[Photography] How to Use Multi-Flash to Capture Stroboscopic Action Photos

The post How to Use Multi-Flash to Capture Stroboscopic Action Photos appeared first on Digital Photography School. It was authored by Rick Ohnsman.

Have you ever been to a disco, performance, or another place where they used a strobe light? If so, you saw the interesting effect created by the rapid flashing. Smooth movement gets broken into a series of frozen-stepped motion, not unlike the frames of an old-time movie. 

Now, what if you could do that with your still camera – that is, create a series of images, all within one frame? If you have a portable flash or studio strobe capable of generating the stroboscopic effect, there’s a good chance you can do this. You can create images that are a great way of analyzing and showing motion, and this article will show you how!

What is an in-camera stroboscopic effect?

Different flash manufacturers may use different names for this capability. Canon, Godox, and Yongnuo call it Multi-Mode, while Nikon calls it the Repeating Flash Function. However you refer to it, multi-flash is the capability to fire multiple flashes during one camera exposure.

The best way to see if your flash is capable of this effect is to read your flash manual. If the flash you own does have this capability, a photo illustration will often accompany it showing the kind of images possible, like this one here:

A bright object on a dark background will help a lot when using the multi-flash technique!

If your flash unit supports it, there will be three constants you can control regardless of the make or model of your flash unit. They are:

1. Power output

This controls the intensity of the light output. Typically, output runs from 1/1 (full power) down in fractions of that, such as 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, or 1/128. The smaller the fraction, the less intense the flash output.

There are two other things to remember about the flash output:

1. The higher the output, the more battery power used, and the longer it will take to recycle the flash before it’s ready for another burst.
2. The duration of the flash is shorter as the output power gets lower.  As a result, lower power/shorter durations have more “stopping power” when it comes to freezing motion.

Just to give you an idea of different flash speeds at different power outputs, the chart below shows approximate flash durations for various power settings on a Canon 580EX Speedlite:

Flash output setting	Flash duration
1/1	1/250 of a second
1/2	1/919 of a second
1/4	1/2,066 of a second
1/8	1/3,759 of a second
1/16	1/6,024 of a second
1/32	1/9,470 of a second
1/64	1/14,000 of a second
1/128	1/20,000 of a second

2. The number of flashes

This one is easy and is exactly what it sounds like: it’s the number of times the flash will fire during the exposure.

Set it for however many times you want the flash to fire in your image. That’s how many “steps” of the moving object you will see.

How many times did the flash fire during this sequence? Count the number of steps.

3. The flash frequency

This one can sometimes throw the new user as it uses a term not always familiar to everyone: hertz. In very simple terms, hertz refers to the number of cycles in one second. So, 1 Hz=1 flash per second, 10 Hz=10 flashes per second, etc.

The three settings you can control are power output, number of flashes, and frequency. This is a Canon 550EX flash.

How to determine your flash settings: the formula

Here’s how you put it all together.

Figure out how much power you need and set the power output first. Your distance from the flash to the subject will help you determine it, and so will how fast and how many flashes you expect to fire and how much “freezing action” you need.

Then think about the speed of the action you intend to capture and its duration. Finally, determine how many steps you want to see freezing the action.

The formula looks like this:

Number of flashes/Hz = Shutter speed

Let’s use an example. You want to take a strobed shot of a hammer swinging down and striking a nail. You can put the flash close to the action, so 1/32 power might be enough. If you use a slow swing, you can complete the action in one second. You’d like 6 steps of action in the shot.

Plug those numbers into the formula:

6 flashes/6 Hz (6 flashes per second) = 1 second shutter speed

Now say you want to capture something faster like a club hitting a golf ball off a tee. You can still get the flash close enough to use 1/32 power. You want 15 steps in your sequence and guess the action will take just 1/30th of a second to complete.

Here’s how the formula looks for that:

15 flashes/199 Hz = ~1/15s shutter speed

The formula is right, but perhaps the speedlight you’re using (in my case, a Canon 550EX) is only capable of a 199 Hz maximum. Even at that, the shutter speed would have to be about 1/15s, not the 1/30s you wanted. Could you live with just eight steps in your shot?

8 flashes/150 Hz = ~1/20s shutter speed

That’s closer! If you slow down your swing, it just might work.

You will find that at the higher hertz rates, the flash fires so fast that it seems like just one burst. However, when you check your shot, a fast-moving subject lit with a high flash-per-second (hertz) rate should show the individual steps in the movement.

