They say that only those who do noth­ing do not make mis­takes. Almost every pho­tog­ra­ph­er, regard­less of expe­ri­ence, tal­ent or lev­el of fame, has made at least one of the sim­plest mis­takes at one time or anoth­er.

There­fore, espe­cial­ly so that you can avoid them, we have com­piled a check­list of the most com­mon prob­lems that can even an expert.

Source: techradar

1. Forget extra batteries or memory card

This has def­i­nite­ly hap­pened to every­one. We are taught from the very begin­ning that the cam­era should always be tak­en with you, but they for­get to add that it comes with a lot of nec­es­sary acces­sories. More­over, as luck would have it, the far­ther you need to go for the per­fect shot, the more like­ly it is that some­thing will be for­got­ten. For exam­ple, if you’re walk­ing into the yard to take a cou­ple of shots, chances are you’ll have every­thing you need close at hand. And when you dri­ve to the oth­er end of the city, it turns out that there are no bat­ter­ies or cards in the back­pack.

How to avoid it?

Always dou­ble check the con­tents of your pho­to bag. Even if it seems that none of the addi­tion­al acces­sories will come in handy, keep them ready. It is con­ve­nient for some to make a list and check the avail­abil­i­ty of equip­ment point by point.

2. Do not clean the memory card

Who has­n’t this hap­pened to? The shoot­ing is going great: the light is per­fect, the mod­el is in a good mood, the pho­tos are suc­cess­ful, and sud­den­ly the free space on the mem­o­ry card runs out. What to do? Espe­cial­ly if it turned out that the first mis­take from the list just wait­ed for you on the same day. A uni­ver­sal solu­tion is to sit down to clean the card from old unnec­es­sary pic­tures. And you will be lucky if the mod­el is patient and there is enough stu­dio rental time left. But what if you are film­ing a con­cert or sport­ing event? Lose pre­cious min­utes. So it is much bet­ter to pre­vent the pos­si­bil­i­ty of such an error.

How to avoid it?

After each shoot­ing, imme­di­ate­ly down­load the pic­tures to your hard dri­ve or com­put­er, then feel free to for­mat the mem­o­ry card and insert it back into the cam­era. Thus, for each new shoot­ing, it will be ready in its orig­i­nal form. And of course, do not for­get about the spare card.

Source: YouTube

3. Not familiarizing yourself with the shooting location in advance

The high­er the lev­el of the pho­tog­ra­ph­er, the more suc­cess­ful the shots, the greater the self-con­fi­dence. But this is not always a good thing, as we risk for­get­ting impor­tant ele­ments of pre-pro­duc­tion. The loca­tion should always be stud­ied in advance. It is impor­tant to under­stand how light­ing works in dif­fer­ent sit­u­a­tions, where you can catch good shots and, most impor­tant­ly, whether there are inter­est­ing angles in a giv­en place. Some­times it turns out that a beau­ti­ful pic­turesque val­ley is not at all suit­able for film­ing. So it turns out that you spend time and effort, but you will not get the result. If one pho­tog­ra­ph­er looks at this iron­i­cal­ly, then the oth­er can be very upset. And not every­one has time for aim­less trav­el.

How to avoid it?

Dur­ing any trips or walks, look around, always look for good places and return there lat­er with a cam­era. But nev­er miss an oppor­tu­ni­ty to test out a loca­tion before head­ing out there for a full shoot.

4. Do not use automatic modes

Real pho­tog­ra­phers always, absolute­ly always shoot in man­u­al mode. Truth? Not at all. Mod­ern cam­eras are get­ting smarter and smarter, and many of the semi-auto­mat­ic modes can fine-tune your set­tings while reduc­ing your effort and time spent on the job. More­over, many tech­niques require the use of pri­or­i­ty modes. Just because you let the cam­era do some of the work on its own and take advan­tage of it does­n’t mean you shoot in auto and don’t look at the set­tings. In each sit­u­a­tion, you need to choose the mode that will work most advan­ta­geous­ly. And there is absolute­ly noth­ing wrong with that.

How to avoid it?

For starters, you should stop lis­ten­ing to all those who divide pho­tog­ra­phers into real and fake. Using addi­tion­al cam­era fea­tures allows you to focus not on the tech­ni­cal, but on the artis­tic side of the frame, and this is always wel­come.

Source: Pan­doTrip

5. Too early to leave the location

A com­mon mis­take among those who shoot nat­ur­al land­scapes, espe­cial­ly at sun­set. After a few shots, espe­cial­ly if one of them was suc­cess­ful, we often rush to leave the loca­tion and go home to the lap­top and edit. But real­ly there is no rush at all. After sun­set itself, for at least half an hour you will observe a mag­nif­i­cent sky with rich sat­u­rat­ed col­ors. And this time is incred­i­bly good for film­ing, espe­cial­ly if you sud­den­ly get lucky to see low clouds, tint­ed with the resid­ual light of a bright sun­set. That’s just in pur­suit of the intend­ed frame, we often for­get about it.

How to avoid it?

Nev­er leave right away, make sure you take every­thing that inter­ests you and stay at least half an hour. How­ev­er, try to com­plete your shoot before it gets com­plete­ly dark. There will be enough time at home to fig­ure out whether it was worth stay­ing at the loca­tion.

