This week’s challenge comes from our Facebook Group member, Monica Herman! The theme for the challenge is “In The Details”
What does it mean to capture the details? Probably something different in most individual photographs, my example is I was photographing a graffiti festival some time ago, and I recall getting a handful of photographs of one artist, progressively honing in on the detail. See is you can get a sense for that in my photographs below.
Show us what ‘In The Details’ means to you, make sure to share them in the comments of this post or in our Facebook group. (click)
Sony will release three mirrorless models in 2022, according to Sony Alpha Rumors: the Sony a7R V, the a9 III, and an “unknown” camera.
Together, these cameras will bolster Sony’s already impressive mirrorless lineup and even expand into new territory, depending on the identity of the yet-to-be-revealed third offering.
The Sony a7R V will succeed the a7R IV, Sony’s high-resolution, full-frame camera designed for landscape and commercial photographers. Despite its megapixel-centric design, the a7R IV is a surprisingly capable all-around body, featuring snappy autofocus, 10 frames-per-second continuous shooting, and 4K/30p video, in addition to a beautiful 5.76M-dot electronic viewfinder and a tilting screen.
But Sony will undoubtedly aim to push the envelope with the a7R V. Current rumors and speculation suggest that while the a7R V will pack the same 61 MP sensor as the a7R IV, continuous shooting speeds may increase (to 15 or 20 fps, compared to 10 fps on the a7R IV). You can also expect a generous autofocus upgrade, a 9.44M-dot electronic viewfinder, and 8K video.
Might Sony fit the a7R V with a higher-resolution sensor? It’s possible, according to Sony Alpha Rumors. Reports have floated around regarding a 102 MP sensor, though 61 MP is still more likely.
The Sony a9 III, like the a9 II, will cater directly to professional sports photographers. Rumored specifications are scarce, but you can bank on a body with improved autofocus and shooting speed upgrades (the a9 II shoots at 20 fps, so look for 30 fps or even 60 fps in the a9 III), as well as all the standard features: a 24 MP sensor, a rugged body, dual-card slots, and in-body image stabilization.
And Sony’s unspecified camera? What might it offer?
Photographer and YouTuber Tony Northrup predicts a Sony a5, an entry-level full-frame camera to rival the Canon EOS RP and Nikon Z5. As Northrup points out, Sony’s lineup currently contains no real low-end full-frame cameras; the closest is the a7C, which currently retails for around $1800. Sony offers several low-cost APS-C models, but hobbyists looking to make the jump to full frame are forced to shell out for the a7C, a7 III, or a7 IV – or settle for older cameras that lack certain key features (such as Sony’s outstanding autofocusing algorithms).
So keep an eye out for news regarding these three cameras. The a7R V will likely debut first – though all three should be unveiled before the year is out!
Now over to you:
What cameras do you hope to see from Sony in 2022? Do you plan to purchase any of the new models? And what do you think of the rumored a7R V specifications? Share your thoughts in the comments below!
In this article, I explain how you can become a better photographer – just by following a few simple guidelines.
Specifically, I share my 12-step plan that’ll help you develop both your technical skills (i.e., settings, composition, editing) and your artistic skills (i.e., your personal photographic voice).
If you read this article carefully, if you follow my plan, and you put in the work, then you will become a good photographer.
Step 1: Look at the light
Most folks, when trying to become great at photography, look straight to their camera settings. They dive headfirst into technical features like aperture, shutter speed, and autofocus modes.
And it’s true: Those settings have their place.
Yet in my view, starting out with camera settings will actually confuse you – because the camera is just a tool that can record light.
Instead, when you go to take photos, the first thing you should think about is light, not your camera. Get in the habit of asking yourself a series of questions every time you walk outside:
What time of day is it?
How strong is the light?
Is it sunny or cloudy?
What direction is the light coming from?
Where are the artificial light sources and what colors do they give off?
Pretty soon, you’ll constantly be aware of the light. You’ll know its quality and its direction. That’s a really good place to be in.
After all, light will affect how you shoot and the settings you use. Even a slight change in the direction of your light source can completely change how an image will look. You can’t learn how to use your camera properly if you do not first understand the light.
So start with light. And only then should you move on to the next step…
Step 2: Learn your camera settings
Every image exists at the confluence of a half-dozen (or more!) camera settings, including:
Learn what each of these settings means, and learn how to adjust them on your camera. In the beginning, you don’t need to know literally everything about each setting, but you should understand how they’ll affect your photos and which settings work well as starting points.
That way, when you see an opportunity for a great photo, you’ll know how to adjust key features, such as sharpness, depth of field, brightness, and more. And you’ll get the shot you’re after.
