So, let’s look at some of the most popular photography terms and what they mean. Fair warning, there’s a lot of them.

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129 Photography Terms for Beginners

We’ve broken down our photography glossary into 12 sections. We’ve alphabetized photography terms A-Z to make finding what you’re looking for easy. Use the links below to jump to each photography definition.

What Are Key Terms to Photography?

The key terms in photography are too many to name. But a few are aperture, shutter speed, ISO, and exposure. We go through these and many others to help you learn the basics of photography.

Camera Terms

1. 360 Camera
2. APS-C
3. APS-H
4. CCD
5. CMOS
6. DSLR
7. Dynamic Range
8. Full Frame
9. Large Format
10. LCD
11. Light Meter
12. Low Pass Filter
13. Medium Format
14. Micro Four Thirds
15. Mirrorless
16. Point-and-Shoot
17. Rangefinder
18. Resolution
19. Shutter
20. Single-Lens Reflex (SLR)
21. Twin-Lens REflex (TLR)
22. Viewfinder

Lens Terms

1. Aperture
2. Aspherical Lens
3. Fish-Eye Lens
4. Focal Length
5. Image Stabilization
6. Lens Distortion
7. Lens Hood
8. Macro Lens
9. Prime Lens
10. Spherical Lens
11. Standard Lens
12. Super-Telephoto Lens
13. Telephoto Lens
14. Tilt-Shift Lens
15. Wide-Angle Lens
16. Zoom Lens

Photography Equipment Terms

1. Cold Shoe
2. Extension Tubes
3. Flash
4. Graduated Neutral Density Filter
5. Gray Card
6. Hot Shoe
7. Neutral Density Filter
8. Polarizing Filter
9. Remote Flash Trigger
10. Remote Trigger
11. Strobe
12. Teleconverter

Photography File Format Terms

1. DNG
2. EXIF
3. JPEG or JPG
4. RAW
5. TIFF

Terms for Camera Settings

1. Aperture Priority
2. Autofocus – AI Focus
3. Autofocus – AI Servo AF
4. Back Button Focus
5. Bulb Mode
6. Burst Mode
7. Exposure
8. Exposure Compensation
9. Exposure Value (EV)
10. ISO
11. One-Shot AF (Autofocus)
12. Shutter Priority
13. Shutter Speed
14. TTL (Metering or Flash Metering)
15. White Balance

Photography Lighting Terms

1. Ambient Light
2. Fill Light
3. Hard Light
4. High-Key Light
5. Kelvin (K)
6. Lighting Pattern
7. Low-Key Light
8. Main Light or Key Light
9. Reflector
10. Soft Light

Terms for Metering Modes

1. Center-Weighted Metering
2. Matrix Metering
3. Spot Metering

Terms for Photography Techniques

1. Bokeh
2. Bracketing
3. Depth of Field
4. Flash Sync
5. Focus Stacking
6. Forced Perspective

Terms for Photography Rules

1. Looney 11
2. Overcast 8 and Variants
3. Sunny 16
4. Snowy 22

Terms for Photography Problems

1. Camera Shake
2. Chromatic Aberration
3. Digital Noise
4. Fringing
5. Lens Flare
6. Moiré
7. Motion Blur
8. Overexposure
9. Perspective Distortion
10. Red Eye
11. Underexposure
12. Vignetting

Terms for Photo Editing and Printing

1. Aspect Ratio
2. Crop
3. CMYK
4. Contrast
5. DPI
6. Highlights
7. Histogram
8. Metadata
9. Midtones
10. Pixel
11. RGB
12. Shadows
13. Watermark

Photography Slang

1. Blown Out
2. Chimping
3. Flag or Gobo
4. Glass
5. Nifty-Fifty
6. Opening Up
7. Selfie
8. Shutter Lag
9. SOOC
10. Stopping Down
11. Wide Open

Photography Terms for Cameras

360 Camera

A 360-degree camera lets you record your scene in a full-circle panorama. You can create photographs and videos viewers can move around in.

APS-C

The advanced photo system type C (APC-C)  is an image sensor format. It’s approximately equivalent in size to the advanced photo system “classic” negatives of 25.1 × 16.7 mm, with an aspect ratio of 3:2.

APS-C sensors are also called “crop sensors.” You can find APS-C cameras in manufacturers’ entry-level DSLR, beginner, and mid-range camera lineups.

Compared to the 35 mm full-frame format, this gives a lens a crop factor of 1.5 to 1.6x. A 50mm lens is effectively an 80mm full-frame equivalent. For more information, see our crop-sensor vs full-frame sensor article.

APS-H

The advanced photo system type-H (APS-H) is also an image sensor format. It falls between full-frame and APS-C sensor sizes. Their crop factor is 1.3x. This means your 50mm lens is effectively 65mm. These were specifically used in the original Canon 1D line.

CCD

A charge-coupled device (CCD) is a semiconductor device. CCDs differ from CMOS sensors because their pixels cannot be accessed individually. The readout is thus time and energy-consuming.

CCD cameras have to use the whole surface of their sensors. In turn, advanced CCD technology tolerates low light better than CMOS.

CMOS

The complementary metal-oxide-semiconductor (CMOS) is a type of imaging sensor. It’s used in modern imaging systems, such as DSLRs and mirrorless cameras.

They operate at significantly lower voltages than CCD sensors, consuming less power. They were once considered an inferior technology. Today, they have been vastly improved. And CMOS sensors are the more common sensor type of the two.

DSLR

A DSLR is a  “digital single-lens reflex” camera. They work with the same mechanical system as single-lens reflex cameras (SRLs). But instead of using film, they capture the image digitally and store it on a memory card.

Many camera brands have discontinued production of DSLRs. But Pentax still makes a good selection of DSLR cameras. You can read our review of the best DSLRs still available.

Dynamic Range

Dynamic range is the range of light intensities from the largest to smallest values in an image. Camera sensors with a higher dynamic range offer more flexibility during shooting and editing. They are also more expensive.

Full Frame

“Full frame” refers to digital cameras with an image sensor size equivalent to a 35mm film frame. A full-frame sensor typically measures 36mm x 24mm in digital photography. This is the same size as a frame of 35mm film.

Full-frame cameras offer high image quality and resolution. They can handle low-lit scenes with less noise and a shallower depth of field compared to smaller-sensor cameras. This makes them popular among professional photographers.

Large Format

“Large format” refers to cameras that use film formats larger than 35mm. These cameras produce higher-resolution images due to the larger film size.

Large-format cameras shoot on sheet film ranging from 4 x 5 inches (10.16 x 12.7 cm) to 8 x 10 inches (20.32 x 25.4 cm). You can capture greater details with a large format camera. This is because it reaches the biggest possible resolution in film photography.

It is often used in professional and specialized photography. They are great for architectural photography due to the manipulation of film and focus planes. It is also perfect for landscapes, environmental portraits, conceptual artworks, and studio photos.

LCD

A liquid-crystal display (LCD) is on the back and sometimes the top of digital cameras. It’s a screen that shows you an electronic view of the scene or your captured images.

LCDs work by blocking the light. These are made of two polarized glasses, and between them, there is a liquid crystal. These crystals turn due to electricity. Electricity can be changed at every point. This way, the amount of light can be ruled.

Light Meter

A light meter measures the light in a scene, determining the proper exposure. Light meters are built into cameras. They let the user determine which shutter speed, f-stop, and ISO to use.

A light meter performs two functions. “Incident” measures the light falling on a scene by using a lens covered with a white dome. “Reflected” reads light bouncing off the subject.

There are also external light meters. They are essential if you’re shooting with large format systems.

Low-Pass Filter

A low-pass filter (anti-aliasing or blur filter) eliminates the moiré problem. But more delicate details can get lost with this filter type. This is why it’s missing from most professional cameras.

Medium Format

Medium-format analog cameras use 120-roll film. Digital medium format cameras have a digital sensor that mimics that size.

The film ratio for medium format differs for each brand or camera type. They all use the same film, but the amount of frames depends on the camera.

Medium-format cameras are usually modular. You can interchange lenses, backs, viewfinders, grips, and more. Technically, Polaroid cameras are also medium-format.

Micro Four Thirds

Micro Four Thirds (MFT or M4/3) can refer to a camera sensor format or lens mount. The MFT lens mount was released by Olympus and Panasonic in 2008. Other manufacturers, such as DJI or Blackmagic, also use it.

An MFT sensor measures 18 × 13.5 mm, with an aspect ratio of 4:3 and a 2x crop factor.

Mirrorless

Mirrorless camera systems have become the norm in digital photography. The term generally refers to more advanced devices, MILCs. This abbreviation means “mirrorless interchangeable lens cameras.”

Removing the mirror makes cameras faster, lighter, and quieter. This means you can no longer look through the lens optically when composing. Instead, an electronic viewfinder (EVF) and a digital screen are used.

Point-and-Shoot

A point-and-shoot camera is also known as a compact camera. It is small enough to fit in your pocket. Its sensor is small. It starts at 1/2.7 inches (5.37 x 4.04 mm). The lens is not interchangeable, and automatic systems set the exposure and other options.

Rangefinder

This tool measures the distance from the camera to a particular object. A rangefinder camera has a built-in rangefinder feature. This is a focusing mechanism that can result in perfectly sharp images.

A photographer can calculate the subject’s distance from the camera. It also lets us see, in advance, what goes into the frame.

Resolution

Camera resolution is measured in pixels and megapixels (MP). An image that measures 5184 x 3456 pixels is equal to 17.9 MP. A higher resolution helps with cropping and larger printing. In terms of editing, it gives you room to play around.

You can have a great sensor, but image resolution depends on your lens. Sometimes, it’s better to choose a cheaper camera and a more expensive lens than a pricey camera with a cheap lens. Knowing what you get from your sensor is handy, but use the right lenses, too.

Shutter

The shutter lets light pass through the camera and hit the sensor for a determined period. Certain types of shutter mechanisms include a leaf shutter, central shutter, or electronic shutter.

Single Lens Reflex (SLR)

A single-lens reflex (SLR) is a camera with one lens for focusing, viewing, and capturing.

SLRs use a mirror and a prism to reflect the light coming into the camera. This lets photographers look through their viewfinder and see exactly what they capture. The mirror flips up when the shutter opens to let light expose the film. These are analog cameras, and they use color or black-and-white film.

Twin Lens Reflex (TLR)

A twin-lens reflex (TLR) is a vintage camera type. TLR cameras have two separate lenses with the same focal length.

With the top one, you can focus and compose the scene. This is part of the viewfinder system. The viewfinder uses a mirror, a matte focusing screen, and a hood. The bottom lens is solely used to take the photograph.

These two are connected. So, if an image appears sharp in the viewfinder, it is also sharp on the film.

Viewfinder

A viewfinder is that part of the camera that you look in and see the image you capture. It shows the field of view. DSLRs use an optical viewfinder that lets photographers see exactly what the lens sees.

As we removed the mirror from modern camera systems, we also lost a real view through the lens. We did pick up an electronic feed through the lens. You see this via the LCD screen on the back of a camera.

The sensor records what your lens sees. Then, a small electronic display shows the picture in the small viewfinder window. This way, you don’t necessarily have to use the large LCD.

Photography Terms for Lenses

Aperture

An aperture is an iris mechanism. It controls how much light gets through the lens. It also affects the depth of field.

The f-stop number describes the relative size of the aperture. The f-number (or f-stop) is the ratio of the diameter of the hole of the aperture and the focal length. We write it as “f/” followed by a number—for example, f/2.8.

As the number decreases, the aperture physically gets wider. More light passes, and the depth of field gets shallower. Generally, lower f-numbers mean better low-light capacity. This is why lenses with lower f-numbers are more expensive.

Aspherical Lens

An aspherical lens contains an aspherical element. This reduces spherical and other aberrations. They are common in high-end wide-angle and standard lenses.

We recommend paying attention to this photography term if you plan to buy new lenses. These keep your images sharp.

Fish-Eye Lens

A fish-eye lens produces images with strong barrel distortion. This is due to the angle of view being wider than the sensor or film format, squeezing the edges to fit.

They go from 4.5mm to 16mm, depending on the sensor size. They have an angle of view from 100 to 180 degrees.

Focal Length

Focal length is the distance between the principal plane of a lens and the focal point (point of convergence). (Lenses have a point where light rays converge, which we call the focal point.)

This focal length number is expressed in millimeters (mm) and written on the lens’s outside. For instance, a 28mm lens has a distance of 2.8cm between the focal point and the principal plane of the lens.

This determines the lens’s angle of view and magnification in photography. This is one of the main parameters that marks and groups the lenses. The number is magnified when using a cropped sensor (APS-C).

Image Stabilization

Image stabilization is a technology designed to reduce the effects of camera shake. It compensates for small movements or vibrations. The results are sharper photos and smoother videos.

