# Shutter+ — Camera Remote Control App for iOS > Shutter+ is a camera remote control app for iPhone, iPad, and Apple Watch. It connects to Canon, Sony, and Fujifilm cameras over Wi-Fi or USB, providing full remote control, live view monitoring, photo import, and shooting automations like intervalometers and exposure bracketing. Pricing: monthly ($3.49), annual ($24.99), or lifetime ($65). 7-day free trial included. ## Features ### Remote Control All camera settings are at your fingertips: exposure and focus settings, white balance, drive mode, and more. Connect wirelessly or use a USB cable. Works on iPhone, iPad and Apple Watch. ### Video Monitoring Start and stop video recording remotely. A telltale ring and elapsed time let you know exactly when the camera is rolling. Pair with live view overlays like histogram and false color to nail your exposure while recording. ### Photo Import Browse and download photos from your camera directly to your iPhone. Use filters like date, rating or file format to quickly find photos on your camera's memory card. Download RAW or JPEG files. ### Timer/Intervalometer Set a (repeating) timer and let Shutter+ take photos for you. Take a series of shots while you change poses, or leave the camera running for a time-lapse. Configure the number of shots, or let it run until you stop it. ### Exposure Tools Adjust shutter speed, aperture, ISO, and exposure compensation directly from the remote control screen. Preview exactly how the photo will look on your iPhone's larger display, and use exposure assist tools like histogram, zebra stripes, and false color to get the exposure right before you shoot. ### Histogram A real-time histogram displays the brightness distribution of your live view. Read the exposure at a glance — peaks on the left mean underexposure, peaks on the right mean overexposure. The histogram stays visible alongside any other overlay and can be resized and turned on and off. ### Zebra Stripes Under- and over-exposed areas are highlighted with a striped pattern directly on the live view. Adjust the min and max brightness thresholds to control exactly what gets flagged. Processed in real time on the GPU for the best performance and low battery usage. ### False Color Maps exposure levels to distinct colors so you can evaluate brightness across the entire frame. Different colors represent underexposed, midtone, and overexposed regions. Especially useful for video work where precise, repeatable exposure matters. ### LUT Preview Load a .cube LUT file to preview color grading on the live view in real time. Useful when shooting in flat or log profiles — see how the graded footage will look before you record. The most recently loaded LUT is remembered between sessions. ### Focus Peaking Highlights in-focus areas with a colored overlay on the live view. Useful for precise focusing in video, macro, and portrait work. See exactly what's sharp with configurable white, red or green edges. ### Composition Tools Overlay composition guides on the live view to help frame your shots. Choose from rule of thirds, golden ratio, diagonal, and Fibonacci spiral grids. Preview aspect ratio crops — from 1:1 to XPAN 65:24 — with areas outside the frame darkened. Load a custom image overlay for cover photo alignment or your own grid layout. ### Aspect Ratio & Grid Preview how your image will look in a specific aspect ratio: 1:1, 3:2, 4:3, 5:4, 16:9, 16:10, or XPAN 65:24. Areas outside the selected ratio are darkened so you can compose for the final crop. The full frame is always captured — aspect ratio guides are purely visual. ### Image Overlays Load a custom image on top of the live view with adjustable opacity. Overlay a previous shot to match framing exactly, or use a design mockup to align your composition with a specific layout. You can also use it as a custom grid. The overlay is stored locally and persists between sessions. ### Exposure Bracketing Retain highlight and shadow detail in scenes like landscapes or real estate interiors. Shutter+ automatically captures a series of shots at different exposure levels, keeping your post-processing options open. Set the number of brackets, EV step size, and which parameter to vary — shutter speed, ISO, or exposure compensation. ### Focus Bracketing Get everything sharp from foreground to background, and capture fine detail in macro photography. Shutter+ takes a series of photos at different focus distances, shifting the focus point between each shot. Combine the results in stacking software to expand the depth of field beyond what a single exposure can achieve. ### BULB Timer Set a duration for long exposures in BULB mode. The app holds the shutter open for exactly the time you specify. Combine with the intervalometer to shoot a sequence of long exposures for noise reduction stacking or night sky time-lapses. Ideal for astrophotography, light trails, and long exposure landscapes. ### Tap to Focus Tap anywhere on the live view to direct the camera's autofocus to that point. Switch between focus modes: single focus, tracking, or disable touch focus entirely. A focus indicator shows whether the camera is focusing, locked, or missed. ### Exposure & Focus Bracketing Capture the full dynamic range of a scene with exposure bracketing. For maximum depth of field, use focus bracketing to automatically shift focus. Perfect for landscapes, real estate interiors, and macro photography. ### Composition Tools Overlay composition guides on the live view. Preview aspect‑ratio crops, or load a custom image overlay. Dial in exposure before you shoot with histogram, zebra stripes, false color, and LUT preview. ### Burst Shooting Tap to start a burst and tap again to stop, or set a specific number of frames ahead of time. Use a slower burst speed for group photos — capture the moment when everyone is smiling with their eyes open. Switch to higher speeds for wildlife and birds in flight. ### Filter Photos Find photos on your camera's memory card without scrolling through hundreds of thumbnails. Filter by date, star rating, or file format. Jump to a specific point in the timeline. On cameras with dual card slots, switch between cards instantly. ### Apple Watch App Trigger the shutter, start and stop video recording, and adjust exposure settings from your wrist. The Watch app shows a live viewfinder and lets you control intervalometers and other automations in progress. Add a complication to your watch face for quick access. ## User Guide ### 1. Introduction Shutter+ is a camera remote control app for iPhone, iPad and Apple Watch. It connects to Canon, Sony, and Fujifilm cameras over Wi-Fi or USB, giving you full control of your camera from your phone. For wireless connection, the camera generates its own Wi-Fi network, so Shutter+ works anywhere. You connect on location, in the studio, or out in the wilderness. With Shutter+, you can: - **Control exposure settings** — adjust shutter speed, aperture, ISO, and more - **Monitor a live view feed** — see what your camera sees on a bigger (or smaller — Apple Watch) screen - **Adjust focus** — use autofocus modes, tap to focus, or control focus manually - **Automate shooting** — run intervalometers, exposure brackets, focus brackets, and bulb timers - **Import photos** — browse and download photos from your camera - **Shoot from your wrist** — use the Apple Watch companion app as a remote shutter This manual covers every feature in the app. If you're just getting started, begin with [Getting Started](../02_getting_started/index.mdx) to connect your camera for the first time. ### 2. Getting Started This section walks you through setting up Shutter+ — from downloading the app to taking your first remote shot. 1. [Installation](1_installation.mdx) 2. [Subscription](2_subscribing.mdx) 3. [Supported Cameras](3_supported_cameras.mdx) 4. [Connecting to Your Camera](4_connecting_to_your_camera/index.mdx) 5. [Managing Saved Cameras](5_managing_saved_cameras.mdx) ### 2.1. Installation Shutter+ is available on the App Store as separate apps for Sony, Canon, and Fujifilm cameras. Download the app that matches your camera brand. - [**Download Shutter+ for Sony.**](/getsony) - [**Download Shutter+ for Canon.**](/getcanon) - [**Download Shutter+ for Fujifilm.**](/getfuji) ## Apple Watch The Apple Watch companion app installs automatically when you install Shutter+ on your iPhone. No separate download is needed. The Watch app lets you trigger the shutter, view a live feed, and adjust basic settings from your wrist. ### 2.2. Subscribing Shutter+ requires a subscription to use. Three options are available: - **Monthly** — pay month-to-month - **Annual** — yearly billing with a 7-day free trial - **Lifetime** — one-time purchase for permanent access We recommend starting with the **annual plan** to get a 7-day free trial. You can switch to a different plan before the trial ends. ## Managing Your Subscription To change or cancel your plan, go to **Support > Manage Subscription** in the app. This opens your Apple subscription settings where you can switch plans or turn off auto-renewal. ## Restoring Purchases If you reinstall the app or switch to a new device, tap **Restore Purchase** on the payment screen to reactivate your subscription. ## Family Sharing Shutter+ supports Family Sharing. A single subscription can be shared with members of your Family Sharing group. ## Multiple Camera Brands Shutter+ is distributed as separate apps for Sony, Canon, and Fujifilm cameras. Subscribe in the app that matches your camera brand. ## Read More For up-to-date information about pricing, [visit the Pricing page](/pricing). ### 2.3. Supported Cameras Shutter+ works with Canon, Sony, and Fujifilm cameras. [See the full list on the Supported Cameras page.](/cameras) Feature availability varies by camera model. Some cameras support all remote control features, while others may have limitations — for example, certain Sony models restrict focus control in remote mode. The supported cameras page notes any model-specific differences. The list is updated regularly as new cameras are added. ### 2.4. Connecting to Your Camera Shutter+ connects to your camera wirelessly (all supported cameras) or over a USB cable ([check support for your camera](/cameras)): 1. [Wireless Connection](1_wireless_connection.mdx) — the primary method. Your camera creates a Wi-Fi network that your iPhone joins. Works anywhere and doesn't require any additional equipment. 