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  • How to Position Your Subject for the Best Shot – Path

    How to Position Your Subject for the Best Shot – Path


    Getting the hang of using a camera and photo editing is one thing, but directing subjects? Now, that’s hard! Even pro photographers can struggle with an awkward or camera-shy person in front of their lens. 

    How can you guide your subjects so your portrait shoots are consistent in quality, there are fewer retakes, and the result looks great? It’s a mix of technical shooting and composition skills, with plenty of soft skills, like getting your subjects to relax and smile.

    Want your next portrait shoot to be a success? Check out some practical tips for how to pose any subject—from corporate execs to creative professionals and family groups.  

    Prepare for a successful portrait shoot

    The secret to great portrait poses actually starts before your subject arrives. Here’s what experienced photographers do to prepare:

    Set clear expectations

    Help your clients arrive confident and prepared by sending them key information ahead of time:

    • Share simple wardrobe guidelines: solid colors work best, avoid busy patterns
    • Explain the location and background setup: indoor/outdoor, how many outfits to bring
    • Give grooming tips: classic styling usually photographs best—and a fresh shave won’t hurt!
    • Outline the session timeline: how long it will take, how many looks you’ll capture
    • Send examples of poses you’ll try: helps them visualize the result

    To speed this up, you can create a standard pre-shoot guide you can quickly customize for each client. Use apps like Canva or Adobe Express and export the guide as a PDF or create a shareable link.

    Build trust and rapport

    Most people aren’t naturally comfortable in front of a camera. Posing for headshots can be stressful even for the most successful business people, so your first job is to make them feel at ease. Try these quick tips:

    • Start with a quick chat about what to expect and what you’ll shoot first
    • Demonstrate poses yourself—it’s easier than explaining and helps break the ice
    • Pay attention to what works for each person—a pose that looks great on one subject might feel awkward for another, so stay flexible
    • The same goes for instructions in general—some people need more guidance than others 
    • Keep the conversation natural while you work, but keep your directions simple
    • Give positive feedback when you capture great shots, and if something’s not working, smoothly guide them into a different pose instead of pointing out problems

    Main posing frameworks for any portrait shoot

    Let’s break down some of the best poses for professional headshots and relaxed portraits that consistently deliver great results and let your subjects shine. 

    Standing poses 

    Standing poses are a great choice for both corporate headshots and casual portraits. They offer plenty of ways to help subjects feel comfortable—from leaning against the wall to interacting with the surroundings. Standing shots also work anywhere—in a studio, office, or outdoors—and you can repurpose them to crop in for tighter headshots or waist-up portraits. 

    Here’s how to pose for standing shots: 

    • Turn feet about 45 degrees from the camera—this creates a naturally slimming angle
    • Have subjects shift weight to one leg—usually the front one—to avoid looking stiff
    • Ask them to lean forward slightly from the hips, with just an inch or two being enough
    • Change arm positions between shots—relaxed at sides, hands in pockets, or arms crossed
    • Remember “if it bends, bend it slightly” for natural-looking poses
    • Keep shoulders relaxed and dropped because tension shows in photos
    • Ask the subject to change the direction of their gaze slowly from one side to the other to get a wide range of angles

    two photos of women, side by side, with gray hair

    For corporate shots:

    • Keep poses clean and professional
    • Arms relaxed at sides or one hand in pocket
    • Subtle lean forward to engage with the camera
    • Maintain a straight posture while avoiding stiffness
    • For tight headshots, still keep the body slightly angled, like on Treeconomy’s team page 

    treeconomy about us page with team individual headshots

    For personal branding:

    • Allow more dynamic movement
    • Try casual leans against walls or furniture
    • Experiment with crossed arms or hands on hips
    • Include interaction with the environment (desk, tools of trade, products), like Liz, owner of Wild Pines, an arts and crafts store

    Wild Pines about page with a photo and text about the founder

    • Allow space for naturally big smiles and laughter, too—it’ll create warm and welcoming portraits, like on Sojo’s company page

    Sojo about us page with the founder photo at a design table and some text about the brand

    Flattering seated poses

    Seated portraits can create a variety of engaging shots. Just because your subject is sitting doesn’t mean options are limited—it’s all about working with posture and leg positioning to create natural, dynamic results.

    Key principles for seated portraits include:

    • Guide subjects to sit at the edge of their chair or sofa instead of slumping back
    • Avoid letting subjects sink into soft furniture (like in the example below of Noura Sakkijha, CEO of Mejuri)
    • Keep the core engaged for good posture 
    • Point toes in the same direction to elongate legs

    Mejuri meet the founder page with text and portriat

    Professional settings:

    • Position at a desk with a slight forward lean
    • Hands clasped or resting naturally—play around with a variety of hand positions to find a flattering pose for your subject
    • Encourage subjects to engage with what’s on their desk, such as their laptop or notebook
    • Cross ankles rather than legs for a polished look
    • Keep shoulders level and relaxed
    • Walk around the subject to capture different angles—from camera-facing to slightly angled to full-on side profile

    man sitting at a desk looking away from the camera with an open laptop in front of him

    Casual settings:

    • Allow more relaxed postures while maintaining good form
    • Create asymmetry by shifting weight to one hip
    • Use arms for support when sitting on floors
    • Avoid both legs pointing directly at the camera—instead, either extend one leg towards the camera or angle them both slightly away from the camera

    portrait on off-white background of a woman sitting down casually, she has a prosthetic leg

    Creating dynamic duo shots:

    • Use seating to create interesting height variations
    • Try one person seated while the other stands
    • For co-founder shots, have one person sit in a chair while the other perches or leans on the armrest, like in the example below of ettitude’s co-founders
    • Vary the height of chairs or use different seating positions to add visual interest
    • Keep subjects at different heights but maintain connection through body language or eye contact

    Ettitude from the founders page on their webiste

    Relaxed group portraits

    Whether you’re photographing a corporate team or a family, group photos present unique challenges. 

    Basic principles for group shots:

    • Create depth by avoiding straight lines of people—unless you’re shooting a sports team photo that traditionally requires one or two straight lines of players
    • Stagger heights naturally using stairs, chairs, or standing/sitting combinations
    • Keep heads at different levels but close enough to feel connected
    • Position taller people towards the back or center
    • Arrange people in a slight arc to ensure everyone’s visible, like in Ora’s team photo below with the two people on both sides slightly turned inward
    • For large team shots, shooting from an elevated position, such as another floor, can help include everyone, but you could also use a drone
    • Shoot more photos than you think you’ll need—there’ll always be someone blinking so it’s best to have more images to pick from

    Ora about page showing the founders and their story

    For professional teams:

    • Keep poses consistent but not identical
    • Use the rule of thirds to arrange larger groups
    • Break bigger teams into smaller clusters
    • Maintain equal spacing between subjects
    • Ensure everyone’s shoulders are angled slightly rather than square to the camera—or, if facing the camera directly, ask the subject to shift weight from one leg to the other 

    two group shots, side by side, the group shot on the left has three older women standing and the group shot on the right has five diverse adults standing

    For family portrait poses:

    • Create natural connections through gentle touching (hand on shoulder, arms linked)
    • Position children in front or held by parents
    • Use props or furniture to create natural groupings
    • Let small kids move around and play between shots to stay engaged
    • Capture both formal and candid interactions—experiment with both seated and standing poses
    • Switch between some or all subjects looking at the camera to fully candid shots

    family portrait of two adults and two children in a casual home setting

    Common posing challenges and tips to solve them

    Even experienced photographers run into tricky posing situations. Maybe you’ve got a group with significant height differences, someone nervous about being photographed, or the shoot ran late so now you’re rushing to cover all your bases. So, what are some common challenges you might run into?

    Height differences

    If you have subjects with drastically different heights, it can make for an awkward portrait. Position taller people slightly behind or sitting. Seated poses work the best to tackle this, but that doesn’t mean you should avoid standing poses altogether. You can use elements like stairs or slopes to minimize extreme height gaps. 

    portrait photo of a group of students and their teacher in front of a blackboard

    You can also create diagonal arrangements instead of straight lines. Avoid placing the tallest and shortest people next to each other—unless they’re standing behind each other.

    Confidence issues

    If your subjects are camera-shy, start with simple poses to build trust. Give specific compliments about what’s working well, and show them the preview shots when you capture something great. 

