All modern cameras offer a variety of metering modes, like Evaluative, Spot, and Average, and some photographers make a huge mistake by thinking that the option they choose is a set-it-and-forget-it decision. In fact, the mode that works best in one situation may spell doom in another.

This tutorial from photographer Peter T. Lambert describes how different metering modes work so you’ll understand which one to use when for achieving accurate exposures—whether you’re shooting landscapes, sports photos, wildlife subjects, and just about anything else. If your images often appear too light or too dark, and you don’t understand why, your confusion will end in barely 10-minutes.

Lambert explains how a camera’s Live View feature works and why turning it on can eliminate a lot of frustration in certain circumstance You’ll also learn a setting you “absolutely need to turn off” if you don’t want any unfortunate surprises in the field. The idea is to capture images that look exactly as they appeared on location unless you intentionally want to create a different look.

The lesson includes a brief overview of how a camera’s light meter functions, regardless of the mode in use. In basic terms, it’s designed to create a value of 18% gray in whatever area you target. This can be crucial to keep in mind when shooting in high-contrast situations. One example is a snow covered landscape in which the fluffy white stuff will be rendered dingy gray unless you compensate appropriately.

As Lambert explains, “the camera has to decide exactly where it’s going to measure the light within the frame, and that’s where the different metering modes come into play.” You may want to have your camera handy as he runs through all the modes, so you can experiment as the video progresses.

Keep in mind the nomenclature identifying each mode may vary depending upon the brand of camera you own. For example one camera may use the term “Evaluative” while another brand refers to “Multi.”

You still may have a few things to worry about after watching this helpful lesson, but choosing the best metering mode for the task at hand definitely will no longer be one of your concerns. You can find more helpful videos like this one by paying a visit to Lamberts instructional YouTube channel that is updated regularly.

We also suggest watching the tutorial we posted recently in which another accomplished pro explains how “variable aperture” zoom lenses affect the look of every photograph you capture, with tips for overcoming their limitations.

Some diehard photographers are committed to “getting right in the camera” while refusing to edit their images, whether it’s to adjust exposure, modify color, or even adjust composition with cropping. This eye-opening tutorial from Landscape Photography University takes a contrarian view by explaining why a failure to crop can often spoil an otherwise great shot.

Instructor David Johnston often marches to the beat of a different drummer, which is why Shutterbug readers are so fond of his straightforward tutorials. This episode at its core is a discussion of what it means to get it right in the camera, and Johnston’s definition turns conventional wisdom on its head.

Johnston puts it like this: “When you’re getting it right in the camera, all you’re doing is preparing yourself for post-processing that image, tweaking it slightly, and getting it ready for that final export.”

What follows is a demonstration of how this unique view pertains to framing a photo through the viewfinder and then refining the composition during the image-editing process. Your goal when shooting in the field, according to Johnston, is “creating a composition that makes sense by arranging various objects in the scene to be viewed in a specific order.”

In other words, the trick is to guide the viewer to where you want them to look and when you want them to look there in a specific sequence. Johnston recommends shooting several photos of the same scene—framing each one differently. He also explains why one of these should be shot “loosely”— either with a wider lens or by pulling back on your zoom.

Doing this will help you “whittle down” the composition by accentuating compelling elements and eliminating other objects that detract from the shot. By now you’ve likely realized that your work has just begun, because the final step is thoughtful and creative cropping on the computer to achieve a significantly more dramatic and compelling result.

Johnston explains several techniques for getting the job done, and why this task is so important in the first place. One reason is that when shooting in the field you’re viewing an expansive scene through a tiny viewfinder or with a three-inch LDS screen on the back of your camera. In either case, says Johnston, “you can’t see all the tiny, intricate details.”

We wholeheartedly agree with Johnston’s sensible definition, and we think most of you will too. So take a look, follow Johnston’s advice, and don’t hesitate to crop until you see exactly what you want. Then head over to his instructional YouTube channel where there’s much more to learn.

