Tips on “Shooting for the Crop”

By: Adam Welch

It’s the year 2018 and I’ve just finished a quick search of the top 10 best selling digital cameras over at B&H Photo. Those 10 cameras sport an average megapixel count of 26.1MP. Six of those cameras were full-frame sensor models.
In 2004 I worked in a camera/photo processing lab and I remember the day we all stood in jaw-dropped awe as the Kodak DX4530 arrived at the store. The megapixel count of that glorious DX4530? A whopping 5MP. Bob Dylan was very much correct. The times are in fact a changin.

What all this means is that today, on average, our digital cameras pack in an enormous amount of resolution. This high resolving power affords us advanced possibilities for post-processing unlike never before and is especially true when it comes to enlarging and cropping our images. More specifically, these increases in resolution allow us to bend the limits of cameras and lenses by “shooting for the crop”.

What is Shooting for the Crop?

There’s no hidden meaning in “shooting for the crop”. It is a simple as it sounds.
When we say that we are shooting for the crop all it implies is that before our finger hits the shutter button we KNOW that we will be adjusting the entire composition of the photo later. This is entirely different from the usual organic cropping that sometimes happens during a spur of the moment flash of post-processing creativity.

Admittedly, shooting for the crop is not one of the most smiled upon photographic practices. Most agree that generally, the best way of making any photo is getting it consolidated, at least compositionally, before post-processing ever occurs.
The reason for this is because when we crop digital image files, no matter what, we are in fact making the individual pixel more apparent. The result is a loss of image sharpness and definition.

Low-resolution image.

Still, there will be times when the focal length of your lens may just not fit the situation. This is the usual scenario. There may be a distracting element within the frame that your lens is simply too wide to exclude or maybe that 50mm just doesn’t have the reach that you would prefer to frame your scene.
Whatever the case may be, effectively shooting for the crop means taking into account quite a few factors and variables to make sure the image you intend to end up with looks as clean as possible. Let’s talk about a few things you should take into account whenever you are intentionally shooting for the crop.

Find the “Sweet Spot”

All camera lenses, whether they cost $300 or $3,000, have an area in their field of view which carries the highest optical sharpness. Most times photographers refer to this area of maximum lens sharpness as “the optical sweet spot” because, well, it’s the sweet spot for sharpness.

While some lenses are of higher resolving quality than others, all of them will have some degree of optical distortion and softness as you move towards the edges of the frame. The very center of the frame is essentially always the sharpest area of the lens and sharpness is dampened radiating outward. So when you’re shooting for the crop, always place the main subject or point of interest right smack in the center of the frame.

It doesn’t matter if centering the subject makes a horrible composition for your photo because you are going to crop and recompose later in post-processing. All you should concern yourself with is obtaining the highest level of sharpness for your main point of interest.
This is because when you crop a digital image you are almost always enlarging it at the same time. The more you magnify it the more pixels you will see. It’s here when true sharpness becomes of paramount importance.

Shutter speed and aperture considerations

Getting the absolutely sharpest image for cropping later extends well beyond the quality of your lens. In order to ensure you have the best croppable photo you must take into account the shutter speed and aperture you’re using when making the exposure.

Use a fast shutter speed

The more motion you can arrest in a photo the more clear and sharp it will be. This is one of the rare facts of photographic technique. When shooting for the crop you should always use the fastest shutter speed obtainable.
Of course, this isn’t true when you’re looking for intentional motion blur. Using a fast shutter speed helps mediate not only subject movement but also unintentional camera shake.

A great method to help you figure out the slowest shutter speed you can use is “The Reciprocal Rule.” I am a long-standing evangelist of this rule because it truly is just so incredibly useful for helping you to achieve sharper photographs.
The Reciprocal Rule states that when shooting handheld your maximum shutter time is equal to “1” over the focal length of your lens.

So to help reduce camera shake when using a 50mm lens your slowest shutter speed would be 1/50th of a second. If using an 80mm it would be 1/80th. If you’re using a variable zoom then simply use whatever approximate focal length you happen to have dialed in on the lens.

Caveats on aperture

Just as every lens has an optical sweet spot so too does every lens have an optimal aperture range when it comes to sharpness. Various lenses have wildly variable aperture sweet spots.
Some are tack sharp at wide apertures and soften as you move into smaller apertures. With others, the exact opposite could be true. Even two samples of the same model lens could have different results at the same aperture.