2. [USB Connection](3_usb_connection.mdx) — for tethered shooting and fast file transfers over a cable. Useful for transferring large files like RAW images or for video monitoring. ### 2.4.1. Wireless Connection The camera creates its own wireless network — no internet or external router is needed. ## How to Connect 1. Open Shutter+ and tap **Add Camera**. 2. Choose **Wireless** as the connection method. 3. Grant the permissions the app requests (see below). 4. Follow the on-screen instructions to enable Wi-Fi on your camera. 5. Shutter+ will find and connect to the camera automatically. **Some cameras also support Bluetooth, NFC or QR code pairing as an alternative way to start the connection. These don't add any extra functionality — they just simplify the initial setup.** Once connected, the camera appears on your home screen for quick reconnection next time. ## Required Permissions Shutter+ needs some iOS permissions to operate: - **Location** — iOS requires Location access to read the Wi-Fi network name (SSID). This is an Apple platform requirement. Shutter+ does not store or track your actual location. - **Local Network** — allows the app to discover cameras on the wireless network generated by the camera. - **Photos** — only required for [importing photos](../../06_importing_photos/index.mdx). Full access is required for Shutter+ to create photo albums to organize imported photos. **Shutter+ does not read any other photos from your library.** - **Bluetooth** — some cameras require Bluetooth to initialize wireless connection. Additionally, Shutter+ monitors Bluetooth state to optimize wireless performance. - **Camera access** - allows the app to scan a connection QR code (some Sony cameras) or discover cameras connected over an USB cable. If either permission is denied, functionality will be limited or Shutter+ will be unable to connect. You can re-enable missing permissions in **iOS Settings > Shutter+** section. ## Brand-Specific Instructions The exact steps to enable Wi-Fi differ between Canon, Sony, and Fujifilm cameras. The **Add Camera** screen in the app provides step-by-step instructions for your specific camera. ## Troubleshooting If the connection fails, see [Unable to Join the Network](../../09_troubleshooting/1_unable_to_join_network.mdx) and [Connection Stuck on Initializing](../../09_troubleshooting/2_connection_stuck_on_initializing.mdx). ### 2.4.2. Bluetooth Extension The Bluetooth Extension is an optional feature that improves Wi-Fi performance by automatically disabling Bluetooth when Shutter+ connects to your camera. ## Why It Helps iPhone shares a single antenna for Bluetooth and 2.4 GHz Wi-Fi. When both are active at the same time, they interfere with each other. Disabling Bluetooth while connected to your camera results in: - Faster live view streaming - Less lag when adjusting controls - Even 3x faster photo imports ## How to Set It Up 1. Open Shutter+. 2. Tap **Set up Bluetooth Extension** at the top of the screen, or go to **Support tab > Bluetooth Extension**. 3. Follow the prompts to set up the Apple Shortcuts automation. Once configured, Shutter+ will automatically disable Bluetooth when it connects to your camera and re-enable it when you disconnect. ### Setup Video ## Important Notes - While Bluetooth is off, your **Apple Watch won't be connected**. If you want to use the Watch app as a remote, don't use the Bluetooth Extension. See the [Apple Watch](../../07_apple_watch_app/index.mdx) section for details. - AirPods and other Bluetooth accessories will disconnect while the shortcut is active. They reconnect automatically when Shutter+ disconnects from the camera. - To automatically re-enable Bluetooth, disconnect from the camera using the "Disconnect" button or by turning the camera off. If you force close Shutter+, the extension will not run. ### 2.4.3. USB Connection For most demanding workflows, Shutter+ supports USB connections. ## When to Use USB - **Large file transfers** — USB is significantly faster than Wi-Fi for importing RAW files or large batches of photos. - **Tethered shooting** — a wired connection is more reliable for studio setups where the camera stays connected for extended periods. - **Video monitoring** - minimizes live view lag. - **Wi-Fi issues** — if wireless connectivity is unreliable in your environment (e.g. lots of interference from other networks), USB is a dependable alternative. ## What You Need A cable or adapter to connect your camera's USB port to your iPhone or iPad. If your iPhone or iPad has an older Lightning port, you need to obtain [a dedicated USB 3 Camera Adapter from Apple](https://www.apple.com/shop/product/mx5j3am/a/lightning-to-usb-3-camera-adapter) first. You cannot connect directly with the Lightning port! Depending on your iPhone model and camera, you need: - A USB-C to USB-C cable (newer cameras, no adapter) - A USB-C to mini USB cable (older cameras, no adapter) - A USB-A to USB-C cable (newer cameras, USB 3 Camera Adapter) - A USB-A to mini USB cable (older cameras, USB 3 Camera Adapter) ## How to Connect For the first time, we follow the **Add Camera** flow in the app: 1. Open Shutter+ and tap **Add Camera**. 2. Choose **USB** as the connection method. 3. iOS will prompt you to grant camera access — tap **Allow**. 4. When prompted to connect the camera, make sure to return to the shooting screen and plug the USB cable into both devices. 5. Shutter+ will detect and connect to your camera. After the first connection, you can simply plug in the cable and the camera will appear on your home screen automatically. ## Troubleshooting **For iPhone with a Lightning port, you cannot use the Lightning to USB-C cable included with your iPhone. You need [a dedicated USB 3 Camera Adapter from Apple](https://www.apple.com/shop/product/mx5j3am/a/lightning-to-usb-3-camera-adapter).** Make sure your USB cable supports data, not only power delivery. If the connection doesn't work, try a different cable. ### 2.5. Managing Saved Cameras After you wirelessly connect to a camera for the first time, Shutter+ saves it to your home screen for quick access. ## Reconnecting Tap "Remote Control" or "Import Photos" to reconnect. The app will join the camera's Wi-Fi network and establish the connection — no need to repeat the initial setup. ## Renaming a Camera If you own multiple cameras, rename them to tell them apart. Tap the camera's detail menu (three dots next to its name), and choose **Rename camera**. ## Removing a Camera To remove a saved camera from your home screen, tap the camera's detail menu (three dots next to its name), and choose **Remove camera**. ### 3. Remote Control The remote control screen is where you shoot. It appears when you connect to a camera and gives you full control over your camera's settings alongside a live view feed. This section covers every control on the screen: 1. [Overview](1_overview.mdx) — screen layout and navigation 2. [Shooting Modes](2_shooting_modes.mdx) — switching between photo (single shot and continuous) and video 3. [Video Recording](2_video_recording.mdx) 4. [Exposure Controls](3_exposure_controls/index.mdx) — exposure mode, shutter speed, aperture, ISO, and exposure compensation 5. [Focus Controls](4_focus_controls/index.mdx) — autofocus modes, focus area, touch to focus, and manual focus 6. [White Balance](5_white_balance.mdx) 7. [Zoom Controls](6_zoom_controls.mdx) — zoom in and out with a powered lens 8. [Film Simulations](7_film_simulations.mdx) — Fujifilm picture profiles ### 3.1. Overview The remote control screen has several areas: 1. **Back button** - go back to [the saved cameras list](../02_getting_started/5_managing_saved_cameras.mdx) to disconnect, start photo import or connect with another camera. 2. **Status indicator** - shows current camera status while shooting (e.g. focusing, capturing, BULB countdown etc.) 3. **Full-screen button** - toggles [full-screen mode](../04_live_view/0_full_screen.mdx). 4. **Exposure controls** - [control camera exposure](./3_exposure_controls/index.mdx). 5. **Shoot mode selector** - [switch between photo and video, and choose photo drive mode](./2_shooting_modes.mdx). 6. **Automation menu** - access [automation tools such as intervalometer or bracketing](../05_automations/index.mdx). 7. **Shutter release button** - capture photo, [start/stop video recording](./9_video_recording.mdx) or [start an automation](../05_automations/index.mdx). 8. **Photo preview** - quick access to recently captured photos. 9. **Additional controls toggle** - show/hide additional controls (see below). 10. **Additional controls** - access to [focus settings](./4_focus_controls/1_focus_settings.mdx), [composition tools](../04_live_view/3_composition_aids/index.mdx), [exposure aids](../04_live_view/4_exposure_aids/index.mdx), and [app settings](../08_settings_and_customization/index.mdx). 11. **Zoom and tap to focus controls** - zoom in and out or change tap to focus modes. 