I have a confession: I only know what 5% of the buttons, dials, and menu items on my camera do. I haven’t done the math; I’m guessing it could be even less than that. But I know that my first cameras only had the ability to focus, select the aperture, change the shutter speed, and specify the ISO. The menu options on my Sony a1 bodies feel almost infiniteāit would be overwhelming if I felt I needed them all. But I don’t. And you probably don’t, either.
There are photographers out there who know every button, slider, and menu option. I am not among them. My brain can only pay attention to so much. Yours too. And if you decide that you’d rather pay attention only to what you need (and this will differ for all of us, according to how we work with the camera), there’s no shame in that.
How many of the iconic photographs of the last century were made with a camera with no more options than what is needed to focus and expose? Shutter. Aperture. Focus. How many of the best images you’ve ever seen come down to how good the camera was? Some, to be sure. God knows I’m grateful I’m not focusing manually most of the time these days, and I am so grateful for the focusing speed and the tracking of the cameras I’m using. But those only help me get the shot; they don’t contribute to the mood, the story, or the composition.
This isn’t another “the camera doesn’t matter” post. Of course it matters. Dependable gear matters. Gear that does what it has to do, feels right in the hand, and acts like a trusted and loved silent partner in our picture-making matters.
Yes, the camera matters. But you matter more.
How many photographers know everything knowable about the camera but aren’t certain about their own preferences or don’t know how to make a photograph feel the way they wish it could? How many don’t know how to tell a story, or don’t know their own creativity so well that they’re willing to take the risks they need to take to make the images that thrill them?
It’s possible to know the tool better than you know yourself or the photographs you’re trying to make. Guess which one makes better images?
You need to know what you need to know. If you’ve never once thought, “Boy, I sure wish I understood my focus modes better,” then you don’t need to know them. Whatever you’re using now is all you needāuntil it isn’t. And then you do a quick search on YouTube. You learn. You figure it out. And then you know what you need to know again. There is no shame in not knowing. And there is no badge of honour pinned to the chest of those who do.
Give me any day the photographer who knows only 5% of what their camera can do but who takes risks and chases great light and meaningful moments, who has something to say, who is more obsessed with the music than the microphone, if you get the analogy.
What can hold you back from making the strongest photographs is shame. Fear. Doubt.
When you feel like a lesser photographer because you don’t know it all or you have vast areas of technical non-comprehension, and that keeps you from trying new things or stops you from learning because you feel like it’s beyond you. Nonsense. Everything is figure-outable. And if it’s not, there’s probably a way around it because, damn it, I’m not sure Henri Cartier-Bresson or Ansel Adams or Vivian Maier would have known what 95% of the options on my cameras are, and my photographs are still a very long way away from theirs.
I’d wager most of your favourite contemporary photographers also have large technical blind spots. But they can compose the hell out of a scene, have a knack for choosing the moment, a keen sensitivity to light, and a high tolerance for risk. And when they need to learn something new to add another tool to the toolbox, they know how to do that, too.
The importance of deeply knowing the things you need to know to do your work can’t be overstated. But only you know what that is. And only some of that relates to your camera. Would learning something new help push your work forward? Probably. Definitely. The more we learn, the more possibilities open to us, and creativity thrives on possibilities. But it also thrives on constraints and the tension between the two.
Creativity does not thrive in a closed mind or in a heart crippled by shame or a lack of confidence.
Maybe you don’t use more than 5% of the buttons and sliders and options our tools make available to you. That’s better (and more easily solved) than using less than 5% of your heart and mind, held back by fear and doubt.
Your camera can be daunting, but it can be learned. The same can also be said about your creativity, except that’s arguably more important. Both matter. But if you can already focus and expose the former, the rewards for focusing your attention on the latter and exposing yourself to the challenges of your creative mind are where you will make your most significant gains.
For the Love of the Photograph,
David
The biggest challenges for most photographers are not technical but creative. They are not so much what goes on in the camera but what goes on in the mind of the person wielding it. Light, Space & Time is a book about thinking and feeling your way through making photographs that are not only good, but truly your own. It would make an amazing gift for the photographer in your life, especially if that’s you. Find out more on Amazon.
