[Photography] Symmetry in Photography: A Comprehensive Guide (+ Examples)

The post Symmetry in Photography: A Comprehensive Guide (+ Examples) appeared first on Digital Photography School. It was authored by Frank Myrland.

Symmetry is a powerful photographic compositional device, but how does it work? When should you use it? And, most importantly, how can you use symmetry in photography for amazing results?

In this article, I share everything you need to know to get started with symmetrical photography. I also offer some practical tips – so you can start taking your compositions to the next level, fast.

Ready to become a symmetry master? Then let’s jump right in, starting with the basics:

What is symmetry in photography?

Symmetry is a compositional device that features a subject reflected across an imaginary axis. In general, the main subject sits smack-dab in the center of the frame, like this:

However, as I discuss later in this article, a centered subject isn’t always necessary (and you can use off-center symmetrical subjects for compelling results).

Note that photographers, especially photographers engaging with composition for the first time, tend to avoid symmetrical compositions. The ever-popular rule of thirds emphasizes the value of asymmetry, so serious beginners try to work with the rule of thirds gridlines in the hopes of creating dynamic, well-balanced photos.

But here’s the thing:

While poorly used symmetry can result in boring, static compositions, symmetry – when correctly applied – creates balanced, intense, even in-your-face images, as I discuss in the next section:

Should you use symmetry in your photos?

When you’re just starting out with photography, working with strong symmetry can feel relatively natural. But over time, you may find yourself criticized by other photographers for overly centering your subjects, and you may start to feel like symmetry is best avoided.

While it’s true that symmetry can lead to static images if not handled carefully, it does a great job of creating bold, compelling compositions. In other words, symmetry, when executed with intent and creativity, can significantly enhance the visual impact of a photo.

When you create symmetry in the frame, the results are often intense and bold. Symmetry also emphasizes the geometry within a scene, making for very graphic and attention-grabbing images.

That said, symmetry isn’t always the right choice for every photograph. It’s essential to consider the subject, the scene, and the message you want to convey. In some cases, asymmetry might produce a more dynamic or intriguing shot.

Symmetry vs the rule of thirds

As I mentioned in the previous section, beginner photographers often use symmetry in their photos. However, they’re soon told to focus on creating asymmetric images that use the rule of thirds instead.

Briefly, the rule of thirds is an oft-repeated compositional technique that uses a handy grid overlay:

The idea is that you position key elements a third of the way into the frame, which gives the overall composition a sense of balance, while also preventing the shot from becoming too static.

But while the rule of thirds is great, and it’s often highly effective, it can get a bit repetitive. After all, using the same compositional framework over and over again will create similar images. Plus, the rule of thirds rarely makes for intense images; by positioning the subject off-center, you often take away from any in-your-face effects.

That’s why symmetry is a solid alternative to the rule of thirds. (Despite its name, the rule of thirds isn’t actually a rule, just a guideline!) Of course, you shouldn’t use symmetrical composition tactics all the time – as with the rule of thirds, you’ll eventually start producing repetitive images – but by using symmetry now and again, you can inject plenty of shock and awe into your portfolio.

Types of symmetry in photography

Symmetry can be broadly categorized into three types: horizontal, vertical, and radial. Recognizing these types can vastly improve the impact of your photographs!

Horizontal symmetry

Horizontal symmetry is perhaps the most visually striking form of symmetry, and it’s also readily available for photographers. It occurs when the scene or subject is mirrored across a horizontal axis (i.e., a horizontal line):

This type of symmetry is commonly found in nature, where still water provides a natural mirror for mountains, trees, and skylines. Photographs of a mountain reflected in a calm lake or the setting sun casting its hues on a quiet river are classic examples of horizontal symmetry!

Capturing horizontal symmetry requires a keen eye for detail and – if you’re photographing a water reflection – often a bit of patience, since you’ll need to wait for the wind to still and the water to become a perfect mirror. But in most cases, the effort is well worth it!

Vertical symmetry

Vertical symmetry in photography is the opposite of horizontal symmetry; it’s found when a subject or scene is mirrored across a vertical axis (i.e., a vertical line). This type of symmetry is everywhere – it’s present in humans, the facades of buildings, vehicles, and more. Vertical symmetry offers a powerful way to emphasize subjects:

When you identify an axis of reflection running through your frame, you can carefully center it while seeking to balance the elements on either side of this line. This doesn’t mean the scene must be perfectly symmetrical, but the more symmetry that’s present, the more powerful the result will be.

Achieving impactful vertical symmetry often involves careful positioning and framing. You’ll need to make sure that you’re zoomed in or out enough to emphasize the symmetry, and you’ll also need to pay attention to both sides of the scene to ensure things don’t get too off balance.

Radial symmetry

Radial symmetry is when elements of the composition radiate out from a central point, creating multiple axes of symmetry. This type of symmetry is less common but can produce graphic, visually captivating images. It’s sometimes found in the natural world—flowers, starfish, and jellyfish viewed from above are prime examples!

