[Photography] White Balance in Photography: The Essential Guide

The post White Balance in Photography: The Essential Guide appeared first on Digital Photography School. It was authored by Darren Rowse.

And then 2026 came along and changed stuff! We’ve updated this article: How AI has changed white balance in 2026.

White balance. It’s a term that’s thrown around a lot in the world of photography, yet it’s unfortunate how many photographers are left scratching their heads when trying to explain or understand it.

Because here’s the thing: if you want to capture a scene as the human eye perceives it, then white balance should be on your radar. Mastering white balance, both during your shoot and in post-processing, can be the key to more natural-looking photos.

Therefore, in this article, I’m going to share everything you ever wanted to know about white balance, including:

• The white balance camera settings you should use for consistently good results
• How white balance can instantly improve your shots
• How you can use white balance for gorgeous creative effects in your photos

I’m also going to explain key related terms, such as color temperature, white balance presets, and more.

And I promise you: by the time you’ve finished this article, you’ll be an absolute WB expert! Let’s get started.

What is white balance in photography?

White balance refers to the process of removing or neutralizing color casts in your images – because at its core, white balance is about ensuring the colors in your photograph appear as they do in real life.

You see, different light sources emit light with various temperatures and/or tints. Ever noticed how a photo taken under fluorescent lighting sometimes has a blueish hue? Or how shots by candlelight can seem overly warm or yellow? That’s the effect of these different light sources on your images.

Since photographers often want to produce images that look natural, white balancing involves carefully adjusting your camera settings or editing tools to counteract these color casts. It’s about taking an image like this, full of distorted, too-blue colors:

And adding warm colors until you balance out the color cast, so you get a final result like this:

You might be wondering: If lights have such strong color casts, how come I never notice them?

It’s a good question with a simple answer: human eyes are pretty good at correcting for color casts in real time, but a camera captures the subject as it looks in life. Sometimes, the subject will have neutral tones, but other times it’ll be very blue (as in the pear photo above) and sometimes very yellow (as in the pear photo below). In both the blue and the yellow cases, white balancing is necessary to create a neutral image.

Here’s a too-yellow pear photo, which requires significant cooling during the white balancing process:

Note that, during white balancing, you’re adjusting the colors along two spectrums:

• The blue-yellow spectrum, also known as the color temperature
• The green-magenta spectrum, also known as the color tint

In general, natural light only requires correction along the blue-yellow spectrum, but certain types of artificial lighting may produce a noticeable color tint, in which case you’ll need to correct for that, too.

Color temperature explained

The bulk of white balancing in photography consists of color temperature correction. You’re correcting for a cast produced by the color temperature of the light, which lies along the blue-yellow spectrum.

Think of it this way: some light sources exude a more yellowish glow, while others lean towards a bluish hue. When we encounter the former, it’s termed a “warm” color temperature. Conversely, the bluish tint signals a “cool” color temperature.

Photographers refer to different color temperatures using the Kelvin scale. Warmer color temperatures, such as those produced by a candle flame or a setting sun, have a low Kelvin value, such as 3000 K. Neutral color temperatures, such as midday sunlight, have a medium Kelvin value – around 5000 K. And cooler color temperatures, produced by clouds or shade, have a high Kelvin value of 6000 K and beyond.

Cooler light has a high Kelvin value? Warmer light has a low Kelvin value?

Yes, you read that right, and it can be confusing, especially if you’ve never encountered the color temperature scale before. But you’ll get used to it over time (and it can help to think of the color temperatures as simply the opposite of what you’d expect).

Why is white balance important?

Color casts cause a couple of problems in photography.

First, they prevent you from capturing accurate, true colors in a scene. If you want to photograph a beautiful red sunset exactly as it appears to your eye, you’ll need to neutralize any color casts; otherwise, your image won’t match the real-life conditions you experienced.

This can also be an issue if you’re doing product photography or real-estate photography, where the goal is to portray the subject as true to life as possible.

Second, color casts tend to look bad. They can mess with portrait skin tones, they can create muddy shadows and sickly highlights, and they can create unwanted moods in your photos.

As I explain later in this article, you can use a color cast for creative effect – but it’s important that you do this carefully and deliberately, rather than as a failure to properly white balance a scene. Make sense?

