? Which software will you use? Share your thoughts in the comments below!

The post Tethered Photography: A Step-By-Step Guide appeared first on Digital Photography School. It was authored by Suzi Pratt.

The post Front Light Photography: A Complete Guide appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Editor’s Note: I’ve been seeing a lot of this in our feeds, so I thought I’d pop this article back at the top of the pile for you to take a look at! — Enjoy.

What is front lighting in photography? And how can you use front light to capture stunning photos?

In this article, I break it all down for you:

• What front light is
• When you should use front light (and when you should avoid it)
• How to work with front light to create the best images

Front light photography is powerful, it looks great, and it can certainly level up your portfolio – so if you’re ready to become a lighting master, then let’s dive right in, starting with the basics:

What is front light photography?

Front light illuminates the subject from the front, which means that the light itself generally comes from behind the photographer. In other words, the light travels over the photographer’s shoulder and impacts the subject head-on.

Because front lighting hits objects directly, front-lit photos tend to feature limited shadows and eye-catching, in-your-face subjects. Here’s an example front-lit image; pay attention to how the front of the hook is bright and lacks shadows:

Note, however, that front lighting can come from high above the subject, far below the subject, or on a level with the subject. The angle of the front light source will determine shadow strength and positioning. While a scene that’s front-lit from the subject’s level will feature limited (or zero) shadows, a scene that’s front-lit from high above will generally have more noticeable shadows (e.g., shadows below a portrait subject’s nose and chin).

When should you use front light?

Because front light produces minimal shadows, front-lit photography tends to look flat and lack depth. This isn’t necessarily a bad thing, but if you’re looking to create deep, three-dimensional images, side light – which comes from beside your subject and features lots of shadows – is often the better choice.

On the other hand, front light is great for capturing two-dimensional abstract shots:

It’s also good for many types of nature photography – including bird, wildlife, and macro photography – as it tends to clearly illuminate the subject and the background.

I’m a particular fan of using front light in portrait photography:

Front lighting makes skin look smoother, particularly when the light is filtered and soft – while side lighting has a tendency to emphasize skin blemishes and wrinkles.

Plus, when a subject is front-lit, it’s easier to capture a well-exposed image.

Why? Front light tends to be very even, so your camera won’t struggle to determine proper exposure settings. For this reason, if you like to use your camera on an automatic or semi-automatic exposure mode, front light will often get you great results.

Tips and techniques for front light photography

In this section, I share my key tips and tricks for front light photography settings, lighting choices, and more.

1. Use open shade for front-lit portraits

As I explained in the previous section, front lighting is great for portrait photography. However, you need to be careful when doing front-lit portraits; unless you’re working on an overcast day or late in the afternoon, a bright sun will produce all sorts of unpleasant shadows. It’ll also cause your subject to squint.

My recommendation? Maintain the front-lit direction, but move your subject into open shade. Position your subject near the edge of the shade, but don’t let them step over the shadow line; that way, their face will be softly illuminated and they won’t need to squint, but you’ll have plenty of bright light to work with.

By the way, you should also pay attention to reflective objects. Light can reflect off the ground, nearby cars, or building walls, and by positioning your subject near these reflective light sources, you can get beautiful effects.

Finally, if you’re stuck shooting with harsh midday light and you cannot move your subject into a shaded area, I encourage you to bring in some artificial lighting. A flash, an LED panel, or even a reflector will reduce hard shadows and add some shape to your subject.

2. Trust your camera’s exposure recommendations

As I emphasized above, front lighting is very even – which means that, when you point your camera at a front-lit subject, you’ll generally get a good exposure reading.

Of course, your camera can still make mistakes, especially when you’re shooting very light or very dark subjects. But overall, front lighting makes for easy exposures, whether you’re using Aperture Priority mode, Shutter Priority mode, Auto mode, or even Manual mode.

So when you’re working with front lighting, don’t stress too much about exposure adjustments and exposure compensation. Instead, review your images for exposure problems, but let your camera do the heavy lifting!

3. Don’t be afraid to turn your subject

Front lighting can produce flat images.

And while flat shots can look interesting, many types of photography thrive off of three-dimensionality and depth.

Fortunately, there’s an easy solution:

If your shot is looking a little flat, then just turn your subject. This works great for portraits, and it’s also a good trick for shooting products and certain still-life subjects.

Of course, you don’t want to turn your subject too dramatically, but go for a subtle turn and see what you think. If you’re working with a portrait subject, ask them to turn slowly, and carefully watch how the light and shadows affect their face. (You may only need a slight turn to create a more three-dimensional photo!)

4. Pay attention to the light height

The height of the light source will dramatically affect your photos, so whenever you’re doing front light photography, you must pay careful attention to the light’s position!