Exposing for a stroboscopic image

You’ve used the formula to determine what numbers you want to enter into the flash, and that’s determined your minimum shutter speed. Here, however, the flash is firing within the scope of the shutter duration, and shutter speed isn’t really a factor in setting exposure.

Here are the factors that will affect your exposure:

Ambient light

You want the flash doing the work here. Also, you will typically be shooting at longer shutter speeds to capture the duration of the action.

Ambient light is not your friend as it will begin to force settings you may not want. You also want to eliminate distractions in the shot as the steps of the object in motion will create a busy enough image already. Your best bet is to work in a darkened room and use a black or very dark background.

Set everything up with a work light on, but switch it off before making the shot so the flash is the only source of illumination.

That leaves a few things you can do to adjust exposure:

Set the ISO

ISO adjustments can be helpful here as they allow you to have the aperture and shutter speed where you want them and adjust this third leg of the exposure triangle to get the exposure where you need it. As always, aim to keep the ISO as low as possible to limit noise – but also remember modern cameras have become far less noisy in recent times.  Know what your camera can do and at what point you will get too much noise.

Set the aperture

You will want to adjust your aperture based on the depth of field you need for your particular shot. Also, keep in mind that most lenses perform best between f/8 and f/16, so try to be in that range if you can. You can also adjust your aperture for exposure if you need to. However, I recommend making exposure adjustments using ISO and flash power first.

Set the flash power

Remember, this is one of the settings you enter into the flash. The flash output will very much control your exposure. The best rule of thumb here is to only use as much power as you need.

To recap, these are the advantages of lower flash power settings:

• You’ll use less battery. (If you have an external power source for your flash, use it.  Stroboscopic flash work drains batteries fast.)
• The flash will recycle faster.
• Lower power = shorter flash duration = more motion-stopping capabilities.

Increase the flash output if you need to, but remember that increasing the ISO might be a better move.

You may also find the flash will limit what other settings you can input, especially with higher power settings. To allow sufficient time to recycle between flashes and to prevent the flash from overheating, it may not allow many flashes or a higher hertz setting at higher power settings.

For example, my Canon 550EX can shoot 70 continuous flashes at 10 Hz if the power is turned down to 1/128 power. However, it can only shoot 2 consecutive flashes at that same 10 Hz rate if the flash is turned up to 1/4 power.

The Multi-Mode on my Canon flash will not work at all if the flash power is set to anything higher than 1/4 power. Full or 1/2 power in Multi-Mode on the 500EX? It simply cannot do it.

My flash manual has a chart showing how many sequential flashes are possible at various power and hertz settings. Also, the flash’s programming will not allow settings to be input that exceed its capabilities. Canon also warns: “To prevent overheating and deterioration of the flash head, do not use stroboscopic flash for more than 10 frames in rapid succession. After 10 frames, allow the 550EX to cool for at least 10 minutes.”

So whether you’re using a Canon flash or another make/model, know that stroboscopic flash works your unit hard and be aware of its limitations.

A longer shutter speed is (generally) okay

Here’s one more thing to think about when inputting the three parameters into the flash and calculating the shutter speed: 

When you click the shutter, the flash will immediately begin its strobed sequence.

If you input, say, 6 flashes at 6 hz at 1/32 power, per the formula, it will take 1 second for the flash to complete the programmed cycle. However, there’s no reason that the shutter speed couldn’t be longer, especially since in low ambient light conditions, little if any additional light will add to the exposure once the flash cycle completes.

So to amend the formula just slightly:

The number of flashes/Hz = The minimum shutter speed

With no additional flashes after the sequence completes, further action is not likely to be seen in the shot. So overestimating the shutter speed is usually not a problem. Underestimating the shutter speed, however, won’t allow the flash sequence to complete before the shutter closes.

These are the settings for the golf club shot below. Count the steps in the photo and you’ll see it corresponds to the setting here: 12 flashes. At 80 hz, the flash was firing 80 times per second (i.e., every 1/80th of a second).

