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How to Use the Photoshop Magic Wand Tool
Photoshop’s Magic Wand Tool: You’ve definitely heard of it and, depending on how much you use Photoshop in your day-to-day, you may have even used it.

Learn what the Magic Wand Tool is and how to select and mask in Photoshop with it. This Photoshop masking tutorial will turn you into a pro in no time.

The Photoshop Magic Wand Tool is a quick and easy way to select and mask certain portions of an image, giving you the ability to alter one part of your image while leaving other parts intact. One of the most common uses of this tool is to swap out or remove the background of a product photo, leaving the subject of the image in place.

Related: Clipping Path vs. Masking: What’s the Difference?

The Magic Wand Tool works by selecting an area of solid color within an image. Once your selection is made, the Magic Wand Tool gives you multiple options for refining that selection.

The Magic Wand Tool is a go-to tool when you want to display a product in various settings by showing it against different backgrounds, or when you want to remove a background altogether so your product stands on its own.

This is often the case for marketplaces like Amazon or eBay, which have product photo requirements of their own that outline the approved backgrounds your images can have.

Tutorial: Learn how to create a ghost mannequin in Photoshop

https://www.youtube.com/watch?v=e_y3vFhp_Bs

For the following tutorial, we’ll be working with this photo of a soccer player. You’ll learn how to remove the background from the player using the Magic Wand Tool, so that you can later put the player into different scenes. The Magic Wand Tool is a great option for removing backgrounds on photos with a mostly solid background.

Step 1: Unlock the background and select the Magic Wand Tool

Before you can use the Magic Wand Tool, you’ll need to make sure your layers are set up correctly. Go to your Layers panel, located by default in the lower right-hand corner of Photoshop 2024’s application window. If you don’t see the Layers panel, you can bring it forward by choosing Window > Layers from the dropdown menu at the top of the application window.

Within the Layers panel, double click on the Layer entitled Background.

A pop-up window will appear, prompting you to rename the layer “Layer 0.” Click OK.

Within Adobe Photoshop 2024, choose the Magic Wand Tool from the Toolbar. By default, the Toolbar is placed to the left of the application window. The Magic Wand Tool may be hidden behind the Object Selection Tool or Quick Selection Tool.

Note: To select any tool that is hidden “behind” another tool, choose the tool that is in front, and then hold the mouse button until other tools are visible. Then, select the visible tool you need.

Save time and outsource it: Our background removal services start at $0.49/image

Step 2: Select the solid areas of the background using the Magic Wand Tool

There are several different ways to use the Magic Wand Tool to remove a background. We’ll start with the simplest method and work our way to more advanced methods as we refine our selection.

When you click on a portion of your image using the Magic Wand Tool, the tool selects the pixel you selected along with adjacent pixels of the same (or similar) colors.

Once you have the Magic Wand Tool selected, you’ll see several different options in the Options Bar at the top of the screen. You can adjust the Tolerance of the Magic Wand Tool here. The higher the Tolerance, the more similarly colored pixels will be selected alongside the pixel you select with the tool.

For this example, we will keep the Tolerance at 10.

Click somewhere within the background of the image. The Magic Wand Tool will create a selection of all contiguous portions of your image that are roughly the same color as the background portion you selected.

The Magic Wand Tool did a relatively decent job, but there are some portions of the background (such as between the player’s legs and under his right arm” that are not selected.

To select areas of the background that did not get selected, hold down the SHIFT key and click within those areas that need to be selected. Holding SHIFT allows you to add to the existing selection without deselecting anything.

Step 3: Select other portions of the background and foreground

The ground in this photo is not a solid color like the background. It is, however, all varying shades of green. In order to select an area that is all about the same color but has a lot of detail, we need to adjust the Tolerance of the Magic Wand tool to a higher value. In this example, we’ve set the Tolerance to 50 and selected the grassy ground area of the photo.

The results are less than perfect, but if we were to make the Tolerance much higher, we might accidentally select portions of the player’s legs.

To smooth out the selection, choose Select > Modify > Smooth… from the dropdown menu at the top of the application window.

In the Dialog Box that appears, set the smooth value to something large enough to smooth out the edges of the selection but small enough to keep the integrity of the selection’s outline. For this example, we’ll set the value to 5.

Click OK.

