Whether it’s to celebrate the New Year, Fourth of July, Diwali, or a birthday in the backyard, here are a few tips to capture those sparkly, colorful delights!
 
A fireworks display may seem like a challenge, but even a beginner can get some great photographs with some advance planning and a few specific camera settings. You don’t need fancy extra equipment either – just a tripod, a piece of non-stick tape, and a black piece of paper large enough to hold in front of the camera lens.
 
Location, Location, Location
Knowing in advance where the fireworks will be allows you to scope out a good location to shoot from. Look for a place with higher ground and an unobstructed view.  You don’t want telephone wires or street lights in your shot. A backdrop with some trees or buildings or monuments in the perimeter of the shot can make effective compositions, but these need to be off to the left or right or bottom, not where they will block the fireworks. Pick a place where you can have space to set up your tripod and where the camera will be able to get the full firework in view.  Think ahead to when the location will be full of people and make sure that other parked cars or people standing around won’t be in your way. Depending on your camera lens options and whether they are primes or zoom lenses, you might have to visit a few locations before you find one that will work. Plan to be there in advance, while it is still light outside so you can claim your spot!

Which camera lens?
You may not have many options. Many beginning photographers have only the kit lens that came with their camera. This is usually an 18-55mm lens and it is a good choice. Generally speaking, you will want a wider angle lens (the 18mm to 35mm range) so you can get the whole firework and sky around it in view. However, if you will be very far away, you may need a zoom, or even a telephoto lens like an 18-200mm. This brings us back to the location… it is important to scope out the location ahead of time and bring your camera, tripod, and lens with you. Set it up in daylight to make sure your lens and location combination will work.

(For more information about lens focal lengths and their uses see our blog post on this topic.)

What camera settings?
If you are using a new camera or haven’t had time to read your camera manual, you will want to find these settings and practice with them in daylight so you won’t be fumbling around in the dark trying to figure them out. No camera manual? No problem... go to this page to download your manual. Here’s the list of what you will need to know, then we will go over what to do with those settings next:

• Manual mode (so you can control all of your settings)
• ISO
• Aperture
• Shutter speed and/or “bulb setting” (this may be set in Manual mode or may be a mode all it's own "B")
• Shutter remote (if you have one)
• RAW setting
• Noise reduction (if your camera has this)
• Manual focus switch (on your lens/near lens on camera body or in camera settings – or both!)
• Focusing to “infinity” (see the markings on your lens, look for the infinity symbol)
• Image stabilizer on/off (if your lens has this)

Getting Set Up and Getting the Right Settings
Set up your tripod. Legs should be open at their widest angle (and locked if your tripod has that function). Decided how “tall” to set the tripod.  If you are in windy conditions, you should take care to secure the tripod and if at all possible DO NOT fully extend the leg height and definitely do not raise the center column. This makes the tripod less stable. Once you have the tripod secure (remember you will be moving around it in the dark – you don’t want it falling over), firmly attach the camera. The lens you will be using should be attached and set to the level of zoom (if it is a zoom lens) you plan to use.
 
If your lens has image stabilization, you can turn that off while on the tripod. If you are attempting photos without a tripod, then leave image stabilization on. A tripod is highly recommended for nighttime photoshoots.
 
If your camera has settings for noise reduction or long exposure noise reduction, you should turn those on. Also in the settings, change your file type to RAW (this will allow more editing options later).
 
We are going to be using Manual camera mode, but beforehand, while it is still in Auto camera mode, set the focus on your lens to “infinity.” You should be in location when you do this. First you have to turn off Auto Focus on your lens (a switch on the lens or near the lens on the camera body) or in the camera settings (menu) or both. This is NOT the dial that changes camera modes. Once you have Auto Focus turned off, you will manually turn the focus ring on the lens to the infinity mark* (the symbol on your lens looks like a sideways number 8).  It is possible to focus past infinity. Today’s autofocus motors need room to make adjustments at higher speeds so the hard stop that you would find on a manual focus lens is not a hard stop on an autofocus lens. Look for the symbol and notice that you can probably turn past it.  Turn back until you are on the symbol. Test the focus during daylight (that is why you are setting up early!). Focus on a very distant object near the horizon, like a building or a tree.* Take some test shots and then zoom in on the photo review on your LCD screen. Make small adjustments to the infinity focus by moving the focus ring on the lens. Once you have the focus locked in, you can use a piece of non-stick tape like painters tape or gaffers tape to hold the focus ring in place. That way if you bump it in the dark it won’t move. You can also use your phone to take a photo of the numbers/markings on the side of your lens once you have it set. Then if it does move while you are in the dark you can use the photo and your flashlight to reset it.

*Alternate method, works with some cameras, but not all, and can be used for lenses with no outer markings for infinity. While the lens is in autofocus mode, use a very white piece of paper that is very well lit, and hold the paper up in front of the lens, about 4 inches from the lens. Make sure the white fills the viewfinder. Then 1/2 press the shutter/autofocus button. This should set the lens to infinity focus. Change over to manual by changing the switch on the lens/body or in settings.

A word of caution, if you get set up, and once the fireworks start your level of zoom needs to be adjusted, changing the zoom can (and often will) change the focus of the lens as you zoom in and out. Some lenses have fixed focus, but many, many more are variable focus. What this means is that your infinity focus may no longer be set properly. This is why it is important to scope out your location with your camera and lens ahead of time. Get your composition and framing set up and then don’t touch it. However, if you MUST make changes, you will need remove your tape before you zoom in or out.  Then take test shots of the fireworks and use your LCD review to check the focus is still good. If not, make adjustments to the focus ring on the lens. Once the focus is set again, reapply your piece of tape to keep the focus locked.
 
Now we are ready to switch the shooting mode to Manual mode using the camera dial. Changing to Manual mode will now allow you to control all three aspects of the exposure triangle -- ISO, shutter speed, and aperture.
 
If your camera has a shutter speed setting called “bulb” or a camera Bulb mode, then that is what you will want to use, we will come back to that. Otherwise, for all manual mode users, you can start off with a shutter speed of 1/10 of a second and make adjustments from there.  Set your aperture at f/8 to begin with. Set ISO low at 100.
 
If you are setting shutter speed at 1/10th of a second, take some test shots. If the shot is too dark (underexposed) use a longer shutter speed, open the aperture, or change ISO to 200. If the shot is overexposed, close down the aperture to f/ll.
 
Longer shutter speeds will capture longer light trails on the fireworks. You can set shutter speeds to several seconds or even longer and this is where a “bulb” setting comes in handy. This setting can also allow you to capture multiple firework bursts in the same exposure. With “bulb” setting once you press and hold, the shutter remains open until you release it. You can do this on camera (but it might produce camera shake) or you can use a shutter remote. Shutter remotes typically cost under $20 and can be used in many different ways for many genres so you will get your money’s worth from one of these gadgets. Be sure to get the right kind for your camera (check compatibility before ordering). Some cameras are equipped with Wi-Fi so with those you can download apps – like Canon’s Camera Connect app -- that let you take the picture from your phone.
 