It does this by using various mechanisms within the camera or lens. This includes optical elements or sensor shifting. These counteract the blur when capturing images or recording videos handheld or in low-light conditions.

Image stabilization was introduced to lenses in the late 90s and the in-camera version in the mid-2010s. Such lenses have a built-in gyroscope and moving lens element(s). In stabilized camera bodies, the sensor moves according to a gyroscope in the body.

This cuts down motion blur by compensating for pan and tilt movements. This technology makes it easier to take photos while holding your camera in your hands. It also lets you take photos with a longer shutter speed.

It doesn’t mean you won’t have to use a tripod anymore, but it extends your possibilities. Thanks to the built-in image stabilization, you can be more mobile.

Lens Distortion

Lens distortion is the alteration or deformation of an image caused by a camera lens’s imperfections or characteristics. It produces a warped or skewed appearance of straight lines or objects within a photo. This includes the following:

• Barrel distortion (standard lens close-up photography)
• Pincushion distortion (low-end telephoto lens)
• Mustache distortion (wide end of zoom lens)

These come down to the symmetry of a camera lens. These are more common in zoom lenses but can also occur in some prime lenses.

Lens Hood

A lens hood blocks light from the sides, causing unwanted reflections and flares. It’s a must-have for shooting in bright daylight or towards the sun.

A lens hood can also play a protective role. Smashing a lens hood is always better than smashing your lens’ front element. Also, it can stop dust and camera lens fungus from getting inside your lens.

Macro Lens

This type of lens is designed specifically for close-up images. Are you looking to photograph insects, flowers, or something more abstract? If so, this is one of the most important camera terms.

Macro lenses are telephoto lenses with a very close near point. The near point is the closest point to the lens where the subject is still sharp. That’s why you can get your lens close to that little ant.

A macro lens can produce a magnification ratio of 1:1 or even higher. The magnification ratio refers to the size of the subject appearing on the camera sensor and the size of it in real life.

This lets you take breathtaking photos of really small creatures and objects. Try our Macro Magic course to become an expert in macro photography!

Prime Lens

A prime lens is a fixed lens that cannot zoom in or out, forcing you to zoom with your feet. Basically, it means that you can’t change the focal length of a prime lens. Different fields of photography require different prime lenses.

Prime lenses are often lighter and have better quality than zoom lenses. You can read more about the differences between zoom and prime lenses. Or you can check out our recommendations for the best cheap prime lenses.

Spherical Lens

A spherical lens is the most common type of element in lens making. The curve of a spherical lens is the same across its entire surface. This is what focuses the field of view onto the film plane. It usually creates spherical or optical distortions.

Spherical aberration means your lens won’t draw a sharp image in the whole frame. It is not always a problem. For example, when you take portraits, you won’t even notice that your image is getting soft towards the edges.

Standard Lens

A standard lens has a focal length approximately equal to the diagonal of the image (the negative). It has a field of view similar to our non-peripheral vision. Lenses with a 50mm focal length are also considered “standard lenses.”

Super Telephoto Lens

A super-telephoto lens has an even larger focal length than a standard one. These have a focal length of at least 200mm (full frame equivalent) and a field of view from eight to one degree.

Telephoto Lens

Telephoto lenses have focal lengths longer than the diagonal size of the image they take. This results in a narrow field of view. You can “bring” faraway objects closer with these lenses.

These lenses have a focal length equivalent of 70mm to 200mm. And they have an angle of view between 30 and 10 degrees.

Tilt-Shift Lens

Tilt-shift lenses give you extensive perspective and focal control. The position and angle of some lens elements can be independently changed in such lenses. This lets them be moved and tilted relative to the sensor.

You can correct perspective (useful in architectural photography) and modify the plane of focus. The latter often creates a “miniature effect,” where the scene looks tiny. The effect can be created with Photoshop as well, albeit less precisely.

Tilt-shift lenses are generally expensive.

Wide-Angle Lens

Wide-angle lenses have an angle of view of 64 and 84 degrees. So, they have a wider view than a standard lens and our vision.

The focal length of wide-angle lenses is shorter than the diagonal size of the image they take (or the film format). The diagonal of a 35mm film (or a full-frame sensor) is approximately 45mm.

A wide-angle lens can have, for example, 24mm focal length. So, we can clearly see that the focal length is shorter than the diagonal.

Zoom Lens

A zoom lens is variable length, meaning you can change its focal length. This lets you change perspective easily.

Although these are more versatile, they often have limited sharpness due to needing more mechanisms inside the lens. Also, these are not operating with as fast f-stop values as prime lenses.

Terms for Photography Equipment

Cold Shoe

A cold shoe is a holding area for a flash or other device. It doesn’t allow a connection between the camera and the device.

Extension Tubes

Extension tubes are used to further extend the zoomable area of lenses in macro photography. They sit between the camera body and the lens.

They come in 1x, 2x, and 3x options. A 100mm macro lens with a 3x extension tube turns your lens into the equivalent of a 300mm lens.

Flash

A flash is basically a light source that produces a burst of artificial light. It lights just for a short time (flashes). This is where its name comes from.

It can be built into the camera or sit on top via a hot shoe, or you can use it on a stand. A flash is commonly used in studios and low-light conditions, like at different events.

Graduated Neutral-Density Filter

A graduated neutral-density filter is a neutral-density filter. But it’s an ND filter that’s graduated from the center upwards. This helps to darken specific parts of your scene, primarily the sky.

Gray Card

A gray card is a card with a color of 18% gray. Photographing this before any photographic shoot helps you ascertain a correct white balance from the light found in the scene.

Hot Shoe

A hot shoe is a holding area for a flash or other device that connects the camera and the device.

Neutral Density Filter

A neutral density filter (ND filter) limits the light that hits the film or sensor. We use it on the front lens of a camera. A one-stop ND filter will let only 50% of the light in. So, you can set your camera for one f-stop higher value.

They are perfect for shooting in really bright light conditions. They are also used for long exposures in the daytime.

Polarizing Filter

A polarizing filter is usually placed on the front element of the lens. It can help to eliminate reflections, stop glare, and even darken skies.

Remote Flash Trigger

A remote flash trigger connects the camera and the flash unit when the flash unit is off-camera. This works using infrared signals or a wire.

Remote Trigger

A remote trigger is a device that lets you take a photograph without pressing the shutter release on your camera. They can connect via Bluetooth, an app, infrared, or a wire.

Strobe

A studio strobe is a flash unit that has lightning-fast recycle times. So strobes can flash fast many times in a row. They also provide brighter and stronger light than a simple flash.

Teleconverter

A teleconverter is used to further extend the focal length of a telephoto lens. They sit between the camera body and the lens. And they come in 1x, 2x, and 3x options. A 200mm telephoto lens with the teleconverter x3 turns your lens into the equivalent of a 600mm lens.

Photography Terms for File Formats

DNG

This is an abbreviation for “digital negative.” As a container file, it does not only consist of the image itself. It also holds non-destructive editing information.

Because of this, DNGs can be moved more easily. You don’t have to search for their sidecar XMP files. DNG files also offer more future compatibility than brand-specific RAW files.

EXIF

Exchangeable image file format (EXIF) is a standard. It specifies the formats for digital camera images, sound, and ancillary tags used by digital cameras. This is where an image’s information is found, like aperture, f-stop, and ISO.

JPEG or JPG

JPEG stands for “joint photographic experts group.” It’s a file extension for a lossy graphics file. The JPEG file extension is the same as a JPG.

RAW

RAW image files contain unprocessed pixel data, either uncompressed or minimally compressed. They offer extensive editability and flexibility. But you must edit, tweak, and export them to another format (usually JPEG).

A RAW file can be up to five times bigger than a JPEG image. They are often called “digital negatives.”

TIFF

TIFF stands for “tagged image file format.” It’s a flexible file format. It allows for different compression rates, algorithms, bit depths, and variations. A TIFF file is useful for printing as it doesn’t lose data during post-processing.

It can also contain layers that Photoshop and other editors can read. The size of a TIFF image can range anywhere from a few megabytes to multiple gigabytes.

Photography Terms for Camera Settings

AI Focus (Autofocus)

AI stands for artificial intelligence. This autofocus mode is a hybrid of the two camera focus modes listed below. It starts in the one-shot mode. But if your subject moves, it tracks it, keeping the subject in focus.

AI Servo AF (Autofocus)

In this focus setting, the camera’s artificial intelligence refocuses your lens on a moving subject. It does this as long as your finger is pressed halfway down on the shutter release.

Aperture Priority

Aperture priority (A or Av) is a camera setting mode. You can set the aperture as desired and automatically change the shutter speed (and ISO, if set to auto).

Back Button Focus

Back button focusing is achieved by changing the button controls on your camera. This lets you define a different focus button other than the shutter release. On most cameras, there is a dedicated AF-ON button for this purpose.

This helps eliminate problems that arise from refocusing an already focused subject.

Bulb Mode

Bulb mode lets you keep the camera shutter open for the duration you keep the shutter release button pressed. This is best used with a remote shutter release. It is very handy to know when capturing long exposures.

Burst Mode

Burst mode is also known as continuous shooting mode. Sometimes, you can see the “fps” abbreviation, which means “frames per second.” This continuous shooting mode captures several photos in a fast sequence. It’s especially important if you’re capturing action, wildlife, or sports.

Exposure

Exposure is the quantity of light reaching a photographic film or digital sensor.

Exposure Compensation

Exposure compensation lets you alter the exposure with the value you select. It’s usually a slider, going from -3 to +3, and will make your image darker or lighter.

Exposure Value (EV)

Exposure value, or “EV,” is a standardized exposure measurement. It’s a logarithmic scale, where lower values are darker and higher ones are brighter.

Zero (0) EV is the luminance (brightness) of exposure at ISO 100, one second, and f/1.0. Any exposure setting with the same luminance as this will also be 0 EV. For example, ISO 400, 1/2 s, and f/1.4).

1 EV is twice as bright—for example, ISO 200, 1 second, and f/1.0. Every next value is twice as high as the previous one.

EV is used as a relative measurement, too. One stop (1 EV) higher is double, and one stop lower is half the brightness. So, when we say “3 EV lower,” we mean eight times darker.

ISO

ISO refers to the sensitivity of photographic film. But it has become important in digital photography as most camera brands use this term to describe their DSLRs’ brightness level and sensitivity.

It stands for “International Organization for Standardization.” It is not a true acronym, though. It is not a direct reference to the organization.

The union of the two film standards (American ASA and German DIN) brought this name to a different perspective. The whole operation was under the auspices of the ISO organization.

Later, this phrase became more famous for its photographic aspect as they referred to ISO as film sensitivity after the event. Generally, a higher ISO lets you photograph in low light conditions but with a trade-off in quality.

Some modern cameras can utilize a maximum ISO of up to 3,280,000. But this brings poor image quality with it.

Shutter Priority

Shutter priority ( S or Tv) is a camera setting mode. The user can set the shutter speed as desired, and the aperture changes automatically.

Shutter Speed

The shutter speed or exposure time is the length of time the film plane or digital sensor is exposed to light. When a camera’s shutter is open, it captures the scene and creates a photograph.

Your camera usually displays it as a whole number, like “400.” The numbers here are fractions of a second (1/5 s, in the example below). If shooting for longer than a second, it’s displayed as 1″ (or longer).

Shutter speed directly influences motion blur. At slow speeds, the shutter will stay open longer, resulting in more visible blurring.

TTL (Metering or Flash Metering)

TTL stands for “through the lens.” This flash mode is the same as the automatic mode on your camera. It uses the camera’s built-in metering system and measures the distance from the subject. It’s also called TTL metering or TTL flash metering.

White Balance

White balance is a camera setting that gives you the correct color in your image. Every light source gives off a different temperature, measured in Kelvin (K). 

You can choose from settings suitable for different conditions such as daylight, cloudy, etc. Later on, you can adjust this white balance when editing your pictures.

Photography Terms for Lighting

Ambient Light

Ambient light is also referred to as available light or natural light. This light naturally occurs in a scene without adding a flash or light modifiers.

Fill Light

Fill light is the secondary source used to fill in shadows created by the main light.

Hard Light

This is harsh or undiffused light coming from the sun or flash. It produces hard shadows and well-defined edges, contrast, and texture.

High-Key Light

High-key lighting is achieved by using a lot of light or whites in a photographed scene. This way, you can eliminate dark tones and shadows from your image. High-key photos usually give a clean and positive impression and feeling.

Kelvin (K)

Kelvin is a measurement unit (K) for temperature. In photography, it’s used for measuring color temperature.

Different light sources have different color temperatures. This determines the white balance, as our subjects will reflect the color of the light they were in. Daylight is around 5500K, whereas fluorescent lighting is closer to 4000K.