    It’s a good idea to have a few go-to safety poses that work for most people. Some might also feel more relaxed if there’s music playing in the background, especially if you’re shooting in a studio.

    Your own confidence and body language as the photographer make a difference too—stay positive or even a little goofy if appropriate. Make sure to edit your portraits and headshots to show your subjects in the most flattering way while keeping their appearance natural

    Photographing glasses and reflections

    If shooting something reflective in the frame, slightly tilt the head down to avoid glare. You can also ask subjects to push their glasses slightly up their nose. Position lights at angles that don’t create reflections. If the reflection doesn’t cover the subject’s eye in full, you can always fix it with retouching.

    Rushing through poses

    Prepare a shot list ready but be flexible—you can have the shot list on your phone or even photograph it so you can flick through your camera during the shoot without stopping the session.

    Start with your most reliable poses first. Give clear, concise directions, and keep subjects engaged by showing progress.

    Are you ready to direct your next portrait shoot?

    Working with people can be unpredictable because everyone’s unique—but that’s exactly what makes portrait photography so rewarding. The trick is to adapt your approach for each subject while keeping your photo quality consistent. With these posing guidelines, you’ll be better equipped to direct any portrait session confidently, from corporate headshots to family gatherings.

    And if you need help getting those portraits polished and ready to share, our team of expert editors at Path can handle the retouching while you focus on capturing more great shots.

    Polish up your portraits with pro retouching from 79¢ per image

    Portrait poses FAQs

    How do you pose for a professional headshot?

    Start by turning your body 45 degrees from the camera, then face back toward it. If you’re standing, shift your weight to your front leg, keep your shoulders relaxed, and lean forward slightly from the hips. Small adjustments make a big difference—change arm positions between shots and keep movements subtle. Allow yourself to smile and laugh, too!

    How do you look professional in a headshot?

    • Maintain good posture without looking stiff
    • Keep shoulders back but relaxed
    • Sit at the edge of your chair for seated shots
    • Cross ankles instead of legs
    • Let hands rest naturally

    What are the best poses for group photos?

    Avoid straight lines of people. Instead, create depth by staggering heights using stairs or chairs, and arrange people in a slight arc. For professional teams, keep poses consistent but not identical. With families, encourage natural connections through gentle touching like hands on shoulders.

    What are common mistakes to avoid when posing subjects?

    Common portrait mistakes include forcing unnatural smiles, rushing through poses without direction, and not adapting poses to fit different subjects. Stay engaged with your subject throughout by having a conversation and provide positive feedback. If something doesn’t work, simply switch to the next pose.

    How to pose different body types?

    Work with your subject’s natural body language instead of forcing uncomfortable poses. The 45-degree angle works well for most people, as does shifting weight to one leg. For seated poses:

    • Focus on good posture
    • Create asymmetry through slight head tilts
    • Adjust your camera position rather than making subjects twist
    • Make sure subjects feel confident in their pose
    • Don’t let the subject sink back into a soft chair or sofa

    How do you pose someone who is camera shy?

    Start with simple poses and build trust gradually. Show them preview shots when you capture something great, keep the conversation going, and guide them into different poses smoothly. Playing background music can help relax in studio settings.



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  • Backscatter Introduces Excitation Filters for Fluorescence Photography and Video

    Backscatter Introduces Excitation Filters for Fluorescence Photography and Video


    Backscatter is getting into the fluroresence photography and video game with the latest accessories for its Hybrid Flash and Macro Video 4300—the new Backscatter Hybrid Flash Fluorescence Excitation Filter and Backscatter Video Light Fluorescence Excitation Filter, respectively. The former attaches to the HF-1 using the diffuser bayonet mounting system, while the latter snaps onto the front of the MW-4300 the same way as Backscatter’s color filter holder, and both filters are carefully tuned to excite fluorescence optimally. (The latter is also compatible with the Backscatter Mini Flash, but since fluorescence is a weak effect, Backcatter says you’ll get more vibrant images by making use of the power of the Hybrid Flash instead.)

    The new blue excitation filters for the Hybrid Flash and Macro Video 4300 are used in conjunction with suitable yellow “barrier” filters that attach to ports, lenses, and filter mounting systems. The barrier filter removes the blue light in your image or video, ensuring your camera records only the colorful fluorescence that is left behind. Backscatter offers threaded barrier filters in various sizes (52mm, 55mm, 67mm) as well as a barrier filter for the company’s FLIP filter system for GoPro. Also available is the Backscatter Fluorescence Yellow Barrier Filter Dive Mask, which allows you to find suitably fluorescing subjects.

    To give you a better idea of the amazing results you can achieve with the new excitation filters, Backscatter has prepared a must-read article, “The Backscatter Underwater Fluorescence Strobe & Lighting System,” which tells you more about the fluroresence phenomenon, gives you recommended settings to get the best results, and, of course, offers lots of inspiring fluoro images to get your creative juices flowing. Available now, the Backscatter Hybrid Flash Fluorescence Excitation Filter and Backscatter Video Light Fluorescence Excitation Filter are each priced at $200. The barrier filters cost between $20 and $50.

     

    Left: Backscatter Hybrid Flash with Fluorescence Excitation Filter.

    Right: Backscatter Macro Wide 4300 with Fluorescence Excitation Filter

     

    Left: Fluorescence Excitation Filter for Backscatter Hybrid Flash.

    Right: Fluorescence Excitation Filter for Backscatter Macro Wide 4300

     

    Left: Threaded Fluorescence Barrier Filter (52mm, 55mm, 67mm).

    Right: FLIP Fluorescence Barrier Filter for GoPro

     


    When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.





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  • Packing For An African Safari (Updated)

    Packing For An African Safari (Updated)


    The notes below are specific to Kenya but having done safaris in Zimbabwe and South Africa as well, most of these suggestions apply just as well to other places.

    I’ve been asked over the years, both by my safari clients and others, what and how to pack for a trip like this, so it felt like this might be a good time to explore that for those who are curious. If you and I were sitting down over a glass of wine and you told me you were planning a safari and asked me for my advice on packing, here’s what would be most likely to tumble out of my mouth, in no particular order. This is a long one, so you might want to get that glass of wine (or cup of coffee) now.

    Arrive Early

    Most flights into Nairobi arrive late at night, usually from 9 pm to midnight. You clear customs, grab your bags, and head out of the airport to take your first breath of air—a mix of dust and diesel and the heady promise of adventure. If you’re on one of my trips, a driver will pick you up and take you to your hotel for whatever sleep you can get before an early breakfast and a short flight to the Maasai Mara. That’s if it all goes well: if there are no delays, no missed connections, and no lost luggage.

    My recommendation is to arrive at least one night earlier; I prefer to spend two or three nights at The Emakoko. Located in Nairobi National Park, staying at The Emakoko means I’m in a Land Cruiser and out of the city within 20 minutes of walking out of the airport (about 40 minutes to the actual camp). And when the sun comes up the next morning, I’m photographing rhinos and lions in the morning light, shaking off the dust and jet lag while waiting for my clients to arrive. (The Emakoko is lovely but not inexpensive. If I don’t have time or budget, I stay at the Emara Ole Sereni)

    And if there’s a problem with international flight delays (or wayward luggage), I’ve got time to sort that out before I need to be on a small plane heading to the Mara or whichever area I’m exploring. Planning to arrive two nights before you’re meant to be on a charter flight to the Mara (or Amboseli, or Meru, or wherever) provides a buffer and some peace of mind. And if you want to get out to see things like the Giraffe Centre, the Sheldrick Elephant Trust, or just spend the day exploring and photographing in Nairobi National Park, this gives you time to do that.

    Pack Light

    This is easily the hardest part of most safari travel. Sure, your international flight to Nairobi will let you carry 50 lbs (or more) of checked luggage and maybe as much as 50 lbs in your carry-on luggage as well. So bring it all, right? But the problem arises when you need to get on a small Cessna and they tell you you’re limited to something insane like 25 lbs—total! It’s an impossible ask of photographers with gear.

    Even if I didn’t bring a stitch of clothing (look away!), my camera gear alone weighs more than this. The workaround is to book an additional seat or child’s seat with your airline (usually SafariLink), or to travel with a small group specifically catering to photographers, like one of my trips, in which case we just charter the whole plane. Weight limits of some sort still apply, but they’re much less restrictive. Mercifully, my clients can now pack a few pieces of clothing as well.

