Famous Photographers: 100 things we

wish we knew starting out

samanthacliffe | Photography Tips | 20/02/2013 01:00am
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When it comes to improving your photography, the best advice you can get is from the
working pros themselves. Here weve gathered together 100 photography tips from
famous photographers, and have included jargon-free advice on everything from the
gear you need right through to selling your photos.

Camera gear and how to use it

Dont be afraid of lighting and flashguns have fun with the gear. Sam Barker
Sports photographers tend to use longer lenses, so one of the first lessons can
sometimes be learning how to hold and support the camera correctly, ensuring the lens
is properly supported. Students tend to rely on general autofocus [AF] too much, so I
show them how to set specific AF points for each type of sport, or how to change the
speed of the refocusing on their camera. Modern SLRs try to make the process easy, but
can end up making it harder to get good sports shots if the AF is on the wrong setting,
so we turn off VR (vibration reduction) and other widgets to eradicate the guesswork,
and also discuss when it can be best to focus manually instead. Mark Pain

I use the 35-70mm focal length more than any other, and I avoid overuse of wide-angle
lenses, which are often the culprit in identikit landscape shots. I think my subject matter
changes a lot more than other photographers, and I use a variety of lenses to extend
character and dynamics. David Clapp
Dont overdo Neutral Density and polarising filters, as they can look gimmicky.
Fran Halsall
I know from my training as a classical musician that technical mastery opens the door
to artistic freedom; you cant concentrate on the bigger issues like catching the bestquality light and achieving good, balanced compositions if you are constantly
wondering which f-stop to use. I think of my camera in the same way I think of my
musical instrument: its no good wondering what the buttons are for when youre on
stage and the pressure is on Simon Butterworth
Buy the best gear you can afford; youll save money in the long run. Simon
Butterworth
Dont rely on long lenses they create distance between you and your subject.
Lorenzo Agius
Buy the best possible lens you can afford. I find Nikons are the sharpest, with colour
and contrast clarity. John McMurtrie
The most important piece of advice I could offer is simply to take all your lenses out of
your bag when you get home. Take off the front and back lens caps and let them thaw
out for a few hours. If you leave them on theyll get condensation in them and mildew
can grow on the glass. Dan Carr on shooting in cold conditions (via Photography
Week)

Photo Composition Tips

Always fill the frame with your subject. Jason Hawkes

If there is something distracting in the background, such as a road or a mass of
branches, change your position. Move to the left or right, stand on your tiptoes, or even
lie down on the ground. Suzi Eszterhas
Look around at what everyone else is doing, and then do something completely
different. David Clapp
Camera position is the key, whether its a landscape or a person that youre trying to
photograph. Develop a good work ethic too. One cannot be lazy if you see a hill,
climb it. The chances are, the view is better from up there. In the case of people, move
around your subject until you find the shot there is usually an angle where people and
their surroundings melt into one and everything clicks. Basil Pao (via Photography
Week)
Dont cram all you can see into one shot. Simple images tend to be visually stronger,
and its better to concentrate on a small number of key elements. Fran Halsall
For the best compositions, get out of the car and walk. Simon Butterworth
Make sure the subject is big enough in the frame and think about what the subject will
do next. Most people want to take 100 shots, but Ill spend days just working on one
frame. Bob Martin
Personally, I think the emotional content of an image is more important than the image
being technically perfect. While I do everything I can to achieve a technically sound

image, ultimately its the atmosphere and story of the scene that holds the final image
together. I certainly wouldnt discard an image because it has minor imperfections.
Antony Spencer
Composition for landscape photography

I find the best way of teaching composition is getting people to read the landscape
learning to look at all the component parts and seeing how these parts work. A couple of
strong relationships are needed, like that between the sky and the land, so the viewer
gets the narrative of the scene. Dont accept that youre stuck with the sky that prevails
at the time. Keep coming back as the light changes, and think about the skys
relationship with the land beneath. Charlie Waite
Sometimes you really do need a significant foreground, like the dreaded big boulder, to
make an image work, but it should not take over the entire image. Variety is the key,
rather than repeating the same idea over and over again. I also try to avoid shooting
from the same wide-angle view, which soon become tedious as does shooting every
scene from the same height. Fran Halsall
I try to avoid contrived and self-conscious composition. Images are comfortable with
themselves and therefore comfortable with viewers when the elements are allowed to
speak naturally for themselves. Milky seas shot with ultra-wide lenses under apocalyptic
skies have become ubiquitous and formulaic. I want to explore subjects that have
mileage left in them rather than flog an exhausted horse. Simon Butterworth