When shooting for the crop it’s always a good idea to shoot at your ideal aperture whenever possible. Just like using the optical sweet spot, using your lens’s ideal aperture will stack the odds in your favor when it comes time to crop.
To find out what apertures produce the best results for your particular lens will take some testing. Simply shoot an image at each aperture and compare them. Generally speaking, most lenses are sharper at the relative “middle of the road” apertures as sharpness tends to degrade as you approach the very smallest or the very largest apertures of your lens.

A brief word on megapixels

There’s no beating around the bush when it comes to megapixels and shooting for the crop. Without attempting to give too technical of a talk (you’re welcome) on image sensors, it’s best to remember that the more megapixels you have packed into your camera’s sensor the better off you will be when shooting for the crop.

We talked about how cropping a digital photo is essentially zooming in on the image. Since that image is made of little picture elements (pixels) the more you zoom the better you can see the individual pixels. Pixel depth and size aside, the more pixels you have held within a sensor the more flexibility you will have to crop more liberally.

Final thoughts on shooting for the crop

Let’s face it, shooting for the crop is not high on the list of best photography practices. But, unfortunately, we live in a real world of unexpected circumstances. We either won’t have the ideal lens available or the environment will limit us to resorting to some judicious cropping later in post-production.
Luckily if you already know you’ll be cropping an image later you can work to stack the odds in your favor to have better success. Here are a few key tips to remember whenever you find the cruel reality of a scene requires you to shoot for the crop.

• Center the point of interest in the lens. Make use of that optical sweet spot!
• Use the fastest shutter speed possible when shooting hand-held. Remember the Reciprocal Rule.
• Know which aperture yields the highest degree of sharpness from ALL of your lenses and employ if possible.
• Cropping exaggerates the size of the pixels that make up a digital image. An image from a 16MP camera probably won’t crop as cleanly as one from a 34MP camera.

As with most things to do with post-processing, don’t overdo your cropping. If you know you’ll need to crop down extremely tight just to come close to your ideal picture, allow me to ask a small favor; take a breath and put the camera down. Remember that there will be other photographs and more opportunities. A butchered photo of an incredible scene is less desirable than not having the image at all! Most of the time….
Do you have a cool before and after example of shooting for the crop? Share them with us in the comments!

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4 Reasons Why You Aren’t Getting Sharp Images

By: Christian Hoiberg

Capturing sharp images is something most photographers aim to do, regardless of what genre you do. While it sounds easy on paper, it’s not quite as easy to come home with sharp images; especially when you are photographing in challenging conditions.

There are several reasons why you’re images aren’t as sharp as you’d like them to be but the good news is that most of them are both quick and easy to fix. In this article, we’ll look at the most common reasons and what you can do to avoid making these mistakes again.

#1 The Shutter Speed is Too Slow

The shutter speed is to blame for a lack of sharp images in 99% of the cases. A shutter speed that is too slow results in the image becoming blurry.

A shutter speed of 1/320th of a second captured with a 24mm lens was quick enough to get
this image sharp.

This is a common mistake and it’s easy to forget to change the shutter speed when you’re in the field. There’s so much to remember, right? The ISO, the aperture, composition, light… and then the shutter speed. Don’t worry though; spending time using and learning the camera will make this much easier within no time at all.
The exact shutter speed you need depends on the situation. However, a rule of thumb is to never use a shutter speed slower than 1 over the focal length for handheld photography. That means that you shouldn’t use a shutter speed slower than 1/70th of a second with a 70mm lens, or slower than 1/16th of a second for a 16mm lens.
This isn’t an exact science though and while the tip above can serve as a guideline, you still should make it a habit to zoom in on the image preview to double check if the image is sharp.

I used a tripod to capture this 91-second exposure

If you need to use a slower shutter speed to achieve a certain look or due to the dim conditions, it’s essential that you use a tripod. This makes it possible to increase the exposure time without worrying about the image being blurry.

#2 Your Lens is Not Good Enough

Unfortunately, an unsharp image can’t always be blamed on human error. Sometimes the camera equipment is to blame. While I often preach that camera gear won’t make you a better photographer, it is true that it does make a difference to the image quality.
A budget lens isn’t as sharp as a professional lens and sometimes this becomes quite visible. For this reason, it’s advisable to do some research about the lens before purchasing it and make sure to read what people are saying about the image sharpness.