Comments
Dear Professor,
I hope this letter finds you well. I am writing to request permission to translate the book Light, Space, and Time: Essays on Camera Craft and Creativity in my master’s thesis, and I will also introduce you and your book in my dissertation, which may attract some Chinese readers. I am currently pursuing a Master’s degree in Translation Studies in China, and I believe that translating this book would greatly contribute to my academic research.
I assure you that the translated version of this book will be used solely for academic purposes and will not be distributed or utilized for any commercial endeavors. I genuinely appreciate your time and consideration of my request. I look forward to your positive response and the opportunity to work with your esteemed publisher.
Thank you very much.
Sincerely,
Liu
This post is an inspiring reminder that photography is more about vision, creativity, and storytelling than mastering every technical detail of a camera. Itās refreshing to hear someone acknowledge that itās okay not to know all the features of your gearāwhat matters most is what you do with what you know.
The analogy of being more “obsessed with the music than the microphone” is particularly striking. It perfectly captures the idea that tools are just enablers; the real magic comes from the photographer’s eye, heart, and creative intent.
I also appreciate how you address the shame and fear many photographers feel about their knowledge gaps. That message is crucial: Itās not about knowing everything but about learning what you need when you need it and having the courage to create despite those gaps.
One question: Do you have any tips for identifying which features or techniques might be most beneficial to explore next, especially for photographers looking to push their creative boundaries without feeling overwhelmed by all the options?
Thank you for writing such an empowering pieceāitās sure to resonate with photographers at every skill level! ššø
Hi Shiva, thanks for the kind words, and the great question.
I always start with what I feel is missing in my images. A great example: I love photographing from a low and close POV. That’s not usually possible with wild animals, so I set about asking how that might be possible, and that started me down a path to exploring various options, finally leading me to using a remote trigger for the camera and a ground level tripod. A couple years ago I realized some of the photographs I was most resonating with from other photographers had a much tighter use of colour than my own work. I wanted to learn that and set off on a rabbit trail about colour – what works, what doesn’t, etc. That has changed what is possible with my images, and how I see them.
Look at the work of others, the stuff you really love and ask what techniques you can learn and try on for size in your own work. Perhaps that’s the way a photographer uses wide angle lenses or motion blur, perhaps it’s the way they always find surprising places to the put the camera. And then ask yourself if there’s a way you can adopt those ideas to your own work, and in your own way. In short: just learn something new, and see where it goes! š
Hi David,
Once again an excellent article that came in at the right time! I had gotten it into my mind that I needed to learn all the bells and whistles for all three of my Nikons. As a result, I got so overwhelmed that I found it difficult to even pick up one of cameras just for some hands-on experience.
I’m finally realizing that there is a ton of stuff that I know I will never use (loved your comment about focus modes!).
At this point, I think one of the most important features of my cameras that I need to learn, is how to customize the menus so that I only have to see the specific things that I will want to change.
(I JUST discovered that my Nikons have an option called MY MENU with allows me to go to frequently used settings, AND, I can assign a Function Button that will allow me to directly go to MY MENU…. this will save a ton of stress!).
Thanks again.
Jim
Hi David,
I use a Fuji system which has thousands of options available. I had to watch videos to set up my first Fuji but the truth is that the only feature that I use deals with autofocus. I recently upgraded from a ten-year-old Leica Q to a Leica Q3. I wish every camera had a simple menu system such as this. The Q3 is a joy to use because I feel more like a photographer and less like a computer programmer.
Hi David,
I would just like to let you know how much I appreciate your teaching work. I have just watched your Heart of the photograph lecture from Sunday last, I wish I had been here.. My question would have been : how not to lose heart when I don’t seem to be making any progress ? Some days I feel like I don’t have what it takes to be a photographer with the (modest) results I would like to get…
This post is a part of the answer I think.
Thank you again for your courses and your patience in explaining again and again those useful concepts.