For some camera users the "bulb" setting is a camera mode and is on the dial. For other cameras "bulb" setting is in the shutter settings if you continue to increase the shutter time past 30 seconds. In either case, when using “bulb” setting it will affect your shutter speed and allow for longer exposures. Therefore, an aperture setting of f/11 is probably a better starting point so you don’t end up with overexposed images. Start with an ISO of 100. You will need to take some test shots and since fireworks shows typically last 30 minutes you should have the opportunity to make adjustments. Try starting the exposure in “bulb” setting by pressing and holding the remote and leaving it open (continue to hold) for three fireworks bursts, then release. Check your work. You can try four or five bursts and if you start to get overexposure, adjust the aperture by closing it down to f/16 (or by one-third or ½ stops if your camera allows).

And here is where that black piece of paper I mentioned at the beginning comes into play. When using “bulb” mode you can expose the full firework burst or multiple firework bursts. Just use the black paper to keep the lens covered (hold it in front – does not have to be directly touching) until you want to start exposure and in-between fireworks bursts.  This can work with manually set shutter speeds too (set the camera shutter speed to 30 seconds or whatever length your camera allows that you want to try). The steps are like this:

1. Hold paper in front of lens.
2. Click button to start exposure (take picture) using camera button or remote before you anticipate a firework launch. Keep the button pressed/held for "bulb" mode or release if it set to a time like 30 seconds).
3. As soon as you hear the firework launch, move the paper.
4. The camera will continue to expose your image (either until you release using bulb mode, or until shutter has been open the number of seconds you set, such as 30 seconds).
5. Once the firework’s brilliance has passed, hold paper in front of the lens area again until the next firework burst where you repeat steps 2-4. You can repeat for 2, 3, 4 fireworks bursts, sometimes even up to 10.
   
6. Put paper back in front of lens at end of sequence.
7. Release the shutter if you are in bulb mode, or the shutter will automatically release when the time is up depending on your setting (for example 30 seconds).
8. Check your work for under or overexposure and make adjustments to aperture or shutter speed/time on "bulb."  Do not take ISO over 200.
9. Periodically check your focus to make sure it hasn’t drifted or been bumped. If the fireworks are close in (such as a backyard or neighborhood), infinity focus may be focusing too far away. Choose an object that is at about the same distance (a tree outline, building, streetlight) and use autofocus to focus on that depth, then once set switch back to manual focus. Adjust using the focusing ring as needed.
   

 
If this seems complicated, take a few deep breaths… this is not beyond your skill level.  Read over your camera manual and practice with making the setting adjustments while you are in daylight. In other words, know how to switch the ISO from 100 to 200 and know how to close down the aperture (smaller opening = larger f/# = less light, use when overexposed/image too light) or open the aperture (wider opening = smaller f/# = more light, use when underexposed/image too dark). Know how to set the shutter speed. Start with the settings provided of shutter 1/10th second, ISO 100, and aperture f/8 while focused far out in the distance (manual focus at infinity) on a tripod, and you should get good results!
 
Want to stay in touch or share your fireworks photos? Follow us on Twitter @focusedcamera and tag us in your posts!
 
P.S. Have you ever wanted to try “light painting” with sparklers? The process and settings are almost the same – just focus where your subject is instead of out at infinity. Set up the tripod and focus point in daylight beforehand by having your child or friend stand in the location where you will be using the sparklers then lock the focus in (use a piece of non-stick tape and keep the lens set to manual focus).

Wide depth of field is especially desirable for landscape photography. This is where understanding hyperfocal distance becomes important. If you are just starting out, it will be important to understand the basics of depth of field, so before you continue reading, you might want to check out that blog post first.

What is hyperfocal distance?

Hyperfocal distance, in a nutshell, is the point in the foreground that is the closest point the camera can focus while still having acceptably sharp image quality throughout the rest of the image to “infinity” (which is the background/horizon in most images) In other words, it is the point of focus that will yield the greatest depth of field.

When composing an image, if the focus is on the foreground, then the background will be blurry. In a portrait shoot, whether for people or animals, the subject can be in focus and the background can be blurry, and that is normally desirable.

If the focus point is changed to focus on the background, then the foreground will be blurry. When capturing a distant mountain at sunset from an overlook, one can focus on the horizon or “infinity” and won’t notice the blurry foreground because there are no objects in it.

Understanding hyperfocal distance is only important when there are objects both far away and close up that need to be in sharp focus.  Focusing at a point in between the close and faraway objects becomes necessary. The calculation of where this point is will depend on several factors like the focal length, the “circle of confusion” for the camera sensor, and the aperture (see the depth of field blog post). When we find the hyperfocal distance point, “acceptable sharpness” will be found throughout the image.

Acceptably sharp – what is that?

Imagine a photograph is hanging on the wall. It is an 8”x10” size photo. If a person with good vision (20/20) stood 10 feet away, and the image looks completely in focus to them throughout, then it is “acceptably sharp.”

The hyperfocal distance point does not create an equal amount of focus in front of and behind the focus point. Depth of field is always greater beyond the subject/focus point than in front of the subject. For example, one-third of the distance may be in front of the focus point and two-thirds behind it. There will be areas that are blurred, but the size of the blur is so small the human eye cannot distinguish the blur from a point of light.  This is known as the circle of confusion. There are specific calculations for this and it becomes complicated very quickly (see depth of field blog post for an introduction to “circle of confusion”). While there are a lot of scientific and mathematical calculations that can help locate the hyperfocal distance point, some ways are easier than others, and where the best focus point is may depend on the circumstances of each unique landscape and the particular taste, artistic style, and preference of the photographer. So let’s start there…

Which is better to have in focus, foreground or background?

Since it is a given that some area of a photo will always be out of focus (even if it is so small one can’t see it without pixel peeping or blowing the image up to super large sizes), which is better to have in focus? This will depend on the characteristics of the image one is composing and one’s personal tastes.

Expert photographers have discussed and taken opposite positions over the years. On one side, some photographers suggest that faraway objects need crisper focus in order to be recognizable and that the loss of detail is especially noticeable in enlarged prints. They claim our eyes will be more forgiving if objects in the foreground a slightly blurred. To use this in practice, one would focus beyond the hyperfocal distance (maybe even use infinity) and then adjust the aperture (f/stop) smaller and smaller until foreground objects become focused enough.