#3 The Camera is Vibrating

So what about the times when you’re using a slow shutter with the camera placed on a tripod, and you know for a fact that the lens is good enough? The cause might be camera vibration.

When capturing the image above I could not for the life of me figure out why almost every image was slightly blurry when I zoomed in on the LCD screen. I used a 70-200mm with a semi-slow shutter speed, the camera was mounted on a solid carbon fiber tripod and I used a remote shutter release.
After several attempts and trying to understand what was happening I realized it was due to me not standing still when taking the image. This caused small vibrations in the unstable ground I was standing on and resulted in the camera vibrating slightly.
Camera vibration becomes more visible and is easier to cause the longer the focal length you are using. Had I used a 14mm I would most likely not have noticed it at all.
There are many reasons why you might be having some camera vibration. The example above is perhaps not the most common. It could be caused by wind, waves, the tripod is placed in a river or on a bridge, or perhaps it is from you pressing the shutter button (so get a remote trigger).

#4 The Weather is to Blame

Other times you can’t blame either yourself or the camera gear. Sometimes the weather is to blame and it makes it impossible to capture a sharp image.
The most common reason is lots of particles in the air and high temperatures. Now, I’m not going to pretend I’m smart enough to explain how this works (I’m sure someone wants to take on this task in the comments) but it’s a common issue when photographing distant subjects.

Make sure to zoom in 100% when using a telephoto zoom to see if you’re getting sharp
images.A good practice is to use Live View and zoom into 100% magnification to check
for sharpness. This should give you a good idea of whether or whether not it’s possible to
capture a sharp image.

So I hope these tips have you to get sharp images next time you’re out shooting. Use this as a checklist of things to look out for and go over them one by one to ensure you have everything sharp.
If you have any other tips of reasons why others might be experiencing unsharp images, please share them in the comment area below.

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How to Use Shutter Speed and Aperture Together When Using Manual Mode

By: Kunal Malhotra

When you’re just starting out as a photographer, one of the biggest challenges can be using the correct shutter speed and aperture values. Shooting a correctly exposed photo in manual mode is an amazing feeling. But unless you know the relationship between shutter speed and aperture it may not happen very often.
In this article I’ll talk about how to use the shutter speed and aperture values efficiently to get properly exposed photos.
Note: To get full control of your camera’s shutter speed and aperture values you need to put it in Manual Mode.

What happens when you adjust the aperture value

When you increase the aperture value the aperture opening inside the lens gets smaller, reducing the amount of light that can enter the camera. Similarly, when you decrease the aperture value the opening gets bigger, allowing more more light to enter the camera.
Here’s an example to help you understand how changing the aperture value affects the shutter speed.
Let’s say you’re using a 24-70mm f/2.8 lens with a default aperture value of f/8. At a shutter speed of 1/200th of a second your camera will give you the correct exposure.

EXIF: f/8, 1/200th sec, ISO 100

Now you want a shallower depth of field (more blur effect), so you reduce the aperture value to f/2.8. Because you’ve reduced the aperture value by three stops, the aperture opening is now letting three stops more of light into the camera. The result? An overexposed image.
If you reduce the aperture value, you must increase the shutter speed by the same number of f-stops to compensate. Similarly, if you increase the aperture value, you must slow down the shutter speed by the same number of f-stops.
In this example, you’ve reduced the aperture value by three stops. So to get the correct exposure at f/2.8 you must increase the shutter speed by three stops to 1/1600th of a second.

EXIF: f/2.8, 1/1600th sec, ISO 100

Another example might be if you’re shooting a landscape. This time you want a deep depth of field, so you choose an aperture value of f/16. You’ve increased the aperture value by two stops (from f/8 to f/16), so you’re letting two stops less of light inside the camera. At a shutter speed of 1/200th sec this give you an underexposed photo.

Underexposed image at f/16, 1/200th sec, ISO 100

To get the correct exposure, you need to slow down the shutter speed by two stops to 1/50th of a second. With the aperture value two stops higher (f/16) and the shutter speed two stops lower (1/50th sec) your photo will be perfectly exposed just as it was at f/8 and 1/200th sec.