Lighting Pattern

A lighting pattern is how light falls on the subject, creating a specific pattern.

Low-Key Light

Low-key lighting is achieved by using a lot of darker tones, shadows, and blacks in a photographed scene.

You usually need a dark background and a light source that only highlights specific areas. This way, you can keep your subject in the shadow and highlight some parts. Low-key photos are dramatic and mysterious.

Main Light or Key Light

This is the main source of light for a photograph. It could be natural, like the sun or an off-camera flash unit.

One-Shot AF (Autofocus)

This focuses your camera on one subject once. This is great for subjects and photographers that don’t need to move.

Reflector

A reflector is a piece of equipment that bounces light back into the scene without using extra light. The reflector tends to bring a softer light and is a cheaper option. They can be made from card or foam board, not necessarily studio-grade.

Soft Light

Soft light is diffused light, usually found on an overcast day. It can be strong, filtered light to cut down on its harshness.

Photography Terms for Metering Modes

Center-Weighted Metering

When you don’t want to use the whole scene for correct exposure, center-weighted metering evaluates the light in the middle of the frame.

It measures the light in the middle of the image with an intensity of 75% and less intensity on the sides. It doesn’t look at where you focus, as it assumes you are concentrating on the center of the image.

Matrix Metering or Evaluative Metering

“Matrix metering” (Nikon), the same as “evaluative metering” (Canon), is a light metering mode. It determines the correct exposure with a special algorithm.

It looks at the scene you photograph and separates it into different zones. These zones are then analyzed separately for light and dark tones. It counts the focal point as more important.

Spot Metering

Spot metering reads reflected light in a concentrated area of any given scene. It looks at where your focus is placed and evaluates the light only in that area, ignoring everything else.

Photography Terms for Shooting Techniques

Bokeh

Bokeh is Japanese for “blur.” It is the aesthetic quality of the blur produced in the out-of-focus parts of an image.

More bokeh is achieved by using wide apertures, longer focal lengths, or getting closer to the subject. Light appears in circles because of the blade mechanism of the aperture.

Bracketing

Bracketing involves taking several shots of the same scene using different camera settings. This is used for HDR images.

Depth of Field

Depth of field is the area in your image where the objects or subjects are sharply in focus. A large depth of field keeps most of the image in focus, while a small one will show a very small area in focus. The depth of the field is controlled by changing the lens’s aperture.

Flash Sync

This synchronizes the firing of a photographic flash with the opening of the shutter and curtain to expose the film or sensor.

Focus Stacking

Focus stacking is a common technique in macro photography. This technique requires multiple images where different subject parts are in focus. When stitched together, they show the object with a fuller, overall focus.

Forced Perspective

This is a photographic optical illusion. It is generally used to make two or more objects appear closer or farther away. Or it can make the object or subject a different size than reality.

Terms for Photography Rules

Looney 11

This is a photography rule to take breathtaking photos of the moon’s surface. Use an f/11 aperture and a shutter speed setting the same as your ISO. For example

Overcast 8 (And Variants)

This is a photography rule to use on cloud days with various aperture settings. Use f/11 when the sky is variable, f/8 in cloudy weather but not very dark, and f/5.6 for bad weather, like rain.

Sunny 16

This is a photography rule using an aperture of f/16 on sunny days. Your shutter speed should then be the inverse of your ISO value. So, if you are at f/16 and ISO 400, your shutter speed should be 1/400 s.

Snowy 22

This is a camera setting if the sun is shining over a snowy landscape. At an aperture of f/22, a balanced exposure is achieved using an inverse shutter speed inverse to your ISO. So, ISO 400 gives you a shutter speed of 1/400.

This is only for calculation. It’s best not to use f/22 unless you have a specific purpose. Apertures narrower than f/11 degrade image sharpness.

Photography Terms for Shooting Problems

Camera Shake

Camera shake is the blur in images when capturing a scene without a tripod. Hand movement is enough to cause a blur in the image, especially when using a shutter speed below 1/60 s.

Chromatic Aberration

Chromatic aberration is the effect produced by the refraction of different wavelengths of light through slightly different angles. It results in a failure to focus and a colored halo around objects in the frame.

It appears near the highlights, brighter parts of the image, or high-contrast edges.

Digital Noise

Digital noise refers to the grain found on images captured using a higher ISO. This lowers the quality of the images.

Fringing

Fringing is the photography term for a purple “ghost” image on a photograph, apparent near contrasting edges. It is a type of chromatic aberration.

Lens Flare

Lens flare is where light is scattered or flared in a lens due to bright light. This produces a sometimes undesirable effect.

Moiré

Moiré occurs when a scene or an object contains repetitive details, like lines, that exceed the sensor resolution. As a result, the camera produces a strange-looking wavy pattern.

Motion Blur

Motion blur occurs when the object is moving faster than your shutter speed can handle. This results in a blurred effect on the moving subject.

Overexposure

Overexposure is seen in an image or part of an image that receives too much light to be a proper exposure. This often means a loss of detail and contrast, and those image parts are filled with white areas.

Perspective Distortion

Perspective distortion refers to the warping due to the relative scale of nearby and distant features. The top of a building falls away, as it is farthest away from the film plane or sensor. This is also known as a “parallax error.” Wide-angle lenses can also foreshorten and distort the subjects.

Red Eye

We call it a red-eye effect when the eyes of the person you photograph mirror the light back at your camera. They appear bright red or orange. This happens when using a flash at night and in dim lighting. Modern camera technology has improved to reduce this occurrence.

Underexposure

An image or part of an image that doesn’t receive sufficient light for proper exposure. The image is dark and often with a loss of detail and contrast.

Vignetting

Vignetting refers to a “light fall-off.” It means the darkening of image corners compared to the center. Lenses or using external tools like filters and lens hoods cause these.

Photography Terms Used in Printing and Editing

Aspect Ratio

All photographic images have an aspect ratio. A square image used on Instagram has an aspect ratio of 1:1. But we have other standard ones such as 16:9, 5:4, 4:3, and 3:2. They came from film photography and filmmaking.

Crop

Crop or cropping refers to removing unwanted areas of a photograph or changing its aspect ratio.

CMYK

CMYK refers to the four inks used in color printing. They are Cyan, Magenta, Yellow, and Key (Black). CMYK is for subtractive color mixing.

Contrast

The difference between dark and light parts of a photo. A contrasty image has deep blacks and bright whites. A flat image has more balanced tones.

Their histograms show this, too. A high-contrast image has its midtones scooped, with peaks on both sides. A flat image has a bell-shaped histogram.

DPI

The photography term “dots per inch” (dpi) is used for measuring the resolution of an image. It means the dot density found within an inch of an image in print and on-screen.

Highlights

Lightest areas within an image that still contain details.

Histogram

A histogram is a graphical representation of an image’s light levels. The shadows (blacks) are represented on the left side. Highlights (whites) are represented on the right side. In between these two are the midtones. These are neither completely black nor white.

Understanding the histogram is important because the LCD on your camera doesn’t accurately show what the image looks like. This can also be true for the displays you use for post-processing.

Histograms give you a mathematical representation of how well-exposed an image is. You don’t only have to rely on what you see because this data representation can help you, too.

Metadata

Metadata is the additional information that describes image files. It tells you the author, the creation date, the camera device, and much more information about a digital photo. EXIF data is also metadata.

Midtones

The midtones refer to the tonal range between the highlights (light areas) and shadows (dark areas).

Pixel

Pixel (px) means picture element, and every digital image comprises them. They are the smallest unit of image information.

RGB

The RGB color model is supplementary. Red, green, and blue lights are, in different ways, mixed to create a wide range of colors.

RGB is used on screens as it operates with the colors of the light. These colors are added together to produce different colors (this is what is called additive color mixing).

Shadows

These are the darkest areas within an image that still has details.

Watermark

A watermark is an identifying image or text that protects photographers’ images from copyright theft.

Photography Slang

Blown Out

Overexposed areas in your image that have received abundant light are “blown out,” as all detail is missing.

Chimping

Chimping is constantly looking at your images on the LCD screen while missing perfect photographic opportunities.

Flag or Gobo

A flag or gobo is a material that stops unwanted light from hitting part or all of your scene. This is especially common with fashion and product photography.

Glass

“Glass” is a common alternate name for a lens. Fast glass is a lens that can stop down to a “fast” aperture, namely f/1.4 to f/2.8.

Nifty-Fifty

A nifty-fifty is a 50mm standard lens with a maximum aperture of f/1.8 or larger.

Opening Up

Opening up translates to decreasing the number of f-stops. The lower the number, the larger the aperture. By opening up, more light will enter the lens.

Selfie

When you photograph yourself!

Shutter Lag

Shutter lag is the time difference between setting the shutter off and capturing the image.

SOOC

SOOC is an abbreviation for “straight out of camera.” This means an image without editing or post-production.

Stopping Down

Stopping down translates to increasing the number of f-stops. The higher the number, the smaller the aperture. This reduces the amount of light entering the lens. This way, you can avoid many kinds of light diffraction.

Wide Open

Shooting wide open uses the aperture at its widest and fastest f-stop, usually f/1.4 to f/2.8.

Conclusion: 129 Photography Terms

We have collected many photography terms you need to know about taking photos. This might be a lot, but you can return and study them anytime.

As this list is non-exhaustive, we recommend reading as much as possible if you are interested in photography. Also, if you wish to know more about these terms, we recommend our other articles, eBooks, or courses that dig into them deeper.

Video Course

Photography for Beginners

Unlock the secrets to stunning photography with this course:

• Learn to effortlessly set up your camera for any situation.
• Master the art of selecting the perfect exposure every time.
• Discover 10 composition rules that elevate your photos instantly.

The 17 Best Tips for a Pre-Wedding Photoshoot

1. Be Relational

2. Make a Shot List

3. Choose Your Location(s)

4. Choose the Correct Kit

5. Think About the Outfits

6. Help the Clients Choose the Poses Carefully

7. Keep Them on Their Toes

8. Don’t Stop Shooting When They Relax

9. Don’t Forget Your Plus-One

10. Don’t Forget the Small Things

11. Props Can Make All the Difference

12. Frames Aren’t Just Made of Wood

13. Use the Golden Hour for Golden Moments

14. Go Solo

15. It’s OK to Be Silly

16. Don’t Forget to Edit

17. Tell Their Story

Conclusion

A pre-wedding photoshoot is perhaps the perfect opportunity to capture the couple at their best. An engagement photoshoot and the wedding itself can both be a little formal. This is the perfect time to capture the best of the couple as they look forward to their future together.
Pre-wedding photography is a great opportunity, and if you do it well, it can turn your couple into potential clients for the big day itself. Hopefully, these pre-wedding photoshoot ideas will inspire you to create great memories for the couple.

If you’re getting started in photography, you must know about aperture. But what exactly is aperture? How does it work? And how can you use aperture to affect your photos?

These are the questions we’re going to answer in this post. We’ll give you all the aperture information you need to know. And by the end, you’ll be an aperture expert.

Video Course

Photography for Beginners

Unlock the secrets to stunning photography with this course:

• Learn to effortlessly set up your camera for any situation.
• Master the art of selecting the perfect exposure every time.
• Discover 10 composition rules that elevate your photos instantly.

What Is Aperture?

Generally speaking, an aperture is a hole or a gap. When we discuss aperture in photography, we refer to the lens hole. The lens aperture lets light reach the film or camera sensor, exposing the image.

The aperture of a camera lens is adjustable. Light conditions vary depending on when and where you’re shooting. Thus, different situations require different light to be exposed correctly.

The lens aperture can be changed from narrow to wide (small to large). A small aperture allows less light to pass through it. And a large aperture lets in more light. A good camera lens will have a series of aperture sizes, ranging from small to large.

The lens aperture works like the pupil of the human eye. When conditions are bright with lots of light, the pupil is small. But when it’s dark, the pupil expands to let more light into the eye. It’s the same principle for aperture in photography.

Following this logic, we can use a smaller aperture if we’re working in a scene with a lot of light. This prevents too much light from getting to the sensor and overexposing the image.

If the scene is darker, we can go for a larger aperture. The wider aperture allows more light to the sensor, so our image isn’t underexposed. You can also use the aperture to make a light scene darker or a dark scene brighter.

The basic theory of a camera aperture is simple enough on its own. But the aperture is only a third of the story. To fully understand the aperture in photography, we need to look at the whole exposure triangle.

The Exposure Triangle

The aperture is one corner of the exposure triangle. The other two are shutter speed and ISO. The basic art of photography is balancing these three components to achieve the perfect exposure for your images.

Exposure

Exposure is the amount of light that reaches the camera sensor or film. If your image is overexposed, it has received too much light. If it is underexposed, it has not received enough light.

Shutter speed, ISO, and aperture settings must work harmoniously to get the perfect exposure. The other two must also change whenever you change one of these settings.