To capture radial symmetry, you’ll need to keep an eye out for subjects with lines and patterns radiating from the center, and you’ll often need to change your angle to really emphasize the symmetrical elements. This might mean shooting directly above a subject to emphasize the radial design:

Or shooting from below to highlight the effect while looking up:

How to use symmetry in your photos

When you’re starting out with symmetrical photography, I encourage you to look for two things:

1. Symmetrical subjects. I mean subjects that reflect across an axis, such as people, trees, and buildings.
2. Reflective objects. I’m talking about water, metal, glass, and anything else you can find that reflects the scene.

These two elements – symmetrical subjects and reflective objects – are your symmetry bread and butter. As long as you have one or the other, you can pull off a symmetrical composition.

So when you’re out with your camera and you’re aiming to capture a powerful photo, stop, take a deep breath, and look around.

If you can find a symmetrical subject, such as an interesting building, do what you can to position it in the dead center of the frame. For the best results, line up your shot so that your sensor is parallel with the front of the subject, and (generally) aim to fill a large chunk of the frame with the subject’s mass.

Humans are symmetrical, so when I’m after a strong effect, I’ll ask my subject to face directly toward or away from the camera, like this:

Notice how the subject’s back is perfectly aligned with my camera sensor, and how even the lines of his shirt add to the symmetry. (No, his head isn’t angled for exact symmetry, but that was deliberate; by slightly subverting the symmetrical effect, I prevented the composition from becoming overly static.)

Even if you don’t have (or can’t find) a symmetrical subject, you still have a second option:

You can find a nice reflective object, then position your camera so half of the scene is real while the other half is reflected. It often pays to put the line of reflection in the center of the shot, though you can always position it along a rule of thirds gridline for a slightly more unconventional result.

These days, reflective symmetry is very popular among serious photographers, who rely on all sorts of reflective objects for stunning effects, such as:

• Car windows
• Car hoods
• Metal buildings
• Quiet lakes
• City puddles
• Car mirrors
• Smartphone screens

Really, when it comes to reflection photography, the only limit is your imagination and resourcefulness. (In fact, some photographers even carry bottles of water to create puddles when needed!)

6 tips for stunning symmetrical pictures

Now that you’re familiar with the symmetry basics, I’ll share my favorite tips for improving your symmetrical compositions:

1. Don’t be afraid to get close

When you’re creating symmetrical compositions, the closer you get to your symmetrical subject or reflective object, the more obvious the symmetry becomes…

…and more obvious symmetry makes for an intensified effect.

You see, if you use a wide-angle lens or shoot from a distance, it’s easy to lose instances of symmetry in the overall composition. Plus, the more you include in the frame, the more likely it is that the symmetry will be broken by some element, which in turn will weaken the effect.

So if your goal is to capture an in-your-face shot, get close – either by walking nearer to your subject or by using a telephoto lens. In fact, if you can, try to fill the frame with obvious symmetry.

Take a look at this image, which features a symmetrical subject (doing a relatively symmetrical pose) as well as a semi-symmetrical background:

But while the symmetry is nice, the wider perspective takes away from the effect; the result is much improved with a telephoto focal length:

2. Minimalism is your friend

Minimalism is a photographic style that features clean – even empty – backgrounds, simple subjects, and decluttered surroundings.

And when doing symmetrical photography, the more you can simplify your shot (that is, the more you can go minimalist), the better it will turn out.

After all, a simplified composition will make your subject the center of attention, which is pretty much always a good thing.

But how do you create minimalistic shots?

Start by looking around the scene and doing what you can to cut out distractions, either by physically removing them from the composition or by adjusting your camera angle. (For instance, try moving your camera slightly left, right, up, and down; you’d be surprised by how helpful these tiny movements can be!)

You might also look for large swathes of negative space and see how you can incorporate them into the scene. For instance, by getting down low, you can often bring a blank white or blue sky into the frame.

Personally, I like to widen my aperture to f/4, f/2.8, or wider; that way, I can create a soft-focus effect that turns the background into soft and creamy bokeh.

When shooting this lantern, the background threatened to weaken the symmetry effect:

So I used a wide aperture to blur it into oblivion. The final result is much more pleasing, and the symmetry of the lantern is far more obvious:

3. Work to find that central perspective

Capturing symmetry, whether horizontal, vertical, or radial, often requires finding the perfect central perspective. Achieving this balance is crucial for emphasizing the sense of symmetry and avoiding perspective distortion, which can detract from the overall effect.

Once you’ve identified a symmetrical scene, resist the urge to start shooting immediately. Instead, take a moment to assess the scene from various angles and positions. If you’re photographing a symmetrical building, for instance, adjust your position until you’re standing directly in the center of the structure. This central positioning is especially critical for building exteriors and interiors where symmetry is a significant part of the architectural design. It ensures that both halves of the structure align perfectly in your frame and will heavily enhance the symmetry’s impact.

