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Learn How To Capture Better Architectural Photos With These Resources

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Architectural photography is not about capturing photos of just buildings, but also about capturing meaningful photographs of structures, their stories and sometimes closer photos of cityscapes as well. A lot of photographers consider it to be a boring genre or one that is used for real estate purposes but if you look closely and work with the best light conditions, while also using the right focal length, architectural photographs can be stunning and very interesting subjects for photography. These can also be combined with other genre like portraits, street, documentary, etc.

When it comes to architectural photography, it almost always involves geometry in it and using geometry in compositions can be a powerful way to capture compelling photographs. Architectural photography can be of both interior and exterior photographs of architecture and if you are new to architectural photography, learn how to capture better architectural photos with the resources listed below.

Photo by Wolfgang Staudt

When it comes to architectural photography, there are quite a lot of factors that need to be taken onto account. Depending on what you wish to shoot and the results you are looking to achieve, starting from the focal length used, you will need to take care of the aperture values, iso, shutter speed, stabilisation, the verticals and so on. This article discusses seven tips to capture perfect architectural photographs.

Photo by Hector Falcon

Outdoor architecture is one where the photographer captures the exteriors of an architectural structure, be it the entire structure or part of it. When capturing outdoor images of architectural structures, do not just point and shoot what is right in front of you or just capture the entire building and stop with that. Close observations under the right light conditions will reveal the intricate details and colours in architectural structures and this article talks about five things you need to consider when photographing outdoor architecture.

Old and new, contrast and juxtaposition are good architectural subjects. By Jason Row Photography

There was a time when photographers thought that architectural photographs could only be captured using a wide angle lens, because most photographers, even when closer to the structure, thought that the structure needs to be completely included in the frame. Architectural structures come with stunning details and colours – the patterns and the geometry can be very compelling and there are many ways in which a photographer can photograph a part of an architectural structure and this article discusses a few.

Photo by Ashim D’Silva

Landscape and nature photography are stunning and there are a ton of opportunities to photograph subjects in nature. The same applies for buildings that range from ancient historical structures, ruins, religious structures, cultural architecture to modern architecture. Architectural photography can also help the photographer slow down and learn to use the camera, especially if you are beginner as there are buildings and structures all around us. This article provides eight reasons why you should try architectural photography.

Photo by Germán Rodríguez

There are a multitude of religions across the world and they all have places of worship or other religious structures built for various purposes. Religious structures can look complicated both on the inside and the outside, but the intricate details are stunning to photograph, if taken time to observe and compose. This article shares some secrets to capture amazing religious architecture.

A four minute exposure using 16 stops of ND was enough to create movement in these slow moving clouds. By Jason Row Photography

Architectural subjects can be great for long exposure photography, where you have a powerful static subject which is your architectural structure, and then you can capture the movements around the structure, be it people, swaying trees in the wind, clouds, water, traffic light trails and so on. Capturing long exposure images of architecture can boost the visual impact of the frame itself and this article is a good guide to long exposure architectural photography.

Photo by Medhat Ayad

Whether you are a real estate photographer or someone interested in capturing the interiors of buildings and other structures, interior architectural photography brings out the character of a building, and shows what the great structures really look like on the inside. It can be quite tricky to capture interiors because of the limited light, sometimes also the limited or huge space inside and composition can also be quite tricky. This article provides some tips to capture indoor architecture easily.

If you are someone who is interested in black and white photography, architectural structures can be great subjects for black and white photography, if done well. Good light, tonal range, patterns or textures, composition, are some important factors to look out when shooting for black and white conversion. This article discusses the art of urban black and white photography.

Photo by William Warby

Converging verticals can be a problem in architectural photography and when shooting certain buildings and structures, it can look stunning and artistic for some buildings/structures but quite odd for the others. Architectural photographers most of the time try to get those verticals right, in order to get the best results. If you are looking for ways to get the verticals straight in your architectural images, check out this article that discusses a few tips.

Further Reading

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19/10/2025
How Your First Camera Will Shape Your Photography

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Do you remember your first camera? I certainly do. It was a Soviet built Zenit 11 and like most things Soviet, it was built like a tank. The thing is though, I can still clearly remember everything about my first days with that camera. As clear as day.

That’s even more remarkable when you know those days were coming on 42 years ago. There is virtually nothing else from that period of my life that I recall so clearly. So why did a hefty chunk of Soviet pig iron have such an effect on me? Today we are going to look at how your first camera will shape your photography.

First Impressions Count.

My first impressions of the Zenit 11 came in the local camera store. In front of me was the Zenit and an Olympus Trip, by far the most popular camera of its day. It was my 16th birthday and I could choose one of them. Both were similarly priced, but the Zenit looked like a “proper” camera. The type of camera Hollywood stars would use in spy movies.

The feeling I got from looking and picking up that Zenit was one of excitement mixed with bewilderment. The excitement of this shiny new gadget and the bewilderment of all the dials and buttons on it. The large logo emblazoned on the pentaprism hinted at an unknown. It added to the mystic of this shiny black box. Of course as experience built, I became to realise that logo, was not the pinnacle of camera technology, but that’s a whole other story.

The hefty lump of pig iron that was the Soviet Zenit. By Eugene Chystiakov on Unsplash

I am sure everyone of you, from relative newcomers to seasoned and experienced togs, will have experienced similar feelings. I don’t recall the camera even coming in a box, but many of you, at one stage, will have unboxed your cameras, casually thrown the manual to the other side of the room then spent twenty minutes trying to work out how to attach the lens to the body. If you are still passionate about photography today, it was those few minutes, months, years or decades ago that defined that passion.

Taking Those First Images.

When I got my Zenit home, I was eager to understand everything about it. But first I needed to shoot with it. Unlike today, I had no fail-safes, no automatic modes, no autofocus. I had literally no idea how to load a film let alone what the aperture and shutter speed dials did. There were strange numbers on the top plate, they might as well have been hieroglyphics for all I knew.

Like me, you will have experienced the same desire. The desire to skip any understanding of the controls just to get an image. How that image came out will also define how you go forward with photography.

For me, it was a picture of a friend’s dog. In an age when the Internet is defined by cat and dog pictures, it’s difficult to imagine the massive impact an image of a friend’s canine had on me. It’s also, perhaps, difficult to imagine the anticipation in waiting to see that picture. It was several days perhaps a week before I got the prints back. But what prints they were.

A black lab was my hook into photography. By Einar Johnsson on Unsplash

The dog, a beautiful black lab whose name long escapes me but whose image is burned onto my retinas. The photos were so clear, so colourful, deep blue sky, rich green grass and the deep blacks of the aforementioned lab. Despite the fact that I had no idea how I had created these images, I was utterly hooked. And here’s the most salient point to this. That very first role of film helped define my photographic style, one that I have subconsciously honed over the following 40 years.

Your first images will be very much the same. Go back to the first shots you took with your first “proper” camera and I wager you will see elements of your own photographic style as it is today.

One. of my very first images, taken in 1984. By Jason Row Photography

Your First Camera Will Define Your Technique

Beyond those first creative flourishes, your first camera will completely define your approach to photographic technique. The Zenit, as I have already mentioned, was entirely manual. There wasn’t even a built in meter per se. It was a selenium cell on the front of the pentaprism, just below the iconic Zenit logo. It worked in much the same way as handheld light meters of the day. You lined up a needle and read off the exposure.