The two white balancing methods

You can adjust the white balance of your images in two broad ways:

1. In camera, before taking a shot
2. Afterward, in post-processing

Both approaches can work, but there are some important caveats to keep in mind:

In-camera white balancing

Most cameras allow you to adjust your white balance settings before ever taking a photo.

For instance, you can select a white balance preset (such as Tungsten, Flash, Cloudy, etc.), which allows your camera to roughly understand and compensate for the lighting conditions.

Some cameras also allow for a custom white balance. Here, you simply dial in a Kelvin value (remember the color temperature scale I shared above?). A high Kelvin value will balance out cooler light and a low Kelvin value will balance out warmer light.

Your camera may even be capable of white balancing off a gray card. Put the gray card in front of your camera, select the right function in the menu, take a picture, and – voila! – your camera will create an accurate color temperature profile of the scene.

But while these white balance options allow you to handle color casts in the field, they come with some drawbacks:

1. Unless you’re in an enclosed environment, the light will likely change over the course of your shoot. You’ll need to periodically update your white balance preset or redo the gray card process as the sun goes behind clouds, as it sets, etc.
2. White balance presets, while easy to use, are only approximate. They often won’t produce a perfect result.
3. If you’re shooting action from a distance, taking a gray card reading is impossible.

That’s why some photographers prefer a different method of white balancing:

White balancing while editing

White balancing in post-processing is pretty simple:

Just set your camera to its Auto White Balance function when out shooting.

Then, when you get back home, open your photos in your editing program of choice.

Most editors offer a similar process, which involves using the white balance eyedropper to identify a neutral tone and fine-tuning via the Temperature and Tint sliders. (Below, I give a step-by-step process for white balancing photos in Lightroom.)

You can white balance each photo individually, or you can create a white balance adjustment for one (or a handful) of photos, then sync the adjustment across the entire set.

After-the-fact white balancing is nice, but like in-camera white balancing, there are a few points you need to keep in mind.

1. You’ll need to set aside extra time in post-processing to do your white balancing. And while you can save time with batch processing and presets, if you’re capturing lots of images under different lighting conditions, you may prefer the relative ease of in-camera white balancing.
2. Unless you take photos with a gray card in the frame, you may struggle to get a perfect white balance result with editing. In many cases, that’s fine – the color cast may be barely perceptible – but if you’re photographing products, your client may require literally perfect colors.
3. For complete white balancing flexibility in editing, you must shoot in RAW. While JPEGs allow for some white balance adjustments, you’ll be limited an often-unacceptable amount – whereas RAW files let you completely set and reset the white balance.

So while post-processing and in-camera white balancing are both serviceable, you’ll ultimately need to choose the option that works best for you.

How AI has changed white balance in 2026

White balance used to be a purely manual judgement call — either picking a preset in-camera or dragging sliders in post. That’s changed a fair bit over the last couple of years.

In-camera scene-aware auto white balance. Most current mirrorless bodies (Canon’s Auto White Balance with “Ambience Priority” vs “White Priority,” Nikon’s Natural Light Auto WB, and Sony’s improved AWB algorithms) now analyze the scene far more intelligently than the “guess the average color” logic of older cameras. They’re genuinely good enough that many photographers now leave AWB on full-time and only override it for tricky mixed-lighting scenes.

Live preview means fewer surprises. If you’re shooting mirrorless, your EVF or rear screen shows you a reasonably accurate preview of your white balance before you press the shutter — a big improvement over the DSLR days of chimping the LCD and guessing.

AI-assisted correction in editing software. Lightroom Classic and Adobe Camera Raw’s “Match Color” and subject-aware tools can now sample skin tones or known-neutral areas across a whole shoot far more reliably than the old single-click eyedropper, particularly useful for batch-correcting a wedding or event shoot with mixed lighting. Capture One and DxO PhotoLab have their own versions of the same idea.

A note for video shooters. If you’re shooting log or flat color profiles for video, white balance works a little differently — you’ll usually want to lock a custom Kelvin value on set rather than relying on auto, since AWB can visibly shift mid-shot. Get it close in-camera and fine-tune in your grade.

None of this replaces understanding the fundamentals below — but it does mean you can lean on your gear more than photographers could even five years ago.

How to white balance using in-camera presets

While white balance presets aren’t the most accurate way to color correct, they’re an easy way to get started (and if you’re simply capturing photos to share on social media, they may be all you require).

