[Photography] What Do the Numbers on Your Camera Lens Mean?

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

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

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

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

Let’s jump right in.

Common numbers on newer digital lenses

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

Focal length

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

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

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

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

Maximum aperture

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

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

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

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

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

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

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

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

Focusing range and distance scale

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

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

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

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

Lens diameter (filter size)

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

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

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

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

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

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

Aperture ring

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

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

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

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

Hyperfocal distance scale

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

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

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

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

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

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

Make sense?

Camera lens numbers: final words

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

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

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

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[Photography] 5 Essential Macro Photography Rules (and When to Break Them)

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

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

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

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

Let’s dive right in!

1. Use the rule of thirds

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

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

The place where the stem meets the petals of this tulip lies on a rule of thirds power point.

How does this apply to macro photography?

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

The center of this dahlia is positioned at one of the power points on the rule of thirds grid.

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

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

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

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

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

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

2. Keep it simple

Another common macro photography rule? Keep your compositions simple.

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

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

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

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

The flower on the left creates order in an otherwise messy composition.

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

3. Have a single point of focus

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

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

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

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

4. Use a uniform background

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

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

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

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

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

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

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

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

5. Make sure the whole subject is sharp

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

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

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

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

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

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

Macro photography rules: final words

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

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

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

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

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

Now over to you:

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

Table of contents

Macro Photography

• GENERAL
  • Getting Started Guide to Macro or Close-Up Photography
  • 5 DIY Macro Photography Hacks for Stunning Macro Photos (on a Budget)
  • 7 Different Ways to Approach Macro Photography
  • 5 Rules in Macro Photography and When to Break Them

    • 1. Use the rule of thirds
    • 2. Keep it simple
    • 3. Have a single point of focus
    • 4. Use a uniform background
    • 5. Make sure the whole subject is sharp
    • Macro photography rules: final words
    • 1. Use the rule of thirds
    • 2. Keep it simple
    • 3. Have a single point of focus
    • 4. Use a uniform background
    • 5. Make sure the whole subject is sharp
    • Macro photography rules: final words
  • 5 Surprising Macro Photography Ideas to Jumpstart Your Creativity
  • 5 Quick Tips for Outdoor Macro Photography
  • Five Common Macro Photography Mistakes and How to Fix Them
  • Backyard Macro Photography Safari
  • 5 Macro Photography Tricks to Make Your Images Stand Out
• SETTINGS
  • Sometimes Close-ups Are Better From Far Away
  • 5 Camera Settings That All Macro Photographers Should Know
  • A Guide to Working with Different Focal Lengths for Macro Photography
  • 3 Ways To Get Sharper Close-Ups
  • Tips for Depth of Field Control in Macro Photography
  • Does Mirror Lock-Up (MLU) Help Macro Shots?
• LIGHTING
  • A Step-by-Step Guide to Using Light in Flower Photography for Awesome Photos
  • Lighting Tips for Macro Photography
  • How to Use Natural Light for Macro Photography
  • How to Create Gorgeous Flower Images using a Flashlight and a Reflector
  • The Cheapest and Easiest Lightbox for Macro Photography
  • How to Use a Reflector and Diffuser to Enhance Flower Photographs
  • Macro Lighting Advantages Of The Canon Twin Lite MT-24EX
• COMPOSITION
  • Guide to Choosing Subjects and Compositions for Flower Photography
  • 5 Tips for Killer Macro Backgrounds
• GEAR
  • Reverse Lens Macro Photography: A Beginner’s Guide
  • 6 Tips for Near-Macro Photography with a Telephoto Lens
  • Macro Photography on a Budget: An introduction to Close-up Filters
  • Getting Up Close with Close-Up Lenses
  • How to do Extreme Close-Up Photography with a Macro Bellows
  • Macro Photography Tips for Point and Shoot Digital Cameras
  • How to Shoot Abstract Flower Photography using Close-Up Filters
  • Extension Tubes: Close Up Photography Lesson #2
  • How to Choose the Perfect Macro Lens
  • Macro Photography on a Budget
  • Alternatives to Buying a Dedicated Macro Lens for your DSLR
  • Mirrorless, DSLR or Point and Shoot: Which Camera is Best for Macro Photography?
  • Cheat Sheet: Macro Lenses – How Much Magnification Do You Need?
  • Equipment for Macro Photography – Video Tips
• ADVANCED GUIDES
  • 10 Flower Photography Tips for Gorgeous Results
  • A Beginner’s Guide to Photographing Flowers
  • How to Photograph Beautiful Winter Snowdrops (or Other Flowers)
  • A Beginner’s Guide to Abstract Flower Photography
  • How to take Great Flower Photos without a Macro Lens
  • How to Shoot Super Macro Photos
  • Just Dew It – Fun with Macro Dewdrop Photography
  • Getting Started with Abstract Macro Photography
  • Abstract Macro Photography Idea
  • Tips for Doing Macro Underwater Photography
  • 8 Tips for Photographing Wildflowers
• CREATIVE TECHNIQUES
  • How to do Photography of Frozen Flowers
  • Unique Flower Photography Using Multiple Exposures
  • Creative Macro Photography – Using Fairy Lights
  • Creative Macro Photography – A Guide to Freelensing
  • Photographing Flowers with The Bucket Method
• POST-PROCESSING
  • How to Focus-Stack Macro Images using Photoshop
  • How to Give Your Macro Photography a Fine Art Touch in Post-Processing
• INSPIRATION
  • Why You Need to Know the History of Flowers in Art and Photography
  • 27 Amazing Macro Snowflake Images Shot with a DIY Camera Set Up
  • It’s a Bug’s Life – 27 Super Macro Photography Images
  • 41 Delicious Flower Photographs
  • 20 Spectacular Macro Photography Examples
  • 9 Breathtaking Macro Images by Photographer Miki Asai
  • Behind the Scenes of Marvellous Macro Insect Imagery
  • It’s a Small World – the World of Macro Photography
  • A Collection of Photos of Nature’s Smallest Creatures – it’s a Bug’s Life