    Once you arrive at your safari camp, you need very little. A couple changes of clothes is really all you need as there’s basic laundry at most camps. Bring a sweater or light jacket as the mornings can be cool. Bring a rain shell if you’re there during the rainy season. You’re not there to make a fashion statement, so just bring the basics. But do be aware of what your limits are before you get there and plan for those limits (everything is negotiable) or you’ll find yourself frustrated and stressed out when all you want to do is board your plane. If you’re going with a group or you’ve got a safari organizer, be sure to ask about this. Of course, if you’re driving to the Mara (or whichever area you’re visiting) it becomes a non-issue, but I wouldn’t trade more time on safari for unlimited gear and the long drive ever again. A 45-minute flight compared to an eight-hour drive on Kenyan roads? That’s an easy choice for me.

    Soft Luggage

    The other thing to keep in mind is your luggage itself; the smaller planes really don’t like rigid luggage, so leave the hard shell suitcase at home. Pilots like to be able to get as much luggage as possible into the small holds, and large rigid suitcases make this more difficult than it needs to be. They’re also heavy, so if you want to save weight and not get your pilot’s nose out of joint, stick to something soft. I like the Base Camp series of duffel bags from The North Face. I’ve got five of these bags in different sizes, and they’ve never failed.

    (Updated: as of 2025 I’m using a Patagonia 70L Black Hole Wheeled Duffel. In June 2023 I had my right leg amputated below the knee and find a wheeled duffel easier for hauling my gear)

    The North Face Base Camp Duffel has been around the world with me, in various sizes and colours for many years. Reasonable weather-proof and extremely durable, these (or something like them) are my recommendation.

    In addition to what I wear as I travel, here’s what’s in my duffel for most of my trips:

    • 2 long-sleeve buttoned shirts (lightweight and synthetic) 
    • 1 warmer long-sleeve shirt (I like merino wool)
    • 2 pairs underwear
    • 2 pair of socks
    • 2 pairs lightweight long pants
    • Lightweight flip-flops/sandals
    • Shorts that double as swim trunks
    • 1 baseball or sun hat 
    • 1 sweater, merino wool (I like the Icebreaker brand)
    • 1 lightweight puffy jacket (Patagonia) for cooler mornings
    • Light gloves and toque
    • Lightweight rain coat (Patagonia)
    • 2–3 Buffs, which are handy fabric tubes that can be worn around your neck to protect from sun, pulled over your nose and ears to keep pesky flies out, and wrapped around lenses and camera bodies to protect them in transit. I love my Buffs!

    What About Footwear?

    My favourite slide-on/slide-off boots are Blundstones, and they’ve been around the world (and on safari) with me many times. You don’t usually need much more than light sneakers or ankle boots for safari because you’re not often out of the vehicles unless you’re on a walking safari. Don’t weigh yourself down with heavy leather hikers. I have clients who happily wear sandals all day, though I prefer to keep my feet covered and out of reach of bugs (especially ticks which freak me out!)

    About Carry-On Bags

    Now, this all assumes you’ve managed to get to Kenya in the first place without running the gauntlet of various luggage limitations imposed by international carriers. Since they all differ, the best thing you can do is check your limits and buy a decent luggage scale and keep it with you as you pack.

    My last British Airways flight to Kenya (YVR – LHR – NBO) allowed me two pieces in the cabin, each up to 23 kg (or 51 lbs). That’s generous; many airlines don’t give you this much. To my surprise, Air Canada is currently limiting the size and number (2) of carry-on bags but is saying that no specific weight limits apply. I’m not sure when that change happened, but it’s welcome! Know your limits and work within them.

    My carry-on bags are the Gura Gear Kiboko 30L and the Gura Gear Chobe 16″. Both are lightweight, can carry a ton of stuff, and still fit in almost every overhead bin I’ve ever tried and under some of the tightest seats, and they look like they carry less than they do. I own seven different Gura Gear bags, they’ve been to 7 continents with me, and they’re my hands-down favourites for my long-lens trips. Read more about them in this post here.

    One of my Gura Gear Kiboko bags (left and centre) and my Gura Gear Chobe (right). Made from a durable sail cloth these are lighter than any other bag of the same size that I’ve used.

    About Gear

    For most trips, I pac the following in my Kiboko 30L backpack (carry-on #1):

    • 2 x Sony a1 bodies with vertical battery grips
    • 24-105/4.0 lens
    • 100-400/4.5-5.6 lens
    • 600/4.0 lens or 300/2.8 lens
    • 1.4x  and 2x teleconverters
    • 8 batteries for the cameras (lithium-ion batteries cannot go in checked luggage)
    • 1  small Petzl USB-rechargeable (lithium-ion) headlamp (don’t overlook this; you’ll be starting and ending the day in the dark, and having a hands-free light to find things while you’re bumping around in the truck at the edges of day can really help)
    • 1 card wallet with 10 x 256 GB SD cards (bring more than you think you need)

    *A note about packing lenses: don’t travel with them attached to your camera bodies, especially longer lenses, which act like levers. It’s just too easy for the weak point—where the lens and body connect—to fail if a bag gets dropped. Keep them separate in transit and put them together when you get to your camp.

    I pack the following into my Gura Gear Chobe bag (carry-on #2):

    • 1 x Apple MacBook Pro 13″
    • 2 x Samsung 4TB SSD hard drives (SSD drives have no moving parts and are much faster and more durable than drives with spinning platters (and they’re so small I can put one in my passport wallet)
    • 1 card reader and one hub to connect it all
    • Power cables and plug adapter (Kenya uses type G, the same as the U.K.)
    • Sony battery chargers x 2
    • 1 novel
    • 1 journal and pens
    • Apple AirPods Max
    • Passports, copies of my visa, and relevant vaccine passports (copies of all these are also in the cloud on Dropbox, just in case)
    • iPhone
    • Sunglasses
    • Medications and a couple of meal bars
    • Cash for tips and emergencies (USD in newer, smaller bills—most camps take credit cards, but it’s good to have a few hundred bucks in cash to tip your drivers)

    On other trips when weight limits are tighter (for example, on Lufthansa, I’m allowed two carry-on bags, but each max out at 8 kg/roughly 18 lbs, and that’s for the business class cabin!), I move some of the heavier stuff from the big bag into the smaller one because the big bag is most likely to draw attention and get weighed. Fortunately, the airlines don’t like putting expensive gear, lithium-ion batteries, or life-saving medication in the hold, and that pretty much covers everything in my bags!

    What I like about this set-up is that when I get to camp, my computer and personal stuff is all in one bag that stays in my tent, and once my gear is all together, I have only one backpack and a long lens and camera to take to the Land Cruiser for game drives. It’s easy to work out of and still keep my stuff (as well as a raincoat, a sweater, and a bottle of water) all together.

    So, Which Lenses?

    I’ve listed above which lenses I bring. Out on the savannah, you’ll have plenty of times when the 24-105mm will be perfect (the lions and beasties almost within touching distance), and the wider focal lengths for landscapes and shooting the adventure itself are great. Other times you’ll want the reach of a longer lens.

    Do you need a 600mm lens? No. In fact, longer lenses are bigger and weigh more, and you might be better off with a 300/2.8 and a 1.4x or 2x tele, depending on the quality of images you get with your particular glass. A 1.4x on my Sony 600/4.0 is amazing and gives me the extra reach. Another way to get some extra reach might be to bring one body that’s not full-frame in order to take advantage of the crop factor.

    If I have lenses that cover from about 24mm to 600mm I’m happy. That could be a 24-105, 100-400, and a 600mm or a 300 with a 2x. It could also be a 16-35, 70-200, and 600 or 300 with a 2x. Or it could be 24-105 and 200-600. Whatever the combination, 24 to 600 is perfect coverage for a safari.

    The other consideration is not only reach but how much light it lets in. Some of the best opportunities I’ve had in the softer light on either side of the day have benefited from a lens that lets more light in, but if your camera does well at low-light/high-ISO, then just nudge that ISO up. It’s always a compromise (with budget as well), and for many people, the best compromise might be something like a slightly slower zoom lens rather than a long fast telephoto. And because you are usually confined to vehicles, generally choosing zoom lenses over fixed primes will give you some flexibility with your compositions. I personally don’t think there’s any reason to bring more than three lenses on safari.

