7 Steps to Ensure Your Photographs are as High Quality as Possible


One of the great allures of photography is that it mixes both art and science. The creative and artistic side is, of course, the most important aspect. Figuring out what makes a beautiful and interesting photograph is something that takes time and experience to master. But at the same time, your photography will go nowhere if you do not understand the science and technique that go into creating a high-quality photograph. It’s the uniting of the two that will turn you into a great photographer.

7 Steps to Ensure Your Photographs are as High-Quality as Possible

So here is the technical process behind producing a high-quality photograph.

1. Sharpness

As Henri Cartier-Bresson said, “Sharpness is a bourgeois concept”, but only if you first understand how to take sharp photographs. Sharp photographs are 100% due to the work that you do in the camera, not in post-production. If you have to sharpen a photograph in post-production to make it look good, then you are doing it wrong.

7 Steps to Ensure Your Photographs are as High-Quality as Possible

Shutter speed

Shutter speed is the primary setting to consider in order to create a sharp photograph. If the camera is handheld, your shutter speed always needs to be 1 divided by the focal length to offset your handheld camera shake.

So if you are using a full-frame camera with a 50mm lens, your shutter speed needs to be at least 1/50th of a second. If you are using a cropped APS-C sensor with a 1.6 conversion, that means a 50mm lens will actually have the equivalent of an 80mm focal length, so you will need a shutter speed of at least 1/80th for the shot to be sharp.

If you are photographing people in motion and want them to be sharp, I suggest a shutter speed of 1/250th of a second or higher for faster moving subjects.

7 Steps to Ensure Your Photographs are as High-Quality as Possible


You will also have to consider what aperture you want to use depending on the image you are taking. Using a smaller aperture (higher numbered like f/16) more often will allow more of your scene to be sharp. The only tradeoff to do this is that you will need to use a higher ISO if the light is not ideal and you are shooting handheld. A higher ISO will add some noise to the image, but in many cases, this will give you a much higher quality image because it will allow you to use a faster shutter speed and a smaller aperture simultaneously. You should be more afraid of using the wrong shutter speed or aperture versus using a higher ISO.

However, using a shallow depth of field (selecting a large aperture like f/4) can often make a photograph look incredibly beautiful. For images like this, you need to pay even more attention to getting the focus right. Missing the focus with a shallow depth of field will ruin your photograph. You need to put the focus right on the main subject, and you have to be careful about back focus issues where the camera focuses on the background by accident.

Having a strong handle on all of this is the first step in creating a high-quality final print. If you do all of this well, then you will not have to think about sharpness at any other stage in the process.

2. Light and Exposure

7 Steps to Ensure Your Photographs are as High-Quality as Possible

Yes, as long as you are shooting RAW you can fix your exposure in editing, and a high percentage of photographs will need to be tweaked a bit in post-production. However, the better you are at getting the exposure correct in camera, the more high-quality your final photographs will be. The tones and the colors will turn out better, and you will have a more accurate starting place to make a photograph look as good as possible.

Understanding light is incredibly important for getting the exposure correct in the camera. Everyone screws this up some of the time but understanding the situations where the camera’s light meter can get it wrong will help you to minimize these mistakes.

The light meter in your camera always wants to make things a neutral gray. For instance, if there are a lot of dark objects in your frame, the camera’s light meter will often try to brighten the photograph to make those dark tones look like a neutral gray, so the resulting image will not look like the real scene. For scenes with many bright tones such as a snowy day, the camera will often darken the image too much. A similar problem can happen due to your light sources. If you are photographing into the sun, your subject will be in the shadows while everything else will be bright, so you may have to brighten the image as a result.

This is where you need to use exposure compensation (or shoot in manual) to get the exposure as close as possible to correct. The closer you get, the less you will have to do in post-production.

3. Composition

7 Steps to Ensure Your Photographs are as High-Quality as Possible

Strong composition is one of the most important keys towards creating a great final print. I am not going to go into an entire talk about the rules of composition her. But suffice to say it’s very important to understand that the idea of composition results from the aim of leading a viewer’s eyes through an image. Good composition will move a person’s eyes throughout a print in a logical and pleasing way.

