Shutter speed is one of the three elements that combine to achieve a proper exposure, the other two being aperture and ISO. But unless you shoot in Manual mode, it’s likely that you use Aperture Priority—thereby leaving it up to the camera to choose an appropriate shutter speed.

There are times, however, when Shutter Priority can be a big help, like when photographing fast-moving subjects or when you want to create a unique look. This comprehensive tutorial is devoted to the latter, with a bunch of examples and suggestions on the best shutter speeds to use for creating dynamic images in different situations.

Instructor Mads Peter Iversen is a professional landscape photographer based in Denmark, and a very popular educator. He begins this episode with a brief discussion of the concept of shutter speed, and how this single setting will dramatically impact an image. Simply put, “Shutter speed describes how long the camera’s shutter is open and the sensor is exposed to light.” Hence, all things remaining equal, the longer the shutter is open the more light the camera collects—resulting in a bright photo.”

Shutter speeds are often displayed in factions of a second, like 1/30, 1/60 1/125, 1/500, etc. because we often use exposure times that are less than one second—all the way up to 1/4000 which is typically the fastest setting that most cameras provide. That’s why it’s often necessary to modify ISO or aperture to arrive at a proper exposure for the task at hand.

The fun and creativity begin with techniques like accentuating motion blur, instead of using a shutter speed that’s fast enough to freeze action. A slow shutter speed, for example, is effective for creating cotton-like clouds moving across the sky, or glass-like water in ponds, streams, and lakes.

There are a variety of other interesting effects that occur when using slower-than-normal exposure times, like light trails emanating from passing cars, action shots that convey a blurry sense of motion, and when employing a technique known as Intentional Camera Movement (ICM) to create otherworldly photos.

Conversely, super-fast shutter speeds enable you to create other types of photographs that are equally compelling, but with a totally different look. Iversen spends 20 minutes demonstrating a variety of eye-catching techniques, and by the time the video concludes your photography may never be the same.

There’s much more to learn on Iversen’s very popular YouTube channel, particularly with regard to shooting in the field, so be sure to check it out when you have time to explore.

And speaking of unique imagery, don’t miss the recent tutorial we featured with another accomplished pro who demonstrates how to capture travel and landscape photographs that stand out from the crowd.

There’s a common denominator running through many of the post-processing tutorials we post, and it’s a technique that one of our favorite instructors says he can’t live without. Many of his fellow pros agree wholeheartedly, and today you’ll learn exactly how it works.

Instructor Simon d’Entremont is an acclaimed wildlife and nature photographer based in beautiful Nova Scotia, Canada, and the topic of this episode is taking advantage of “local adjustments” to bring out the best in every image you edit. In fact, Simon insists that this is “the most important Lightroom technique there is.”

Simon’s goal is encouraging you to employ a more ambitious approach than simply making global adjustments to the image as a whole. Instead, he recommends a selective technique  to enhance different areas within the  frame with different color, contrast, and exposure enhancements for each on an as-needed basis.

The five-step process involves straightforward masking that’s easy to follow and delivers amazing results as you’ll see in Simon’s impressive sample images. He begins with an overview of the specific tools required, one of which is Lightroom’s Select Subject tool. Once you determine the element you want, pressing the letter “o” on the keyboard reveals your mask in red. Now you can change the exposure level or other criteria for that particular subject.

Another option is the Select Object tool that lets you create the selection with a brush by painting over the particular area you want to adjust. Masks are also effective when you want to select the background or the sky—while leaving the rest of the image untouched.

Simon demonstrates a variety of other local adjustment techniques, like using a Color Range mask, along with Lightroom’s dropper tool, to select and enhance specific tones. Here you can also employ a simple slider to refine the adjustment until is appears exactly as you desire. This makes it easy to perfect color temperature and another key attributes quickly and precisely.

The foregoing is just a taste of what you’ll learn in this very important lesson. And once you get the hang of it you’ll wish that you had used these selective enhancements for every image you processed in the past. In fact, you can still do that by taking a second crack at whatever images you want improve.

There’s much more to learn on Simon’s robust YouTube channel, so be sure to take a look at what’s available.

And don’t miss the earlier tutorial we featured with another accomplished pro who demonstrates three simple editing hacks for creating outdoor photograph with the WOW factor.

Most experienced photographers rarely shoot without a lens hood for several important reasons, whether they’re photographing indoors or out. These affordable accessories not only protect the front element of a lens from damage, but they also improve image quality in a number of ways.

This 10-minute tutorial  from landscape pro Vlad Manea reveals everything you need to know, including the rare instances in which you should remove the hood. As you’ll see, lens hoods are available in different shapes and styles because each is designed for lenses of a special focal length or range. And as simple as they are, there’s a right and a wrong way to use them.

When it come to image quality a proper hood is extremely helpful for blocking stray light from falling on the lens, either from above or from one side or the other depending upon the position of the sun. By doing so the hood prevents unwanted lens flare, adds contrast to a shot, and prevents a dull wash-out appearance.

They also act as “a bumper for your lens” to protect your precious glass from scratches, damage or destruction, and a hood is far more effective in this regard that a simple UV filter. Instructor Vlad Manea also explains why you should use a hood even when shooting indoors or at night.

According to Manea there are a couple reasons it makes sense to remove the hood from your lens. One is when you want to intentionally add flare to a photograph to create an artistic effect. Another practical example is when using a pop-up flash and the hood casts a shadow by blocking part of the light output from falling on the subject.

So what can you do if you left your hood at home and there’s light hitting the front of your lens that’s certain to degrade the image? One simple trick is to strategically position a free hand to block any stray light coming from above or the side. Just make sure your five-fingered hood doesn’t intrude into the frame. You can also use a hat in the same way.

Manea has a few other helpful suggestions for using a hood—whether yours is of the thread-on variety or it bayonets onto the front of a lens. Some hoods are designed to be reversible and this is really convenient because the lens/hood combination occupies far lens space when stored in your bag.

We encourage you to visit Manea’s instructional YouTube channel when you have time to explore, because there are many more straightforward videos that will definitely help improve your skills

And on a related note, don’t miss the earlier tutorial we featured in which another experienced shooter demonstrates four foolproof methods for removing a lens filter that refuses to come off—even if it’s bent or broken.

There aren’t a lot of photographers who have used every Nikon Z lens. And actually, I’m not one of them – I still need to test two, the Nikon Z 58mm f/0.95 Noct and the newest Z 35mm f/1.4. But I have tested 38 of the 40 (plus both TCs), and by now, I’ve settled on my favorites and least favorites of the bunch. I’ll share those with you today.