12. **Histogram** - [histogram area](../04_live_view/4_exposure_aids/1_histogram.mdx). The screen works in both portrait and landscape orientation. Controls rearrange automatically to fit the screen. Which settings are available depends on your camera model and the current exposure mode. Controls that don't apply to the current state are hidden or shown as read-only. ### 3.2. Shooting Modes Shutter+ supports two main shooting modes: - **Photo** — for still photography. The shutter button takes a single photo (or a burst, depending on your drive mode setting). - **Video** — for recording video. The shutter button starts and stops recording. Tap the mode indicator to switch between Photo and Video. ## Drive Modes In **Photo** mode, Shutter+ supports **single photo and continuous drive modes**. Other settings like self-timer or bracketing options can be selected in the camera and will work, but it is recommended to use timer and bracketing options built into Shutter+ instead. ## Video Modes Some cameras offer additional video modes beyond standard recording: - **Normal** — standard video recording. - **Slow & Quick** — records at a different frame rate than playback speed, creating slow motion or time-lapse effects in-camera. Available on some Sony and Fujifilm cameras. - **High FPS** — records at a high frame rate for slow-motion playback. Available on select camera models. Which video modes are available depends on your camera. If your camera only supports standard recording, only the Normal option appears. ### 3.3. Video Recording Shutter+ lets you start and stop video recording remotely. ## Recording Switch to Video mode using the mode selector (see [Shooting Modes](2_shooting_modes.mdx)). The shutter button changes to a record button. Tap it once to start recording and again to stop. While recording, the app displays a red telltale ring and elapsed recording time. ## Video Monitoring Tools A large, bright iPhone or iPad screen is great for video monitoring in both studio and outdoor settings. Oftentimes it's cheaper, more convenient, and better quality than dedicated video monitors. To fully leverage these possibilities, use [USB tethering for lag-free shooting](../02_getting_started/4_connecting_to_your_camera/3_usb_connection.mdx) and best performance. Shutter+ offers composition and exposure assist tools to help with video recording. You can use built-in [histograms](../04_live_view/4_exposure_aids/1_histogram.mdx), [zebra stripes](../04_live_view/4_exposure_aids/2_zebra_stripes.mdx), [false color](../04_live_view/4_exposure_aids/3_false_color.mdx) or [LUT preview](../04_live_view/4_exposure_aids/4_lut_preview.mdx) to ensure correct exposure. [Focus peaking](../04_live_view/5_focus_peaking.mdx) allows you to easily monitor and pull focus. ## Recording Time Limit You can set a maximum recording duration. When enabled, the camera stops recording automatically after the set time. This is useful when you need clips of a specific length. To configure the recording limit, [open Timer controls next to the shutter release](../05_automations/1_timer.mdx). ## Video Modes Depending on your camera, additional video modes may be available: - **Slow & Quick** — records at a different frame rate than playback for slow-motion or time-lapse effects. - **High FPS** — records at a high frame rate for slow-motion playback. See [Shooting Modes](2_shooting_modes.mdx) for details on switching between video modes. ### 3.4. Exposure Controls The exposure controls let you adjust how much light reaches the camera sensor. The available controls depend on the selected exposure mode — for example, in Aperture Priority mode, you set the aperture and the camera sets the shutter speed automatically. This section covers: 1. [Exposure Mode](1_exposure_mode.mdx) — Manual, Aperture Priority, Shutter Priority, Program Auto, and Bulb 2. [Shutter Speed](2_shutter_speed.mdx) 3. [Aperture](3_aperture.mdx) 4. [ISO](4_iso.mdx) 5. [Exposure Compensation](5_exposure_compensation.mdx) Tap any exposure value on the remote control screen to open its adjustment control. Values set automatically by the camera are displayed but cannot be adjusted directly. ### 3.4.1. Exposure Mode The exposure mode determines which settings you control and which the camera sets automatically. ## Available Modes | Mode | Abbreviation | You Control | Camera Controls | |------|-------------|-------------|-----------------| | **Manual** | M | Shutter speed, aperture, ISO | Nothing (full manual) | | **Aperture Priority** | Av / A | Aperture, ISO | Shutter speed | | **Shutter Priority** | Tv / S | Shutter speed, ISO | Aperture | | **Program Auto** | P | ISO, exposure compensation | Shutter speed and aperture | | **Bulb** | B | Exposure duration | Nothing | | **Flexible Priority** | Fv | Any one parameter | The rest (some cameras) | | **Auto** | — | Nothing | Everything | Some cameras also offer **Scene modes** — presets optimized for specific situations like Portrait, Sport, Landscape, Night, and others. ## Changing the Exposure Mode On most cameras, the exposure mode is set using the physical mode dial on the camera body. Shutter+ reads and displays the current mode but cannot change it remotely. On cameras that allow remote mode switching (some Sony models), you can change the mode by tapping the exposure mode indicator in the app. ## BULB Mode In BULB mode, the shutter stays open for as long as you want — useful for long exposures. How to enter Bulb mode varies by brand: - **Canon** — turn the mode dial to **B** on the camera body. - **Sony** — turn the mode dial to **M** on the camera body (or select **M** in the app on supported models). Select **BULB** in [shutter speed settings](2_shutter_speed.mdx). - **Fujifilm** — set the shutter speed dial to **B** before connecting to the camera. Use the [BULB Timer](../../05_automations/6_bulb_timer.mdx) automation to set a precise exposure duration. ### 3.4.2. Shutter Speed Shutter speed controls how long the sensor is exposed to light. Faster speeds freeze motion; slower speeds create motion blur. Tap the shutter speed value on the remote control screen to adjust it. Available values depend on your camera and the current exposure mode. ## Display Format Shutter speed is shown as: - A fraction for fast speeds — e.g., **1/250**, **1/1000** - Seconds for slow speeds — e.g., **1"**, **30"** - **Auto** when the camera is controlling shutter speed (in Aperture Priority or Program Auto mode) - **BULB** when in BULB mode ## Auto Shutter Speed In Aperture Priority and Program Auto modes, the camera sets the shutter speed automatically. The current value is displayed but cannot be adjusted. Switch to Manual or Shutter Priority mode for direct control. ## BULB Mode In BULB mode, the shutter stays open for a duration you control and can expose photos for up to 1 hour. Shutter+ handles this differently depending on the camera: - **Sony** — Shutter+ uses an in-app timer and sends shutter press & release commands to the camera. - **Canon** — Shutter+ uses an in-app timer and sends shutter press & release commands to the camera. - **Fujifilm** — the camera supports a set of predefined BULB durations. Select one from the available values. For more information about BULB timing, see [BULB Timer](../../05_automations/6_bulb_timer.mdx) automation. ### 3.4.3. Aperture Aperture controls the size of the lens opening, affecting both exposure and depth of field. - **Lower f-number** (e.g., f/1.8) — wider opening, more light, shallower depth of field (blurred background). - **Higher f-number** (e.g., f/16) — narrower opening, less light, deeper depth of field (more in focus). Tap the aperture value on the remote control screen to adjust it. ## Available Range The range of available f-stops depends on the lens attached to your camera. A fast prime lens might go as wide as f/1.2, while a kit zoom lens might start at f/3.5. ## Auto Aperture In Shutter Priority and Program Auto modes, the camera sets the aperture automatically. The current value is displayed but cannot be adjusted. Switch to Manual or Aperture Priority mode for direct control. ### 3.4.4. ISO ISO controls the sensor's sensitivity to light. Lower values (e.g., ISO 100) produce cleaner images; higher values (e.g., ISO 6400) brighten the image but introduce more noise. Tap the ISO value on the remote control screen to adjust it. ## ISO Options - **Manual** — select a specific ISO value from the available range. - **Auto** — the camera selects ISO automatically based on the scene. - **Auto with max limit** — the camera selects ISO automatically but won't exceed a maximum value you set. Useful to prevent the camera from using excessively high ISO values. Which options are available depends on your camera model and the current exposure mode. ### 3.4.5. Exposure Compensation Exposure compensation lets you make the image brighter or darker than what the camera's meter suggests. It's measured in EV (exposure value) stops. - **Positive values** (+1, +2) brighten the image. - **Negative values** (-1, -2) darken the image. - **0 EV** uses the camera's metered exposure without adjustment. Tap the EV value on the remote control screen to adjust it. Most cameras offer a range of -3 EV to +3 EV in 1/3 EV steps. ## When It's Available Exposure compensation works in modes where the camera controls at least one exposure parameter: - **Aperture Priority** — the camera adjusts shutter speed to apply the compensation. - **Shutter Priority** — the camera adjusts aperture. - **Program Auto** — the camera adjusts both. In Manual mode, exposure compensation is available in AUTO ISO mode. ## When to Use It Use exposure compensation when the camera's automatic metering doesn't match what you want — for example, brightening a backlit subject or darkening a snow scene that the meter overexposes. ### 3.5. Focus Controls Focus controls determine how and where your camera focuses. This section covers: 1. [Focus Settings](1_focus_settings.mdx) — Focus Mode (MF, AF-S (Single), AF-C (Servo), AF-AI), and Area (Wide, Center, Spot, and others). 