6. Shoot too much or too little

An expe­ri­enced pho­tog­ra­ph­er, espe­cial­ly if he was brought up on film, knows that every frame is worth its weight in gold. There­fore, it refers to the mem­o­ry card very spar­ing­ly. But this does not mean at all that you can­not be dis­tract­ed by unplanned, but suc­cess­ful moments. After all, you will miss out on unique oppor­tu­ni­ties. Sim­i­lar­ly, it is not nec­es­sary to shoot every­thing in a row. At the very least, this will lead to the fact that you quick­ly lit­ter the mem­o­ry card. And at most, it will make you go through the fin­ished frames for a long time in order to choose the best ones among them. Each frame requires reac­tion, deter­mi­na­tion and prepa­ra­tion. This must not be for­got­ten.

How to avoid it?

Over time, you will devel­op a bal­anced approach, under­stand­ing exact­ly when to take a pic­ture, and when it is absolute­ly not pos­si­ble to take a pic­ture. But for starters, you should sim­ply relax and look around, wait­ing for the right mate­r­i­al. But of course, it’s worth giv­ing each frame as much time as it requires. After you find a good object, look at it from dif­fer­ent angles and choose the one that works best.

Source: Dig­i­tal Pho­tog­ra­phy School

7. Consider that there is nothing to shoot here

It hap­pens that you look around and under­stand: there is absolute­ly noth­ing to shoot here. This kind of think­ing is almost always a mis­take. No won­der pho­tog­ra­phers are taught not just to look around, not just to observe, but to always be in search of a frame. Even dur­ing an ordi­nary walk, you should always have a spe­cial sen­si­tive per­cep­tion of the envi­ron­ment. Every time you look at a famil­iar build­ing or object, you can imag­ine it as a frame, because with the right tech­nique you can catch one ele­ment, angle or angle so that you get a unique and inim­itable shot.

How to avoid it?

Almost every­where there are at least a few poten­tial per­son­nel. They are cre­at­ed by objects, peo­ple, light­ing and even weath­er. Nev­er be shy to take out your cam­era and check it out. It may turn out that the frame real­ly fails, but this does not mean that it does not need to be searched for. Most of the famous shots were acci­den­tal, and behind many was the ques­tion of whether to take a pic­ture or bet­ter to pass by.

8. Shoot the same thing over and over

When we find some­thing of our own, some­thing that suits our style or genre, we often for­get about every­thing else. For exam­ple, a few suc­cess­ful por­traits can lead you entire­ly into this par­tic­u­lar genre. And then the inevitable stag­na­tion fol­lows. Hav­ing squeezed your­self into the frame­work of one direc­tion, it is very easy to lose style and orig­i­nal­i­ty in favor of the usu­al pic­tures. This threat­ens with monot­o­ny, loss of taste for shoot­ing and numer­ous prob­lems, from which, for­tu­nate­ly, it is not so dif­fi­cult to get out. The main thing is to move away from the usu­al and try some­thing new, whether it’s tech­nique or style.

How to avoid it?

In order to reduce the risk and not end up in a sit­u­a­tion where all the pic­tures will seem the same, it is best not to ini­tial­ly lim­it your­self to one direc­tion. Peri­od­i­cal­ly give your­self a cre­ative shake-up, par­tic­i­pate in chal­lenges or mas­ter class­es. Nev­er stop learn­ing new things about pho­tog­ra­phy, even when it seems like every­thing has already been learned. There is no lim­it to per­fec­tion, as well as cre­ativ­i­ty.

Source: Bor­rowLens­es

9. Don’t change lenses

Even a high lev­el of skill and vast expe­ri­ence will not change the tech­ni­cal capa­bil­i­ties of the cam­era and lens. And even though there are the most ver­sa­tile options with a focal length that varies from wide-angle to tele­pho­to, inter­change­able lens­es are designed to change them some­times. But many peo­ple wor­ry about the matrix or the puri­ty of the glass itself, so they sim­ply do not change the lens when the scene requires it. The rea­sons are dif­fer­ent, but the result comes down to one thing: some­times you can see in the pho­to that it was tak­en with the wrong lens.

How to avoid it?

It’s sim­ple, you need to use the right lens for each intend­ed frame. Even if you feel uncom­fort­able, or don’t want to take out and change the glass dur­ing film­ing, you have to do it. This is one of the things that you have to get used to in order to always get exact­ly the result you expect. There are sim­ply no com­pro­mis­es here.

10. Don’t exhibit your work

This error applies to all pho­tog­ra­phers. Absolute­ly every­one. Begin­ners are often embar­rassed to show their pic­tures, wor­ry­ing about pos­si­ble crit­i­cism. Expe­ri­enced pho­tog­ra­phers exper­i­ment with dif­fer­ent styles and direc­tions, and are afraid to show the result so as not to dis­ap­point exist­ing fans. But all this only leads to the fact that the author always asks the ques­tion, how suc­cess­ful is the pho­to­graph?

The most accu­rate way to find out is to show it to oth­ers. And do not be afraid that no one will like it. After all, even a neg­a­tive result is a result.

How to avoid it?

Now almost every pho­tog­ra­ph­er spends a lot of time on social net­works, pro­mot­ing their brand or sim­ply get­ting advice and rec­om­men­da­tions. That is why they exist, so do not be shy, and it is always worth shar­ing the footage, find­ing out how peo­ple react to them, what they like and what they do not like. But the main thing is to remem­ber that most of the reviews are just opin­ions. The main thing is that there will sure­ly be some­one who will like the frame and who will appre­ci­ate it.