Best overall		iPad Pro 12.9” (6th Generation)		SEE IT
Best budget		Samsung Galaxy Tab S8		SEE IT
Best for photo and video editing		iPad Pro 12.9” (5th Generation)		SEE IT

Just a few years ago, using a tablet for photo editing seemed outlandish. For all the years we have been in the digital age of photography, editing photos usually meant tethering ourselves to a desktop or a laptop with a keyboard and mouse. We made do with hotkeys and shortcuts and clicking through menus, but in recent years as computing power became more efficient and affordable, these same functions have been ported over to a much more suitable tool: The best tablets for photo editing give laptops a run for their money when it comes to speed, versatility, and usability. 

• Best overall: iPad Pro 12.9” (6th Generation)
• Best budget: Samsung Galaxy Tab S8
• Best for photo and video editing: iPad Pro 12.9” (5th Generation)
• Best for students: Microsoft Surface Pro 8
• Best for travel: iPad Air (5th Generation)
• Best pen display: Wacom Cintiq Pro 24 Creative Pen Display
• Best with pen accessory: Wacom Intuos Pro Creative Pen Tablet

How we chose the best tablets for photo editing

We compared price, performance, battery life, screen size, color gamut, and brightness. We also paid attention to the key accessories such as pens or upgradable storage, while also taking into consideration each tablet’s operating system and how those features might be applied in practical applications. We have also had hands-on time with a number of these devices, including the full breadth of Apple devices, which tend to dominate lists of the best tablets for photo editing.

The best tablets for photo editing: Reviews & Recommendations

Now that we’ve covered some of the basics, let’s move onto the actual picks. This list of the best tablets for photo editing represents a range of tablets that appeal to different users with varying budgets. As with any product category, there is always overlap and all of these devices will likely treat you well no matter what you’re working on.

Best overall: iPad Pro 12.9” (6rth Generation)

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Why it made the cut: This is the ideal mix of power and portability for photographers who want to work in the field.

Specs: 

• Screen size: 12.9 inches
• Resolution: 2732 x 2048
• Weight: 1.5 pounds

Pros:

• iOS operating system
• Powerful performance
• Excellent battery life
• Highly portable
• Deep iOS app availability

Cons: 

• 1600 nits max brightness
• Larger capacity versions can get expensive.

Featuring the newly introduced, powerful yet energy-efficient Apple M2 chip, this slim tablet straddles a line between performance and budget–with a healthy lean towards the performance side, as prices can rise with the larger storage options. We’re at a stage now where even these smaller tablets are packing the kind of power you’d normally expect in a larger desktop or laptop solution.

With every generation of hardware, the ever growing Apple iOS ecosystem offers robust support and app availability. If you’re willing to spend the cash, you can get up to 2TB built-in storage. Because Apple is so dominant in the space, you’ll also never run into a shortage of options when it comes to accessories or cases. 

Best budget: Samsung Galaxy Tab S8

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Why it made the cut: Samsung’s advanced tablet can handle heavy tasks at a fraction of the price compared to its main competition.

Specs: 

• Screen size: 11 inches
• Resolution: 2560 x 1600
• Weight: 1.1 pound

Pros:

• Android operating system
• Great price-to-performance ratio
• Cheapest of the Galaxy Tablet family
• Sharp, vivid screen
• Good battery life

Cons: 

• Limited viewing angles
• 500 nits max brightness

This powerful newcomer and an upgrade from the Samsung Galaxy Tab S7 is the least expensive tablet in the Galaxy Tab family.

With a large, 11-inch display, Snapdragon 8 processor and 128Gb of internal storage, this option provides great performance for the money–especially considering that the accessory S Pen is included, unlike the Apple Pencil for the iPad. The TFT LCD, while sharp and vivid, limits viewing angles, but it shouldn’t be an issue considering you’ll be looking directly at the tablet while you work.

Android platform allows access to many open source applications for beginners on a tight budget.

Best for video and photo editing: iPad Pro 12.9” (5th Generation)

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Why it made the cut: The most powerful tablet around also has one of the best screens we’ve ever seen.

Specs: 

• Screen size: 12.9 inches
• Resolution: 2048 x 2732
• Weight: 1.41 pounds

Pros:

• iOS operating system
• Large, sharp, vivid screen capable of extended color range
• Powerful processing capability
• Good battery life

Cons: 

• Higher capacity versions are expensive
• Apple Pencil not included

The top of the heap and currently the largest and most powerful iPad available, the 5th Generation iPad Pro 12.9” features the powerful M1 chip, a large XDR (Extreme Dynamic Range) Liquid Retina display capable of producing sharp, bright, vivid images with a wider color gamut than its 11-inch sibling. The specs are uncompromising, as is the price, but well worth it for the most demanding professionals: the display is capable of 1000 nits maximum brightness for SDR content, and 1600 nits maximum for HDR content

Apple’s highly supported iOS app ecosystem remains a key feature, just like with any other iOS product.