Simply pull up your in-camera white balance menu. You should see several presets, such as:

• Sunny, which works for mid-morning and mid-afternoon sun
• Shade, which works for scenarios with heavy shade (e.g., portraits under a tree)
• Cloudy, which works for outdoor scenes featuring overcast lighting
• Flash, which works for scenes lit by standard off-camera speedlights and pop-up flashes
• Incandescent, which works for indoor scenes lit by standard warm bulbs
• Fluorescent, which works for indoor scenes lit by fluorescent bulbs

Then pick the preset that most closely matches the lighting conditions you’re experiencing and start taking photos! You will need to pay close attention to the light as you continue shooting; if it changes significantly, you should switch presets to reflect the new conditions.

How to white balance your photos in Lightroom

Lightroom color correction is a quick and painless process.

First, open an image in the Develop module, then find the WB section on the right-hand side:

Next, select the Eyedropper icon:

Then click on a part of your image that should look a neutral gray or white. (Don’t be afraid to click in a few different places, especially if you’re not sure what counts as “neutral.”)

If you can’t find a neutral area to sample, or you don’t like the results, you can always head over to the Temp and Tint sliders:

You probably won’t need to adjust the Tint slider much, but feel free to drag the Temp slider back and forth until you get a neutral image.

How to creatively use white balance for different effects

While it’s always important to start by color correcting your photos, you can sometimes enhance images by deliberately pushing the white balance in the wrong direction. This generally works best when applied in a post-processing program, not in camera (though you can technically do it either way).

The idea here is simple:

By applying a too-cold white balance to your photos, you can create a somber, moody effect.

And by applying a too-warm white balance to your photos, you can create a welcoming, inviting, even nostalgic effect.

I don’t recommend you push the white balance too far – at some point, your photos may look unnatural – but a bit of cool or warm color is often nice when added carefully.

Note that you can also use an “incorrect” white balance to exaggerate the conditions of the scene. Adding cool hues will give images a shady or night effect, while adding warm hues will give images a sunrise or sunset effect. Again, use this technique with care. It’s easy to go overboard and end up with garish, unpleasant results.

White balance in photography: final words

Now that you’ve finished this article, you’re ready to start adjusting the white balance in your photos so you can capture truly lifelike, authentic images.

Remember, however: don’t be confined by the idea of “correctness.” As with many elements in photography, white balance can also be a tool for artistic expression. Explore, experiment, and embrace the power of white balance to transform the mood and atmosphere of your shots.

So go out with your camera. Practice working with white balance. And make your images shine!

Now over to you:

What do you think about white balance in photography? Do you have any tips for improving your results? Share your thoughts in the comments below!

White balance FAQ

Why is white balance important in photography?

White balance ensures that the colors in your images are accurate and natural. Incorrect white balance can lead to color casts, detracting from the image’s overall quality and authenticity.

What is the difference between white balance and color temperature?

White balance compensates for the color casts produced by either color temperature or color tint shifts. On the other hand, color temperature specifically refers to where the light falls on the blue-yellow spectrum.

How do I know if my white balance is correct?

The simplest indication is when the colors in your image appear natural and true to the scene!

Can you adjust the white balance in post-processing?

Yes, you can. Many editing software options allow for white balance adjustments, giving photographers the flexibility to refine the white balance even after a shot has been taken.

The post White Balance in Photography: The Essential Guide appeared first on Digital Photography School. It was authored by Darren Rowse.

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[Photography] Peak Design Pro Tripod – Stands on its own three feet?

The post Peak Design Pro Tripod – Stands on its own three feet? appeared first on Digital Photography School. It was authored by Sime.

I Don’t often do this (around this way, kind of topsy turvy) but after a couple more weeks along from when I wrote up my review below, I wanted to head out and get some extra solid use of the sticks in before sharing my thoughts. A lot of the time, as someone who has been in this ‘review’ game a long time, either submitting reviews or soliciting them for brands that I’ve worked with, there’s a wow-factor at the start of the process when a product is super-slick right off the mark.. That’s exactly how I felt when I took the Peak Design tripod from its box and unzipped the case to reveal its long 3K Weave Carbon Fiber legs.

It looked super-slick, I was a bit wowed if I’m honest, it’s a beautiful piece of gear! But that can be where the trouble starts you see… All that glitters, sometimes, ain’t gold. (Oh, and it really is tall! (I’m 6’3″)

I took the Peak Design Pro Tripod out on a whole bunch of shoots, I took it on a 3 hour public transport trip to the ocean, we went on trains, in cars, I used it low and high and was looking for “the catch” but I didn’t find it.