It sounds like a lot of work just to take a single photo, and it is. However, if you start out shooting this way, it will eventually become second nature. It’s just like learning a basketball shot or a golf swing. Doing it the correct way might feel unnatural and weird at first, but eventually it will come naturally and quickly, and you will be better equipped to get great results.
A quick tip for moving forward with settings:
Get your camera off Auto mode and experiment with Shutter Priority, Aperture Priority, or Manual mode. Aperture Priority is often a good place to start because it gives you control over exposure variables while letting the camera do some of the heavy lifting. But if you’re eager to really understand exposure, you can try switching over to Manual mode right away.
Step 3: Learn to carefully compose your shots
Now that you’ve familiarized yourself with key camera settings, it’s time to get into the slightly more artistic part of becoming a great photographer:
Composition.
Most new photographers have a bad habit: they look up, see something interesting, photograph it quickly, and move on. On the other hand, seasoned photographers often examine an interesting scene for many long minutes, deciding what precisely to include in the frame. Only then – once they’ve determined the best composition – do they take a photo.
Now, composition can be tricky, especially when starting out. And there’s no need to go it alone; instead, learn compositional aids such as the rule of thirds, the rule of odds, symmetry, leading lines, and so on.
Then, when faced with an interesting shot, take a breath. Think about different compositional variables. Where should you stand? Where should you place your main subject? Should you add other elements for a more complex composition?
Always remember that the difference between a snapshot and a work of art is thought. In fact, the difference between a decent image and a great image could be as simple as moving a step to the left.
Once you’ve taken a photo, review it on your camera’s LCD, and review it on the computer at home, too. Think about the composition. What do you like? What could you have done better? Over time, your compositional skills will flourish, and you’ll see interesting compositions everywhere.
Step 4: Learn to use color
Color, or a lack of color, is a very important element of photography. If you can learn to use it to your advantage, your photos will instantly be elevated. But how do you develop your color “sight”?
Start by looking at a color wheel. Study how the colors work together. Which colors look nice together? When you combine them, what effect do you get? Also, what do different colors represent? Which colors make the viewer feel calm, and which colors make them more agitated?
Then, when you’re out and about, look around. Notice different colors as you pass them by. Think about how they work (or fail to work) together.
Also, try to see how the light changes colors. Light can be cool, it can be warm, and it can even be green. Learn to identify these color casts and learn to determine how they affect the scene.
Also, you can improve your ability to use color by editing. Play around with color temperature to see if you like warmer or cooler images. Desaturate your shots then add a little saturation to see how you feel. And adjust the contrast, then ask yourself how it affects the colors.
Step 5: Learn to edit your images
You may not want to hear this, but if you’re serious about becoming a good photographer, then you need to become a great editor along the way.
Editing is vitally important to developing your vision, and the best photographers combine their photo skills and their editing skills to produce stunning final results.
I suggest subscribing to Lightroom Classic, as it is the industry standard and it works well for so many photographers. But you can also check out Luminar, Capture One, and ON1 Photo RAW, all of which offer plenty of tools for the up-and-coming shooter.
Note that editing your photos will involve lots of experimentation, especially at first, so practice constantly and don’t get upset if things don’t go your way. Simply do what you can to learn from your mistakes! For a fun challenge, try to recreate the look of your favorite photos to get a feel for how the editing was done.
Finally, be diligent about organizing your archive. A little time spent each time you upload images will save you so much time in the future. Star your good images (Lightroom allows one through five stars) so they are easy to find, and create Collections based on ideas that you develop over time. Viewing your work in an organized fashion will help you improve your skills much faster than if you have a messy archive!
Step 6: Print your photos
These days, hobbyists rarely print their photos – but that’s a mistake, and here’s why:
It’s one thing to see how your images look on a monitor. And it’s completely different to see them in their final, printed form. A print lets you see how the light, the color, and your camera settings all affected the final image. It’ll teach you a lot about how to shoot, mark my words.
I do recommend you try different printing papers and view your prints under different lights. I don’t recommend, however, doing the printing yourself. Find a local printer or a reputable online company and have prints made for you. If, after a time, you decide that you love printing and want to do it all the time, you might consider buying a printer of your own – but as a beginner, just go the easier route and send your photos off for printing.
Also, try creating a photography corkboard. I have a 36 x 48 inch board next to my workstation and I swear by it. Fill it up with 5 x 7 and 4 x 6 prints and constantly change it. See how the images relate to one other, which images last, and which you lose interest in. Use this as a playground for your prints!
My print corkboard!
Step 7: Photograph constantly
Once you’ve made it this far, you’re in a good place. You know what you’re doing, your prints look beautiful, and your photos are well composed. You might even be a decent photographer. But how can you become a better photographer? How can you become great?