    Instead of the big heavy 600mm and the 100-400mm, you could bring a lens like Sony’s excellent 200-600/5.6-6.3. As long as I could get to about 600mm of reach with focal lengths in between from about 24mm, I’d be happy on safari.

    (Updated: Sony now makes a 300/2.8 lens that is gorgeous and, coupled with a 2x teleconverter, gives me the option of a 600/5.6 at a fraction of the weight. My 600/4.0 mostly stays at home now.)

    Remember, some of this glass is prohibitively expensive, especially if you’re not doing this often, and this is where I suggest you consider renting. Don’t buy a $10,000 lens when you could rent one and get access to a much longer, faster lens for much, much less.

    Which Camera?

    Well, for most of us, the answer is “whichever cameras you own.” But something with decent high-ISO performance, a fast burst mode, and quick autofocus will serve you well. It’s probably more important that you have two of them so you have a backup if one fails, and so you don’t have to change lenses too often in what is often a very dusty environment. Most of the time, I’ve got one body with my 600mm and mounted to a monopod, and the other with my 100-400mm sitting in my open bag at my feet.

    Batteries?

    Bring enough batteries for a long full day of shooting a lot of frames. Most lodges have easy access to charging stations, but you’ll want to be sure you can shoot all day. Not every camp has charging stations in the tents, so it’s helpful to label your batteries and chargers just so you know what belongs to who if there are others there with similar gear.

    SD Cards?

    Bring them all. My hard drives max out at 4TB, so I have 4TB of cards (mostly 256GB, but some older 128GB cards, just in case). They weigh nothing, so if you’ve got’em, bring’em. I make sure I have enough cards and hard drives that I can arrive home with everything backed up on two drives and not have to reformat or re-use my cards until the images are safe at home.

    Anything Else?

    • 1 x 4-outlet power strip with USB (this means I only need one plug adapter and can charge multiple things at once—handy if there are other photographers wanting to use a limited number of outlets)
    • A rocket blower and small sensor cleaning kit
    • 6-8 microfiber lens cloths in a Ziploc bag
    • Small multi-tool (Gerber)
    • 2 x garbage bags in case it rains or my big gear needs quick protection from dust
    • Tiny roll of duct tape and tiny tube of Superglue
    • Tiny pocket-sized first aid kit
    • Spare glasses and sunglasses (if I can’t see, the trip is over!)
    • Binoculars (although the camps often provide them, I like using my own—and if I’m cutting bag weight, these are the first to get left at home)
    • Monopod (Really Right Stuff) with a gimbal head specific to monopods (I use and HIGHLY recommend the Wimberley MH-100 – it’s the best $170 I’ve spent on photography. Hate using a monopod? Me too. This small head changed that.)

    About Support

    Longer lenses mean the need for some kind of support. Sure, you could just hold that 600mm (it weighs 3 kg without the camera), but not for very long! Wildlife requires a lot of patience and waiting, and you want to be ready when the action happens, not sitting there with a camera on your lap.

    For years I brought a bean bag filled with lightweight buckwheat husks, and filling it at home saves you from having to find beans or some other filler when you get to camp. I still suggest this for those who don’t want a monopod or who use lighter lenses, but many vehicles (especially the open-sided ones that are best for photography) don’t have a great place to put a bean bag, or if they do, they’re so low you couldn’t see through the viewfinder if you wanted to (tilting LCD screens to the rescue).

    What About Tripods?

    I haven’t packed a tripod for safari in 12 years, but a few years ago I started using a monopod, and with the right gimbal head for lenses with a tripod collar, it’s amazing. 

    I keep my monopod collapsed and rest it on the seat or my thigh most of the time. But I can also expand it and rest it on the floor, or expand it more completely and rest it on the ground outside the vehicle to get my camera much lower. And once it’s up, I can sit for hours, holding it loosely, with my camera aimed where I want it. I can’t believe I waited this long to shoot this way. And if you don’t want it, take it off, and it’s out of the way.

    So, ahem, while we’re talking about support, Cynthia and other female clients have told me often that a good sports bra is a welcome addition to my suggested packing lists. There is a lot of bouncing around in the safari vehicles and for those for whom that might matter (you know who you are), a little extra support might go a long way.

    My first Kenyan safari was over 15 years ago, and it changed my life. We now spend every January (pandemic notwithstanding) exploring this wonderful country. For wildlife lovers, it’s an extraordinary experience. But it’s not only the fantastic animals: it’s the light, the landscapes from which the human race sprung, and the people. I feel so…home here. If you’re at all curious about exploring or photographing Kenya, I’d love to answer any questions you may have in the comments below this post.

    Or you could come with me. Add your name to my Adventure List and you’ll be among the first to hear about new opportunities.

    I’ve got an incredible safari planner, and if it might help you plan your own trip, let me know in the comments, and I’ll introduce you by email. He’s my secret weapon.

    Got a question about gear? Let’s talk about that, too. It’s taken me a long time to dial this in, and I’d like to make it easier for you if I can. There’s so much I didn’t cover in this article, but if you’ve got questions, let’s explore them!

    For the Love of the Photograph,
    David





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  • The best carbon fiber tripods for 2023, tested and reviewed

    The best carbon fiber tripods for 2023, tested and reviewed


    We may earn revenue from the products available on this page and participate in affiliate programs. Learn more ›

    Carbon fiber tripods offer several very tangible advantages over their metal counterparts. They are stiffer, stronger, and more durable than aluminum. Despite those things, they also weigh significantly less than aluminum, making them a popular choice for travel and landscape photography. Of course, they also will cost you more than an aluminum tripod, but for many, it is worth it. The best carbon fiber tripods will help you get stable shots while making it easier to bring a tripod along.

    How we chose the best carbon fiber tripods

    The writers and editors at Pop Photo have decades of photography experience across the full spectrum of photographic genres and equipment. We’ve used our fair share of tripods in a wide variety of situations, from cheap plastic and heavy aluminum to more advanced carbon fiber models.

    When selecting the carbon fiber tripods on this list, we aimed to choose options suitable for different pursuits, from travel to studio work. And while carbon fiber tripods are pricier than aluminum, we looked for products at various price points to suit different budgets. In addition, durability, sturdiness, and ease of use were all part of our decision-making process. Lastly, though tripods aren’t exactly feature-rich, we looked for options with enough features to make them versatile and usable in different–even challenging–situations.

    The best carbon fiber tripods: Reviews & Recommendations

    There is certainly no shortage of carbon fiber tripods available. Below you’ll find our favorite options for a variety of situations and use cases, so you’re sure to find one that fits your needs.

    Best overall: Peak Design Travel Tripod

    Why it made the cut: Peak Design’s Travel Tripod weighs only 2.8 pounds and folds down to the width of a water bottle while still being able to support up to 20 pounds.

    Specs

    • Maximum height: 60 inches
    • Minimum height: 5.5 inches
    • Weight: 2.8 pounds
    • Weight capacity: 20 pounds
    • Folded length: 15.5 inches

    Pros

    • Includes a ball head
    • Compact and lightweight
    • Good height range
    • Excellent strength-to-weight ratio

    Cons

    • Expensive
    • Only two leg angles

    Originally released through a Kickstarter campaign in 2019, the Peak Design Travel Tripod made waves thanks to the unique leg design. When folded down, it is just 15.5 inches tall and about the diameter of a water bottle. That makes it very easy to throw in a backpack‘s side pocket instead of fumbling with attachment points and straps.

    The five-section legs can all be deployed at once with the aluminum lever locks to save time–and to look really dramatic. It can support up to 20 pounds and is very sturdy, considering its small size. The included ball head is minimal and aids in the tripod’s compact design. Instead of levers and knobs like normal tripod heads, there are simple locking and adjustment rings.

    The Peak Design carbon fiber tripod can extend to 60 inches with the center column or 51.25 inches without that extended. For low angles, the center column reverses and hangs underneath the legs. There is also a removable hook on the center column, so you can easily hang weight to add stability. And this tripod comes with a slick travel bag, mobile mount, and hex wrenches. The mobile mount is a nice touch and makes this tripod excellent for all sorts of creators.

    Best for hiking: Manfrotto Befree Advanced

    Why it made the cut: Its lightweight form factor but very adjustable height and 20-pound weight capacity make this a great option to take backpacking. 