The selection now looks almost close to perfect. Almost.

Step 4: Create a mask

Select the inverse of your current selection by choosing Select > Inverse from the dropdown menu or by typing SHIFT + CTRL + I (SHIFT + COMMAND + I on a Mac).

Now, your subject is selected (instead of your background).

Next, go to Select > Modify > Contract… to tighten the edges of the selection. This is to compensate for any artifacts that may have appeared in the selection when we smoothed it earlier.

Click OK.

In your Layers panel, look for the Mask icon at the bottom of the panel. It will look like a black rectangle with a white circle inside of it.

With Layer 0 selected, click on the Mask icon. You will now see your subject isolated against a transparent background.

We’re almost there, but there are a few things we need to fix before we’re done.

Step 5: Clean up the selection using the mask

As advanced as Photoshop 2024 is, nothing can match the human touch for perfecting a selection. In order to finalize your image, you will need to use your Brush Tool, and your judgment, to modify and perfect certain areas of your selection.

In Layer 0 of your Layers Panel, make sure you have the new layer Mask selected. When the Mask is selected, you’ll see a small, black outline around the Mask. Look closely as it’s a little hard to see.

Next, select your Brush Tool from the Toolbar to the left of the application window. In the Options Bar at the top of the application window, you can set the width and hardness of your brush.

If you have correctly selected the Mask icon in Layer 0, then the Foreground and Background colors in your Toolbar will be black and white. When white is the Foreground color, you can “paint back” portions of your masked image. When black is in the Foreground, you remove areas of your selection and they become masked.

For instance, in our example image, certain portions of the player’s sleeves disappeared when we created our initial selection. Therefore, using the Brush Tool, we can “paint back,” or add those portions of the sleeve back in.

Changing the size of the brush and switching between a white foreground and a black foreground, fix any edges of your selection that need finessing.

Other ways to select and mask in Photoshop 2024

Photoshop 2024 also offers another option for Selecting and Masking that may or may not be easier for you. Let’s start with the original image again to learn this second method.

When your Magic Wand Tool is selected, you’ll notice there are some selection options available in the Options Bar at the top of the application window. At the far right of the bar, click Select and Mask….

A new window will open showing most of the image erased. Don’t worry–the image is still there; it’s just been “masked.”

At the top of the screen, click the button that says Select Subject.

Photoshop will attempt to interpret and select the subject of your image. Though, as you can see in the image below, the results are not always perfect.

At the top of the window, you will find Add and Subtract buttons. These work to add to your selection or subtract from it using the modification tools on the left-hand side of the window. You can also control the size of the tool.

On the left side of the window are tools you can use to modify the selection. These tools are rather intuitive to use.

The first tool, the Quick Selection Tool, allows you to grab whole blocks of color at once. This is a good tool to use to “paint back” the ball in the image.

The next tool, Refine Edge Tool, helps when defining or redefining the edge of your selection. Below that is the Brush Tool, which works just like the regular Brush Tool in Photoshop (and like the Eraser Tool when the Subtract button is activated).

The Object Selection Tool tries to figure out where certain objects begin and end in your image, the Lasso Tools allow you to freeform select areas of the image, and the Hand Tool and Zoom Tool help you navigate around the image as you work to refine the selection.

Once you’re satisfied with the selection, click OK. You will see that nothing has changed in your original image, but there’s a “marching ants” selection around your subject.

Next, just like in the first method listed above, you’ll need to make your Background Layer into an unlocked Layer 0, and create a Layer Mask.

Whichever way you choose to create your selection, you now have your subject isolated from its background, and you can place your subject into whichever new setting works best for your branding needs.