Other photographers claim the loss of focus on nearer objects is more noticeable and disturbing and that background focus can be less sharp, especially if they are large and easily identified objects like a mountain.  In practice, a photographer would focus at hyperfocal distance or in front of the hyperfocal distance, and again make changes to the aperture (f/stop) to get crisper foreground focus.

How do I find the hyperfocal distance?

With the exception of a few readers who are math wizards, most of us don’t want to have to do hyperfocal distance calculations on the fly while out in the field. Fortunately, there are hyperfocal distance charts and apps like DoF Table, Digital DoF (my favorite), and PhotoPills that can provide a good starting point for reference. Unfortunately, they are not always accurate and are one-size-fits-all, not taking into account the actual scene. Some lenses also include markings on the side of the lens barrel that give you these calculations, but the easiest method is to use the approximation method of “double the distance.”

How do I use “double the distance?”

A very simplistic way to achieve equal sharpness in the foreground and background is to use a method called “double the distance.” Find the closest object or element in your composition and determine (approximately – exact accuracy is not necessary) how far away it is from the camera sensor (not the end of the lens).  Then double that distance and focus at that point. Use live view if available on the camera and use it zoomed in. This method does require some practice at estimating distances, but can be quite effective and efficient once one gets the hang of it.

Keep in mind that depth of field increases with smaller apertures, so if the closest object is not in focus at a certain aperture, then one may have to adjust the aperture. For example, if the camera is set up using a 35mm lens and the closest object that needs to be in focus is 8 feet away and f/8 is not working, increase the f/stop to f/11 or f/16 to bring the focus closer (increased depth of field). Other adjustments may then be required to shutter speed and ISO, so an understanding of the exposure triangle is also essential to achieving the desired outcome.

Should I use a hyperfocal distance chart?

As I stated before, a chart can be a great starting reference point. Find the focal length of the lens being used and the aperture settings, and it provides the closest point for focus where the background will still be “acceptably sharp.”  A quick online search of hyperfocal distance charts will give you many options, but a quick look at the options also will demonstrate the inaccuracies I describe. One will find that the numbers don’t match from chart to chart. For example, I pulled up three charts and looked for the focus point if I was using a 24mm lens at f/2.8. The charts told me: 22.3 feet, 22.6 feet, and 21.1 feet. Now since most of us aren’t going to be pulling out a measuring tape to measure off 21 or 22 feet from our camera’s sensor, these numbers are close enough to give us a starting point. We would pick a point of focus that is approximately 22 feet from our camera’s position.

The apps for smartphones do these same calculations and are often a little more exact and definitely more convenient than carrying around paper charts. Unfortunately, these apps, depending on who made the app, can also be very inaccurate. Of the apps available, I prefer Digital DoF, which is free and often gives me good results to start with.

Do I need to know how hyperfocal distance works?

If one plans to take landscape photos, yes. Having an understanding of how hyperfocal distance works and changes with focal length and aperture will allow adjustments in the field that will improve image quality.

Hyperfocal distance moves closer to the camera sensor as smaller apertures are used. Remember smaller apertures make greater depth of field therefore the range of what is in focus moves closer and closer to the camera. The farthest reaches of the focus range are also getting larger, allowing the focus point to move closer (away from the horizon or infinity) while keeping the level of acceptably sharp focus both in front of and behind the focus point.

As the focal length on a lens gets longer, the hyperfocal distance moves farther away.  This does not mean, for example on an 85mm lens at f/11 and a hyperfocal distance of 70 feet, that everything closer than 70 feet will be out of focus. On the contrary, the image will be sharp from halfway to 70 feet (35 ft) all the way to infinity.  Anything 35 feet or closer will start to lose focus. Remember, double the distance? This is that same principle in reverse.

If you only use a chart, you will be constrained by the limitations of the chart.  Going back to “acceptably sharp” focus for a moment, we come across the first limitation of a hyperfocal distance chart. They rely solely on the math calculations that include the “circle of confusion” (which I have also already explained is quite complicated and an internet rabbit hole all its own should you choose to go down it). The problem is that in camera-land long ago and far away, the circle of confusion was set at .03mm to create those charts. For technical folks, that .03mm is the size of the out-of-focus tiny points of light on your camera sensor and they are roughly circular. That .03mm standard is too large for today’s high resolution prints, computer monitors, and cameras, so the charts can’t be the “end all” tool you use.

The second problem, is that the charts (and many of the apps) are one-size-fits-all solutions for all lenses and in the field that does not take into consideration the vast array of possible landscape situations one may find oneself in. Where you should focus should change depending on the scene in front of you!

Let’s look at this this way – we have two very different scenes and for both compositions we are using our 35mm on our full frame camera at f/8.

1. A delivery or bike messenger on a busy street in city with the road stretching out behind him or her, skyscrapers on both sides, and cars. The bike rider is about 50 feet in front of you, on the other side of the intersection.
2. A hot air balloon way off in the sky during a beautiful sunset

According to the chart, for both of these should be focused at 17 feet in front of where the camera is standing. Using the chart we would have acceptably sharp focus for both images, but all that means is that both images will have the exact same amount of blur (0.03mm for each pinpoint of light to be exact).

Does that even make sense if we think about it logically? Of course not, the focus point should depend on the scene! For image 2 with the hot air balloon, if there is no foreground why would we want to focus at 17 feet in front of the camera? We wouldn’t, we should focus out at the horizon at “infinity.”

So the takeaway is to start with a reference point, either from a chart, app, or double the distance method, then know how to adjust the hyperfocal distance point and lens focal length and/or aperture to get the best overall sharpness for all images, not just acceptable sharpness for some of them.

Why can’t my camera just calculate the hyperfocal distance and tell me what it is?

Let’s say we are shooting a meadow with a tree off in the distance and even farther away is a mountain range. Let’s also assume the camera can give us a readout to tell us what the hyperfocal distance would be, say its 237 feet. How would we be able to put that into practice? Would we pull out a 237 foot measuring tape or cart around a measuring wheel with us on our shoots? What if there was a lake between us and the mountain and 237 feet puts us into the water? In practice, getting a readout on a camera would be no more accurate than using a focal distance chart or app (taking into account the camera sensor’s circle of confusion and lens focal length/aperture). That readout wouldn’t help that much more than just using the “double the distance” method, although I expect cameras will be adding more features like split screen focus, focus peaking, and live view modes that will make the process of finding hyperfocal distance easier.

So if Double the Distance is easy and works well, how would I use it in practice?

Let’s go back to the example I gave above of a bike rider in the city. The first step in our approach would be to determine if there are any foreground objects nearby – like a fire hydrant or a parked car. Whichever object is closest to the camera that we want to be in focus, we approximate that distance and then double that number. Our focus would be at that distance.

Let’s look at this sample image.  If we assume the dog and the rocks around him are approximately 15 feet away, then the focus point should be double that distance, which is about 30 feet away. Voila!

