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Shielding your lens from the harsh rays of the sun is one of the most important things you can do to protect your equipment and get better photos. Direct sunlight hitting the front element of your lens can cause lens flare, reduced contrast, and hazy or washed out images. It can also damage your lens over time, reducing image quality from internal reflections.
The best way to shield your lens is with a lens hood. Lens hoods are designed specifically for each lens model to block light from entering at extreme angles. They attach to the end of your lens and extend out, creating a shadow over the lens. This blocks stray light from hitting the front element. Lens hoods are inexpensive and easy to use. Simply screw them on or clip them into place.
Another option is to make a DIY lens hood using cardboard, construction paper, or even your hand or hat. Anything that blocks the sun's rays from entering the lens directly will work. You can cut cardboard into a circle or rectangle larger than your lens diameter and attach it with rubber bands or tape. For quick shielding, cup your hand above the lens or hold a book or notecard to create a shade.
When using a lens hood isn't practical, try changing the angle of your shot so the sun is behind you. This puts your lens in shadow. If the sun is low on the horizon, shooting vertically so the sun is off to the side can eliminate lens flare. You can also wait until the sun passes overhead.
Photographer Max Foster warns, "Pointing your lens directly at the sun, even for a moment, can irreversibly damage elements inside." The focused rays act like a magnifying glass. Max suggests, "Rotate your tripod and preview your shot using Live View if needed."
Landscape photographer Karen Schulz explains, "I always pack a lens hood and clean microfiber cloth when shooting midday landscapes. The hood blocks stray light while the cloth lets me wipe off any dust that lands on the front element when changing lenses."
Having a system to shield lenses quickly is key. Nature photographer Vickie Henderson says, "The action when photographing wildlife doesn't stop for you to fuss with gear. I keep lens hoods attached and a shade ready to hold up if the sun angle changes."
One of the biggest challenges of shooting in bright sunlight is the intense contrast between highlights and shadows. The sun acts as a single dominant light source, creating dark, harsh shadows on the subject. Using fill flash is an effective way to balance out the lighting and illuminate those shadows. The flash brings up the exposure of the darker areas while leaving the highlights intact. This helps reveal details that would otherwise be lost in shadow.
Fill flash also reduces contrast, allowing you to capture a wider range of tones. Photographer Michael Freeman explains, "Without fill flash, the difference between sunlight and open shade can force you to choose between a recognizable but low-contrast face or a high-contrast portrait with impenetrable shadows." Adding flash softens those shadows to create a more balanced exposure.
Using fill flash allows you to shoot at faster shutter speeds to avoid motion blur and camera shake. Photographer Moose Peterson advises, "A touch of fill flash enables fast enough shutter speeds to stop action and adds catchlights to subjects" eyes." This brings portraits to life. The faster shutter speed also lets you shoot with wider apertures for blurred backgrounds.
For balancing sunlight, use flash exposure compensation to reduce your flash output. Start at -1 or -2 stops. This retains subtle shadows while opening up detail. The Looney 11 rule states ambient exposure should be 1 stop darker than flash. This prevents the scene from looking too flat.
Photographer Darlene Hildebrandt says, "I try not to blow out my backgrounds when using fill, keeping my flash power around -1.5 stops. This gives me bright, detailed subjects against still visible backgrounds."
Off-camera flash rotated upwards towards the subject creates the most natural looking light. However, many situations call for on-camera fill flash. This can be done using a flash unit or pop-up flash. Diffusers help soften the light. Karen Schulz tilts her on-camera flash up and masks the lower part to avoid lens shadow. "This puts a catchlight in the subject"s eyes while providing fill."
Picking the optimal time of day to shoot in harsh sunlight is crucial for getting good results. Photographer David Shaw warns, "Midday sun casts stark shadows that can ruin your composition. But early and late in the day, the low angle sunlight sculpts the landscape beautifully." Here's how to take advantage of the sun's position throughout the day.