Be sure not to miss the earlier tutorial we posted with a demonstration of how to use three basic post-processing tools that another accomplished pro says she can’t live without.

This three-minute tutorial from Patrick’s Boudoir Photography is designed for those new to the genre as well as for more experienced shooters interesting in trying a unique, simple, and alluring approach. All you need is a model, your camera, and a room with a window. In other words, no complicated lighting equipment, accessories, and the like.

Patrick is a Vienna-based pro specializing in available-light portraiture, of which boudoir is a subset requiring a few extra posing and compositional skills. That’s because the goal is to accentuate a subject’s best physical attributes to achieve a compelling result.

Apart from the easy approach to lighting, there are a couple other reasons why this lesson is different than most. One is that you’ll learn how to create flattering photos with subjects of every body type. In other words, you don’t need an experienced model who looks like she belongs on the runway. This means you can make gorgeous images of a significant other or an interested friend.

Another unique aspect is that Patrick doesn’t rely upon the conventional style of photographing the subject while reclining on a couch or bed. Instead he demonstrates simple and sensual standing floor poses that that are far more comfortable for “models” who are new to the game—and easier for you to explain.

Patrick demonstrates how to perfectly emphasize a “subject’s legs and bum” with proper positioning and careful composition. You’ll see how slight adjustments in body posture can greatly enhance femininity in a way that will make you and your model proud.

Proper illumination is a key factor with all good portrait photos, and Patrick illustrates how to get the exposure right—with eye-catching highlights and intriguing shadows using light streaming through a large window without artificial illumination.

Patrick walks you through the camera settings that he recommends for this super simple style of boudoir photography. He also provides several valuable editing tips for quickly and effectively enhancing the images you capture.

A beautiful boudoir print makes a great gift for the important woman in your life, so it’s time to get going and elevate your skills. Then head over to Patrick’s instructional YouTube channel where you’ll find many more boudoir photography tips and techniques for shooters and models of all skill levels.

It’s very likely that one or more of the zoom lenses you own utilize a “variable aperture” design. It essential to understand what this means and how these types of lenses affect every image you capture. This tutorial from the Adorama TV YouTube channel explains everything you need to know.

Instructor David Bergan is a NY-based pro who specializes in celebrity portraits, sports photos, and concert photography. His Ask David Bergman website is a meeting place where photographers can submit questions on popular topics and receive an expert reply from Bergman himself.

Today’s episode is a response to this query from a fan: “I have a Nikon 18-55mm DX lens that has 3.5-5.6 inscribed on it. The max aperture seems to be f/3.5 at 18mm and f/5.6 at 55mm. Why is that and how does this work?”

Bergman explains that variable aperture lenses are very common, especially with low-cost kit zooms that are commonly bundled with many cameras. The lesson begins with a brief overview of how lens apertures work in general, just so that everyone is on the same page. Then he describes the various issues you may face when using a variable aperture lens and explains several methods for overcoming their limitations.

These lenses work differently than primes and what are known as “fixed aperture zooms” that maintain the same maximum aperture as you zoom in or out. To the contrary, a variable aperture zoom closes down the maximum aperture as the focal length is increased, thereby offering less versatility in low-light conditions or when the goal is to optimize depth of field and bokeh.

Bergman explains it like this: “If you compare two lenses of the same focal length and one has a wider aperture than the other, the one with the wider opening is going to be more expensive.” Likewise it’s also going to be larger and heavier that the slower lens because it’s a bigger and more sophisticated piece of glass.

He illustrates this point with two Canon 50mm prime lenses—one with a maximum aperture of f/1.4 that sells for around $400 and the other that opens up to f/1.2 and costs about $2000. The price and size disparity can be even greater with zooms because of the complicated construction involved. With these matters out of the way, Bergman moves on to practical considerations when shooting in the field, and these are extremely important to understand.

After watching the video take a look at the Ask David Bergman website to gain insight into the other questions he addresses. Then consider submitting some of your own.