Best for students: Microsoft Surface Pro 8

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Why it made the cut: This machine runs a full version of Windows so you can install all the programs you want.

Specs: 

• Screen size: 13 inches
• Resolution: 2880 x 1920
• Weight: 1.96 pounds

Pros:

• Large display
• Sleek design
• Powerful processor
• Suitable laptop replacement
• Familiar Windows platform

Cons: 

• Screen brightness tops out at 450 nits
• Accessory cover and keyboard sold separately

The Microsoft Surface Pro family of tablets sports a key feature for many consumers: familiarity. The ubiquitous Windows platform is likely a familiar environment for any student in a classroom situation, and the Office suite of products will be critical for anyone soon to be entering the workforce.

Featuring an Intel Core i5 (11th Gen) processor, 128 Gb storage, this model is the only tablet in this list with a removable/upgradeable SSD to increase storage capacity. The large, sharp 13” display makes this viable not only for photo editing, but also for productivity tasks like emails and reports. The Windows platform and optional keyboard make it an all-in-one solution for students and eliminates the need for an additional PC.

Best for travel: iPad Air (5th Generation)

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Why it made the cut: It’s smaller and offers improved battery life compared to its pro pals.

Specs: 

• Screen size: 10.9 inches
• Resolution: 1536 x 2048
• Weight: 1.03 pounds

Pros:

• iOS operating system
• Powerful M1 processor
• P3 wide color gamut display
• Slimmest and lightest option

Cons:

• Limited storage options (64Gb or 256Gb)
• 500 nits maximum brightness
• Middling battery life
• Apple Pencil not included

Easily the most portable option at only 1.02 pounds, the iPad Air (5th Generation) is the model to beat if packing light is a priority. With the powerful Apple M1 chip, you won’t be sacrificing performance for size and weight. With the smaller size comes a trade-off: a lower capacity battery provides only average battery life, and while the 10.9” screen is still a decent size, it provides only a brightness of 500 nits.

Like all the other iOS devices on this list, it is bolstered by the widely supported iOS app ecosystem.

Best pen display tablet: Wacom Cintiq Pro 24 Creative Pen Display

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Why it made the cut: If you don’t need to work on the move, this display offers tons of room to work.

Specs: 

• Screen size: 24 inches
• Resolution: 3840 x 2160
• Weight: 15.43 pounds

Pros:

• Large 15.6-inch 1920 x 1080 Touchscreen
• 8192 Levels of Pen Pressure Sensitivity
• Programmable hotkeys

Cons: 

• Separate PC/laptop needed; not a standalone computer
• Maximum 350 nits brightness

The Wacom Cintiq line has been a mainstay of the photo retouching and illustration industry for years, and for good reason. Large, sharp, high quality displays that allow direct pen and touch input right on the screen. The catch: they’re accessory tablets that require a PC, and are not standalone computers.

They are often used by artists as supplementary input devices to a larger, separate monitor. While not offering the brightest of displays, Wacom opts more for accuracy, recognizing that these tools are usually used in controlled studio or office environments, rather than a portable travel tool.

Best pen accessory tablet: Wacom Intuos Pro Medium Pen Tablet

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Why it made the cut: Wacom’s more affordable tablet still offers exceptional control.

Specs: 

• Screen size: N/A
• Resolution: N/A
• Weight: 1.5 pounds

Pros:

• 8.82 x 5.83″ Active Area
• 8192 Levels of Pen Pressure Sensitivity
• USB & Bluetooth 4.2 Connectivity
• 8 Programmable Express Keys, Touch Ring, Radial Menu, Pen Switches
• Included Wacom Pro Pen 2

Cons: 

• Not a display tablet
• Separate PC/laptop needed, not a standalone computer

Much like Wacom’s Cintiq line display tablets, the Intuos tablets have been an industry standard tool for years. Unlike the Cintiq line, the Intuos are not display tablets–meaning that the tablet itself is basically just a large pad that accepts pen and touch input. Think of it like a giant mouse trackpad, but with more precision, accuracy, and varying levels of pressure sensitivity–the harder you press, the larger a brush stroke becomes, for example.