What happens when you adjust the shutter speed

When you increase the shutter speed the camera shutter opens and closes more quickly, reducing the amount of light that enters the camera. Similarly, when you reduce the shutter speed more light enters the camera.
Starting with the same base camera setting as before (f/8 at 1/200th sec), let’s see how changing the shutter speed affects the aperture value.
Let’s say you’re a wildlife photography, and you want to take photos of a flying bird. To avoid any blurring you’d need to increase to 1/800 sec. You’ve increased the shutter speed by two stops, and so you have two stops less of light entering the camera sensor. At f/8 this would give you an underexposed image.
Because you’ve increase the shutter speed by two stops to 1/800th sec, you must also reduce the aperture value by two stops to f/4 to get the same correct exposure you had at the f/8 and 1/200th of a second you started with.
Or perhaps you intentionally want to capture a panning shot, and s reduce the shutter speed to 1/50 sec to get the effect you want. Reducing the shutter speed by four stops (from 1/800 sec to 1/50 sec) means you’re letting in four stops more of light into the camera. And at f/8, that would give you an overexposed image.
To get the correct exposure you’d need to increase the aperture value by four stops to f/32.
By remembering these examples when you’re shooting in manual mode, you should end up with far more photos that are correctly exposed.

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5 Reasons to Consider Concert Photography with a Wide Open Aperture (and the Secret to Perfecting it)

By: Anabel DFlux

Concert photography is arguably one of the most adrenaline-filled niches you can engage in as an image maker. Musicians, magazines, fans, and record labels alike turn to skilled concert photographers to tell a story for the momentous performance. For most music photographers (due to venue constraints) there is less than ten minutes to capture enough great images to populate a full gallery. Partner this with tumultuous circumstances such as sporadic lighting and an excitable audience and you have effectively created a photographic situation that is unlike any other.
As such, shooting with a very wide open aperture might appear to be too daunting of a task! There are common misunderstandings of how to use and work with a wide open aperture! If your inner aesthete drools over soft, dreamy photographs and creamy bokeh, then you better get ready to play with some low, low, low numbers. We are here to tell you how to photograph concerts at f/1.2, f/1.4, and f/1.8!

Why Use an Ultra Wide Aperture?

Here are 5 reasons you may want to consider shooting concert photography with a wide open aperture.

1. Aesthetic and Style

To preface, a lot of the quality and final image look is based on the type of lens used. In the past several years, photography fans are gravitating towards the shallow depth of field aesthetic. If you’re in the business of producing commercial music photography (like myself), you’re going to want to keep following the trends and adapting to what is sought after in the industry.

An added bonus is being able to niche yourself a bit in an industry that has a lot of competition, many photographers are wary of shooting fast paced events with a wide aperture due to potential focusing issues. If you can master this art, you have something that will separate you from others.

2. Low Light Capability

Unless you’re shooting a big name at an amphitheater, a lot of smaller venues will have very poor lighting. You’ll need to use equipment that will illuminate the frame with whatever limited lighting is available. In these low light scenarios you need a lens with a wide enough aperture to let in more light. Using a lens that goes down to f/1.2, for example, is a great way to let enough light in and make the frame bright. Remember, the aperture is the hole the light passes through in your lens. The wider the aperture, the more light that enters the camera.

3. Shallow Depth of Field

The wider the aperture, the shallower the depth of field. Shallow depth of field is great for live concerts because the stage can be rather cluttered compositionally. From instruments to cables, background props, and other band members, there can be a lot going on in the frame at once. Only having one subject in focus with the rest blending into a creamy bokeh makes for a much more visually pleasing and simplified image. With the depth-of-field being so shallow, whatever troubles you about the background can easily melt into a beautiful creamy bokeh.

4. Detail Shots

On the topic of shallow depth of field, if you are photographing for an instrument company, an aperture of f/1.8 will likely become your best friend. This is because photographs taken with a large aperture allow all of the focus to lie on the subject, and the background ceases to remain a distraction. Many instrument companies love to have their products captured in a natural usable setting, such as musicians at a live show.A shallow depth of field will keep the interest solely on your single subject.

5. Sharpness

Due to technological constraints, lenses that open their aperture below f/2.8 are fixed millimeter lenses (they do not zoom). As a general rule, fixed millimeter lenses tend to be sharper than lenses with a range.