2. [Touch to Focus](3_touch_to_focus.mdx) — tap the live view to set a focus point 3. [Manual Focus Control](4_manual_focus_control.mdx) — adjust focus manually from the app ### 3.5.1. Focus Settings ## Autofocus Modes The autofocus mode determines how the camera acquires and maintains focus. ### Available Modes **Single (AF-S / One-Shot)** — the camera focuses once and locks. Best for stationary subjects like portraits, architecture, or products. Half-press the shutter or tap to focus, and the focus point stays fixed until you release. **Continuous (AF-C / Servo)** — the camera continuously adjusts focus to follow a moving subject. Best for sports, wildlife, children, or anything that moves. **Auto (AF-A)** — the camera decides between Single and Continuous based on whether the subject is moving. Available on some Sony cameras. **Direct Manual Focus (DMF)** — the camera autofocuses first, then lets you fine-tune manually using the focus ring or on-screen controls. Available on Sony cameras. Useful when autofocus gets close but not quite right. **Manual (MF)** — fully manual focus. The camera does not autofocus. Use the lens focus ring or the on-screen controls in Shutter+ to set focus. Best when autofocus struggles (low contrast, macro work, through-glass shots) or when you want repeatable focus for multiple frames. ### Changing the Mode Tap the autofocus mode indicator on the remote control screen to select a different mode. Which modes are available depends on your camera model. Some cameras also have a physical AF/MF switch on the lens or body. The app reflects whichever mode is currently active. ## Autofocus Area The autofocus area determines where in the frame the camera looks for a subject to focus on. ### Common Options **Wide** — the camera selects a focus point from the entire frame. Good for general shooting when you trust the camera's subject detection. **Center** — focuses on the center of the frame. Predictable and simple. **Spot** — focuses on a small, precise point. Some cameras let you choose the spot size: Extra Small, Small, Medium, Large, or Extra Large. Best when you need exact control over which part of the scene is sharp. **One Point** — a single selectable focus point. Similar to Spot but uses the camera's point-selection system. Common on Canon cameras. **Expand Point / Expand Area** — focuses on your selected point plus the surrounding points as a fallback. Useful for subjects that move slightly. **Zone** — focuses within a larger rectangular area. Available in horizontal and vertical orientations on some cameras. Good for subjects that move within a general area. **Face / Eye Detection** — automatically detects and focuses on faces or eyes. Best for portraits and people photography. **Tracking** — locks onto a subject and follows it as it moves through the frame. Works with Continuous AF mode. **Flexible Spot** — an adjustable focus point you can position freely. Available on Sony cameras. ### Changing the Area Tap the autofocus area indicator on the remote control screen to select a different area. Available areas depend on your camera model and the current autofocus mode. ### 3.5.2. Touch to Focus Tap anywhere on the live view to direct the camera's focus to that point. The behavior depends on the current touch mode. ## Sony Touch Modes With some Sony cameras, a small touch focus mode icon will appear in the bottom right corner of the app to adjust focusing mode. **Focus** — tapping sets the focus point without taking a photo. The camera focuses on where you tap, and you can then press the shutter button when ready. This is the most commonly used mode. **Tracking** — tapping selects a subject. The camera locks onto it and continuously adjusts focus as the subject moves. Useful for following a person or object across the frame. When tracking is active, the icon will change to **Cancel focus** button. ## Visual Feedback When you tap to focus, the focus frame will briefly turn green or red indicating if focus was successfully achieved. ### 3.5.3. Manual Focus Control When your camera is set to Manual Focus (MF) or Direct Manual Focus (DMF), you can adjust focus from the app using on-screen controls. ## Focus Position Cameras report the current focus distance as a percentage from the lens's closest focusing distance (0) to infinity (100). Exact distance in meters is displayed on the camera screen and will depend on the lens attached. ## Focus Adjustment Use the on-screen focus controls to move the focus point nearer or farther. Buttons on the left move focus closer to the camera and buttons on the right move it further. Three speed options are available: - **Fast** — triple arrow, moves focus the fastest - **Normal** — double arrow, standard speed - **Slow** — single arrow for slow, precise adjustments ## Tips - [Enable **focus peaking**](../../04_live_view/5_focus_peaking.mdx) to see which areas of the frame are in focus. - For video work, you can use pull focus to create smooth, motorized focus transitions between two points. ### 3.6. White Balance White balance adjusts the color temperature of your photos so that whites appear neutral under different lighting conditions. Tap the white balance indicator on the remote control screen to select a different option. Which options are available depends on your camera model. If you shoot RAW, white balance can be adjusted non-destructively in post-processing. For JPEG, it's applied permanently in-camera. ## Options **AWB (auto)** — the camera adjusts white balance automatically. Some cameras let you choose a priority: - *AWB-A (Ambiance)* — preserves the warm or cool tone of the ambient lighting. - *AWB-W (White)* — makes whites appear strictly neutral regardless of lighting. **Presets** — fixed color temperatures for common lighting: | Preset | Typical Use | |--------|-------------| | Daylight | Outdoor sunlight | | Shade | Open shade (cooler than direct sun) | | Cloudy | Overcast skies | | Tungsten | Indoor incandescent/halogen bulbs | | Fluorescent | Fluorescent office lighting | | Flash | When using a flash | | Incandescent | Similar to Tungsten | | Underwater | Underwater photography | **Custom** — uses a custom white balance preset saved on the camera. Some cameras support multiple custom slots. **Color Temperature (Kelvin)** — set an exact color temperature in Kelvin. Lower values (e.g., 3000K) produce warmer (more orange) tones; higher values (e.g., 7000K) produce cooler (more blue) tones. ### 3.7. Zoom Controls On cameras with a powered lens, zoom options appear in the bottom right corner of the live view. Tap on the zoom icon to show zoom controls. Depending on your camera model, you'll see: - A slider that controls how far it should zoom in/out - Plus/minus buttons that simulate pressing zoom in/out button on the camera. Hold the button to zoom further. ### 3.8. Film Simulations Film simulations are a Fujifilm-exclusive feature. They apply color and tonal profiles inspired by classic film stocks, changing the look of your photos and videos in-camera. Tap the film simulation icon in the additional controls row to select a different profile. Which simulations are available depends on your Fujifilm camera model. This setting only appears when connected to a Fujifilm camera. ## Available Simulations **Color:** | Simulation | Character | |------------|-----------| | **Provia** (Standard) | Natural, balanced color reproduction | | **Velvia** (Vivid) | High saturation and contrast — ideal for landscapes | | **Astia** (Soft) | Softer tones with lower contrast — good for portraits | | **Classic Chrome** | Muted, desaturated palette with a vintage feel | | **Classic Negative** | Nostalgic negative film look with distinctive color shifts | | **Pro Neg Hi** | Higher contrast portrait tones | | **Pro Neg Std** | Standard portrait tones with smooth skin rendering | | **Eterna** | Cinema-like muted tones — designed for video | | **Eterna Bleach Bypass** | Low saturation, high contrast — a bleach bypass effect | **Black & White:** | Simulation | Character | |------------|-----------| | **Acros** | High-contrast black and white (Standard, or with Yellow/Red/Green filter) | | **Monochrome** | Standard black and white (Standard, or with Yellow/Red/Green filter) | | **Sepia** | Warm-toned black and white | The Yellow, Red, and Green filter variants affect how colors are translated into grayscale tones — for example, a Red filter darkens blue skies and brightens red subjects. ### 4. Capture Preview While you shoot, image previews are sent to the app for easy review. These previews are accessible from the Recent Photos section in the capture row. ## Filtering by SD card On some cameras with 2 SD cards, while saving to both of them, 2 previews will be generated for each capture. Tap on the SD card icon in the top left corner to display photos from only one card and deduplicate your recent captures. ## Auto-review new photos If you want to shoot photos on your camera and use Shutter+ for monitoring, or while the intervalometer is running, you can use preview mode. It'll automatically display the most recently captured photo full screen. This is often useful on sets when working with clients. They can quickly review what is going on with the shoot without interfering with camera controls. ## Rate photos On Canon cameras you can rate photos directly in the preview. Use ratings to mark your favorites during a shoot, then filter by rating to quickly find and download the best shots. ### 5. Live View The live view feed shows what your camera sees in real time. Shutter+ adds monitoring tools on top of this feed to help you compose, expose, and focus your shots. These tools are processed on your iPhone — they don't affect the captured image. This section covers: 0. [Full Screen](0_full_screen.mdx) — hiding controls for a larger preview 1. [Camera Orientation](1_camera_orientation.mdx) — automatic rotation to match the camera 2. [Mirror View](2_mirror_view.mdx) — flipping the live view horizontally 3. [Composition Aids](3_composition_aids/index.mdx) — [grids](3_composition_aids/2_grid_overlays.mdx), [aspect ratio guides](3_composition_aids/1_aspect_ratio_guides.mdx), and [image overlays](3_composition_aids/3_image_overlays.mdx) 4. [Exposure Aids](4_exposure_aids/index.mdx) — [histogram](4_exposure_aids/1_histogram.mdx), [zebra stripes](4_exposure_aids/2_zebra_stripes.mdx), [false color](4_exposure_aids/3_false_color.mdx), and [LUT preview](4_exposure_aids/4_lut_preview.mdx) 5. [Focus Peaking](5_focus_peaking.mdx) — highlighting in-focus edges ### 5.1. Full Screen Tap the full-screen button in the live view toolbar to hide all controls and use the entire screen for the camera feed. This gives you a larger, uncluttered preview for composing your shot. Tap the screen again to bring the controls back. Overlays like grids, aspect ratio guides, and exposure aids remain visible in full-screen mode. All options are still available under the "Menu" button. ### 5.2. Camera Orientation To match the camera's orientation, tap the rotate button (square with an arrow). The interface works in both portrait and landscape orientations on your iPhone. Controls rearrange to fit the screen regardless of how you hold your phone. ### 5.3. Mirror View Mirror view flips the live view feed horizontally. This is useful when you're standing in front of the camera — the mirrored preview feels more natural, like looking in a mirror. Toggle mirror view using the flip button in the additional controls toolbar. When the camera offers a lot of remote features that need to be displayed in the additional controls row, flip view is moved into [composition aids menu](4_composition_aids/index.md). Mirroring only affects the preview on your device. The captured image is not flipped. ### 5.4. Composition Aids Composition aids are visual overlays on the live view that help you frame your shots. They appear on your iPhone screen only and do not affect the captured image. 