Nailing this perfect perspective might involve a bit of movement and experimentation, but if you can get it just right, you’ll love the result.

4. Experiment with off-center compositions

This scene does feature some subtle horizontal symmetry (the reflections in the water), but the line of reflection isn’t centered. Instead, it’s positioned lower in the frame, and as a result, the symmetry is deemphasized!

Throughout this article, I emphasized the value of centralized symmetrical compositions.

And it’s true:

If you put symmetrical subjects smack-dab in the middle of your photos, then you’ll get dramatic, interesting results.

But sometimes it’s best to take your symmetrical compositions in a different direction, especially if you want the power of symmetry while also gaining the dynamism of an off-center structure.

If you do go for decentered symmetry, I’d recommend you avoid working with symmetrical subjects and instead compose with symmetrical scenes (e.g., a tree reflected in the water or a street reflected in a building facade).

(In my experience, when you decenter symmetrical subjects, the symmetry tends to fade into the background and you lose most – or all – of its power.)

So simply find a reflected scene, then instead of positioning the line of symmetry in the center of the shot, position it slightly higher, lower, right, or left. Here, the rule of thirds can be a big help – in fact, you can use an off-centered composition to satisfy both the rule of thirds and the symmetrical technique. Make sense?

5. Look up!

Finding symmetry at eye level is often the go-to approach for many photographers, but in my experience, that’s a mistake! Looking up can reveal an array of symmetrical subjects, especially in urban environments where the interior and exterior architecture offers plenty of geometric shapes and lines.

A wide-angle lens can often enhance the sense of symmetry in these upward shots by exaggerating the lines and curves of buildings and leading the viewer’s eye toward the center of the composition. For instance, you can capture outstanding photos of cathedral ceilings by standing in the center of the room and photographing upward with wide-angle glass:

Of course, don’t only photograph upward – always explore various angles – but remember that symmetry from a low angle can add a unique dimension to your images, so always remember to look up!

6. Crop for perfect results

My final suggestion is a quick one, but it’s extremely important if you want to create polished, professional symmetry pictures:

Always, always, always import your photos into a program like Lightroom. Then do a final symmetry check – and if the symmetry isn’t perfect, apply a bit of quick cropping.

(Is perfect symmetry always essential? Not if you’re after a more unconventional effect, as I described in the previous section. However, if your goal is to capture a stunningly symmetrical shot, then a slightly asymmetrical subject will significantly dampen the effect.)

I use Lightroom for this, which offers a handy rule of thirds grid; as you can see in the example below, I try to line of elements of my subject with the rule of thirds gridlines:

That said, you don’t need to do this final crop in Lightroom. Programs such as Capture One, Luminar Neo, and Photoshop are all perfectly acceptable. You can even do this step in a free smartphone app; the point is to spend time scrutinizing the image for perfect symmetry, then do what you can to fix any mistakes!

Symmetry in photography: final words

Now that you’ve finished this article, you should know what symmetry is all about – and how you can incorporate symmetry into your own photos for stunning results.

So practice locating symmetrical objects and scenes. Practice working with different compositions. And above all, have fun!

Now over to you:

What type of symmetrical photography do you plan to do? Do you have any tips of your own? Share your thoughts in the comments below!

The post Symmetry in Photography: A Comprehensive Guide (+ Examples) appeared first on Digital Photography School. It was authored by Frank Myrland.

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[Photography] How to Fix Overexposed Photos: A Comprehensive Guide

The post How to Fix Overexposed Photos: A Comprehensive Guide appeared first on Digital Photography School. It was authored by Ana Mireles.

Are your files looking washed out? Do they have white areas that lack detail? Do they seem unpleasantly bright? If you answered “Yes!” to any of the above questions, your images might be overexposed.

And it’s true: Exposure is a significant, image-ruining problem. An overexposed photo doesn’t look as nice as a properly exposed file, plus it’ll fail to show detail in areas where the details are important.

Fortunately, while overexposure is bad, it’s not unfixable. With the right techniques, you can correct overexposure – ideally in the field, but also while post-processing your photos. In this article, I explain how to fix overexposed photos on the spot, and I also show you several techniques to fix overexposure in Lightroom, Photoshop, and more.

Sound useful? Then keep on reading!

What is an overexposed photo?

In simple terms, an overexposed photo is too bright. Overexposed images usually look very washed out due to the lack of contrast in the mid-tones and shadows. Additionally, overexposed images often feature limited details in the highlights (i.e., the lightest portions of the scene).

Here’s an example of a (very!) overexposed photo:

This close-up shot of some flowers and leaves is extremely overexposed. Note the lack of detail in the highlights, the lack of shadows, and the all-around sense of overwhelming brightness!

This is in contrast to underexposure (where the image is too dark) and a neutral exposure (where the image is nicely exposed).