Shutter Speed

Shutter speed refers to the amount of time your camera shutter is open. Although the shutter is usually closed, it opens when you press the button to take a picture. When the shutter opens, light passes through the aperture onto the sensor.

If you use a fast shutter speed, like 1/1000 s (seconds), the shutter is only open briefly. This means only a tiny amount of light gets through. A slower (longer) shutter speed allows more light onto the sensor.

You need a larger aperture for the correct exposure if you use a fast shutter speed. If the shutter speed is slow, you need a small aperture. But if you’re using a shutter speed slower than 1/125 s, you see motion blur and camera shake in your images.

ISO

ISO refers to how sensitive a film or camera sensor is to light. In film photography, each roll of film has a fixed ISO number. But you can adjust the ISO with a dial or menu settings on a digital camera.

A number identifies ISO. This number tells you how sensitive your film or sensor is. The lower the ISO number, the less light sensitivity you have. The higher the number, the more sensitivity.

While higher ISO numbers work better in darker conditions, they come with a cost in photo quality. The higher the ISO, the more grain and noise you experience in your images. Lower ISOs, like 100 or 200, are limited to bright conditions, but the image quality is better.

Finding Balance in the Exposure Triangle

No matter what camera you use, photography is a case of finding the correct settings for aperture, shutter speed, and ISO. Each setting has to balance the other two so you don’t underexpose or overexpose your image.

Setting choices are also affected by lighting conditions. If there is a lot of light, you may want to use a low ISO for maximum quality. Then, you have to adjust for slower shutter speeds and larger apertures.

If you’re shooting fast action, like sports, you usually want a fast shutter speed so there’s no motion blur. You must change to a larger aperture and a higher ISO to compensate.

Mastering these three elements is the key to photography. Balancing them for perfect exposure gives you a great deal of freedom.

But it’s not just about getting the perfect exposure. You can use aperture for other creative effects, like depth of field. We’ll look at how aperture affects depth of field later in this article.

Understanding Aperture in Photography

Photography has a lot of terminology and jargon that goes with it. You get used to it after you’ve been around the block a few times. You’ll even start using these complicated terms. But when you’re just starting, the language can be confusing.

Aperture has its own words and terminology that can make your head spin. But we’ll help you understand so you become an aperture master.

People use different words when referring to the size of the aperture. Some say a lens aperture is large or small, while others say it’s wide or narrow. Both are perfectly acceptable.

The maximum aperture is when the hole is as wide open as possible. And the minimum aperture is when it’s at its smallest.

You also need to know about “fast” lenses. You might assume this refers to zoom or autofocus. But a fast lens has a large or wide maximum aperture. This term is usually associated with prime lenses.

Top Prime Mirrorless Lenses

Canon RF 24mm F/1.8 Macro IS STM

Canon RF 24mm F/1.8 Macro IS STM

Nikon NIKKOR Z MC 105mm F/2.8 VR S

Nikon NIKKOR Z MC 105mm F/2.8 VR S

Sony E 50mm F/1.8 OSS SEL50F18

Sony E 50mm F/1.8 OSS SEL50F18

The F-Stop Scale

So far, we’ve referred to aperture sizes in general terms. They’re either small or large (wide or narrow). But lens apertures in photography are measured on an exact scale. Every camera and lens manufacturer uses this measurement scale, consistent across all brands.

Apertures are measured on the f-stop scale. This is why aperture sizes are denoted as f/1.4 or f/22, for example. You see this in photography literature and camera manuals. People might also say f-number, f-stop, or f-stop number.

You see these numbers on your lens’s aperture control. But most lenses have the numbers without the “f” and forward slash before it. Digital cameras are a bit more straightforward. They display an aperture number with the letter “f” on the control screen.

The “f” in f-stop stands for “focal length.” The number following is a fraction of the lens’s focal length. For example, if you’re using a 50mm prime lens, the lens’s focal length is 50mm.

Here are a couple of examples of f-stop settings:

• A 50mm lens with an aperture of f/2 has a lens opening 25 mm wide (50mm divided by 2)
• A 50mm lens with an aperture of f/8 has a lens opening 6.25 mm wide (50mm divided by 8)

You can see an example f-stop scale in the image below.

Notice that wider apertures have smaller f-numbers, and narrower apertures have bigger f-numbers. This can be unclear at first because they are measured in fractions. The larger the fraction, the smaller the aperture.

An f-number doesn’t have an exact universal measurement across all lenses. An f/8 aperture on a 50mm lens will be a different size than an f/8 on a 200mm lens. But this fractional system of measurement is universal across manufacturers. All brands stick to the same system.

Some of the latest digital cameras have increased the number of available f-stops. They’ve introduced “third-stops,” which sit between the standard apertures on the scale. For example, you might find an f/3.2 in between f/2.8 and f/4. This gives you more aperture control.

Lenses and Aperture in Photography

This section looks at how different lenses affect the aperture settings. We look at the difference between prime vs zoom lenses and their relation to your aperture options.

Prime Lenses

A prime lens has a fixed focal length, meaning it doesn’t have zoom capabilities. But they’re often favored by professionals because of their quality and usability.

Another reason for their popularity is the aperture range and control they give the user. A good quality prime lens has a maximum aperture of f/1.4. You might even get an f/1.2 if you’re lucky.

A wider maximum aperture gives you greater creative control when you shoot. Wider apertures also let you shoot in low-light conditions. And a wide aperture range means you don’t have to change the lens if conditions change.

The wider apertures also give you more control over the depth of field. We’ll discuss depth of field in more detail later in the article. But achieving a soft bokeh effect with a shallow depth of field makes prime lenses popular in portrait photography.

Variable Aperture Lenses

Variable aperture lenses are a type of zoom lens. Zoom lenses have a changeable focal length, unlike prime lenses. If you have a 70-200mm zoom lens, you can adjust the focal length between 70 and 200mm. And the lens zooms as you move to the higher end.

Moving from the minimum to the maximum focal length also affects the aperture. With variable aperture lenses, increasing the focal length can prevent access to some of the wider apertures.

When using the lens at 70mm, you might have a maximum aperture of f/2. But as you zoom in, your maximum aperture becomes smaller. At 200mm, you might have a maximum aperture of f/4 or f/5.6.

A reduced maximum aperture means you lose some creative control. You need more light to get the correct exposure. And you don’t get the effects of a wide aperture, like a shallow depth of field.

Variable aperture lenses don’t affect the minimum aperture of your lens. You can go as high as you like across the focal length range. So you can use aperture f/11 from 70mm to 200mm. Variable aperture lenses tend to be at the cheaper end of the market.

Top-of-the-range zoom lenses have a fixed maximum aperture. It’s usually not as wide as the maximum of a prime lens. But you can still find “fast” zoom lenses with a wide aperture. You need to consider the maximum aperture when buying a zoom lens.

Thankfully, the maximum aperture is often in the lens’s name. For instance, the Canon RF 70-200mm f/2.8L USM lens has f/2.8 as the maximum aperture.

Top Mirrorless Zoom Lenses

Canon RF 70-200mm F/2.8L IS USM

Canon RF 70-200mm F/2.8L IS USM

Nikon Z 70-200mm F/2.8 VR S

Nikon Z 70-200mm F/2.8 VR S

Sony E 70-350mm F/4.5-6.3 G OSS SEL70350G

Sony E 70-350mm F/4.5-6.3 G OSS SEL70350G

Controlling Aperture

Theoretically, the aperture is one of the most straightforward controls on your camera. You select the aperture you want to use and start snapping. Sometimes, it is that simple. But there are certain things you need to consider, and there are different ways of controlling it.

We’ve seen how the lens you use can affect your aperture options. And different cameras have different aperture controls. Some are manual, while others have auto and program modes or an aperture priority mode.

Film Cameras

When working with traditional 35mm cameras, the aperture control is on the lens, not the camera. All the f-stops are listed on the lens, although just the number. To change the aperture, you turn the ring to the f-number you want.

Early-generation SLR cameras had nothing to help achieve proper exposure. Setting the correct aperture, shutter speed, and ISO was up to the user. But later, cameras introduced an internal light meter.

The internal light meter recommends an aperture based on the other settings and available light. You then turn the aperture ring to the correct f-stop. Later, SLR models introduced more manual aperture settings. The Canon AE-1 introduced an Auto-aperture mode.

The camera automatically chooses the best aperture setting when you turn the ring to the “A” option. You set the ISO and the shutter speed, and the system selects the appropriate aperture.

Later, the Canon A-1 introduced a shutter speed priority and aperture priority mode. Automated exposure settings became a standard feature for film cameras until their demise in the 2000s.

Digital Cameras

You’ll see that most lenses for modern digital cameras don’t have an aperture ring. They may not even have the available apertures on them at all. This is the case for DSLRs and mirrorless cameras.

Since the world turned to digital photography, aperture controls have changed. You can change the aperture on your digital camera’s menu screen. There will also be a button or wheel on the outer shell. The exact location depends on the camera model.

Nikon cameras have a wheel to change the aperture. It sits on the right side at the front of the camera, so you can change it with your index finger while you shoot. Canon cameras also have a wheel, but it sits on top of the other controls. Other camera brands vary.

Full Auto Mode

Most digital cameras have an auto mode. To use it, you simply point and shoot. The camera does all the exposure calculations for you. It sets the ISO, shutter speed, and aperture for the light conditions.

The camera calculates exposure using the internal light meter. The newest top-end models have very sophisticated light meters. You don’t need to worry—the camera exposes your shot perfectly.

Auto mode is great for beginners or quick snapping. They’re excellent if you must concentrate on what’s happening around you. You don’t want to miss the shot by getting lost in your settings.

But auto modes offer no creative control. They’re designed to achieve the “perfect” exposure. The computer doesn’t make artistic decisions. It only wants a well-exposed image. It’s best to take back control to see how the aperture affects your image.

Aperture and Shutter Priority Modes

If you look at the mode knob on the top of a Canon camera, you’ll see Av and Tv modes next to Auto. This is “A” or “S” on Nikon cameras and may be different on others.

These are two semi-automatic shooting modes. They allow you to concentrate on what you’re shooting while giving you more creative control than auto mode.

A or Av is the aperture priority mode, and Tv or S is the shutter priority mode. These modes let you collaborate with the camera’s computer to share the exposure burden. They’re an excellent way to leave full auto mode and ease your way into manual controls.

Aperture Priority Mode

Aperture priority mode puts the aperture controls in your hands. You’re free to select whichever aperture you have available. And you’re only limited to the f-stops of your camera lens.

While you have the power over the aperture, the camera adjusts the shutter speed and ISO to balance the exposure. You share the exposure responsibilities with the camera.

If you shoot landscape photography, everything in the shot should be in focus. You need a narrow aperture for this kind of photography, like f/16 or f/22.

After you select your aperture, the camera will not change the setting. Instead, it adjusts the shutter speed and ISO to compensate for the narrow aperture. This works around your aperture choice to ensure your shot has enough light.

If you want a shallow depth of field for a portrait, you can fix the aperture to an f-stop at the other end. If you select f/1.8, the camera works around that decision. It selects the appropriate shutter and ISO settings.

Aperture priority mode is a great tool for learning how to use aperture for creative photography. You can move away from Full Auto mode, but you’re not jumping into the deep end immediately.

Shutter Priority Mode

Shutter priority mode works much the same way as aperture priority. But this time, you’re in control of the shutter speed. You select the shutter speed you want. Then, the camera adjusts the ISO and aperture settings to balance the exposure.

This mode is useful when shooting fast-moving action, like sports photography. Using a fast shutter to capture the action without motion blur is best. A football match turns into one big blur with a slow shutter. The same goes for fast-moving animals with wildlife photography.

Shutter priority mode is another excellent tool for learning on the job. You can take some of the responsibility away from the camera, but you’re not left on your own. You can focus on getting the needed shots without getting bogged down with settings.

Manual Mode

Manual mode puts you in the driver’s seat. Switching to manual is like Luke Skywalker turning off his targeting computer. The aperture, shutter, and ISO are all in your control. Achieving the correct exposure is up to you.

Going manual might seem daunting if you’re a beginner. But it’s the best way to learn about aperture in photography. You learn how the aperture affects your photos. You can also see how to balance the aperture with the other exposure settings.

It involves a lot of trial and error, and that’s only natural. But you can always switch back to aperture priority or shutter priority mode if necessary.

The priority modes can help if you need to get certain shots. But if you have the time, manual mode is the best way to learn.

Using Aperture for Creative Photography

We’ve seen how aperture affects exposure with shutter speed and ISO. Getting good exposure is about balancing those three settings. But getting textbook exposure isn’t always what a photographer wants.

You can also use the aperture for creative photography. The most obvious example is darkening your image using a smaller aperture. This technique can change the mood and atmosphere of your image.