Let’s Talk About the Elephant in the Room: Focusing with a Wide Open Aperture

Right where all of the benefits of an f-stop of 1.2 start to break down is the focusing. The wider the aperture and the shallower the depth of field, the more difficult it can be to focus on what you want. Pair that with a live show in which the lighting is a bit of a mess, and the subjects move spontaneously in various directions, and it sounds like the perfect recipe for a photographer migraine. However, focusing with a wider aperture doesn’t have to be so difficult- it’s just a different thought process.

The Concept of Sharpness

Really, the focus stems from a desire to have an image that is sharp. But what is sharpness? Sharpness is an interesting concept. How sharp a subject appears is a matter of two things: the focus the camera captures and the amount of contrast on your subject. The term “sharpness” is, in fact, an illusion. You see, for an image to be considered sharp, it needs to have contrast. If the there is little contrast in the image, the subject will not look three-dimensional regardless of whether the focus is perfect or not. Biologically, the way that our eyes work, our vision naturally detects edges to register sharpness, and shadows and highlights in order to record the depth in a subject. This is a very important concept to understand when answering the question of how to make images look sharp. When editing your concert photography images, be attentive to the shadows and highlights. And add contrast to define your subject.

Perfect Focus

In terms of getting your image to actually be sharp (from being in perfect focus), here is the basic concept of how focus works in a camera. When you focus your camera on a subject, it establishes a focal plane. To get your subject in focus, it has to be on the focal plane. Focal planes happen on an x (horizontal) and y (vertical) axis. This means anything along either of those axes will be in focus, and anything not on them will be out of focus. The concern with a wide open aperture is that your focal plane is quite small. As you decrease your aperture number and make the opening wider, the invisible area in front and behind the plane of focus will get smaller and smaller, leaving you with much less wiggle-room. As such, distance from the subject plays a key role in your focus.
When shooting wide open, even the smallest diversion from either of the focal plane axes will cause your subject to be out-of-focus. You cannot take a step forward or back without the need to refocus when shooting at a wide aperture. But by keeping this in mind, you can adjust your photography technique to better accommodate the small focal plane.

Single Point Autofocus

A trick to help make sure that what you want in focus is indeed sharp, is to use single point autofocus. By default, your camera will probably select either the object that’s closest to the camera or what’s in the center of the frame. By using single point autofocus, you tell the camera exactly where to focus, which is extremely helpful with low aperture numbers. Refer to your camera model’s manual to find how to change the focus setting!

The Real Secret

Keeping in mind how the focal plane works, this is the big trick to shooting wide open at a concert: The farther away you are from the subject, the easier it is to get the subject in focus. You can get the subject in focus and still maintain and extremely creamy depth of field.
Whether you’re in a photo pit or just in the main venue floor, your position to begin the concert shoot can significantly affect your success for the rest of the shoot. Keeping in mind that for most general photography passes your time is limited, you need to be ready to jump right into the shoot the very second the music hits your ears. My suggestion is to start on the outer edges of the pit or venue and work your way to the middle. Many concert photographers all flock to the center of the shooting zone, and begin shoving to claim their dead center spot. When you start from the edge, while the other photographers are all congregating and fighting for the center, you have much more room to move freely on the outer edge. This is where you will have an advantage to be able to move a bit further away from your subject in order to expand your plane and get that perfect focus.

Now that you’ve been let in to the secret, go out there and capture some awesome concert shots!

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10 Amazing Camera Hacks for Better Dog Photography

By: Phil Harris

In this article, you will learn 10 camera tricks and hacks that could help you take far more interesting dog photography — or photos of any pet, for that matter.
If you love taking pictures of your pooch but don’t feel that you are getting any spectacular results that are worth framing, then perhaps some of the following tips will help inspire you to take your pet and dog photography to the next level.
Let’s see if these 10 dog photography hacks will inspire you to try something new today.

1. Use window light

This might not seem like much of a hack, but it is your job as a photographer to look for the best light. Many photographers say that window light is their favorite light because it’s a soft light that creates beautiful shadows across your subject.
If you are looking for the quickest and easiest way to create a more professional look for your pictures, moving them closer to a soft light source such as a window would be my first tip.

In the image above, you can see the difference between having the dog by the window and not. Not only is the light more dynamic, because your camera will detect more light, but it will use a lower ISO, which all means a cleaner, less “noisy” image.