Note that this is true for natural light and artificial light – though you do have more control over a flash or LED panel. If the sun is positioned too high or too low, you’ll often need to wait a few hours or come back another day, but if you don’t like the height of your off-camera flash, you can simply raise or lower the light stand. Make sense?

So when you’re using a flash or continuous light, experiment constantly with the light height. And as you work, watch how the light position affects shadows and creates different effects.

You’ll also need to watch out for unpleasant reflections. When shooting shiny subjects, for instance, a light positioned on a level with the subject will reflect right back into the camera lens, producing a distracting highlight. To avoid these reflections, try moving the light higher, lower, or (slightly) to the side.

5. Shoot during the golden hours

Afternoon front light can look nice, but if you want to really level up your photos, I encourage you to shoot during the golden hours – that is, the hour or two after sunrise and before sunset when the sun is low in the sky and the light is a beautiful golden color.

For one, the low sun produces very even front light, which offers minimal shadows and highly detailed results.

Plus, the light is more diffused – that is, softer – during the golden hours, so the shadows that do appear on your subject will look far more flattering.

And warm, golden light pretty much always looks incredible:

Front light photography: final words

Now that you’ve finished this article, you know all about front light, when you should use it, and how you can adjust your settings and scenes for the best results.

So head out with your camera and do some front lighting practice. See what you think of the results. Carefully watch your subjects and review the images as you work. Pretty soon, you’ll be using front light like a pro!

Now over to you:

When do you plan to use front lighting in your photos? Have you taken any front-lit photos you’re proud of? Share your thoughts – and photos! – in the comments below.

The post Front Light Photography: A Complete Guide appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

The post What Do the Numbers on Your Camera Lens Mean? appeared first on Digital Photography School. It was authored by Darlene Hildebrandt.

Camera lenses include quite a few numbers – and many of these are often confusing or obscure, especially for beginners.

That’s why, in this article, I’m going to run through all the important camera lens numbers you’ll encounter. I’ll explain what the numbers actually mean, and I’ll also explain why they matter for your photography.

By the time you’re finished, you’ll be a lens number expert, and you’ll never find yourself confused by your lens markings again.

Let’s jump right in.

Common numbers on newer digital lenses

Depending on the age of your lens, you’ll run into different markings. In this section, I’ll discuss numbers frequently found on newer lenses (though note that many will apply to old lenses, as well!).

Focal length

Zoom lenses feature a zoom ring; twist it, and your lens will zoom in and out.

Next to this ring, you’ll generally find focal length numbers. For example, if your lens is a 70-200mm zoom like mine (below), you’ll see markings that span from 70mm to 200mm. I’m currently at around 100mm:

A lens will never display every focal length but will instead offer a few useful intervals, as you can see in the image above.

If you are using a prime or fixed lens, you won’t have a zoom ring. Your lens will simply indicate the focal length on its barrel, as you can see on my 85mm lens:

Maximum aperture

The maximum aperture is the largest aperture opening your lens is capable of achieving. Note that the larger the aperture opening, the smaller the f-number (so f/2.8 corresponds to a very wide aperture, while f/22 corresponds to a very small aperture).

Larger apertures like f/2.8 or even f/1.8 are highly desirable because they allow you to shoot in low-light conditions while maintaining a fast shutter speed. So the best lenses – and the most expensive lenses – tend to offer a very wide maximum aperture.

(Note that some zoom lenses have a variable maximum aperture, where the maximum aperture will change depending on the focal length; this is represented as a range of numbers, such as f/3.5-6.3.)

Now, pretty much every lens has the maximum aperture written somewhere on its body. You can usually find this information in one of two places (or perhaps even in both):

1. Right on the end of the lens barrel
2. On the front of the lens inside the filter ring area

In the photo below, you can see two different lenses: my Tamron 17-35mm and my Canon 85mm. On the Tamron, you should see “1:2.8-4,” and on the 85mm, you should see “1:1.8.”

What does this mean? It’s simple: the maximum aperture on the 85mm lens is f/1.8, and on the Tamron zoom, the maximum aperture changes from f/2.8 to f/4 as you zoom the lens. (At the lens’s widest, 17mm, I can open the aperture to f/2.8. But if I zoom all the way to 35mm, my maximum aperture becomes f/4.)

These variable maximum apertures are pretty common with kit lenses, and especially kit lenses with a large focal length range such as 28-300mm or 18-200mm.

Focusing range and distance scale

On some – but not all! – lenses, you will see a range of distances, usually marked in two scales, feet and meters. These lens numbers indicate the distance at which your lens is currently focused.

So at one end of the scale, you’ll find the infinity symbol, and at the other end, you’ll find the lens’s minimum focusing distance (i.e., the closest the lens can focus).