A basic photography theory says you need to change the shutter and ISO if you’re using a small aperture. But you can use a smaller aperture without changing anything if you want a darker image.

Looking at the image below, you can see how the image changes as the aperture goes from wide to narrow. It gets darker with each f-stop change.

You may not always have the conditions you need, and the light may not be correct for the type of shot you want. So, changing the aperture size can help you get what you need, even when conditions are against you.

Working in bright sunlight, you can change to a smaller aperture. This reduces the light getting to the camera sensor, making your shot darker and moodier.

You can open the lens to a larger aperture with poor light. This lets more light in and gives you a brighter picture.

Aperture and Depth of Field

Now, we need to look at how the aperture affects the depth of field. We’ve already mentioned depth of field several times in this article, But we’ve yet to explain what it is and how aperture controls it.

What Is Depth of Field?

Depth of field refers to how much of your photo is in focus. It’s the distance between the closest object in focus and the farthest object in focus. You can have a shallow or deep depth of field. And it’s all controlled by the aperture.

A shallow depth of field is when only a small area of your shot is in focus. It’s common in portraits and macro photography. You’ll see the subject in focus, but the background and foreground will be out of focus. This blurry background technique is called a bokeh effect.

A photo with a deep depth of field has everything in focus. The details in the foreground, background, and main subject are in focus. This is common in landscape photography.

How to Control Depth of Field

You can add bokeh effects in post-production using editing software like Adobe Photoshop or Luminar Neo. But the best way to control your depth of field is with your camera lens and aperture.

By changing the aperture, you can go from a sharp shot with everything in focus to an intimate portrait with a strong bokeh effect. You can also have everything in between.

If you want a large depth of field, you need a small aperture. If you want a shallow depth of field, you need a large aperture. That’s the general rule.

Using an aperture like f/1.4 or f/2 gives you a very shallow depth of field. This means only your subject is in focus, and anything in front or behind it will be out of focus.
It can be a powerful effect that emphasizes your subject in the frame.

But you must be careful, too. If your depth of field is too narrow, you can lose focus on parts of your subject. For instance, in a portrait, the person’s eye might be in focus while the tip of their nose is out of focus.

A smaller aperture gives you a sharper image. The area of focus is much greater, so there’s little risk that your subject is out of focus. A small aperture is helpful if you want the whole shot in focus or have two subjects at different distances.

One of the benefits of using a large aperture is that you can stick to a lower ISO. With a wide aperture, you’re getting lots of light. Keeping the ISO low gives you excellent image quality. But you have to balance this with a faster shutter speed.

For a greater depth of field, you need a narrow aperture like f/16 or f/22. The issue here is that the camera sensor is getting less light. You still want to keep the ISO low for maximum quality. So, a compromise has to be made on the shutter speed.

Getting it right can take some practice. But some tools can help, like the PhotoPills depth of field calculator. All you need to do is insert the relevant information, and the calculator gives you your depth of field.

Focal Length and Depth of Field

The focal length of a lens also affects the depth of field. Generally, a longer focal length gives you a shallower depth of field. In contrast, a short focal length gives you a deeper depth of field.

A 50mm camera lens naturally produces a greater depth of field, while a 200mm lens produces a narrower depth of field.

As we’ve seen above, lenses with larger focal lengths tend to have a smaller aperture range. While the maximum (largest) aperture of a 50mm lens might be f/1.4, a 200mm lens will have a maximum of f/4 or f/5.6.

A lens with a large focal length does have less aperture control, meaning you have less control over the depth of field. But the longer the focal length, the easier it is to achieve a shallow depth of field. You can still get the soft bokeh effect when using a longer lens.

Aperture and Photographic Styles

We’ve seen how using different apertures in photography yields different results. That’s why photographers in different areas favor some aperture sizes over others. So, we’ll look at some of the most popular fields of photography and see which apertures they use.

Portrait Photography

Apertures are very flexible in portrait photography. The choice of f-stop might change depending on whether you’re shooting in a studio or on location.

Bokeh is a popular portrait effect, so many photographers favor wide apertures. If they want a soft background blur, they might go for an f/1.4.

Not all portraits have a shallow depth of field. Other portrait photographers want much of the shot in focus, especially if they use sets and props. But, even so, they won’t venture too far down the f-stop scale. Portrait photographers usually go from wide to mid-range stops.

Landscape Photography

Landscape photography is all about capturing epic scenery and vast expanses. To achieve this, landscape photographers need a deep depth of field that captures the whole scene. For a greater depth of field, you need a narrow aperture.

Logic suggests you use the narrowest aperture you have when shooting landscape. But there are problems when we take this too far. And the main problem is diffraction.

Diffraction is lens distortion that occurs when using a narrow aperture. It happens because the lens directs the light through a very narrow hole, which causes the light beams to cross. This results in a loss of image quality and sharpness.

Diffraction occurs only at the extremes of the scale, like f/32. You may also see some at stops around f/22. But depending on the quality of your lens, anything wider than that should be okay.

Wildlife Photography

Wildlife photographers like to use telephoto lenses. They allow the photographer to get intimate shots of animals from long distances. But some telephotos are also limited in their range and don’t have some of the wider apertures.

Achieving a shallow depth of field isn’t a problem. Lenses with longer focal lengths naturally have a shallower depth of field. But the lack of wider apertures means increasing the ISO setting if lighting conditions aren’t perfect.

A fast shutter speed also benefits wildlife photography, as animals move fast. You want a clean animal shot with no motion blur. And with fewer apertures, you have to compensate with ISO.

Sports Photography

Sports photography is like wildlife photography. You most often want a telephoto or super-telephoto lens. You’re often shooting fast-moving subjects in low-light conditions.

A fast shutter speed is a must in sports to avoid motion blur. A large lens might not have an aperture larger than f/5.6, but if you have a high-speed sports lens, you might have f/4.

Much depends on the lighting conditions of the event you’re shooting. But if you’re working at night, you must opt for a higher ISO.

Street Photography

Street photography gives you a lot of freedom when it comes to apertures. Street photographers like to use 35mm or 50mm lenses. Standard angle lenses like these have a good range of apertures. They might have a range from f/1.4 to f/22.

If light conditions are good, you can keep the ISO low. Then, you can play with aperture and shutter speed to get the street shots you want.

Conclusion: What Is Aperture?

In photography, the aperture is the hole in the lens that leads light to the sensor. But it’s more than just a hole. It’s one of the three corners of the exposure triangle, and you must think about it every time you take a picture.

Different lenses have different aperture settings. All lenses use the same f-stop scale to calculate the aperture. But a 50mm prime lens has different apertures than a 200mm telephoto lens. And lenses can be fast or slow according to their aperture settings.

The aperture is essential for correct exposure. It also affects the mood and atmosphere of your photos and gives you control over the depth of field. A large aperture produces a shallow depth of field, while a narrow aperture produces a deeper depth of field.

Aperture is a must-know topic in photography, as it is one of the three corners of the exposure triangle. But that’s enough theory for now. It’s time to pick up your camera and put your new knowledge into practice!

Check out our Photography for Beginners course to master all three corners of the exposure triangle!

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By the end of our article, you’ll understand what focal length is and which will suit your photography best. We review the technical definition for photographers who want to understand the inner workings of lenses and cameras.

But the practical implications of focal length are what matters to most photographers. So, we’ll explore how different focal ones affect the photos we take.

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What Is Focal Length in Photography?

Focal length is a fundamental photography concept in optics and camera lenses. It is the distance from the optical center of a lens (point of sharpest focus) to the camera sensor or film. It is measured when the lens is focused at infinity and is usually expressed in millimeters (mm).

How Is Focal Length Measured?

Camera lens manufacturers measure the distance between the point of sharpest focus and the camera’s sensor (or film). That is the focal length of the lens. They then label each lens with its measurement in millimeters (mm).

A lens has many different pieces of glass elements that interact to direct light into a camera. And there is a point where light crosses (converges) on its way to the sensor. This is the point of sharpest focus.

Look at the diagram below showing the side view of a lens. Light comes into the front of the lens. It passes through many layers of glass with different shapes and curves. And these elements focus light to make a clearer image.

In our example, the point of sharpest focus (point of convergence) is 28mm from the camera sensor. So, this lens has a focal distance of 28mm.

How Is Focal Length Standardized?

Lenses are tested by focusing at infinity to standardize focal length measurements. This is because the point of convergence changes as you focus closer or further away.

When you focus on a point far in the distance, the light rays hit the lens almost parallel, as shown in the diagram above. Light enters the lens at an angle when focusing on a closer subject.

Your lens handles this, but it affects how much of your scene is in focus. For more on this, read our article on depth of field in photography.

Focal Length vs Lens Length

Focal length has to do with the inner workings of a lens. It is not the physical length of a lens from the glass on the front element to the lens mount that attaches to your camera. Lenses can have the same focal length and be very different in physical size.

These two lenses below cover the same focal length (16-35mm). But they have different internal constructions. For more information about how lenses are constructed, see our beginner’s guide to camera lenses.

How Does Focal Length Affect Photos?

Different focal lengths affect the way our photos look. For instance, a longer focal length means a lens has a narrower angle of view, greater magnification, and a compressed perspective. So, we’ll look at these three ways focal affects photography in practice.

1. Angle of View

Focal length affects your angle of view, which is how much of the world your camera lens can take in. A lens with a shorter focal length, like 24mm, can see more of the scene than a lens with a long focal length, like 300mm. Lenses with smaller numbers capture a more expansive view.

If you look straight in front of you, the area you can see is about 55 degrees. That is your angle of view. You have a greater field of view with your peripheral vision. But off-center areas are not in focus. To see more of the world, you must turn your head.

A 43mm lens captures a similar amount of the scene, about 53 degrees. So, 50mm lenses are popular because they capture the world very close to how we see it. Photographers sometimes call a 50mm lens a “nifty-fifty.”

This table shows the angle of view for lenses with popular focal lengths.

2. Magnification

Focal length also affects how close objects seem to be. A lens with a long focal length magnifies objects, making the subject appear closer. If you photograph far-away subjects, use a 400mm or 800mm lens.

Your angle of view is smaller, but magnification increases. The focal length of the lens determines how zoomed-in your photos look. The higher the number, the more zoomed your lens can be. Different focal lengths change how visually close the subject is.

3. Perspective Compression

Focal length also affects how objects look in relation to each other. Lenses with longer focal lengths compress the scene and make elements of the scene look closer together.

Look at the four photos below of the same subject at different focal lengths. The three soup cans remained in the same position. They were spaced 10 inches (about 25 cm) apart. The camera was moved back to keep the cans framed similarly.

The cans seem spaced further apart at 24mm than 135mm. At 300mm, the cans seem almost next to each other.

Also, notice the relative size of the cans. At 24mm, the front can is much more prominent than the others. At 300mm, the can in the back looks just as large, if not larger, than the cans in front. Remember, the cans were not moved.

This visual illusion is called “perspective compression.” Lenses with a longer focal length appear to compress objects. Lenses with shorter focal lengths add visual space between objects. You can choose which one is right for shooting a scene.

How Does a Camera’s Sensor Affect Focal Length?

A camera does not directly affect focal length. But the size of your camera’s sensor can impact how zoomed-in your photos appear.

A lens attached to an APS-C (crop) sensor camera has a scene that looks more zoomed-in than a lens with the same focal length attached to a full-frame camera. This is when a camera’s crop factor comes into play.

Lenses are tested on cameras with a full-frame sensor when determining their focal length. Full-frame cameras are equivalent to the once-popular 35mm film cameras. They have become the standard for measurement.

But some cameras have smaller sensors. For instance, many cameras have an APS-C sensor. It is about 1.5x smaller than a full-frame sensor. That is the crop factor of the camera.

When mounted on a camera with a smaller sensor, a 28mm lens looks the same as a 42mm lens. The “perceived” focal length is sometimes called the “effective” or “equivalent” focal length.

All lenses are labeled with a focal length as though mounted on a full-frame camera. Even if the lens was designed for a crop-sensor camera, that’s the case.

It’s not a problem if you have a crop sensor. You get used to how the lens captures a scene on your camera. But if someone suggests you use or buy a 50mm lens, know it will be cropped on your camera. It will act like a 75mm lens.

To know more about crop sensors, read our article about camera sensor sizes. This table shows popular lenses’ equivalent focal lengths and angles of view.

Zoom vs Prime Lenses

Camera lenses are divided into two categories based on whether they can change focal length. A lens with one fixed focal length is a prime lens. If a lens can change focal lengths, it is a zoom lens. In general, prime lenses are sharper and often have a wider aperture.

Zoom lenses let you change the angle of view and magnification within a range of focal lengths. For instance, a 16-35mm zoom covers everything between 16mm and 35mm. You can choose 20mm, 24mm, or 30mm by twisting the lens barrel. That gives you a lot of versatility.