The next step is figuring out how to take unique and interesting photographs. It is now time to spend more effort thinking about what resonates with you in photography and what makes images stand out in your mind.
And that starts by photographing all the time.
So many people only take their cameras out on trips or vacations. They go places specifically for photography, such as mountain ranges, zoos, gardens, safaris, cute towns, or cities with great architecture. And while this is great to do, push yourself further than that. Take photos whenever you can, even during the course of your everyday life. If you’re unable to take your main camera with you, use a smartphone.
The best photographers can capture great photographs in the most ordinary places. Practice this. Go out to some random location – or even go out to a place that you think will be terrible for photography – and figure out how to take an interesting photograph. This will help you so much in your development. You can understand light and camera settings like a pro, but if you’re not out photographing in a variety of situations on a somewhat consistent basis, then you’re selling yourself short as a photographer.
Step 8: View the work of other photographers
At this point, you should be actively trying to develop your own voice and style. And one of the best ways to do that? Look at the work of others.
Go to galleries, purchase photography books, and study the images of great photographers. The internet is an easy place to view photography, but it is also easy to get lost. Galleries and books are curated for a reason. Study the images, think about how they were done, and figure out the context behind them. Sometimes images will hit you whether or not you know the context, but other times it can be important to learn about the photographer and the history behind the image. At the very least, it’ll add another layer to your appreciation.
Emulate the different styles of photographers that you like. Then pick and choose your favorite elements from different photographers and merge them to create your own style.
Purchase some prints. The average home has a lot of walls – enough for many artists!
Yes, there is something satisfying about seeing an image then going and figuring out how to create it for yourself. But it really is important to appreciate the work of others. Check out plenty of photos, and you’ll start to develop your own inspiration.
Finally, one of my favorite ways to gain inspiration is to read about things unrelated to photography. Learn about what you are shooting. Read poetry, read current events, read anything. This is about growing your voice outside of photography, which will help strengthen your voice within photography.
Step 9: Immerse yourself in a subject or area
Did you know that some photographers have spent literally 40 years photographing in the same area? You don’t need to go that far, but picking a single subject or area, then running with it, can significantly enhance your growth.
Really, you can choose anything, as long as it’s relatively specific. Rather than photographing “the streets of New York,” for instance, you might choose “the streets of SoHo” or even “Manhattan bridges.”
Then go back to the same place or subject at different times, in different light, and keep photographing it. This is very important for your growth, since it will allow you to learn the area or subject like the back of your hand. Your images will take on more depth, and you’ll start to recognize what you really like about a shot.
Step 10: Find a small group with whom you can share your work
The internet is an amazing place for sharing your work – but it is also very impersonal. Everyone sees thousands of images a day from hundreds of people. While it’s definitely possible to develop through internet feedback, it can be tough to get a proper critique of your images.
So find a few people and put together a group that looks at physical images every once in a while. You ultimately want to shoot for yourself, but seeing how others relate to your images is important for your growth. The more they get used to your work and your style, the more helpful their comments and thoughts will be.
Note that your critique group doesn’t need to be full of photographers. They can be friends, creatives, even significant others. A good, tough critique from your partner can be very valuable – and though it can sometimes be tough to hear, it’ll be helpful in the long run.
Step 11: Put together an edit of similar images
One of the most beautiful aspects of Lightroom is that it allows you to create collections of images outside of your normal file structure. (Other programs allow you to do this, too – and at the very least, you can group images by adjusting your desktop file structure.)
Start to group and sequence images that relate to each other. Turn them into a project. All the images in this article relate to one another – but they were taken over time, not all at once. You can do the same.
Note that, while you can think about projects from the very beginning, often projects and ideas will come about naturally during the process of daily shooting. So review your work, look for patterns, and embark on various projects. After a while, you’ll have a handful of projects going at once, and you may even end up with a handful of completed projects to add to your portfolio!
Step 12: Really develop your photographic voice
Developing your own voice is the final step in becoming a good, great, or even amazing photographer – but if you follow the previous 11 steps, your voice will come naturally.
Of course, you can think about your voice, and you can pay attention to it as you progress. But do not force it. Let it arrive over time.
And if you feel like you’ve reached this point in your photography and your voice still hasn’t developed, don’t panic. Instead, revisit a few of these steps, especially Step 7 (Photograph constantly), Step 8 (View the work of other photographers), and Step 9 (Immerse yourself in a subject or area).
You will develop your voice eventually. And you will become a great photographer.
How to become a good photographer: final words
You can learn to use your camera quickly, but you cannot become a great photographer overnight. Take your time, try to improve a little bit each day, and you will make huge strides over the course of a few years.