Check out the two lenses below. The distance scale on the 70-200mm (left) is under a cover, and you can see that the lens is focused somewhere between 10 meters and infinity. The distance scale on the 17-35mm (right) is on the lens’s focus ring, and you can see that the lens is focused quite close, at around 0.5 meters.

Note that, as you focus your lens, the distance scale will change to reflect your new point of focus.

Lens diameter (filter size)

Every lens has a diameter, the distance across the center of the lens. This diameter also corresponds to the filter size (if the filter’s diameter doesn’t match the lens diameter, it won’t properly screw onto the front of the lens).

You’ll find the lens diameter written on the end of your lens (often on the edge of the barrel), preceded by a symbol that looks like a zero with a strike through it:

So for the lens pictured above, the diameter is 77mm. And if I wanted to use a polarizing filter or a clear filter, I’d need to grab one with an equivalent diameter.

By the way, you can also find the lens diameter on the back of the lens cap, as displayed above.

Less common lens numbers (often seen on older, manual focus lenses)

Now that you’re familiar with all the common camera lens numbers, let’s take a look at some of the less common markings. These numbers are pretty rare on lenses designed for digital cameras, but you may come across them if you purchase older, manual focus glass.

Aperture ring

Most newer lenses set and control the aperture through the camera. But back in the days of film, you would set the shutter speed on your camera and the aperture on the lens (via an aperture ring).

So while newer lenses rarely include aperture rings, you’ll find them on plenty of older lenses. An aperture ring displays different aperture settings, like this:

And by rotating the ring, you widen or narrow the aperture.

Note that some modern lenses do include aperture rings; Fujifilm is known for this, as are other brands that offer manual focus lenses (e.g., Samyang).

Hyperfocal distance scale

A hyperfocal distance scale helps you determine the depth of field for a scene, given a particular focal length, point of focus, and aperture.

Most zoom lenses don’t offer hyperfocal distance scales (because depth of field varies with focal length). But if you have a prime lens – especially an older model – you may see an extra ring of numbers on the barrel, such as in the image below:

Note that, in the image, you can see three sets of numbers:

• the distance scale
• the hyperfocal distance scale
• the aperture ring that actually sets the lens aperture

And this is by design. The hyperfocal distance scale uses the distance scale to display the expected depth of field. Here’s how it works:

First, focus your lens and set your aperture. Then look at the hyperfocal distance scale and find your chosen aperture on either side of the red line. Finally, look at the focusing distances that correspond to the apertures – these will be your near and far depth of field limit.

Make sense?

Camera lens numbers: final words

Well, that’s it for lens numbers! Hopefully, you now feel much more confident (and much less confused) when looking at your lens.

And if there are any lens numbers I missed, don’t worry – just share pictures in the comments below, and I’ll see what I can do to help out!

The post What Do the Numbers on Your Camera Lens Mean? appeared first on Digital Photography School. It was authored by Darlene Hildebrandt.

The post 5 Essential Macro Photography Rules (and When to Break Them) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Talk to any macro photography expert, and they’ll likely give you a few handy rules that are designed to help you improve your shots as quickly as possible. These rules can be insanely helpful, especially if you’re just starting out – but they can also be restrictive, frustrating, and very problematic.

So while it pays to explore a handful of essential macro photography rules, it’s important that you also understand how to break them effectively. That way, you can take advantage of the rules when they suit your photos, and you can break them as needed, too.

In this article, I share five key rules of macro shooting. I explain what they are, how you can use them to level up your shots, and when you might want to deliberately ignore the rules for the best results. Note that I offer plenty of examples from my own work so you can see precisely how following – and breaking – different rules will affect your images.

Let’s dive right in!

1. Use the rule of thirds

Let’s dive into the most talked-about rule in photography – yes, it’s the one with “rule” in its name! Meet the rule of thirds, a simple yet powerful concept that is designed to keep your compositions both dynamic and balanced.

The rule of thirds is simple: Divide your viewfinder, screen, or LCD into both vertical and horizontal thirds. This creates a grid. The main elements of your composition – horizon lines, leading lines, faces, eyes -should lie somewhere along these lines. If they fall on one of the “power points” of the grid – the place where the lines intersect – that’s even better.

How does this apply to macro photography?

Often, you’ll be advised to position flower stems along the rule of thirds grid, and you’ll be told to place flower centers along the power points of the image. The same goes for insects and leaves.

It’s solid advice that has stood the test of time, yielding delightfully pleasing compositions. But sometimes it’s best to break out of this mold and get something a bit edgier, a bit more unique.

Let me tell you about two scenarios when I like to break the rule of thirds.

The first instance you should break the rule is when you have a symmetrical subject. Symmetry can be very powerful, and it’s usually best emphasized by putting the point of symmetry (the place around which the image is symmetrical) in the dead center of the image.