Best wishes from the south of France
Hi Aurelie, thank you for the kind words. You’ve asked a good question, one I am often trying to answer for myself. Even after 40 years I have periods during which I lose heart. What has worked best is to forget the idea of progress and instead look for challenge. Go photograph a project just for the joy of it. Take some risks. Find something you love to explore and just play. But have a goal – perhaps a body of work of 6-12 images. There’s no pressure, it’s just for fun, and maybe it’s something you don’t normally photograph so there’s nothing against which to compare the results. Go make out of focus macro photographs of flowers or something and just revel in the shapes and colours. We learn best when we play and embrace a challenge. That has often worked for me. š
Best wishes from Vancouver Island.
Hi David,
Thank you very much for your answer which is encouraging in itself. I will try it and let go of expectations as much as I can.
Happy end of 2024 š
Hallo David, it`s an interesting point of view, and I agree with you. The new cameras have more and more features and the marketing of the camera-companies will tell us everytime, that we only can make good photos when we use the brand new camera. Hey, what did I make since 1984 when I made the first photos with a Canon A1? No good photos, really – must I wait till 2024 to reach the level of good photos only when I’m using a Canon R7? When I look, what I need for my photography on live-concerts, motorsports, architecture and landscapes, it is the right configuration of each camera on the set. I use the custom-modes on my Canon R7, 7D and 5D. Before I go to a concert, I select the menu items, TV, AV, ISO and put them on C1, C2 and C3. So I have a basic configuration and can switch fast between them, when the light or the scene on stage changes. Time and aperture I’ll select by myself., like 1984. I think the camera-companies put too many electronic features into the new cameras, so they are more a computer than a camera. And most of the new features are not so interesting for me to buy a new camera. So I’ll better know the right handling of my “old” cameras. I wish a Merry Christmas to you and all the best for you in 2025. I hope your new book will be coming out in german language soon.
Thanks for that, Peter. The new book is already out in German, in fact it was out in German before it was published in English!
Hi David. First off a Merry Christmas to you! I have several of your books & maybe a couple of courses which have inspired me to “see”. I’ve recently gone back to film. Only 2 variables: aperture & shutter speed. Maybe ISO if I want to push or pull. It is challenging to shoot within the limits of a prime lens (Nikkor AIS 55mm Micro), a manual camera (Nikon FM) & fixed ISO. I’m still learning but this is fun!
Right on, Joey. Keep at it. Merry Christmas to you too!
Hi David, this is so timely. For many years I have used my Canon 5D (Mark 2 and then Mark IV) and I knew the buttons and the menues well.
But I just recently purchased a Sony mirrorless A7CR, and I am struggling with the menues and the options and the dials and knowing how to use a screen etc. I bought a book by David Busch which is over 400 pages and I am slowly learning. I’m shooting everyday- whatever I see just to get familiar with this new tool and in preparation for travel in 2025 (which is why I bought a lighter camera body and kit).
I’m not sure what % I am using but even 5% is a lot to learn
When I got my first Sony cameras I was hopelessly lost for a while. Slowly I learned what I needed to learn. Sometimes I think they go out of their way to make them more complicated than necessary. Having said that, Sony menus are SO much better than they once were! Good luck!
Hi David
Iāve followed you for many years and have a number of your books. This one will definitely be my Christmas present to me. Unfortunately it wonāt be available in Australia until February.
Iām returning to photography after a battle with illness and motivation and your release of this book is serendipitous. Thank you.
This is exactly what I needed to hear. At the right time. Your book is on my Santa list! Hoping to more with your classes this spring as well. And then AFRICA. In July! Thanks for all the inspiration. Iām not a tech girl but I do like to have the and know the right tool for the right job.
I hope Santa comes through for you. š Counting the days until Zambia!
Good morning, Jude! I hope February comes quickly for you! š I’m sorry to hear about the health battles. I hope this means you’re on the other side of them now. Merry Christmas!
