#sharp photos

1. Light

Detail is all about macro-contrast and micro-contrast (also known as acutance or texture). And it is all defined by light versus shadow. If your image is all midtones, the light and dark do not compete and we read that as flat or dull. This can also lower our perception of sharpness, even if the photo has good focus and there are no major detail-reducing factors at play.

This photo was taken by a 200 megapixel smartphone camera.

This was taken with a 24 megapixel, 10 year old camera.

An overcast day will make megapixels useless. It kills shadows and texture. But a photo taken at golden hour, when the sun is low in the sky, can bring out every beard hair and flower petal.

You might be thinking, "Froggie, you used a real camera instead of a smartphone; that's not a fair comparison."

Light is light and if the light is good, the camera matters a lot less than you think.

These are from a smartphone.

The bird shot used a fill flash angled downward at the birdbath, and the angle is everything. When light rakes across a textured surface instead of hitting it head-on, every feather barb casts a tiny shadow underneath itself. Thousands of little shadows mean tonal separation between every feather, which is what your brain reads as "crispy detail." That detail is physically created in the scene by the light. It is not something you can add later with a slider.

Flat light does the opposite. Overcast sky, high-noon sun, on-camera flash pointed straight ahead... they all hit every surface at roughly the same angle, the micro-shadows vanish, and adjacent feathers smear into one tonal blob. Same lens, same sensor, same focus accuracy. Way less perceived detail.

That said, soft light has its place. It is very flattering and the same microcontrast that enhances feather detail can also accentuate pores and blemishes. So I wouldn't use raking light to photograph humans if you want them to still like you after you take their picture.

So my first real tip is to start evaluating light by what it does to texture. Low sun, directional light, a flash skimming across the subject... these are perceptual detail multipliers. And if nature won't provide ideal lighting circumstances, you can bring a flash and provide your own light.

2. Subject Separation

Sharpness is partly a perceptual trick, and one of the biggest anchors is the outline. If your subject has a crisp, defined edge against the background, the whole photo reads as sharper. Even if the micro-contrast inside the subject is only okay, your brain locks onto the silhouette first.

There are a few main ways to get good subject separation.

Blur the background with shallow depth of field.

Underexpose the background relative to the subject.

Use rim lighting to trace a bright edge around the subject.

Use color separation by putting the subject's hues in a different family than the background so they pop apart even at similar brightness.

3. Lens > Sensor > Distance > Magnification

When shooting small or far-away subjects, like birds and other wildlife, you do need to set yourself up for success with your gear and capture technique.

You need to start with a sharp lens. In other forms of photography, you can get away with a softer lens, but subjects that are small and far away need the sharpest lens you can manage to make sure you capture all of the detail and texture from the very beginning.

You need to make sure you have a sensor that can keep up with your lens. I think an APS-C or full frame sensor with at least 18 megapixels is enough to get good results when paired with a sharp lens. Much of early digital wildlife photography was shot on a Canon 7D which matches those specs and those photos hold up to this day. Using a camera with a 1.5x crop factor like APS-C can increase your focal length while maintaining high pixel density, which allows you to increase your magnification. However, you will have a lower noise threshold in low light.

One big rule of wildlife photography is that you can never get close enough. This is often down to practice and technique. Learning about the wildlife you are photographing, their behavior, and the techniques used to know where they will be and how to get as close as possible while maintaining safety for yourself and the animal.

And finally, magnification. When you can't get any closer, you'll need your lens to help out a bit. Unfortunately, sharp lenses with a lot of magnification and a decent aperture can get extremely expensive. The current gold standard wildlife lenses cost over $10,000. There are some newer midrange and third party lenses that cost half or even a third of that. But they don't have the large apertures and are more challenging to use in low light. And there are some older lenses on the used market that can get you decent magnification on a budget.

The Canon EF 400mm f/5.6L lens is legendary in the wildlife community and can be bought used for around $1000. (Nikon shooters: the used AF-S 300mm f/4 or the 200-500mm f/5.6 VR are decent alternatives.)

Now, I know what some of you are thinking. "Froggie, you're always telling us gear doesn't matter. You just showed us smartphone photos two sections ago."