Now over to you:
Which of these steps have you followed so far? Which are you currently working on? Share your thoughts in the comments below!
Lightroom Classic vs ACDSee Photo Studio might not seem like a fair comparison, but there’s a lot more to the discussion than you might realize. Photographers looking for a software program that can perform double-duty as a digital asset manager and an image editor have a handful of options from which to choose, and while ACDSee Photo Studio doesn’t have the same level of popularity or name recognition as its Adobe-developed counterpart, it is certainly worth a look.
The two programs are similar in some important aspects but quite different in others, and ACDSee Photo Studio has some important features that go beyond what Lightroom Classic can offer. In this article, I unpack the key benefits and drawbacks of these two programs – and by the time you’re finished reading, you should know which program is best for you.
Let’s get started.
Adobe Lightroom Classic: Overview
Most photographers are familiar with the name Lightroom, but recent years have brought some interesting complexities to what used to be a fairly straightforward piece of software. First released in 2006, this program allows users to manage hundreds of thousands of images while also performing a host of useful editing functions. In 2017, Adobe divided the program into two distinct versions: Lightroom and Lightroom Classic. The former is designed for photographers who want a more mobile-centric workflow, while the latter retains the more powerful desktop-focused set of features.
While Adobe has continued to improve both Lightroom and Lightroom Classic, Lightroom still does not offer the same breadth and depth of tools as its desktop counterpart. Many professional and amateur photographers who manage huge image libraries on big screens tethered to desktop computers prefer the interface, tools, and overall aesthetic of Lightroom Classic. It remains the most popular program of its kind and is a great choice for anyone looking for an all-in-one solution for managing and editing images, though its subscription-only payment model has caused industry-wide frustration.
Lightroom Classic combines digital asset management with in-depth image editing.
ACDSee Photo Studio: Overview
Though it might not share the same level of worldwide recognition as Lightroom, ACDSee Photo Studio is actually far older. First released in 1994, ACDSee has since seen a series of steady improvements that cater largely to professional photographers.
However, recent years have brought a slew of features and tweaks designed with hobbyists in mind, and the program has become a great choice for people who want a solid addition to their workflow without spending significant money.
Contrary to Adobe’s subscription-only pricing model, ACDSee Photo Studio is available as a one-time purchase. That alone makes it worth serious consideration for people who don’t want to be tied down by a recurring fee, especially casual photographers who might not need all the bells and whistles that Lightroom Classic and its accompanying Creative Cloud subscription have to offer.
And while ACDSee Photo Studio doesn’t have feature-for-feature parity with Lightroom Classic, it has some tricks up its sleeve that Adobe’s solution can’t match. Is it good enough to replace Lightroom Classic? Perhaps. Is it at least worth considering? Most definitely.
ACDSee has similar digital asset management tools and a slew of editing options.
Lightroom vs ACDSee: In-depth comparison
In order to evaluate which program is right for you, it helps to compare specific features. Both programs are highly capable, but there are some similarities and differences that are important to understand.
While Lightroom Classic has useful tools that many photographers rely on, ACDSee Photo Studio is no slouch and could very easily replace Lightroom Classic – depending on your needs, that is.
Workflow
Both programs are broadly similar on a fundamental level, but the way each program goes about managing your images and keeping track of your edits is quite different.
Lightroom Classic uses its own proprietary database called a Catalog to keep track of all the edits you make to any given image. The Catalog also stores Smart Previews and other information, and if you have a large photo library, the Catalog can balloon to several dozen gigabytes or more.
ACDSee Photo Studio uses a similar method: it stores edits in what it simply calls a Database. Note that neither program stores individual image edits in sidecar files that can be copied or sent to another photographer, at least not by default.
Lightroom Classic stores all information related to image edits, as well as previews of images that are used in the editing process, in a single file called a Catalog. And if you have a large image library, the catalog itself can be quite large, too.
When you import photos into Lightroom Classic from a memory card, the program moves your images to a location on your computer using a folder scheme that you specify. However, the actual location of your individual images doesn’t especially matter, since all your work is done through the Catalog. You can create Collections, Collection Sets, and Smart Collections that don’t affect how your pictures are stored on your computer, and when importing images, you can add them to Collections, apply keywords, and specify certain settings that can be tied to specific cameras or other criteria. This is a boon to photographers who have customized starting points for their workflows and want a program that takes care of a lot of basic options automatically on import.
ACDSee Photo Studio is similar, but not quite as comprehensive. There’s a much greater emphasis on where your photos will actually reside. Instead of Smart Collections, you can search for images based on several different criteria and then save those searches. It’s not exactly the same but it does work, though perhaps not as elegantly as Lightroom Classic’s solution. You can also apply batch presets such as specific develop settings or naming schemes, which is similar to what Lightroom Classic offers.