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

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[Photography] Weekly Wrap Up!

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

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

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Weekly Wrap-Up: From Portraits to Minimalist Landscapes

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

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

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

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

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

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

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

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

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

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

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

?? Gear Reviews: Filters & Storage

There are two solid gear reviews this week:

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

Post-Processing Corner – [Which Tablet?]

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

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

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

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

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[Photography] Photographing Children – Composition

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

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

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

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

Photographing Babies

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

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

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

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

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

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

Change your Focal Length

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

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

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

Have Fun

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

Table of contents

Kids Photography

• GENERAL
  • 7 Tips for Photographing Kids
  • 4 Reasons to Capture Images of You and Your Child Together Right Now
  • Want to be a Child Photographer but Don't have Kids?
  • The 3 Biggest Kid Photography Mistakes
  • 5 Non-Posed Ideas For Photographing Kids
• PREPARATION
  • Child Photography – Wardrobe Options for the Photographer
• SETTINGS
  • 3 Tips for Avoiding Blurry Photos of Kids
• LIGHTING
  • How to photograph children {and other stuff} indoors
  • 3 Tips For Photographing Kids in Harsh Light
  • Natural vs Available Light for Kid Photography [What I Learned from Shooting with Film 2]
• COMPOSITION
  • Posing Guide: 21 Sample Poses to get you Started with Photographing Children
  • Photographing Children – Composition
  • White Background Colourful Kids – Ideas for High Key Studio Photography
  • 5 Unposing Tips for Kids for More Natural Photos
  • Photographing Children – POV [Point of View]
• ADVANCED GUIDES
  • How to Photograph a Child’s Birthday Party
  • 10 Tips for Photographing Moms and Their Kids
  • How to Survive Portrait Sessions with Difficult Children
  • How to Photograph Kids Playing, Running Around and Generally Being Kids
  • 6 Moments of Childhood to Capture Beyond the Obvious
  • 10 Tips for Taking Stunning Winter Portraits of Your Kids
  • 5 Steps to Creative Storytelling in Pictures with Your Kids
  • Four Reasons to Display Photos of Your Children
  • Lifestyle Photography – Photographing Children in their Element
  • How to Photograph Shy Children
  • How to Photograph Children Under Five with Little to No Meltdowns
  • Child Photography – The Power of a Fake Laugh
• CREATIVE TECHNIQUES
  • How to Take Photos of Kids with a Christmas Tree Bokeh Background
• POST-PROCESSING
  • Creating Lichtenstein Inspired Portraits From Your Child’s Photograph
  • How to Turn Your Kids into Star Wars Characters Using Photoshop
• INSPIRATION
  • 29 Unencumbered Images of Kids Being Kids
  • 25 Classic Kids Photos to Inspire You
• RESOURCES
  • Awkward Family Photos: You Gotta See This Book!

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

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