I was shooting the solar eclipse with my Dad last year and he didnāt know how to use the intervalometer on his camera. I had no idea how his camera works. What I did know how to do was ask the AI app on my iPhone for help. I simply opened the app (I think it was Copilot, but any of them with voice mode will work) and asked the question, āYou are a photography expert. How do I set the intervalometer to 10 seconds on a [camera make and model]?ā It quickly replied with detailed voice instructions that worked perfectly.
No need to study your manual for a rarely used settings any more.
Hi David
Compliments of the season to you from a sunny and warm New Zealand. I trust you are well.
I absolutely agree about simplicity. I have shot Leica M cameras for years because they are simple. However I recently switched to the Hasselblad X2D which blends simplicity with more modern capabilities in a way that no other camera does.
A personās photographic needs must meet what the camera can do: there are no enormously long tele lenses, it wonāt shoot at 50fps and so on. If you donāt need what it doesnāt have, you get 102 MP, IBIS, a 1 TB internal SSD, functional (if basic) AF, superb glass and the best UI in any camera ever.
On top of that – and a major reason I switched from Leica – you get consistently mind blowing colour. Hasselblad Natural Colour Science is hands down the best in the world in my opinion.
Have a great Christmas.
Sounds like you got just the tool you’ve been looking for, Marcus. Merry Christmas to you to!
Amazing what resources are available to us, isn’t it? I had a similar moment photographing aurora in Churchill a couple years ago. Sadly, there wasn’t a cell signal to be had for miles. I figured it out just in time!
Will order mine when the postal strike is over, then I will have them all
Thanks, Marilyn. Looks like Canada Post is back to work now, which means you have a shot at getting the book this year! Merry Christmas.
Dear David,
Such a wonderful, inspiring, helpful post – thank you so much ! Ordering your new book for Christmas today – present for myself š
Merry Christmas to you, Charlotte.
As Iāve grown older (how did that happen?š¤Ŗ), Iāve fallen more and more in love with images Iām making. I know what I love and where to go or how to position myself in relationship to the light source to get the shot.
For years, I wrastled with my little Olympus OM-DEM. I wore one out, took the pieces to the camera shop and got another used one. I have never been able to afford more camera than that.
But over the last couple, maybe three or four years, I just stopped trying and took a class in how to best use my iPhone 15 Pro Max for the kind of photography I love to do. I took a whole lotta David classes and learned to use LightRoom. My camera is lightweight. It makes awesome big prints that I now sell regularly.
I know a whole lot more so-called ātechnicalā moves than your average bear without digging through crazy menus so tiny a flea canāt see them.
I have a fast, intuitive speed that allows me to be guided by my heart and by my eyeā¦mainly because I have allowed myself to be guided by David for a very long time now.
You’re always so generous with your kind words. Thank you, Sandy. It’s an honour.
Bravoā¦ per usual! Your sharing and wisdom influence my writing, my photography, my painting, and zeal for living a creative life!!! Thank you David!
Thanks for that, Stu! Merry Christmas.
Hi David.
This article couldn’t have been dropped in my inbox at a better time. Had hit a rut with all my images looking, and feeling, pretty much the same. Resulting in a lack of enthusiasm. Had never really felt the need to learn everything my camera is capable of, but this article has motivated me to explore more of my camera and my own creativity next time I’m out.
Thanks. Dave.
They really are remarkable machines. Sometimes it just takes learning a new thing to open up new possibilities!
I feel so vindicated to know that I am not alone in not knowing/not caring what all those buttons on my camera do! Thank you!
They’ll matter to you when they matter to you. Until then, make the photographs that make you happy. š
āā¦more obsessed with the music than the microphoneā¦ā – awesome analogy. Iāve been apologizing for not being a ātechnicalā photographer for far too long. I love learning about my camera, but Iām not obsessed with it. I am obsessed with the music.
Amazing how so many of us feel the need something similar. I’m far more interested in the music than I am the microphone. Merry Christmas, Elena!
thank you David. I now own it – the fact that I don’t know what half the whistles and bells on my camera are capable of. What a sense of freedom. thank you thank you
Thank you for inspiring the words, Kristin. š