1. [Aspect Ratio Guides](1_aspect_ratio_guides.mdx) — preview different crop ratios 2. [Grid Overlays](2_grid_overlays.mdx) — rule of thirds, golden ratio, and other grids 3. [Image Overlays](3_image_overlays.mdx) — load a custom reference image ### 5.4.1. Aspect Ratio Guides Aspect ratio guides darken the areas outside a selected crop ratio, so you can preview how your photo will look when cropped. The full frame is always captured — the guide is purely visual. ## Available Ratios | Ratio | Use Case | |-------|----------| | **1:1** | Square — social media, album covers | | **3:2** | Standard DSLR and mirrorless sensor ratio | | **4:3** | Micro Four Thirds, compact cameras | | **5:4** | Print sizes like 8x10 | | **16:9** | Widescreen video | | **16:10** | Widescreen displays | | **XPAN 65:24** | Ultra-wide panoramic (Hasselblad XPAN style) | ## Enabling Aspect Ratio Guides Open composition tools (nested rectangles icon) from the controls row and select your desired aspect ratio. Enable and hide the aspect ratio overlay by tapping the on/off toggle before the "Aspect Ratio" header. The guide works alongside grid overlays — you can use both at the same time. The grid adjusts to fit within the selected aspect ratio. Your selection is saved between sessions. ### 5.4.2. Grid Overlays Grid overlays display composition guidelines on top of the live view. ## Available Grids | Grid | Description | |------|-------------| | **2x2** | Simple four-quadrant grid | | **3x3** | Rule of thirds — the most commonly used composition grid | | **6x4** | Fine grid for precise alignment | | **Diagonal** | Diagonal composition lines | | **Golden Ratio** | Grid based on the golden ratio (phi) | | **Golden Spiral** | Fibonacci spiral overlay | The Golden Spiral has four orientations — Top-Left, Top-Right, Bottom-Right, and Bottom-Left — so you can match the spiral to your subject's position. ## Enabling a Grid Open composition tools (nested rectangles icon) from the controls row and select your desired grid overlay from the "Grid" section. Enable and hide the overlay by tapping the on/off toggle before the "Overlay" header. Grid overlays work alongside aspect ratio guides. Your selection is saved between sessions. ### 5.4.3. Image Overlays You can load a custom image to overlay on top of the live view. This replaces the grid overlay — you use either a grid or an image overlay, not both at the same time. ## Use Cases - **Composite alignment** — overlay a previous shot to match the framing exactly - **Client mockups** — overlay a design to match the desired composition - **Logo placement** — preview where a watermark or graphic will appear in the final image ## Loading an Image Open the overlay settings and select **Image** as the overlay type. Tap the "Change overlay" button to choose an image from the **Files app**. If you store your overlay in the Photos app, you will need to export it to the Files app first. Use the **opacity slider** to adjust the overlay's transparency. Lower opacity lets you see the live view through the overlay more clearly. The loaded image and opacity setting are saved between sessions. The overlay does not affect the captured image. ### 5.5. Exposure Aids Exposure aids help you evaluate the brightness and color of your image while shooting. They are applied to the live view on your iPhone and do not affect the captured image. 1. [Histogram](1_histogram.mdx) — brightness distribution graph 2. [Zebra Stripes](2_zebra_stripes.mdx) — overexposure warning pattern 3. [False Color](3_false_color.mdx) — exposure levels mapped to colors 4. [LUT Preview](4_lut_preview.mdx) — real-time color grading preview The histogram can be used alongside any other aid. Zebra Stripes, False Color, and LUT Preview are color effects — only one color effect can be active at a time. Color effects cannot be used simultaneously with [Focus Peaking](../5_focus_peaking.mdx). Enabling a color effect turns off focus peaking, and vice versa. ### 5.5.1. Histogram The histogram shows the brightness distribution of the live view image in real time. It appears in the bottom left corner of the live view. ## How to Read It The horizontal axis represents brightness — dark tones on the left, bright tones on the right. The vertical axis shows how many pixels fall at each brightness level. - **Peaks on the left** — the image has a lot of dark tones. If the graph is pushed against the left edge, shadows may be clipped (detail lost in dark areas). - **Peaks on the right** — the image has a lot of bright tones. If the graph is pushed against the right edge, highlights may be blown (detail lost in bright areas). - **Spread across the graph** — the image uses a wide range of tones. ## Enabling the Histogram Toggle the histogram in the exposure aids settings. The histogram works independently of color effects — it stays visible whether you're using zebra stripes, false color, LUT preview, or none of them. ## Resizing the Histogram To resize the histogram, tap on it first to reveal a resize handle. Drag the handle to get the desired histogram size. ### 5.5.2. Zebra Stripes Zebra stripes overlay a diagonal stripe pattern on areas of the image that exceed a brightness threshold. This makes it easy to spot overexposed regions while shooting. ## Enabling Zebra Stripes Open the exposure aids settings and select **Zebra** as the color effect. Only one color effect can be active at a time — selecting zebra turns off false color or LUT preview. Zebra stripes do not affect the captured image. ## Adjusting Thresholds You can set a **minimum** and **maximum** brightness threshold. Areas with brightness outside these two values are marked with stripes. - Lower the **max threshold** to catch highlights before they clip. - Raise the **min threshold** to catch shadows before they clip. The default range is 1%–99%. Tap **Reset Threshold** to return to the defaults. ### 5.5.3. False Color False color replaces the live view image with a color-coded map of exposure levels. Each color represents a different brightness zone, from underexposed to overexposed. This gives you a quick visual overview of how exposure is distributed across the frame — useful for video work and scenes with tricky lighting. ## How to Read It The false color scale runs from 0 to 100 IRE. Dark areas appear in cool colors (blues and greens) and bright areas appear in warm colors (yellows and reds). Properly exposed skin tones and midtones fall in the middle of the scale. When False Color is enabled, a brightness scale is displayed next to the live view. ## Enabling False Color Open the exposure aids settings and select **False Color** as the color effect. Only one color effect can be active at a time. False color does not affect the captured image. ### 5.5.4. LUT Preview A LUT (Look-Up Table) is a color transformation file used for color grading. Shutter+ can load a `.cube` LUT file and apply it to the live view in real time, so you can preview the final graded look while shooting. ## When to Use It LUT preview is most useful when shooting in flat or log color profiles. These profiles capture more dynamic range but look washed out on screen. Applying a LUT in the live view lets you see the intended look without affecting the recorded footage. ## Loading a LUT Open the exposure aids settings, select **LUT** as the color effect, and tap the load button to choose a `.cube` file from the Files app. Shutter+ supports both 1D and 3D LUT files. The most recently loaded LUT is remembered between sessions. ## Limitations Only one color effect can be active at a time — selecting LUT turns off zebra stripes or false color. The LUT is applied to the preview only and does not affect the captured image or video. ### 5.6. Focus Peaking Focus peaking highlights the edges that are in focus by overlaying them with a colored outline in the live view. It's especially useful when focusing manually or verifying autofocus accuracy. ## Enabling Focus Peaking Open the exposure aids settings and toggle focus peaking on. Focus peaking cannot be used at the same time as color effects (zebra stripes, false color, or LUT preview). Enabling a color effect turns off focus peaking, and enabling focus peaking turns off the active color effect. Focus peaking is processed on your iPhone and does not affect the captured image. ## Settings **Color** — tap on the color to choose between Green, Red, or White. Pick a color that contrasts with your subject so the peaking is easy to see. The default is green. **Threshold** — controls sensitivity. A lower threshold highlights more edges (including slightly out-of-focus areas). A higher threshold highlights only the sharpest edges. ### 6. Automations Automations let Shutter+ control the timing and sequence of your shots. The app sends commands to the camera automatically — you set the parameters and press the shutter button to start. Automations can be combined. For example, you can add a timer delay before an intervalometer sequence, or use a timer delay before a bulb exposure to reduce vibration. 