It’s often easy to identify heavily overexposed images thanks to the characteristics I mentioned above. However, when thinking about overexposure versus neutral exposure, there isn’t a single “correct” exposure that all photographers agree on. What looks too bright to one photographer might look perfect to another – and even an image that’s missing details can be considered “correctly” exposed if it achieves a specific effect the photographer was after (e.g., a pure white background). Therefore, if you like a brighter look, don’t feel like you always have to “fix” the “problem.”

What causes overexposed images?

Overexposure is caused by too much light reaching the camera sensor. (As you may know, the exposure of a photograph refers to the amount of light that creates an image.)

You can control the amount of light (and, consequently, the exposure) using the three corners of the exposure triangle: ISO, aperture, and shutter speed. For instance, you can modify the sensitivity of the camera sensor by adjusting the ISO. You can let in more or less light by changing the aperture size. And you can decide how long the sensor is exposed to the light by tweaking the shutter speed. 

When you find the perfect balance of exposure variables – and hence a good amount of light – then you’ll produce a well-exposed image. But if too little light hits the sensor, the photo will be underexposed, and if too much light hits the sensor, the photo will be overexposed. Make sense?

Keep in mind that an overexposed photo is different from a high-key photo. High-key photos feature mostly bright tones, but the few dark tones that are present look deep and intense. Plus, even high-key files feature detail in the highlights (at least on the subject).

5 basic ways to fix overexposure when photographing

Overexposure is caused by too much light, so if your images are consistently overexposed, you can fix this by adjusting your camera settings. Make sure your camera is set to shoot in Manual mode – which will let you modify your different settings independently – and then try these solutions:

1. Lower the ISO

ISO determines the sensitivity of the camera sensor. (Yes, this is an oversimplification, but it’s useful to think in these terms.) In film photography, you can choose the sensitivity of your film, which remains consistent across the entire roll; in digital photography, you can adjust the ISO from one photo to the next.

High ISO values cause the sensor to be very sensitive. Therefore, these values are meant for low-light conditions. As a general rule of thumb, you should keep your ISO as low as possible; otherwise, you’ll start to see noise/grain in your files.

So if your image is overexposed, start by lowering the ISO. Most cameras can drop down to ISO 100, although some can reach ISO 50.

2. Narrow the aperture

The aperture is the hole in your lens that lets in light. It’s an essential part of each and every lens design, and different aperture options can be a key factor in the value (and price) of the lens.

A wide aperture allows you to shoot with faster shutter speeds, even in low light. But depending on the light levels, a too-wide aperture can lead to overexposure (if you’re not compensating for the increased light via other camera settings, that is).

A wide aperture will also create a narrow depth of field in your images, but if you don’t need a shallow depth of field effect and your images are turning out overexposed, you can narrow the aperture to let in less light and fix the issue.

On the other hand, if you do want a shallow depth of field effect, then you’d do better to prevent overexposure using the following option:

3. Use a faster shutter speed

Your shutter speed determines how long the sensor is exposed to light.

A fast shutter speed can help freeze in-motion subjects and allow less light to reach the sensor, while a slow shutter speed will capture motion as a blur but will allow more light to hit your sensor. If your images are overexposed, simply speed up that shutter to produce a better result.

Boosting the shutter speed will rarely have adverse effects on your images. (To the contrary, if you speed up the shutter speed, your images may turn out even sharper!) The exception is when you want to blur moving subjects deliberately, in which case you’ll want to keep a slow shutter speed and use the next option instead:

4. Use a neutral density filter

A neutral density filter is basically just a dark piece of glass that goes over your lens. It’ll reduce the amount of light that hits the camera sensor and keep your images well-exposed.

Neutral density filters can be on the expensive side, plus they’ll increase the amount of gear you’ll need to work with. Therefore, if possible, I’d recommend fixing overexposure by adjusting the camera settings discussed above.

But if your ISO is at its base value, and you can’t or don’t want to adjust your aperture or your shutter speed, you can always add that ND filter over the lens for a better result! Just bear in mind that different ND filters offer different light-blocking capabilities, so you’ll want to choose a model that works for your purposes.

5. Try other metering modes

How does your camera know how much light you need for a photo? It’s all thanks to the built-in light meter. By default, the camera analyzes the scene and calculates a lighting average; it then indicates whether your current settings will give you a neutral exposure. 

Unfortunately, when you’re photographing a scene with lots of contrast or a large volume of dark areas, your camera’s metering mode may fail; it might tell you the exposure is correct, while in reality, the picture is overexposed. 

To prevent this from becoming a regular issue, you can change the metering mode. Spot metering, for instance, lets you carefully determine the light levels on just your subject. It gives you a better chance of getting the exposure right and can be especially helpful if you’re noticing consistent overexposure issues.