Composition for live music photography

The cardinal sins are having the microphone in front of the singers face, obviously, or
allowing stage clutter such as monitors to get in the way. Dont be afraid to crop in on
guitarists; dont feel you always have to show the whole guitar. Focus on the face, not
the guitar. John McMurtrie
Composition for sports photography
A nice, clean background is essential. The sky can be the best background. You cant
always shoot against this, but distractions will spoil a shot. The opposite applies when
taking a panning shot of any sport. Then, you want more colour, more obstacles and
people to blur, to give the impression of speed. Mark Pain
You cant expect to follow a subject through your lens and just happen to compose the
perfect shot along the way. Examining the background before you take the shot, then
positioning the [subject], will always lead to a better composition. Dan Carr
If I just sit behind the goal, the client will end up with more of the same. When I have
to sit in a certain place, I pick my position, background and the composition before I
take the shot. Id rather have less action and better aesthetics and composition. If I get a
great shot its because the elements are there. Bob Martin
Composition street photography
I compose by what feels right. I might shoot several versions of a scene, sometimes
dozens, and I also think about timing. Within the frame, things need to be composed as

they happen. Everything is moving about until you take the shot and stop it, and you
cant control these things in another way (I think this is great, or I would have become a
studio photographer instead!). The only thing you can do is to take the picture at the
right moment, composed in a way that seems right. It is mostly just luck. Nils
Jorgensen
Composition for portrait photography
Fill the frame with your subject for maximum impact. Lorenzo Agius
Always make sure the background is clean, with no distractions. Lorenzo Agius
Composition for wildlife photography
The most common mistake is not paying attention to the background In wildlife
photography the backgrounds are just as important as the subject itself if the
background is no good, I often dont even bother to take the shot. Not paying attention
to distractions inside the frame falls into the same category. Marsel Van Oosten

Camera Exposure Tips

Manual gives you total control. Automatic, or semi-automatic, modes like Aperture
Priority and Shutter Priority, just cant keep up with the constantly changing lights. I

tend to use a fast, wide aperture lens and open it right up to f/2.8. Then I will click the
shutter speed up and down, depending on whats going on. John McMurtrie
You still need to take a correctly exposed image in-camera. A good image at the
beginning of post-shoot editing will always give you a better image at the end of the
process. Robert Wilson
In 99 percent of situations, I am shooting in Manual exposure mode, rather than
Automatic, Program or Aperture Priority. By taking control of the camera in this way,
you are reducing the chances of getting it wrong, particularly in variable lighting
conditions. Mark Pain
Be aware of your possible exposure settings in varied or changeable lighting. You need
to know that if youre shooting at 1/1000 sec at f/2.8 in the shade, you may need to go
up to 1/4000 sec at f/2.8 in the sunlight. Mark Pain
Set your camera to Program mode for street photography, as you dont always have
time to worry about aperture and shutter speed. But you can still adjust them if you want
to. Nils Jorgensen
If you arent confident with manual exposure then learn how to use the Exposure
Compensation dial. Use the histogram and make sure youre getting some spikes on the
right-hand side of it just towards the last sixth of the horizontal axis. Dan Carr
In a snowy situation a camera will typically under-expose between one and two stops,
so its far simpler to do it all manually. A very bright day allows you to make a decision
as to where your white clipping will occur. Most people will assume you never want to
over-expose anything, but I often let things blow out in certain areas. I quite like a highkey look to snowy environments, but thats a personal choice. Theres no such thing as
correct exposure! Dan Carr on shooting in snowy conditions.

Lighting Tips

Try to think in terms of light and palettes of colour to achieve consistency. Sam
Barker
Unless Im shooting at night, the camera settings dont even cross my mind. All I
concentrate on is finding a subject that will make a strong image. As for shooting at
night, you have to work harder, because the light drops every three or four minutes and
you have to run through all the camera settings to make sure its set up right. Jason
Hawkes
In order to capture a truly memorable photograph, you really need to pay close
attention to the light, and learn as much as you can about not only your subject, but the
location itself. How does the light change through the seasons? Where are you most
likely to find your subject? Spend as much time as you can observing your subjects
behaviour and note down any patterns. Ben Hall (via Photography Week)
I prefer to shoot in ambient light and rarely use flash. Suzi Eszterhas
Im no good at setting up lighting, so I just used the light that was available
throughout. If we were inside shooting and it was dark, I would just shoot at a high
ISO. Jordan Matter (via Photography Week)
Sometimes you can achieve dramatic results by placing yourself so that your subject is
back-lit (shooting with the sun facing you) or side-lit. Suzi Eszterhas
I strive for the considered use of colour and tonal range waiting for the right light, in
other words and aim for simple compositions that will stand the test of time. As Coco
Chanel said, Fashion fades, only style remains. Fran Halsall