ACDSee Photo Studio has many options available when importing images, similar to Lightroom Classic.
General editing is fairly straightforward in both programs, and neither is obviously better than the other. Much of the editing workflow comes down to how you prefer to adjust your images.
Lightroom Classic does have some quality-of-life improvements that I appreciate, such as a highly customizable solution for copying/pasting edits across multiple images, syncing edits, creating Snapshots and Virtual Copies, and a comprehensive History view of all your edits. ACDSee Photo Studio lets you copy/paste edits, but the end-to-end workflow solutions just aren’t quite as comprehensive as some working professionals might prefer.
When I work on images for clients, I often copy/paste settings from one image onto many others. Both programs have this capability, though Lightroom Classic has added tools like Sync and Match Total Exposures that go a bit beyond what ACDSee Photo Studio has to offer.
Both programs have an extensive set of options photographers can use to perform batch operations on multiple files at once – which can majorly help photographers when managing multiple images or exporting photos for clients. Single-image exporting is a little more robust in Lightroom Classic, and simply right-clicking on any picture lets you access all your Export presets as well as the traditional Export dialog box that gives you access to options such as resizing, renaming, and more.
ACDSee Photo Studio, on the other hand, has a simplified “Save As” command that only lets you perform limited adjustments, such as changing the file format and compression level or quality.
ACDSee Photo Studio can perform batch operations on multiple images, similar to what is offered in Lightroom Classic.
In terms of end-to-end photography workflows, I personally prefer Lightroom Classic’s robust solutions, but ACDSee Photo Studio certainly holds its own, at least in most areas. Lightroom Classic does feels snappier, but that sense of speed could vary depending on your particular computer configuration.
Ease of use
In terms of overall ease of use, Lightroom Classic and ACDSee Photo Studio are about even – though Lightroom Classic has a slight edge simply because it’s more popular. Tutorials for Lightroom Classic are easy to come by. ACDSee Photo Studio tutorials are more difficult to find, but the program is fairly simple to pick up and learn without any prior knowledge.
Both programs operate with a similar overall design philosophy: there are separate modules for managing and editing images, rather than one single interface that does everything.
The Manage view in ACDSee Photo Studio is similar to Lightroom Classic’s Library module, and both programs feature a Develop mode that lets you perform edits to your images. Editing is fairly straightforward in both programs, and photographers used to Lightroom Classic will feel right at home with most of ACDSee Photo Studio’s tools and options.
The brush tool in ACDSee Photo Studio is very similar to its Lightroom Classic counterpart.
I have used other photo editors and digital asset managers that left me feeling confused, frustrated, and even angry because I just couldn’t understand how they functioned. Both ACDSee Photo Studio and Lightroom Classic have enough tools and options for power users, but they’re not overwhelming for new users, and that’s a plus. There is certainly a learning curve, but it’s about equal for both programs.
Editing tools
In terms of sheer editing options, ACDSee Photo Studio has an edge over Lightroom Classic in some important areas, but neither program is necessarily more powerful than the other.
ACDSee Photo Studio has a blistering array of features, sliders, brushes, and color wheels. However, Lightroom Classic has AI-powered tools that help you quickly perform actions like creating masks and selecting certain portions of your image to edit.
Lightroom Classic has smart selections that automatically create masks for the subject or sky of your photo.
Photographers who want the most in-depth editing tools might be surprised by what ACDSee Photo Studio has to offer. The list of tools in this program is impressive and includes actions like Color EQ, Light EQ, Soft Focus, Skin Tuning, Perspective Correction, and even LUTs (which are similar to Lightroom Classic’s presets but much more common in the professional photo- and video-editing arenas). Precise color edits are a breeze, thanks to an advanced color wheel combined with a color picker tool that shows specific RGB values for individual pixels.
ACDSee’s Color Wheel and Color Picker let you make precise edits that go beyond what Lightroom Classic can offer.
When it comes to editing options that fit the needs of most photographers, Lightroom Classic does have the edge. However, discerning image editors who want pixel-perfect precision without the need to launch Photoshop or another editing tool should certainly check out ACDSee Photo Studio. It might not have the AI-powered smarts of Adobe’s program, but if you prefer a hands-on approach offering the highest degree of control, ACDSee Photo Studio might be exactly what you’re looking for.
User interface
While both of these programs follow a similar overall design philosophy, Lightroom Classic has the edge in terms of usability and overall polish. It feels more refined, with tools and options that are carefully laid out in a specific manner and a level of consistency that shows careful attention to detail.
ACDSee Photo Studio feels a bit more like the open-source program DarkTable, with a user interface that tends to prioritize function over form. It’s not quite as snappy to respond, and some buttons and menus feel simplistic and undeveloped.