The golden hours shortly after sunrise and before sunset are prime times for shooting outdoors. Landscape photographer Colin Prior explains, "During the golden hour, sunlight is diffused through more atmosphere, creating a warm, soft quality." The low angle sunlight skimming the landscape provides ideal conditions for capturing textures and shapes. Sunrise and sunset last only about 30 minutes, so planning is key.
Photographing in open shade during midday is another good option. Open shade is found on the north side of buildings or under trees and overhangs. Photographer David Shaw says, "Open shade illuminates subjects indirectly with soft, diffused light. This reduces unsightly shadows while retaining good color and detail." Compared to direct sun, open shade reduces contrast. Move around to utilize pockets of shade as the sun angle changes.
Overcast and cloudy days are perfectly suited for photographing in harsh sunlight conditions. The cloud cover acts like a giant diffuser, creating soft light that wraps around subjects. Photographer Karen Schulz explains, "Overcast skies reduce contrast and fill shadows with delicate light. This allows me to photograph all day without harsh shadows." Clouds come and go quickly, so be ready to jump on opportunities.
Early morning and late afternoon offer ideal mix of sunlight and open shade. During these shoulder hours, the sun is low but still bright. Photographer Jack Dykinga says, "I look for subjects half in sun and half in shade. This combines the modeling and texture of angled light with soft, delicate open shade." Move around as the light changes to take advantage of both lighting conditions.
When shooting midday, look for backlight opportunities. Photographer Lewis Kemper says, "Backlighting creates an atmospheric glow around subjects. To avoid silhouettes, expose for the subject or use fill flash." For landscapes, backlight brings details and texture to the foreground. Time your shoots to utilize backlight during peak sunlight hours.
Adjusting your camera settings is vital for getting the best possible photos in harsh sunlight conditions. When photographing in bright sun, the high contrast can easily throw off your camera"s built-in light meter and cause issues like clipped highlights, muddy shadows, and improper exposures. Taking control of settings like ISO, aperture, and shutter speed will help you properly expose your images.
Landscape photographer Michael Frye explains, "In bright sun, matrices and evaluative metering modes often overexpose backgrounds. I switch to center-weighted or spot modes to expose for my subject accurately." Evaluative modes get confused by large areas of bright sky or sunlight reflected off water in seascapes.
Lowering your ISO is another way to prevent blowing out sunny backgrounds. Photographer Darlene Hildebrandt advises, "I use the lowest native ISO of my camera when shooting in sunlight to prevent overexposure. This also maximizes dynamic range." A low ISO like 100 or 200 gives you brighter highlights to work with.
Aperture choice is also critical in sunny conditions. Landscape photographer Elia Locardi warns, "Using wide apertures like f/2.8 can make images appear washed out in bright light. I stop down to f/8 or higher to darken my exposures." Narrower apertures help block excessive light.
Shutter speed adjustment is required to freeze motion on sunny days. Sports photographer Bill Frakes says, "The shutter speed needs to be fast enough to eliminate blur and capture peak action." Use speeds of 1/500s or higher and increase ISO to achieve these speeds if needed.
Photographing into the sun often requires exposure compensation. Photographer Lewis Kemper explains, "When photographing a backlit subject, I increase exposure compensation to correctly expose the person while letting the sky go bright." Bracketing exposures is wise to give you options later.
Enabling highlight clipping warnings is useful to identify areas losing detail. Photographer David Shaw says, "I check my histogram and enable blinkies during bright sun shoots to make sure I"m not blowing anything out." Adjusting exposure compensation downward then helps retain highlights.
Manually exposing in difficult conditions gives the most control. Photographer Michael Freeman says, "I go fully manual on sunny days, choosing settings to correctly expose for my subject and the scene." Check your settings using Live View rather than the viewfinder. Review images regularly and continue adjusting.
Finding shade is one of the most effective ways to soften and fill in harsh shadows when shooting in bright sunlight. Landscape photographer David Shaw explains, "Shaded areas provide gentle, diffused light that wraps around subjects softly and reveals detail in shadows." Rather than blocking light, shade acts like a giant softbox, illuminating subjects indirectly. Photographing in shade allows you to escape the high contrast and dark shadows created by direct overhead sunlight.