    Specs

    • Maximum height: 59.1 inches
    • Minimum height: 16 inches
    • Weight: 2.8 pounds
    • Weight capacity: 19.8 pounds
    • Folded length: 16.1 inches

    Pros

    • Includes a ball head
    • Lightweight and compact
    • Three leg positions
    • Well-designed twist lock legs

    Cons

    • Center column doesn’t move as smooth as the legs

    Manfrotto’s Befree line has been a popular choice for travel and adventure photographers for years. The Advanced version brings a higher weight capacity to the line, able to support nearly 20 pounds. It weighs the same amount as the Peak Design tripod mentioned above, though it is slightly larger when folded down. However, it still fits nicely into a side water bottle pocket on a hiking backpack. And the extra space between the legs makes it easier to secure with a strap for peace of mind while hiking.

    The Befree Advanced tripod comes with a ball head, or you can also get it with a fluid head if you need smoother movements for shooting video. The ball head offers 360 degrees of swivel and can tilt 90 degrees for portrait orientation as well. It’s easily controlled via the large knob, even if you have gloves on. The center dial in the control knob allows you to adjust the tension and get more precise positioning. 

    The legs are made up of four sections and are locked into place using twist locks. Unlike other tripods I’ve used, the leg sections don’t automatically extend when untwisting the locks, which is good and bad. It takes a little more time to set up but is less of a pain when putting the tripod away or if you forget to lock one down all the way. The legs lock at three different angles, giving you lots of flexibility. 

    Best rugged: 3Pod Everest T3

    Why it made the cut: As the name suggests, the Everest T3 is built for harsh conditions. It is cold weather resistant, features CNC machined dust-proof construction, offers anti-corrosion faces, and comes with spiked feet for better traction.

    Specs

    • Maximum working height: 64.17 inches
    • Minimum working height: 13.4 inches
    • Weight: 3.2 pounds (without ball head)
    • Weight capacity: 33 pounds
    • Folded length: 19.7 inches

    Pros

    • Sturdy, heavy-duty build
    • Built for harsh environments
    • Comes with spiked feet for added grip
    • Available with or without a ball head

    Cons

    Photography can take us to some wild, rugged places. The 3Pod Everest T3 is up for the challenge, thanks to a seriously rugged build. 3Pod made this tripod with CNC precision for a dust-proof design. It’s also cold weather resistant, meaning the joints will keep moving even in extreme cold. The grippy material on two of the legs makes it easier and more comfortable to hold in the cold, even if you have gloves on.

    The legs of the Everest use a twist lock design for quick assembly and breakdown. It comes with 3Pod’s H4 ball head (or you can opt for a version without a head) and Arca-Type quick-release plate. The ball rotates very smoothly with just enough resistance. Two bubble levels help you ensure your shots are level in-camera. This carbon fiber tripod can extend to 5.3 feet with the center column extended or 4.4 feet without the extra extension when you need extra sturdiness. Should you need a low-angle shot, you can remove the center column to get shots as low as 13.4 inches. You can invert the center column for creative angles as well.

    The main downside to the Everest T3 is that it’s a fairly bulky tripod. It weighs 3.2 pounds and is pretty long, even when folded down. But, the heavy-duty design results in a 33-pound weight capacity. Should you want something more robust, 3Pod also makes a larger version—the Everest T5—which offers a 55-pound load capacity and 6.6-foot maximum height.

    Even more carbon fiber tripods to consider

    If one of the three above doesn’t tick all the boxes for you, check out these additional options.

    Best for versatility: Manfrotto MT055CXPRO4

    Why it made the cut: This versatile Manfrotto tripod can go from 3.5 inches to 66.9 inches, thanks to the angle selectors on the legs and sturdy center column. Plus, it has a convenient attachment point for arms to hold accessories like reflectors.

    Specs

    • Maximum height: 66.9 inches
    • Minimum height: 3.5 inches
    • Weight: 4.6 pounds
    • Weight capacity: 19.8 pounds
    • Folded length: 21.3 inches

    Pros

    • Ample height range
    • Sturdy and durable
    • Center column bends 90 degrees
    • Includes attachment point for accessories

    Cons

    • Tripod head must be purchased separately

    Manfrotto has long been one of the top tripod producers. Its MT055CXPRO4 is an extremely popular tripod, and for good reason. At  4.6 pounds, it weighs a bit more than some of the other models on this list. But it is very sturdy and supports nearly 20 pounds, which is more than enough for a full-frame camera and hefty telephoto.

    Each leg features Manfrotto’s Quick Power Locks (a type of lever lock), which are easy to use but extremely sturdy. The legs can be set to multiple angles, allowing you to set the tripod as low as 3.5 inches. You’ll be able to get some really dramatic and unique angles for landscapes while still getting stability from a tripod.

    With the center column extended, you’ll get 66.9 inches of height. Manfrotto redesigned the center column on this carbon fiber tripod to enable one-finger operation, so you’ll be able to raise it with much less fuss. And the center column can bend 90 degrees for better versatility or more unique angles. There is an Easy Link attachment point for adding accessories like a LED light or reflector with a compatible arm.

    At the top of the tripod is a bubble level that swivels 360 degrees so you can see it no matter how you have your tripod set up. But, you will need to purchase a head for this tripod separately. For most people, we’d suggest Manfrotto’s XPRO Ball Head.

    Best for landscape photography: 3 Legged Thing Leo 2.0

    Why it made the cut: It can hold up to 66 pounds, so even if you use a large camera and bulky lens, you won’t have to worry about stability. And yet, the tripod only weighs 4.8 pounds, so it will still be feasible to pack on a trip.

    Specs

    • Maximum height: 54.3 inches
    • Minimum height: 4.9 inches
    • Weight: 4.8 pounds
    • Weight capacity: 66 pounds
    • Folded length: 14.7 inches

    Pros

    • Heavy weight capacity
    • Good height range
    • Lightweight and compact
    • Highly modifiable

    Cons

    • Not as tall as other options

    3 Legged Thing is a small British company that was launched in 2010. The Leo 2.0 has a surprising weight capacity, supporting up to 66 pounds. So even if you use a large DSLR or medium format camera with a heavy lens, this tripod will be able to handle it. And yet, the tripod only weighs 4.8 pounds with the head attached, which is only slightly heavier than the Manfrotto 055. 

    One of the best things about the Leo carbon fiber tripod is that it is very modifiable. Each leg can be removed and acts as a monopod. The center column can either be removed entirely or inverted to get lower to the ground. And you can purchase tripod feet for better stability on different types of surfaces.

    This tripod comes with a carrying case and also the 3 Legged Thing Toolz multi-tool for adjusting various parts of the tripod. It can’t extend quite as high as other options, but the ability to modify it so much and the large weight capacity are huge benefits. 

    Best heavy-duty: Gitzo GT5533S Systematic Series 5

    Why it made the cut: The Gitzo Systematic Series 5 holds a whopping 88 pounds, making it the ideal choice for those shooting with large cameras and lenses.

    Specs

    • Maximum working height: 52.8 inches
    • Minimum working height: 3.9 inches
    • Weight: 6.2 pounds 
    • Weight capacity: 88 pounds
    • Folded length: 24.4 inches

    Pros

    • Very heavy duty
    • Available in different heights and configurations
    • Exceptionally sturdy
    • Feet are articulating for better stability

    Cons

    • Center column or head must be purchased separately

    If the 3 Legged Thing doesn’t provide enough stability for you, the Gitzo Systematic Series 5 will. It supports up to 88 pounds, which is ideal for those using large lenses or cameras. Even if you use a large format camera, you’ll get enough support from this carbon fiber tripod. Even when the legs’ three sections are extended, the tripod is extremely sturdy with limited flex.

    The Systematic Series is unique in that they do not include center columns, unlike other tripods. Center columns are not very sturdy when extended, so it makes sense to leave that out if you want the most stability. It does, of course, limit the height you can get from the tripod, but luckily Gitzo makes different heights in this line. 

    Like the 3 Legged Thing, Gitzo sells lots of accessories compatible with this tripod line. For example, should you want a center column, you can add a compatible one, as found on Gitzo’s website. You’ll also need to purchase a tripod head if you want more than the flat top plate. And there are also alternative types of feet available for better stability on different surfaces. 