Additional ways to fix overexposed photos (in camera)

While the aforementioned options are highly effective methods for handling overexposure, you do have other options, such as:

Use exposure compensation 

If you’re shooting in a semi-automatic mode (e.g., Aperture Priority), then you can use exposure compensation to (subtly) adjust the settings chosen by your camera. If your camera is capturing too-bright photos, you can dial in a stop or two of negative exposure compensation, thus telling the camera processor to deliberately darken the exposure.

Some cameras have a dedicated button for this feature, which features the +/- icon. If you can’t find an exposure compensation button, you might need to search through your camera’s menu. (It can vary from camera to camera, so you may want to check your manual for this one!)

Use bracketing

Bracketing is a shooting technique where you capture the same scene with different exposure settings. The idea is to capture a handful of extra shots as insurance; that way, if you get the settings wrong and accidentally overexpose (or underexpose) the scene, you’ll have a bracketed shot that got it right.

So how do you do bracketing?

Some cameras have an automated bracketing option, called AEB (Automatic Exposure Bracketing); with this feature active, you can press the shutter button just once and your camera will take a handful of photos at different exposures.

If your camera doesn’t have AEB, you can still do manual bracketing. Start by setting your camera to Manual mode, then find the “correct” exposure (as indicated by the camera’s light meter) and take a shot. Then adjust the shutter speed by a step or two and take another shot. Repeat this a couple more times. (You can also bracket by adjusting the aperture, but you’ll end up with a variety of background blur effects.)

Use an external light meter

The exposure meter in your camera always reads the light that bounces off the objects in each scene. This method works, but it’s prone to error – and it can lead to overexposure or underexposure depending on the tones of the objects.

For a more accurate light reading, you can use an external light meter, held in front of the subject. It will measure the light levels directly, and you can use the reading to determine the right exposure settings (regardless of the color and material of the scene objects).

External light meters are highly effective in portrait, product, and still-life scenarios, where you can easily place the meter in front of your subject. However, they tend to be impractical when doing nature and street photography; after all, standing in front of your subject with a light meter is liable to scare them off!

How to fix overexposure with a post-processing program

While it’s always best to handle overexposure while out shooting, you can still salvage overexposed shots with a bit of editing magic. My examples below use Adobe Camera Raw (which is essentially identical to Lightroom Classic) and Photoshop, but you can get similar results using any high-quality post-processing program.

1. Reduce the exposure in Adobe Camera Raw

If you’ve overexposed a RAW file, you may be able to recover some (or all) the missing detail. Start by opening your RAW file in a photo editor that supports it. I like to fix overexposure in Adobe Camera Raw, but the steps are very similar in most programs.

Activate the clipping alert by clicking on the top right of the histogram. This will highlight areas of exposure in the image (i.e., areas that are missing detail and need correction). As you make adjustments, keep a careful eye on the clipped areas.

You can start by dropping the Exposure slider. It’ll darken the overall photo, just as if you shot the image with a faster shutter speed, lower ISO, or narrower aperture. 

Then reduce the Whites slider, which controls brightness in the whitest parts of the image. Finally, drop the Highlights slider until you’ve eliminated all clipping. (You might have to go back and forth between the Whites and the Highlights slider until you find the right balance.)

Once you’ve regained all your missing detail, I’d recommend recovering contrast by lowering the darker areas of the image. You can do this with the Black and the Shadow sliders. It can be helpful to enable the shadow clipping alert (on the top left of the histogram). That way, you can instantly see if you accidentally make the image too dark.

If your image is still looking washed out, you can try using the Dehaze slider, which will darken the shot while adding plenty of contrast.

2. Apply a darkening blend mode in Photoshop

Open your file in Photoshop (or another layer-based editing program). Duplicate the background layer. Then change the blend mode to any of the darkening modes found on the menu: Darken, Multiply, Color Burn, Linear Burn, or Darker Color.

Different photos benefit from different blend modes, so make sure you try them all. If you’re using Photoshop CC, you’ll see a live preview as you hover over each mode, which is highly useful. And if you get a result that feels too intense, you can always lower the opacity.

3. Try a Levels adjustment in Photoshop

Photoshop offers a handy adjustment, called Levels, that allows you to subtly and effectively adjust image tones.

Start by creating a Levels adjustment layer, which will let you modify the tones in your photo non-destructively. You’ll see a histogram; grab the dark slider on the left and pull it to the right until you reach the first peaks of the graph. You can also try moving the middle slider to the right (thereby darkening the image midtones).

Then, on the gradient stripe below the histogram, grab the rightmost slider. Drag it to the left, and watch as the brightest parts of your image are subtly darkened.

(If you want an even quicker approach, simply hit the Auto button, and let the Levels adjustment layer handle the changes on its own. You can always fine-tune the results afterward.) 

4. Try a Curves adjustment in Photoshop

Curves is another Photoshop tool designed to adjust image tones – in fact, it offers even more precise control than Levels, though it’s also harder to use effectively.