Determining the perfect exposure settings

We’ve covered how to determine shutter speed, but what about setting the perfect aperture, ISO, and flash output power? I’ve offered some guidelines in the previous sections, but how can you ensure perfect exposure? There are a few ways to approach this:

1. Use an external light meter.  Fire the flash and take a reading as you normally would with an external meter. Use that to determine your camera setting at the predetermined shutter speed. Adjust the ISO, aperture, and/or flash output power to get a proper exposure. If you are familiar with using an external flash meter, you will know how to do this. But if you don’t have an external light meter, you might try the next method:
2. Do manual calculations. Look up the guide number of your flash, determine the distance to your subject, and then – using the formulas in your flash manual – calculate your settings. It can work! But if math is not your forte, or you don’t fancy crunching numbers, you could always try the third option:
3. The trial-and-error chimping method. Okay, that’s my name for it. But it simply involves starting at, say, an ISO of 100, an f-stop of about f/8, and a flash output of 1/32 power. Set the number of flashes and frequency that you think best. Shoot, take a look at the LCD playback (i.e., chimp), and if the image is too dark, increase the flash power or open the aperture. Test, chimp, and repeat as needed until you get it dialed in. Digital storage is cheap, and once you figure out your settings, unless you change the flash-to-subject distance, you should be set for the session.

How to get even better multi-flash photos

At this point, you should be familiar with the basics of stroboscopic photography. However, here are two other items to consider if you want to take your images to the next level:

1. Think about the color and brightness of the objects

You will very quickly find that because each step of the sequence in a shot only gets a portion of the total light during the entire exposure, darker objects in motion may not show up well. Also, because static objects in the shot will get the full sum of the light, they will be brighter.

You can learn from your mistakes, but why not learn from mine instead?

A patterned background placed too close to the subject and a golf club with a black shaft and head made this image less than it could have been.

For the stroboscopic shot above, I used a dark, patterned photographer’s popup background, but I should have used a solid black background and placed it farther from the subject. Also, the golf club I used had a dark head and shaft – so while the white ball, golf tee, and reflective chrome parts of the club showed up reasonably well, other parts of the club disappeared. Finally, the patterned background got too much light; as a result, the pattern interfered with the shot.

Here are two lessons you can learn from this:

• Use a black, plain background and place it as far from the subject as you can such that little-to-no light illuminates it.
• Use bright objects so that the steps in your sequence show up well.

If you take a look at the multi-flash pepper photo toward the beginning of this article, you’ll see that the bright orange color of the bell pepper and a dark black background worked much better.

And I’ll note that a redo of the golf shot incorporating those exact principles resulted in a much better shot:

Adding some reflective tape to the shaft of the golf club helped it show up better!

2. A remote trigger can help

Unless you have an assistant (or maybe three hands), trying to control the camera while performing the action you’re trying to capture and also nailing the timing is not impossible, but it makes things a lot more difficult. Therefore, a remote trigger that allows you to fire the camera as you start the action sequence can be a huge help. 

If you are mounting your flash off-camera, a means of triggering the flash will also be necessary. Use either a wired connection, a wireless radio trigger, or an infrared camera/flash system.

Another level of sophistication, if you want to add it, would be a flash trigger, perhaps activated by sound, breaking a laser beam, etc. I have used the MIOPS Smart Trigger on other photo projects with success. A real advantage it adds is precision and repeatability of a shot – something that you will otherwise be forced to leave up to luck and timing.

In a dark environment, use Bulb mode. Open the shutter, and when the action activates the flash trigger (i.e., breaks the laser beam or creates a sound), the flash fires its strobe sequence.

Good flash triggers aren’t cheap. However, if you do a lot of this kind of photography, they significantly speed up the work and permit the repeatability of a shot, which saves a lot of time and effort.

Practice makes perfect!

Like any photography, practice will improve your results with stroboscopic flash work. You will better learn how the three flash settings – flash power, number of flashes, and flash frequency – work together to create a multi-flash photo.

You will also learn the kind of action sequences that make for good shots, how to tune your composition, and camera settings, and how to edit your photo for the best results. Plus, you’ll find that making lots of shots, checking your work, fine-tuning, and repeating are key to getting that one really great keeper.

I hope you will take the time to try and learn this new flash trick and then share your results in the comments. If you have questions or other comments, please share those too!

The post How to Use Multi-Flash to Capture Stroboscopic Action Photos appeared first on Digital Photography School. It was authored by Rick Ohnsman.

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[Photography] How to Use Goal Planning to Grow as a Landscape Photographer

The post How to Use Goal Planning to Grow as a Landscape Photographer appeared first on Digital Photography School. It was authored by Jonathan Martin.

“I invest so much time in my landscape photography, but I can’t tell how much I’m improving or even where I’ll be in a year. I think I’m getting better, but slowly and haphazardly.”