The best part about this method is that it doesn’t matter which camera or aperture setting or lens focal length is being used; it works for all landscapes. Now this isn’t to say that camera settings are not still critical. They are! For landscape photography we use smaller apertures like f/11.  If we did set the aperture to f/4 and use the double the distance method and focus 20 feet away, it will still give us the most sharpness in the scene, but it is probably not going to give us the image we would want.

It is important to also know the limits of the lens being used.  Lenses are not their sharpest at either end of their range.  For example a lens that will shoot at apertures from f/1.8 up to f/22 will not be at its sharpest at either extreme. And understand focal lengths. When trying to capture landscapes, an 85 mm or 200 mm are not the best lens choices, one will want a wider angle lens and even more so if using it on a crop sensor camera body. See my blog about lens focal lengths here.

To be completely honest, even if you learn all the background information and understand the concepts, no technique for hyperfocal distance will be perfect even with adjustments in the field. Chasing “perfect” sharpness is like chasing the end of the rainbow.

If you are glutton for punishment, and just can’t get enough about hyperfocal distance, then check out our next blog post about other hyperfocal distance calculation methods and trouble-shooting hyperfocal distance while on the go. Additionally we will discuss ways to work around the limitations of lens focus depths by using focus stacking and bracketing to make composite images.

If this is enough information for you, then let me leave you with one final thought, remember that for almost all images you compose and shoot, that “good enough” is better not taking the shot at all.

Forums and Facebook groups are full of someday want-to-be professional photographers and an extremely common question they ask as beginners is “How do I get that blurry background in my photographs?” The blurry background, or bokeh, is an effect accomplished by knowing how to create a shallow depth of field. It is a compositional tool used in many genres of photography such as portraits, flowers/nature, and products.  A quick word of caution, overuse of any one compositional tool can create a portfolio that is, well… boring. So don’t rely only on “blur” to create memorable images. Check out our blog post on Composition Basics here.

While bokeh creates a pretty effect for many images, some genres require crisper focus throughout and blur is not desirable. Landscape, night photography, and some types of street photography are examples where a wider depth of field is common.  To accomplish this wider depth of field, hyperfocal distance is often used.  (You can read about Hyperfocal distance in next month's blog, but it is recommended you first have a solid understanding of basic depth of field and factors that affect it as discussed in this post).

What is Depth of Field?

Simply put, depth of field is the distance between the nearest and farthest objects in an image that are in acceptably sharp focus. In some photographs, everything seems to be in focus throughout and in some photographs the foreground or background, or both, may have blur. This is achieved by manipulating the factors that affect depth of field.

Depth of field is calculated using the lens’ focal length, distance to the subject, the acceptable “circle of confusion” size, and the aperture setting of the lens. Thus by changing one or more of these factors, different depths of field can be created.  Let’s investigate the effects of each factor on the depth of field, starting with shallow depth of field.

How does one get shallow depth of field?

Shallow depth of field, also called a small or narrow depth of field, means that only a part of the image is in focus. Most often this is accomplished by using a wide aperture (small f/stop number) on the lens and shooting in aperture priority or manual mode. If a lens has the ability to shoot at f/2 at its most open setting, the resulting depth of field will be small or narrow. If that same lens was set at f/22 and its position and the subject/background positions are not changed, the result will be a much deeper or wider depth of field.

In these images above, the only factor that was changed was the aperture, or f/stop. Notice in the first image shot at f/32 there is more of the image, from front to back, in focus. The main flower and the flowers behind it are more defined and the bars on the iron door can be seen. In the second image, the aperture setting was changed to f/5 so much less of the image is in focus. There is more blur behind the main flower in this image and the bars on the iron door are completely out of focus, so much so, they almost disappear into the background. This is one advantage of a blurry background; to get rid of distractions behind the subject.

Shallower depth of field can also be accomplished with longer focal length lenses or by changing relative positions of the camera, the subject, and the background. A photo taken in close range will have a much smaller depth of field. Moving the camera closer to the subject and moving the subject farther from the background will increase blur in the background and make the depth of field narrower.  For example, a portrait photographer will want to put some distance between the person/subject and the background to get the desired blur effect. A flower photographer might use a longer focal length lens to get a smaller depth of field and blur behind the bloom.

The images below demonstrate this effect. In the first image, I was much farther away from the flower arrangement which produces a wider depth of field. Some of the background, like the door behind the flower arrangement, were already somewhat blurred, but most of the flowers in the arrangement are in focus. In the second image, I have moved closer. There is a narrower depth of field. At this very close range, the background is fully blurred.

A camera can only get precise focus at one exact distance from the lens. Everything in front of or behind that distance will be blurred. The blur “spot” will be shaped like the aperture of the lens, thus almost a circle. If these spots, or circles, are small enough they are almost indistinguishable from a point of light and they appear to still be in focus. When this happens we have acceptable sharpness or acceptable “circle of confusion.” The “circle of confusion” size is related to a camera’s sensor size, and is a complicated concept that could be a whole article in and of itself. Any blur one can see in a final photograph is simply the blur spot as it registered on the camera sensor, only enlarged (on your screen or in print). How big this blur can get without being noticeable, is the acceptable "circle of confusion" size.

The take-away here, is that even the most crisp looking landscape image one has ever seen actually has areas that are out of focus or blurred, it’s just the blur is so minimal one’s eyes can’t tell unless the image is magnified or the viewer gets closer. The mechanisms of the camera and the way light bends as it enters the lens makes it impossible to have an image that is totally in focus from edge to edge at every given distance. 

How depth of field and the “circle of confusion” changes from a crop camera to a full frame isn’t something most photographers will need to know. If one plans to make super-sized prints or enlargements, then it might be beneficial to know the sensor size and "circle of confusion" calculation in relation to the anticipated print size. More important for most photographers to understand are the effects of a specific camera body and lens combination on depth of field. Most photographers would not change camera bodies to achieve the depth of field they want when they can change position, lenses, or settings instead.

How do you get wider depth of field?

Wide or deep depth of field results in a much larger area (front to back) of the image being in focus. Basically by doing the opposite of any of the above, one can accomplish a wider depth of field.  Using a shorter focal length (for example switching from an 85mm to a 50mm) or setting a larger aperture (from f/5.6 to f/11) will increase the size of the depth of field and make it deeper. The next set of images show the results of changing the focal length.  

I remained stationary, but used the zoom on my lens to change the focal length from 18mm to 400mm (these images were also cropped to fit together). The shorter focal length in the first image creates a wider depth of field. The iron door is clear and the door knob appears mostly focused. In the middle image, the depth of field is narrowing. By the time I zoomed all the way in for the last image, the depth of field has become much more narrow and the only part that is really in focus is the solitary flower.