Your first camera will define your entire photographic journey. By Nancy Hughes on Unsplash

To do that, I had to understand exposure. I had to learn the relationship between shutter speed and aperture. I had to know what ASA (ISO) my film was and how that would affect my image quality. In short, it taught me the essential basics of photography.

Many of you reading this will have picked up your first camera in the digital age. To be honest, the need to understand exposure (at first) is not essential when starting photography these days. Modern cameras have that sorted for you. However, you will need to know the differences between JPEG and RAW, the effect of white balance, and the way to use different autofocus modes. Those modern functions are essential to digital photography and will define the way you think and shoot way into the future.

My early experiences can still be seen in my latest images. By Jason Row Photography

Your Experiences Will Define Future Photographers

When I meet up with new photographers, produce YouTube videos, make training courses or write even in my articles here on Light Stalking, I am bringing my 40 years of experience to those newcomers to photography. That experience is very much built on my early days in the craft and as such I am able to impart my understanding of exposure, shooting manually and manual focus to newer photographers.

In the same way, people starting now, will pass on the concept of JPEG and RAW et al to photographers kicking off their journey in 5-10 years time. The technology will have changed, the priorities in getting a good photo will have changed but the fundamental building blocks to getting that good photo will always be with us.

So think back to those halcyon days with your first camera, channel the thoughts and experiences that you gained with that camera and bring them forward into the future. The good photographers of the future will be building their abilities on your own experiences.

Further Reading

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26/08/2025
How to Choose the Right Photo Editing Services
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When you need photo edits and see a long list of editing services and techniques, it’s easy to feel a bit overwhelmed. With so many options plus multiple ways to combine them, where do you even start?

It makes perfect sense to go with what feels familiar, like basic retouching or background removal. But we’ve learned from working with thousands of photographers and business owners that your photos often benefit from multiple services working together. Combining services gets you better results with less hassle, since you can handle everything in one order instead of juggling separate projects. Let’s show you how to pick the right edits for your photos.

How to identify what your photos actually need

Before you start combining services, let’s figure out what you’re actually working with—it’ll save you time and help you get better results.

Photo diagnosis checklist

Take a look at your images and ask yourself if you spot any of these:
- Background issues: Is the background distracting, the wrong color, or inconsistent across your batch? Does it look messy or unprofessional?
- Subject problems: Are there imperfections, poor lighting, or color issues with your main subject? For apparel, does it need to show fit and drape without a model?
- Technical fixes: Is anything crooked? Are shadows missing or looking unnatural? Any dust, dirt, or glare issues?
- Brand requirements: Do you need multiple product colors? Specific formats? Transparent backgrounds for marketing materials?
Common photo problems and their solutions

Here are some scenarios we see all the time:
- “My product looks flat and boring” → clipping path + shadows
- “The background is messy and distracting” → background removal + retouching
- “I need to show this product in 5 different colors” → clipping path + color change
- “The model’s hair isn’t looking right” → image masking + retouching
- “My apparel needs to show shape without the mannequin” → ghost mannequin + retouching + symmetry
Most photo challenges need two to three services working together, not just one by itself.

How Path services work better together

Here’s why thinking in combinations instead of individual services makes more sense:
- Save admin time: Upload everything you need edited in a single order and get it all back together, ready to use. No juggling multiple orders or trying to keep track of which image versions are where.
- Speed up your workflow: Everything gets delivered together in the formats you need. Your designer handles all the edits for each image, so there’s consistency across the entire batch.
- Keep all photos consistent: When the same designer handles all your edits, you get cohesive results. Colors match, shadows look natural together, and the overall style stays consistent.
- Keep costs down: We offer discounts when you bundle multiple editing services together.
You can combine pretty much any of our services together—two, three, four, or more. What matters is understanding which combinations work best for your specific type of photography.

Service combinations by photography type

Every photography project has different needs, and you might even use the same image for different purposes. Here are some proven editing combinations that work well for different situations:

Sports photographers

When you’re dealing with high-volume shoots and tight deadlines, you need services that work fast and handle the most common issues in sports photography.

Your typical service combo:
- Image masking for complex backgrounds, hair, equipment details, etc.
- Background removal for clean, professional shots and official team photos, etc.
- Photo retouching for spot removal, color correction, skin touch-ups, etc.
There may be time-critical events such as championship coverage where you need polished images fast, or you might need to update and create consistent team roster headshots across an entire squad, just like this photographer does. You can choose different services depending on what each batch of images needs, whether that’s processing 200+ action shots or creating headshots with a uniform, professional look.

We offer turnarounds from 6 hours, so you can deliver images to your clients, magazines, or publications fast.

Product and ecommerce brands and photographers

For ecommerce, consistency is everything. Your product photos need to look professional, meet marketplace (like Amazon) standards, and convert browsers into buyers.

A standard combo:
- Clipping path for clean cutouts that meet marketplace requirements or create a clean website look.
- Shadow services add depth and dimension so products don’t look flat.
- Color change shows all available product colors without reshooting every single variant.
Advanced ecommerce stack (add these for even more polished results):

New ecommerce brands often start with the foundation combo (clipping path + shadows + color change) and add ghost mannequin as their apparel inventory grows. Established retailers may go with the full stack approach for complete consistency across their entire product catalog.

Portrait and headshot photographers

Professional portraits and headshots need to look polished but still natural. The goal is enhancing what’s already there, not creating something fake.

Typical professional edits for portraits and headshots include:
- Background removal/clipping path gives you versatile backgrounds for different marketing uses.
- Photo retouching helps with natural beauty enhancement, color correction, and flyaway hair fixes.
Corporate headshot scenarios may include:
- Basic combo of background removal + basic retouching.
- Premium package, adding advanced retouching and multiple background options for different brand uses.
Advanced portrait combination (for high-end clients or special projects) may include:
- Image masking for complex hair or clothing details.
- Color change for different outfit variations or brand color matching.
- Multiple background options so clients can use the same headshot across different marketing materials.
Wedding and event portrait combinations may include:
- Image masking for intricate dress details and flowing fabric.
- Retouching for flawless, natural skin and perfect lighting.
- Background removal for ceremony photos that need to work in albums and marketing.
How to choose your perfect edit combination

Use this simple framework to figure out which services make sense for any project:
1. What’s your end goal? Are these photos for marketplace listings, marketing materials, portfolio work, or client galleries?
2. What’s your biggest time constraint? Do you have a tight deadline, a high volume of images, or particularly complex edits?
3. What’s your budget priority? Are you focused on cost per image, or is premium quality and time savings more important?
Consider your photo use case

Sometimes the same photo needs different sets of edits depending on how you plan to use it. For example, a product photo might need:
- For marketplace listing: clipping path + white background + basic retouching.
- For social media: same photo but with different background + enhanced colors + shadows.
- For print: higher resolution + color matching + vector conversion.
How to mix and match your edits

Use this simple approach to figuring out which services work best for your projects:
- Start simple: Pick two to three core services that address your biggest pain points.
- Test combinations: Try different combos on smaller image batches to see what works best for your workflow.
- Scale up when it makes sense: Add more services as you see results and understand how they improve your final images.
When to add each editing service

Not sure which services you actually need? Here’s a quick reference for what each one does best.

Clipping path: When you need hand-drawn, crisp clean cutouts that you can use on any background.

Background removal: When you want clean white (or any color) backgrounds for product photos.

Image masking: For intricate shots with hair, fur, or complex borders that need precise, natural-looking cutouts.