I’m a big fan of good tripods and have been using another brand for a whole heap of years now, and while I’m not going to compare directly, it’s great to have a comparison in my head of a tripod I’ve used often and like a lot, to this, the Peak Design Pro Tripod.

Tripods are funny things. Most photographers buy a cheap one first, discover its limitations, then eventually buy the tripod they should have purchased in the first place.

Peak Design have sent us across their recently(ish) released Pro Tripod (We have the tall model) for review.

The new Peak Design Pro Tripod feels very much like that second (or third, even) purchase. Peak Design made a name for itself with the original Travel Tripod, a product that challenged the traditional idea of what a tripod should look like. Its compact design packed neatly into a backpack while offering impressive stability for its size. This happened well after Peak Design’s first product, Capture, back in 2011 (I’m pretty sure I still have one of the long-bolt Prototype Captures in my storage locker)

The Pro (Tall, and I make this delimitation multiple times, as there are three models, Pro, Pro Lite and Pro Tall) takes that same design philosophy and scales it up for photographers and videographers who need more height, more rigidity, and more confidence when supporting expensive gear. Importantly, Peak Design continues to sell the original Travel Tripod — the Pro series is an addition to the lineup, not a replacement.

At around AU$1,799, it’s certainly not an impulse purchase. The question is whether it delivers enough performance to justify the premium?

Specifications

Maximum height	Approx 196 cm (Peak Design lists 197.4 cm)
Minimum height	17.3 cm (6.8″)
Folded length	58.2 cm (22.9″)
Weight	2.04 kg (4.5 lb)
Load capacity	18.1 kg (40 lb)
Legs	Carbon fibre, four-section, flip locks
Head	Integrated Pro Ball Head with fluid 360° panning
Quick release	Arca-compatible
Extras	Integrated hex tool, centre column hook, carry case
Warranty	Peak Design Lifetime Guarantee

First Impressions (After the whole unpack piece!)

If you’ve ever used the original Peak Design Travel Tripod, the Pro Tall immediately feels familiar. The folded shape remains remarkably slim thanks to Peak Design’s unique leg design, which wraps tightly around the centre column and head. Even though this is a significantly larger tripod than the original Travel Tripod, it still slides into a backpack side pocket more easily than many traditional professional tripods. With the legs closing in together, a finished diameter similar to the unique ballhead design means you don’t get that awkward “where does the tripod plate sit when I close my tripod up, etc.

Side benefits of the slim-fold way the Peak Design tripod range are built means that they’re easy to slip into the included protective carry case, it has a carry strap and a sturdy feeling zipper along with a little internal pocket for, I guess, carrying the included tool.

Build quality is exactly what you’d expect at this price point. 3K Weave Carbon Fiber legs, 6061-T6 CNC-machined aluminium components, flip-lock leg levers that are smooth and satisfying to operate — and an overall feeling that somebody really obsessed over every detail. Unlike many tripods that use twist locks, Peak Design has stuck with flip locks across the Pro series. It’s the right call: the non-circular leg profile makes twist locks impractical, (or even impossible?) ..and the flip locks give you clear visual confirmation that everything is secured before you trust them with expensive glass. In use, the flip level leg locks are easy to use requiring little pressure to open or close, I had no “half-locked OH HECK” moments.

Nothing rattles. Nothing feels flimsy. But it comes at a price. Moving on…

Height Matters

The ‘Tall’ in the name isn’t marketing fluff. At 197.4 cm maximum height, this tripod is genuinely tall — a 30% increase over the original Travel Tripod. For many photographers, that means shooting at eye level without extending the centre column very far, if at all. That’s a bigger advantage than it might sound. I’m a 6’3″ human as I mentioned earlier and I almost always have to stoop quite a bit, or put the centre column up, one a larger tripod like the one I use most days, this isn’t an issue, on a travel tripod, things can get a bit dicey! This Pro Tripod is tall enough for my use with the centre column retracted, ultimate stability.

Every tripod becomes less stable as the centre column rises. By building extra height into the legs themselves, the Pro Tall allows photographers to keep the centre column lower while maintaining a comfortable working height. The result is a more stable shooting platform, especially when working with longer lenses.