Most variable focal length lenses get longer physically as you zoom. And lens manufacturers label zoom lenses by listing the shortest and longest lengths.

How Are Lenses Grouped By Focal Length?

In photography, we group lenses by their focal length in many ways. There are ultra-wide, wide-angle, standard, telephoto, and super-telephoto lenses. Let’s go over the main types of lenses in photography and how they’re grouped.

1. Ultra-Wide-Angle and Fisheye Lenses (Less Than 16mm)

Lenses less than 16mm are sometimes referred to as “ultra-wide-angle.” A fisheye lens is an example of an ultra-wide-angle lens. These are often considered specialty lenses. They create such a wide angle of view that they feel unnatural and seem to distort reality.

Ultra-wide lenses are often used in event and architectural photography. They get a lot into a photo when shooting in a confined space.

When used in journalism, ultra-wide angles can provide a dramatic, exciting angle—especially if you are close to the subject. A 16-35mm or 14-24mm zoom, for example, is a crucial tool in the bag of a press photographer.

A fisheye is an ultra-wide-angle lens that emphasizes wide-angle distortions. Fisheye lenses are usually between 4mm and 16mm and capture up to a 180-degree field of view.

2. Wide Angle Lenses (Less Than 35mm)

Lenses are wide-angle if they have a focal length of 35mm or less. Wide-angle lenses capture a broad view of the world. The view is more comprehensive than you can see at a glance.

Street photographers and photojournalists use lenses with shorter focal lengths. They can get close to their subjects, work indoors, and put themselves in tight spaces. These lenses capture the subject and the context.

Landscape photographers also love short focal lengths. They can capture large natural scenes like mountains and tall waterfalls. This wide-angle perspective is advantageous. You can make a flower in the foreground look more prominent than the mountain in the background.

The widest lenses commonly used in movie production also fall into this range. Their field of view is ideal for showing plenty of the environment. And thanks to the wide aspect ratio, subjects can be far enough away not to appear distorted.

But photographers rarely use lenses with short focal lengths for portraits. They enhance the perspective so much that facial features can look unnatural.

3. Standard Lenses (35-70mm)

A standard lens is between 35mm and 70mm. These are the most common lenses, both in prime and zoom format. The focal lengths of the kit lens you get with your first camera probably cover some, if not all, of this range.

Portrait photographers often use standard 50mm and 70mm portrait lenses, which are very popular. Lenses in this range best reproduce what our eyes see. They have minimal distortion. So they are suitable for documentary and street photography.

You can use standard lenses for virtually anything, from nature to action. If you want a good walking-around lens, buy one covering focal lengths between 35 and 70mm. A popular standard zoom lens is 24-70mm.

4. Telephoto (70mm+) and Super-Telephoto (200mm+)

Lenses are described as telephoto if they have a focal length of more than 70mm. Lenses longer than 200mm are sometimes referred to as “super-telephoto.”

A lens is sometimes called a “short telephoto” if the focal length is between 70mm and 135mm. Currently, the longest telephoto lenses in production for consumers are 1200mm.

Photographers use telephoto lenses any time they are photographing something from a distance. Wildlife and sports photographers often use telephotos to bring their subjects closer.

Landscape photographers use long focal-length lenses to capture intimate landscapes. Remember, telephoto lenses compress the scene and make objects look closer together. That is not always what landscape photographers want.

Portrait photographers may also use telephoto lenses, like 85mms if they take close-up shots. The lens compresses the subject, and they look leaner. It is often a flattering look.

Many popular macro lenses also fall into the telephoto category. Photographers use macro lenses to photograph detail in extreme close-ups. A telephoto macro also gives you a little working space.

What Focal Length Is Best in Photography?

The best focal length for your photography depends on the type of photography you like to shoot. Let’s review the best ones for some of the more common genres of photography.

1. Portrait Photography

If you like photographing people, the best focal lengths are between 50 and 135mm. You can get standard prime portrait lenses like 50mm with less distortion. Or you can buy a zoom lens covering the lower end of the range, like a 24-70mm or a 24-105mm.

A short telephoto would also be a good buy for you. Many portrait photographers use a 70-200mm lens.

2. Landscape Photography

Landscape photographers vary in their preferred lenses. You may like a wide-angle 16-35mm lens for grand landscapes. Or you may pick a telephoto lens like 100-400mm to capture details in the scene.

If you like to photograph landscapes, you may need to try a few different lenses to see what fits your favorite landscape scenes.

3. Street, Documentary, and Travel Photography

If you like to travel and take photos on the street, a standard lens is your friend. A 24-70mm is the go-to lens for travel and street photography.

But many street and travel photographers use wide-angle prime or zoom lenses in the 16-35mm range. This lets them get in close and show a lot of the scene. If you are going into the unknown, you may want to look at a lens that covers a variety of situations, like a 24-105mm lens.

4. Architecture Photography

Architectural photographers often go with wide-angle lenses. They may shoot tall buildings on narrow streets. Or they may be inside an establishment trying to capture a tight corner or the majesty of a cathedral.

A wide-angle lens works for it all. Architectural photographers may even pull out an ultra-wide-angle (12-24mm) or a fisheye lens when space is tight.

5. Sports and Wildlife Photography

Sports photographers and wildlife photographers share some common challenges. You may not be able to get close to your subjects, so a telephoto is a must. You need a 70-200mm or a 100-400mm lens.

You may even need a super-telephoto lens if you are trying to photograph birds or players on a large field. And 800mm prime lenses are made for these situations. We review both the best sports lenses and wildlife photography lenses to buy.

Conclusion: Focal Length in Photography

The technical definition of focal length is the distance between the point of convergence in the lens and the camera’s sensor. But it is the practical differences between them that matter to most photographers.

A lens’s focal length affects how much of the scene you can capture. It also affects how visually close you can get to your subject and the relationship between objects in the scene. The best one for your photography depends on what you shoot and how you see the world.

A wide-angle lens has a short focal length. It sees an area more expansive than the human eye. Telephoto lenses have long focal lengths. They have a much smaller angle of view but bring distant subjects closer. And, of course, there is much more in between for you to choose from!

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What Is Exposure Value (EV)?

Exposure value has its roots in film photography. Photographers used a light meter or their personal experience to judge how much light was in the scene. EV is the number that represents the light in front of your camera.
Digital cameras have taken over light metering and let you shoot in semi-automatic modes like Aperture Priority. EV is still the foundation behind these modes but is largely hidden in the background.

How to Calculate Exposure Value

Exposure values are determined mathematically. A formula calculates which f-stop and shutter speed combinations would properly expose the light in the scene. For practical purposes, the mathematical formula does not really matter. But this is the formula if you are interested in how EV is calculated.

Notice that the formula does not include ISO. The formula assumes ISO is 100. These values were computed when ISO was less flexible than it is on today’s digital cameras. Film photographers would physically have to change the film roll to change the ISO. Later in the article, we will expand the idea of EV to include ISO.
This equation is a little daunting and will likely challenge the mental arithmetic of most photographers! But thankfully, photographers of the past did the math for us and came up with charts we can now use.

What Is an Exposure Value Chart?

Before the concept of exposure value, film photographers had to rely on their eyes and trial and error to figure out the correct camera settings. EV charts helped them quickly set their camera settings based on the light in the scene.
In theory, EV extends to infinity. But the EV scale on most charts includes the usable range for photography, from about -6 to +17.
This chart shows the aperture at the top, and the shutter speed is in the left column. The combination of these settings results in an EV. These represent how much light is in the scene. F-stops and shutter speeds interact to expose the photo.

The higher numbers tell you there is more light in the scene. The negative numbers indicate scenes with less light. Notice that as the EV goes down, indicating a darker scene, the camera settings are tweaked to let more light into the camera.
For instance, at EV -6, we would use a wide-open aperture of f/1.0 for 60 seconds. When more light is in the scene, the settings restrict the light hitting the sensor.

How to Use Exposure Value in the Real World

The EV number by itself doesn’t really tell us much. Photographers in the past learned to look at a scene and estimate the EV. Let’s look at some examples of EV in real-world situations.
EV 16: A bright sunny day on a beach or in the snow
EV 12: Overcast day or open shade
EV 10: Just before sunrise or after sunset
EV 8: Bright street scene at night
EV 6: Home interior
EV 4: Floodlit building
EV 1: Blue hour
EV -3: Scene lit by a full moon
EV -6: Night scene with little moonlight
We can use light meters to measure the exposure value of images. These meters use the EV to work out the camera settings that properly expose the scene.
Here are two screenshots of the Lightmeter app by Lumu. On the left, the +7.8 EV meters the light on flowers in the shade. The +14.8 on the right is the measurement for a sunny sky. You can change the f-stop, shutter, and ISO to balance the exposure.

Different Camera Settings Can Give the Same EV

Look at the EV chart again. Notice how different combinations of aperture and shutter can result in the same EV. There are often many ways to expose a scene properly. If you are trying to wrap your head around the exposure triangle, understanding EV may be just how to unlock the door.
EV 16, which is a bright sunny day, can be properly exposed with the following aperture and shutter speed:

• f/2.8 at 1/8000 s
• f/8.0 at 1/1000 s
• f/16 at 1/250 s

EV 8, which is roughly the amount of light you get at sporting events or an artificially lit street at night, can be properly exposed with these camera settings:

• f/2.8 at 1/30 s
• f/8.0 at 1/4 s
• f/16 at 1 second

The settings for the image below were f/16 at 1/100 s, ISO 400. This exposure would be the same if the aperture were widened to f/11 with a shutter speed of 1/200 s. Or, by reducing the ISO by two stops to ISO 100, the shutter speed would need to be slowed to 1/25 s.

How Does ISO Affect the Exposure Value?

The original computation of EV holds ISO at a constant of 100. But we can expand the idea to make ISO a full partner in our exposure decisions. Doubling your ISO adds a stop of light. For each stop of light, the ISO adds, you can take away a stop of light with either aperture or shutter speed.
EV 16 can be properly exposed at these settings:

• f/8.0 at 1/1000 s at ISO 100
• f/11 at 1/1000 s at ISO 200 (one stop of light)
• f/8.0 at 1/500 s at ISO 200

EV 8 can be properly exposed at these settings:

• f/8.0 at 1/4 s at ISO 100
• f/32 at 1/4 s at ISO 1600 (four stops of light)
• f/8.0 at 1/60 s at ISO 1600

If you add a stop of light, like changing your ISO from 100 to 200, the settings shift to balance the increased brightness. Here is an updated EV chart to help you visualize the changes.

Why Don’t Modern Cameras Have an EV Setting?

Exposure value is a handy way to give a simple number for the exposure of an image. It’s much simpler than understanding the exposure triangle, which consists of aperture, shutter speed, and ISO.
So why don’t camera companies put an EV setting on our cameras? Wouldn’t it let us dial in the light we see and get the right exposure? For example, we could dial in EV 15 on a sunny day. The camera would then automatically figure out the right aperture, shutter speed, and ISO.
This would be simpler, but it would limit your photographic options and your creativity.
At EV 12 (shady), f/11 at 1/30 s with an ISO of 100 and f/2.8 at 1/250 s at ISO 100 will expose the scene properly. But the look of your image would be very different. You would have a shallower depth of field at f/2.8, and the background would blur.
You can also properly expose a night scene of EV 8 at f/1.4 at 1/250 s with ISO 200 or f/16 at 1 second with ISO 100. But you are much more likely to capture motion blur at 1 second than at 1/250 s.
Capturing an image is about more than just the exposure. The camera settings you choose will affect how your image looks. Mastering camera settings is crucial to capture the style you want.
These images of the same scene below were both shot at f/14. The image on the left was shot at ISO 3200 with a shutter speed of 1/13 s. The image on the right was shot at ISO 100, reducing the shutter speed to 3.2 seconds. The slower shutter blurs the water.

Exposure Value and Semi-Automatic Modes

Today’s digital cameras use a built-in light meter to measure the EV in the scene. You can find a light value in the EXIF data for your image. The brightness value is similar to, but not the same as, the exposure value.
If you are in Aperture Priority or Shutter Priority mode, your camera adjusts the other settings to keep the EV constant. This sometimes confuses photographers who expect their images to get lighter or darker if they change a setting.
In Aperture Priority mode (A or Av setting), changing to a wider aperture will not make your image brighter. The wider aperture lets in more light, but your camera compensates using a shorter shutter speed. The EV remains constant.
It’s similar if you are in Shutter Priority mode (S or Tv setting). Opening your shutter for a longer amount of time will not brighten your image. You will let in more light, but using a smaller aperture, your camera compensates. As a result, you will get the same exposure.
Move to Manual mode if you want your image to be lighter or darker. This mode lets you control both the aperture and shutter speed values. Or you can use the exposure compensation dial available on many cameras. This dial tells the camera that even though it detects a certain EV when it meters, you want it to be brighter or darker.

