Do These 5 Things Instead of Buying New Gear

We are bombarded with videos and articles talking about the latest and greatest gear. No wonder we, as photographers, start to think we need new or better gear to improve our photography. But instead of buying gear, start practicing these five things to really improve your landscape photography.

It Is Easy to Talk About Photography Gear

It is easy to talk about photography gear; it is what many of us do when we can’t get outside and practice our photography. How the latest-generation camera makes this or that easier, how this lens filter will make your life better, or how this camera bag carries everything you need and does it comfortably. While this may or may not be true, there are much better ways to improve your photography that don’t involve buying new gear.

Master Your Camera Settings

The camera is a tool, and once you learn how to use it, it should stay out of your way and help you. But to reach that point, you need to practice with it and become very familiar with how to change its settings, where things are in the menu, what it does well, and what it doesn’t do well so you can compensate for that.

First, familiarize yourself with the exposure triangle, the building block of photography. Read and watch videos to fully understand how shutter speed, aperture, and ISO interact to achieve a good exposure in the camera. Then, learn how the light meter works and how it sees light compared to the histogram and what it tells you.

With that in hand, practice with your camera so that changing those core settings is second nature. You know exactly which setting to change and why you are changing that setting. This involves understanding the exposure triangle and which dials and knobs on your camera let you change exactly what you want. This is the first step to the camera staying out of your way.

From there, learn some of the more advanced options on your camera. Learn to manually expose a high-dynamic-range scene and to use your camera’s automated options to capture this bracket. Know what setting options are available, where those settings are in the menus, and how to enable them.

The same applies to focus stacking. Learn when to use focus stacking, how to focus stack manually, and how your camera can help automate focus stacking. Experiment with its options to see which settings result in the sharpest photos from front to back.

As you continue, make your camera more efficient to use. Are there custom controls you should be mapping? For example, I map exposure delay to a button so I can easily enable or disable it without digging into the menus. Most cameras also have a quick menu system where you can customize it to include your frequently accessed settings.

All of this helps make your camera more efficient to use. You spend less time figuring out how to do something and more time knowing what your camera is capable of and how to adjust those settings quickly. This helps you focus more on the creative elements of photography than the technical aspects.

Learn Composition

With camera fundamentals in hand and turning it into a tool of efficiency, mastering composition is a key component of improving your photography. Some people have a natural eye, and others need a little more work to see and create interesting compositions. Even if you aren’t a natural, you can still learn this component of photography.

Start with the basics—the rule of thirds, leading lines, interesting foregrounds, simplicity, and so on. Although they are called rules, I prefer to think of them more as guidelines. When starting out, they are important to help you down the right path.

Using those guidelines, start adding other elements to your compositions. Stop walking up to a scene and photographing everything from chest height. Instead, play with high angles and low angles. Learn which angles work best for some scenes and better for others.

For example, a high angle can often give you more separation in midground or foreground elements. A low composition can help strengthen a leading line. But experiment with these camera angles to give you more tools to work with when creating your images.

I also recommend that people consume more photography—not just scroll through social media but deliberately study photos. Get a photography book, sit in a comfortable spot, and think about the images as you view them. Why do you like them? What stands out? What did the photographer do with their camera angle and distance to make this picture interesting? Take those insights and apply them to your own photography when practicing.

Museum exhibits of photography are a great way to study composition. You tend to have a more deliberate mindset at a museum, which lends itself to deeper thought. While at the museum, look at some paintings as well. Painters had complete freedom to create a scene. What elements did they use in their compositions? It can be very telling.

See the Light

Early in your photography journey, you learn that we see light differently than most people. At the very least, we are more in tune with it. We see how fast the light moves, start to learn what makes for a good sunrise or sunset, and the list goes on.

The best way to learn to see light is to get out and pay attention. When do things look good backlit? What makes a better subject on an overcast day? What looks good with sidelight?Over time, we learn more about how light moves and interacts with different environments. This allows us to be in the right place at the right time more often, increasing our odds of capturing stunning images.

Learning to see light doesn’t always require a camera. Watch the light as you drive or as you walk in your neighborhood. Simply being more observant day to day will pay off when you are out with your camera.