Learning how to select and mask in Photoshop with the Magic Wand Tool is helpful because it’s a technique you can apply to a range of photos—sports, product, ecommerce, portraits, headshots, and more. Here are a just a few scenarios where it comes in handy:
- Show your subject in various environments. Help your audience connect with your subject emotionally by seeing it in a beautiful or familiar setting when changing the background. This can also help you prepare the image for different target segments, so you can swap out backgrounds that make more sense for your audience.
- Select your subject so you adjust its size or color without altering the setting in which it has been photographed. This means you can show different color variants for your product without having to take multiple photos.
- Remove the background from a photo so your subject stands out on its own.
- Create a white background image so you can list products on third-party marketplaces, like Amazon or eBay.
Not up for the tedious task yourself? Get a quote for your background removal needs
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23/04/2025
Conservation Photography with Shane Gross
As underwater photographers, many of us have witnessed not just stunning reefs and awe-inspiring creatures, but also the gradual decline of our favorite dive sites—due to overtourism, destructive fishing practices, and steadily rising water temperatures. Equally, many of us want to use our images to help encourage efforts to protect the marine environments we care deeply about, but we may not know how best to go about it. If that describes you, you’ll want to make sure you catch the next event hosted by The Underwater Club (TUC), as founder Nicolas Remy talks to Canadian conservation photographer Shane Gross.

During the two-hour webinar, Shane will be discussing some of the conservation stories he has shot, the impact those stories have had, and what he’s learned along the way. The 2024 Wildlife Photographer of the Year will also be offering insights into his award-winning photography, including techniques, post-processing, gear choices, and the business side—how he pitches stories, markets himself, gets published, and uses his work to support ocean and freshwater ecosystems.

As usual, TUC members join for free, while non-members will need to purchase tickets to the event at AU$49 (approx. US$35). Note that this is also the price of monthly membership, so this is the perfect opportunity to join the club and take advantage of all of the membership benefits.

Here are the event times:
- April 25th, 4pm Los Angeles time (PDT)
- April 25th, 6pm Dallas time (CDT)
- April 25th, 7pm Miami time (EDT)
- April 26th, 7am Singapore time (SGT)
- April 26th, 9am Sydney time (AEST)
- April 26th, 11am Auckland time (NZST)
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23/04/2025
Capturing the Beauty of Everyday Landscapes — Mikko Lagerstedt

Today, I want to share some insights on finding and capturing the hidden beauty in everyday landscapes. In recent years, there has been a trend to seek out and photograph the most spectacular views, often replicating the same composition down to every detail. While these images may be visually stunning, they only sometimes showcase true creativity or originality. I’ve personally done the same, but it’s good to practice finding beauty near where we live. Traveling is always inspiring, but I firmly believe you can see beauty almost everywhere – even in the most mundane places by thinking creatively.

As a landscape photographer, I’ve learned that even the most ordinary places can become breathtaking works of art with the right conditions, approach, and perspective. So, let’s challenge ourselves to break free from the popular trend and explore some tips on capturing the magic in the ordinary!

the Art of Observation

To discover the beauty in overlooked places, you must train yourself to observe your surroundings more intently. Make a conscious effort to notice the details, textures, and colors that make up the world around you. Look for patterns, lines, and shapes you might not have seen before. Developing a keen sense of observation will help you identify the hidden gems in ordinary landscapes.

Become more open and attentive to your environment. Observe how light changes throughout the day and how weather and atmospheric conditions can alter the landscape. By being mindful of these changes, you can uncover unique compositions and captivating scenes in the most unexpected places.

Don’t be afraid to return to the same spot multiple times to capture it under different conditions. Experiment with various lighting, weather, and angles to reveal new aspects of the scene that might have gone unnoticed during your first visit. This approach challenges your creativity and helps you develop a deeper connection with the location.

The story about the photograph Edge.

A place I have visited more than a hundred times. A place where I thought I would never find a new perspective to photograph. However, on this day, I kept my mind open and tried to see if I could capture something unique. As the sun set, I looked for anything that caught my eye. I saw how the thin ice had come to the lake shore, making this beautiful foreground, reminding me of the long winter. While composing the shot, I saw how the treeline created a line between the frame, with the clouds almost perfectly replicating it. I took the photograph and was pleased with how it turned out. It was already quite dark, yet, the horizon was bright. I wanted to emphasize the mood in post-processing and used the EPIC Preset collection to add more contrast and darken the sky with the built-in masks.

Equipment & Camera Settings

Nikon Z7 II, Nikkor Z 14-24 mm f/2.8 S & RRS Tripod and Ballhead
1/6 sec, f/9.0, ISO 64 @ 15.5mm

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23/04/2025
The Long & The Short of It
Among wildlife photographers, it is the long lens that gets all the glory. The bigger the glass, the more serious one is assumed to be about one’s craft. Less a tool than a symbol, sometimes, the bigger telephoto lenses telegraph to the world that we mean business. How I envied those photographers as a younger man, how incredible I imagined their photographs would be. And how disappointed I was when I could finally afford my first big lens, a used Soligor 400/6.3 that—I was shocked to discover at the age of 16—made the animals bigger but did not necessarily make my photographs proportionately better.