Sometimes, our cameras are confused when metering a scene, like when we shoot into a rising sun. Changing exposure compensation will make the scene darker or lighter.

How Do Neutral Density Filters Change the EV?

Some photographers are confused by how neutral density (ND) filters affect EV. For example, using a three-stop ND filter reduces the light coming into your camera by three stops of light.
You use ND filters mainly to slow down the shutter speed and capture motion blur. You usually do not want to make the image darker. You still want a properly exposed image.
With a three-stop ND filter, your camera thinks there are three stops less light in the scene. If the scene is an overcast day with EV 12 light, your camera now thinks the light is EV 9.
If your settings without the ND filter are f/16 at 1/15 s at ISO 100, adding a three-stop ND filter changes your settings to f/16 at 1/2 second at ISO 100. As a result, the shutter speed is three stops slower. But the image is exposed the same in both cases.

Conclusion: Exposure Value (EV)

Today’s digital cameras have made practical use of exposure value largely obsolete. But understanding EV is essential for understanding your camera settings and the exposure triangle.
We hope this article has helped you understand how EV is used in modern photography.

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Composition Poster: Leading The Eye

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Fun Project: Shoot a Bear About to Catch Salmon

Wildlife photography is fun, exciting, and… difficult. You need a diverse set of skills and often some specialized gear.
That’s why we try to make it as easy as possible for you with our ebook, Wonderful Wildlife.
This is one of the 30 projects that you can learn to capture. Download it below.

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Business

Quick-Start Checklist For Your Photography Website

If you want to make money from photography, you need customers. And to get customers, you need a website.
But starting your website isn’t easy if it’s your first time. But after 50+ million visitors to ExpertPhotography, it’s safe to say we know a thing or two about websites and search engine optimization.
That’s why we produced an ebook called Organic Marketing for Photographers to help you get the traffic you deserve.
Click below to download the quick-start checklist.

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Fun Project: Capture Classic White Glare on Sunglasses

Product photography is one of the few niches you can make money from without having to take photos of people.
And best of all, it’s fun and easy! You can capture your own unique images from the comfort of your home with a very simple setup.
To show you how easy it can be, we published an ebook and set of cheat sheets called Products in Focus, and this free download is one of our 30 projects.

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The Photography Business Quick-Start Checklist

Making money from photography has (unfortunately) very little to do with the quality of your images.
It’s all about your strategy, positioning, pricing, and how you present yourself in your local market.
It’s something we cover in detail in our ebook Profit from Portraits. But if you want a quick way to get started, download the checklist below.

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Styling, Positioning, and Composition for Real Estate Photography

Real estate photography is a tricky but very profitable niche to work in. Most of the time, you are not shooting pretty properties but boring buildings.
To make ordinary photography stand out, you need to know how to style them!
We cover real estate photography in great detail in our ebook, Picture Perfect Properties. But if you want to jump straight to the styling tips, download the photography cheat sheet below.

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The Anatomy of a Perfect Instagram Post

Is your Instagram feed looking a little lackluster? Do you want to get more likes on your posts? If the answer is yes, then this photography cheat sheet is for you.
For more social media help, check out our social media ebook.

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What Is Crop Factor in Photography?

Crop factor in photography is the ratio of a camera sensor’s size to a standard 35mm film frame, which affects the field of view. It determines how much smaller the angle of view is when you use lenses designed for full-frame sensors on cameras with smaller sensor sizes.
APS (Advanced Photo System) was a film camera format that utilized three image formats simultaneously. It originated the modern crop sensor and gave amateur photographers advanced customizability.
Digital cameras reinvented and interpreted this technology. When digital cameras were made with smaller sensors, it resulted in smaller and cheaper camera bodies. These are crop-sensor cameras.
Professional cameras have a sensor the same size as a piece of 35mm film. This size is called a full frame. (Read our article about full frame vs crop sensor for a more in-depth explanation.)
Full-frame lenses cover a full-frame camera sensor. But they cover a wider area than a camera with a crop sensor can capture.
Most professional lenses are designed for full-frame cameras. Putting one of these lenses onto a body with a crop sensor produces the crop factor.
In the two pictures below, there is a full-frame lens. In the image on the left, you can see the image (in blue) projected onto a crop-sensor camera. The lens covers a wider area than the crop sensor can capture.
On the right, you see what happens with a full-frame lens on a crop sensor camera. It brings the image closer, so it fills the frame. This results in the edges of the image being cropped out. As you can see, you crop a big area of the frame using a full-frame lens.

What Are the Different Types of Crop Factors?

There are two main types of crop factors in photography. There is the APS-C crop factor and the Micro Four Thirds crop factor. These determine a lens’s effective focal length and field of view on APS-C and Micro Four Thirds cameras with smaller sensor sizes.

The most common crop sensors are APS-C sensors, which most camera manufacturers use. They all produce the same amount of magnification (1.6x), except for Canon, which has a 1.5x magnification.

But crop factor is also visible when shooting with APS-H, compact, and smartphone cameras. APS-H is one of Canon’s unique sensor sizes. It is between full frame and APS-C in size and has a magnification of 1.3x.

What Does the Crop Factor Mean in Practice?

For example, a 50mm lens on most crop-sensor cameras has an equivalent focal length of 75mm (50 x 1.5). But Canon’s APS-C sensor is smaller than those of other brands. For this reason, it magnifies the image by 1.6x, resulting in an equivalent focal length of 80mm.

Micro Four Thirds was once the standard sensor for DSLR and mirrorless cameras. Its magnification is 2x, which results in a 50mm lens having an equivalent focal length of 100mm.

When Should You Buy Full-Frame Lenses?

My best advice is to consider what you want to do with your photography. Will you want to upgrade the camera body soon or shoot very wide angles? This will help you choose the lens that is right for you.
APS-C camera bodies are compatible with full-frame lenses. But full-frame cameras cannot handle APS-C lenses. This means you can switch lenses between APS-C and full-frame cameras. But if you have the chance, always opt to buy full-frame lenses.
This is especially true if you upgrade your APS-C system to full frame. It is easier to invest money into a great full-frame lens right away. That way, you don’t have to worry about the effects of a change in sensor size.
Lenses made for professional, full-frame cameras are also of better quality. They’ve been around long before digital cameras became popular and provide the speed and accuracy you would expect for the price.
Prime lenses, in particular, tend to be made for full-frame cameras. 50mm is a great focal length when using a full-frame camera, but the field of view might be too tight on a crop sensor (APS-C camera).
There are some exceptions. For example, Panasonic full-frame lenses cannot be used on Panasonic crop sensor cameras. This is why it is crucial to research before buying a lens. You can read our article on the best camera lenses.

Recommended Canon, Nikon and Sony Full-Frame Lenses

Canon RF 28mm F/2.8 STM

Canon RF 28mm F/2.8 STM

Nikon NIKKOR Z 26mm F/2.8

Nikon NIKKOR Z 26mm F/2.8

Sony FE 20-70mm F/4 G SEL2070G

Sony FE 20-70mm F/4 G SEL2070G

Is It Worth Buying Crop-Sensor Cameras?

Some advantages make crop-sensor cameras great for beginners. They are more affordable because the smaller sensor is produced cheaper. There is also more extensive lens availability, as you can use crop and full-frame lenses with them.
Also, there are some niches where you can enjoy the crop factor. For example, it is helpful to have extra magnification in nature or action photography.
Buying an APS-C camera body can be beneficial if you are a beginner. The user-friendly interface and the considerable lens compatibility make it perfect to start with. But make sure to buy full-frame lenses so that transitioning to a full-frame camera later will be smooth.
On the other hand, if you are a professional sports or wildlife photographer, you might want to keep using a crop sensor. Not only does the magnification come in handy, but they are also smaller and lighter.
Read our articles on the best sports photography cameras and wildlife cameras. We recommend some excellent crop-sensor cameras.

What Are the Drawbacks to Crop-Sensor Cameras?

Crop-sensor cameras can’t handle low-light situations as well as full-frame cameras. The resolution and pixel density are lower because the lens cannot project the same quality on a crop sensor. This results in worse image quality, which can also affect print quality.
As always, there are exceptions. The Fujifilm X-T5, Canon EOS R7, and Pentax K-3 Mark III are excellent crop sensor cameras. They compete with some of the low-end full-frame camera bodies.
There are also newer specialty cameras that perform well, like the multimedia Fujifilm X-H2S and Sony FX30 cinema cameras.

Best Crop-Sensor Cameras (APS-C Cameras)

Fujifilm X-T5

Fujifilm X-T5

Canon EOS R7

Canon EOS R7

Pentax K-3 Mark III

Pentax K-3 Mark III

Conclusion: What Is Crop Factor?

Crop factor results from a lens being placed on a crop-sensor camera body. Understanding this can be helpful when choosing cameras and lenses. It helps you predict how much of the scene you can include in your frame with focal length.
Learning the technical aspects of photography like this is as important as learning the creative side. Even if you don’t want to study all the details, it’s helpful to understand basic photography terms.
Take our Photography for Beginners course for helpful tips to kickstart your photography.

What Is the Viewfinder?

The viewfinder is the device you look through when taking a picture. It shows you what is in your frame, alongside your settings and other helpful information.
In old twin-lens reflex cameras, viewfinders were a small Galilean telescope placed in the camera body. It gave you a general idea of the scene you wanted to capture, but it had no connection to the lens.
As they framed with one ‘lens’ and shot with another, the images were never accurate. The closer the subject, the worse the error. This is the Parallax Error.

Every camera with a viewfinder that does not project the same view of the lens is called a rangefinder.
In modern cameras, the viewfinder, most often found on DSLR cameras, is in the camera’s center. You will notice it by a rubber eyepiece.
Some mirrorless cameras do not have a viewfinder. In this case, you can buy an external one and attach it to the camera.
There are two types of viewfinders: optical and electronic. The optical system is almost the same in both, as you can see the autofocus points and the same field of view.

The Evolution of the Camera Viewfinder

Twin-Lens Reflex Camera Viewfinder

TLR cameras consisted of two lenses. One took the picture, while the other was for the viewfinder system.
They housed a large 45-degree mirror. This allowed a projection of an image onto a glass screen.
The viewfinder was at waist level. Unlike SLR cameras, they remained open during exposure. This allowed photographers to apply effects while the exposure was in progress.

Rangefinder Camera Viewfinder

Rangefinder cameras worked with a zone-focusing system. This looked through the camera instead of the lens. It meant the camera did not focus on the subject itself. The camera located how far the subject was and determined the focused area.
The earlier versions of these cameras had separate rangefinders and viewfinders. Later, the rangefinder stayed, and the viewfinder was removed.

SLR Camera Viewfinder

Most cameras used nowadays are SLR cameras. They use a mirror to reflect the image, which is then transferred through the pentaprism. The image going through the prism is what the photographer sees in the viewfinder.
SLR cameras meant a huge technical development from TLR and rangefinder cameras. With this technology, the picture taken could be different from the one in the viewfinder.
In the case of SLRs, the mirror and prism allowed the introduction of optical viewfinders. This resulted in getting accurate and non-distorted final images.
<img class=”aligncenter wp-image-528559 size-full” src=”https://expertphotography.com/wp-content/uploads/2021/02/camera-viewfinder-3.jpg” alt=”image of a Nikon D4

What Do We See In the Viewfinder?

The viewfinder is what we use to compose an image. For this reason, we would expect it to show the exact scene in front of us. This is almost the case, but there are a few things we have to look out for.
We have to deal with the viewfinders’ magnification. It is 1x, which means the viewfinder shows our subject in the exact size we see it. There may be minor differences with different cameras. The photographer has to count on this when framing their image.
By looking through the lens, you get an accurate image. It might be optical or electronic, but having one is much better than not having any.

What Can the Viewfinder Help With?

General Camera Settings

What happens when you look through the viewfinder (optical) or EVF screen (electronic)? You see a lot of information. Some of this information is your camera settings.
You get to see the three main components of the exposure triangle. The ISO, shutter speed, and aperture are all shown.
This helps to know what you are shooting without having to move your eye from the eyepiece.

EV Scale

The EV scale is the bar in the middle of the bottom section of the viewfinder. It will show a minus scale and a plus scale with ‘0’ in-between.
Used in conjunction with your settings, this helps you get a correct exposure. Your exposure needle should aim to sit around the ‘0’ mark.
Changing your settings will move this scale. If you are in aperture or shutter priority, you can only change this with the exposure compensation setting.

Focus Points & Metering

We use the viewfinder not only to frame but also to direct our focus and metering values. A flashing or blinking dot lets us know where the focus lies.
This focus can be automatic. The user can change the focus zone and mode, depending on the subject. There are separate focus modes for still and action photos.
Your viewfinder shows you the scene in which you are metering light. Different metering modes take different parts into account when determining the correct exposure.