Refine Your Post-processing

The first three tips help maximize the quality of the images you bring home. Once home, the editing process plays a significant role in the final result. There is so much to learn with post-processing.

First, learn how your editing software of choice works and what options it has. Adobe Lightroom or Photoshop can be overwhelming the first time you open them—buttons, sliders, and terms you don’t fully understand. But start slowly and learn what each panel does.

Start building on those successes and add more tools to your kit. Learn why local adjustments are so important. Learn how your software lets you make local adjustments and what options it has to select those adjustments.

It is a building process. Start with a technique, learn how it works, and then add another. Over time, you will acquire a toolbox of editing techniques that will give you options as you refine your editing style.

This is not to say you need to over-edit your photos. But if we are photographing in raw, some general editing must be done to breathe life back into your final image. Mastering post-processing will help you create these stunning final images.

Get Out and Practice

Finally, get out and practice! This is the single most important thing to improve your photography. It is easy to watch video after video, read book after book, and think you are improving. But as soon as you get into the field, it is like your mind blanks and you forget everything.

Going outside to practice what you have watched or read is the key to making it second nature. Practice is what takes the information you have consumed and turns it into a tool you can use in your photography.

Mastering your camera takes practice in different conditions. Learning to compose interesting scenes requires getting outside and working through the whole process. Seeing the light and its interaction with the environment takes field practice. Post-processing is best learned by seeing how your images work with the techniques you have learned.

The five tips here will help you improve your photography more than buying new gear ever will. So remember, get out there and practice, practice, practice!

Jeffrey Tadlock's picture

Jeffrey Tadlock is an Ohio-based landscape photographer with frequent travels regionally and within the US to explore various landscapes. Jeffrey enjoys the process and experience of capturing images as much as the final image itself.

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15 Comments

Jeffrey, this article is a great reminder that improving as a photographer isn’t about chasing the latest gear but about refining skills and sharpening creative vision. Too often, we equate new equipment with progress when, in reality, mastery of composition, light, and post-processing will take us much further.

Your emphasis on seeing the light particularly resonates. As a fashion and editorial photographer, light is everything—it defines mood, texture, and storytelling. Observing how it moves throughout the day, whether on a model’s face or across a cityscape, can elevate an image from ordinary to extraordinary.

I also love the call to consume and study great photography. I often encourage emerging photographers to analyze fashion editorials, classic portraiture, and even paintings for compositional inspiration. What sources have influenced your own approach to studying composition?

Paul Tocatlian
Kisau Photography
www.kisau.com

Glad you enjoyed the article! I've found as a photographer that learning to see the nuances of light is so important!

As for my consumption of photography and studying composition, for landscapes I like the Natural Landscape Photography contest books. Each year, they put out a book with some of the best images from the contest - so it lets you see a variety of photographers, but it is sort of a curated collection. I find it super helpful to review.

For portraits and other genres, I like photography books from some of the greats. Elliot Erwitt, Jim Marshall, and so on.

Books. Lots of books, especially those which get inside the mind of the photographer. Especially old books. One of my favorites is "The Making of 40 Photographs" by Ansel Adams. Even though he based his work In film and darkroom, it's not that hard to translate what he was thinking into digital. And philosophical ideas never go out of style. People are people.

By the way, as a side note... for the first few years of my photography endeavors, I'd buy all the photography magazines at Barnes and Noble. After a few years though, I realized that the magazines were primarily focused on gear and technique. And to the point of this article, I decided I didn't need a daily barrage of advertisements for stuff I didn't need. So I turned my attention to the used book stores.

Another book that's presently top of mind is "American Craftsman" by Tadd Myers. It's more about individuals who make a product, but the photography is fascinating. At first glance, this is no ordinary photography... camera angles are all different, shallow depth of field is used extensively, and close up images of the workers are intimately personal. And the stories of these people who take so much pride in their work, whether it's hand crafting a bowler hat or a guitar... the stories are so incredibly inspiring to anyone who signs their name to their work.

Books are great - magazines with their ads could certainly be a distraction.

I also think books are a great alternative to just scrolling on social media or online for a similar reason, easier to avoid distractions if you can just hold a book in your hands.