1. [Timer](1_timer.mdx) — countdown delay before capture 2. [Intervalometer](2_intervalometer.mdx) — repeated shots at a set interval 3. [BULB Timer](3_bulb_timer.mdx) — precise long exposure timing 4. [Exposure Bracketing](4_exposure_bracketing.mdx) — multiple shots at different exposures for HDR 5. [Focus Bracketing](5_focus_bracketing.mdx) — multiple shots at different focus distances for stacking ### 6.1. Timer (Delayed Capture) The timer adds a countdown delay before the capture starts. After you press the shutter button, the app waits for the specified duration and then triggers the shot. ## Enabling Timer Tap on the Timer button next to the shutter release button to open the menu, then toggle Initial Delay option and select a desired self-timer length. ## Settings - **Initial Delay** — the number of seconds to wait before capturing a photo. - **Sound** - the speaker icon in the top right corner controls if Shutter+ should make countdown and capture sounds. Useful e.g. for knowing when to pose. ## Capture Length Limit In continuous shooting modes (burst photo, video recording), the Timer menu shows Capture Length option to limit the length of recording. This is useful for: - **Group photos** where you want to be included. Use slow continuous shooting mode to take multiple photos of the same scene to maximize chances of everyone smiling with open eyes. *Initial Delay* will give you time to get with the group, and *Capture Length* can be used to not overwhelm the camera storage with photos of you running back to the camera. - **Timed video clips** - use a hard-limit when you need to hit certain durations e.g. for social media. ### Enabling Capture Length Tap on the Timer menu next to the shutter release button to open the menu, then toggle Initial Delay option and select a desired self-timer length. ### 6.2. Intervalometer The intervalometer automatically takes photos at a regular interval. It has many uses: - capturing self-portraits or travel photos with a chance to try different poses, - capturing frames for time-lapse photography, - capturing frames of the same scene for denoising, - and more... Unlike the intervalometer built into cameras, **Shutter+ will focus before each photo** in autofocus modes. This is great when you are posing, but you might want to switch to manual focus for static subjects for more precise time control. ## Enabling Intervalometer The camera needs to be in a single photo drive mode (see [Shooting Modes](../03_remote_control/2_shooting_modes.mdx)). Tap on the Timer button next to the shutter release button to open the menu, then toggle Repeat option and select a desired interval length. ## Settings **Sound** - on/off toggle, controls countdown, focusing and capture sounds. **Initial Delay** - time before Shutter+ takes the first photo. **Interval** — the time between shots, in seconds. The default is 2 seconds. **Number of photos** — the total number of shots to take. Set a specific count or leave it empty to enable **manual stop**. The default is Stop Manually. ## During Capture The status display shows: - The current shot number and total (e.g., "Photo 3 of 10") - A countdown to the next shot You can stop the sequence at any time by tapping the stop button (in place of the shutter release). ### 6.3. BULB Timer The BULB timer controls long exposure duration with precision. Set the exact time in minutes and seconds, and Shutter+ holds the shutter open for that duration. Common uses: astrophotography, light trails, light painting, long exposure landscapes. Access BULB timer in [shutter speed exposure menu](../03_remote_control/3_exposure_controls/2_shutter_speed.mdx). ## Entering BULB mode - **Canon cameras** - set the exposure mode dial on the camera to BULB (**B**) mode. - **Sony cameras** - set the exposure mode dial on the camera to Manual (**M**) mode. Select **BULB** from the shutter speed menu. - **Fujifilm cameras** - only predefined BULB lengths are available. Set the exposure time to BULB **before you connect with the camera**. See [Exposure Mode](../03_remote_control/3_exposure_controls/1_exposure_mode.mdx) for mode details. ## Additional requirements Not all cameras support BULB modes. A lot of video oriented models do not have this option. [Check out compatibility pages to see if your camera supports BULB.](/cameras) Additionally, **BULB is not available with fully electronic shutter**. Switch your camera settings to **mechanical shutter** or **electronic 1st curtain shutter** (recommended for less vibrations). Consult your camera manual for more details on how to enter BULB mode. ### 6.4. Exposure Bracketing Exposure bracketing takes multiple shots at different exposure levels. You can merge the results in post-processing software to create HDR images with more dynamic range than a single exposure. This is software-controlled bracketing managed by Shutter+ — it works independently of any built-in bracketing on your camera. ## Enabling Exposure Bracketing The camera needs to be in a single photo drive mode (see [Shooting Modes](../03_remote_control/2_shooting_modes.mdx)). **For best results, we recommend setting your camera to fully Manual exposure mode (M) with a fixed ISO and using Shutter Speed for bracketing.** Tap on the Bracket. button next to the shutter release button to open the menu, then toggle **Exposure Bracketing** and choose your desired settings. ## Settings **Number of exposures** — how many shots to take. The default is 3. **EV step** — the exposure difference between each shot, in EV stops. The default is 1.0 EV. **Bracketing property** — which exposure parameter to vary between shots: | Property | How It Works | |----------|--------------| | **Shutter Speed** (Recommended) | Changes shutter speed while keeping other settings fixed | | **ISO** | Changes ISO while keeping other settings fixed. Not recommended as modern cameras are close to being ISO-invariant. | | **Exposure Compensation** | Adjusts EV compensation for each shot. The only option in auto-exposure modes (not recommended). | Before shooting, the app displays the planned exposure sequence so you can verify the values. The current exposure value is always in the middle of the sequence. Half of the photos will be darker and half will be brighter than the current exposure. When darker or brighter exposures are not available in the camera, the sequence might be clipped on one side. On Sony cameras, bracketing will automatically go into [BULB exposure mode](./3_bulb_timer.mdx) for exposures longer than max available shutter speed. ## Requirements - The camera must be in **Single Photo** drive mode. - The camera must be in a manual or semi-manual exposure mode (not full Auto). ### 6.5. Sony: Focus Bracketing Focus bracketing takes multiple shots at different focus distances. You can combine the results in focus stacking software (such as Helicon Focus or Adobe Photoshop) to produce a final image with extended depth of field — sharp from front to back. ## How it works To use Focus Bracketing, you need a Sony camera with a Sony **autofocus** lens. Shutter+ will pull focus and take photos until the entire selected focus range is covered. The camera reports focusing distance as a percentage number. 0 means lens closest focusing distance, and 100 is infinity. You can control closest and furthest bracketing range either by rotating manual focus ring on the lens, or using pull focus controls in Shutter+. In the selected range (25-85) in the example above, Shutter+ will take a picture, request camera to pull focus slightly further, and repeat until it reaches the final focus distance. You control how much to pull by setting a step size, but how many photos will be taken depends on your lens, selected aperture and focusing distance. It requires some experimentation. ## Enabling Focus Bracketing **Make sure you have a Sony autofocus lens. If it has an AF/MF switch, it needs to be in AF position. If it has a focus limiter, we recommend the FULL setting.** If you set your lens to MF, Shutter+ will not be able to adjust focus at all. Additionally, the camera needs to be in a single photo drive mode (see [Shooting Modes](../03_remote_control/2_shooting_modes.mdx)). Tap on the Bracket. button next to the shutter release button to open the menu. Tap **Set camera to manual focus (MF)** button to switch your **camera body** to MF. Once the camera is ready, toggle **Focus Bracketing**. ## Settings **Step size** — how much focus shifts between shots. What each step size means exactly will differ based on the lens, selected aperture and focus distance. Some experimentation is required. We recommend starting with the default **Medium** size. If too few photos are taken, change it to **Small**. If too many - choose **Large**. **Far focus limit** — the furthest focus distance in the sequence. Use [manual focus pull buttons](../03_remote_control/4_focus_controls/4_manual_focus_control.mdx) or rotate your lens focus ring (recommended) to select focus distance right after your subject. Tap **Clear limit** to reset this setting to **infinity**. ## Starting Focus Bracketing Sequence Once Focus Bracketing is enabled and configured, tap shutter release button to initialize the sequence. Similar to Far Focus Limit, use [manual focus pull buttons](../03_remote_control/4_focus_controls/4_manual_focus_control.mdx) or rotate your lens focus ring (recommended) to select **starting position** - the closest distance you want in focus. Tap **Start Focus Bracketing** to run the sequence from **starting position** to **far focus limit**. ## Focus Bracketing Sequence While Focus Bracketing is running, you will see progress in the status bar. You can combine Focus Bracketing with Exposure Bracketing to capture multiple exposures at the same focus distance. ## Requirements - The **AF/MF switch** on the lens must be set to **AF**. Shutter+ needs to control the focus motor. - The **focus limiter** on the lens must be set to **FULL**. A restricted range prevents proper stepping. - The camera must be in **Single Photo** drive mode. - Use an aperture between **f/5.6 and f/11** for best stacking results. ## Troubleshooting ### Focus not moving error There are a few potential causes for this issue: - manual focus lens or lens in manual focus mode - trying to move focus beyond lens focus limiter (i.e. limiter not set to FULL) - lens not supported - aperture too large If your lens is in manual focus (MF) mode, Shutter+ is unable to adjust focus electronically. Switch your lens to AF and try again. If your lens limiter is not set to FULL, Shutter+ might attempt to go beyond the focus limit and the lens will prevent that. Switch to FULL and try again. If your lens is not supported, it might not send focus distance updates. We only test with Sony lenses and we've heard from users that Sigma and Tamron lenses are causing issues. If you are in doubt, you can try 7 day free trial to see if your particular lens works with focus bracketing. The camera reports focus distance as an integer in 0..100 range (i.e. only 101 positions can be encoded). Modern macro lenses offer way more precise focus control, especially when aperture is large and depth of field is shallow. It might happen that the camera will use 10 different focusing distances all of which will be reported as the same percentage number. If that happens, try smaller aperture (F5.6 - F11 is recommended), larger step