The second time you might choose to break the rule of thirds is when you want to have a more spacious, off-balance image.

I like to place my main subject at the very top or bottom of the image and leave tons of negative space throughout the rest of the composition. This can produce a minimalist feeling, one that I really love.

Now, don’t get me wrong. The rule of thirds is a tried-and-true technique that has elevated the visual arts for centuries. But don’t be afraid to move beyond the rule of thirds to create original photos!

2. Keep it simple

Another common macro photography rule? Keep your compositions simple.

In other words, you should have one point of focus, no distracting elements, and a clean and straightforward image. According to this rule, the best shots often contain a single subject and a uniform (often white or black) background.

Indeed, this is often a wise approach. Random chaos can take away from the main subject and cause the viewer to become confused.

However, controlled chaos might be just the thing you need to create a unique image.

I like to use controlled chaos when I’m faced with a complex scene, such as a field of many overlapping flowers. The key is to make sure there is a main subject that stands out and can be identified as the main point of focus by the viewer. (At the same time, it’s okay to let the background or foreground get a bit messy as long as it complements the main subject.)

Just make sure you choose your framing carefully to prevent the image from devolving into chaos, and make sure that the main subject is tack-sharp. It’s a fine line between having a complex but controlled image and making a big mess.

3. Have a single point of focus

Macro photographers are often told to compose with a single point of focus (i.e., a prominent area that the eye can focus on). It’s a great way to prevent the composition from becoming too chaotic (see the previous section), and it can provide an anchor point for the viewer as they appreciate the photo.

But while there is a time and a place for this rule, there are also scenarios when it should be broken.

For instance, when faced with a noticeable pattern among leaves, flowers, or ferns, it can be better to think less in terms of a point of focus and more in terms of the image as a whole. Try to emphasize the pattern so the eye can follow it through the image. You might even consider getting ultra-close or deliberately missing focus for an abstract effect.

You may not end up with a single point of focus, but assuming you frame the scene carefully, you’ll still end up with a pleasing shot!

4. Use a uniform background

Uniform backgrounds are very popular in macro photography. In fact, macro photographers will often shoot on a completely black or pure white backdrop in pursuit of background uniformity.

The rule emphasizing uniform backgrounds makes sense: the more uniform the background, the less distracting it’ll be. I use it often myself.

But it’s also a rule that I often break, and here’s why:

Uniform backgrounds can be…kind of boring. More colorful uniform backgrounds are better, but sometimes even they aren’t enough.

If you really want to take your macro photos to the next level, you may wish to consider moving beyond those simple backgrounds. Instead, look for backgrounds that are complementary. In other words, find backgrounds that offer a bit of substance while enhancing the main subject.

One trick is to place a second subject just behind the first. Choose an aperture that keeps the second subject slightly out of focus but still recognizable. That’s how I captured this shot, which features a background of blurry tulips:

Another trick is to shoot toward the sun so that you get creative flare effects and beautiful highlights:

But be careful: You don’t want to go from uniform to messy. The key word is “complementary.” Have fun with your macro backgrounds, but make sure you exhibit restraint!

5. Make sure the whole subject is sharp

“Keep the main subject sharp” is a foundational rule of macro photography. The idea is to ensure that your entire subject – and not just the front or back edge – is sharp; that way, it’ll offer beautiful, crisp, lifelike details.

According to the rule, if you’re shooting a butterfly, make sure that it is sharp from wingtip to wingtip. When you’re shooting a flower, make sure that it’s sharp from the tip of the front petal to the edge of the back petal.

Sometimes, it won’t be possible to get the entire subject sharp, in which case the rule advises you to get as much in focus as you can. (You do this by narrowing the aperture. It’s common for macro photographers to shoot at f/8 and beyond for this reason!)

But while an in-focus subject does tend to look nice, you can create wonderfully emotive shots by ensuring that very little of your subject is in focus. It’s a technique I use all the time, as you can see in the photos displayed throughout this article, and it can be a great way to produce more abstract, unique images.

How can you create such an effect? Simply dial in a wider aperture and get close to your subject. I often work at f/4, but you can achieve good results at a variety of different apertures; just experiment and see what you can create.

(One tip: Focus manually, and try to set the point of focus on a recognizable part of your subject, such as a leaf or the edge of a petal. Though most of the shot may be unrecognizably soft, you want to include an anchor point for the viewer.)

Macro photography rules: final words

Macro photography rules can certainly be helpful – and if you’re a beginner, I encourage you to memorize each and every rule listed above. I’d also recommend practicing incorporating each rule into your photos.

But remember: Macro photography isn’t just about following a set of rigid rules. It’s an art form, a way to express your unique perspective and unleash your creative spirit. So don’t be afraid to bend and break those rules when the moment calls for it.