For as long as I can remember when asked … are you a professional?” I’d reply “No, I’m strictly an amateur, … I do it for love, not money” (don’t tell my clients ;)). Mind you not in the vernacular as to inferior skill, or pursuit as a hobbyist or pastime activity, but instead as a lover … of the art(s), my subject(s), the light, fellow photographers and artist, the lover of feelings and sharing parts of me. And the moment I start doing my photography for ulterior motives it no longer represents me.

Gear talk has always driven me nuts and had noticed these people also seem to be the ones with quick list excuses why they keep missing shot after shot, or are the ones who get bored in the field or fine excuses not to go at all. Also these are the people who always want to know what lens f-stop, shutter speed and film speed were used.

Small minds discuss people
Average minds discuss events
Great minds discuss ideas
- Eleanor D. Roosevelt

Give me a mechanical camera a decent range of prime focal length lenses and I’m just fine. Oh, several rolls of film or an empty memory card, too. I have never been a chaser of light or one who waits for it to “Happen”. My style is more of an adaptive approach or philosophy to photography. Heading out in the field for a photo session I strike out by if not before dawn, having a general destination or direction in mind. As to whether or not I ever arrive there or if I do, making a photograph of it is quite a bit more subjective than that objective. I shoot a little more loosely than that. I’m more of an adaptive photographer, alway tuned in to the weather, lighting conditions, and on the lookout for interesting subject(s), large and small. Once I find a worthy subject, I being evaluating it photographically for composition and existing lighting. If everything come together I make an image or a few if things really go well, if not I resume onward. Some days are a relay of subject evaluations and lighting interpretation of selected subjects. Other days are not as productive, but it’s a rarity when I don’t find something worthy of an image or two. Learning to recognize quality light and interpret it to optimize a existing subject to compose the best possible image a new piece of gear ain’t going to help. Once you learn your gear and become technically proficient with your exposures, it time to learn composition and interpreting or recognizing light quality. Next is to let your imagination and your inner self free.

“You learn to see by practice. It’s just like playing tennis. You get better the more you play. The more you look around at things. The more you see. The more you photograph. The more you realize what can be photographed and what can’t be photographed. You just have to keep doing it.” - Eliot Porter

Or as James Douglas Morrison put it “Break On Through To The Other Side!”

Some great thoughts here! Thanks for the comment!

I like the notion of an artisan photographer—not bound by the labels of amateur or professional, but someone who creates with intention, passion, and a deep connection to the subject. Amateur conveys a love for the craft, while professional refers to making a living from it. However, artisan captures the dedication to the process itself—the careful shaping of an image, much like a craftsperson refining their work.

Your words resonate, especially about being a lover of the art, the light, and the shared experience of photography. Gear talk has its place, but it’s never been what defines a great image. Light, composition, and emotion are the real tools of the craft. Like you, I don’t chase light; I adapt, letting the moment guide me. Some days are full of inspiration, others are quieter, but there’s always something to discover.

Paul Tocatlian
Kisau Photography
www.kisau.com

All good advice, and one more I promise I will follow myself more this year: Print Your Photos, put them up on a wall and live with them. You will see things you did not see in awhile, and then you can figure out how to do better next time.

Oh - that's a great one! Printing is a great path to improving! You just see so many things differently when the image is printed than you do when it is on a screen!

I agree with your comment about printing your photos. Except this: don't feel like you have to put them on a wall as justification for making a print. I feel much more intimately connected to my work by holding it in my hands. Even the choice of paper becomes a significant decision. I store them in a clamshell box, which is sort of like looking through the old family picture albums full of pictures, except larger and more professional.

Bill, I totally agree put them on the wall and make it a place you will see them day in day out, not to fuel your ego but more so to raise your ire over errors, mistakes, flaws and faults. Be it in the image, post-processing or printing or any other issues or short comings as you the photographer’s presentation. I you can’t live with a piece of your art day in day out how can you expect any one else too.

I was (briefly) a member of a local photography group. I was amazed at the way members cherished their oldest kit, yet couldn't wait to change their newest.

It is funny how it works out that way!

Your article has made me reconsider my decision to purchase the new OM3 when it’s released on the 27th. It was an excellent read, and it serves as a valuable reminder that the best way to enhance your photography skills is through consistent practice.

Salman
Captured Corners
capturedcorners.com

Glad you enjoyed the article! Practicing is so important and pays off much more than new gear does!