Changing the distance between camera and subject will also change the depth of field. If the subject is placed closer to the camera the depth of field is smaller. When you want to blur the background the subject should be closer to the camera, but keep some space between the subject and the background. If the subject is placed closer to the background, and the camera is moved farther away, the depth of field will be wider. In the example above, if I had remained in position after the third image and had moved the flower arrangement farther away from me (moving the subject farther from the camera), then the depth of field would have gotten wider again.

How is shallow depth of field used as a compositional tool?

In portrait photography, shallow depth of field creates that soft bokeh or blurry background behind the person (and sometimes in front of the person as well). The blur can give a photo a moody look or be used to create a dreamy, mysterious, or romantic “feel.” Additionally, the blur is sometimes used for an abstract effect.

The selective blur creates dimension and reduces distractions from the background. Since our eyes are drawn to and gravitate towards areas in focus, creating a composition where only some of the image is in focus allows the viewer to be guided to the subject. In portrait photography it is considered an important standard practice that the most crisp focus point be on the eyes.

Blur in the foreground can also remove distractions that are in front of the subject, like fencing around a cage, allowing the focus to be on what is beyond. In this image below, the wire fencing on the bird enclosure "disappears" and I am able to shoot "though it" even though my lens was several feet on the other side and the lens glass far too large to put between the wires.

Shallow depth of field is most often used in the genres of portrait, nature, travel, and to some extent street photography. With street photography, too much blur will take the subject out of context and the story behind the image can be lost.

How is wide depth of field used as a compositional tool?

Wide depth of field is desirable for landscape photography especially. This is where understanding hyperfocal distance becomes important. 

Hyperfocal distance, in a nutshell, is the point in the foreground that is the closest point the camera can focus while still having acceptably sharp image quality throughout the rest of the image to “infinity” (which is the background or horizon in most images) In other words, it is the point of focus that will yield the greatest depth of field.

The hyperfocal distance point does not create an equal amount of focus in front of and behind the focus point. Typically, 1/3rd of the range of focus will be in front of the point and 2/3rds will be behind that point.

For a detailed look at hyperfocal distance and how to make calculations in the field, check out our hyperfocal distance blog next month.

There are hyperfocal distance charts and apps (like DoF Table, Digital DoF, and PhotoPills) that can provide a good starting point for reference, but they are not always accurate and they are one-size-fits-all, not taking into account the actual scene. Some lenses also include markings on the side of the lens barrel that give you these calculations, but the easiest method is using the approximation method of “double the distance.”

How do I use “double the distance?”

A very simplistic way to achieve equal sharpness in the foreground and background is to use a method called “double the distance.” Find the closest object or element in your composition and determine (approximately – exact accuracy is not necessary) how far away it is from the camera sensor (not the end of the lens).  Then double that distance and focus at that point. For example, in the image below, if the closest rock that needs to be in focus is 10 feet away, then make the focus point 20 feet away (where the water ripples are). Use a small aperture (large f/number). Use live view if available on the camera and use it zoomed in. This method does require some practice at estimating distances, but can be quite effective and efficient once one gets the hang of it.

Keep in mind that depth of field increases with smaller apertures, so if the closest object is not in focus at a certain aperture, then one may have to adjust the aperture. For example, if the camera is set up using a 35mm lens and the closest object that needs to be in focus is 8 feet away (focus point 16 feet away) and f/8 is not working, increase the f/stop to f/11 or f/16 to bring the focus closer (increased depth of field). Other adjustments may then be required to shutter speed and ISO, so an understanding of the exposure triangle is also essential to achieving the desired outcome.

What is the take-away?

In summary, manipulating the depth of field is a compositional tool used by photographers in many genres. It is typically accomplished by changing the aperture of the lens, the lens focal length, or the positioning of the subject and background along with the positioning of the camera.

A shallow depth of field creates a nice blur effect in front of and behind the subject which results in a softer or more abstract feel, whereas, a wide depth of field has crisper focus throughout the image from front to back.

Knowing the calculations or keeping a focus distance chart is not necessary. An understanding of the exposure triangle, and the effects of focal length and aperture settings on your specific camera are essential. Practicing with your camera and lens in different settings is the best way to see the effects on depth of field in practice.

For improved landscape photography, narrow the aperture and use the “double the distance” method to get a wider depth of field. For portraits and flower blossom, put space between the subject and background and use a wider aperture or a longer focal length, or shoot in close range of the subject.

With an understanding of these basics, one will be ready to move on to a more detailed look at hyperfocal distance, or some practice with other compositional tools.

Composition is essentially an art form. It is the way you frame or arrange an image and it is critical to the outcome – whether that image is just good or great! A set of rules for good composition exists, yet it is still at best subjective, and great photographic images break these rules all the time.  The best advice is to know the rules, so then you are aware when you are breaking a rule and can decide if that will, in fact, make your image better. Aside from the “rules” there are a couple of general photography guidelines that will also help you.  Let’s start with those…

First, know how to properly hold your camera by using the grip with one hand and support under the camera with the other hand.  You can have perfect composition and still have blur if you don’t hold your camera correctly.  Even better, use a tripod. Many people believe that using a tripod will “mess up” their freedom and limit their creativity. I find the opposite to be true.  Using a tripod forces you to slow down and think about positioning (which is critical to several of the composition rules).  Where should the tripod go? Closer? Should I lower the height?  Should I raise it? Should I rotate the entire set up to shoot from a different side? Should I rotate the camera from landscape to portrait?  The worst thing you can do is always shoot in the same mode from the same distances using the same orientation! If your camera has a zoom lens or interchangeable lens system then slowing down also forces you to think about those options. In my experience, I am more apt to play with camera settings when I am on a tripod as well.

Second, learn to see what the camera actually sees.  Look through the viewfinder (preferable to LCD screen in my opinion).  Don’t just look for the subject. Look at everything else.  Look for distractions you don’t want to see in the photo like wires, cars, poles, or really bright light sources that could create flares or exposure issues.  Good composition emphasizes the subject. If other aspects of the photo compete for attention, then that is not good. Also, remember, that when you look out at the world, your eyes are much more powerful and capable of more impressive color ranges and light ranges than even the most expensive camera sensors. You will not always be able to capture what you see in your camera – and that is okay! Know when to capture the memory instead.

Third, understand the basics of lighting and your camera modes (including the “exposure triangle”). Automatic shooting modes will have a difficult time capturing your “vision” so you will need to know how to use Manual mode, or other modes based on shutter speed and aperture. Read a few articles or tutorials about the best times of day for lighting your specific subject and try to practice during those times (for example, many portrait photographers use the hours just before sunset, known as the golden hour). As a general rule, avoid harsh sunlight which can create large shadows and washed out colors.