Does that resonate with you? Does it sound slightly familiar? It’s a problem that many landscape photographers struggle with: How can you effectively grow your skills when there’s no well-worn path to follow? And if your skills are growing more slowly than you’d like, how can you see major progress in weeks or months rather than years?

In this article, I explain the importance of taking an active, intentional role in your learning. Specifically, by setting measurable goals and frequently evaluating your photos (and yourself), you can double your learning speed.

How do I know this? Because I’ve done it myself.

Several years ago, I wasn’t noticing much growth in my landscape photography. My skills were definitely increasing, but it happened slowly and I didn’t have a clear direction of how I wanted to improve in the future.

Sella Towers, Dolomites, Italy

Fast forward to my recent trip to Oregon, where I made a point of applying some goal planning and introspection before, during, and after the shoot. I learned more in two weeks than I had in two years, and I brought back some of my favorite photos to date.

Maybe you’ve heard of objectives and key results (OKRs) or the value of being results-oriented from managers or personal trainers. These seem like fuzzy topics, but there’s nothing more empowering than charting your own course to improvement, as became clear on my Oregon trip.

I couldn’t be happier with the improvement I noticed while peeking at photos from just two years ago. I can see measurable improvement that directly correlates with intentional goal planning. And it’s not just the keeper shots that have improved. I shoot noticeably fewer photos, more of which end up being keepers, and it takes less editing for me to finish them up.

Want to take an active role in growing as a landscape photographer? Here’s how to do it!

1. Record clear objectives

Smith Rock Bend, Oregon

Have you ever stopped to ask yourself why you’re a landscape photographer in the first place? Your “Why?” doesn’t have to be etched in stone, but a clear answer will guide how you invest your time and money into growing.

Here are some example objectives. “I invest time in my landscape photography because…”

• “I want to travel.”
• “I want to make a full-time living.”
• “I want to capture unique locations.”
• “I want to grow my local following.”
• “I want to be the best at my craft.”

You probably have several objectives in mind, so the next step is to prioritize them. Which objective(s) trumps the others in the competition for your time? Objectives are critical because they help you identify conflicts of interest. Once you start formulating goals, you want to ensure they naturally support your objectives.

For example, you might be a landscape photographer because you love traveling, but your goal might be to sell prints at local art shows. These may well clash with each other, as manning a booth three days a week means less freedom to travel. In that case, you may need to adjust your goals and find another way to support your wanderlust, even if it’s unrelated to photography.

You should write your objectives out on paper, or at least on the computer, by the way; this is important because it helps clarify your thoughts and gives you accountability.

2. Set effective goals

Mt Bachelor, Cascade Lakes Bend, Oregon

Setting a goal often has a disheartening tone. We’ve all made goals or resolutions that yielded no results other than self-reproach.

“Oh, I didn’t lose 10 pounds.”

“I didn’t write half as much as I wanted.”

“I didn’t read a book this month.”

But self-reproach is often a symptom of a poorly chosen goal. Effective goals aren’t about slapping yourself for missing them. They’re about deliberately deciding how you want to invest your time and resources. It’s about determining the trajectory you want to take instead of going with the fluctuations of each day.

Here are two of my personal goals:

1. Capture and produce better photography.
2. Expand my photography audience.

But while these goals offer a general direction, they aren’t concrete. So I like to follow them up with more specific formulations for what success looks like.

1. Expand my portfolio with shots that have a compelling foreground, middleground, and background.
2. Write for two new publications.

Of course, your goals probably won’t be the same as mine (though they can be!). As you write your goals, pay careful attention to your objectives, and try to pick specific, practical, measurable goals that will help you take steps toward achieving each objective.

Note that goal-setting can involve significant brainstorming and even guesswork; if your objective is to make money with your landscape photography, for instance, then you should think about various options (leading workshops? selling prints? teaching classes?) and craft your goals accordingly.

3. Apply and adapt “shoot” goals

Along with your general goals (see the previous section!), I recommend setting specific goals for each landscape photography trip. I call these “shoot” goals, and I often select them in response to notes I took in the field on a previous outing, or based on frustrations I faced in post-production.

Man-O-War Bay, Dorset, England

Your “shoot” goals should be highly practical and focused on your photographic approach. You can use the same goals across several shoots, or you can make adjustments depending on your progress. Bear in mind, however, that different locations offer different landscape photography opportunities – so a goal to capture water-based long exposures may work great on the Isle of Skye but not translate well to Arches National Park.