I also don’t like how some of ACDSee Photo Studio’s editing and export options are buried beneath many buttons and menus, and the inability to use right-click context-sensitive options in the Develop mode is a big oversight (one that I hope ACDSee Photo Studio corrects soon).
ACDSee Photo Studio isn’t as slick or polished as Lightroom Classic, but that’s not necessarily a dealbreaker.
I don’t mean to suggest that ACDSee Photo Studio isn’t easy to use – just that it’s not quite as refined as Lightroom Classic. There’s a sense of elegance in the current version of Lightroom Classic that is missing from ACDSee Photo Studio, though it did take years for Adobe to reach this level of sophistication and previous versions were certainly rough around the edges.
And these days, Adobe is running the risk of letting their tools crumble under the weight of feature creep. For example, the new Masking options in Lightroom Classic are highly advanced but quite confusing for new users.
Lightroom vs ACDSee: final words
After everything is said and done, Lightroom Classic and ACDSee Photo Studio offer excellent editing options and a slew of digital asset management tools. Both programs excel in some areas and are weak in others.
For most photographers deciding between these two programs, it will come down to price. It’s hard to beat ACDSee Photo Studio’s one-time pricing model, especially considering that you can opt for a subscription if you want. Doing so gives you access to cloud storage, continual updates, and more support options. It’s not required, though – whereas Lightroom Classic is only available as a subscription.
You can create beautiful edits in both programs. The choice ultimately comes down to which one is right for you (and which one fits your budget).
If you are a working professional or even a hobbyist, you might get more value out of Lightroom Classic, since your subscription also gives you access to Adobe Photoshop, cloud-based options for editing, web galleries for sharing images, and more. In other words, what you get from the price of a subscription is likely going to be worth it over time.
However, new photographers and even some professionals will be hard-pressed to find another program that offers as much value as ACDSee Photo Studio. I shoot photos for myself and for clients, and I almost never use Photoshop and some of the other benefits of my Creative Cloud subscription. If I were just starting out today and not so deeply entrenched in the Adobe world, I would probably opt for ACDSee Photo Studio.
Of course, you don’t have to take my word for any of this. If you’re still not sure about Lightroom Classic vs ACDSee Photo Studio, there are free trials available for both versions. I recommend giving the programs a try. See which one suits you best!
Now over to you:
What editing program do you currently use? And do you plan to grab Lightroom Classic or ACDSee Photo Studio? Share your thoughts in the comments below!
Looking for the best camera for macro photography? In this article, we reveal our 11 favorite macro cameras, including models that feature fixed lenses, as well as body-only cameras that – when combined with the right lens – offer outstanding macro shooting capabilities.
Of course, there are multiple types of macro photographers, each with different needs and budgets, so I’ve added something for everyone. Below, you’ll find point-and-shoot cameras, mirrorless cameras, DSLRs, and even smartphones.
What each camera has in common is the ability to focus up close to capture stunningly detailed shots of tiny objects. Each camera also offers plenty of other features that are useful for macro photography.
The Nikon D850 is a full-frame DSLR; thanks to the larger sensor, you can achieve a shallower depth of field effect, and the camera will also perform well at high ISO values, as is often necessary for macro photography.
The sensor packs a whopping 45.7 MP, so you can create large, detailed prints for fine-art or commercial use. Expect images to depict every detail at the highest quality.
The D850 sports a Nikon F-lens mount, so you’ll have a wide array of macro lenses to choose from, including Nikon’s excellent line of Nikkor lenses, as well as third-party lenses from Sigma, Tokina, Tamron, and more.
You also get plenty of other useful features, including focus shift, which automatically changes the focus over a series of shots. It makes for easy focus stacking (because you can easily merge together several shifted images for a shot that’s sharp throughout).
You can also create in-camera time-lapse videos, and to top it off, you can use the silent shooting modes when photographing skittish insects.
If you’re looking for the best mirrorless camera for macro photography, then you should definitely check out the Nikon Z6, which combines stellar low-light performance with outstanding ergonomics and lens selection.
The Nikon Z6 packs a 24 MP full-frame sensor that offers class-leading high-ISO image quality, perfect for shooting in the dimly lit environments macro photographers often encounter (and perfect for making beautiful prints, too, even if you can’t go quite as big on the Z6 as on the D850).
In macro photography, focus and depth of field are crucial to getting the desired result, and the Nikon Z6 won’t let you down. The top-notch autofocus system, combined with excellent Nikkor Z lenses, offers both speed and accuracy when focusing, though note that, at high magnifications, it often pays to focus manually instead.