Shadow: When products look flat or unrealistic—shadows add depth and dimension, and they actually help generate more sales.

Ghost mannequin: For apparel that needs to show natural fit and drape without models or mannequins, essential for consistent ecommerce catalogs.

Color change: When you have multiple color options and need to show true-to-life colors without reshooting every single shade.

Photo retouching: When imperfections distract from your subject—this corrects flaws and makes every element shine.

Multi-clipping path: When you need to select multiple areas within images for separate editing (like changing just the shirt color but not the pants).

Vector conversion: When you need scalable graphics and logos that maintain quality at any size.

Symmetry: When product alignment matters for brand consistency and that premium, professional look that converts better.

How to place your Path order

Ready to try combining services? Here’s exactly how to do it and how it works:

Getting started
1. Sign up for your Path account
2. Top up Path credits (optional but recommended—you get bonus credits when you top up)
The ordering process
1. Click “new order” to start your project
2. Select all the services you need for this batch—you can choose as many as you want
3. Upload your images using drag and drop
4. Get instant quote and you’ll see your total cost immediately
5. Set preferences like:
  a) File format for your edited images
  b) Additional comments or instructions
  c) Upload any supporting files if needed
6. Select turnaround time (longer turnaround means cheaper pricing, or choose rush for time-sensitive projects)
7. Review and approve your quote
8. Choose payment method and submit your order
If you need 1,000+ images edited a month, we offer bulk pricing with better rates and priority support.

Ordering edits with Path couldn’t be any easier

Now that you know which combinations work for your type of photography, placing an order is straightforward. Try Path free with 2 free edits and see how much better your photos look with the right services working together.

Let us look after your image edits, so you can get back to the fun stuff. Try Path free.
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05/08/2025
How to Take Incredible Photographs of Flowers

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This is a guest post from Izabela Korwel. Check out Iza’s amazing macro photography on her blog, follow her on Twitter, Facebook and also on Google +!

Flowers are the easy subjects to come by and to photograph, even close to home. You can go to local park or find a flower bed downtown or at the mall. You can visit a botanical garden, there is one in every major city. You can ask the neighbors if you can photograph in their garden. You can also just go the flower shop and buy potted or cut flowers, and set them up in your living room.

The easiest way, as I discovered this year, is to plant small flower garden in front of your house. Even for the sole purpose of having a photographic subject handy, they do not require that much work, especially if you choose the local wild flowers. The diversity in types and colors will help keeping you interested and returning often to add to the collection of images. Each day, the flowers will looks different, some will be already dying, and some will just start to bloom. There are new and different photos to be taken each and every day.

Don’t Forget to Check The Weather!

Weather is going to be your worst enemy. Sun and wind are two ingredients you need to be aware of at any moment.

They say that macro photography of flowers (and other plants) is the one type of photography allowed in the midday harsh light. Don’t believe it. It will at times create as much contrast between your highlights and shadows as for any other subject. Unless of course your flower subjects are in the shade or under a scrim. Pay attention to the light, and either photograph during “golden hour” or at times when the sun in on opposite side of the house. It will create far more beautiful images.

It is going to be quite difficult to avoid the wind. Even a small breeze can shake high stem flowers enough to result in blurry images. Especially if you photograph in the shade, with stepped down aperture (large f/ stops) for increased depth of field, the shutter speeds will be slow and the slightest movement of the flower will be magnified in your photograph. There is not much you can about it. Check the wether and pick the day of the week and the time of the day with the calmest conditions. Pick the side of house for your garden opposite to prevailing wind direction in your area. But also, you can just incorporate the movement into your photographs for fresh, creative look.

What Gear Do You Need for Flower Photography?

Photography of flowers is oftentimes at borderline of close-up and macro work.

If you have a point and shoot camera, many have excellent macro mode, which will allow you to get close. Turn it on.

On a dSLR, you will get the best results from dedicated macro lens. They come in few focal lengths, which vary by manufacturer. I found the Nikkor 85 mm works well for me and my shooting style. In fact, all images in this post but one were take with this lens. You can rent and try different lenses from one of several reputable online services (like BorrowLenses.com, LensRentals.com, LensProToGo.com) or check in local camera store before investing your money in one. Also consider that many all-in-one zoom lenses, like the Nikkor 18-200 mm or Sigma 18-300 mm I use, will allow you to focus from just few inches away. Other options include extension tubes and macro filters. This last option is the least recommended, but the least expensive at the same time.

Use These Settings for Best Results

The camera settings you choose will have strong effect on the final image. Play with them, if your camera allows it.

The ISO is best left alone on the highest setting you are comfortable on your camera. The higher the ISO, the shorter your shutter speed will be, but the more noise you will get. On most dSLRs, 400 or 800 is the best choice.

The other parameter you probably don’t need to worry much is the white balance. First, most dSLRs are quite good on the Automatic mode. Secondly, if you shoot RAW, you will have the most flexibility to change it afterwards. Third, the flower images are usually fine art not documentary, and as such are subject to artistic freedom. You might even try changing the white balance to warmer or colder for some artistic reason.

The Aperture priority or Manual mode will give you the most control over remaining settings. But stay away from really wide open apertures like f/1.8, or even f/5.6. Many beginners enjoy the shallow depth of field, especially shortly after upgrading from point-and-shoot which typically have unlimited depth of field. When you are close to the subject, the depth of field is too narrow and just not enough for any part of the flower to be in sufficient focus. You will quickly realize that anything starting from f/11 or even f/14 gives enough depth of field to avoid the feeling of out-of-focus, blurry image. Many times it is best to go as high as lens allows, up to f/22 or f/32 depending on the lens. Be also careful in how you position the camera in relation to the flower. The more parallel the sensor and the part of flower you want in sharp focus are, the easier it will be to achieve crispy look.

At the same time, the stepped down aperture might cause your background to come in focus and make the image too cluttered. To avoid it and have more control over the aesthetic of your background, replace it with your own. Take several different out of focus photographs- of cloudy sky, trees in several shades of green etc. If it is not single, solid color, it will look more natural. Print them as 11×14, and glue them onto foam core for more sturdiness and use as on-demand background. The more color choices, the more flexibility.

Getting Better Flower Photos With Precision

The last two pieces of advice in this post are going to have the most impact on your flower photography. These are also the two things too many of beginning photographers ignore, thinking they will be just fine without them. The results are mediocre instead of excellent.

First, put the camera on tripod. Really. It does not need to be fancy setup with ball head and removable center column, although it helps. What it has to be, however, is sturdy enough to keep the weight of the your camera. I am using Manfrotto 055XPROB with 488RC2 ball head. I went through several cheap, plastic tripods before giving up and finally investing into it. Avoid my mistake.

Secondly, use manual focus. Even with stepped down aperture, the depth of field will still be narrow. With the stabilized tripod, now you can make the decision if the middle of the flower or the petals are where you want viewers to look first.

I hope those few basic tips will get you interested in finding some flowers now and photographing them. Be creative. Have fun. And if you feel there is anything important I forgot, please ask a question or add your tips in the comments section.

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23/07/2025
How to Take Symmetrical Apparel Photos for Ecommerce
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Crooked collars, uneven sleeves, lopsided hems—these small details can make even high-quality products look unprofessional. For apparel product shots, getting perfect symmetry is one of those skills that separates amateur shots from photos that serve as sales tools.