When the sun is near the horizon, light is more colourful, making it ideal for creating
atmospheric images. Avoid strong light from an overhead sun as it tends to give
washed-out results. Fran Halsall
Pay close attention to whats happening in the sky. Clouds are as important as the
landscape itself, because of the way they reflect light, and blank skies can be a little
bland. Fran Halsall
I like to use a basic lighting set up, and really like LED and Kino Flo lights. I love
constant lighting. I used to be a painter, so I am thinking about light all the time and
with digital cameras its so much easier to achieve a lighting effect. Lorenzo Agius
I always try to get to a location early, so that Im not rushing to get into position when
the light is perfect, but there are times when you get there and Mother Nature doesnt
play ball. You end up waiting for hours and it doesnt happen, so you have to come back
another time. David Noton
Lighting for portraits

The darker the [subjects] skin, the flatter the light you need. If your subjects got bad
skin, use a bigger, softer light source. Robert Wilson
I much prefer natural light, and keeping things simple. I have just learned lots of ways
to cheat, to be able to shoot anyone, in any weather, through sheer experience. I just
focus and expose on the subjects face to get that correct, then the rest of the picture is a
balance of light, colour and texture used as a background to the main event, which is the
person. Annabel Williams

Look for soft even light under a tree, in a doorway, or under a porch which creates
really flattering light every time. Annabel Williams
Many people dont really understand how to find the most flattering light. They tend to
start with the person, whereas I start with the background, create myself a set, make
sure its in soft even light, then position my subject in that set and take a variety of
shots there knowing that the background works wherever they are in it, and the light is
always going to be flattering. Annabel Williams
A child can look really cute running around, but if there are patches of light over their
face, or poles growing out of their head, it will not make a great shot. Getting it right is
all about slowing down and realising that you can control what you are doing.
Preparation is the key. Annabel Williams
You need to think about light all the time. Photography is about light, and it can come
from any source the sun, a candle or a computer, for example. Rankin

Tips for Managing Your Photography Workflow

On a big tour I know what the band will do, so I set up presets for quickly editing a
batch of shots. Typically, these will address colour balance and noise reduction,
boosting the blacks and the shadows. John McMurtrie
For me, the biggest advantage of digital is being able to shoot in raw format it gives
you so much latitude and is very forgiving! Suzi Eszterhas

I use Photoshop for basic adjustments or removing a srtray blade of grass. I never go in
for digital manipulation or compositing. Suzi Eszterhas
I shoot in Raw and then go through a rather contradictory process of putting more
contrast into the images in Photoshop, while simultaneously opening up the tones. I like
to increase the dynamic range of images, using HDR and similar editing techniques, but
you must always be subtle, because its really easy to overdo this effect. They Ill use a
graphics tablet to brush colours in almost like painting. Robert Wilson
Get it right in-camera. This will improve your technique and is far more rewarding
than fixing images in Photoshop later. Antony Spencer
I do very little to my images with software, except for minor adjustments using Adobe
Camera Raw and Photoshop. Ive always tried to achieve as much as possible incamera, and not rely on processing to pull the image together. Anyway, its often the
most basic adjustments that make the biggest difference. Antony Spencer
Look at maps closely when planning trips so you can arrive at a location when it is
likely to be side lit. Fran Halsall
Once I started tracking weather patterns and pre-scouting locations and noting where
the sun/moon would be, my photos started turning out a lot better. Aaron Meyers
Exposure composites are the main thing I do in Photoshop. Ill start with a raw file in
Adobe Lightroom, where I will tweak contrast levels and sometimes adjust saturation. I
rarely alter colour. Ill only use Photoshop these days for the stuff I cant do in
Lightroom. Fran Halsall
I make nearly all my adjustment in Adobe Camera Raw. I like shooting raw for my
street photography because it happens in all kinds of unpredictable light. If the colour
balance isnt perfect I correct it using the Temperature slider, and use the Tint slider too.
If my original exposure and contrast arent perfect, I adjust this too, using the Exposure,
Brightness and Contrast sliders. Nils Jorgensen
I like there to be a lot of black in my work, so I mainly use Photoshop to boost the
contrast. Thats pretty much it for me. I shoot so the highlights dont get blown out
before I even put it into Photoshop. Dominic Nahr
I do very little in Photoshop; a tweak of the curve and some dodging and burning is
about my limit. I use Lightroom 4 as my raw converter and that takes care of most of
the tonal and colour adjustments. Simon Butterworth
I used to do a lot of printing, so I approach post work in this spirit, and avoid any
heavy manipulation. So I used editing software to clean things up, or to add a particular
type of look, rather than using lens filters. Lorenzo Agius

