Is there really such thing as a truly “bad photo?” Most of us who are committed to evolving our skills would reply in the affirmative. But instructor Peter Forsgard insists that “bad photographs are good” because practice and a thoughtful evaluation of disappointing images have the power to unlock your creative potential.

Forsgard is a notable Finnish pro based in Helsinki whose step-by-step tutorials serves a variety of important purposes, from improving composition, keeping up-to-date on the latest imaging trends, and discovering seasonal photography tips throughout the year. This 10-minute episode will inspire you to revisit your photos that missed the mark and learn from the errors of your ways.

Here’s the essence of Forsgard’s interesting perspective: “I explore the unconventional approach of finding inspiration in the unlikeliest places—our own bad photography. It’s the secret to breaking free from your creative rut and unleashing your inner artist.” So get ready to transform your previous failures into money shots that make you proud.

Forsgard insists that whether you’re a novice or more experienced shooter this video will challenge your perception of what makes a good photo, encourage you to embrace imperfection, and think outside the box. He begins by sharing how he defines a bad image: “I mean those photos you capture before you actually get a keeper and between other successful shots.”

He then turns his attention to five reasons why these so-called failures are actually super important for accelerating your growth. Forsgard’s first point involves the concept of “muscle memory,” a term we often hear with regard to athletes. You’ll see how this notion is equally applicable to photographers as you experiment with different camera settings and unfamiliar techniques.

Forsgard explains that just as an athlete needs to rebuild confidence after being sidelined with an injury, so do photographers after a period of inactivity or a few failed photos. In other words, every image you make, good or bad, has the restorative value of speeding up your reflexes, choosing the best settings, and quickly finding pleasing compositions.

The bottom line is that repeated practice and time spent evaluating your work will not only improve your observation skills, but enhance your photographic vision, prepare you for unexpected conditions, and help significantly boost your batting average.

So remain calm, not dismayed, whenever you screw up, because better days are on the horizon. There’s more inspirational advice to be found on Forsgard’s popular and informative YouTube channel.

And speaking of teaching old dogs new tricks, be sure to watch an earlier tutorial we featured with another notable pro who demonstrates how to use Adobe’s Amazing new AI-based Adaptive Color Profile to simplify the editing process for better images with a single click.

Today’s tutorial from nature photographer Jan Wegener falls into the category of “I wished I had known about all this sooner.” But now is better than never—especially when you can take advantages of the mistakes made early on by an accomplished pro so you don’t make them yourself.

Wegener is longtime Australia-based pro specializing in nature imagery who says, “I love helping others in their quest to capture and edit stunning bird photos and find the right gear for the job.” As always, the recommendations in this video are appropriate for just about any subjects in the field.

Our takeaway from this norm-challenging episode is pretty simple: Don’t believe everything you’ve heard in the past—at least until you spend 15 minutes hearing what Wegener has to say. It’s all about being more circumspect about common notions that may compromise the photographic process and the quality of every image you make.

Wegener begins by demonstrating why the Auto White Balance setting can be a counterproductive choice, and why he typically turns it off on his cameras. His reason is this: “Cameras can be confused by everchanging light that is sometimes cool and other times very warm. Hence, “If we use Auto White Balance we may end up with photos that look nothing like what we saw through the viewfinder and make the editing process very difficult.”

He also explains why setting White Balance manually and shooting in Manual Exposure mode is often a great combination for achieving optimum control and photos that are easy to process. Wegener reveals that once he made the switch from always using Aperture Priority he became “a better and more conscious photographer.” And you can do the same by following his advice.

Wegener continues his assault on conventional wisdom with other myth-busting notions like “low is not the way to go,” the value of editing tweaks, and the idea that you can’t get close enough. You’ll also learn why he discounts the value of camouflage gear and other things you may do that are of questionable value.

There’s much more to learn for boosting your outdoor photography skills by exploring the many how-to videos on Wegener’s instructional YouTube channel.

And speaking of switching up your settings and techniques, don’t miss an earlier tutorial we shared from another accomplished pro who demonstrates a handful of mistakes made by inexperienced nature and wildlife photographers and how you can capture more compelling images by avoiding them from now on.