    Best budget: Neewer 66 Inch Carbon Fiber Tripod

    Why it made the cut: At a much more affordable price, this budget carbon fiber tripod still offers support for up to 26.5 pounds and can convert into a monopod.

    Specs

    • Maximum height: 66 inches
    • Minimum height: 23.2 inches
    • Weight: 3.40 pounds
    • Weight capacity: 26.5 pounds
    • Folded length: 19.3 inches

    Pros

    • Can be broken down into a monopod
    • Affordable
    • Comes with a ball head
    • Center column can be inverted

    Cons

    • Does not go very low
    • Not as durable as other options

    Neewar is fairly well known for its affordable lighting and accessories. Like its other gear, its carbon fiber tripod is much more affordable than other brands but still offers a good amount of quality and features. Unlike more expensive options, it comes with a ball head, so you don’t need to purchase it separately. 

    It supports up to 26.5 pounds, so even somewhat heavy cameras and lenses will work. And it only weighs 3.4 pounds, so it won’t be too much trouble to pack with you on trips. You can break it down into a monopod, so it is multifunctional. And the center column can be inverted if you want low to the ground shots. The legs have three sections and are controlled via twist locks.

    Of course, with the budget price comes some downsides, though they are luckily minor. The included ball head isn’t all that stable, so you may want to invest in a better tripod head if you will be pushing the weight limit of this tripod. And some have had issues with pieces breaking after not all that much use. It may not last as long as more expensive options, but if you want to get started with a tripod without breaking the bank, this still is a great option.

    Things to consider before buying the best carbon fiber tripods

    Tripods, in general, aren’t exactly feature-packed, as they are pretty basic, straightforward pieces of equipment. But, that said, there are still some vital things to pay attention to before purchasing to ensure that it will fit your needs and work with your camera setup. 

    Weight

    Though carbon fiber tripods weigh less than their aluminum counterparts, their weight still varies across different brands and models. And while you may assume you need to find the lightest option, that won’t always be the best. Lightweight tripods lose stability unless you add weight to them. That could be via sandbags or a backpack hung from the center column. Without added weight, the tripod may be prone to getting blown over by strong winds or tipped over if bumped. So, if you are looking for a sturdy option and don’t want to fuss with adding weight, go with a heavier tripod.

    On the flip side, if you travel or like to have a tripod while hiking, be sure to go with a lightweight option. Tripods are never all that convenient to carry along, but if it weighs a lot, you definitely won’t want to bring it along. 

    Capacity

    Beyond the weight of the tripod itself, tripods will be able to support different sizes of cameras and lenses. For example, some tripods are only suitable for lightweight mirrorless setups with small lenses, whereas others can hold heavy medium-format cameras. 

    Before purchasing a tripod, be sure to do a rough calculation of what your heaviest setup will be. Look up the weight of your camera and largest lens to ensure that the tripod and tripod head you are considering is able to support that much weight.

    Maximum and minimum height

    All tripods will be able to extend only so far. Some will be able to go quite high with the help of a center column, while others won’t go beyond eye level, if that. If you like to get serious height with your tripod for unique perspectives, be sure to look for a tripod with a tall maximum height. 

    On the other side, some tripods can’t go lower than the closed length of the tripod. Some, however, allow you to bend the legs out, resulting in the camera sitting very low, sometimes just inches off the ground. This ability is ideal for landscape photographers who want dramatic angles or like to focus on things in the foreground. If you want more flexibility with angles, be sure to look for a tripod that can get low as well as high.

    FAQs

    Q: Are carbon fiber tripods worth it?

    Carbon fiber tripods are worth it for some people, but not all. Those who travel or hike a lot will want a compact and lightweight tripod, as heavy or bulky ones will be frustrating to carry around. Carbon fiber tripods are smaller and lighter than aluminum alternatives, and those weight savings can absolutely be worth it. But, if you need a sturdy tripod for a studio or other general-purpose setting, a carbon fiber tripod may not be worth the cost.

    Q: How much do carbon fiber tripods cost?

    Carbon fiber tripods will cost you anywhere from around $150 all the way up to $1,700 or so. Typically, the more expensive the tripod, the sturdier it will be and the more weight it can support. 
    While you may be tempted to go with the cheapest carbon fiber tripod you can find, keep in mind that all carbon fiber is not created equal. A cheap carbon fiber tripod may actually be less durable and sturdy than an aluminum tripod that costs the same amount.  

    Q: Which is better, carbon fiber or aluminum tripod?

    Whether carbon fiber or aluminum tripods are better depends on your needs and preferences. Carbon fiber tripods are stronger, more durable, and lighter, making them the better choice for photographers who travel or use a tripod in harsh conditions. But, they are more expensive, and because they are so lightweight, they may need weight added in order to have enough stability.
    Aluminum tripods are much more affordable than carbon fiber, making them better for beginners. And, for those using big, heavy cameras or needing extra stability without additional weight, aluminum may be the better choice.

    Q: Can you buy refurbished carbon fiber tripods?

    Yes, you can buy refurbished and used carbon fiber tripods. This can be an excellent way to get a quality carbon fiber tripod while saving some money. You’ll find plenty of options on sites like eBay or the B&H used section.

    Final thoughts on the best carbon fiber tripods

    Carbon fiber tripods are not cheap pieces of gear, especially good ones. They are an investment, to be sure. But for a bit of equipment that can keep your camera safe and potentially improve your images, it is worth spending a bit more to ensure you have a reliable tripod that will last for years.

    Why trust us

    PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

    We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.





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  • Scott Lowden – A Photo Editor


    The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions.

    Today’s featured artist:  Scott Lowden

    Terra Nostra is an exploration of place, memory, and the invisible threads that connect us to spaces we inhabit. Photographed intuitively, the images embrace imperfection. Long exposures, soft focus, and alternative lenses let light and atmosphere shape each frame, softening sharp edges in favor of emotion and mood. These photographs prioritize feeling over documentation—a visual sense of how a place lingers in memory and spirit.

    This project resurfaced during five years spent with my father during his illness. Places like Kimmel Lookout in Pennsylvania became meditative spaces as I made photographs to help process the emotions of witnessing a loved one’s decline. Through these experiences, this series became a bridge between personal story and a broader connection to place.

    Terra Nostra invites viewers to step into the spirit of these spaces, to sense the echoes of the past and the presence of what endures.

    The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions.

    Today’s featured artist:  Scott Lowden

    Terra Nostra is an exploration of place, memory, and the invisible threads that connect us to spaces we inhabit. Photographed intuitively, the images embrace imperfection. Long exposures, soft focus, and alternative lenses let light and atmosphere shape each frame, softening sharp edges in favor of emotion and mood. These photographs prioritize feeling over documentation—a visual sense of how a place lingers in memory and spirit.

    This project resurfaced during five years spent with my father during his illness. Places like Kimmel Lookout in Pennsylvania became meditative spaces as I made photographs to help process the emotions of witnessing a loved one’s decline. Through these experiences, this series became a bridge between personal story and a broader connection to place.

    Terra Nostra invites viewers to step into the spirit of these spaces, to sense the echoes of the past and the presence of what endures.

    To see more of this project, click here

    Instagram

    Suzanne Sease is a creative consultant and former ad-agency senior art buyer. She works with both emerging and established photographers and illustrators to create cohesive, persuasive presentations that clients can’t resist.

    Suzanne offers something rare: an insider’s perspective on how client’s source creative talent. Her deep understanding of the industry is underscored by her impressive resume: 11 years as senior art buyer at The Martin Agency, seven years as an art producer for Capital One, and stints with the art-buying department at Kaplan-Thaler and the creative department at Best Buy, where she applied her expertise to reviewing bids to see which were most likely to come in on budget. Over the years, Suzanne has worked with a wildly diverse range of clients, including Seiko, Wrangler, Bank One, AFLAC, and Clairol Herbal Essence. Now, as a consultant, she is equipped to problem-solve for her clients from an unusually dynamic point of view.

    As a longtime member of the photo community, Suzanne is also dedicated to giving back. Through her Art of the Personal Project column on the popular website aphotoeditor.com, she highlights notable personal projects by well-known and up-and-coming photographers. The column offers these artists excellent exposure while reflecting Suzanne’s passion for powerful imagery.