For landscape photographers, wildlife shooters, and anyone taller than average (I don’t even know what average is… I’m 6’3″ and feel kinda tall, sometimes), this alone could be the feature that sells the tripod. Note: I’m specifically talking about the TALL version, keep in mind that the Tripod Pro comes in three size. Just to reiterate sizing, they come as follows…

• Pro Lite – 133cm (legs only)
• Pro – 138cm (legs only)
• Pro Tall – 162cm (legs only)

The New Ball Head

Peak Design has redesigned the ball head for the Pro series, and it addresses one of the biggest criticisms of the original Travel Tripod. I will say, as this is my first version of the Peak Design Tripod that I’ve spent a meaningful amount of time with, so my comparisons between the original and this ballhead are from researching.

The new Pro Ball Head features 360° fluid panning with an independent lock, and allows 90° tilting when the centre column is slightly raised. It’s a meaningful improvement over the original design, particularly for hybrid shooters who move between stills and video. I am reviewing the product as a stills photographer, so I didn’t spend much time using it for any worthy filmmaking – I won’t pretend.

That said, one thing worth knowing if video is your priority: while the integrated fluid panning is genuinely useful, full fluid pan-and-tilt capability requires Peak Design’s optional Tilt Mod accessory, sold separately. If you’re planning to run a dedicated video rig, factor that additional cost into your budget.

The Arca-compatible quick-release system is also improved, with faster mounting and a reassuringly secure hold. A secondary safety lock toggle provides double-locked security for added peace of mind with heavier setups. I had read people were a little concerned with the ability for the plate to fall from the tripod if you accidentally unlock it during use! I found the safety-lock easy to use and engaging it became second nature. I also used the tripod with an L-Bracket from 3LeggedThing with no issue. You can see the safety lock in the photo below.

Engaging the ballhead lock when inserting the plate, for either the included tripod plate, or the L-Bracket was very simple, one side of the plate hooks into one side of the head, the other pressing down on the slender silver button quickly locking the plate in place, then locking the safety lock with your thumb – all in one fell swoop.

I did note that the arca plate that is the foot of my Tamron 150-500mm lens would not fit into the ballhead (it’s designed in a way that it won’t engage the silver lock button) I attached the included tripod plate to the foot and that problem was solved.

So, Who Is This For?

If you’re shooting with an entry-level camera and kit lens, this tripod is probably overkill. But if you’ve already discovered the limitations of cheaper tripods, or you’re investing in landscapes, wildlife, astrophotography, long lenses or video, the Pro Tall starts to make a lot more sense. I’m a bit of an all-rounder these days, but I do like to spend a little time photographing dark skies and sweeping landscapes.

Stability in the Real World

This is where the Pro really earns its keep. Travel tripods always involve compromise. They’re compact because they’re smaller and lighter, which inevitably affects stability. The Pro Tripod feels like Peak Design finally decided to stop compromising.

With a rated payload of about 18kg — double that of the original Travel Tripod — thicker carbon fibre legs, and a more robust centre hub, it handles larger cameras, long telephoto lenses, and video rigs with far greater confidence. Through my general research, multiple photographers who’ve handled both generations have commented on how much stiffer the Pro series feels. That’s exactly what you’d hope for in a professional-grade support system.

What I Like

• The compact folded size remains genuinely impressive for a tripod this tall
• The new ball head is a major improvement over the Travel Tripod
• Flip locks are well-engineered — fast, smooth, and visually clear
• Overall build quality is exceptional throughout
• Extra leg height means less reliance on the centre column for stability
• Despite being significantly more capable, it weighs only 2.04 kg — light enough for travel and hiking
• Load capacity of 18.1 kg handles serious telephoto and cinema rig combinations

What Could Be Better (Well, different things to different people)

• The price is firmly in premium territory — this is a serious investment
• Not quite as compact as the original Travel Tripod if absolute portability is your priority (But they are very different beasts and, as I mentioned earlier, I’ve travelled with this guy a LOT in the last two weeks and it’s been no problem)
• Full pan-and-tilt video capability requires the optional Tilt Mod accessory at extra cost
• The ball head needs the centre column raised a touch to unlock its full tilt range
• Spiked feet for snow or loose terrain are not included as standard
• Peak Design’s unconventional design may require an adjustment period coming from traditional systems – it is a tad unconventional, but honestly, a couple of uses and it was second nature.