Tips for Selling Your Photos

First, your shot has to be clear and exciting, but the artist also has to be easily
recognisable if picture editors cant clearly see who it is, they wont buy it. The shot
has to be sharp, too, as magazines will often blow images up to A4, so any blur and
softness will be painfully visible. John McMurtrie
It is vital to become a ruthless self-critic; editors need to be astounded by the quality of
your work. David Clapp
Stop hiding behind your inbox and pick up the phone! David Clapp
There are two ways to success. One is to stick to your own style and adjust it slowly
over time, even when people tell you it isnt good, or whatever. The second is to keep
pushing to meet with clients and other photographers you admire to get guidance and
make sure that the path you make for yourself is going in the right direction.
Dominic Nahr
In order to sell your product, you have to analyse the competition and think of ways to
make people notice you, to do things differently. But the single most important thing in
advertising is to keep your message simple and clear. Marsel Van Oosten

Photography Tips for Shooting in the Field

Cold is not a problem for photography equipment. You just need to follow two simple
rules: first, keep a spare battery in a warm pocket, and second, before bringing your
camera into a warm environment, pack it away to prevent condensation. Rain is much
more difficult to deal with, not just because the equipment can break modern cameras
have rather good water protection but because raindrops can get on the front of the
lens. Telephoto lenses are usually protected by their hoods, but only an umbrella can
help when using a wide-angle lens. Vladimir Medvedev (via Photography Week)
Shooting people
I often shoot from a tripod, which is different from a lot of reportage photographers. I
shoot in low light, so Im using longer exposures: thats one reason I like to have a
frame, and for things to come into the frame, rather than searching fro pictures. I dont
like to have a camera in my face getting in the way of me and the subject either. I like to
directly engage with the sitter when shooting portraits. Sam Barker
Preconceive your picture. This is almost the most important part of portrait
photography. I nearly always know what feel I want from the sitter before they arrive.
Always give yourself at least half an hour to set up before the sitter arrives try to insist
on this. Then its just a matter of sussing out what mood the sitters in; whether to have
a bit of a laugh or to be very business-like and get the job done quickly. Sam Barker
When shooting portraits, if you can choose a face, go for one with symmetry, and good
eyes and bone structure. Learn to look properly at faces, as its not always immediately
obvious whos photogenic. Robert Wilson

Develop a relationship with your subject concentrate on them, not the camera. Make
sure you set things up so you can do this. Annabel Williams
Immerse yourself in a story or theme; get to know your subjects. If its a holiday you
want, do something else. Dominic Nahr
You cant get on with everyone, and everyones different, but for me, taking a good
portrait shouldnt be a battle. You dont want to come across as a threat; you want your
subjects to let go of their worries and defences, so as to reveal their true selves.
Lorenzo Agius
Get to know your subject. Talk to them, as you really cant work without them.
Lorenzo Agius
Theres no real secret technique for taking photographs of people close up. Spending
time with them is the essential thing to do. Do that, and people will warm to you. Its
also very important to learn any social customs and traditions. Working in intimate
situations, you need to factor in a lot of time for discovering each other. I like to explain
my intentions from the outset and if you need an interpreter, try to chose someone
who lives in the same place and knows the culture. Failing that, I will often sketch out
what I intend to shoot to help convey my intentions. Alessandra
Meniconzi (via Photography Week)
The key is not to think of them as strangers, but rather as fellow human beings you
have not yet met. Smile and try to communicate and engage with them. Of course, the
other option is to stay hidden and steal their soul from a distance with a long lens
Basil Pao
For me, approaching potential subjects in a relaxed, friendly and authoritative way
usually works. If youre confident about what youd like to achieve and explain the
project openly, 99 percent of people agree. Jonathan Daniel Pryce
Im always careful to work with guides who can communicate warmly and openly with
my subjects, and the sitting is always a collaboration. I dont photograph anyone who is
not comfortable with the proposal, and I always agree a fee in advance with them for
pictures. John Kenny
Shooting events