size, or wait a few more photos to see if focus starts moving. ### 7. Importing Photos Shutter+ lets you browse, filter, and download photos directly from your camera's memory card over Wi-Fi and USB. 1. [Browsing Camera Storage](1_browsing_camera_storage.mdx) — view and preview photos on the camera 2. [Filtering Photos](2_filtering_photos.mdx) — narrow down by date, type, rating, or download status 3. [Downloading Photos](3_downloading_photos.mdx) — save photos to your iPhone 4. [Rating Photos](4_rating_photos.mdx) — rate photos on Canon cameras ### 7.1. Browsing Camera Storage Open **Import Photos** from the [saved cameras screen](../02_getting_started/5_managing_saved_cameras.mdx) to browse photos stored on your camera's memory card. ## Thumbnails and Preview Photos are displayed as a thumbnail grid. Tap a photo to open a full-screen preview with pinch-to-zoom. In full-screen preview, you can view a histogram and EXIF data — exposure settings, and lens info. ## View preferences Tap on the **View** button in the bottom toolbar to manage view preferences: - **Large Grid** - 3 photos per row on an iPhone screen - **Small Grid** - 5 photos per row on an iPhone screen ## Sorting Use the sort tool to organize the gallery: - **Sort direction** — oldest or newest photos first. - **Group by** — organize photos by dates, rating, kind (JPEG, RAW, video) or download status (downloaded or not). ## Navigating Large Collections Use the jump tool to skip to a specific point in the gallery. This is useful when you have hundreds or thousands of photos on the card. ## Dual Card Slots If your camera has two memory card slots, use the card selector at the top of the screen to switch between them. ### 7.2. Filtering Photos Use filters to narrow down the gallery to specific photos. All active filters are combined — a photo must match every filter to appear. ## Available Filters | Filter | Options | |--------|---------| | **Date range** | Set a start date, end date, or both | | **Kind / File type** | Photo, RAW, JPEG, HDR (HEIF), or Video | | **Rating** | Filter by star rating with comparison operators (at least, at most, or exactly) | | **Download status** | Downloaded or Not Downloaded | The filter badge in the toolbar shows how many filters are active. To clear any of the selected filters, tap the little "x" icon next to the active filter name. ## Date range A calendar view appears to select start and end dates. ## Kind / File type Select between JPEG, RAW and video files. ## Rating Tap on the ≥ / ≤ / = symbol to rotate between images with at least X rating (≥), at most X rating (≤), or exactly X rating (=). Drag on the stars selector to select between 0 and 5 stars. Tap **Clear Filter** to remove rating filter. ## Download Status Select between downloaded and not downloaded photos and videos. ## Dual Card Slots If your camera has two memory card slots, use the card selector at the top of the screen to switch between them. ### 7.3. Downloading Photos You can download photos from your camera to your iPhone over Wi-Fi or USB. ## Downloading Individual Photos When the photo preview is open, tap the download button left of the photo name to save it. ## Batch Download Tap **Select** button in the toolbar to enable selection mode. In selection mode: - Tap on a photo to select/deselect it. - Tap on a header (e.g. a date) to select the entire group. - Drag across photos to quickly make a rectangular selection. The number of selected photos appears at the bottom of the screen. Tap **Download** to confirm the selection. ## Download Options ### Quality Options If your selection contains RAW files, depending on your camera model, you might be able to control import quality. In the **Download RAW files as...** field you can choose between: | Quality | Description | |---------|-------------| | **RAW** | Full-resolution RAW file. Larger file size, slower transfer. | | **JPEG** | Develop RAW file in camera. Much faster, good for quick sharing with friends and family. | RAW quality is useful when you need the full file on your iPhone, e.g. for post-processing. ### Save Destination Choose where downloaded photos are saved: - **Photos app** — saves to your iPhone or iCloud photo library. You can select or create a specific album. - **Files app** — saves to a folder of your choice. By default all photos are stored in the **Shutter+** album in the Photos app. ### Skip Duplicates When Shutter+ detects that some photos in your selection were downloaded already, it shows an option to skip duplicates. This only works with photos saved to the Photos app. ## Download Progress Tap on the **Download** button to start downloading photos from the camera. You'll see progress as photos are downloaded. Once a photo is downloaded, you can see a full-resolution downloaded image by tapping a photos icon or a file icon (depending on download location) next to the downloaded file. ### 7.4. Canon: Rating Photos On Canon cameras, you can rate photos directly from Shutter+ using a 1–5 star rating system. Ratings are written to the camera's memory card, so they're visible on the camera body and in any software that reads Canon ratings. Use ratings to mark your favorites during a shoot, then filter by rating to quickly find and download the best shots. See [Filtering Photos](2_filtering_photos.mdx) for how to filter by rating. ### 8. Apple Watch App The Apple Watch companion app lets you control your camera from your wrist. It communicates with the Shutter+ app on your iPhone, which in turn controls the camera. The Watch does not connect directly to the camera. The Watch app installs automatically when you install Shutter+ on your iPhone. 1. [Overview](1_overview.mdx) — what the Watch app can do 2. [Installation](2_installation.mdx) — getting the Watch app 3. [Connecting to the camera](3_connect_to_camera.mdx) — how to connect 4. [Remote Shutter](4_remote_shutter.mdx) — taking photos and recording video 5. [Live View](6_live_view.mdx) — viewing the camera feed on your Watch 6. [Exposure Adjustments](7_exposure_adjustments.mdx) — changing exposure settings with the Digital Crown 7. [Timer & Intervalometer Control](8_automation_control.mdx) — running automations from the Watch 8. [Note on Bluetooth](8_note_on_bluetooth.mdx) — Bluetooth and Watch compatibility ### 8.1. Apple Watch Overview The Watch app gives you a full remote control of your camera from your wrist. It's useful when photographing yourself as you don't need to constantly hide your iPhone away. ## What You Can Do - **Take photos and videos** — tap the shutter button on the Watch - **View the live feed** — see what your camera sees on the Watch screen - **Adjust focus and exposure** — change shutter speed, aperture, ISO, and exposure compensation - **Run timer & intervalometer** — start intervalometers and view progress ## Requirements - Your iPhone must be connected to the camera via Wi-Fi. - Your Apple Watch must be connected to the iPhone (via Bluetooth or Wi-Fi). If the iPhone is not connected to a camera, the Watch app shows a "Camera not connected" screen. If the Watch can't reach the iPhone, it shows "Phone not connected." **You cannot use the Apple Watch app without an iPhone.** ### 8.2. Installing Watch app The Apple Watch app is downloaded automatically when you download an iPhone app. It should be installed automatically on your Watch. If Shutter+ does not appear in your Watch app, open the **Apple Watch** app on your iPhone and scroll through the **My Watch** page to see the installation progress. The process will be faster when your Watch is on a charger. ### 8.3. Connecting with Camera The Apple Watch does not connect directly with the camera. Instead, it communicates with the iPhone app that manages the camera connection. To connect your Apple Watch, first establish a connection with the camera in the iPhone app. ### 8.4. Remote Shutter The Watch app shows a large shutter button for easy access, even at a glance. ## Photo Mode Tap the shutter button to take a photo. The button provides haptic feedback when the capture is triggered. ## Video Mode In video mode, tap the shutter button to start recording. Tap again to stop. A recording timer shows elapsed time. ### 8.5. Apple Watch Live View The Watch app can display a live feed from your camera directly on the Watch screen. Tap the live view to set a focus point, just like on the iPhone. The Watch displays a lower-resolution preview suited to its smaller screen. There may be a slight delay compared to the iPhone's live view due to the additional communication step. ### 8.6. Exposure Adjustments You can adjust exposure settings directly from the Watch using the Digital Crown. ## Available Controls - **Exposure mode** - **Aperture** - **Shutter speed** - **ISO** - **Exposure compensation** Tap a setting to select it, then rotate the Digital Crown to scroll through available values. The Watch provides haptic feedback as you turn the Crown. ### 8.7. Timer Control You can configure and run self-timer and intervalometer from the Watch app. ## Available Settings From the Watch, you can adjust: - **Self-timer** — enable and set the delay duration - **Intervalometer** — enable, set the interval, and set the number of photos - **BULB timer** — set the exposure duration (when in BULB mode) - **Exposure bracketing** — enable, set the number of exposures and EV step - **Recording limit** — set a maximum recording duration ## Monitoring Progress When an automation is running, the Watch displays: - Current shot number and total (e.g., "Photo 3 of 10") - Countdown to the next shot - Focus progress for focus bracketing You can stop a running automation from the Watch. ### 8.8. Note on Bluetooth The Apple Watch communicates with your iPhone via Bluetooth. This creates a trade-off when using the [Bluetooth Shortcut](../02_getting_started/4_connecting_to_your_camera/2_bluetooth_extension.mdx). ## The Trade-Off iPhones share a single antenna between Bluetooth and 2.4 GHz Wi-Fi. Disabling Bluetooth improves Wi-Fi performance (and therefore live view speed), but it also disconnects the Apple Watch. You have two options: 1. **Bluetooth off** — faster live view on 2.4 GHz Wi-Fi, but no Watch control. 2. **Bluetooth on** — Watch works, but live view may be slower on 2.4 GHz Wi-Fi. ### 9. Settings & Customization Shutter+ offers several settings you can adjust to match your preferences. 