My Final Thoughts

The Peak Design Pro Tall Tripod isn’t trying to be the cheapest tripod you can buy. It’s trying to be the last tripod you buy. For photographers who value stability, thoughtful design and long-term durability, it delivers a compelling blend of portability and professional-grade performance. As the old saying goes: buy well, buy once. (I’m pretty sure my mother has told me that…forever)

What’s the verdict?

A premium, professional-grade tripod that closes the gap between Peak Design’s travel-friendly design language and the stability demands of serious photographers and videographers. The spec corrections are minor; the performance ambitions are not. Highly recommended for landscape, wildlife, and hybrid shooters who want one tripod to do it all.

The post Peak Design Pro Tripod – Stands on its own three feet? appeared first on Digital Photography School. It was authored by Sime.

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[Photography] The Secret Lives of Camera Bags

The post The Secret Lives of Camera Bags appeared first on Digital Photography School. It was authored by Sime.

I own several camera bags, and I’m increasingly convinced they gossip when I’m not looking.

The sling bag thinks it’s adventurous because it once visited Iceland. The roller case won’t stop mentioning airports. The backpack believes it’s carrying the entire weight of modern photography despite containing three lenses, two muesli bars from 2023, and approximately seventeen lens caps that fit nothing.

If camera bags could talk, mine would probably stage an intervention. “Simon,” they’d say, “you’re taking six lenses to photograph your 12yo son’s football game. Perhaps… maybe… calm down.”

I’m pretty fortunate when it comes to camera bags, I’ve worked with/for a camera bag company now for about 16 years and I have many! Gotta love options, but because I have those options, the one thing I do consistently is overpack! “Just take a bigger bag!”

There are scenarios when you have NO clue what you’re going to need, so you tend to pack in everything you own, but then, as per my example above, I’ve photographed my kid’s football for many years now and I know what I’ll use, but still pack more than I need.

What is it about photographers that makes them overpack?

Q. Do you tend to over pack your camera bag when it comes to photography gear, or are you in the “only what I need” camp? Let me know in the comments!

NOW, speaking of over-packing, let’s touch on the “look after your body!” side of shooting, because that certainly relates to having too much weight on the one shoulder (pack evenly, if it’s too heavy, use a backpack) This post from Suzi is still very relevant.

If you have self-care tips as a photographer, leave ’em in the comments!

Hope you had a fun 4th of July.

The post The Secret Lives of Camera Bags appeared first on Digital Photography School. It was authored by Sime.

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[Photography] Spirit of the Bush Photography Competition returns for 2026

The post Spirit of the Bush Photography Competition returns for 2026 appeared first on Digital Photography School. It was authored by Sime.

Spirit of the Bush Photography Competition returns for 2026 – celebrating the heart, grit and beauty of rural Australia

Australia’s much-loved photography showcase, the Spirit of the Bush competition, is back for 2026, inviting people from across the country to capture the stories, landscapes and spirit of rural and regional Australia.

ENTER HERE

Hosted by Rural Aid, the competition opens at 8:00am Wednesday 1 July 2026 (AEST) and closes at 5:00pm Friday 31 July 2026 (AEST).

Now in its seventh year, Spirit of the Bush has become a celebrated annual initiative showcasing breathtaking and often unseen moments from farming communities and rural landscapes right across Australia.

Since launching in 2020, the competition has built a powerful visual archive of rural life, capturing the resilience, humour, hardship, pride and beauty that define the bush.

This year, photographers are encouraged to share images that reflect the challenges, determination, people and natural beauty of rural and regional Australia, helping to bring the country to the city through the power of photography.

Capturing the real Australia

Rural Aid Chief Executive Officer John Warlters said the competition continues to reveal the extraordinary stories found in everyday rural life.

“Every year we are reminded just how powerful a single image can be. These photographs do not just show us the bush, they tell us its stories, its resilience, and its heart,” Mr Warlters said.

“Spirit of the Bush continues to bring rural Australia closer to the cities. It opens a window into the everyday realities, the challenges, and the incredible strength of farming communities.”

He said the competition was open to all Australians, regardless of photography experience.

“You do not need to be a professional photographer to enter. Some of our most moving and memorable images come from people simply capturing life as they see it, honest, raw and real,” he said.

Editor’s Note: I grew up on a farm, spent a lot of time on farms and in the bush, this is a great competition that I hope those of you that can, should enter and share the love! — Simon

Here’s a photo of cows, I photographed them a lot a little while back! (If you google hard enough, you’ll find this on the front page of one of Victoria’s larger milk producer’s website – that was a fun shoot!