Most photography gear is like a hammer. There are expensive hammers. They're better balanced, more comfortable, a little more durable. Professionals who swing one all day will appreciate the difference. But the $10 hammer still drives in the nail. If your subject is close and your light is good, nearly any camera and lens made in the last decade will drive the nail.

A sharp, high-magnification, large-aperture telephoto lens is not a hammer. It's a fighter jet. There is no such thing as a budget fighter jet. It is a specialized machine built for one extreme job. It's genuinely difficult to manufacture. Even the old used ones cost millions. The laws of physics don't offer a discount just because the price tag feels unfair.

And those "budget" super-telephoto lenses? Those are the toy fighter jets. They look like the real thing. They're shaped like the real thing. From a distance, in good conditions, they can even be mistaken for the real thing. If you only ever use them in bright sun, they can perform well enough to impress.

But they're selling empty magnification. They fill the frame with a small subject without adding visual fidelity. There's currently a $1000 800mm f/11 lens for Canon that I refer to as a "bird identifier," because that's what it's most useful for. It will confirm the bird exists. But it will struggle to make art of it, especially since it restricts you to bright overhead sunlight, which, as we covered in tip #1, is exactly the light that kills texture.

And I want to be careful here, because there are really two different hobbies hiding inside "photographing birds."

There is documenting wildlife... seeing a cool bird, capturing proof of the encounter, adding it to your list, sharing it with people who will know exactly how lucky you were to spot it. This is a completely valid hobby, and honestly, the cheap superzooms are great at it. A Coolpix P1100 with an absurd zoom range is arguably the best bird-documenting machine ever built. And if you use it in bright, favorable conditions, you might get the occasional shot worthy of printing and hanging on your wall. If that's your hobby, ignore everything I just said. You have the right tool.

And then there is artistically photographing wildlife in challenging conditions, where the goal isn't proof the bird exists, it's a beautiful image that happens to contain a bird. Light, separation, texture, composition. That's the hobby this post is about, and it's the one where the toy fighter jet falls apart, because it can document a bird in full sunlight at 300 feet, but it can't give you feather detail, subject separation, or usable files in the golden light where beautiful photos live.

Seeing a cool bird and making a beautiful photo of a bird are two distinct things. Neither one is the superior hobby. But they have very different price tags, and most of the frustration I see comes from people using the tool for one to attempt the other.

And no, teleconverters aren't the loophole either. A 2X teleconverter doubles the frame magnification, but even on high-quality glass, it might only add 10 or 20% actual detail. On a cheap lens, it can add nothing at all while crippling your light-gathering ability.

To be clear, even the "budget" options in this metaphor are still fighter jets. That used 400mm is an F-14 Tomcat that Tom Cruise was pretending to fly 40 years ago. A lot cheaper than a new F-22 Raptor, but you are still paying a thousand dollars for a 20+ year old lens with a moderate aperture and no stabilization.

If your budget is $500 for a camera and a lens, I'd love to tell you that wildlife photography can meet you there. Even buying used, I struggle to find a combo for less than $2000. I'd probably go with a Canon R7 so I'd get eye-detect autofocus and adapt the classic 400mm I mentioned.

But here's the good news... the cheapest way to buy magnification isn't glass.

It's getting closer.

Learning your subject's behavior, its schedule, its favorite perches. Using feeders, hides, blinds, camouflage, and slow movement. Setting up where the animal already wants to be instead of chasing where it is. A 300mm prime and 20 feet of fieldcraft will beat a $1500 superzoom every single time. Getting twice as close is a free 2X teleconverter, and it gets you double the detail instead of just +10%.

That's the whole trick behind my bird photos. My "reach" is a birdbath and some sunflower seeds. The birds come within 10 feet of a modest lens, and at 10 feet, that modest lens performs like the $10,000 one.

4. Focus

The 6D Mk1 has one genuinely trustworthy autofocus point... the center one. This is often the case with these elderly DSLRs.

It's the only cross-type point in that body, and the outer points get hunty in anything but bright, contrasty light. For people with older DSLRs with antiquated focusing systems, I would suggest using only that center point and employing a focus-and-recompose strategy. You half-press the shutter, hit a bullseye on your subject, and then reframe as you wish.