Well-placed subjects, light, lines, patterns and even colors can be used to move the eyes. Also, it is important to know that a viewer’s eyes naturally want to move out of an image, so placing things in the corners can stop this and help the photograph feel more balanced. This is why cloudy skies are usually better than clear skies because the clouds stop the eyes from moving off the image. It is also why landscape painters will paint tree branches into the top corners of their landscapes.

4. Primary Post-Production

7 Steps to Ensure Your Photographs are as High-Quality as Possible

The post-production step is where many mistakes can happen. It is very easy to go overboard, particularly with sharpness, contrast, highlights, shadows, and color. The result often looks like the photographer was trying to create a painting instead of a photograph. If you want to paint, grab a paintbrush.

When you start working on an image, the exposure, color temperature, contrast, highlights, and shadows are the first things to adjust. If the photograph was captured well in camera, then you will often not have to tweak these much, but usually, most images will need a little tweaking.

The idea here is to not overdo it. Realism is important for a photograph to look good. You do not need to see every little detail in both the highlights and the shadows. If you want this, then you need to go out and shoot at the right time of day to create that look – early in the morning, late in the day, or on an overcast day. That’s how you get photographs with even tones. Creating even tones in images where that wasn’t the case in the original scene will make the photograph look fake. On a similar note, it can be very important to maintain some imperfection in your photos. Imperfections can keep an image feeling like a real, extraordinary moment, as opposed to an idealized painting.

Vignetting is often an important final step in general post-production because it helps to keep the eyes from moving off of the image, and it draws more attention to the middle of the frame. However, it is so easy to overdo it. A successful vignette will often be subtle and unnoticeable, but it will make a huge difference to the final print.

5. Colors

7 Steps to Ensure Your Photographs are as High-Quality as Possible

Whenever you do any tweaks to a digital negative, it can affect the colors in the image. Adding contrast, changing the shadows or highlights, or changing the exposure will all have an effect on the colors and will make them look less real. If you have to do a significant amount of work to an image, always pay attention to how that is changing the color. Sometimes you will have to reduce the strength of the colors (the Vibrance or Saturation) or tweak the color temperature to keep the realism in the image.

It is important to make sure to have a color calibrated monitor that you calibrate fairly regularly. It is impossible to edit an image correctly if the colors on your monitor are off. The photograph everyone else will see when you share it will be different from what you see on your screen, and that’s a big problem.

For printing, you always want to use the largest color space available, so ProPhoto RGB or Adobe RGB should be used when making a print (check with your lab if you are sending it away, and make sure to use the color space they recommend), but sRGB is the best color space for showing off an image on a monitor. Always use sRGB for internet sharing.

6. Resizing

7 Steps to Ensure Your Photographs are as High-Quality as Possible

Resizing before printing is a very important step and must be done correctly. You never want to resize an image twice as that will effect the image quality significantly, so always work with the original image and resize right before printing. I use On1 Resize for all of my enlargements and highly recommend it. I use Photoshop for reducing the size of a photograph and use the bicubic interpolation setting (I find that bicubic sharper, which is recommended for reductions, can actually over-sharpen the final image, but that is just my personal choice).

7. Sharpening

7 Steps to Ensure Your Photographs are as High-Quality as Possible

If you choose to add a final level of sharpening to your print, the time to do it is at the very last step, even after resizing. This will ensure the best quality for your final print. However, I highly recommend that you consider not sharpening at all in post-production, or at least that you do it very subtly. If you follow all of the steps to get to this point, your image will be nice and sharp already, and the final print will look great.

So many images that float around these days are over sharpened to extreme levels and the result looks incredibly fake and crunchy. I rarely ever sharpen my prints anymore except for a few troublesome shots. If you have reservations about this, test it out and create side-by-side prints, one sharpened and one unsharpened. After years of sharpening my images, that is what I did to finally come to the conclusion that sharpening was not adding anything to the prints anymore. I tested out a variety of prints at different sizes side-by-side with a sharpened version.


I hope all of these steps make sense and help you in your journey to put up beautiful framed prints of your work. A lot of this is all about training your eye, so make sure to look at the work of other photographers frequently, particularly as real prints. Frequenting galleries and museums can be a fantastic way to improve your eye and ultimately the quality of your work.

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James Maher is a professional photographer based in New York, whose primary passion is documenting the personalities and stories of the city. If you are planning a trip to NYC, he is offering his new guide free to DPS readers, titled The New York Photographer's Travel Guide. James also runs New York Photography Tours and Street Photography Workshops and is the author of the e-book, The Essentials of Street Photography.