Clothing doesn’t cooperate like rigid products do. But there are plenty of proven tips and tricks to help with the three stages—prep, shooting, and post-production—so you can consistently create balanced, professional photos that convert.

Why symmetry matters in apparel product photography

Put simply, symmetry is pleasing to the eye. It represents order that our brain likes. Like a bookshelf with perfectly aligned spines or evenly stacked towels. But if you look at a building that has every window perfectly aligned except one, you’d notice it immediately.

The same applies to your product photography. If your apparel shots are crooked, unbalanced, or asymmetrical, shoppers notice—and not in a good way. Symmetry triggers trust, which in turn can help boost your sales.

When buyers see balanced, well-aligned product images—like The Wildlife Trusts online storefront—they perceive higher quality and professionalism. It’s a subconscious signal that you care about details, which translates to caring about your products.

Pre-shoot preparation: setting up for symmetry

The right prep can save you hours of editing later and help you achieve that balanced, professional look from the start.

Choosing the right garments and prep
- Select quality samples: Choose garments in excellent condition without permanent wrinkles, stretched fabric, or damaged seams that can’t be easily fixed.
- Steam thoroughly: Remove all wrinkles and creases before shooting. Pay extra attention to sleeves, collars, and hems where asymmetry is most noticeable.
- Know your fabrics: Delicate materials like silk need gentle handling and may require clips to maintain shape (without over stretching). Heavier fabrics like denim hold their form better but need proper steaming.
- Arrange details evenly: Position buttons, zippers, and accessories symmetrically before shooting.
- Check seam alignment: Ensure shoulder seams, side seams, and collar edges are properly positioned and won’t create uneven lines.
Mannequin and display preparation
- Choose proper sizing: Select mannequins (or models) that fit your garments without stretching or bunching the fabric. You can turn images into ghost mannequins later.
- Align mannequin straight: Position mannequins facing directly forward. Shoot straight-on or at a slight up/down angle.
- Support flat lays: Use foam core boards or batting inside garments to add structure and eliminate wrinkles for flat lay shots.
- Add dimension: Stuff sleeves and body sections with batting to create natural-looking volume and shape.
- Pin invisible points: Secure fabric from behind using straight pins to keep symmetrical draping.
Some pieces won’t work symmetrical and that’s fine. Still apply all other prep and shooting tips to get high quality photos. For example, this cape on Project Cece’s online shop is asymmetrical and calls for balanced composition rather than forced symmetry.

During the shoot: capturing balanced apparel images

Photographing and arranging products isn’t quick work—even teams with professional stylists might max out at 10 items per shoot day, though dedicated studios with specialized workflows can typically process more.

Camera settings for optimal symmetry
- Choose longer focal lengths: Use 50mm, 85mm or longer to minimize distortion that can make clothing look uneven or warped. If you’ve got limited space, zoom lenses can come in handy.
- Set consistent aperture: Shoot around f/8-f/11 to keep the entire garment in sharp focus from front to back.
- Position camera center: Keep your camera dead-center and level. For top-down shots, ensure the camera is truly overhead to avoid skewing.
- Use a sturdy tripod: Essential for consistent framing, sharp images, and avoiding camera shake.
- Set up even lighting: Use two lights (ideally), positioned on either side to eliminate uneven shadows. Adjust angles based on fabric thickness.
- Enable camera gridlines: Use your camera’s grid overlay to align garments perfectly within the frame. You can also shoot tethered and connect to a monitor to catch any issues in real-time.
- Frame precisely: Frame your shots exactly as needed from the start. If you plan on removing background or doing other edits like drop shadow, you can always adjust canvas size during editing. Just make sure to fully capture your product so you have plenty to work with in editing.
Styling techniques for balance

Different garments will benefit from different arm positions—some look better with hands close to the body, others with arms slightly bent away. Whatever you choose, make sure both sides match for symmetrical posing.
- Use clips, pins, and even tape behind the garment to create perfect draping while keeping them invisible from camera view.
- Review each shot immediately to catch issues before moving to the next setup. What looks balanced to your eye may appear crooked in the photo.
- Make small adjustments between shots rather than major repositioning.
Dig deeper into why symmetry sells. Read “Symmetry in Product Photography: Why It Matters” to uncover the psychology and strategy behind balanced apparel images.

Learn more

Post-production: fine-tuning your symmetry

Even with perfect shooting, most apparel photos need symmetry adjustments. Good clothing editing fixes natural flaws without making products look artificial and matches both sides, not copy-pastes half a garment.

Basic symmetry edits anyone can do
- Crop and straighten: Use your editing app’s grid overlays to align garments perfectly within the frame and correct any camera tilt. In Adobe Photoshop, you can select several grids when cropping, such as Rule of Thirds or Triangle (both great for quickly centering your shots) or Grids (for more precision).
- Make minor adjustments: Fix small imperfections like uneven hems or slightly askew collars using basic retouching tools.
- Address wrinkles: You can’t get true symmetry on wrinkled fabric, so make sure to smooth out any obvious creases.
Professional symmetry editing techniques

Professional symmetry editing involves complex, precise adjustments that require advanced skills:
- Sleeve alignment: Matching sleeve length, cuff positioning, and draping between left and right sides
- Side-edge corrections: Ensuring garment edges create perfect parallel lines and consistent silhouettes
- Curve refinement: Smoothing necklines, armholes, and hemlines for balanced curves
- Detail alignment: Positioning pockets, buttons, zippers, and decorative elements to mirror exactly
These edits involve reshaping fabric digitally while keeping realistic texture and natural draping. Our mirror image symmetry service handles these complex fixes so you can focus on shooting and growing your business instead of spending hours on detailed post-production.

When to DIY vs. when to outsource

Not every symmetry issue can be fixed with editing. Major fabric distortions or non-mirrored patterns need to be corrected during shooting—no amount of post-production can create symmetry that wasn’t captured originally.

Some garments, like the patterned shirt from Omnes, look balanced in shape but have naturally asymmetric designs. For these pieces, focus on getting the overall structure right during shooting, then handle simple fixes like ghost mannequin effects, lighting adjustments, and wrinkle removal.

Basic edits like cropping and straightening work fine as DIY projects. But complex symmetry corrections can take hours per image. For busy photographers and ecommerce brands, professional editing usually costs less than your time while delivering better results.

And with marketplaces like Amazon requiring high-quality images, professional symmetry editing gives you that polished result that DIY edits can’t always achieve.

Symmetry checklist

Check all these before approving your images and you’re good to go:
- No obvious wrinkles (natural fabric draping is fine)
- Sleeves and hems are aligned and match in length
- Collar and necklines are centered and balanced
- Buttons, zippers, and pockets are positioned symmetrically
- Fabric drapes evenly on both sides
- Lighting is balanced with no uneven shadows
Consistently balanced shots for every product

Not only does symmetrical apparel photography help your products look appealing, it also meets the high standards that customers expect in ecommerce. Whether you edit in-house or outsource the tricky stuff, what matters is finding the approach that works for your workflow and quality needs.

Need help getting perfect symmetry? Path’s editors handle complex apparel fixes, saving you time while delivering professional results for any marketplace.

The post How to Take Symmetrical Apparel Photos for Ecommerce appeared first on Path Edits.

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12/07/2025
How to use crop modes on your full frame digital camera.

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The reality of the world is that images are almost always cropped from what they were in camera no matter how we share them. This is largely due to the constraints of mobile phones where wide aspect ratio images can be hard to view on phones when the phone is held in portrait mode.