Modern cameras have eye-tracking autofocus and it has improved wildlife photo hit rates by an unknowably large margin, but you can still make focus and recompose work if you are patient and practice. Some employ "back button focus" to untether focusing from the shutter button.

Also worth checking is if your lens is front or back focusing. This is a problem with some DSLR cameras in which the mirror-based focusing system is slightly misaligned, so your focus ends up in front or behind the subject. Typically, this is most noticeable at close distances or with a wide open aperture (or both).

You can test your focusing pretty easily with a $5 lens target.

You set it up at 3, 5, and 10 feet. Focus at the center with your aperture wide open. Then you can see if your depth of field skews in front or behind where you focused.

If you find your camera system is not focusing the way it should, there should be an autofocus microadjustment option to help address the issue.

You can also focus in live view mode to avoid this issue.

5. Depth of Field

You need to make sure you have enough depth of field to capture your subject. Finding that narrow band of focus and making sure your subject falls within takes practice. But one pet peeve I have with photographers is this idea of nailing the "correct settings" as a badge of honor. There is this allergy to teaching people it's okay to cover your bases if you don't have confidence in your settings.

I often don't know the "correct" settings. And sometimes I don't have the time to figure it out. The little screen on the back of the camera does not have the fidelity to tell you if things are sharp in all the right places.

What I do know in those situations is the correct *range* of settings that will get me the results I want. I know the DOF is between f/4 and f/8. I know I will need a shutter speed of 1/200 to 1/400. I know my camera can handle an ISO of up to 3200.

So I don't shoot one photo with one group of settings. I shoot the safest combo of settings first, and then I push them toward better settings with a lower probability of success. So if I know f/8 and 1/400 will get me the DOF and motion freezing, I will take that shot first, even though my ISO might be 6400—above my comfortable ISO ceiling. I'll have to deal with noise reduction later, but my subject will be in focus with no motion blur.

Then I might try f/4 and 1/200. This will lower my ISO and get me a cleaner image. But these are riskier settings. The riskier the settings, the more photos you need to take. I'll talk about that more in the "hit rate" section below.

6. Shutter speed

Two different monsters here. Camera shake is solved by tripods, image stabilization, and technique. Subject motion is not. Birds are twitchy little dinosaurs. Even a "still" bird makes constant small head movements, and a tripod does nothing to address that.

If low light is a concern, start with a higher shutter speed than you think you need, check for motion blur, and keep reducing until you get nothing but motion blur. That will give you a range of shutter speeds to pick from. Again, riskier settings can work as long as you take enough shots. Which leads to...

7. Hit Rate

Your hit rate is just the number of acceptable shots within a batch. Safe settings have a high hit rate. Risky settings have a low hit rate. You are using probability to your advantage to make sure you get the photo you want.

This is the tip almost nobody puts in sharpness videos. Even with perfect technique, sharpness has variance. You might miss focus or the focus changes suddenly. A bird twitches between frames. Someone blinks. A sudden breeze makes all the leaves dance. There are so many variables happening in your frame that can cause focus, DOF, or motion issues from moment to moment. And the riskier the settings, the higher the chance those variables will cause issues.

Also, you may have a subject who is unable or unwilling to give you a good pose or expression. There is a hit rate for desired behavior as well.

The best solution to a low hit rate is to just take a shit-ton of photos.

If you need to take 10 photos to get 1 sharp one... take 50 photos, then pick the best of the 5.

If a stubborn kid will only smile in 1 of 20 photos, well... you've got a long day of culling hundreds of photos ahead of you. But when you find those 10 keepers, you'll be glad you took so many photos.

Just remember, risky settings *can* work. Don't give up after one blurry attempt.

These two photos have the exact same settings.

Sure, I have 50 blurry bird photos to deal with, but taking advantage of probability got me plenty of keepers.

The moral of the story is… digital storage is plentiful. I've taken 200 pictures of the same bridge to get 5 decent photos and 1 portfolio candidate. If you have the time and opportunity to take multiple photos with multiple settings, there is a much better chance you will get a great result.