Click any of the images in this post to see them much larger (images will open in a new window)

The ability to isolate one’s subject is important; longer lenses are one way to do that. They allow us to get closer (in a manner of speaking) when we might not otherwise be able to do so. Through our photographs, that allows us to show others a perspective or proximity they might never have. And if you’re lucky enough to have a long lens with a wide maximum aperture, you can isolate that subject even more by blurring out distracting backgrounds. More experientially, longer lenses can create a greater sense of intimacy. When you stare down the barrel of a 600mm lens at the magnified face of a leopard, you feel something you might not otherwise ever feel. The connection can feel very real.

But long lenses can also be a bit of a one-trick pony, most especially for the photographer who hasn’t yet learned that filling the frame isn’t the only way to tell a story or convey an emotion.

A portfolio comprised only of centre-punched, fill-the-frame animal portraits may initially feel like eye candy, but on repeated viewings, might also feel like it’s missing some rhythm and variety and begging for some scale and context.

For those who’ve not been subjected to this particular sermon, indulge me with a short detour: there is no such thing as a wildlife lens. And despite the many headlines that assert otherwise in blogs and magazines, there is no such thing as a landscape or portrait lens. There is no ideal focal length for photographs of any genre of photography, and those who tell you otherwise are trying to sell you something, most likely a new lens.

Different focal lengths do different things, and the question when selecting a focal length is not “What are you photographing?” It’s “What do you want it to look like?”

The photographs accompanying this article are among my favourites. They were all made with focal lengths less than 200mm, and most of them could have been made with a 24-105 lens. The widest images allow a greater feeling of depth than a longer lens would have created in the image—a greater sense of place and a feel for the light and the atmospheric mood. This is not necessarily better than what I could have done with a longer lens, but different. And in some cases, that difference means it accomplishes something more powerful.

Don’t get me wrong; I love my long lenses, but I’m just as likely to shoot with a 24-105mm, which you’ll never see on anyone’s “best lenses for wildlife” list.

Here’s what I’m getting at:
1. Don’t let the lack of a big, sexy lens get in the way of your desire to photograph wildlife if that’s what you want to do. We all work with constraints, and one of those will always be the lenses we have available to us and the focal lengths those represent. Work with what you’ve got. And if the choice is to spend $10K on a lens or spend it on a trip and use the lenses you’ve already got, you’re probably better doing the latter. You can go on a safari with a 24-70 and a 70-200 and still make magic.
2. Even if you have the long lens, it’s probably not the best tool for the job 100% of the time. There are incredible photographs to be made that are not just tight portraits. Don’t be afraid to put the long lens down and shoot with something shorter. It’s OK; no one’s looking. We know you mean business and won’t think any less of you. Sometimes a lens is just a lens, you know?
I don’t know where the fetish for long lenses comes from, nor why we value them so highly at the expense of wider lenses, especially when they can be so powerful when used well. Perhaps it’s something the camera companies have instilled in us; Lord knows those long lenses aren’t cheap. Whatever it is, think of them as just one tool among many.

The creative photographer isn’t the one with every tool but the one who uses the tools they have well.

For the Love of the Photograph,
David

The biggest challenges for most photographers are not technical but creative. They are not so much what goes on in the camera but what goes on in the mind of the person wielding it. Light, Space & Time is a book about thinking and feeling your way through making photographs that are not only good, but truly your own. It would make an amazing gift for the photographer in your life, especially if that’s you. Find out more on Amazon.
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23/04/2025
The Importance of a Beginner’s Mind in Photography — Mikko Lagerstedt
As a professional landscape photographer, I’ve had the pleasure of capturing breathtaking images of nature, traveling to some of the most stunning locations, and sharing my passion for the beauty surrounding us. However, my journey didn’t begin overnight. After graduating from a graphic design school in 2008, I decided to immerse myself in the world of photography. When I started, I focused on the technical aspects of photography. I photographed everything and anything. No constraints. I was testing out different settings and following my inspiration.