The weird thing is that every website or app is a little bit different. Some sites force your images into their own highly restricted crop such as Instagram, and some sites like Flickr don’t care what crop is used. The main concern for using either of those services is how people are most likely to view your images which as far as I know is still a mobile device.

To help photographers deal with this, did you knot that most (if not all) full frame 35mm digital cameras have built in “crop modes” which apply a digital crop to your image in camera?

For example, my camera will shoot in 4 different crop modes (also called aspect ratios). It will shoot in a 4:3 aspect ratio which is the old TV standard for HD television. It will shoot in 1:1 format which is a square format used as we all know on Instagram. It will shoot in 16:9 which is the modern standard for television screens, computer monitors, and many TV shows. Take a look at the comparisons below to get more of an idea of how these different formats relate to each other.

When using these alternate aspect ratios the RAW image remains unaffected. After opening the RAW files in Lightroom a crop will be automatically applied to the image but you can just remove the crop and voila, you’re back to having a full frame image again. If shooting JPG the final image is cropped and the 35mm full frame image can’t be recovered.

Since the RAW file retains the 35mm full frame image a different aspect ratio can be used as a bit of a cheat to help avoid framing mistakes. Say you’re the type who tends to shoot with a tilt or off to the right all the time, or maybe you tend to shoot with the subject low or high and cut off people’s feet. If you’re one of those types then using one of these alternate aspect ratios can force you to frame your images better.

For instance, if you want to make sure you always have room on the sides of your images, you can use the 4:3 crop to force yourself to frame a little wider on your subject. This might be especially useful if you’re shooting fast action such as sports and you want to make sure that there is room in the image to get a nice frame around your subject for publication.

For instance, if I was shooting baseball or basketball where there is usually a focus on what a single player is doing, I might choose to shoot in RAW with the 1:1 crop active. This would force me to put the player close to the center of the frame at all times.

Think of it as a way of making a repetive job a little easier on yourself and you might start to see the benefits of using different crop ratios when you’re taking pictures.

It would be really cool if the camera allowed me to create a couple custom crop ratios for all the different websites out there as well, but, I haven’t heard of a camera that can do that yet.

The R5 can also shoot with a full APS-C crop. Below is a comparison of the full frame area vs the APS-C area.

If you’re far away from the subject, say a bird or other kind of wildlife, then shooting with an APS-C crop not only saves some file size but it can help the photographer get better framing for their final images. It also allows the R5 to work a little more seamlessly with other APS-C cameras if other people happen to be using those.

Despite all this, many if not most photographers will immediately ask why anyone would throw out all those pixels that they paid so much money for in a full frame camera. Well, they honestly have a good point and it’s why I rarely to never use APS-C crop on my camera. For one, while the APS-C crop does offer some logic, it’s really better to use a longer focal length to achieve precise framing. On the R5 a full APS-C crop is still 17.2 megapixels which isn’t too far off from actual crop sensor cameras that are often around 24 megapixels. But it is a far cry from the 45 megapixels of the R5’s full frame sensor. Bottom line: going to APS-C on the R5 throws out more than half the resolution and that would be true with any FF camera that offers the ability to shoot in crop mode.

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18/06/2025
How Long Do You Keep Client’s Files? Horror Story!

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It’s a tale as old as time, but when you enter into work in the photography space without a contract, problems like this are bound to arise.

An unfortunate Redditor recently revealed on the site that a client they had done a shoot for eight months previously came back asking for the download link.

Unfortunately, and somewhat predictably, this was about a week after they had already deleted the client’s photographs.

And this was one of those situations in which, as you guessed, there was no contract.

Now, we are not in any way naive enough to believe that a lot of photographers aren’t working on good faith in this industry—but what happens when situations like this arise?

For one, it potentially leaves you open to legal repercussions—a knife that cuts both ways.

Of course, as anyone will tell you, the first thing in a legal situation that lawyers will ask for is the contract. And if there is no contract, you are about to enter a quagmire.

But this particular situation also raises the question: how long is reasonable to keep a client’s old work? For that, you might need to use common sense—or, preferably, as you guessed it, have a contract in place.

So how long do you keep clients’ work?

Is eight months a reasonable amount of time?

And do you have a standard contract that you use that covers this scenario?

Let us know in the comments.

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28/05/2025
How to Fix Blurry Sports Photos
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Taking crisp action shots of sports figures can be challenging, and sometimes an otherwise perfect shot is just a little out of focus.

In this tutorial, you’ll learn how to fix blurry sports photos—including methods you can use to sharpen and fix out-of-focus sports photography, as well as tips to ensure your next sports photos are crisp and clear.

How to fix a completely blurry sports photo

A completely blurry sports photo is when nothing in the frame is in focus. This often happens in action shots. If this happens to you, there are several filters you can use in Photoshop to sharpen the entire image.

Using the Unsharp Mask Tool

Photoshop has a filter specifically designed to sharpen images, known as the Unsharp Mask tool. A blurry image can never truly be “sharpened,” but Unsharp Mask attempts to detect the edges of your photo by looking for side-by-side pixels that are different in color. Then, the tool allows you to adjust the contrast of those pixels and create the illusion of a sharpened image.

To use this tool, open your blurry sports photo in Photoshop. Make sure you have the layer containing the image you want to sharpen selected (in a JPEG, this would be the Background layer).

Next, choose Filter > Sharpen > Unsharp Mask… from the dropdown menu at the top of the application window.

A dialog box with Unsharp Mask settings will appear. Within this window you can adjust the Unsharp Mask settings. These settings allow you to finely tune how much contrast Photoshop will apply to the pixels within your image.

You’ll see a portion of your image displayed within the dialog box. You can use your cursor to drag until a critical portion of your sports photo appears in that image window. In the example below, we’ve positioned the cyclist’s face in the window.

Next, you’ll see three sliders:
1. Amount: The Amount setting adjusts the increase in contrast between pixels.
2. Radius: Radius adjusts the number of pixels along an edge that will be affected by the contrast increase.
3. Threshold. Threshold tells Photoshop just how different those pixels must be from each other before they’re considered an “edge.”
Make sure Preview is checked so you can see how the image will change when you make adjustments within this dialog box.

Each image you adjust will have different settings for these three sliders, because no two images are identical. Play with the sliders until you figure out which combination of settings works best for your image without creating an overly contrasted result.

Once you’re happy with the final image, click OK.

So, it’s not perfect, but it is an improvement.

Sharpen blurry sports images using High Pass Filter

Another Photoshop tool for sharpening blurry images is the High Pass Filter. In fact, you can use High Pass Filter and Unsharp Mask together to create an even sharper image.

To use the High Pass Filter, first duplicate the layer that contains the image you want to sharpen (most likely your Background layer). You can do this by clicking on the Layers panel menu (four little horizontal lines in the upper right corner of the panel) and choosing Duplicate Layer….

With the new layer selected, choose Filter > Other > High Pass… from the dropdown menu at the top of the application window.

Your image will go completely gray. You’ll only see the outlines of your edges in the image.

In the High Pass dialog box that appears on the screen, move the Radius slider to the left to reduce detail or to the right to increase the details of the edges. Make sure “Preview” is checked so you can see the effects of moving the slider. In general, keep the radius at 7.0 Pixels or less so your end result will look natural.

Click OK.

Next, go back to your Layers Panel. Change the Blending Mode of the top layer to “Overlay.” (By default, the Blending Mode will be set to Normal.)