A long-favored feature of this line are the numerous programmable hotkeys to which you can map your most used controls, along with a touch ring for easy scrolling. These tablets are input accessories–you’ll need a separate PC. 

Things to consider when shopping for the best tablets for photo editing

The best tablets for photo editing can offer ease of use and portability, there are several things to consider when making your choice. Do you need a solution to replace your main laptop or desktop, or do you need a portable supplement to your main PC? Are you in a controlled studio/office environment, or is traveling light and the ability to work in tight quarters a priority? Also consider battery life–few things are more frustrating than running out of battery while you’re in the middle of important work. Of course, there’s the balance between all-out performance and budget.

Operating system

Perhaps most important: make sure that the software you plan to use is available for the OS of the tablet. While nearly full versions of Photoshop are available for iPad and Windows, for example, Android tablets can only run Photoshop Express, a scaled down version. 

With the introduction of Apple’s venerable iPad into the computing mainstream, and its competitors offering more power and features with every new refresh, amateurs and professionals alike have been given tools and power, along with functionality, ease of use, and portability like never before.

Add to that software developers’ willingness to develop applications for the devices that consumers are using more and more: smartphones and tablets–availability of software, along with the power, features, and portability of the latest hardware make editing photos on tablets easier and more creatively liberating than in the past.

Screen size and resolution

Tablets have grown in recent years. Apple’s iPad Pro line goes all the way up to a 12.9-inch screen, which is just about the same size you’d get with the smaller MacBook Pros. Dip into other manufacturers and they can get even bigger. Samsung offers the excellent Galaxy Tab S8 Ultra with a 14.8-inch screen. If you’re buying a tablet specifically for photo editing, extra screen real estate can really come in handy for keeping a big version of the image and the editing interface visible at the same time. 

When it comes to resolution, you want as many pixels as the device can muster. Prices tend to go with resolution, but it creates more room on the screen for elements and makes your photos look generally sharper if you’re trying to show them off. 

Battery life

Editing photos and videos, especially if they’re high-res, can tax even the burliest battery. Judging actually battery performance can be challenging because a simple mAH rating won’t give you an accurate picture of how it will perform in the real world. Your best bet is to check reviews or just expect much shorter life than the specs promise.

Built-in storage

Some tablets offer expandable storage via microSD cards. If you’re working with a tablet without expandable storage, however (we’re looking at you Apple), it’s usually worth paying extra for built-in storage. Even 1TB can go quickly when you dump high-res images and a couple movies to watch on the plane onto your device. 

FAQs

Final thought on the best tablets for photo editing

• Best overall: iPad Pro 12.9” (6th Generation)
• Best budget: Samsung Galaxy Tab S8
• Best for photo and video editing: iPad Pro 12.9” (5th Generation)
• Best for students: Microsoft Surface Pro 8
• Best for travel: iPad Air (5th Generation)
• Best pen display: Wacom Cintiq Pro 24 Creative Pen Display
• Best with pen accessory: Wacom Intuos Pro Creative Pen Tablet

There’s never been a better time to move to a tablet as a solution for editing photos–with price, performance, and battery life improving with each new generation. With the introduction of Apple’s powerful M1 chip and Windows and Android tablet makers remaining competitive in a crowded market, consumers win when it comes to software compatibility, choice of powerful hardware, and bang for your buck.

Why trust us

PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.

The post The best tablets for photo editing in 2023 appeared first on Popular Photography.

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Best overall		Sekonic Speedmaster L-858D-U		SEE IT
Best budget		Sekonic L-308X-U Flashmate		SEE IT
Best for film		Voigtlander VC Speed Meter II (Black)		SEE IT

Even in a world full of AI-powered smartphone cameras and increasingly impressive mirrorless cameras from every major camera manufacturer, dedicated light meters still occupy a well-earned place in both still photography and cinema shooting. Sure, any modern camera will most certainly have a self-contained light meter of its own–and that’s good enough for most people in most situations. But what if you needed to make absolutely sure that the fill light is exactly 2 stops below the key light? Or perhaps you need to make sure that you’re not accidentally overexposing and losing color information on a product shoot. And of course, there are those of us (myself included) that own vintage film cameras that don’t have a light meter at all. Every model on this list of the best light meters can help you dial in your settings to get the best possible photos and videos.