2. Use your phone light

We probably all know the saying, “Never work with children or animals”. The reason is that they are unpredictable and quite often do not do what you want them to do when you want them to do it. There may be times when your dog is doing something cute, and it is simply not possible to move them to a window to get that perfect lighting.
These days, however, you have access to light right in your pocket. Next time your dog is doing something cute in lousy lighting conditions, rather than pushing that ISO up and just dealing with the bad light, why not introduce some of your own light using the phone in your pocket? It takes seconds to set up and can instantly give your pictures a far more dynamic feel.

3. Tin foil

Now that we have covered the basics of good lighting, we can move on to some of the fun stuff. If you are a fan of beautiful round bokeh (blurred background), then tin foil could be your new best friend. By putting some scrunched up foil behind your subject and shining a light on it, you will instantly get a “starry” bokeh effect.
This technique requires a bit of practice, but my top tips are to use a lower aperture and move your dog far enough in front of the foil that the camera focuses on the dog, causing the background to blur.

My second bit of advice is to use a short telephoto or zoom lens, preferably above 50mm to 85mm. This is because a wider lens takes in more of the background so you will need more foil. If you use a telephoto lens, less of the background will be in the shot, which means you will need less foil to create the effect.

4. The upside down reflection shot

This tip is as simple as it sounds! The next time you are near some still water, such as a puddle or a pond, try holding your camera upside down and shooting your dog’s reflection in the water. When you look at the image the correct way, you will create a fantastic illusion. When people see your dog’s feet at the bottom of the picture, they will realize that they are looking at a reflection.

This tip works well with dogs as they are so low to the ground.

5. Use a mirror to create white space

It is your job as a photographer to lead the viewer’s eye to the subject that you want them to look at. This is part of the beauty of these fast lenses with really blurry backgrounds; you can leave your subject in focus and blur the background, so it is clear what you want our viewer to look at.
Another way to do this is the use of white space. By shooting in a mirror, you can purposely introduce a significant portion of the wall behind the mirror and put your subject off to the corner of the image. This creates a massive amount of white space, producing a far more interesting picture.

6. Fairy lights

Fairy lights are great as they introduce three elements that photographers love:

1. Added detail.
2. Possibility for nice round bokeh.
3. Additional light.

Why not get your dog to sit on some fairy lights when you are taking his picture next? You can also add your phone light as well to add that lovely dynamic shadow at the same time.

7. Phone or Perspex reflections

Symmetry will become your best friend when taking pictures. There is something about reflections and balance that are very pleasing to the human eye.
If you find yourself without a reflective surface to shoot into, why not make your own? I carry a small bit of perspex with me wherever I go. However, many photographers use their mobile phones.
All you need to do is hold it next to your lens to create a reflection of your pet.

7. Prisms

Prisms mix two elements that we have already discussed; they can create white space, almost blurring out a significant portion of your photographs, and you can get some exciting reflections out of them.
However, the reason why I love using prisms is that they can add some fantastic color to an image that might otherwise be a little dull.

9. Phone flare

Flare is a real sought-after look. We have all spent time pointing our lenses almost directly at the sun trying to get that beautiful lens flare look.
Well, the next time you want instant lens flare, just get your trusty phone out of your pocket again and try shining that light into the camera to get a very similar effect.

10. Change your perspective

Finally, why not just change your perspective? The number one thing that will make your pictures look more professional is capturing things in a different way from others.
Most of the time, this just comes down to shooting something from a different angle. People are used to looking down at their dogs, so they will typically take images of their dogs from above. Why not take your pictures from floor level to get pictures of your pet you may not have seen before?
Also, try mixing my technique of using white space in combination with this tip. Purposely shoot more of the floor and put your dog in the corner of the image to help lead the viewer’s eye.

11. One final bonus tip for good luck

One of the best tips I have ever received for my photography comes in particularly handy photographing dogs.

Always focus on the eye that is nearest you.

Your viewers will always focus on the subject’s eyes. If they are sharp, then people do not worry so much about the rest of the image.
If you look back at some of the pictures above, you will notice that sometimes the nose is slightly out of focus due to the use of a shallow aperture. However, you may not have noticed that when you first looked at the images because the eyes are in focus. I do this with all the pictures I take.

I hope the video and these tips have inspired you to go try and take new images that you may not have thought of before. Even if you don’t use these exact tips, perhaps some of them might help you think more about using reflections, lighting, and white space, which will help your pictures stand out from the crowd.
Please share some of your tricks and tips in the comments below.

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10 CAMERA HACKS for DOG PHOTOGRAPHY