Embrace the power of the rule of thirds, but don’t be bound by it. Sometimes, symmetrical subjects demand center stage, while other times, a little off-balance magic can create minimalist masterpieces.

And let’s not forget the beauty of simplicity. Keep it clean, keep it focused, but don’t be afraid to break free from the chains of predictability. Surprise your viewers with unexpected elements and unleash their imagination.

Now grab your camera, capture some macro shots, and think about different rules as you photograph. Rules are meant to be broken, and if you’re willing to think outside the box, you can end up with gorgeous images!

Now over to you:

Which of these rules do you like (or dislike)? Do you have any rules of your own that you like to break? Share your thoughts in the comments below!

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The post 5 Essential Macro Photography Rules (and When to Break Them) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

The post Weekly Wrap Up! appeared first on Digital Photography School. It was authored by Sime.

What did you do with your camera this week? We actually want to know! Inspiration goes both ways, right? Pop us a comment, even just to say g’day. I try to get out with my camera as often as life allows! I just (literally, moments ago haha) tried to setup a shot where you could see the hot air balloons and my desk in the foreground – kinda tricky! Bright morning sun and a relatively dark office, but its always fun to try! Anyways, I’m rambling – Say hello in the comments, share a photo! Have a good weekend. (Its Friday here in Melbourne)

Weekly Wrap-Up: From Portraits to Minimalist Landscapes

Another week, another treasure trove of photography tips and inspiration! Here’s what caught our eye in this week’s issue of Digital Photography School. Not Subbed? Join Us Here – It’s Free

Portrait Perfection: 10 Tips to Level Up – [read it…]

First up, a standout piece—10 Ways to Take Stunning Portraits. Whether you’re photographing friends, clients, or strangers, this guide is full of quick wins and deeper insights into lighting, posing, and bringing out natural expressions. A must-read for anyone looking to elevate their portrait game.

Minimalist Landscapes: Less Really Is More – [Interested?…]

Minimalist landscape photography is having a moment, and for good reason. This week’s Simple Guide to Minimalist Landscape Photography breaks it down beautifully—how to see simplicity in chaos, use negative space, and create serene, compelling compositions with very little.

Bird Photography Lighting: 7 Gorgeous Tips – [The bird!..]

Bird photographers rejoice! There’s a great piece on lighting for bird photography. It covers natural light, angles, and timing to help you get those crisp, well-lit avian portraits—without disturbing the subject.

Fisheye Fun: Creative Uses for a Unique Lens – [Go wide!…]

Got a fisheye lens collecting dust? This quick guide with five tips might spark some fresh ideas. Think beyond the cliché skateboard shots—there’s room for artistry here. Here’s a Fisheye photo out of my camera, the last time I used my Lensbaby Fisheye… Lifetime ago!

After Dark: Low-Light Landscape Mastery – [Low Light Love…]

Low-light landscape photography can be tricky, but this guide is packed with tips that make it far less intimidating. It’s perfect for night owls chasing star trails or dawn chasers looking for that pre-sunrise magic.

?? Gear Reviews: Filters & Storage

There are two solid gear reviews this week:

• K&F Concept Filters get a hands-on test, with insights into how they handle different lighting conditions.
• A closer look at the Synology DS925+ cloud storage solution—ideal for photographers juggling growing archives.

Post-Processing Corner – [Which Tablet?]

If you’re editing with a graphics tablet (or thinking about it), the post on 10 Powerful Tips for Editing with a Tablet is worth your time. It covers workflow, brush settings, and getting the most from pressure sensitivity.

That’s a wrap on this week’s photography reads! Whether you’re shooting portraits, chasing birds, or editing under the stars, there’s something in here for every kind of creative.

Catch you next week with more picks from the inbox. Until then, happy shooting! ?

The post Weekly Wrap Up! appeared first on Digital Photography School. It was authored by Sime.

The post Photographing Children – Composition appeared first on Digital Photography School. It was authored by Darren Rowse.

I thoroughly enjoy photographing children and have opportunity to do quite a bit of it lately after many of our friends have had babies.

Probably the most important tip I’ve learned in photographing them is to get on their level. So many of my friends show me photos of their kids which are taken from 4 or so feet above the child which does nothing but dwarf them and make them look almost toy-like.

Getting on your hands and knees or crouching down before you take a shot of a child takes you into their world and helps you to engage with them through the images you take.

Photographing Babies

Babies are particularly difficult to photograph because they are so immobile. I find that one of the best ways to get good shots of them is to put them on a baby rug and too literally lie down next to them with your camera right on the floor. In this way you’re looking directly into their big beautiful eyes and it puts the viewer of the photo in the unique perspective of an eye to eye place. If the child has the ability to lift it’s head the effects can be amazing as you almost find yourself looking UP into their eyes.