there are some secrets that anyone can use, particularly at smaller gigs. Try to get
there early and see where the mic stands are think where the band members are likely
to stand, and position yourself accordingly. For example, a lot of photographers muscle
in right in front of the centre stage, but often magazines will want pictures of the
guitarist, particularly with heavier types of music. John McMurtrie
Know your camera inside out. Theres no time to fumble with settings during a crazy
live performance. John McMurtrie
The safety aspect of things is a big consideration. A particular peak or mountain slope
might look like the perfect spot for a photo, but you have to understand what the
snowpack is like on any given day. Is it stable? Will the whole face of the mountain
slide in a huge avalanche as soon as the skier makes the first run? Sometimes I can be a
long way away from the skier, too, so its not just the snow the skier is on that has to be
evaluated, but also where Im standing. Dan Carr on shooting skiers
Shooting wildlife

Ben Hall
To record unique behaviour you have to be really patient. Its also about being able to
change the way you observe the natural world. You need to be able to develop a sense of
what an animals about to do, from its body posture, for instance. You need a new
awareness of the world, in other words. Suzi Eszterhas
Whenever possible. I like to show the subject in the context of its environment, and the
flexible focal-length range of the 100-400mm is ideal for this type of image. Ben
Hall
Its essential to have a good knowledge of your subject, its habits, habitat, and typical
behaviour. Aside from this, you need oodles of patience and the determination and
persistence to get the shot. Be highly self-critical and always strive for improvement
there is always a better shot to be had. Ross Hoddinott (via Photography Week)
The camera would be camouflaged with vegetation, mud, and even elephant dung. I
would place the camera where I thought there was a good chance of an animal passing
by or lingering. Then it was a question of waiting. More often than not, the animals did
not turn up. Anup Shah (via Photography Week)
Being able to use higher ISOs is a huge benefit. Most wildlife photographers prefer to
shoot during the golden hours, when the light is soft and warm. That means slower
shutter speeds, which isnt what you want with moving subjects. Being able to freeze
the action, even in dimly lit situations, with no compromise on the quality is priceless.
Marsel Van Oosten

Shooting food
Some things I have done include adding large marbles to the bottom of soup to push
the big chunks up to the top, using inverted bowls to add bulk to food inside bowls
(such as oatmeal or pasta), placing cardboard in between sandwiches, or even using
small pieces of cardboard pushed up underneath and behind food to boost it up a bit for
the camera. I also have a hand-steamer Ive used to add steam to some images, and a
charcoal starter for adding grill marks. Nicole Young (via Photography Week)
My advice to new food photographers would basically be to understand how to light
your food properly before you move on to anything else. You dont need much, just a
window with soft light and a way to bounce it back in (I use cheap white foam boards
that you can get at any craft store). Also, if you have a macro lens, be sure not to get so
close to the food that you cant tell what it is. I only use a macro lens because it allows
me to photograph smaller items of food and fill the frame properly. Nicole Young

Final Photography Tips to Remember!

Its almost impossible to avoid certain clichs, but the best thing is to make sure you
dont consciously imitate what others have done you learn nothing from this. Fran
Halsall
Photograph what interests you and not what you think people will want to see. The
more personal the pictures, the stronger they will be. Dominic Nahr
Photography isnt a sprint, its a marathon, so take your time with it. Things will come
together if enough time has been put into them. Dominic Nahr
All subjects are legitimate. Photograph what interests you, and dont be discouraged by
the fact its not considered mainstream yet! Simon Butterworth

Practice using your camera the way you would a musical instrument. When youre
confronted by a once in a lifetime opportunity youll be able to handle the pressure.
Simon Butterworth
You have to work for a good shot. Just holding up your camera and snapping whats
directly in front of you without even bending your knees or standing on tiptoes is the
domain of smartphones, not photography. Basil Pao
Try doing what you truly like, what excites and captivates you. The less time you
spend on things which bore you, the more you have to spend on what youre interested
in. And the time you can spend on it is vital. Vladimir Medvedev
Ask yourself, Why am I shooting with these camera settings? Marsel Van Oosten