• Best overall: Sekonic Speedmaster L-858D-U
• Best budget: Sekonic L-308X-U Flashmate
• Best for film: Voigtlander VC Speed Meter II (Black)
• Best for portraits: Sekonic LiteMaster Pro L-478D-U
• Best analog: Sekonic L-398A Studio Deluxe III 

Methodology for choosing the best light meters

The light meter landscape doesn’t change all that often and Sekonic dominates the space, which explains its abundance on this list. The company has been making accurate, reliable meters for decades. We compared features against price, size, weight, and practical usage in consideration of this list. Still photo vs cine modes, field vs. studio usage, and ambient and flash modes were all considered. Form factor, size, and weight were also taken into account, along with each model’s strengths and weaknesses. I regularly shoot with analog cameras that lack a working built-in meter, which has provided ample experience from which to draw.

The best light meters: Reviews & Recommendations

With the jargon sorted out, it’s time to get to our list of the best light meters. While we offer these picks organized by category, there’s a lot of overlap here and any of these options may fit your needs. 

Best overall: Sekonic Speedmaster L-858D-U

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Why it made the cut: This meter has everything you could want and probably a little bit more.

Specs: 

• Weight: 8.5 oz
• Spot meter: Yes, 1 degree
• Type: Incident and reflected
• Digital or analog: Digital

Pros:

• Incident and Spot meter modes
• Cine and still modes with flash
• Radio control of strobes (optional)
• 2.7-inch, easy to read backlit touchscreen
• Runs on two AAA batteries

Cons:

• Most expensive option
• Potentially too complicated for some users
• Wireless radio modules sold separately

If you’re looking for a light meter that covers your needs in every possible situation, the Speedmaster L-858D-U by Sekonic is the one to beat. It can measure a range of nearly 28 stops from -5EV all the way up to 22.9EV at ISO 100. It boasts an extensive range of still and cine settings, incident metering and a 1° spot meter with a viewfinder. It can take readings in both ambient and flash modes, you won’t find yourself wanting for features with this in your bag. You can also get optional radio modules that work wirelessly with systems like broncolor, Elinchrom, and Pocket Wizard.

Sekonic has been the biggest name in light meters for decades and this is the flagship, which makes it extremely capable. This glut of features may be a bit much for beginners or someone who is just starting. But, it’s built tough and will likely survive years in a camera bag.

Best budget: Sekonic L-308X-U Flashmate Light Meter

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Why it made the cut: It’s small and relatively inexpensive, which makes it a great companion for any camera.

Specs: 

• Weight: 3.5 ounces
• Spot meter: No
• Type: Incident and reflected
• Digital or analog: Digital

Pros:

• Easy to use
• Photo, cine, and HD Cine metering modes
• Backlit LCD
• Runs on one AA battery

Cons:

• No wireless radio modules
• No spot meter

From beginner to professional, if you’re on a budget this is likely a clear winner. While it doesn’t have the wireless module capabilities of its more advanced siblings, it does have a host of other features that will cover the needs of most users, such as photo, cine, and HD cine metering modes, flash metering, almost 20 stops of range, and a backlit, easy-to-read LCD screen. It’s also a great model if you want to pack light, as it is relatively light and small. At this price range, don’t expect a spot meter in addition to the incident meter, though. This has become the standard pick for many analog photographers as it’s small, reliable, and easy to use. 

Best for film photography: Voigtlander VC Speed Meter II 

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Why it made the cut: It’s the next best thing to a built-in meter when it comes to convenience.

Specs: 

• Weight: 1.5 ounces
• Spot meter: No
• Type: Reflected
• Digital or analog: Digital

Pros:

• Small and light
• Easy to use
• Batteries last a long time
• Sturdy
• Available in silver or black

Cons:

• Adds bulk to your camera
• Fixed metering angle of 30 degrees is limited
• No cine modes

If you’re like me and have a tendency to collect vintage cameras that either don’t have a meter, or have a broken light meter, this model is an invaluable accessory. A small, shoe-mounted meter, this accessory is especially useful as an always-on attachment that you can still switch from camera to camera, as opposed to a separate piece of gear. Its simple controls and versatile 30-degree angle of view make this a great option for users looking for the smallest, easiest meter possible. Three easy-to-see LEDs indicate under or overexposure. 

I’ve personally used one of these fairly regularly for almost 2-years as of this writing, and I haven’t had a need to replace the batteries once. You can even get them in silver or black to match the aesthetics of your camera.

Best for portraits: Sekonic LiteMaster Pro L-478D-U

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Why it made the cut: Meticulous light metering and ample strobe connectivity options make this great for studio work.