    Instagram





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  • Destination Wedding Elopements Photographer :: Indian Weddings

    Destination Wedding Elopements Photographer :: Indian Weddings


    Destination Wedding Elopements Photographer :: Indian Weddings

    Kenyan Indian Asian Hindu Wedding Ceremony Gurdwara Nanaksar Kabete, Brookside Dr, Nairobi

    Destination Wedding Elopements Photographer :: Indian Weddings

    Specialists in Indian Wedding Photography over the years. We started with one Indian Wedding several years back and from there we were referred to another. From there, the effect snowballed, and now the majority of our weddings are for Indian couples. The journey has been amazing and we feel so blessed to be a part of the Indian Community, capturing some of the most elaborate, grand, and beautiful weddings in the world.

    Though Indian Wedding Ceremonies are spiritual and religious, they are also full of emotion and candid moments. Our style is to get a unique combination of wide-angle photos and close-up photos from a variety of angles, anticipating smiles and emotional moments during the Indian Wedding Ceremony. For example, we know that if a bride is being blessed by the married women in her life, there are going to be great emotional moments; and we know to get in position to capture them. In another example, we also know that after the couples walk around the fire, there is a good opportunity for some amazing laughs as they race to sit first!

    Beyond photographing the most important wedding moments, we emphasize capturing them with creativity. We’re always in search of reflections, interesting foregrounds and backgrounds, and the perfect light in our photography. Our unique combination of lighting techniques along with our creative post-production allows us to create amazing, creative imagery for your Indian Wedding.





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  • Editing Minimalistic Photography in Lightroom — Mikko Lagerstedt

    Editing Minimalistic Photography in Lightroom — Mikko Lagerstedt



    You can use multiple masks and make highly complex selections.

    You can also use the following manual masking tools:

    • Select the Graduated Filter tool from the toolbar on the right side of the screen. This tool allows you to apply a gradient effect to your photo, which can help draw the viewer’s attention to a specific area of the image.

    To use the graduated filter, click and drag on the part of the image where you want the effect to start. Then, release the mouse button where you want the effect to end. It will create a gradient effect that gradually changes the photo’s exposure, contrast, saturation, or other settings.

    • Next, you can use the Radial Filter tool to apply a circular gradient effect to your photo. It can help create a vignette effect or draw attention to a particular image area. To use the radial filter, click and drag on the part of the image where you want the center of the effect to be, and then release the mouse button to set the radius of the effect.

    • Finally, you can use the brush tool to apply effects to specific areas of the photo selectively. Select the brush tool from the toolbar on the right side of the screen and then adjust the brush settings to control the brush’s size, hardness, and other properties. Then, brush over the areas of the photo where you want the effect to be applied.

    Using these tools, you can create a more minimalistic photograph by selectively applying adjustments to specific areas of the image. It can help draw the viewer’s attention to the essential parts of the photo and create a more cohesive and balanced composition.

    4. REMOVING DISTRACTIONS

    One of the most helpful ways to make your photograph more minimalistic is to remove distracting elements. In Lightroom, the healing tool is the tool you can use to get rid of unnecessary elements. This tool allows you to selectively remove unwanted objects from your photo, which can help create a more minimalistic and cohesive composition.

    There are three different tools inside the healing panel in the Lightroom CC 2022 version. The Content-Aware Remove, Healing, and Clone tool.

    1. The Content-Aware Remove tool tries to automatically remove selected distractions without suggesting an area to apply with.

    2. The healing tool suggests a replacement for the spot you are trying to remove and uses an algorithm to match the color and light of the applied area.

    3. The clone tool clones an area you want to remove.

    Use the cropping and straightening tools to remove distractions and frame the photograph to emphasize the subject.





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  • How to Create Team Composite Photo (2025)

    How to Create Team Composite Photo (2025)


    There are many types of photography—spotrts being one of them. Likewise, there are many different types of sports photography, too. We work with all kinds of sports photos at Path. 

    One of our favorite types of sports photos is the team photo. Let’s take a look at what a team composite is and how to create one. 

    What is a team composite photo?

    A team composite photo is a single image that combines individual portraits of team members into a unified group display. These photos are often used when it’s not possible to gather the entire team in one location for a traditional group photo. Each person’s portrait is taken separately and then digitally arranged into a cohesive composition, often with a consistent background, layout, and theme.

    How to create a team composite photo

    In our composite, we’ll use these photos that a photographer took of four players on a girls soccer team:

    Notice that, while all the images have similar lighting, the camera was at a different distance from each of the players when the photos were taken. This means the girls aren’t uniform in size throughout all the images. We’ll fix that when we create the composite photo.

    We also need to choose the background photo that the girls will be placed against before we begin. The background photo needs to have similar lighting to the images of the players, but it can be very stylized and dramatic to enhance the intensity of the final photograph. For this example, we’re using a beautiful photograph of a soccer field at night.

    photo of an empty lighted sports field at night

    From these five images, we’ll make a team photo composite.

    Step 1: Remove background from individual portraits

    We need to select just the girls from each photo. The easiest way to achieve this is to use Photoshop’s built in Select Subject tools. If you don’t see the option to Select Subject in the Options Bar at the top of the screen, or the Contextual Task Bar at the bottom of the image, choose the Magic Wand Tool from the Toolbar at the left-hand side of the screen. The option to Select Subject will now appear in both these places.

    screenshot of Photoshop editing, select subject

    When you click on “Select Subject,” Photoshop attempts to determine the subject of your photograph and create a detailed selection of that subject. In the case of our soccer players, the subject would be the girl and the ball she is holding.

    If you want a more refined selection, choose “Select and Mask…” from the Options Bar at the top of the screen to refine the selection further. Check out this article for detailed instructions on how to use Select and Mask….

    photo of girl soccer player being edited in Photoshop and select subject

    How you choose to select the subject depends on the level of detail you require.

    Step 2: Copy and Paste the team players onto the background image

    With your selection still visible, type CTRL+C (COMMAND+C on a Mac) to copy the selection. Then, go to your image of the background you’ll be using. Type CTRL+V (COMMAND+V) to paste the team player selection onto the background.

    screenshot of selected subject, Photoshop editing of a girl soccer player photo

    Don’t worry about the size of the figure in relation to the background just yet. We’ll resize all the players once we have them in the composite.

    Continue steps 1 and 2 for all team players.

    photo of four individual soccer players superimposed onto a background with awkward placement

    Step 3: Resize players within composite photo

    We want the girls to look like they’re standing next to each other in the final photo. Therefore, they all need to be about the same size relative to one another.

    In the final photo, we will have the three standing girls in a row, and the seated girl sitting in front of them.

    screenshot of Photoshop editing, showing layers and selecting Layer 5

    In the Layers panel, select the layer with the first player. If you don’t see the Layers panel, you can make it visible by choosing Window > Layers from the dropdown menu at the top of the application window. 

    Once the layer is selected, go to Edit > Transform > Scale from the dropdown menu at the top of the application window. A blue box will appear around the player in the image.

    screenshot of Photoshop editing, transforming images to scale

    Hover your cursor over one of the corners of the blue rectangle until you see a double-sided arrow appear over the corner. Then, drag it to resize the figure to the size you want. 

    Photoshop editing screenshot showing image of a girl's face and selecting to resize it

    In newer versions of Photoshop (Photoshop 2023 and higher), the image will resize proportionally by default (you do not need to hold down the SHIFT key). 

    If, however, the image looks squished or stretched as you resize it, that means the default settings have been changed. Hold down SHIFT as you drag to resize to adjust the image proportionally.

    If you are unsure if the resizing is proportionate or not, you can look at the Options Bar at the top of the screen. If the values for Width and Height are the same, and the link icon between the Width and Height values is checked, then the image is sizing proportionally.

    Photoshop 2025 toolbar, highlighting scale

    Select the rest of the players’ layers one by one and resize them all. Since the images in this example were taken at different distances from the players, we had to manually resize each photo to get a uniform look across all players.

    However, if all players need to be reduced in size by the same amount (91%, for example), you can type that value into the Width and Height boxes in the Options Bar instead of resizing manually with your cursor.

    Once you have all the players resized, position them onto the background so that it looks like they were there all along.

    team composite photo of four girl soccer players on a lighted field at night

    Step 4: Add depth to the background

    Even though this is a team composite photo doesn’t mean we can’t make it look more realistic! 

    Select the background layer, which in our example holds the image of the stadium.