Okay, so with those three basics plus your passion for photography, you are ready to learn composition. The elements of composition will not all be present at all time in every shooting scenario, even in controlled studio environments.  Use what you have available for each image.

Pay Attention to Form, Patterns, and Textures
 
What you are photographing has 3 dimensions, yet we are putting it into a 2 dimensional product. Move around your subject so that the form shows clearly. Side light (early morning or later afternoon and evening) provides shadows that help show form. Look for patterns – the row of slats in a picket fence for example. Then look for breaks in the pattern. Patterns appear in many man-made objects and places, but they exist in nature as well. Examine textures of what you are photographing. The material that something is made of will have a texture, whether that be rough or smooth. Nature has textures too, like the bark of a tree. Using forms, patterns, and textures will give your images depth, which is a good thing!

Look for Balance (Symmetry vs. Asymmetry)
 
A good photographic composition has balance.The image does not feel “weighted” to one side. Portrait photographers balance their photos when they arrange groups of people. Symmetry creates balance because the photograph will have basically the same or very similar scenes on both halves of the image. Asymmetric photos will still have a balance, but the scenes will be of different subjects.The balance is created by the size of objects, their distance, and their color.Darker objects in the front of an image are “heavier” than lighter colored objects in the background. Examine your image, before you snap it, through the viewfinder and check for good balance.

Visually Check for Lines, Curves, and Frames

This is where the most famous photography rule comes into play – The Rule of Thirds. The rule of thirds means to imagine lines dividing the image into thirds, both horizontally and vertically. Then placing important aspects of your subject on those lines and their intersections. However, the Rule of Thirds lines are not the only lines to think about.  In landscape photography the horizon is also an important line! 
Lines are not always straight. Sometimes they are curved. Think about those beautiful scenic photos with the curving roads through the mountains.  The most famous curved line that occurs in nature is the Fibonacci sequence.  Some post production editing programs offer overlays of different types of lines and patterns so you can find one that works for your images.
 
 Lines of any type, whether straight or curved lead our eyes. These types of lines are also known as “leading lines.” They force our eyes to move around the image. The curved (or straight) path through the forest leads our eyes through the forest.
When lines converge or surround a subject, they also create what is known as frames.  Frames can be man-made, like windows or doorways, or natural like a stone arch or tree trunks. Use the lines and curves in your image to emphasize the subject. If the lines and curves are all over the place, try a different position.  Make sure tree trunks are not “growing” out of people’s heads!

Find Opportunities to Use Contrast, Color, and Shapes

Visual contrast can really increase the excitement in your images. Visual contrast can be based in light versus dark (using color or black and white).  Look for areas in the image that are light versus those areas that are in shadow. Try experimenting with silhouettes, or a portrait of a person standing at a window. Consider the same for color, or tonal contrast.  Are there areas of light color that are in contrast with areas of darker colors? Contrast can also be used with shapes. Clouds, the sun, and the moon, are often photographed as shapes in contrast to their surroundings. Rock formations are also popular shapes that have contrast with their surroundings. Size can also provide visual contrast in an image. Small objects next to larger objects really show scale and can inspire awe!

Check Your Viewpoint

One of the most overlooked ways to improve composition is to simply change your viewpoint. Get down lower! Go up higher! Rotate around for a different angle! Actually getting down on the ground to shoot a small subject or to shoot up at larger objects can provide fascinating new perspectives.  This is sometimes called “worm’s eye view.” Getting above and shooting down can do the same! So go higher. This is sometimes called “bird’s eye view.”  Drone photography is a very popular new form of changing your viewpoint.

Consider the Space (Negative vs. Filled and Foreground vs. Background)

Look through that viewfinder again. Locate your main subject and then check the background.  What is behind it? Is it distracting? Are there telephone wires? Bright colors that compete for attention? Then do the same for the foreground.  What is immediately in front of your subject? Does it attract our eyes away from the subject?
Think of the background, foreground, and your subject (mid-ground) in a way similar to the rule of thirds. Only this time instead of using the concept as lines for focusing attention, think of the areas as the three dimensional spaces that they are.
 
The foreground is the distance from the camera to the subject and the background is the distance from the subject to the vanishing point or horizon. These are not necessarily equal thirds.  We want to use these spaces to show the viewer the dimensionality of our image. Photographic prints basically compress the image into 2D so we need our subject to appear 3D. Therefore, the foreground and background should not be completely empty.  Something needs to be there, even if the background is indistinguishable because it is blurred out (see Depth of Field next).  Whatever we use in the background and foreground should not be distracting, as already discussed above.

Use Appropriate Depth of Field
 
Depth of Field is a tricky concept because you will have to understand your lens focal lengths and aperture settings. You may need to do some additional reading on these concepts. (See my blog post about Focal Lengths). You will hear photographers talk about shallow or narrow depth of field and deep or greater depth of field. Depth of field is, in a nutshell, how much of your image is in focus.In a landscape scene you would need everything, from front to back, all in focus. This means you want deep or greater depth of field.You will need higher aperture settings to accomplish this. For a portrait, or picture of a single flower, you would want your subject in focus, but everything else to be blurred or softly focused which is shallow depth of field.Lower aperture settings are used to accomplish this.
 
Depth of field is an important compositional tool because you determine what the viewer will look at by deciding what areas will be in focus.The brain naturally tends to ignore areas that are out of focus and instead attends to the areas that are in focus.Decide which level of depth you need before you shoot and then experiment with different aperture settings.Try using aperture priority mode on your camera and photograph the same person or subject at f/5.6 (or lower if you lens allows), f/11, and f/22 (or its highest setting) and see how the focus range changes.
 
One final tip… Study the Masters
 
Most of the compositional elements in photography were developed in the art world of painters. These experts have given us hundreds of years of examples of compositional techniques that make people want to stare a paintings for hours and wait in long lines to see them. They use the same techniques of leading lines, repetition of patterns, symmetry and balance, curves, and contrasts to make their works feel three dimensional and compelling.
 
Fortunately, composition techniques can be learned! Great composition takes observation, patience, and practice, but most importantly, can be accomplished no matter what level of photographer you are or which equipment you use.  That’s the fantastic part of photography, anyone can get a prize winning photo!

Want more Composition Basics? Consider our Text Message Class -- $5 for one month of lessons and hands-on activities.

With the COVID-19 health pandemic still an ever present news story, the concern for mental well-being has also been getting a lot of attention of late. As people around the world have experienced shut downs, isolation from family members, financial losses, or job losses, we have come to realize the true importance of mental health. Persons who have good mental health are able to deal with the stressors associated with the on-going crisis better than their peers who have not taken care of their mental well-being. Even when COVID-19 is resolved, there is still a world full of stress, anxiety, and media-filled screen time in our lives.

How do we take care of our mental health, and how does this tie into photography?