Your image will now appear sharper.

For an even sharper image, you could apply Unsharp Mask, and then a High Pass Filter on top of that.

You capture the action, we’ll look after the edits. Sports photo editing services start at 25¢ per image.

How to fix a specific area of a blurry sports photo

Sometimes, you want to capture motion blur and keep the visual effect, but you also want your subject’s face, or some other portion of the photo to be crisp. There are multiple ways to do this, including using selections, using layer masks, and using Photoshop’s Sharpen Tool.

How to use a selection and layer mask

Go back to the image you just sharpened using a High Pass Filter. Now, you’re going to remove the sharpened effects from every part of the image except the cyclist’s face—and then add additional effects to that area to create even more crispness.

Using the Marquee Tool in Photoshop’s Toolbar, draw an ellipse or a rectangle around the area of the photograph you want to remain crisp.

Next, choose Select > Modify > Feather… from the dropdown menu at the top of the application window.

In the dialog box that appears, type in a value between 100 and 250. This will give you the smoothest feather of your selection.

Now, go back into your Layers panel and choose the layer that contains your High Pass Filter. Click on the Mask icon at the bottom of the Panel. This icon looks like a black rectangle with a lighter circle inside of it.

Once you click on that icon, you’ll see a mask appear in your layer. It will look all black, except for the area of your selection, which will appear white.

You’ve now made it so the High Pass Filter will only appear on the area where you originally created your selection, or in the case of this example, on this cyclist’s face.

How to use the Sharpen Tool

You can sharpen the cyclist’s face even more by using Photoshop’s Sharpen Tool.

Select the Sharpen Tool from the Toolbar to the left of the application window. The Sharpen Tool may be sitting behind the Blur Tool or the Smudge Tool.

In your Layers panel, select your original laye—the layer that does not contain the High Pass Filter. Then, with your Sharpen Tool selected, “paint” over the areas of your image that you want to be a bit crisper. In the below example, we went over the cyclist’s eyes and mouth with the tool.

Like all tools in Photoshop, you have the option to adjust the strength and size of the Sharpen Tool in the Options Bar.

How to remove a blurry background from a sports photo

Sometimes a photographer will want a clear subject and a blurry background in a sports photo. However, there are times where a crisp background makes more sense. In these instances, it works best to remove the background altogether and replace it with a new image.

For the following examples, let’s use this image of a young woman holding a basketball.

Use AI to remove a background in Photoshop

The easiest way to remove a background is to use the “Remove Background” tool, which is part of Photoshop’s new AI tools. However, while fast, this tool isn’t always the best option, as you’ll see in a minute.

To use the tool, make sure the Contextual Task Bar is visible. By default, it is—however, if you don’t see it, make sure Contextual Task Bar is checked under the Window dropdown menu.

With the Contextual Task Bar visible beneath your image, you’ll see the option to Remove Background. Click on that option.

The result will be…okay. But not perfect. To really remove the background from an image, you’ll need to add a human touch.

[cta text=”Save a ton of time with pro background removal from 39¢ per image” button=”Learn more” link=”https://pathedits.com/pages/background-removal”]

Remove background using Select and Mask

Another option to quickly remove the background of your image is to use the Select and Mask feature in Photoshop. To do this, go to Select > Select and Mask… from the dropdown menu at the top of the application window.

A new window will appear. In this window, choose Select Subject. You can refine the subject by using the “Refine Hair” button and the tools on the left-hand side of the window, including the Magic Wand Tool.

Once you have your subject selected to your satisfaction, scroll to the bottom of the Properties tab at the right-hand side of the window. Change “Output to” to “Layer Mask.”

Click OK.

Back in your regular image window, you can now refine the subject more. For instance, Select and Mask didn’t do a very nice job of selecting the model’s hair, and parts of her left hand are cut off. You can fix this manually using Photoshop’s Pen Tool and Background Eraser Tool.

Refine selection using the Pen Tool

You can use the Pen Tool to refine crisp edges of your subject.

First make sure you have the mask portion of your layer selected. Then select the Pen Tool from the Toolbar at the left-hand side of the application window and draw along the edge of your subject. Create a selection from your path, then delete or add portions of your image back in to achieve the desired edge to your subject.

Use the Background Eraser Tool

Next, you can use the Background Eraser Tool to refine the hair of our subject. You can get to the Background Eraser Tool by clicking and holding down the Eraser Tool in the Toolbar.

It’s best to work in stages around the edge of the subject’s hair, so choose one side of the head to start on. Then, set your background color to the color of the background behind that portion of hair. Use the Background Eraser Tool to refine the edge of the hair and continue to change the background color as needed as you work around the entire head.

Once you’ve sufficiently removed the background from your subject, you can insert a new, crisp background into your image.

How to avoid taking blurry sports photos

While Photoshop offers many options to reduce motion blur, the best way to get a crisp photo is adjusting your camera and equipment settings for the scene you’re shooting. Take plenty of test shots before the event to get your setup close to perfect, based on subject speed and lighting conditions. Shooting in RAW instead of JPEG gives you more flexibility to rescue blurry or underexposed photos later. Even if you don’t have the time to spend on fixing photos, you can outsource photo editing to Path using your captured RAW images.

Below are some simple but effective shooting tips to make sure your next sports photos are perfectly in focus.

Fast shutter speed

When you’re trying to capture a moving subject, you will need to use a fast shutter speed if you want the subject to appear clear, or “frozen.” How fast a shutter speed you need (and can use) depends on how fast the subject is moving, how much light you have to work with, and how wide or narrow the aperture of your lens is.

For subjects that are moving at high speed, such as running athletes, cyclists, or racing cars, you will need a shutter speed at least 1/1000 sec, and probably closer to 1/4000 sec. Different cameras offer different shutter speed options, and some new mirrorless options offer shutter speeds up to 1/64,000 sec.

If you want to create a blurry background with your subject still sharp, use the panning method. Reduce the shutter speed to create a blur and move the camera in the same direction as your subject when they move past you. It takes plenty of experimentation to get your settings and hand movement right, so don’t worry if you don’t get it on the first try.

Adjust light

When you reduce your shutter speed (meaning you make it faster, such as going from 1/250 sec to 1/1000 sec), you reduce the amount of light that hits the sensor through the shutter. Therefore, in order to have a bright image, you need to compensate for the high shutter speed by raising the ISO, widening the aperture, or both.

Taking photos with plenty of light is important to ensure that the photo comes out at the correct exposure, at the zoom level you need, without the increased film grain that can occur from high ISO values in low-light. Taking photos outdoors during the day will provide a lot of light, as will using a flash. Before you use a flash at an indoor sporting event, however, check the event’s rules for flash photography. Many sporting events don’t allow flash photography from professional photographers, unless they’re the official contracted photographer.

Reduce camera shake

Camera shake happens because even when you try to stand perfectly still, your hands naturally make tiny movements that can blur images. Using your camera’s neck strap pulled tight against your neck can add a bit of extra stability when shooting handheld.

When you zoom in to your subject, you increase your focal length, and you need to increase your shutter speed to compensate, or else you risk your image blurring from shaking. For a still subject, your shutter speed needs to be at least the inverse of your focal length, so if you zoom in to 400mm, you will need to set your shutter speed to at least 1/400 sec to avoid camera shake. And then you will need to increase your shutter speed from there, depending on how fast your subject is moving and the available lighting conditions.