Specs: 

• Weight: 4.6 ounces
• Spot meter: Yes
• Type: Incident and reflected
• Digital or analog: Digital

Pros:

• Excellent balance of size, features, and price
• Large easy-to-read touchscreen
• Photo and cine modes
• Ambient and flash modes
• Precise measurement controls

Cons:

• No wireless radio modules
• No spotmeter 
• Screen is hard to read in harsh sunlight

Do you need precise control of studio strobe power within 1/10 of a stop? Are you looking for fast, easy touchscreen control? Do you shoot both stills and video? Are you shooting with ambient, flash, or a mixture of both lights? If you find yourself in a highly controlled studio setting, look no further than the Sekonic LiteMaster Pro L-478D-U Light Meter

With a beautiful 2.7-inch touchscreen, ambient and flash, photo and cine modes, in addition the ability to memorize custom profiles and filter compensation modes, this model is a great balance of both features and budget.

For beginners, this represents a meter that likely has more features than you need, but you can easily grow into. For professionals, it’s got just about all the features you need, with the exception of a view-finder-based spot meter like its bigger sibling, the Speedmaster L-858D-U.

Best analog: Sekonic L-398A Studio Deluxe III Light Meter

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Why it made the cut: It has a classic style and an accurate mechanism that doesn’t require a battery.

Specs: 

• Weight: 6.7 ounces
• Spot meter: No
• Type: Incident
• Digital or analog: Analog

Pros:

• Simple, easy to use
• All analog controls and display
• Cine and photo capable
• No batteries needed
• Reliable
• Inexpensive

Cons:

• Display numbers are smaller and can be harder to read
• No memory functions like digital models
• Heavier than other comparably sized meters

Imagine all the batteries and chargers you own for all your photographic and personal devices. The tangle of wires, charging bricks, incompatible battery types, and USB connector types. Now, imagine a key piece of gear not needing any kind of battery at all and what that might do for all your battery-related anxiety. The Sekonic L-398A Studio Deluxe III Light Meter takes fast, accurate light readings–and needs absolutely no battery. With a silicon photocell to take readings, the incoming light provides all the power it needs.

The analog, needle-based display is simple and easy to read, but certainly not as easy on the eyes as a big, clear LCD screen. A swiveling head helps you maintain full view of all your readings, and the spinning analog controls are a nice change of pace from all the buttons and switches we’re so used to.

If you appreciate a hands-on, tactical, non-digital piece of engineering whose basic design has lasted nearly 7 decades, it’s hard to go wrong with the L-398A Studio Deluxe III from Sekonic.

While not nearly as advanced as its digital counterparts, it offers you just what you need, assuming all you need is a precise exposure reading. At a budget-friendly price, it can be a great starting point for any photographer or filmmaker with both still and cine readings.

Things to consider when choosing the best light meters

Before we dive into our specific picks for the best light meters, there are some basic concepts and specifications you should understand. This used to be basic knowledge for photographers before built-in meters dominated the scene. We’ll define some important terms and outline a few crucial functions.

Reflected vs. incident

Point your camera at a subject and it will measure the light bouncing off of your subject and entering through the camera lens. It’s measuring reflected light. Many dedicated light meters also offer this functionality. Unlike built-in meters, however, handheld units also often measure incidental light. This type of meter measures the light that’s falling on the subject. That means you have to put the incident meter very close to your subject. 

Reflected light meters work fine for most situations, but incident light meters can be very helpful in a studio setting when you’re trying to dial in ratios with strobes or compare the amount of light falling on different parts of your subject. 

Most of the models on this list offer both kinds of measurements, which makes them very versatile.

Spot meters

Some advanced or specialized models will offer spot metering, which allows you to get a precise reading of the light in a very small and specific part of the scene. This kind of meter can come in very handy if you’re trying to expose one part of a frame that’s surrounded by challenging light. Think of a portrait with heavy backlight in which a typical meter would cause the person to come out seriously underexposed. 

Manufacturers usually indicate the angle a reading will cover when measuring reflected light. A typical reflected meter may sample a 40-degree angle while a spot meter will offer a much more narrow view of 5 degrees or even 1 degree. 

Strobe triggering

Strobes are essential for studio work and some meters come with built-in wired or wireless triggers to fire them. If you’re buying a flash meter for wireless use, make sure it’s compatible with your chosen brand of strobes. Some higher-end models offer built-in ports that can accept wireless transmitters from various systems. 

If you don’t mind a wired connection, some models still employ older PC ports, which can come in handy for working with older gear. 

Analog vs. digital

While digital light meters generally rule the market, there are still a few analog options out there. The Sekonic L-398A, for instance, relies on an amorphous silicon photocell that measures light without the need for a battery, so it’s always ready to go. Analog isn’t necessarily the most practical choice, but it provides a different experience that you may appreciate. 