Photographing Older Children
The same principle of getting down low applies with older children although you do have a little less lying on the floor with them when they are at an age of walking.

I particularly find that with older children the best time to photograph them is when they are doing something that they enjoy. Go to the park with them and their parents, visit their house when they are painting pictures, get them to take you on a tour of their room or take them out to play their favorite sport.

While they are doing their activity hover around (at their level) and take plenty of shots. Also include shots with them and their parents and keep an eye open for those candid moments when they fall over, do funny expressions or ham it up for the camera.

If your camera has a continuous shooting mode it might also be worth keeping that on with bigger kids who tend to move around more. As I look back at the times I’ve done this it’s quite interesting to see that it’s often the second or third shot in a sequence that is best. Shooting just one frame at a time can mean you miss these golden opportunities.

Another benefit of continuous shooting is that you can end up with a great series of shots that might go nicely together to tell a story (see below).

Change your Focal Length

Another great way to change the angles of your shots when photographing kids is to use different focal lengths. If you’re using a DSLR it might be worth investing in a couple of different lenses (a wide angle one and a longer zoom) to give you different options. If you’re using a point and shoot (most of which have at least a 3x Optical Zoom) make sure you use it.

Taking pictures with a wide angle focal length can be particularly effective when getting in close to children. It opens up the angles and gives all kinds of interesting perspectives. I use a 17-40mm zoom lens on my DSLR which is brilliant for this. It still allows me to zoom in a little but at 17mm the impact is amazing.

A zoom lens allows you to take photos from further afield and will particularly be useful if the child is distracted by you taking photos. I use a 70-200mm zoom (the third image above was taken with it) which I find very useful.

Have Fun

Lastly, the key to good kid shots is to rediscover your own inner child. Kids love to have fun, they do the unexpected, they love to experiment and test things out and they love to play. Approach photographing them in this spirit and you’ll find your pictures take on a wonderful childlike quality.

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The post Photographing Children – Composition appeared first on Digital Photography School. It was authored by Darren Rowse.

The post Review: Synology DS925+ for Photographers – Is This Your New Cloud? appeared first on Digital Photography School. It was authored by Sime.

Review: Synology DS925+ for Photographers – Is This Your New Cloud?

We were sent the newly released Synology DS925+ a four-bay NAS (Network Attached Storage) unit—for review, and we’ve been putting it through its paces. But rather than focusing only on the raw specs, we’re looking specifically at how the DS925+ can help you build your own personal photo ‘cloud’. Let’s get into it.

We’ve reviewed Synology NAS units before, and we’ve always spoken highly of DSM (DiskStation Manager), Synology’s operating system. Since then, DSM has seen a few updates, but it remains a powerful and intuitive system for managing your NAS—whether you’re working at home on your desktop or accessing files remotely via mobile apps.

As a photographer and content creator, I’ve found the updated Synology Photos app (formerly Photo Station and Moments) to be especially useful. It’s packed with new features that genuinely improve productivity.

New Synology Photos vs. the Old Apps

As a photographer, I also store business files on my NAS—everything from invoices to contracts—which makes the Synology a fantastic central hub for both creative work and admin.

The Elephant in the Server Room…

Now, you might have heard some chatter (ok, a lot) about drive compatibility changes with this new generation of Synology NAS. Without diving too deep, here’s the gist: Synology now requires Synology-branded drives (co-manufactured by Seagate) for full feature support. Using third-party drives may limit features or even block DSM installation.

It’s caused a stir in the community, especially for those who prefer brands like WD Red or Seagate IronWolf. If you want more detail, the folks at DRN have a good wrap-up.

For our review, the unit came pre-installed with four Synology HAT3300 4TB drives, giving us around 10.5TB of usable storage once RAID (We opted for SHR – Synology Hybrid Raid, which allows for one-disk fault tolerance) is configured.

Hardware Overview: Synology DS925+ Specs

The Synology DiskStation DS925+, launched in April 2025, succeeds the DS923+ with several hardware upgrades—along with the aforementioned drive restrictions.

Key Specifications

• Processor: AMD Ryzen V1500B (Quad-Core, 8 Threads, 2.2GHz)
• Memory: 4GB DDR4 ECC (expandable to 32GB via 2x SODIMM slots)
• Drive Bays: 4 x 3.5″/2.5″ SATA HDD/SSD
• M.2 Slots: 2 x NVMe Gen 3 (for SSD caching or dedicated SSD pools)
• Network Ports: 2 x 2.5GbE RJ-45 (supports link aggregation & failover)
• Expansion Support: Up to 9 drives via the DX525 expansion unit
• RAID Options: Basic, JBOD, RAID 0, 1, 5, 6, 10

Real-World Use for Photographers

So what do these specs mean in practical terms?

