Photo How To

Even the best photographers mess up on occasion, and the trick is to not get lazy and make the same mistake twice. The video below illustrates three common composition errors, and explains how to avoid them.

When the rain stopped, Shawn Clover was on the pedestrian bridge over the street at the Embarcadero Center in San Francisco, waiting for someone interesting to come by. He ended up photographing 14 interesting people, one frame for each. This is the image he chose to post to Flickr.

Earlier this week brought you a comprehensive tutorial from an experienced pro who explained why, when, and how to choose between Shutter Priority and Manual exposure mode when photographing subjects in motion. We're following up on that today with another important consideration; namely, the differences between Jpeg and Raw format when action subjects are the task at hand.

You're no doubt familiar with a common refrain that goes something like this: "You should definitely use RAW format and never shoot Jpegs." But is this really the best advice for you? You may be surprised by the conclusions drawn in today's tutorial from C64 Photo Safaris—a group of Botswana-based photographers with a passion for sharing their favorite shooting and image-editing techniques.

Photographers tend to be very serious about eliminating (or at least reducing) noise in their photographs. These ugly digital artifacts tend to show up as distracting specs of grain, or random variations in color and brightness in areas of an image than should appear clean. 

We’ve been working through all the new capabilities of the latest Lightroom update, and today's tutorial from the Photoshop Café YouTube channel demonstrates a powerful new feature that is nothing short of "stunning." In less than eight minutes you see how the new Point Color tool works.

Every so often we capture a photo with an unsightly colorcast, like when shooting performances with strong, colored stage lighting. There are numerous other situations in which harsh supplemental light obliterates the original colors of a subject.