The top display panel makes it easy for you to adjust your settings if the camera is positioned low to the ground, plus you get focus shift and silent shooting for easy close-up photos of insects.
(Note: If you like the features on the Z6 but would prefer more resolution, check out the Nikon Z7 or Z7 II.)
The Canon EOS R5 is a powerful full-frame mirrorless camera packing a 45 MP sensor; expect beautifully rendered details on-screen, not to mention the option to create large-format prints for commercial and fine-art purposes.
In macro photography, even the smallest shake can ruin your images, which is why the EOS R5’s in-body stabilizer, which offers up to eight stops of shake correction, is so useful. The camera also has a built-in focus bracketing feature that allows you to set a desired number of images, select the focusing increments, then capture a series of perfectly focus-shifted images. You’ll get a set of images ready for focus stacking (and you won’t have to spend time fiddling with focusing in the field).
While the Canon RF-mount lineup is still in its infancy, you already have several outstanding lenses to choose from, including the RF 100mm f/2.8L Macro. And if you’d prefer to save money while maintaining top-notch image quality, check out Canon’s EF macro lenses, which can be used with the EOS R5 via the EF-EOS R adapter.
One final note: If the Canon EOS R5 exceeds your budget and resolution needs, you can always check out the EOS R6. It shares most of the features but costs significantly less and packs a full-frame 20 MP sensor.
If you’re a beginner macro photographer looking to get serious, check out the Canon 90D, which boasts impressive resolution, good image quality, and a handful of useful features without breaking the bank.
The Canon 90D is one of Canon’s latest (that is, last ever) DSLRs, and while it only offers an APS-C sensor, its 32.5 megapixels are enough to capture even the finest details when paired with the right lens.
And there are plenty of EF and EF-S macro lenses to give you all the flexibility you need. The EF-S 35mm f/2.8 Macro IS STM even has a macro ring light built-in to prevent shadows on your subject.
For those who hope to focus stack for extensive depth of field, you’ll be happy to know that the 90D does include a focus-bracketing feature. And the large, vari-angle touchscreen allows you to comfortably compose and shoot from different perspectives.
Last but not least, the battery lasts up to 1300 shots, so you can go on a macro day trip without worry.
Need an all-around camera that can handle both photos and videos at macro magnifications? The Sony a7 IV is a great choice. The 33 MP full-frame sensor offers up to 15 stops of dynamic range, perfect for capturing subjects in difficult lighting conditions (e.g., a flower against the sky), and image quality (low light and otherwise) is outstanding.
Macro photography subjects such as insects and flower centers aren’t always easy to reach. The Sony a7 IV features a fully articulating, three-inch touchscreen that gives you excellent flexibility when shooting from down low or up high. And the AF system, with its 759 phase-detection points, helps you nail focus every time (even when using the shallow depth of field effects characteristic of macro photography).
Then there’s the 5-axis SteadyShot image stabilization, which offers up to 5.5 stops of shake compensation when handholding, plus the focus-breathing compensation, which comes in handy when focus stacking.
While Sony doesn’t offer the same number of macro lenses as Canon and Nikon, there are still a few excellent native lenses to choose from, some of which include weather sealing for shooting in the rain or snow.
The Fujifilm X-Pro3 might not be an obvious choice for a macro camera because Fujifilm’s selection of macro lenses is somewhat limited. But the lenses Fujifilm does offer are strong, plus the X-Pro3 comes with several additional features that are perfect for Fujifilm enthusiasts hoping to dive into macro photography.
First, the X-Pro3 is light and compact yet also highly durable thanks to the titanium build. You can take your X-Pro3 with you when hiking, trekking, or camping (for plenty of macro fun!).
Then there’s the powerful 26.1 MP sensor, which allows you to capture even the finest macro details, along with an AF system that can focus in low light down to -6 EV.
The X-Pro3 also boasts a hybrid viewfinder that switches between an EVF (electronic viewfinder) and an OVF (optical viewfinder). While electronic viewfinders are a great way to evaluate exposure, details aren’t as crisp compared to optical viewfinders, nor are EVFs great for strobe work – so the hybrid viewfinder on the X-Pro3 offers the best of both worlds.
To top it all off, the X-Pro3 includes a focus-bracketing feature so you can efficiently create a series of images suitable for focus stacking.
If you want a point-and-shoot camera to keep in your pocket that’s also great for macro photography, then you need the Olympus TG-5.
The lens has a focal-length range of 4.5-18mm, which is the equivalent of 25-100mm on a full-frame camera. And when working in the camera’s dedicated macro mode, you can focus as close as 1 cm from your subject.
The TG-5 does include a manual focus option, always useful for macro photography – and it includes focus peaking, so you can nail focus even at high magnifications.