8. Aperture

Every lens has a sweet spot, usually a stop or two down from wide open. But the trap on the other end is diffraction. On a 20MP full-frame like the 6D, stopping down past roughly f/9–f/11 starts softening fine detail. That's physics, not lens quality. If you've been stopping down to f/13 "for insurance," you've been quietly paying for that insurance in sharpness.

You can still get great photos at f/22. I don't want to discourage using a tiny aperture if you need to. Just remember that you may pay a sharpness penalty and your ability to crop may be compromised.

9. ISO

I normally preach that people should stop fearing high ISO. Modern sensors are good, and noise at normal viewing sizes is often a non-issue, especially with noise reduction software.

That's still true. But there are two considerations you should make.

First, every system has a threshold where it falls off a cliff. On the 6D it's probably somewhere around ISO 6400. Some modern mirrorless systems can go up to 12,800 with very usable results. But it is important to do your own testing and figure out where the ceiling is for you. Tolerance of noise is subjective and it is important to know where that line is for you and your camera system.

Second, noise does not survive crop magnification. A file that looks clean at full size can look like sandpaper when you punch in, because you're enlarging the noise right along with the detail. So if you already know you don't have the reach and you're going to crop heavily, your effective ISO ceiling drops. Which means you need more light. And if you don't have enough to spare, you might consider bringing your own light to the situation.

10. Practice, Testing, and Problem Solving

The published photo is the end of a process. That's true even when the photo looks completely spontaneous.

Most of my best photos required an iterative journey to reach that point. My bird setup took me a week to dial in, and my first test shot looked nothing like what I posted.

I tested flash position. Time of day. Aperture and DOF coverage. Focus method. I took somewhere north of a hundred frames before the cardinals looked like something I'd show people.

When you see a sharp photo, you're looking at a solved problem, not a lucky press of a button.

If your interest is wildlife, buy a fake bird. Set it up in your backyard. Take photos from different distances in different lighting conditions. Try to imagine all of the scenarios you might encounter out in the field and simulate them in a controlled setting.

That drill isn't just for backyard setups, either. Even if you are on a spontaneous outing and you brought your camera along in case anything interesting manifests, you still need prior practice and experience to take a good improvised photo.

People are impressed by improv comedians because they are able to manufacture jokes in the moment, straight off the dome. But they rarely consider all of the practice and training involved before that performance.

Improvisation is an illusion.

Good street photographers practice all of the situations they may encounter. They may do pre-planning with Google Maps to scout locations and good angles. They train themselves to pick settings with muscle memory. They are lauded for their ability to take compelling photos in the moment, but they aren't improvising. They just did a Batman amount of prep work to make sure they were ready for a spontaneous capture.

To quote Allen Iverson, "We talkin' bout practice, man."

11. Post processing

There is a term, "straight-out-of-camera" or "SOOC." I have no issue with it as a workflow, but it is often treated as a badge of honor.

"Real photographers don't need to process their photos."

SOOC is held up as more authentic. More "true-to-life," a sign of superior skill compared to people who use Photoshop to fix their photographic sins.

That attitude is hogwash.

SOOC just means you let a robot process your photo instead of doing it yourself. You're deferring the final look of your image to the color science algorithms a camera manufacturer built to give a decent result across the broadest range of situations possible. It takes human judgment out of the loop and automates it.

There's a real skill in choosing the right color profile, settings, and white balance to get a close approximation of what a scene looked like to the naked eye. That's a legitimate workflow.

But it's still just one processing choice among several, made by whoever configured the algorithm, rather than by you, in the moment, looking at your actual photo. Calling that "more authentic" than a human doing the same job with more control isn't a technical claim. It's a status claim wearing a technical costume.

If you want a natural, true-to-life look, human-guided processing will almost always get you a better result than a fixed algorithm can, simply because you can look at this photo instead of applying the same formula to every photo.

And if you want to push the image toward something more stylized, or rescue a shot where you botched a setting, processing can do that too.

There's no shame or added valor in any of these approaches. I was a photo manipulation specialist long before I was a photographer, so I enjoy combining the two skill sets. Image editing is a place of zen for me, and I like using every trick in the book to make the photo on my screen match the one I had in my head before I ever pressed the shutter button.