Well, first let’s just look at the arts in general.

In 2010 a team analyzed more than 100 separate scientific studies related to art and mental health. The results overwhelmingly demonstrated that art of all kinds are good for your psychological health. The art world is filled with positive life experiences which lower cortisol (the stress hormone), calming effects that give one peace of mind and improved self-esteem, and encounters that allow the participant a new perspective.

Art (whether as viewer or creator) allows areas on the right side of the brain to activate. As creativity flows through these areas, the change in brain wave patterns can actually increase serotonin levels (sometimes called the “happy chemical”), thereby changing the person’s outlook on life or even how they experience life.  Art can give one feelings of energy, focus, and what some call “being in the zone” where you become immersed in the moment (forgetting time and yourself). Others might say this experience is akin to meditation or a peaceful state of “zen.”

Ok, enough neuroscience… so what about photography? Should you pick up a camera?

Definitely!
Photography is an act of “play.” As a photographer, you play with light, angles, composition, genres, and subjects. Even if someday you want to become a professional photographer, there are no right or wrong ways to take a photo and you can enjoy the child-like sensation of enjoying every minute of it!

I am thankful that artistic inclinations run in my family. My mother is a watercolor painter (see her artwork on Etsy: https://www.etsy.com/shop/DGraceStudio ). My sister is professional cellist (see her website to listen: https://jenncello.com/ ). My maternal grandmother was a painter, an actress and singer, and a musician.

Now, singing and musical instruments are not my forte’ and neither is picking up a paintbrush, but thanks to their inspiration, I get to paint with light, which is what photography means. Its ancient Greek roots are photo = light and graph = draw/write.

So I spend my days “painting or drawing with light” and I must say I do think it helps my mental health. It is an engaging form of self-expression that elevates my mood every time I pick up a camera! But don’t just take my word for it…

Studies have shown that photography has positive effects on confidence, mood, memory, overall self-esteem, and even helps with decision making.  It calms the mind and helps you enjoy the world around you instead of always being caught up in its fast pace.

Nature photography is one of the best genres for relaxing and improving your mental state (as long as you stay away from bee hives and snakes, that is).  Did you know that 15-20 minutes a day outside not only provides you with all of your vitamin K, but also is the equivalent of taking an anti-depressant, AND can extend your life expectancy (because you are moving around).
There are many different photography genres, so don’t limit yourself to nature or landscapes. The important thing is to pick a type or subject that inspires you. It should be something that you love or have a passion for. This could be the stars at night, your kids, or even bugs.

So pick up your camera (or smartphone) and start snapping your way to all of its positive effects -- decreased stress, improved well-being, and increased happiness! :)

What is focal length?
The focal length of a lens is measured in millimeters. A common misunderstanding is the belief that this lens measurement is the length of the lens from end to end or its overall dimensions. The focal length measurement actually begins at the optical center. A camera lens is made of many pieces of glass and combinations of elements, so as light enters the lens, it converges into “focus” at a point somewhere inside the lens among these elements. This point is the optical center. From the optical center this focused image is then sent to the camera sensor. Therefore to get the focal length, we take the measurement from the focal center to the camera sensor while the camera is focused at infinity (generally means that you are focused on something in the far away distance). Now when you are shopping for a lens and are comparing two different 50mm lenses, you will understand why one of them might be physically longer than the other.

This number or how it is calculated isn’t something you need to memorize or remember and knowing it isn’t going to make you a better photographer. What is important is to understand what focal length affects – which is your angle of view (how wide of a view or how much of your scene will be captured in an image) and magnification (how large subjects will appear). A shorter focal length, like 18mm, will capture a larger width or wider angle of view and subjects in the frame will appear smaller than they do viewing them with our eyes. Longer focal lengths, like 100mm, or even longer, like 400mm, have much more narrow angles of view.  You will capture a much smaller width, but your subject will appear larger.

Angle of view is determined solely by the optics of the lens. It does not change if you place that lens on a different camera. On the other hand, field of view (which is often used interchangeably with angle of view even though they are not the same thing), is determined by the lens and the sensor of the camera. What type of camera you have – crop sensor or full-frame – will affect how much of a scene (field of view) ends up in your final image. A crop sensor camera will capture less of the subject or a smaller field of view.

So how does a crop factor work?
Let’s say I wanted to take a landscape photo with a full-frame Canon camera and a 50mm lens. It would look something like this:

If I took that same 50mm lens and put it on a crop sensor Canon camera, the resulting image would look more like this:

The sensor size is “cropped.” Since the senor is smaller, it is like trimming off a large border all around the image.  Another way to think of it would be similar to using the cropping tool in a photo editing program where the image is cut, not shrunk. The crop factor is different for cameras from each manufacturer.  A Canon EF-S camera has a crop factor of 1.6, while the Nikon DX models are a factor of 1.5.

Going back to my example, both images were taken with a 50mm lens. To figure out how much “loss” of field of view we would get on the Canon crop sensor, we would multiply the 50mm x 1.6 to get 80mm. Therefore, the amount of image we get on the crop sensor camera with the 50mm is equivalent to 80mm if it had been on the full-frame we started with instead.

Here is the same landscape again. This image was taken with the full-frame camera using a zoom lens set to 80mm.  Notice how the field of view is basically the same as the 50mm on the crop sensor camera pictured above (and repeated here so you can see them side by side):

We can also work this equation in reverse.  Let’s say I want to get the wider field of view of the full-frame camera, as we did with the 50mm, but by using my crop sensor camera instead. I would take 50mm and divide by 1.6 which would result in approximately 31mm.  Therefore, if I put a 30mm on my crop sensor camera, it should “see” almost the same thing as the full-frame with the 50mm. You can witness this effect in the images below:

Should you learn how to do all these calculations?
No, there are apps and online charts that have these calculations already completed for you! Like this one: https://mmcalc.com/ which is also available as both iOS and Android apps.

So what is the take-away then for a beginning photographer?
First, know that if you have a crop sensor camera that you will not be able to get the same field of view as a full-frame unless you go down to smaller focal lengths (in effect, zooming out). Second, understand that the focal length, as it gets larger, has the inverse effect on your field of view which gets smaller and smaller and brings the subject closer (in effect, zooming in). Third, know the basic classifications of lens focal lengths and their main uses so that you will have a basic idea of what lenses to use for different shooting situations (and make adjustments as necessary if you are shooting with a crop sensor camera).
 
Lenses basically fall into five types of focal lengths; super wide-angle, wide-angle, standard, telephoto (zoom), and super telephoto. In each of the descriptions below I am speaking in terms of using a full-frame camera.

Ultra wide-angle lenses have a 24mm or less focal length which allows them to capture a very wide scene.  They can be useful for home interiors (real estate photography). Below 24mm, and especially super-wide fish eye lenses, images can become distorted and present an exaggerated perspective that can be artistic and fun to play around with.