On my last trip to Ireland and the UK, these are the goals that I set for myself (and that I reread during each shoot):

• Create a sense of depth with fog and haze
• Root the image with stronger foregrounds
• Consciously identify shapes in the composition
• Capture the energy in water and clouds with long exposures
• Take 20% fewer photos with a higher ratio of winners
• Shoot more verticals to emphasize height

South Stack Lighthouse, Wales

Referencing these goals when I hit the field pushes me beyond my conventional shooting habits. Over the past two years, I’ve found that most of my measurable growth as an artist came from setting and intentionally applying shoot goals.

4. Break your goals into results

Brunate Lago Di Como, Italy

Objectives give you direction. Goals give you outcomes. But neither tells you how to accomplish them or how much progress you’ve made towards them. That’s where results come in.

How will you accomplish your goals? You can’t – at least, you can’t accomplish them all at once. They’re too big, and they say nothing about what actions you should take. To reach your goals, they need to be broken down into small, measurable steps – i.e., results. These are small tasks you can complete in no more than a day, and that contribute toward the overall goal.

Results need to be carefully phrased so they reflect tangible outcomes. Here are some examples of poorly formulated results:

• “Edit for one hour every day.”
• “Spend 30 minutes writing about photography.”

These results are ineffective because they involve time. Who cares whether you spent 30 minutes editing or three hours? Instead, phrase them in terms of tangible outcomes:

• “Finish a rough edit of three photos today.”
• “Finish outlining my landscape photography article.”

Each of these results produces something of value – edited photos and an outlined article – and can be completed in one sitting. Plus, the faster you complete each result, the sooner you can move on to other things.

Breaking down goals into results is hard to do in any field, whether it’s productivity, photography, or software development. But failing to formulate effective results is the number one reason we fail to accomplish anything.

Don’t tackle a goal and plan as you go. Planning and execution are two different skills. And when you do them simultaneously, you ironically spend the least amount of time on the hardest part: planning. It sounds counterintuitive, but (at least for me), once I break the goal into results, executing them is usually the easiest part.

What about self-imposed deadlines? Personally, I’ve had limited success with them because time is a poor measure of progress. I sketch out a rough timeline (“by this time next year”), but I write those dates alongside my goals instead of my results. As long as my results are prioritized, deadlines are often arbitrary because I’m always working on the most valuable results.

How are you spending your time so each minute counts? Focus on results, not time.

5. Do a retrospective

The learning doesn’t end after a shoot. In fact, I learn the most by reviewing photographs from shoots that didn’t quite work out. It sounds counterintuitive, but thanks to something called survival bias, we tend to:

• Overestimate what we can learn from successful shots
• Underestimate what we can learn from shots that didn’t make the cut.

Consequently, we end up discarding our best source of learning material!

To beat survivorship bias, conduct a retrospective on some of your failed shots to understand why they didn’t work, and what you’ll do differently next time.

Slea Head, Dingle, Ireland

None of my shots from Slea Head on Ireland’s Dingle Peninsula worked out. But later in the trip, I applied the lessons I learned about S-curve placement and busy water textures to capture this shot of Loch Garry in the Scottish Highlands:

Loch Garry, Scotland

Retrospectives are incredibly effective for identifying mistakes and learning lessons that will set your next shoot up for success. And for me, they often form my shoot goals for the next trip. On this year’s trip to Oregon, my goals changed to reflect the lessons I learned from Ireland and the UK. I’ve reproduced them here:

• Capture two stunning images per day for a total of 26 from the trip.
• Identify the emotion of a scene, then highlight it with composition and light.
• Spend 30% less time snapping photos and instead spend it testing compositions.
• Shoot exclusively at dawn and twilight and spend the rest of the day trying compositions on my smartphone.
• Use an ND filter for water without exception.
• Identify a strong foreground, middleground, and background before snapping.
• Don’t waste a second on angles filled with busy textures.

I would have forgotten many of these shoot goals if I hadn’t written them down and reviewed them before each shoot. But I took my shoot goals seriously, and being so intentional paid off. As I said earlier, I learned more in two weeks than I had in two years of shooting – and I produced some of my favorite work to date.

Roads End, Oregon

Start intentionally growing as a landscape photographer!

While approaches to goal planning come in many flavors with various terminologies, they all aim to help individuals connect desired outcomes with strategic actions. The key to accelerated growth is to learn intentionally, not passively.