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

The expert advice in this helpful episode is presented in the context of photographing wildlife, but everything you’ll learn will work wonders for whatever types of outdoor images you shoot. Instructor Danielle Carstens is an experienced photographer, tour guide, and workshop leader in the African outback.

In barely nine minutes Carstens breaks down the differences between RAW files and Jpegs. She not only covers all the technical aspects but provides practical real-world examples of how the chosen file format will impact your images and post-processing workflow. You’ll learn why the decision isn’t as clear cut as you may think, and why the option you choose should be based on type of photos you shoot, and the manner in which you plan on using them.

Carstens suggests you ponder a handful of enlightening questions: “Do you intend on editing your photos or prefer them straight out of the camera? Are you shooting for social media, printing large-scale images, or entering competitions? Do you often shoot in trickly lighting conditions or high-contrast environments? Is storage space a concern for you?

Carsten explains why your answers will go a long way toward determining the best file format for your specific photography workflow. It’s important to keep in mind that this is definitely not a set-it-and-forget consideration because you can always switch back and forth between RAW files and Jpegs as the situation demands.

There are few other concepts that will help you choose, including whether you often use high ISO settings, regularly capture distant subjects with telephoto lenses, frequently deal with mixed light, and whether or not you want to create different styles when processing your work.

The C4 Photo Safaris YouTube channel is a great source of pro tips and techniques whether you shoot landscapes, travel images, or animals in the field.

And on a related note, don’t miss the recent tutorial we featured with an Australian wildlife photographer who shares several of her secrets for capturing high-key images of our feathered friends.

Fujifilm just announced the GFX100RF, a super-compact, large-sensor, fixed-lens camera that appears to have been conceived from a Vulcan Mind Meld between the Fujifilm GFX100S II and Fujifilm X100VI. In other words, it’s compact and nimble like the X100VI and at the same time delivers most of the benefits of the high resolution GFX100S II. Fujifilm clearly spent an extraordinary amount of time and resources in development and design, distilling all of the expertise they’ve collected producing both worldclass retro-style APS-C cameras and category-leading large-format system machines. Here’s the rundown on key features, pricing and availability.

GFX100RF Key Features
Rangefinder-style design and handling
Top plate is machined from a single block of aluminum
All-new FUJINON 35mm f/4 fixed focal length lens:
   · Equivalent to 28mm in 35mm film format
   · 10 elements in 8 groups, including 2 aspherical lenses
   · Minimum aperture f/22

GFX100RF Key Features (cont.)
Fujifilm’s GFX 102MP CMOS II HS image sensor
Image size 11648 x 8736 pixels
X-Processor 5
Close focus to 7.9 inches (20 cm) from the front of the lens
Built-in 4-stop ND filter
High-speed, high-precision AF
TTL 256-zone metering system

GFX100RF Key Features (cont.)
Leaf shutter (enables ultra-level compactness)
High-definition Electronic Viewfinder (5.76 million dots)
3.15-inch tilt-type touchscreen 2.1-megapixel LCD monitor
20 film simulations
14 and 16-bit Raw support, 10-bit HEIF
4K/30P video recording
Compatible with Frame.io Camera to Cloud functionality
Base ISO of 80 (expandable to ISO 40-10240)
External Aspect Ratio Dial (very useful on 102-megapixel camera!)
Externally controllable, 3-step digital tele-converter
Surround View function facilitates composition
Dual SD card slots

GFX100RF Key Features (cont.)
Available in black or silver-color finish
Familiar NP-W235 rechargeable battery
Dimensions 5.25 x 3.55 x 3.0 inches (133.5 x 90.4 x 76.5mm)
Weight 1.62 pounds (735g). One can of Coca-Cola weighs about 370g, so…
Includes 49mm protective filter, metal lens hood w/adapter, neck strap
Watch the YouTube video here.

Pricing & Availability
Preorder now. Fujifilm GFX100RF delivery is anticipated in late April 2025 at the MSRP of $4,899.95 in the US, and $6,999.99 CAD. For more information visit this dedicated website.

Weighs less than two cans of Coca-Cola. Think about that.

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