Over time I realized that maintaining a beginner’s mind is one of the most essential factors in my growth as a photographer. And when I feel uninspired, it’s usually because I get caught up with doing the same things repeatedly. Then I remind myself to start again with a beginner’s mind, following my inspiration. Sometimes I might start it with either a new location or technique.

While researching for this blog post, I came across the concept of “beginner’s mind,” an ancient Buddhist principle known as “Shoshin.” This way of thinking emphasizes the importance of approaching our experiences with an open, curious, and humble mindset, regardless of how advanced we may become in our chosen fields.

In this post, I will share how embracing a beginner’s mind has shaped my photography journey and how it can benefit photographers, artists, and creatives of all levels.

Maintain Curiosity

One core principle of a beginner’s mind is maintaining a sense of curiosity. When I first started photography, I was eager to learn everything I could about the craft. Over time, I’ve found it essential to keep that curiosity alive, continuously exploring new techniques, subjects, and perspectives. This constant drive to learn has allowed me to grow and evolve as a photographer. It has not always been easy. And at times, I have lost that spark or inspiration. But then I know I need to focus on being a beginner again and find that curiosity.
- How can you expand your creative horizons by exploring new subjects or techniques you haven’t tried before?
- What resources or learning opportunities can you seek to deepen your understanding of your craft further?
Embrace the Unknown

Throughout my photography journey, I’ve found that embracing the unknown and stepping out of my comfort zone has led me to some of my most memorable experiences. One story comes to my mind: My initial idea was to capture some seascapes, but on my way to the coast, I saw a massive cloud of smoke. I started driving towards the smoke. Finally, I arrived near a field where I saw prescribed burning. While taking photographs, I saw a man standing amid it all, taking pictures of the area. I took a photo I still can’t believe is a single frame where birds were flying perfectly with the composition I chose.

A beginner’s mind encourages us to take risks and experiment, leading to unexpected discoveries and growth. In those moments of uncertainty, like venturing into unfamiliar locations or trying a new technique, I’ve often found my most creative and unique ideas.
- What fears or hesitations might discourage you from trying something new in your photography or creative work?
- Can you identify a specific project or idea that pushes you outside your comfort zone? How might you approach it?
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23/04/2025
The Best AI Image Editing Tools for Landscape Photographers 2023 — Mikko Lagerstedt
My Workflow & AI

I mostly use Lightroom CC Classic as my daily choice. The AI tools inside Lightroom are powerful, and I often use the masking panel to create selections and fine adjustments. Occasionally, when I need to do some heavy editing, such as removing a difficult part from an image, I turn to Photoshop. The Content-Aware Crop is brilliant for adding more sky to a picture if cropped too tightly. Or, if I need to have more flexibility with layers, Photoshop is an excellent choice.

For experimenting with a photograph or when I feel too comfortable with editing, I use Luminar Neo. I can easily step into a beginner’s mindset while working with it. And finally, my go-to sharpener at the moment is Topaz Labs Sharpen AI, which does an excellent job when I need to add sharpness to my images. Also, GigaPixel AI is fantastic for ensuring my photographs look brilliant when printed.

AI image editing tools can significantly improve your landscape photography editing process. By using Lightroom, Photoshop, Luminar Neo, and Topaz Labs, you can achieve beautiful results and bring your creative vision to life. While these tools are powerful, they may have some flaws, so finding the right balance and workflow that suits your needs is essential. I recommend exploring and incorporating these tools into your workflow to enhance landscape photography.

Unlock Your Creative Potential

As you delve deeper into the world of AI-powered photo editing tools and unleash their potential, consider exploring some of the resources I’ve created to help photographers at all levels improve their skills and find inspiration.
- The Complete Photography Collection. This all-inclusive package features all of my tutorials, presets, and eBooks, offering a comprehensive guide to enhancing your landscape photography and achieving the recognition your photos deserve.
- Epic Preset Collection. Transform your editing process in Lightroom with my presets to help you unlock your creative potential and bring your images to life.
- 1-on-1 Photography Coaching. Whether you’re a beginner or an experienced photographer, my new online 1-on-1 coaching service is designed to provide personalized guidance and support to your needs and goals.
- Free Tutorials. For those just starting or looking to expand their skills without breaking the bank, check out my collection of free tutorials covering various aspects of photography and editing.
Remember that AI is a tool; like any tool, it can’t replace the human element in the creative process. Embrace your intuition, emotions, and experiences as a photographer, and let them guide your editing choices. This will help you create images that not only look interesting but also resonate on an emotional level.