Custom Settings

• Picture Style: Picture style allows you to adjust your images the moment they are taken. It is like applying basic editing to every photo, in-camera. You can usually adjust contrast, sharpness, saturation, and color tone. You can save these settings as custom styles.
• Picture Mode: This decides the format of the photo you take. You can set it as JPEG, RAW, or the two combined. To learn more about whether you should shoot in JPEG or RAW, read this article!
• White Balance: White balance determines the color temperature in your images (in Kelvin). There is a set of saved white balance presets in the camera with different Kelvin values. You also have the chance to use automatic white balance or set the temperature in manual mode.

System Info

• Battery Level: You can see your battery level in the viewfinder. You will see a battery shape filled with three diagonal blocks. As your battery loses its full charge, the blocks will disappear one by one. Flashing means you are running on fumes and can expect to need a new battery very soon.
• Shots Remaining: Having an indicator of how many shots you have remaining is very useful. This lets you know how soon you will need to change your memory card.

What are Different Types of Viewfinders?

Optical Viewfinder

The optical viewfinder is the part of the camera you look through when composing and taking a shot. It is ‘optical’ because what you see comes from the image that the camera sees. As light enters the camera, it hits the mirror, then gets reflected up to go through the pentaprism. The eyepiece, thus the viewfinder, shows the exact image that the camera sees. There are no electronic elements involved.
The benefits are basic. Apart from showing you the scene, it gives you a lot of information about how the camera works. It does not limit the dynamic range and draws no power from the battery. You can even use it while your camera is off.
You also see the scene with the magnification that your focal length offers.
It is not uncommon for modern digital cameras to have optical and electronic viewfinders. In that case, the LCD screen’s Live View functions as the electronic viewfinder.
The problem with this system is that the viewfinder gets blocked when you capture an image. This is not a big deal when capturing an image at a few thousandths of a second. But for time-lapses and long exposures, it can be frustrating. As soon as you press the shutter, the mirror flips up to reveal the sensor, blocking out the light.

Electronic Viewfinder

The electronic viewfinder in mirrorless cameras is equal to the LCD screen in DSLRs. It gives you all the advantages of Live View mode. This means that it shows you an active preview of what is in your frame.
Electronic viewfinders have some benefits over optical viewfinders. You can use them for focus peaking to reach the most accuracy during manual focus. There is also various live information available. You can see the histogram in the electronic viewfinder. It will help you notice under or overexposure. There is also a possibility to use grids to level your images.
Due to their digital nature, they do not perform well in low light situations. They also have a worse resolution than optical viewfinders and drain the battery more.

Conclusion

The two main types of camera viewfinders are optical and electronic. They both have advantages and disadvantages worth considering before buying a camera.
You will not choose a camera type only based on the type of viewfinder it has. We recommend you go through more significant features when making a decision. After that, you can get familiar with its type of viewfinder.
Now that you understand the camera viewfinder, get the best start in photography with Photography for Beginners!

Photography Cheat Sheet: Free Basics

We start off this list with six photography cheat sheets focused on the basics of photography.
It’s important that you understand how to master your camera settings and exposure before you start venturing into more complex topics.
From shutter speed to camera types… this is everything you need to get started.

The Exposure Triangle

For most photographers who are just starting out, understanding the exposure triangle is key to taking great photos.
The three elements of this triangle are aperture, shutter speed, and ISO. All three need to be balanced in order for a photo to be well exposed.

When to Use Each Shutter Speed

In photography, shutter speed is one of the most important factors to consider before pressing the shutter.
It can affect your image in many ways, from how sharp it looks to how much motion blur there is.
There are a few guidelines in the photography cheat sheet below. They’ll help you decide which shutter speed is appropriate for each situation.

Aperture (And How It Affects Depth of Field)

To shoot in manual mode, you must be know how to control the aperture. But it’s not always easy to understand.
In the photography cheat sheet below, we show you the relation between aperture size, exposure, and depth of field. Memorize this! It will make your life easier.

Types of Cameras

There are many different types of cameras.
A digital single-lens reflex (DSLR camera) is a professional quality camera that uses interchangeable lenses. It produces high-quality photos but requires a bit more practice to operate than other types.
However, most major brands have discontinued their DSLR lines. They are putting their research and development into mirrorless cameras from now on.
Point-and-shoot cameras are less expensive and easier for beginners to learn how to use. That’s because they don’t require manual adjustments or special skills.
And the other kinds? Read the photography cheat sheet below and find out the most important things to know about them…

10 Steps to Focus Stack Correctly

Focus stacking is a great way to get razor-sharp images from your photography.
It’s also an absolute lifesaver for macro and close-up shots where the depth of field can be very limited. However, it can take some time and patience to learn how to do it correctly. This photography cheat sheet will help you out!

10 Steps to Taking Good Pictures

The idea of taking a good picture can seem daunting. But it doesn’t have to be. There are some simple steps you can take that will make your pictures look more professional.
In this photography cheat sheet, I’ll show you 10 quick and easy things you can do to improve the quality of your photos.

Photographing People

Now that you understand the basics of photography, the next step is to practice taking photos of people.
There are many different situations you can shoot in, ranging from romantic couples photography to formal family photos.
Our photography cheat sheets below explore them all…

15 Tips for Photographing Families

Every family has its own unique story. And, through photography, you can capture who they are and create a beautiful visual record of their time together.

7 Creative Family Photography Ideas

If you’re looking for some creative inspiration to spice up your family photography, then this cheat sheet is just what you need.
We’ve compiled seven of our favorite ideas that are sure to bring out the creativity in anyone!

10 Tips to Improve Your Environmental Portraits

Good environmental portraits tell the story of their subject. Your model’s immediate natural surroundings will give the viewer insight not only into their personality but also their everyday life.
This cheat sheet will provide 10 tips to improve your environmental portraits.

How to Capture Romantic Couples Photos

Capturing an intimate moment between two people is not always easy.
Couples can often feel awkward and shy in front of the camera. Sometimes, this can lead to disappointing photographs.
Here are some tips to help you capture romantic photos of couples without any stress or embarrassment.

Wedding Photography Checklist

You’ll be on your toes the entire day of the wedding. But don’t worry, we’ve got you covered.
This checklist will ensure everything is in order for a beautiful celebration and beautiful memories.

Creative Photography Cheat Sheets

One of the most difficult aspects of photography is getting creative with your photos.
If you’re a beginner photographer, this can be really tough! There are so many options and techniques to use that it becomes overwhelming.
That’s why we created these cheat sheets for you! They go over a number of different styles. And they offer helpful tips for any photographer who wants to get more creative with their images.

4 Steps to Mastering Creative Night Photography

Creative night photography is a new and exciting field for many photographers.
Many of these beginners are looking for ways to improve their craft but don’t know where to start.
This cheat sheet will outline four simple steps that can help you master the art of night photography in no time!

Spiral Light Photography Cheat Sheet

This is one of the simplest forms of creative photography.
All you need is a low-powered flashlight and a piece of string.
With a  simple long exposure setup, you can capture some really cool photos.

Creative Still-Life Photography Cheat Sheet

Photographers are always looking for new ways to challenge their creativity.
Creative still-life photography is a great way to do this because it forces the photographer to think outside the box and create something unique.

Niches of Photography

Once you have some experience with photography, you can start experimenting with different niches to find where your passion lies.
That’s why we’ve collected a bunch of cheat sheets covering various topics, from pet photography to food photography and more.

12 Tips to Improve Your Nature Photography

Nature photography is a great hobby for people of all ages. But it can be difficult to get the perfect shot.
Here are some tips to help you improve your nature photography!

Pet Photography Cheat Sheet

A pet is a member of the family, and capturing their personality on camera can be just as important as photographing your children.
Here’s an easy-to-follow pet photography cheat sheet for taking great photos of your pets!

iPhone Photography Tips for Better Photos

Everyone has a camera in their pocket. But not everyone knows how to use it.
The iPhone is one of the most popular cameras around the world and can take some really amazing photos.
Here’s an iPhone photography cheat sheet with 12 tips to get you started.

10 Tips for Improving Your Food Photography

The goal is to make your food look appetizing and delicious. But you don’t want it to seem artificial or processed.
Below are 10 tips to make food photography easy.

Professional Photography & Social Media

Once you’re ready to sell your services or share your photos online, these photography cheat sheets are going to be really helpful.

10 Things Your Photography Contract Must Include

I know how difficult it can be to put together all of the necessary information for your photography contract.
This is why we’ve compiled 10 things your photography contract should include.

How to Write a Photography Model Release Form

A photography model release form is a document that grants permission to the photographer to use images of the subject in their work.
If you’re unsure whether you need a release form, this cheat sheet will help walk you through it!

The Anatomy of a Perfect Instagram Post

Is your Instagram feed looking a little lackluster? Do you want to get more likes on your posts? If the answer is yes, then this cheat sheet is for you.
For more social media help, check out our Social Success Strategies eBook.

What is a Fast Shutter Speed?

Shutter speed is the measure of how long the camera shutter stays open to allow the entry of light. It determines the amount of light reaching the camera sensor. A fast shutter speed implies short exposure to light. (A slow shutter speed means it has a longer exposure to light.)
It’s one of the three pillars of the exposure triangle. The two others are ISO and aperture.

What Is Fast Shutter Speed?

There isn’t an exact point where we can split the scale to differentiate a fast shutter speed from a slow shutter speed.
A fast shutter speed freezes motion and avoids motion blur in your images. These values mean really short times—think fractions of a second.

A value of around 1/250 s or faster can be considered fast. A shutter speed of 1/500 s implies that the shutter stays open for one five hundredth of a second. 1/500 s is faster than 1/250 s.
The larger the denominator, the faster the shutter speed. By that logic, any number higher than 250 in the denominator is faster than 1/250 s as well.
At fast shutter speeds, your camera freezes motion. It records movement and makes it static. Because the light hits the image sensor for a short time, it doesn’t “catch” the whole motion, just fractions of them.
A benefit of a fast shutter speed is that your images are less suseptible to camera shake. You can shoot while holding your camera in your hands. This is extremely difficult with slow shutter speeds. You will need a tripod for stability.
The fastest cameras out there are capable of shooting fast enough to capture anything, including race cars. High-end cameras generally have faster maximum shutter speeds.
On the contrary, a slow shutter speed allows you to follow drawn-out movements, like a firework lighting up the sky. If you are shooting still subjects, a slow shutter can be necessary for low light.

When Do You Need to Use a Fast Shutter Speed?

For sports photography, wildlife photography, street photography or any kind of action photography, fast shutter speeds are necessary. In these niches, you usually want your subjects to be in sharp focus mid-action.
A fast shutter speed is also necessary in bright light. You need the shutter open for a very short time to have the right exposure. If you choose a slower shutter speed in bright light, you’ll have overexposed images.

How To Use a Fast Shutter Speed

How you set the correct shutter speed depends on what you are photographing. Simply put, a faster movement requires a faster shutter.
Each camera is a bit different in where you can set your shutter value. But if you look in your camera’s manual, you’ll find it.

Using Shutter Priority Mode

The Shutter Priority Mode is usually marked on the dial with S or Tv.  It’s ideal when you know how much you would like to freeze motion, but you don’t need full control over your camera settings. In this mode, you can set the shutter value and the camera adjusts the rest of the settings for the correct exposure.
Shutter Priority mode works best in situations where you don’t have time for setting all three elements of the exposure triangle.

Using Manual Mode

If you’re shooting in a studio, you most likely have time to adjust camera settings at your own pace. In this case, you can choose manual mode. In manual mode, you’re in charge of all the camera adjustments to get the correct exposure. Nothing is automatic. Use a higher ISO or a wider aperture (or both) to compensate for the short shutter time.
When using a flash, be mindful of your flash’s sync speed in relation to the shutter speed. If the shutter speed is faster than your camera’s flash, you can experience a black band across the image. That’s because the shutter partially blocks the projection of the flash at that specific moment.

Using Burst Mode

Burst Mode or “continuous shooting mode” is another commonly used setting. When you press the shutter in burst mode, your camera takes several photos in quick succession. Some cameras take photos as long as the shutter is pressed. This helps to catch the decisive moment in any situation.
Be careful while combining burst mode with flash. Usually, flashes need some recharge time. You can miss some of the shots because the flash needs to recharge between them.

Conclusion

Shutter speed determines how you capture motion in an image.
In a nutshell, a fast shutter speed freezes motion and a slower shutter creates motion blur. What’s the right way to do it? There’s no answer. Perhaps that’s why there are so many options in every camera.
Observe the effects of different shutter speeds and find out which one fits your style on a given occasion. Very soon, you’ll have a portfolio of mind-bending shots.