The sensor produces RAW images of up to 12 MP, so you probably won’t want to create large-format prints. But for online sharing and even decent-sized standard prints, 12 MP is enough.
The TG-5 is a tough camera (literally; that’s what the “T” stands for), and it’s built to be by your side in the most challenging of situations. The case is shockproof, waterproof (up to 15 m), and frostproof. Also, there’s a protective lens element with anti-fog technology, and the 3-inch LCD screen boasts 7 brightness levels to offer the best visibility in every situation.
So if you’re hoping to do underwater macro photography or even macro photography while adventuring, you’ll love the TG-5.
The Olympus OM-D E-M10 Mark IV is a light and compact mirrorless camera that features a 20 MP Micro Four Thirds sensor. While it’s designed as an entry-level, all-around camera, it’s a great way to start exploring macro photography on a budget.
The 20 MP resolution is enough to capture fine details, and while high-ISO performance isn’t outstanding, the E-M10 Mark IV gives less noise at high ISOs than previous E-M10 generations. Paired with the M.Zuiko Digital ED 30mm f/3.5 Macro lens, you’ll be able to capture details invisible to the naked eye.
The built-in image stabilization compensates for up to 4.5 stops of camera shake, so you’re free to handhold in low light without a tripod. For further flexibility when shooting on the road, you can charge the E-M10 Mark IV via a USB cable.
The 121-point contrast-detection AF system will help you keep things sharp, and when you’re having problems nailing the perfect focal point, you can use the focus bracketing mode (which is also great for focus stacking!).
The Ricoh GR III is a compact camera, but don’t let that fool you; it offers a bevy of features for macro photographers, including an impressive 24 MP sensor, as well as a high-quality lens with a 28mm focal length and an ultra-fast f/2.8 maximum aperture for handheld shooting in low light.
The one-button macro mode allows you to focus between 6 and 12 cm for beautiful close-up shots; you also get powerful autofocus that excels when capturing detailed images of insects.
The GR III is impressively small and light, so you can easily carry it with you on every field trip or vacation. Yet despite the compact design, you get great ease of use thanks to the large (3-inch) screen.
If you happen to also shoot street photography, you’ll love the GR III, which lets you unobtrusively capture images of people. You might even try combining macro and street photography for close-ups of city details.
The iPhone 13 Pro may not sound like much – it’s a smartphone, after all! – but it offers macro shooting, thanks to its new ultra-wide camera with a minimum focus distance of 2 cm. You also have another option: the 77mm telephoto lens with 3x optical zoom, which helps you stay farther away from subjects like insects while photographing.
Finishing out the system is a wide-angle camera that’s perfect for low-light photography; it has a huge sensor, not to mention an ultra-wide aperture of f/1.5.
Happily, you can use the iPhone 13 Pro’s macro features while shooting videos in Slo-mo and Time-Lapse modes, plus the native camera app is packed with powerful features, photographic styles, and more.
If you like the idea of macro shooting but you’re not totally sold on a dedicated camera, the iPhone 13 could be a great choice. It’s not the most orthodox method of photography, but you can carry it everywhere and it’ll certainly get the job done!
Last but not least is the Samsung Galaxy S21 Ultra, our final camera for macro photography, which boasts a 12 MP ultra-wide camera with a dedicated macro mode. In fact, Samsung has ensured the S21 Ultra is constantly prepared to capture close-ups; move to 10 cm from a subject, and the AI system recognizes that you’re doing macro photography and adjusts the focus.
The S21 Ultra is a smartphone, of course, which means you shouldn’t expect outstanding image quality fit for large prints. But the phone’s macro images are sharp and look good, making them perfect for website display, sharing with friends, and posting to social media.
The rest of the camera system is just as impressive. The S21 Ultra packs a 108 MP (!) wide camera, a 10 MP periscope telephoto camera, a 10 MP telephoto camera, and a 40 MP front camera. So if you’re shooting flowers but suddenly notice a portrait, street, or landscape opportunity, don’t worry; just switch to one of your other cameras and snap away!
Best camera for macro photography: final words
Determining the best macro photography camera depends on your needs and budget.
If you’re after a dedicated camera but don’t want to carry all the extra weight, consider a point-and-shoot or compact camera. This list features some amazing models that’ll easily fit in your pocket or backpack.
Alternatively, if you don’t want to carry multiple devices and lenses and you like the idea of a camera you always have on hand, check out the smartphone cameras I mentioned.
Finally, if you want to get serious about macro shooting, I’d recommend one of the larger-sensor cameras with interchangeable lenses (though be sure to pay careful attention to your lens choice, too!).
Now over to you:
Which of these cameras for macro shooting do you plan to buy? Have you used any of them before? Share your thoughts in the comments below!