Your personal style and artistic voice are what makes your photography unique. While AI tools can help you achieve technical perfection, preserving your creative identity and ensuring that your images reflect your personal touch is essential.

Let me know if you use any of these tools or want to try them out. Thanks for reading!

Disclaimer: I’m an affiliate of some of these programs. Remember that using the affiliate links in this article helps support my work and enables me to continue sharing my experiences and insights with you.
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23/04/2025
The EPIC Preset Collection 2023 Update — Mikko Lagerstedt

Today, I’m thrilled to share the new 2023 update to The EPIC Preset Collection. So, in this article, I’ll be going through The EPIC Preset Collection. With the help of these updated tools, I can make easier selections and enhance my photography adjustments and editing to bring my vision to life easier than before.

If you already have EPIC Presets, you should have received an update in your email.

What is new in the 2023 EPIC Preset Collection?

How can you make the most comprehensive collection even better? By experimentation and with a passion for creating unique tools to help others. I believe the new updates suit perfectly for different styles and give you the tools to turn your images EPIC! Implementing the AI Masks to a collection this complete is the perfect way to make it even better.

If you want to see how it works in real life, check out the video below. Note that these are just quick edits and if you would like to see more edits with The EPIC Preset Collection, let me know!

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23/04/2025
This vintage video shows what it was like to be a pro photographer in 1946

While we spend most of our time here at PopPhoto nerding out about the latest and greatest photography gear, we’re also suckers for truly old-school photo content. This fascinating video outlines what it was like to be a professional photographer in 1946.

Obviously, the industry, technology, and, well, pretty much everything has changed quite a bit back then. But some things do sound familiar. For instance, it’s weird to hear that there was an abundance of people in the profession even back then. The tools were obviously much less accessible than they are now, but even back then, people wanted to get in on the pro photography game.

Videos like this are truly a time capsule, and I have to wonder what it will feel like for people in 2100 to look back on the state of the industry in 2023. Our precious megapixels will likely feel so quaint.

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23/04/2025
What’s in my camera bag in 2023? Nikon Z7 II or Z8 for landscape photography? — Mikko Lagerstedt

I don’t often write about gear, but it’s the most common question I get, so today, let’s talk about gear and what I currently use in landscape photography. Throughout my journey, I’ve experimented with various Nikon cameras, from D90 to Z7 II and now to the new Z8. I have used lenses from Nikon, Sigma, Tokina, Tamron, and Laowa, ultimately finding the current setup that allows me to express my creative vision.

I used the new Nikon Z 8 for a week in March, and it was fantastic. From a quick overview, I think it delivers an excellent upgrade for the autofocus and video options compared to the Nikon Z 7II. I’ll receive my copy of the Nikon Z8 later, so I can give you more thoughts about the camera. These are my honest opinions about the gear I use. Even though I’m a Nikon Creator, this post is not sponsored by Nikon.

Nikon Z7 II

I have used the Nikon Z7 II as my primary camera for the past year. Before that, I used Nikon Z7 and D810. You can view my review of the Nikon Z7. Now with the Nikon Z7 II, I barely use anything else. The SD card slot is a great addition to the previous version. I’m not currently shooting video much, but that part has also been upgraded from Z7. The battery life is slightly better than in the Z7. When I want to capture time-lapse as well as stills I bring with me the Z7 to have the option to shoot two different perspectives at the same time.

Sensor

Although not the highest-megapixel sensor in the market, the Nikon Z7 II‘s 45.7-megapixel sensor produces high-quality images with incredible detail. It is essential in landscape photography, where every nuance, from the texture of rocks to intricate patterns, adds depth and richness to the final image.

Dynamic Range

The dynamic range of a camera refers to its ability to capture detail in both the brightest and darkest parts of a scene. It is essential when photographing landscapes with high contrast between bright skies and shadowy foregrounds. The Nikon Z7 II excels, allowing me to capture images that retain detail even in challenging lighting conditions.