To fix overexposure with the Curves tool, create a Curves adjustment layer, then grab the black eye dropper and click on the darkest tones in your image:

It’ll instantly darken the shot!

If you prefer, you can add handles to the Curves graph and drag them to manually adjust the curve. Or you can click on Auto and let the editing program make its own decisions!

How to fix an overexposed photo: final words

As you can see, there are many ways to fix an overexposed photo! It’s always better to identify the problem while you’re in the field; that way, you can correct the exposure from the beginning.

However, as you should now be aware, it’s possible to adjust the exposure and recover missing detail in post-processing. Of course, this method has its limits, and a RAW file will give you far more flexibility than a JPEG. 

So remember the techniques I’ve shared. And take some powerful steps to prevent (or fix) future exposure issues!

Which of these approaches do you plan to take? Do you have any other strategies for handling overexposure? Share your thoughts in the comments below!

The post How to Fix Overexposed Photos: A Comprehensive Guide appeared first on Digital Photography School. It was authored by Ana Mireles.

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[Photography] Night Photography Equipment: 10 Must-Have Items in 2024

The post Night Photography Equipment: 10 Must-Have Items in 2024 appeared first on Digital Photography School. It was authored by Jim Hamel.

Choosing the right equipment for night photography can be tough. You can’t just waltz around with a camera and snap away; instead, the lack of light (often) forces you to work with lengthy shutter speeds, bracketed exposures, and more – and getting great images using such settings requires specialist equipment.

So if you want to capture stunning night shots, what gear do you need? While the perfect night photo equipment isn’t set in stone, I share my top 10 recommendations below, drawing on years of experience photographing at night. I make sure to discuss the basics (cameras and tripods) all the way to more advanced items for night shooting (colored lights and ND filters, to name a couple).

By the time you’re done, you’ll know exactly what to put in your gear bag before a night photoshoot. And you’ll be ready to capture photos like those featured throughout this article!

Let’s get started.

1. The right camera

It should come as no surprise that you must have a camera for your night photography, but not just any camera will work. Night photography is tricky and requires certain specialized capabilities, so you’ll need a camera that offers:

• RAW capture, so you can get the best image quality possible and make necessary adjustments in post-processing;
• Manual controls, including manual exposure settings and manual focusing (because in certain cases, it’ll be too dark for your camera’s autofocus to work!)
• A Bulb mode for capturing ultra-long exposures.

I’d also recommend choosing a camera model that accepts interchangeable lenses; that way, you can adjust your focal length as needed, and you can also tailor your lens capabilities to your personal preferences and requirements as you grow as a night photographer.

You’ll also need a camera with good low-light performance. In other words, your camera should be able to capture images with low noise levels at ISO 1600 or so (and the higher your camera can go while producing low-noise images, the better!). In general, cameras with larger sensors do better in this regard – so full-frame cameras perform better than APS-C cameras, and APS-C cameras perform better than Four Thirds cameras – but this isn’t always true, and modern mirrorless cameras offer consistently outstanding low-light capabilities.

If you’re struggling to choose a new camera for night photography or you’re not sure if your camera measures up, then check out testing done by DxOMark and DPReview. On DPReview, for instance, you can view images taken at various ISO levels (I recommend checking ISO 800, ISO 1600, ISO 3200, and ISO 6400, if possible).

And if you’re after specific recommendations, here are a few excellent night photography cameras to consider:

• The Sony a7 IV
• The Canon EOS R6 II
• The Nikon Z 6II

Champs-Elysees from atop the Arc de Triomphe, Paris.
17mm | f/5.6 | 3 bracketed images at 1/4s, 1/15s, and 1s | ISO 200
(Note that these settings were used only because tripods were not allowed at the location.)

2. A tripod

If you’ve ever seen night photographers at work, then you’ll know that a tripod is a key piece of equipment. And it should make sense: low-light conditions require long shutter speeds, and unless you have a tripod, your long-exposure photos will be full of blur.

Without a tripod, photographing landscapes or cityscapes at night will be next to impossible!

(The exception is street night photography, where you’ll generally crank your ISO way up, use a shutter speed of around 1/100s, and rely on artificial light sources to keep at least part of the photo well exposed. If that’s the only type of night photography you plan to do, then feel free to skip to the next section!)

What kind of tripod do you need?

Most photographers recommend that you buy a very large, expensive carbon fiber tripod to keep your camera as steady as possible. To be sure, such tripods do work great. In fact, if you aren’t going to do much walking – and if you can afford it – you should definitely invest in a tripod like that, because it’ll give you the best chance at sharp shots, even in wind and moving water.

However, most night photography involves a lot of walking around. Lugging a big tripod while walking for miles is difficult, and it limits your mobility, too. So why not start out with a lightweight, smaller, cheaper tripod? Check out something like a Manfrotto Befree or a Benro MeFOTO RoadTrip Pro. Unless you are using big, heavy lenses or shooting in difficult conditions, either of the above options will hold your rig steady and are supremely portable. They don’t cost that much, either. 