Spend a few minutes over coffee today to document why you are a landscape photographer, what you want to become, and how you will accomplish it. Whether you’re in the field, behind your computer, or in an office crunching through tangential work, goal planning will ensure you’re investing your time well and learning as much as possible from your efforts!

Now over to you:

What are your objectives, goals, and results for growing as a landscape photographer? Share your thoughts in the comments below!

Table of contents

Landscape Photography

• GENERAL
  • The dPS Ultimate Guide to Landscape Photography
  • 10 Most Common Mistakes in Landscape Photography – and How to Overcome Them
  • Responsibilities of Landscape Photographers
• PREPARATION
  • How to Find and Photograph Wild Landscapes for Epic Images
  • The Three Dangers of Landscape Photography
  • How to Plan the Perfect Landscape Photo
  • How to Find the Best Locations for Landscape Photography
  • The Importance of Scouting for Landscape Photographers
  • Why Goal Planning Is the Key to Growing as a Landscape Photographer

    • 1. Record clear objectives
    • 2. Set effective goals
    • 3. Apply and adapt “shoot” goals
    • 4. Break your goals into results
    • 5. Do a retrospective
    • Start intentionally growing as a landscape photographer!
    • 1. Record clear objectives
    • 2. Set effective goals
    • 3. Apply and adapt “shoot” goals
    • 4. Break your goals into results
    • 5. Do a retrospective
    • Start intentionally growing as a landscape photographer!
  • What is Your Favorite Landscape Location?
  • 8 Tips to Avoid Crowds at Popular Landscape Locations
• SETTINGS
  • 5 Tips for Setting the Focus in Your Landscape Photography
  • Understanding Aperture and Landscape Photography – Why F16 Isn’t the Only Choice
  • Guide to Creative White Balance for Landscape Photography
  • How a Short Versus Long Exposure Will Affect Your Landscape Images
  • How to Get Super Sharp Landscape Photography Images
  • Getting Landscapes Sharp: Hyperfocal Distances and Aperture Selection
  • The Best ISO for Landscape Photography (in Every Situation)
  • 5 Reasons To Should Shoot Your Landscape Images in RAW
  • How to Work with Different Shutter Speeds for Landscape Photography
• LIGHTING
  • Tips for Using Flash to Enhance Outdoor Nature and Landscape Photography
  • Landscape Photography: It’s All About the Light
  • How to Improve Your Landscape Photography By Understanding Portrait Lighting
  • Painting with Light in the Landscape
• COMPOSITION
  • Aspect Ratios in Landscape Photography
  • 6 Tips for Capturing Dramatic Skies in your Landscape Photography
  • How to Use Leading Lines Effectively in Landscape Photography
  • 10 Landscape Composition Techniques for Breathtaking Photos (2021)
  • 3 Reasons to Shoot Vertical Aspect Landscapes and 6 Tips on How to Shoot Them
  • How to Use Juxtaposition for More Compelling Landscape Photography
  • Using Layers and Foreground Interest for Better Landscape Photography
  • Include The Foreground For Dramatic Landscapes
  • How to Photograph a Minimalist Landscape
  • 5 Framing Tricks to Help You Capture Better Landscape Photos
  • How to Use Balance in Your Landscape Photography Composition
  • 5 Good Reasons to Add People into Your Landscape Photography
  • Include Clouds In Your Landscapes
  • Landscape Photography and the Human Element
  • How to Add a Sense of Scale to Your Landscape Photos
  • How to Solve 5 Composition Conundrums Faced by Landscape Photographers
  • The S-Curve: A Landscape Photography Composition Technique
  • Using Water to Lighten Landscape Photos
• GEAR
  • 5 Quick Reasons to Use the Nifty Fifty for Landscape Photography
  • Using Graduated Neutral Density Filters for Landscape Photography
  • How to Use Neutral Density Filters to Make Better Landscape Photos
  • How to Use Wide-angle Lenses for Landscape Photography
  • Tips for Shooting Landscapes With a Telephoto Lens
  • Six Tips For Using Filters to Improve Your Landscape Photos
  • 5 Tips for Using a Tripod in Landscape Photography
  • Six Situations Where Tripods are Essential for Landscape Photographers
  • Wide Angle Versus Telephoto Lenses for Beautiful Landscape Photography
  • 10 Essential Pieces of Landscape Photography Gear