    Photoshop screenshot of Layer 6, the background layer

    With the Background layer selected, choose the Burn Tool from the Toolbar at the left-hand side of the application window. The Burn Tool may be hiding behind the Sponge Tool or the Dodge Tool.

    Photoshop toolbar, selecting the Burn Tool

    With the Burn Tool selected, “paint” over the area of the background just under the players to create a shadow effect. You don’t need to overdo this–a little goes a long way. You will need to use your judgement to determine exactly how much shadow you need to make the image look more realistic.

    Photoshop screenshot editing shadows

    And you’re done! You can now use your new team photo composite as is, or add your team logo and other elements to it.

    team composite four girl soccer players at night on field

    Photography tips for team composite photos

    Save these tips for when you shoot team players and coaches to improve your team composite sports photos:

    • Shoot all players at the same angle, with the same lighting, in the same place. The easiest way to achieve this is to shoot in a closed studio where you can control the lighting, or at night. Set up a tripod to make sure the camera is in the same place for every photo, and place a marker on the ground for each of the players to stand on during the shoot.
    • Pay attention to the horizon line when you shoot the players. You want the horizon line to be in roughly the same place as the horizon line in the background image you’ll ultimately use. This will make it easier when editing sports photos for the team composite shot.
    • Choose the right equipment for the job. Make sure you have the best sports photography equipment with you for the type of photos you will be taking. This doesn’t just mean having a tripod; you also need to bring adequate lighting for the type of shoot you will be doing (indoor, outdoor, nighttime) and a lens that is best suited for the job. 
    • If possible, photograph the players against a solid, neutral background. This will make removing the players from the background easier when you create your composite. Opt for a background that does not share any colors with the team uniforms, but also try not to use a bright background such as a green screen, as these colors might show up as a reflection on clothing and skin even after the background is removed.
    • Make sure your setup can be taken down and set up again in the exact same way. Keep track of the location of your lights, camera, background, etc. If a player can’t make it to the shoot, you want to be able to schedule a makeup and replicate your studio setup exactly.

    Send your team composite edits to Path

    Making team composite photos can be a tedious and time-consuming process, especially when you’re working with lots of teams with large rosters. Let Path handle some of the work for you—the most challenging cutouts and clippings, and retouching to perfection.



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  • My Story

    My Story


    This week, I wanted to share a story about myself and my work. Why I create and what motivates me as a photographer. I hope you enjoy what I wrote. It was straight from my heart.

    I’m a creative landscape photographer from southern Finland. Ever since I was a kid, I have been fascinated by art and paintings and how to create something out of nothing. My photography style is dreamy and minimalistic.

    With my photography, my goal is to transport you to a timeless, peaceful, and beautiful world and connect you back to nature, reminding you of what it feels like to be alive and what it feels like to be human.

    Mikko Lagerstedt – In The Mist – 2022

    My grandma was the biggest inspiration when I grew up – she has made beautiful paintings and drawings throughout her life. She is 94 at the moment I write this. I didn’t understand how she or anyone created such beautiful art. I thought it was a gift you either had or not. Of course, I tried making sketches and paintings as a child. Still, I never spent enough time learning to create something unique until photography found me. I have been photographing for the past 15 years and have always photographed for myself from the early days.

    Playing outside was my favorite thing when I grew up. I often spent my free time outdoors with my friends and siblings, whatever the weather. That’s where my love for the outdoors began.

    How it all started

    My first inspiration for photography came when I was driving to our relative’s cabin. It was a summer evening in 2007, and after a rainy day, the sun came out, and so did the fog. I had to stop taking a couple of photographs with a point-and-shoot camera. As I was going through the images I captured, I was amazed. And thought that these were the moments I wanted to start to capture. This is the view I witnessed and is the only one I still have from those photos.

    My first nature photograph captured with point-and-shoot camera in 2007.

    As a photographer, I am in awe of the beauty of the world around me, from mist to late-night views of stars. There is always something inspiring to capture with my camera.

    When I bought my first DSLR camera in 2008, I learned that photographing is only the first step. The process of creating my work is not linear. I started using Camera Raw to edit the peculiar raw files. From there, I moved to Lightroom, which I use 80% of the time.

    I started sharing my photographs in 2008 on Flickr. Since then, I’ve been fascinated by how my photos can provoke emotions in the viewer. Sometimes how I wanted and sometimes completely differently I envisioned. I also use multiple exposures and photographs of scenes to represent the view and feelings I experience while taking the photographs.

    Capturing a stunning photograph can be challenging. You must be in the right place at the right time to capture the perfect light, weather, and composition. I often capture only a few photographs I’m satisfied with within a year.

    Inspiration

    I have always been drawn to using a single subject in my pictures, which may be related to the passing of my best friend the day before I turned 19. This solitary element serves as a reminder to appreciate the solitude and solitude of the world around us. The events and experiences of our past give our work depth and richness. Your struggles and hardships give your work a unique angle. Embrace it.

    Mikko Lagerstedt – Into the Unknown – 2022

    Mikko Lagerstedt – Alone – 2022

    Nothing lasts forever, and our surrounding world is ever-changing. Through my photography, I aim to inspire others to see the world differently and appreciate its beauty. I want to connect with others and share the moments that inspire me, hoping they will inspire others.

    From the early days of Facebook and Instagram, I gained a significant following of around 1.7 million across social media platforms. In 2009 I entered some of my work in competitions, got mentions, and won second place in the Nikon photo competition, which boosted my confidence to continue photographing.

    Nikon Photo Contest 2nd Place

    Sharing knowledge

    Fast forward to 2014, I left my job in a restaurant and started creating full-time. It has been a challenging route, but one I would never change. I was one of the pioneers of Lightroom presets. I released my first preset collection in 2013, and the sales of the collection helped me take the leap of faith to create full-time.

    I wrote, designed, and published a book, Star Photography Masterclass, and was astounded by how people received it. It’s still one of the most sold items in my catalog. I’ve been balancing teaching others and creating for myself ever since.

    Mikko Lagerstedt – Night Glow from Star Photography Masterclass

    I rarely travel far from where I live. And capturing beautiful photographs does not always require traveling to the far corners of the world. There is beauty to be found all around us if we take the time to look for it.

    Sharing my work online has allowed me to connect with a broad audience and to grow a community of people who appreciate the beauty of the world around us. I constantly strive to improve my craft and create captivating, compelling images.

    Mikko Lagerstedt – Infinite – 2022

     

     

    Thank you for reading! This is me.

    We respect your privacy.

    Thank you!



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  • The Art Of Capturing Winter Fog Photography — Mikko Lagerstedt

    The Art Of Capturing Winter Fog Photography — Mikko Lagerstedt



    My favorite thing about photography is that you don’t always have to travel far to capture unique photographs. In this week’s tutorial, I talk about capturing fog in winter and how it can add a sense of mystery and atmosphere to your photos. This is the ultimate guide to capturing winter fog photographs.

    Whether a thin layer of mist hovering over a frozen lake or a thick fog enveloping a forest, fog can transform a mundane scene into something magical. In this tutorial, I show you how to capture stunning winter landscapes with mist, from finding the right location to choosing the right time of day and experimenting with compositions.

    Find the right location

    Fog can be elusive, so it’s essential to find a place where it is likely to appear. Look for areas with low-lying valleys, rivers, or lakes. These areas are more prone to fog because the cool air tends to sink and settle in these areas. Look for locations where the fog is likely to accumulate, such as near water, valleys, or low-lying areas.

    1. Look for forecasts of foggy conditions, especially in the early morning or late evening when the air is cooler, and the humidity is higher. You can also check the humidity and dew point, as the fog is more likely to form when the air is saturated with moisture.

    2. Pay attention to the wind direction. Fog is more likely to form in areas with calm winds. Look for locations where the wind is calm or where the wind is blowing away from the area you want to photograph.

    3. Look for locations with interesting features that can add depth and interest to your photos, such as trees, buildings, or other landmarks. Consider using these elements to create leading lines or to add a sense of scale to your photos.

    4. Fog can be unpredictable, so it’s a good idea to visit your location at different times to see if the fog appears. This will also give you the opportunity to experiment with different lighting conditions and compositions.

    5. The seaside can be an excellent place to capture fog in the Winter. The warm seawater and temperature drop can create a massive cloudlike fog.





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