The dual 2.5GbE ports are a big improvement over the DS923+’s single 1GbE. I’ve bonded both for link aggregation, and while it’s no 10GbE, the speed is noticeably better—especially when working with large files.

Tip: Add SSD cache using the NVMe slots. This massively improves responsiveness when serving thumbnails or opening frequently accessed image libraries. (It’s REALLY easy to add them, too)

While editing directly from the NAS is possible, I found that working with 90MB Sony RAW files over Wi-Fi 6 (on a MacBook) did introduce some lag. It’s doable, but if you’re editing a 2,000-image wedding, a wired DAS (Direct-Attached Storage) might be a better option. You can always offload and deliver from the NAS later.

Top 5 Ways to Use a Synology NAS as a Photographer

1. Centralised Photo Storage & Organisation

• Store all your photos in one secure, easy-to-access location.
• Organise by date, camera, client, or tags using Synology Photos.
• No more juggling external drives.

2. Automated Backup & Redundancy

• Protect files with RAID redundancy (e.g. RAID 5).
• Schedule automatic or real-time backups from your computer or SD cards.
• Sync to cloud services like Dropbox, Google Drive, or Synology C2.

3. Remote Access & File Sharing

• Access your photo library anywhere via app or browser.
• Share RAW files or galleries with clients using expiring links or QR codes.
• Control who sees what with detailed user permissions.

4. Editing Workflow Integration

• Mount the NAS as a network drive for editing in Lightroom or Capture One.
• Use SSD cache for faster previews and file access.
• Restore earlier edits with version control features.

5. Archiving & Long-Term Storage

• Offload completed projects to the NAS for long-term safekeeping.
• Set up automated archiving with task scheduler or scripts.
• Organise archives by job, date, or tag for quick retrieval.

Final Thoughts

The Synology DS925+ is a solid upgrade with impressive performance and real advantages for creative professionals—especially photographers. While the new drive restrictions may be a sticking point for some, the improvements in speed, software, and usability are undeniable.

Whether you’re managing weddings, commercial shoots, or your personal archive, the DS925+ can absolutely become your central photo hub.

Thanks, Synology, for your support for us here at dPS!

The post Review: Synology DS925+ for Photographers – Is This Your New Cloud? appeared first on Digital Photography School. It was authored by Sime.

The post Unlock Cinematic Brilliance: Elevate Your Footage with VideoProc AI Video Upscaler (Easter Special Inside) appeared first on Digital Photography School. It was authored by Sime.

Part 1: Introduction 

4K and 8K aren’t just buzzwords—they’re today’s standard for visual storytelling. But what happens when your footage doesn’t measure up? Maybe it’s an old SD clip from a documentary project, now painfully grainy on a modern screen. Or a once-in-a-lifetime wedding moment, ruined by dim lighting and noise.

These aren’t just “what-ifs”—they’re real frustrations. Fast-moving shots (think sports or wildlife) lose critical detail. Telephoto lenses introduce soft edges. Even macro videographers, who rely on capturing delicate textures, fight against lens limitations.

That’s where AI video upscaling comes in. It’s not just about adding pixels—it’s about restoring what your footage was meant to be. Whether you’re rescuing old tapes, fixing low-light shots, or sharpening macro details, tools like VideoProc Converter AI have gone from “nice-to-have” to essential.

Part 2: Why VideoProc Converter AI? The AI Video Upscaler You Can Trust

When quality and efficiency matter, VideoProc Converter AI is the definitive solution for videographers and filmmakers. Unlike basic upscalers that simply stretch pixels, it intelligently reconstructs footage using advanced AI—preserving authenticity while achieving stunning 4K/8K clarity. Here’s why professionals trust it:

1. Cinematic-Quality Upscaling

Uses deep learning to analyze and enhance details frame-by-frame, transforming SD/HD to true 4K/8K without artificial sharpening or artifacts. Ideal for restoring old footage or meeting broadcast specs.

2. Smart Artifact Removal

Eliminates compression flaws (blockiness, banding) from streaming rips, DSLR footage, or legacy files—revealing clean, natural textures hidden beneath digital noise.

3. Dual Denoising Engine

Combats both high-ISO grain and motion blur in low-light scenes (e.g., weddings, concerts), recovering crisp details even in near-darkness.

4. Frame-Perfect Motion Handling

Ensures smooth slow-motion by compensating for dropped frames or blur in fast-action shots (sports, wildlife), avoiding the “jelly effect” of cheaper tools.

5. GPU-Optimized Speed

Renders 8K in real-time by leveraging multi-GPU power—cutting processing time by 75% compared to CPU-based alternatives.