There are two types of shade to utilize - blocked and open shade. Blocked shade is found underneath solid objects like trees, buildings, bridges, cliffs, and more. These obstructions block direct sunlight, creating a shaded area. Photographer Michael Freeman says, "Blocked shade offers excellent protection from harsh midday light. I often photograph people under the shade of a large oak tree to avoid dark eye sockets and facial shadows."
Open shade occurs alongside objects like buildings or trees rather than underneath them. Open shade still softens direct sunlight but allows bright ambient light to illuminate the scene. Photographer Karen Schulz explains, "With open shade, you get soft light influenced by reflections and skylight. This prevents the background from going too dark." Open shade offers more even lighting than direct sun.
Knowing where to find pockets of shade is crucial when photographing in sunny conditions. Study the angles and paths of the sun during your shoot to anticipate where shadows will fall. Be ready to move subjects into shaded areas as the sun position changes. "I plan compositions to place subjects in open shade as much as possible," says portrait photographer Lindsay Adler. "This provides soft, wrap-around lighting ideal for portraits."
When shooting cityscapes or architecture, photographing on the shaded north side of buildings blocks direct sunlight. "I try to work the northern light when shooting urban exteriors," explains architecture photographer Andy Feliciotti. "This prevents harsh illumination and reveals more detail." For natural subjects like plants or mushrooms, photograph on the shaded side to reveal color and texture lost in sunshine.
Soft, open shade under tree canopies can create ideal portrait lighting. Darlene Hildebrandt, natural light portrait expert, advises finding shade created by overhead branches. "The tree canopy diffuses direct sun nicely. Turn the subject's face towards the open area for gentle modeling." When leaves move, watch for patches of sun sneaking through.
Light quality in shade changes based on the surroundings. Reflective surfaces like water or sand can bounce bright sunlight into shaded areas, reducing shadows. Photographing in forest shade creates darker, moodier light. Seek shade that matches your creative vision.
Adding reflectors and diffusers to your toolkit is invaluable for photographing in harsh sunlight. Reflectors fill in shadows by bouncing existing light back onto your subject. This allows you to modify the harsh contrasts created by direct sun. Meanwhile, diffusers soften and disperse the sunlight to create a more flattering quality of light. Learning to use these simple, affordable tools gives you greater control over challenging lighting situations.
Reflectors come in various colors, with white providing the most neutral fill light. Gold reflectors add warmth, while silver intensifies cool blue tones. Angling the reflector to precisely throw light where needed takes practice. Photographer Karen Schulz says, "I use collapsible circular reflectors to pop a catchlight in my subject"s eyes or provide edge lighting. Subtle positioning makes a big difference." Larger foldable reflector panels can be used to lift shadows across the body.
Photographer Michael Freeman suggests reflectors with black sides: "I flip my reflector to black when I only want to lift shadows in one area of the scene. Otherwise the light bounces everywhere." He also uses black reflectors to absorb light and darken bright backgrounds. Reflectors mounted on stands allow you to fix their position. Handheld reflectors offer more flexibility to adjust the incoming light.
Soft diffusers placed between your subject and the sunlight provide an instant remedy to harsh shadows. They create a larger, softer light source that wraps subjects in gentle illumination. Like reflectors, diffusers come in various sizes and mounts. Photographer Lindsay Adler says, "I often use a portable pop-up diffuser when shooting portraits outdoors. This creates smooth, flattering light wherever I go." Collapsible circular diffusers are easy to set up on location.
Larger diffusers like scrims require assistants to position effectively. Landscape photographer David Shaw explains, "I use big screens or panels to diffuse sunlight across an entire scene. This reduces contrast between sunlight and open shade." Look for diffusers that offer good light transmission to prevent underexposure.
Improvised diffusers like bed sheets, shower curtains, or netting also work in a pinch. Photography instructor Darlene Hildebrandt suggests, "Tying a semi-transparent white curtain to a stand creates soft light with little equipment." Almost anything that obstructs and scatters sunlight will provide some diffusion. Test different materials to vary the light quality.