Final thoughts on the best light meters

While many models have both photo and cine modes, make sure that the meter you choose can handle your most common shooting scenarios. You also need to consider if you prefer switches and dials vs a touchscreen option, as the last place you want to be fiddling with controls is an important photo or video shoot. If you need a spotmeter with a very precise angle of view, your number of choices drops considerably. Choose wisely, and your meter will likely be at your side for many, many years.

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Taking photos of your home that you’re proud of enough to share on Instagram can be a daunting task. Making an indoor scene look dreamily drool-worthy takes a special balance of focal length, composition, and exposure. Oakland, California-based photographer Vivian Johnson has some tips gleaned from her years of experience working with professional designers.

Build your compositions with a story in mind

Johnson suggests you start by asking yourself “What in this room do you want to feature? What do you love? The goal is to show the story of the home.” Identifying noteworthy areas in a room that tell that story will help you begin. Then, create a composition based on that.

When composing your images, Johnson explains that you should “be aware of what you’re cutting off and including in the frame so that it doesn’t look awkward. Just like when you’re shooting people, you try not to cut off hands or feet.” Watching the edges of the frame and how things like furniture and decor items meet those edges will help create a stronger composition.

Position your camera carefully

One of the most effective tools in creating interior photographs that look professional and natural is to keep your camera straight and level. Vertical lines, such as the corners of walls or railings, should be completely vertical and not converge. Avoid shooting at a downward or upward angle to keep lines parallel.

The height of your vantage point indeed makes a dramatic difference. “I start with positioning the camera and tripod at chest level, and then adjust the focal plane from there,” Johnson says. Photographing from just below eye level but slightly higher than sitting creates an appropriate sense of a viewer’s natural place in the room.

Beyond broad shots of the room, you may also want to highlight details. For example, if you’re in a space with specialty knobs or handles, consider tighter shots spotlighting those special items. “If a kitchen has a special faucet or appliance, I’ll shoot those details,” she points out.

Dial in the right camera settings and tools

When photographing interiors, you want to ensure that your camera settings will help provide the best results. To start, shooting with the lowest possible ISO setting your camera will allow the cleanest, most noise-free image. “I try to shoot at ISO 100,” Johnson says. Not only will you have an image free of noise, but you’ll have the most flexibility to adjust exposure while editing, too.

Aperture is the other main setting to consider with interior photography. A smaller aperture will maximize depth of field and help to get the entire room in focus. “I’m usually at f/11, or higher if I need to be,” she explains. Try experimenting with your lenses’ aperture values to maximize the depth of field needed to allow for sharp focus of the whole scene. But be warned: Using an aperture that is too small could cause a loss of sharpness due to lens diffraction, so don’t stop down any more than you need to.

A low ISO and smaller aperture will demand a slower shutter speed, so Johnson almost always shoots with a tripod. Placing your camera on a tripod steadies your camera for sharper images. Johnson also recommends it for keeping lines straight.

Focal length plays a significant part in creating successful interior photos, too. “I don’t like to shoot at a really wide angle, even when I’m doing a room shot,” she explains. “I try to get back as far as possible and then use the focal length that fits everything in the room.” Using a lens that isn’t excessively wide (say, 24mm) creates a more pleasing, natural perspective and cuts down on distortion.

Spend a lot of time lighting and styling

Your composition and settings serve only to showcase the most important things in an interior photograph: the quality of the light and the styling of the scene.

Having worked with many professional interior designers, Johnson suggests setting up your composition with the camera first and styling after the fact. “I’ll get the camera set up and then we’ll style from there,” she says. Staging after knowing the composition can help you to build up your scene from the camera’s perspective.

Of course, flattering light will enhance the quality of any scene. Johnson notes, “You don’t want to shoot when there’s harsh, direct sun coming through the windows,” she says. “Overcast days are great because it’s like a huge softbox outside.” She also suggests turning off all the lights, as they can cast a yellow tone through the room and complicate white balance.

Tap your smartphone and computer as critical aids

Johnson shoots tethered to a computer when on the job, so the image preview appears on a big screen. This makes it far easier to see small details you could possibly miss looking through the viewfinder or the back of a camera. Adobe Lightroom has a tethered shooting option that works with the cameras of major manufacturers. 

To help with lighting, you can use an app to track the way the sun travels across the sky over the course of the day. Johnson uses one called Sunscout. “I can base my shot list and timing on how the light is coming into the room at which time of day,” she explains.