Wide angle lenses have a focal length range from 24mm up to 35mm.  These lenses are also good for confined spaces, such as home interiors, or capturing the whole table of guests at a family holiday or celebration. In addition, these lenses are good for large group photos, cityscapes, landscapes, and architectural photography. These lenses have large depth of field so both far away and near objects can have tack sharp focus and there will be visible distance between your subject and the background when taking portraits.

Standard lenses have a focal length range of between 35mm to 70mm. These lenses “see” the world in much the same range and way our own eyes see it. There is little distortion of the subject so they make flattering portrait lenses. The shallower depth of field allows the photographer to separate the subject from the background as well.  These lens are excellent, not only for portraits, but for nature, “on the street” shots, and low light conditions (or when you do not want to use a flash or only want natural light). The 50mm lens is in the standard lens range, and is such a popular lens choice, that it has earned the nickname – The Nifty Fifty.

Telephoto lenses are focal lengths of 70mm up to 300mm.  These lenses are very popular for wildlife/nature photographers because it allows shooting from a distance without encroaching on the subject (which might be skittish). These lenses bring the subject closer.  A lens that is 70-135 is considered a short telephoto and one that is 135-300 is a medium telephoto.  Telephoto lenses have a shallower depth of field so crisp focus on the subject is a must. In additional to wildlife, these lenses are also used for any activity or subject where distance is required or unavoidable, such as shooting from the sidelines during a sporting event. 

Super telephoto lenses are much like telephoto lenses, except their focal lengths go beyond 300mm. They provide a telescope type magnification which brings the subject and the background closer. Objects behind your subject will look much closer than in a similarly framed shot using a smaller focal length lens.

These lenses are very heavy and can’t be used for handheld shooting. A sturdy tripod is needed to support these lenses.  Some even include additional support brackets built into the lens. Any type of photography where you don’t want to fight through a crowd for a position or you are limited on how close you can get benefits from this type of lens: birding, wildlife, sports, astrophotography, moon photography (or any other small distant objects), air and boat shows, car races, and more.

Macro lenses are not a type of focal length. They are specialty lenses that come in various focal lengths. They are used for photography of small objects, flowers, products, and insects in amazing detail. Macro lenses create 1:1 or life size reproductions on the camera sensor. (If you have an interest in Macro photography, check out my Macro Photography class)

Your camera may have come with a “kit” lens. An 18-55mm is a common wide angle zoom lens. This lens give the photographer the whole range of lens focal lengths from 18mm – 55mm. An 18-135mm lens would give a photographer the range of focal lengths from wide angle all the way up through short telephoto.

Zoom lenses like these can be great lenses because you don’t have to change your lenses as often and they cover a wide variety of photographic situations. Prime lenses on the other hand have one fixed focal length, like a 50mm. Here is a series of images from a local garden showing the range you can achieve with a zoom lens.  In this particular instance, the lens used was the Tamron 18-400mm f/3.5-6.3 Di II VC HLD for Canon APS-C cameras.

What is the advantage of a zoom vs. a prime lens?
The main advantage, as demonstrated in the photos above, is versatility. With one zoom lens in your bag you reduce the weight of your gear and you can shoot everything from wide scenery shots to close ups, people, or details without changing lenses. Additionally, when shooting sports or other fast action, you can re-frame your subject without having to move closer or farther away. Finally, less lens changes means you save time and protect the camera sensor from dust and moisture exposure!

One disadvantage of a zoom lens is that they often have narrower maximum apertures than prime lenses and/or variable apertures which means less and less light makes its way to your image sensor as you zoom in. A prime lens can open up wider and let in more light, as well as achieve a shallower depth of field.  Another disadvantage of a zoom lens is their size and weight.  Zooms are usually larger and heavier than a prime; however, if one zoom can replace three or four primes in your bag you will still come out ahead with the zoom.  Lastly, zooms are usually not as pristine when it comes to image quality, but that should not stop you from purchasing a zoom if it fits your needs. 

So, now that you know a bit about focal length and which lenses are best for different photographic scenarios, you can buy gear that will serve your needs best!

If you’d like some suggestions for some “can’t go wrong with one of these” lenses, check out my recommended lenses chart or the shortened list below. These are affiliate links, so if you make a purchase, we make a small commission at no cost to you (full disclosures).  Also be sure to check out my blog post Understanding Lens Abbreviations for help deciphering all those letters and numbers on the lens barrel. It will help you buy lenses with confidence!

6. Branding
Branding is not the same thing as picking a name.  Personal branding comes after you have a name.  Brainstorm key words that are related to benefits provided by your service or product, such as: efficiency, time-saving, money-saving, effective, personal touch, improvement, health and more. Now with those words in mind, what is the mission or goal of your company or brand? Once you have that mission, everything you say, do, or write whether in person, on your storefront, or in your advertising, should all speak to that mission and have consistency.  Use consistent colors and invest in a professional logo design (about $100). Use the same mission keywords (or slogan if you have one) everywhere!

7. Register Your Name
Now that you have a name, a brand, a logo, and possibly a slogan you should register or trademark them if possible.  This step will also make sure you are not taking a name already in use. Register with the US Patent and Trademark Office: https://www.uspto.gov/

If you have an S corporation or non-profit you will need to register with the IRS.  If you are using your name, you may not need to register with your state either.  If you are using a company name you will most likely need to register with the state (Secretary of State) and country (Business Bureau or Business Agency).  Most companies do not need to register federally, other than tax ID numbers which is next…

8. Taxes & ID Numbers
Register with the federal government to get your Federal ID number (EIN) using their online portal.

Depending on your state, you may or may not need a State ID number. Check your state requirements. Make sure you also understand your state’s requirements for income tax, employment insurance, workman’s compensation, and their respective costs.
Some of these forms and applications will ask for your industry NAICS code. This is the link to their handy search tool to help you find the appropriate code for your business (https://www.naics.com/search/).
If you are offering products for sale, you will most likely also need a State ID number for sales tax. There are some exceptions, so check locally.


9. Permits & Licenses
Some businesses must be licensed federally, such as firearm sales, but most do not. Be sure to check!
States vary, but many commonly regulated industries include food, salons, electricians, basically any industry or business where there are safety issues and guidelines.  States will need to know your certifications and education in some cases.  You will need to get insurance (as mentioned before) that covers your industry.

10. Get Your Bank Account
Take all of your permits, licenses, and ID numbers with you, along with any company registrations such as incorporation or LLC papers to the bank (you might want to call ahead and set up an appointment – this process could take over an hour).
 
…NOW OPEN UP FOR BUSINESS!
If you'd like to know more about opening a business, consider enrolling in our Marketing Course!