? See it in action: Official Video Demo?

Part 3: Easter Special: Elevate Your Toolkit Without Breaking the Bank

Good video software shouldn’t cost a fortune. VideoProc Converter AI delivers pro-level results without the Hollywood price tag.

Your  Options:

• Annual Plan ($25.95): Full access to every feature—from AI upscaling to stabilization and colorization—for a full year. Perfect if you prefer flexibility.

• Lifetime License ($45.95): A single payment unlocks permanent access. The go-to choice for studios and serious creators.

EASTER SPECIAL ALERT! ?
For a limited time, upgrade to the Lifetime License for 3 devices at just $39.95—that’s 30% off the regular multi-device price.

? Claim This Exclusive Deal Now

This isn’t just software—it’s a long-term solution for your workflow. The offer won’t last, and neither should your compromise on quality.

Bonus Tip

Need to polish the photos too? Grab Aiarty Image Enhancer (1-Year License included) to fix blurry portraits, restore old scans, and prep images for print.

Part 4: From Grain to Glory: How to Upscale Like a Pro

VideoProc Converter AI doesn’t believe in one-size-fits-all solutions. That’s why it offers four specialized AI models, each engineered to tackle specific enhancement challenges with surgical precision:

1. Motion Enhancement Mode
Your secret weapon for fast-paced content. It analyzes movement patterns to reduce motion blur and rolling shutter artifacts – perfect for smoothing out sports plays, drone footage, or wildlife action shots.

2. Film Restoration Mode
A time machine for vintage footage. While upscaling, it preserves the authentic grain structure of 16mm/35mm film while removing scratches and noise – ideal for archivists and period piece creators.

3. Anime Optimization Mode
The animator’s ally. It applies intelligent anti-aliasing to clean up jagged edges in 2D animations and hand-drawn art without softening distinctive artistic lines.

4. Portrait Refinement Mode
The interview specialist. It enhances facial details – sharpening eyes, refining skin texture, and maintaining natural tones for documentary subjects or talking-head footage.

Your Step-by-Step Upscaling Guide:

Step 1: Download and Install VideoProc Converter AI 

Install VideoProc to your PC or Mac and run it. Select the Super Resolution icon.

Step 2: Import videos and Select Your AI Model
Drag and drop your video file directly into VideoProc’s clean interface – it supports everything from vintage. Click the “AI Model” dropdown and choose the mode that matches your content type.

Step 3: Set Output Parameters
Specify your target resolution (up to 4K), video/audio codec, and format. Once you’re satisfied with the results, click the RUN button to export.

Part 5: Beyond Upscaling – Your Complete Video Toolkit

VideoProc Converter AI isn’t just an upscaler—it’s an all-in-one powerhouse packed with professional tools that streamline your entire post-production workflow. Here’s what else you can do:

• AI Frame Interpolation: 

Transform 24/30/60FPS footage into ultra-smooth 120-480FPS slow motion—perfect for cinematic B-roll or reviving vintage clips without expensive high-speed cameras.

• Video stabilization

 Make handheld camera footage steady, Optimize wobbles in low-light environments, Eliminate shakes in drone videos, Fix shaky GoPro footage, and stabilize jitters from moving objects.

• Colorize black-and-white photos

Turn Monochrome Photos into Colorful Images, breathe new life into black-and-white photos by adding vibrant colors, transforming old and faded heritage images into true-to-life modern pictures with restored and sharpened details.

• Universal Format Conversion

Support 370+ Input Codecs, 420+ Output Formats, convert 4K/HEVC/C-log/MP4/ XAVC-S/MKV 420+ formats for smooth playback.

• Smart Compression

Reduce file sizes by up to 90% (e.g., 2GB ? 0.17GB) without sacrificing quality—ideal for email sharing or storage optimization.

• Quick Edits & DVD Digitizing

Crop, resize, rotate, or watermark videos in seconds. Plus, rip DVDs to MP4/ISO/MP3 with 1:1 quality preservation.

Part 6: Don’t Miss This Upgrade

VideoProc Converter AI revolutionizes your workflow with intelligent upscaling that transforms ordinary footage into extraordinary 4K/8K content – preserving authentic details through specialized AI modes while delivering lightning-fast processing. Whether you’re restoring archival footage, perfecting slow-motion sequences, or meeting broadcast standards, this all-in-one solution gives you the precision and efficiency professionals demand.

Ready to future-proof your creativity?
Claim Your Discount Now!  Get the lifetime multi-device license (3 workstations) for just $39.95 – a 30% savings! This deal won’t last forever. 

The post Unlock Cinematic Brilliance: Elevate Your Footage with VideoProc AI Video Upscaler (Easter Special Inside) appeared first on Digital Photography School. It was authored by Sime.