Low-Light Performance

One of my favorite aspects of landscape photography is capturing the beauty of the night sky. The Nikon Z7 II‘s excellent low-light performance allows me to photograph the stars and the Milky Way with minimal noise and incredible detail. The camera’s high ISO capabilities and noise reduction ensure that my astrophotography images are clean and sharp.

Nikon Z7 II pros and cons

+ Exceptional image quality
+ Low-light capability
+ Dynamic Range
+ Low weight, only 705 g
+ Dual card slot
– No in-camera RAW video capabilities
– Relatively slow autofocus
– Could have a better battery life

Nikon Z7 II

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23/04/2025
Best Tips And Tricks for Beginners
Volcano photography is an enriching hobby. Even though a lot of work goes into the process of capturing the best volcano pictures, the experience makes everything worth it. Yes, it’s risky but it’s an experience like no other.

To photograph a volcano, you’ll need a quick shutter speed to freeze any motion. Set your speed to 1/1000th, then change your ISO and aperture as necessary. Shooting volcanoes from the air, ground, or sea captures dramatically different outcomes and a better view of the lava source.

Read on to learn the best tips on photographing volcanoes and how to do it safely.

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Best Ways to Locate Vantage Points

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If you want to make the process a lot faster, you can ask a local to take you to the best vantage points. When photographing volcanoes, it’s not enough to see the areas in photographs or hear stories from other people. You’ll need to visit them and see them for yourself. Just don’t forget to take the appropriate lens for each possible viewpoint.

When you go to an erupting volcano, take some time to observe the explosion from a safe distance. Determine the eruption’s strength and the direction in which the hot lava is moving for your safety. As we all know, it’s not safe to get near an erupting volcano.

Photographing Tips During the Day

You can catch the most powerful volcanic eruptions and ash clouds by shooting photos of volcanic explosions throughout the day. Shooting lava is an option as well. Your most probable lens will be a 24-105mm lens. A long lens is ideal if you are far away.

You may either try to freeze the motion in daylight photography or create some motion blur.
1. Freeze the motion: You will need quick shutter speeds to freeze falling lava bombs, or pyroclastic flows captured on camera. Set your speed to 1/1000th, then change your ISO and aperture as necessary. The ISO is probably at or over 1000. You should typically use an aperture of f/8 while taking landscape photography. You may need to use a bigger aperture as it grows darker.
1. Motion blur: Slower shutter speeds, which may blur motion, are at the other extreme of the shutter speed continuum. Shutter speeds of 1/20th are required to capture the appearance of action. Use this with ash clouds if you can. Shutter speeds of one second or longer are perfect for recording lava movement. Use an ISO of 100 and a narrower aperture to obtain slower shutter speeds. Add a graded neutral density filter if necessary.
Photographing Tips At Night

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Nighttime is one of the loveliest periods to try taking photos of lava. You will be able to detect the glowing lava much better.

The ideal time to take photos is during the late blue hour. You have a higher chance of detecting the volcano’s foreground features. The lava will seem brighter in the picture the later you go into the blue hour. The rocks will become shadows against the lava once wholly dark.

For this reason, you need to try to take pictures while the moon is full. Bring a powerful flashlight so you can illuminate molten rock during the exposure. Look to expose for up to 10 seconds if you want to get the lava streaks.

ND filters are also valuable for blue-hour situations. You may shoot the volcano with prolonged exposure and six- to eight-stop neutral density filters.

Use the same general procedures as when shooting a typical landscape. When feasible, bracket your shots and shoot in RAW. Exercise delicate processing to guarantee that the image you capture is as accurate as possible. Make sure your lava has a red and orange gradient and lessen the brightness.

Protecting Yourself and Your Gear

You will need gear to protect yourself and your photography equipment before anything else.

Safety Gear

Volcanoes pose a wide range of hazards, particularly if you want to approach a volcano or lava flow up close. Most photographers covering volcanoes have a few specific things in their gear.
- Helmet: Falling rock is one of the main risks around volcanoes (or lava bombs).
- Heat-resistant clothes: Wear heat-resistant clothes since it might be dangerous to approach the lava.
- Gas masks: The area surrounding volcanoes may contain deadly gases.
Note: None of these items will shield you from pyroclastic flows.