And if you later decide you need a bigger, more substantial tripod, your smaller model will still make a great tripod for travel photography!

Buckingham Fountain, Chicago.
21mm | f/18 | 10s | ISO 100

3. A small flashlight

A flashlight might seem simple, but it is a fundamental piece of night photography equipment.

For one, it’ll help you see your camera’s controls when working in pitch-dark conditions (which is always important!). It’ll also help you select the right equipment from your bag, set up your tripod, deal with straps, etc. And if your camera’s autofocus is struggling, you can even use a flashlight to illuminate a part of your scene, which should improve focusing accuracy and speed.

(A flashlight will also help you find your way in the dark, and it might help you improve your compositions, too. The better you can see, the better you will shoot!)

That said, before you head out for a night photoshoot, I do recommend you become extremely familiar with your camera. If you can set the aperture, shutter speed, ISO, and shooting mode without looking, you’ll have a much easier time, whether or not you have a flashlight on hand.

Look for a good model – check out the OLIGHT Baton3 Pro, which is high quality, reasonably bright, and won’t break the bank. Though if you’re looking for a cheaper flashlight, I recommend the OLIGHT I5R EOS 350.

Fireworks in Southlake, Texas.
135mm | f/14 | 8s | ISO 100

4. Spare batteries

Night photography almost always requires long exposures (the darker it gets, the longer your exposures will need to be – a couple of hours after sunset, you may find yourself shooting at 30s or longer).

Here’s why it matters: Long exposures will drain your camera batteries at an alarming rate. (Seriously. It’s ridiculous how few 20-second exposures you can take on a single battery, and modern mirrorless cameras are already poor performers when it comes to battery life.)

After a handful of shots like this, your battery might be completely drained!

The specific number of shots will depend on your camera as well as your technique (I often use Live View at night, which causes the batteries to drain faster, and shooting with an electronic viewfinder will elevate power consumption even further) and the weather (in cold temperatures, the battery power will be more limited). But at the end of the day, no matter how impressive your camera’s normal battery life, you’ll want to have some spare batteries on hand.

How many batteries are enough? Even if you have a grip with two fully charged batteries, I’d recommend you bring a couple of spares. And if it’s cold and you plan to be out for a long time, add another two spares on top of that. Don’t take any chances.

After all, there is no way of getting around dead batteries; if you’re out of power, then you’ll be forced to head home!

Buckingham Palace, London.
35mm | f/8 | 3 bracketed images at 1.3s, 5s, and 20s | ISO 400

5. A remote shutter release

A remote shutter release lets you trigger the shutter without touching the camera, which prevents the initial vibrations that occur when you press the shutter button. Unless you’re shooting at shutter speeds above 1/60s or so, you’ll need a remote shutter release, which means that pretty much every night photographer should have one in their gear bag.

Fortunately, these are pretty cheap, especially if you go for a basic model sold by a third-party company. Plus, while remote releases used to be nothing more than a way to click the shutter from afar, there are now models with many additional features, such as:

• Timers: This is useful when shooting in Bulb mode, which does not have a shutter speed timer.
• Intervals: Most advanced shutter releases allow you to shoot at intervals, which is perfect for time-lapse and star trail photography.
• Custom delay: This allows you to set delays (besides the 2- and 10-second delays built into most cameras).

Speaking of shutter delays: If you want to get started with night photography but you don’t own a shutter release, another way to prevent shutter-button vibrations is via your camera’s self-timer feature. Simply set up your camera with a 2-second delay, tap the shutter button, and wait for the exposure to start.

(I don’t recommend this as a long-term solution, however, because it’s often inconvenient to wait two seconds before every exposure, especially if you’re capturing moving subjects, such as a seascape scene with foreground waves.)

Amazon has shutter releases for most camera models, and most of them will get the job done, though a slightly more rugged release will come in handy if you do nighttime landscape photography or like to shoot in the rain or snow.

One more tip: If you’re in a pinch, you can often connect your camera to an app and trigger it that way!

A fishing pier in Galveston, Texas.
24mm | f/16 | 3 bracketed images at 5s, 13s, and 30s | ISO 200

6. A lens hood

A lens hood might seem unnecessary, especially if you’re not shooting in rain or snow, but trust me: when it comes to night photography, a hood is essential.

You see, night photography often involves harsh lights coming from different directions, which leads to unwanted lens flare. And lens hoods are specifically designed to avoid this problem (by blocking stray light from hitting your camera sensor).

If your lens comes with a hood, make sure you always grab it before heading out. And if your lens didn’t come with a hood, you can order one from the manufacturer or even purchase a third-party model.

Personally, I don’t find lens hoods especially inconvenient to carry; you can always store one on its lens by attaching it in the reverse position. Then, when it comes time to shoot, just flip the lens hood around!