Most sports action shots are taken with hand-held cameras or with monopods. You’ll often see sports photographers with large lenses use monopods to support the weight of their kit, which still allows them to quickly move the camera around.

Many modern cameras and some lenses also have powerful shake reduction capabilities. Look for terms like ‘In-Body Image Stabilization’ (IBIS) in camera bodies or ‘Optical Stabilization’ (OS/IS/VR) in lenses. This technology can help you shoot at slower shutter speeds while still getting sharp images.

Let us fix your sports photos

While not every blurry photo can be saved, with the right tools and techniques, you can rescue many of them—and capture crisp, clear shots moving forward.

Shooting, organizing, and editing sports photos takes a lot of time and work. Wouldn’t it be great if you could outsource the most tedious, repetitive aspects? With Path, you can! Send us all your background removal, retouching, and image masking needs—so you can get back to the creative work that really matters.

Ready to send your photo edits our way? Get started now—and get your edits back in as little as 6 hours.

How to fix blurry sports photos FAQs

How do you make sports pictures not blurry?

To make sports photography less blurry, use a fast shutter speed—ideally 1/1000s or faster—to freeze motion. Set your camera to continuous autofocus (AI-Servo or AF-C mode) and track your subject. Good lighting, a higher ISO if needed, and steady panning techniques also help capture sharper images.

Why are my pictures blurry in sports mode?

Sports mode usually tries to select faster shutter speeds, but it can still struggle in low light or if the autofocus isn’t keeping up with the action. Your pictures might also be blurry if the camera is focusing on the wrong spot, or if there’s not enough contrast for the autofocus to lock onto the subject properly.

How do I get my sports pictures sharp?

Use a fast shutter speed, continuous autofocus, and a wide aperture (like f/2.8 or f/4) to let in more light. Track the subject carefully, and if possible, pre-focus on an area where you expect the action to happen. Shooting in burst mode can also increase your chances of getting a tack-sharp frame.

How do you take clear sports pictures?

Clear sports images start with the right camera settings: fast shutter speed, continuous autofocus, and an appropriate ISO. Also, practice good technique—like following your subject smoothly with the camera and anticipating the action. Using higher-quality lenses with image stabilization can make a big difference too.
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08/05/2025
How The DJI Pocket 3 Fits Into My Workflow

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Hybrid Photography

I am a hybrid photographer, a photographer that shoots both stills and video. My main camera is the Sony a7RV and it is perfectly suited to my needs. It shoots 61mp stills and up to 8k video in 10 bit 422 colour.

I also have an iPhone 15 Pro. Its video capabilities are excellent, being able to capture 10bit 422 in Prores if using an external SSD. I also have a couple of drones, and a DJI Osmo Action, the original version. I find uses for all these cameras, so why on Earth would I want to add the DJI Pocket 3 to my camera bag? Let me explain.

A Gap In Capability

I shoot a lot of videos with the Sony a7RV. Much of this is shot either from a gimbal or from a locked off a tripod with a video head. Both of these are slow and cumbersome to set up and make shooting stills more difficult. Often when I am shooting video, I suddenly see a stills photo that I want to take.

To do this I need to either remove the Sony from the gimbal or maneuver the tripod and camera to the right location. It’s slow and there is often a good chance that I will miss the shot.

A large camera and gimbal can become very heavy. By Jose P Ortiz on Unsplash

My workflow at the moment sees me dedicated myself to shooting either video or stills but not both at any given location. There are many times when I am out on a stills shoot, roaming a location when I yearn to shoot some video. However on a stills shoot I will not take the gimbal with me. That leaves me with the option of handheld video. Whilst Sony’s IBIS is pretty good, I still feel that handheld video is not a great option for stock agencies. It will be rejected more often than not.

I also carry the DJI Osmo Action with me, but there are a lot of limitations. It is electronically stabilized, which often looks awful, has a small sensor and is now quite dated. It is primarily used as my vlogging camera.

The Other Gap In Capability

Since the beginning of the year, I have set myself a target to monetise my YouTube channel. The channel is focused on all things photography, stills, video, drones, editorials and more. There was an issue though.

I like to create my videos on location. Me and my camera in a pretty location talking about the photography subject of the day.

However, given my main camera will often be the subject of the video and the iphone was limited ergonomically, my choices were limited. Often, my script notes are on the phone making it tricky to use and shoot from simultaneously. The Osmo Action is very limited unless used as a fixed static camera. It’s not great for getting b-roll either of the location or the gear. Drones are great at tracking subjects and moving around but you really need a second person to operate them safely. So I needed something else.

Talking to camera in a hot and humid Bangkok

Looking At The Options

What I was looking for was a compact, mechanically stabilized video camera with output quality good enough for stock agencies. It had to be lightweight, easy to set up and decent in low light. I narrowed the choice down to two options. My iPhone on a DJI/Zhiyn gimbal or the DJI Pocket 3.

I have used my iPhone with a gimbal for stock video on many occasions. The quality is decent in good light but drops off very quickly as the light fades. There is another drawback though. The iPhone is a portable computer on the go. I use it to navigate, check emails, post to social media and pay for things. None of these are easily done when it is attached to a gimbal.

Still from a DJI Pocket 3 Timelapse. By Jason Row Photography

I had followed the progress of DJI’s Pocket cameras from the release of the original. The DJI pocket cameras are effectively a small camera attached to a handle through a gimbal. They are small, mechanically stabilized and, at a push, can fit into your pocket.

They were interesting, but did not fit my needs. It seemed to be primarily aimed at vloggers shooting to camera pieces outside and for average quality b-roll footage for those vlogs. The Pocket 2 improved capabilities a little, but was still not really useful as a stock video camera.

Then about six months ago and to much hype, DJI released the Pocket 3. This stood out for a very good reason, the 1” sensor.Now in large camera terms a 1” sensor is not huge but compared to previous Pockets and to smartphones it was huge.

However there was another stand out feature. It also shot Log in 10 Bit colour. This is a big deal for videographers as it gives a lot more leeway when grading the footage in post. This was a pro level feature.

The DJI Pocket 3 shooting a timelapes at Wat Arun in Bangkok. By Jason Row Photography

Was The Hype Realistic?

I rarely buy tech gear at first release. YouTube is full of creators that pump out “super psyched” videos on the launch day of pretty much anything that runs off batteries. The hype on the DJI Pocket 3 was immense, YouTubers extolling the many virtues and finding little wrong with the camera.

Six months later, you start to get videos with titles like “The Downsides Of The Pocket 3” It is these videos that I like to watch in combination with 6 months’ reviews from established and well regarded filmmakers and photographers.

What I learnt from these videos was that much, but not all of the hype was real. The DJI Pocket 3 was a very capable camera, producing a superb video image that belies its size. It was a tool with some excellent features. There were issues, downsides of course, but none that I could see that would affect my use of the camera. So I bought one.

Still image from DJI Pocket 3 video of the Grand Palace Bangkok. By Jason Row Photography

How Is It Working Out

So far, very good. I have had the Pocket 3 for a few months and have shot quite a bit of footage with it as well as a studio based, to camera YT video. The video quality is excellent and the range of features very good. I can shoot 4K up to 120fps, timelapses, ultra slow motion. It will track subjects, detect my face, both very useful for outdoor vlogging. It’s compact, has good battery life, connects easily to my Rode Wireless Go II mic system and provides me with an excellent range of gimbal moves.