Photography Gear

The following are the camera gear you need for taking volcano pictures.
- Camera body: A must-have is a sturdy camera body and weather and dust-sealed.
- Lens: You must carry a wide-angle lens while taking landscape photos, especially for dormant volcanoes. Mid and long focal lengths are preferable for an active volcano.
- Tripod: Make sure the tripod is robust and heat-resistant.
- UV filter: A UV filter protects from different debris present in an extreme environment.
- Camera blowers or towels for cleaning
Hiking Gear

Some volcanoes are located in very rugged terrain. That suggests you also need the following on top of the appropriate safety gear.
- Hiking boots
- Walking poles
- Water and rations
- Tent or sleeping gear
- First aid kit
Dormant Volcanoes Photography

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Even when they are not erupting, volcanoes are breathtakingly gorgeous. They are excellent photographic subjects because of their rough geology and features like crater rims. For times when the lava isn’t flowing, here are some other photographic locations:
- Trekking up the volcano: It’s advantageous to climb a volcano when it’s dormant. Deep ravines and leaking gas will still provide challenges. Though even when it is not an active volcano, there are safety risks.
- Acid lakes: Acid lakes form when escaping sulfur gas combines with a crater lake. These lakes are highly picturesque and have an odd, otherworldly sense.
- Geysers: Geysers are nature’s fountains and make excellent picture subjects.
- Sulfur mines: Sulfur mines also make for a compelling photo.
Photographing From The Ground

Photographing from the ground is challenging and poses some particular difficulties. First, it takes a lot of frames and a little luck to get all parts to line up at once.

Don’t forget to get wide and detailed shots when shooting from the ground. Photograph between 14mm and 500mm, and be sure to have all your lenses on hand and keep an eye out for various compositions.

Examine several shutter speeds to determine which effect you like. A 1-second exposure often produces the most remarkable results.

When the blue hour is winding down, there is a perfect balance of light for 15 to 30 minutes. Because it moves quickly, you must be sure that you have chosen the best composition for the excursion at that point.

It’s feasible for your tripod and camera equipment to melt while taking close-up photos with a wide-angle lens. Surprisingly far, lava flows transmit heat.

Photographing From The Air

Since many volcanoes are unreachable by land, it is better to have a broad notion of capturing the volcano and setting up your camera correctly in advance.

When the shutter speed is less than 1/500th of a second, vibrating aircraft like piston-engined helicopters tend to produce blurry images. If possible, set shutter speeds to 1/750th or even 1/1000th of a second; however, you may get away with 1/500th if your lenses have image stabilization.

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A fast (f/2.8) lens is advantageous in this situation since you can often shoot wide open and still have everything in focus because the explosive eruptions are far away.

ISO is the only setting you have to work with to get the proper exposure with a wide-open aperture and 1/750th of a second – this is where your camera’s “auto ISO” feature comes in useful.

The last factor is ensuring that the camera chooses the appropriate exposure for you. Use “highlight-weighted metering” if your DSLR has it. Volcanic photography in dark regions is easy to work in a frame with better exposure.

For helicopter safety, do not switch lenses while the plane is in the air. In light of this, keep two camera bodies: one with a 24-70mm lens and the other with a 70-200mm or 80-400mm lens. Keep the camera’s strap connected, and wear them around your neck the whole trip.

Photographing From The Sea

You should certainly see the lava from a boat to get a close-up view while it is entering the water. It is a fantastic view position that makes for a very immersive experience.

A 70-200mm lens (full frame) is ideal for capturing the hot lava trickling into the water in fine detail. A shutter speed of at least 1/250 second was necessary to freeze the motion due to the rocking boat and splashing waves.

Where Are the Best Volcanoes to Capture?

Most of the world’s volcanoes are in tectonically active regions, such as in the country of New Zealand, the Philippines, Japan, Kamchatka, Alaska, and the western coasts of North and South America.

Indonesia, Italy, Iceland, Hawaii, and other places in Africa also have incredibly beautiful volcanoes.

Before going, look at the volcanic eruption history and ask locals about the actual eruption. Consider hiring a guide to accompany you as well.

Find out whether the volcano generates potentially harmful pyroclastic flows. If so, find out which way they often travel.

Conclusion

Taking images of volcanoes is a ton of fun, and the results will blow you away! If you are interested in volcano photography, ensure you have the right gear and a good guide who knows the area well to get some great images.
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23/04/2025