Prizes and judging

Twelve winning photographs will be selected by a panel of judges, with each winner receiving a $250 prepaid Visa card.

How to enter

Entries can be submitted via: www.ruralaid.org.au/spirit-of-the-bush<http://www.ruralaid.org.au/spirit-of-the-bush

Photographers are encouraged to showcase rural and regional Australia in all its forms, from sweeping landscapes and working farms to candid everyday moments that reflect life in the bush.

Terms and conditions can be found here.

Good luck!

The post Spirit of the Bush Photography Competition returns for 2026 appeared first on Digital Photography School. It was authored by Sime.

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[Photography] JustTap™ Magnetic Phone Tripod Review

The post JustTap™ Magnetic Phone Tripod Review appeared first on Digital Photography School. It was authored by Sime.

We have a lot of less expensive tripods, bipods and monopods come across our desk here at dPS, and I’ve got to admit that the thought of them can make me shudder! Many of them are really very badly made, not a lot of thought goes into them other than low cost, larger profit margin units that don’t inspire a whole lot of confidence in use.

And while It’s easy to say “oh, but they’re only for phones!” THOSE PHONES can cost a couple of grand, not cheap and even if they are less expensive, it’s still annoying to have to replace one when it smashes to the ground and explodes into a glassy mess.

Well I’m pretty pleased to say, the JustTap Magnetic Phone Tripod wasn’t one of them!

KraftGeek reached out to me in my capacity as a writer (of sorts) over at DRN, a tech review website that my mate Kev owns, and asked if I’d like to check out their JustTap tripod – I initially shuddered as per my notes above, but then thought to myself, it’s been a while – I’ll take a look, this could be handy for our friends over on dPS – and here we are!

The JustTap Magnetic Phone Tripod is a compact MagSafe compatible tripod that extends all the way up to 167cm (It says 168 on the website, but my tape said 167cm, though there’s a couple of mm between the top of the tripod and where your top camera lenses are, depending on how you’re using them) regardless, it’s quite tall! (I’m 192cm)

And it will get your iPhone lens down to about 37cm off the ground. I was very surprised that it was quite compact and yet very usably tall (for a person of my height, usually with these type of tripods I’m double over trying to frame my shot). Folded it’s a little bit bigger than my Tamron 150-500mm, but a lot lighter!

There is one caveat to the tripod being that tall though, in a stiff breeze your iPhone is going to act like a sail and, well… we know how that can end! It’s very easy to combat though – A water bottle with a strap like this strap it to the bottom of the KraftGeek to weigh it down, or use a shopping bag filled with sand from a nearby playground – you’ll work something out, channel your inner MacGuyver!

Taking the JustTap Magnetic Phone Tripod out of the box, the first thing that struck me (not literally!) was how solid it felt. It has a reassuring weight to it and doesn’t come across as something that’s going to fall apart after a couple of uses. In fact, I’ve already taken it on several outings, and it’s held up perfectly – time will tell.

One thing to be aware of is that the magnetic mount is exceptionally strong. That’s great for keeping your phone securely attached, but if you try to pull your phone off at the wrong angle, you could potentially put unnecessary stress on the tripod itself. It comes with a one-year warranty, although I’m not sure accidental damage of that nature would be covered.

Speaking of magnets, it also comes with a stick-on metal ring that you can attach to the back of your device if you don’t have something that is magsafe compatible, I will also add that, despite it not being made for it, the JustTap Magnetic Phone Tripod works great as a lightstand for Mag-compatible lights like my little Amaran Ace 25x!

It weighs in at less than half a kilogram (15.8oz in old money) and is easy to stow in most camera bags, duffel bags, picnic bags etc – as a tripod that you can whip out and grab a self-portrait on your hike, or an event with friend, it’s very convenient. Setup time from closed to open and ready to go is honestly about 8 seconds! Here’s a video from the KraftGeek website (You can also find this tripod there)

I attach my iPhone to the top, pull the tripod out to the length I want it and then tap the base on the floor and the legs literally spring into action! You can see the button that you tap on the ground, below.

The tripod also includes a small Bluetooth remote that attaches magnetically to one of the legs. Thanks again, magnets! It’s USB-C rechargeable and refreshingly simple to use. Pair it with your phone, open your camera app, and whatever mode you’re in, whether that’s taking photos or recording video, a press of the remote’s single button will trigger the shutter or start and stop recording.