By the way, it’s worth remembering that a lens hood may do more to protect your lens than a UV filter. If you drop the lens on its front element, a UV filter may not prevent a catastrophe – but a lens hood might.

If your lens didn’t come with a lens hood or you’ve lost one, you can find generic ones for almost any size lens at Amazon. Manufacturer lens hoods tend to be very expensive, and they don’t offer much benefit over third-party hoods, so why not save some money when you can?

Times Square, New York.
17mm | f/4 | 1/100s | ISO 800 | Handheld

7. Neutral density filters

This may come as a surprise, but neutral density filters are a great piece of night photography gear to have in your bag.

Why?

If your goal is to do long-exposure night photography, you may wish to use a longer shutter speed than the conditions allow, even after dark (this is a common problem when shooting light trails at twilight, or when trying to blur people moving through a well-lit outdoor area).

Therefore, a small collection of neutral density filters – which reduce the amount of light hitting the camera sensor, like sunglasses for your lens – can be a night photography lifesaver. You’ll want different strengths for different conditions and effects (I carry a 3-stop and a 10-stop neutral density filter, and you might also want to grab a 6-stop filter, too).

A polarizing filter isn’t hugely useful for night photography, but don’t forget that a polarizer will reduce the amount of light coming into your camera by 2 stops as well, so in a pinch, you can use that instead.

Trafalgar Square, London. A neutral density filter allows you to carefully control your shutter speed and achieve the exact level of blur you envisioned!
21mm | f/10 | 15s | ISO 200

Note that a good set of ND filters can be on the expensive side, but you don’t want to skimp on quality and end up with filters that soften your images or add unpleasant color casts. This Tiffen kit is good for beginners, though a more midrange option is this B+W 6-stop filter.

8. Fill lighting

Night photography generally involves extreme contrasts, with a combination of bright lights and very dark areas. Sometimes, you can boost the exposure with HDR or other post-processing techniques – but other times, it pays to get it right in camera.

If you do decide to nail your night exposures in camera, you’ll need a fill light. Flash units can work, but the range is very limited; I’d recommend a flashlight instead (this should generally be different from the flashlight discussed above!). Feel free to experiment with larger and smaller flashlights, depending on your distance from the subject and the overall lighting conditions.

Then after starting the exposure, simply shine the light at the areas you want to brighten up. You don’t have to keep the flashlight on the entire time, and you can vary the amount of light you use.

Ultimately, careful use of fill light will save you a lot of post-processing time. It will also prevent you from needing to lighten very dark portions of your image, which always leads to noise and other problems.

9. Colored lighting

Once you’ve really committed to night photography, you may want to add some colored lighting to the scene for creative effect. There are two techniques you can try:

1. Using flash gels to color an area. If you want to add colored lighting to a part of your picture, get some colored gels that attach to the front of your fill light. You may not use them very often, but gels take up very little space in your bag. When you see an opportunity, “paint” over the targeted areas with your colored light.
2. Using glow sticks to add discrete lines/shapes/words. If you want to add “painted” lines, shapes, or even words to your picture, get some colored glow sticks and move them around in the frame during the exposure. This is not the sort of thing you are likely to use every day (or night), but they are small and lightweight, so you can carry them everywhere without too much trouble.

10. A smartphone

It may sound obvious, but you should always bring your phone to a night photoshoot. Even if you see photography as your time to get away from everything, don’t leave your smartphone at home.

You see, a phone serves a variety of key night photography functions, including:

• Timer: You will often use Bulb mode when shooting at night, which (as mentioned above) doesn’t include a timer. Unless your remote shutter release has a built-in timer, then you’ll need to rely on your smartphone to track exposure lengths.
• Map: Getting lost or turned around at night is easy to do. You don’t want to end up in the wrong place!
• Safety: Obviously, you want to be able to call for help if necessary.
• Applications: There are a variety of apps, such as The Photographer’s Ephemeris, which contain useful information on the movement of celestial bodies. I highly recommend you download one of these apps and keep it on hand at all times!
• A backup flashlight: If your primary flashlight dies or you leave it in the car, you can use your phone’s light to handle your camera controls and find your way in the dark.

Chicago from the Hancock Building.
17mm | f/9 | 6s | ISO 200

Night photography equipment: final words

Well, there you have it:

All the gear you need to capture stunning photos at night. Below, I’ve categorized the gear in order of importance – so read through the list, figure out what’s missing, then add it to your bag. Good luck!

Mandatory gear:

• Camera
• Tripod
• Remote shutter release
• Smartphone

Highly recommended gear:

• Spare batteries
• Flashlight
• Lens hood
• Neutral density filters

Optional gear:

• Fill lighting
• Colored lighting (gels and/or glow sticks)

Now over to you:

What equipment do you plan to use for night photography? Are there any essential items that I missed? Share your thoughts in the comments below!

The post Night Photography Equipment: 10 Must-Have Items in 2024 appeared first on Digital Photography School. It was authored by Jim Hamel.

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