  • Claude B.

    ”… If you are using a cropped APS-C sensor with a 1.6 conversion, that means a 50mm lens will actually have the equivalent of an 80mm focal length, so you will need a shutter speed of at least 1/80th for the shot to be sharp.” Are you talking with or without anti-vibration ?

  • Michael

    Hi James! Good article. However, I don’t agree on the sharpening in post-processing. You probably know that the DSLR sensors produces images that must be sharpen because of the anti-aliasing filter if you shoot in RAW. I always sharpen all my images and I remember that all the renowned expert’s books on digital photography saying about that you must sharpen any image that is destined for printing as printing process makes any digital photograph softer.

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  • Hi Michael – glad you enjoyed it! Yeah, it’s an interesting argument based on personal preference of course. I was taught all that sharpening stuff as well from school, printing classes, and reading, but as I’ve gained a lot more experience I’ve come to disagree with it pretty strongly. I think even with the filters softening it a bit the digital cameras I’ve used have produced insanely sharp images, especially when you increase the contrast a little and do things like that. I just find further sharpening (typically but not always) makes the prints look too sharp and fake. But of course there are many who will tell you the opposite 🙂

  • I tend to try to stick to these rules even with anti-vibration Claude. Anti-vibration will allow you an extra stop or two of sharpness, but I prefer to be on the safer side.

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  • Useful tips. Although I would personally put composition at the top of the list and include cropping to enhance the composition if necessary. Everything else follows from this.

  • walwit
  • Philnick

    An APS-C sensor does not give more magnification from a lens. All it does is capture a smaller area of the image it throws. It only affects the framing, not the size of the image on the sensor. A 50mm lens will produce the same magnification on the sensor of a crop camera as it will on a full-frame camera. Feel free to use a higher shutter speed if you wish, but the theory doesn’t require it, as the amount of vibration blur will be the same regardless of which kind of camera body you mount the lens on.

    Sure, if you enlarge the image more, you’ll see more blur, but that can result as much from cropping a picture as from the use of a smaller sensor.

  • Jeannine Forton Mullan

    When you say dont sharpen are you referring only to output sharpening or all sharpening ( ie clarity, high pass and import with raw images)?

  • Bob Dumon

    This is one of the best “primers” I’ve read for beginning photographers! Good stuff, thanks….

  • SF Guy

    Good stuff!

  • Yes some shots definitely do need sharpening no matter what.

  • Yes composition is incredibly important!

  • Glad you enjoyed it Bob!

  • Thanks!

  • Great question Jeannine! Standard import sharpening is fine, and for certain images I will add clarity. But in general this mostly refers to output sharpening (and not using clarity unless an image really needs it). But I’d test it out for yourself. Take a few images and print them sharpened and not and compare to see what you like best.

  • Jeannine Forton Mullan


  • Thank you so much James, this was one of the best articles ever!

  • Ed Beltrao

    Thank you for the teachings. Very useful. One question into Shutter Speed. You mention “your shutter speed always needs to be 1 divided by the focal length …” How, does that figure for a 28-300mm lens?

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  • Glad you enjoyed it Regina!

  • Glad you enjoyed it Ed! The focal length is whatever your zoom lens is currently at. So with a 28-300mm lens if you have that at 75mm, then your shutter speed will need to be 1/75th of a second. The number changes as you zoom in or out.

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  • Carlos

    Hi, James. Congratulation for your article. In regard of using a APS-C sensor, I agree with Philnick.

  • willie4265

    As a professional photographer I liked this picture and I know these are more high level photo.There are many new people are can follow your work to be a good photographer.

  • KC

    I wouldn’t say “always”, but it’s an excellent guide point. That “rule” dates back to film days, before cameras had image stabilization, and 400 was considered “high speed” film. SLR’s where notoriously jittery things back then.

    The “sub-rule” was the shutter speed shouldn’t go lower than the film speed”. That made sense when film speeds could dive as low as ASA 25.

    These days it’s rare to find a camera that doesn’t have a few stops of image stabilization latitude. Since zoom lenses are common these days perhaps the minimum shutter speed could be 1 over the longest focal length. It’s also rare to find a camera that goes below ISO 100.

    The trick is also for you to “be smooth” in your actions. Time the moving action if you can.

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