I also tested it with the Moment Camera app, and it worked flawlessly there too.

Bluetooth typically works up to around 15 meters away, so this remote is great for those group shots or family portraits, it pops off and pops right back in when you’re done.

After some solid use, I’m pretty impressed with this diminutive magnetically prepped tripod, it’s not “wildlife photographer” stable at full height, but you’re not using it for that! This is a fun, walk-about, capture yourself. with friends device that, for the money, does a great job.

The post JustTap™ Magnetic Phone Tripod Review appeared first on Digital Photography School. It was authored by Sime.

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[Photography] Godox EazyFlow Beauty Dish Travel Light. Beauty Light Anywhere

The post Godox EazyFlow Beauty Dish Travel Light. Beauty Light Anywhere appeared first on Digital Photography School. It was authored by Sime.

Bring studio-grade beauty light wherever you go. The EazyFlow Collapsible Beauty Dish preserves the signature look of a traditional metal beauty dish, using a dual-reflection design to create light that is soft yet defined—ideal for shaping natural nose shadows, clean jawlines, and dimensional facial contours. Its collapsible structure makes it lightweight, compact, and easy to carry for solo location shoots. Optimized for strobes with protruding flash tubes, including AD300Pro II and higher models, it is available in 65cm and 85cm sizes with silver or white interiors to suit a wide range of shooting scenarios.

You can grab the 65S (Silver) here OR You can pickup the 85S (Again, Silver) here alternatively, you could opt for the W (white) versions of the 65 or 85 – Full info on the Godox product page here

Fast Setup, Efficient Workflow
Featuring a new quick-open design, the EazyFlow Beauty Dish unfolds with a simple press and folds down just as easily with the release button, greatly simplifying setup and streamlining your lighting workflow.

Professional Light, Classic Beauty Look
The EazyFlow Beauty Dish delivers focused, sculpted light that beautifully defines facial contours, creating natural nose shadows, crisp jawlines, and soft, flattering catchlights. It brings depth, dimension, and a clean professional look to portrait lighting.

Foldable design. Crisp, captivating catchlights. 

While delivering ultimate folding portability, the EazyFlow Foldable Beauty Dish creates a sharp-edged, perfectly circular catchlight.

Foldable, Lightweight, and Easy to Carry
With its lightweight structure and collapsible design, the EazyFlow Beauty Dish packs down to a much smaller size and easily fits into the side pocket or compartment of a camera backpack. The reduced carry weight makes it easy for one person to transport a complete beauty-dish lighting setup for outdoor shoots.

Versatile Light Quality, Flexible Choices
Available in 65cm and 85cm sizes with silver or white interior options, the EazyFlow Beauty Dish adapts to different lighting needs across a variety of shooting scenarios. It also includes a dual-sided central reflector, dual-layer white central reflector, diffuser, and grid, giving you everything you need for both softening and controlling light.

Bowens Mount with Interchangeable Speedrings
The EazyFlow Beauty Dish features a standard Bowens mount and is optimized for strobes with protruding flash tubes, compatible with AD300Pro II and higher models. Its newly designed mount provides secure load-bearing support and excellent durability. With quick-change speedrings, EazyFlow can be adapted to Godox, Profoto, Broncolor, and other major mount systems, expanding compatibility across different lighting ecosystems.

Lightweight, Professional, and Ready for Any Shoot
With its classic beauty-dish light quality, collapsible design, and fast setup workflow, the EazyFlow Beauty Dish improves mobility and setup efficiency on set. Whether used in the studio or on location, it helps you quickly create portrait lighting that balances softness, definition, and natural dimension.

Tech Spec

Model	Net Weight	Open Dimensions	Folded Dimensions
EazyFlow Bty 65S	1.12kg	650×650×255mm	530×162×52mm
EazyFlow Bty 65W	1.14kg	650×650×255mm	530×162×52mm
EazyFlow Bty 85S	1.36kg	850×850×255mm	653×162×52mm
EazyFlow Bty 85W	1.42kg	850×850×255mm	653×162×52mm

We have not tested these personally, but there is no question – modifying light always leads to better images (depending on what look you’re after, but most of the time!)

The post Godox EazyFlow Beauty Dish Travel Light. Beauty Light Anywhere appeared first on Digital Photography School. It was authored by Sime.

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