There can be times when limitations of available light need to be overcome with software tools. “Sometimes I’ll use multiple exposures in the room and then blend the images,” she says. She isn’t going as far as HDR, however; instead, she taps some careful masking and blending to create an equal exposure balance across the scene.

For those whose only camera is a smartphone, Johnson points out a potential advantage: “With a phone, you can get back further.” Being able to step back allows you to create compositions and find perspectives you otherwise couldn’t with a camera and tripod.

You can find more of Vivian’s work on her website and Instagram.

The post How to take Instagram-worthy photos of your home appeared first on Popular Photography.

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Whether you’re shopping for a  new or used car, you know that you’re going to be spending a lot of time looking at photos. The quality of the photos not only tells the buyer about the car, but also creates an important impression of the seller, too. I talked to Texas-based professional automotive photographer Kevin McCauley to learn some tips about creating the best photographs to help you sell your car. Even if you’re not selling your ride, these techniques can help ensure that it looks good on social media.

Get the hero shots, but don’t forget about the details

It’s crucial to capture the entire car, but the details are important, too. “Show everything to give the buyer confidence to bid on or purchase the car. Get all your dramatic hero shots but leave no stone unturned.” Providing ample, detailed photos will reassure a potential buyer that you’re not trying to hide anything.

When considering your “hero shot”—the first photograph that a prospective buyer will see—McCauley describes “the classic car photography angle:” A three-quarter angle of the front with the wheel turned so that the viewer sees the face of the wheel. “That’s a popular composition for a reason,” he says. This angle gives the viewer a full sense of the car in a situation where first impressions are critical.

Don’t ignore your background

Even a perfectly positioned car can’t pop off of a lackluster background. “You want an uncluttered, neutral, non-distracting background,” says McCauley. Find a location where you have space and time to be left alone and reposition or move around the car as needed. Objects like other cars, utility poles, or anything that makes the backgrounds look busy can take a viewer’s eye away from what you want them to see. 

A clean background will also ensure that your photo translates well into a small thumbnail. If a potential buyer is scrolling through an endless sea of small car pictures, a clear setting will make yours stand out.

Shoot longer focal lengths

As with any kind of photography, lens choice plays a crucial role. “A big one for me is telephoto—70mm, 85mm, or even 200mm. [They provide] really nice separation from the background and make the car look great.” The compressed perspective of a telephoto lens will display the car in a flattering way without the exaggerated, almost fish-eye perspectives that a wider lens found on most smartphones will provide. McCauley points out that “the buyer will recognize that you put in some effort and it doesn’t look like an ordinary car photo.” It will also be much closer to what people typically see in advertisements and magazines.

Focus on key things when photographing interiors

When you’re photographing the interior, “make sure the steering wheel is always in focus, even if you’re shooting from the passenger side and the wheel isn’t the primary focus,” says McCauley. “The viewer’s eye will always go to the steering wheel, and it looks weird if the badge in the center of the wheel is blurry.”

The same rules apply on the inside as they do outside—be thorough when showing the details of the interior: seats, equipment, floors and other small details should all be easy to inspect. 

Find the Ideal Light

McCauley stresses “even light” as the best case for this kind of shoot. Late day, dusk, dawn, or indirect sunlight all work better than direct sunlight. “If you’re shooting during the day, find some open shade, like behind a building or under some dense trees.” 

Soft, even light will reduce bright, distracting hotspots, reflections, and harsh shadows that could obscure details.

That goes for interior shots, too. “Use the same kind of light: shade. An overly contrasty photo will cause you to lose shadows and blow out highlights,” McCauley explains.

Take advantage of the phone in your pocket–and its editing capabilities

You should expect to do at least a little editing when you shoot a picture of your car. “I like to underexpose a bit and then warm up the picture,” says McCauley. Certain lighting conditions will cause photos to have an unwanted color cast, and a simple tweak can also fix those, too. “Sometimes they’re a little cool (blue), or sometimes you’ll see some color artifacts that make a black surface look green or magenta.” All smartphone camera apps, even the default options, have a number of editing tools to take advantage of to make colors more accurate and pleasing to the eye. 

McCauley recommends Halide for iOS. He says that a somewhat recent hardware and software refresh with iPhones has a “baked in HDR look that makes things look a little muddy,” and that Halide offers him more simplicity in changing exposure.

Some mistakes to avoid

“Don’t shoot from eye level,” McCauley says. An eye-level shot is the perspective from which we see cars all day, every day–and that can keep your photographs from standing out and making an impact.