But that's my process, not the correct one. Yours can be entirely different and just as legitimate.

That said, even if you have a SOOC preference and would rather be shooting than pushing sliders in Lightroom, just a few simple adjustments in a RAW image editor can improve your photo's contrast and detail far beyond your camera body's processing algorithms. You don't even have to leave the Basic panel.

SOOC JPEGs are fully baked with the camera's processing applied. Whereas RAW files are a bit dull and low contrast by design. They are meant to store as much image data as possible. They are meant to be processed.

And in order to bring out the detail you captured, it is important to know which levers bring out contrast and texture.

People often hit the contrast slider first. But I suggest using it as the very last adjustment. There are better and more refined ways to improve your contrast.

First, you want to make sure all of the detail you want is visible. This is what the Highlights and Shadows sliders are for. If there is a dark area that isn't legible, raise the shadows. If there is a bright area blown to pure white, try reducing the highlights.

The Whites and Blacks sliders are much better levers for enhancing your contrast. They just push the most extreme tones to the edge of your histogram. Your perceptual anchor for contrast is largely due to the brightest and darkest values in your image. Pushing these sliders as far as you can without losing important detail will greatly improve overall contrast.

Note that I said *important* detail. It's okay to send things into pure black or white. So many people are afraid to go beyond the edge of the histogram. Not all detail needs to survive.

This fear of not seeing *everything* has infected the HDR capture in most smartphones. We are just swimming in bland midtones.

Clarity and Texture in Lightroom are the new sharpness. In fact, I often abstain from adding sharpening because these two sliders are so powerful at enhancing microcontrast. They are midtone and local-contrast tools. They amplify tonal separation that already exists. Instead of targeting the entire photo, they just give a pop to the bits that give a sense of detail.

Just a word of warning, Texture and Clarity are some of the easiest sliders to push too far without self awareness. They can get just as crunchy as over-sharpening.

Upscaling, sharpening, and noise reduction tools like Topaz Photo can save photos in which your risky settings did not pay off. These are technically "AI" tools and there are some generative features, but the software does its best not to fundamentally alter your photo unless there is no other choice. And even then, you can decide how much AI help is applied or just use the non-AI functions.

The only time I really use the more generative features is with photo restoration work. If someone has a 100 year old wallet size photo, and they want to make it 8x10, generative upscaling needs to be involved.

But if you use best practices to make sure your images have plenty of inherent detail, you won't even need to worry about that.

Closing Thoughts

Gear is helpful, but it isn't magic. Usually, time, preparation, and effort are the real difference-makers in creating a good image.

These photos were taken with the exact same camera by the exact same photographer.

One was me saying, "Oh shit, a groundhog!" and snapping a pic before he ran away.

The other was me smushing all 11 tips into a single frame.

It required setting up a flash and an umbrella, lying in the wet grass, and patiently waiting for Otis to wander in my direction because he had important things to sniff and did not care how much effort I was putting into taking his photo.

If someone asked for a one-word answer on how I get sharp photos, I'd probably say "maximum effort."

I always give 110%.

Which is why my one-word answer has double the requested words.

I have trouble relating to folks who buy smaller and smaller cameras so they can travel light. I have very little energy to spend on photography, so when I do spend it, I overspend. If a photo needs a light, I bring the light… even to the middle of nowhere. If it needs a 7-foot umbrella, the umbrella is coming too. Give me the biggest camera, the biggest lens, the biggest light, and a tripod that is so unwieldy that you need to carry it over your shoulder like a light machine gun.

I plan the photo before I ever take it, and I will spend a week editing a single frame if that's what it needs.

It's a workflow designed around my strengths and limitations. Low volume. Maximum effort. Everything is decided in advance because I might only get one attempt.

No one has to do it that way.

I encourage everyone to learn and improve their skills, but don't worry too much about getting a perfectly sharp photo every time.

It's okay to take a blurry photo of a groundhog.

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Also, if @shinydetritus or anyone else is having issues with image sharpness, feel free to send me examples and I can help you diagnose the issue. RAW files are better, as I can see the metadata, but I can figure out what is going on with JPEGs too.