  • Why you Need a Telephoto Zoom Lens for Landscape Photography
  • Circular Polarizers Versus Graduated Neutral Density Filters for Landscape Photography
  • Comparison – HDR Versus Graduated Neutral Density Filters for Landscape Photography
  • Polarizing and Neutral Density Filters: Essentials for Landscape Photography
  • Why I Always Use an L-Plate Bracket for Landscape Photography
  • Why I Switched From LEE Filters to Formatt-Hitech for Landscape Photography
  • Review of the Venus Laowa 15mm F/4 Wide Angle Lens for Landscape Photographers
  • Which Landscape Photography Camera Should You Buy? [video]
  • Essential Accessories for Landscape Photography
  • How to Choose the Right Tripod for Landscape Photography
• ADVANCED GUIDES
  • 10 Tips for Photographing Wide-Angle Landscapes
  • 8 Tips for Fall Landscape Photography
  • 5 Tips for Better Winter Landscape Photography
  • 5 Ways to Create Dramatic Landscape Photos at Midday
  • How to Shoot Landscapes at Sunset
  • Tips for Shooting Landscape Photography Towards the Sun
  • 8 Steps to Great Long Exposure Landscape Photography
  • 15 Tips for Low Light Landscape Photography
  • The Night Sky In Landscape Photography
  • How to Make Storytelling Landscape Photos – 4 Steps
  • A Day At The Beach: Photographing Seaside Landscapes
  • Tips for Winter Landscape Photography on the Prairie
  • Landscape Photography – Shooting the Same Location Through the Seasons
  • 3 Tips to Take Better Landscape Photos Regardless of the Weather
  • Time for Landscape – Weather and Landscape Photography
  • Tips for Landscape Photography in Exotic Places
  • Putting You Into Your Landscape Photography
  • 5 Ways to Capture More Diverse Landscape Photos
  • 5 Tips to Discover Intimate vs. Grand Landscape & Nature Photography
  • Photographing Starry Skies for Nocturnal Landscape Without Breaking the Bank
• CREATIVE TECHNIQUES
  • How to Take Creative Landscape Shots Using Intentional Camera Movement
  • How to Convert a Camera to Infrared for Black and White Landscape Photography
  • Tips for Making Dramatic Black and White Landscape Photos
  • 6 Ideas for More Creative Landscape Photography
  • How to Create Glass Ball Landscapes – 6 Techniques
  • How to Get Landscapes Sharp with Focus Stacking
  • How to do Landscape Panoramic Photography
• POST-PROCESSING
  • 5 Easy Steps to Exposure Blending for High Contrast Landscapes
  • A Super Simple Way to Make Landscape Photos POP Using Lightroom
  • Making the Best Use of HDR in Landscape Photography
  • Landscape Editing Techniques for Fine Art Photography Using Lightroom
  • How to Use Adobe Camera Raw and Photoshop to Make Your Landscape Images Pop
  • Editing Gently: 3 Tips for Processing Realistic Landscape Photos
  • The Power of Post-processing for Landscape Photography
  • How to Use Neutral Tones to Craft Realistic Edits for Landscape Photos
  • Top 5 Nik Collection Filters to Improve Your Landscape Photos
  • How to Edit Landscape and Nature Photos with the Lightroom Gradient Tool and Range Mask Features
  • Lightroom Quick Post-Processing Tips for Landscape Photography
  • Tips for Processing Winter Landscapes in Lightroom
  • How to Use the Lightroom HSL Panel for Landscape Photo Editing
  • How to Process a Black and White Landscape Photo Using Lightroom
  • How to Give Your Landscape Photos Extra Punch in One Easy Step
  • Tips For Editing the Colors in Landscape Photos Using Lightroom (video)
  • Tips for Processing Landscape Photos – from Basic Edits to Artistic Interpretation
  • 5 Tips For Mastering Contrast In Your Landscape Photos (video)
  • Using the Lightroom Adjustment Brush to add Dimension to a Landscape Photo
  • OPINION: Why Photoshop is Ruining Landscape Photography
• INSPIRATION
  • An Interview With Landscape Photography Legend Art Wolfe – Part 1
  • 27 Black and White Landscape Images
  • A Collection of Stunning Landscape Photographs
  • 9 Striking Landscapes That Break the ‘Rules’
  • These Inspiring Landscape Photographers will Make You Want to Take Better Photos

The post How to Use Goal Planning to Grow as a Landscape Photographer appeared first on Digital Photography School. It was authored by Jonathan Martin.

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