You should also give the car a little room to breathe. “Avoid filling the frame with the car from edge to edge.” Some apps will crop your photos in ways that don’t allow you to decide, which can cause an unflattering first impression. Filling the frame “about ¾ is a good rule” and gives the photo space so it doesn’t feel claustrophobic.

The post Pro tips to take the best photos when trying to sell your car appeared first on Popular Photography.

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There is no human experience more universal than food, which makes it an ideal photography subject. And while smartphone cameras and social media have made snapping and sharing food photos easier than ever, a little skill still goes a long way. Even the fanciest culinary creations can look like unappetizing piles under the wrong lighting or from a weird angle. 

Seeking out tips to take more flattering food photographs, we spoke to veteran cookbook photographer Jim Sullivan about how to take the most flattering food photos in any circumstances and with any gear.

Style the food

First thing’s first, the position of the food matters a great deal—including how much of them appear in the shot. Sullivan tells us how he would approach photographing sushi differently than he would a sandwich: “If it’s two pieces of nigiri, I want to have some negative space,” he says. “I might have a little bit of the table and plate in there as reference, but the negative space to draw your attention to the nigiri is important.” Try adding more or less negative space as you shoot to find the right balance.

With something like a “sandwich, a steak, or even a donut,” he may take more of a lifestyle approach. “A drink, chips, some hands in the photograph might make sense. You can see the whole spread but your eye goes right to the sandwich.” Practice moving other objects around in the photos to figure out how they can support the main subject rather than distracting from it.

If the plate has crumbs or other crud on it, give it a quick wipe to make everything look clean and planned.

Think about depth, mood, and contrast

Variables like texture, height, and color demand consideration. The height of a sandwich might be better served by a lower angle to make it look towering. In the case of sushi, he advises to “meter for the fish, but you want to make sure you capture the texture of the rice.” Getting in close or adding some directional light from the side can help pull out those small details.

Techniques from other disciplines can help with food. “I approach food just like portraiture. In portraits, you want to focus on and flatter the eyes and pay attention to how shadows fall across someone’s face,” Sullivan says. Including the edge of a plate in front of the food can add depth, while the shadows created by the food provide texture. 

Your surfaces are important in framing the photograph

Dressing the set often comes down to personal preference. “For some reason I really hate orange tabletops,” says Sullivan. “They’re not really flattering but a lot of places have them.” When he sees a background or surface that doesn’t work, he advises looking for other surfaces to use. In one instance, he utilized a “crack in the cement on the floor” as a background element of a shot, and has even used fabric chairs. Look around to see what surfaces might be complementary and not distracting to the dish. 

If you’re at home, experiment with different plates or serving dishes. Some photographers will even use unique materials like tiles or stones if the subject calls for it. 

Find the right light

Simplicity goes a long way with food photography. “The best light is a cloudy day. Soft light,” Sullivan notes. “If it’s a sunny day, you might move the dish near a window” where you can utilize flat, diffused light. “In my experience, food doesn’t photograph well in harsh light.”

He also recommends paying close attention to the shadows. The way a shadow can give shape to food and the direction the light falls is important in creating shapes and drawing your eyes to the right spots in the photo without being distracting. Light from the side will create deeper shadows that accentuate texture. That’s handy for emphasizing the layers of a tart, but not ideal for something like a fondant-covered cake that you want to look as smooth as possible. 

For more advanced lighting options, he recommends small, portable lights like the Profoto C1 Plus or something similar. “I shoot a lot of stuff on location, and I always have a little light I carry with me when I travel.” Even a small reflector can come in handy if you want to bounce a little window light back into the shadowy side of your food without flashing in a restaurant.

Your phone and apps can be powerful tools

When shooting with a mobile phone, Sullivan uses VSCO to shoot RAW files, which is especially helpful to adjust white balance. “In restaurants during services, lighting can be really warm in terms of white balance, so you might have to cool it down a bit.” The extended color information contained in a RAW file will give you more flexibility to adjust not only color balance, but also adjust exposure on your images.

If you’re shooting at home, try to narrow down the illumination to a single color temperature. Mixing window light with artificial overhead light, for instance, can make food look unnatural and unappetizing. Kill the overheads or move away from the window to get consistent color that you can correct in post.

Don’t be afraid to move around

“If you’re in the back of a restaurant, you can pick up the dish and go towards the front of the restaurant where there’s a window.” Sullivan points out that restaurants and waitstaff know that people want to get good photographs of their food. While most businesses would be appreciative of quality photos of their items being put out into the world, Sullivan warns “you have to be aware, and don’t be disruptive” to other patrons and staff.

The post Pro tips for taking flattering food photos in any setting appeared first on Popular Photography.

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