It’s early days but so far it is living up to the hype.

https://www.youtube.com/watch?v=vYrJ9aFMeQk
Why the DJI Pocket 3 was my best camera on a recent trip

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05/05/2025
Pro Tips on How to Take Beautiful Antelope Canyon Pictures

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“Wow” is an understatement when describing the beauty of Antelope Canyon. Its beautiful and glowing red canyon walls, sleek curves, scalloped rock faces as well as striking light beams can leave you speechless.

Fortunately, you don’t have to be a professional photographer just to get great Antelope Canyon pictures. With your camera, you can actually take great photos of the area.

Keep reading this article for tips on how and where to position your camera to get spectacular shots.

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Antelope Canyon: Interesting Facts

Antelope Canyon

Antelope Slot Canyon is located in Page, Arizona.

It is made up of the Upper and Lower Antelope Canyons. Both canyons are part of the Navajo land in Northern Arizona. The Navajo people are responsible for the care and preservation of the Antelope Canyon.

The formation was created millions of years ago. These canyons were created due to water and wind erosion caused by flash floods in Arizona. Both slot canyons are open for tourists. Oftentimes, when people say Antelope Canyon, they normally refer to the Upper Antelope Canyon.

The Upper Antelope Canyon is more popular than the Lower Antelope Canyon. However, tours for the Lower Antelope Canyon are relatively cheaper. With a Navajo guide, you may visit both slot canyons in one day.

The road leading to the canyons is gated by the Navajo Nation. The Navajo Nation protects its people as well as the canyons. That is why only guided tours with authorized tour guides are allowed entry into the canyon.

As majestic as it is, this natural beauty can cause danger during monsoon season. Rainwater can quickly fill up the canyon which can cause flash flooding due to the canyon’s narrowness. In 1997 a flash flood cost the lives of some tourists.

Because of the 1997 incident, visiting the canyon is only through guided tours. Aside from the issues of safety, only authorized guide tours are permitted entry into the canyon to prevent vandalism and preserve this natural landmark.

If you are planning to visit the canyons, make sure to check the weather conditions on your planned dates. You want to enjoy your trip and bring home great memories and not get stranded on the ledge because of the rain.

The Lower Antelope Canyon

Lower Antelope Canyon

The Lower Antelope Canyon is also called “The Corkscrew” and has a Navajo name “Hazdistazi”. The Navajo name for the Lower Antelope Canyon translates to “spiral rock arches”.

If you like narrow passageways and ladders, you may find the Lower Antelope Canyon to your liking. The canyons here are shallower and lighter in shade than the Upper Antelope Canyon because of their upright V shape.

The Lower Antelope Canyon is located near the Upper Antelope Canyon. Unfortunately, in 2018 tour operators no longer offer general tours and even photography tours.

The Famous Upper Antelope Canyon

Upper Antelope Canyon

The Upper Antelope Canyon is also called “The Crack” and has a Navajo name “Tsé bighánílíní”. The Navajo name for the Upper Canyon translates to “ the place where water runs through cracks”.

It is characterized by high and dark canyon walls, light beams shining down, and falling sand. The Upper Antelope Canyon is somehow shaped like an inverted V. It is narrow at the top while it is wide and passable at the bottom.

Because of its high canyon walls, light beams are easily created when the sun shines at certain angles. The narrow top also makes the canyons look darker and the surrounding atmosphere cooler.

How to Visit Antelope Canyon?

The Antelope Canyon is only open for scheduled tours. You may inquire about tour packages, exclusive deals, and even discount codes from tour companies. It is highly encouraged that you make reservations for tour slots at least three months in advance.

The whole tour usually lasts for 1.5 hours which is inclusive of the travel time and touring the canyon. So many people who want to visit this place. It is not surprising for many want to witness this majestic site up close and personal.

Road to Antelope Canyon

Most tourists flock to Antelope Canyon during summertime. Midday is the most crowded time. Tourists prefer to visit during this time so they can get more great stock photos. If you want to avoid the crowd and take your time taking pictures, you can visit earlier or later in the afternoon.

Tips for Capturing Gorgeous Antelope Canyon Pictures

Both slot canyons are photogenic. However, you can capture more stunning photographs at the Upper Antelope canyon. It is during midday that you can get gorgeous photos of light beams as well as falling sand.

Don’t forget to look up

Tourists Looking Up

When you are on tour with so many tourists, taking great pictures can be challenging. One important piece of advice to get great shots is to look up. The canyons look lovely from that perspective. Also, if you are lucky, you can get gorgeous images of light beams shining down.

Tripods and selfie sticks are prohibited

Only handheld photography is permitted. Unfortunately, handheld photography in the Upper Canyon can be challenging especially after midday because the canyon walls look noticeably darker.

Taking Selfie

As an avid photographer, you will surely be in awe at the lighting conditions in the canyons. At the Upper Antelope Canyon, for instance, you can capture various gorgeous pictures of the sandstone walls changing color throughout the day depending on the sun’s angle.

You may also find yourself wandering about, looking for the perfect shot because there are several compositions you can make. If you hire a Navajo guide, they can bring you into the canyon at the right time for you to capture amazing light beams.

Light beams don’t last long

Antelope Canyon Light Beam

You have to bring in your A-game and capture as many pictures as you can. If you still have time after you take all the necessary shots, you can stare at the majestic view in front of you and absorb it all. Not everyone gets to witness such beauty of nature.

The Antelope Canyon is a great surprise and unique experience if you are an enthusiastic landscape photographer. You take a lot of abstract photographs and the art compositions are limitless. Not everyone will have the same composition. Each photo is unique.

If you get to take shots of a particular spot in the canyon with your preferred lighting condition, the result is magical. You will notice that the contrasts and transitions between cold and hot tones are spectacular.

Depending on the time of day you are inside the canyon, you can capture varying contrasts of purple, red, and orange. If you have an active imagination, you may spot some human or animal formation to capture on a frame.

What Is So Special About Antelope Canyon?

Antelope Canyon is special because of its wave-like canyon walls. These walls change color throughout the day depending on lighting conditions. The sunbeams and falling sand also add to the spectacle of the place. These make Antelope Canyon the most photographed slot canyon in the southwest USA.

If you’re thinking of visiting the area, it is from the end of March until the first weeks of October that you can enjoy Antelope Canyon the most. It is from 11:00 am until 1:30 pm that you can witness the ultimate beauty of the Antelope Canyon, especially the Upper Antelope Canyon.

On average, it can take you 1 to 1.5 hours to walk through Antelope Canyon both Upper and Lower Antelope canyons. You get to traverse a distance of approximately 1,800 meters (1.10 miles) round trip. Walking is easier in the Upper canyon than in the Lower canyon.

Final Thoughts

Beautiful Canyon

Antelope Canyon is one breathtaking and jaw-dropping natural destination. It offers tourists a different kind of experience. This American Southwest is truly amazing. A true gem of the world.

The lines, tones, as well as color separation, are a spectacle to behold. These are perfect elements for an abstract photograph. It is a perfect place for abstract photographers to create their masterpieces and draw design inspiration from.

If you seek thrill and fun, it is best to visit the Lower Antelope Canyon. On the other hand, if you want to take great stock photos, then the Upper Antelope Canyon is your best bet.

Whatever your reasons are for visiting the Antelope Canyon, one common thing stands out from all tourists – the appreciation and gratitude for Mother Nature’s creation. Bring your most trustworthy camera and create priceless memories in Antelope Canyon, Arizona.

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28/04/2025