A common mistake by outdoor photographers when shooting on the street or in the field is to begin popping off photos upon arriving at a destination for fear of losing a fleeting moment or great light. The problem with this common approach is that it often results in common images.

The tutorial below from the popular Street View YouTube channel explains why slowing down and carefully exploring a location often enables you to discover and capture compelling images that stand out from the crowd. This often happens because a thoughtful approach often reveals a unique vantage point from which to shoot that differs from the standard eye-level approach.

Instructor Rupert Vandervell is an accomplished British pro specializing in fine-art street photography, so this episode concentrates on that particular genre. But the tips he provides work just as well to create interest with other types of images you shoot outdoors.

Vandervell puts it likes this: “If you slow down and take your time you’ll be able to experiment with unusual viewpoints and determine which is your favorite before deciding on a composition.” He adds that this strategy also applies to scenes that initially look a bit dull.

Yet, when you explore shooting from a different vantage point or camera position, like low to the ground or up high, you’ll likely create images that are far more engaging. Vandervell provides several great examples of how doing this results in more compelling photos than a scene suggested at first.

He begins with a rather uninspiring photo he captured during a photo walk in Prague on a gloomy day. In this instance he changed his position, shooting low to the ground, to capture a far better shot than his original dull image that didn’t make the grade.

Another compelling example is a photo Vandervell made of a man climbing a staircase. Rather than taking the conventional approach of composing the scene to reveal his subject’s full form, he waited until the top half of the man’s body disappeared behind the zig-zagging stairs—thereby composing the shot so all you see is the subject from his feet to his waist. This resulted in an unusual and far more interesting shot.

As he explains, his goal for this photo “was to juxtapose the legs and their shapes with the geometry and rigidity of the rest of the scene.” This conceptual technique really delivered the goods and is a perfect example of how thinking a bit differently can turn a ho-hum photo into a winner.

Vandervell uses several other amazing photos to illustrate how to capture really impressive photos “when there’s nothing to shoot.” As you’ll see, there are various possibilities for doing this by including objects or unusual light patterns to accentuate a scene. As an aside, we think you’ll agree that shooting in monochrome is perfect for these types of dynamic images.

There’s much more to learn on Vandervell’s popular YouTube channel and in a related tutorial we posted recently that demonstrates why creating depth is a powerful pro technique for outdoor photographs with greater impact.

Professional photographers often add vignettes to their photos to create impact and direct a viewer’s eye to the most important part of a scene. Less-experienced shooters tend to ignore this powerful technique that is actually very simple to accomplish.

Adding a vignette in Lightroom is a great way to create depth and dimension in an image and make a photo really stand out. Whether you’re a beginner, or just want to add a little magic to your outdoor images, this quick tutorial from the Behind the Tripod YouTube channel explains how it’s done.

The instructor named Steve introduces the eight-minute lesson like this: “A vignette is a lovely effect that can easily be created in Lightroom.” He says he prefers to take a subtle approach and tends to include a vignette in many of his superb images. Today he demonstrates an effortless step-by-step method that you can begin using today.

There are several reasons for creating this effect. One is that it mimics the look of older lenses that create images in which the outer portion of the frame is darker than the center. So if you’re after a vintage look, this is a great way to go. Steve says that a subtle vignette can also help accentuate objects in the middle of a composition, thereby creating a photo with more cohesion.

Vignettes can be created in a variety of ways, some more complicated than others. Steve keeps things simple in this lesson by explaining two basic techniques that anyone can accomplish. The begins with a nice seaside shot, turns to the Vignettes panel, and chooses Paint Overly from the various options available. 

As you’ll see, there are a number of possibilities from a white vignette to one that’s black, and you can quickly control the size, midpoint, and amount. Steve says he’s very careful with these three parameters—especially with when the vignette is dark. You also have the option of making the vignette round or square. Feathering options are available too.

The second technique is the one Steve prefers. That’s because it’s just as simple, but it offers far greater control. This approach involves adding a mask with a Radial Gradient and sizing it appropriately in the proper position for the task at hand. Then he demonstrates how to use this selection for a very refined mask and feather it to perfection.

Both of the techniques are non-destructive, meaning you can always go back if a do-over is necessary. So give one or both of these methods a try, and you’ll be impressed by the improvements to your images. You can find more helpful tips and tricks by paying a quick visit to Steve’s instructional YouTube channel.

And don’t miss the earlier video tutorial we posted from another expert, explaining how to shoot eye-catching landscape photos by using the power of balanced compositions.

Panasonic has just released the DC-G9 II, a highly-anticipated update to the beloved Panasonic G9 that Nicholas and I reviewed a few months ago. Five years since the original, the Panasonic G9 II brings some amazing updates to an already great camera. As a user of the original Panasonic G9, will I get one? Should micro four-thirds shooters be excited?