Polarizing filters are an essential tool for photographing in harsh sunlight. Attaching a circular polarizer to your lens reduces glare, enhances colors, and darkens blue skies. Learning how to effectively use these filters will help you capture high-quality images in even the harshest bright light situations.
Outdoors photographer Michael Frye relies heavily on polarizers for landscape work, saying "Using a polarizing filter is absolutely critical for reducing refractive reflections and enhancing saturation." Glare caused by sunlight reflecting off water or wet rocks can ruin images. Rotating the polarizer dims these hotspots to reveal detail below the surface. Darkening blue skies with polarization also intensifies the appearance of clouds to add drama.
Portrait photographer Lindsay Adler finds polarizers invaluable for cutting through atmospheric haze when shooting outdoors. "Haze caused by humidity, smoke, or pollution can impart a flat, washed-out look to images. Polarizers help cut through the haze to deliver images with crisp, vivid color and depth." This is especially useful for cityscapes and landscapes with distant elements.
Photographing bodies of water like oceans, rivers or lakes requires a polarizing filter to properly capture the scene. Landscape photographer Elia Locardi explains, "The polarizing effect lets me cut glare off water to photograph what"s below the surface. Adjusting the angle dialed in the maximum polarization needed." Photographing through windows or other reflective surfaces also benefits from polarization.
Knowing when not to use a polarizer is also important. Photography instructor David Shaw warns, "Be cautious using polarizers when photographing scenes with a wide variety of reflective surfaces like modern glass buildings. This can create uneven polarization across the image." Examine your scene to determine if polarization is appropriate.
Maximizing the benefit of your polarizing filter requires dialing in the effect correctly. Outdoor photographer Karen Schulz suggests, "Rotate the filter while composing your shot through the viewfinder until you see the biggest change in glare, reflection or color." This takes some finesse but makes a big difference. Use lens hoods to prevent sunlight from hitting the front of the polarizer and altering the effect.
Circular polarizers specifically designed for wide angle lenses offer more even polarization across the frame. Landscape photographer Michael Freeman says, "Wide angle polarizers are absolutely worth the investment if you shoot with short focal lengths. The polarization effect is much more uniform." Avoid stacking multiple filters together to prevent unevenness.
Post-processing is a pivotal part of photographing in harsh sunlight. The high contrast and bright highlights often require correction after capture to reveal details lost during shooting. Photographer David Shaw relies on post-processing to rehabilitate images shot in midday sun. As he explains, "I"m able to recover blown highlights and lift crushed shadows that are uncorrectable in-camera." This salvages photos with exposure issues. Dodging and burning brings out textures and shapes obscured by stark shadows. Increased vibrance makes up for muted or desaturated colors caused by the overhead sunlight.
Dealing with lens flare and haze also often needs to wait until post-production. Landscape photographer Michael Freeman says, "Flare spots and atmospheric haze seem unavoidable when shooting into a low sun. I use the dehaze slider in Lightroom and Photoshop to cut through the haze." This intensifies clarity and color. The spot healing brush eliminates bright flare spots one by one.
Portrait photographer Lindsay Adler frequently composites multiple exposures in post when shooting outdoors. As she explains, "I blend a deeper exposure for the background with a faster exposure for the subject. This prevents blown highlights behind them." Exposure fusion software like Photomatix does this automatically. Compositing allows you to overcome technical challenges.
Dodging and burning is a post technique Darlene Hildebrandt uses to darken backgrounds that become overexposed in bright sun. As she says, "I dodge subjects and burn in overly bright backgrounds to balance out the exposure contrast." This helps direct viewer attention. Burning also minimizes distracting hot spots.
Focus stacking is another advanced approach. Landscape photographer Elia Locardi explains, "Shooting a sequence of exposures at different focus distances lets me stitch together an image with front to back sharpness. This overcomes limitations of lenses in sunlight." Photoshop"s focus stacking merge handles the processing.
Seascapes often require post-processing to weatherproof images, as Michael Frye describes: "I use custom white balance and color grading to combat the cyan hue shift inherent in underwater shots. This accurately renders colors." Adjusting white balance neutralizes color casts.