1. [Capture Sound](1_capture_sound.mdx) — toggle the shutter sound 2. [App Language](2_language.mdx) — change the display language 3. [App Icon](3_app_icon.mdx) — choose an alternative app icon 4. [Preview Storage](4_preview_storage.mdx) — store previews on your iPhone (Sony) ### 9.1. Capture Sound Shutter+ plays a sound when you take a photo or when timer countdown is running. You can turn this off in the settings overlay on the remote control screen. Toggle **Sound** to enable or disable it. Your preference is saved between sessions. This controls only the app's sound — it does not affect the camera's own shutter sound. ### 9.2. App Language Shutter+ supports multiple languages. The app follows your device's language by default. To change the language for Shutter+ specifically, go to **iOS Settings > Shutter+ > Language** and select your preferred language. You can also tap **Change language** in the **Support** tab of the app. If you notice a translation issue, you can report it from the app's Support section. See [Getting Help](../10_getting_help/index.mdx). ### 9.3. App Icon Shutter+ offers alternative app icons. You can change the icon from the app's **Support** section. Select your preferred icon from the available options. The change takes effect immediately on your Home Screen. The first icon change might require an iPhone restart (a known iOS issue). ### 9.4. Sony: Preview Storage On Sony cameras, you can choose to store preview images on your iPhone automatically when you take a photo. Toggle **Store Previews** in the settings overlay on the remote control screen. When enabled, Shutter+ saves a preview of each captured photo to your device without requiring a manual download. This is useful for quickly reviewing shots on your iPhone after a shoot. The previews are smaller than the originals (2M) and transfer quickly. They are accessible from the **Gallery** tab on the main screen of the app. ### 10. Troubleshooting This section covers common issues and how to resolve them. 1. [Unable to Join the Network](1_unable_to_join_network.mdx) 2. [Connection Stuck on "Initializing"](2_connection_stuck_on_initializing.mdx) 3. [Camera Disconnects Unexpectedly](3_camera_disconnects_unexpectedly.mdx) 4. [Slow Live View or Laggy Performance](4_slow_live_view.mdx) 5. [Focus Not Moving in Bracketing](5_focus_not_moving_in_bracketing.mdx) 6. [Sony: No Focus Control](6_sony_no_focus_control.mdx) 7. [Sony: RAW Format Not Matching Camera Settings](7_raw_format_not_matching.mdx) 8. [Sony: Very Slow Photo Capture](8_preview_too_large_warning.mdx) 10. [Photos Permission Required](10_photos_permission_required.mdx) 11. [Location Permission Required](11_location_permission_required.mdx) If your issue isn't listed here, see [Getting Help](../10_getting_help/index.mdx) to contact support. ### 10.1. Unable to Join the Network This error appears when iOS fails to join your camera's Wi-Fi network. ## Fixes 1. **Tap "Try Again."** This often resolves the issue on the second attempt. 2. **Make sure the camera is ready.** The camera must be in its "Waiting to connect" state, actively broadcasting Wi-Fi. If you waited too long, the camera may have timed out — restart its Wi-Fi. 4. **Try joining manually.** Go to iOS Settings > Wi-Fi and connect to the camera's network directly. Then return to Shutter+. 5. **Forget and reconnect.** In iOS Settings > Wi-Fi, tap the info button next to the camera's network and select "Forget This Network." Then try connecting from Shutter+ again. 6. **Check camera settings.** Some cameras have an "Always Connected" or similar setting that keeps Wi-Fi active. Enable it if available. ### 10.2. Connection Stuck on "Initializing" The app connects to the camera's Wi-Fi but stays on "Initializing" and never reaches the remote control screen. ## Causes - A **VPN or firewall app** on your iPhone is intercepting local network traffic between the phone and camera. - Another device is already connected to the camera's Wi-Fi (most cameras allow only one client). ## Fixes 1. **Disable VPN apps.** VPNs can intercept the local network traffic Shutter+ uses to communicate with the camera. 2. **Disable firewall or network monitoring apps.** 3. **Disconnect other devices** from the camera's Wi-Fi. 4. **Restart your iPhone** to clear network state, then try again. ### 10.3. Camera Disconnects Unexpectedly The Wi-Fi connection drops while you're using the app. ## Causes On some camera models, interacting with the camera body (browsing menus, reviewing photos, pressing the playback button) drops the Wi-Fi connection. This is a hardware limitation. ## Fixes 1. **Stay in shooting-ready mode.** Don't browse menus or review photos on the camera body while connected. 2. **Stay within range.** Wi-Fi range is typically 10–15 meters, less with obstacles between you and the camera. ### 10.4. Slow Live View or Laggy Performance The live view is choppy, the shutter response is delayed, or previews load slowly. ## Primary Cause iPhones share a single antenna between Bluetooth and 2.4 GHz Wi-Fi. When Bluetooth is active, it competes with the camera's Wi-Fi signal and slows down data transfer. ## Fixes 1. **Set up the [Bluetooth Extension](../02_getting_started/4_connecting_to_your_camera/2_bluetooth_extension.mdx)** to toggle Bluetooth automatically when you connect and disconnect. - Alternatively, **Disable Bluetooth** from **iOS Settings** (not Control Center). Control Center only disconnects active devices — it doesn't turn off the Bluetooth radio. 2. **Reduce preview quality** to 2M in camera's **Remote Shoot Settings** (Sony only). Smaller images transfer faster. 3. **Move closer** to the camera. 4. **Avoid crowded Wi-Fi environments** — areas with many 2.4 GHz networks cause more interference. ### Bluetooth Extension Setup Video ## 5 GHz Cameras If your Sony camera supports 5 GHz Wi-Fi, enable it in the menu. The 5 GHz band uses a separate antenna, so Bluetooth doesn't interfere. ### 10.5. Focus Not Moving in Bracketing See troubleshooting guide in [the focus bracketing section](../05_automations/5_focus_bracketing.mdx). ### 10.6. Sony: No Focus Control On some Sony cameras, you cannot change the focus point or trigger autofocus from the app. This is a camera firmware limitation, not a Shutter+ issue. [See if your camera supports tap to focus.](/cameras) [See our dedicated help page for cameras with no tap to focus.](/docs/how-to-focus-without-tap-to-focus) ## Workarounds 1. **Use Wide AF area with Eye-AF.** The camera handles focus automatically and tracks subjects. 2. **Use area-based focus modes** (Wide, Zone) instead of point-based modes. 3. **Switch to Manual Focus (MF)** and use the lens focus ring. ### 10.7. Sony: RAW Format Not Matching Camera Settings Photos taken remotely are in a different format than what's set on the camera body (for example, expect RAW images but remote shots are JPEG). Affected cameras display a warning the first time you connect with them. ## Cause Sony cameras with "Smart Remote Control" app use a separate settings bank for remote shooting mode. The file format for remote shooting is independent of what's configured on the camera body. This is camera firmware behavior, not a Shutter+ issue. ## Fix After connecting, check and adjust the file format in the camera MENU. ### 10.8. Sony: Very Slow Photo Capture Photo capture takes a very long time, and the app may show a preview size warning. ## Cause The save destination is set to transfer original-quality files to your iPhone after every shot. Full-resolution files (especially RAW) are large and slow to transfer over Wi-Fi. ## Fix Set the preview quality to **2M (Preview)** in the **Remote Shoot Settings** in the camera menu. This transfers a smaller preview to your iPhone after each shot, which is much faster. The original stays on the camera's memory card. Use original quality only when you specifically need full-resolution copies on your iPhone and prefer using USB tethering for such scenarios. ### 10.9. Photos Permission Required Shutter+ needs access to your photo library to save downloaded photos to the Photos app. Full access is required so Shutter+ can manage **Shutter+** album on your behalf. **No other photos are ever read from your library!** ## Fix Go to **iOS Settings > Shutter+ > Photos** and grant **Full Access**. Without this permission, you will not be able to download files from the camera. ### 10.10. Location Permission Required Shutter+ asks for Location permission when you connect to a camera. ## Why It's Needed iOS requires Location permission to read the name of the Wi-Fi network (SSID) your iPhone is connected to. Shutter+ uses this to verify it's connected to the camera's Wi-Fi — not for tracking your location. This is an Apple requirement that applies to all apps that read Wi-Fi network names. **Shutter+ never reads, stores or processes your location information.** ## Fix Go to **iOS Settings > Shutter+ > Location** and select **While Using the App**. Make sure **Precise Location** is turned on — approximate location is not sufficient for reading the Wi-Fi network name. ### 11. Getting Help ## Contact Support If you run into an issue or have a question, email support from the app's **Support** section. **This is the best way of getting help as it provides us with context about your subscription and camera connection status**. You can expect a response within 18 hours. If you don't have Shutter+ installed, you can also [use the contact form](/contact). ## Diagnostic Report When contacting support about a technical issue, share a diagnostic report. This gives the support team detailed information about your connection and app state, which helps resolve issues faster. To share a diagnostic report, go to the **Support** section in the app and tap **Share Diagnostic Report**. ## Report a Translation Issue Shutter+ supports multiple languages. If you spot a translation error, tap **Report Translation Issue** in the Support section. This opens an email with the relevant details pre-filled. ## Website Visit [shutter.dev](https://shutter.dev) for the latest information, supported camera list, and documentation. ## Help Articles ### Can I use Shutter+ to control the bulb time and use an intervalometer with bulb? Learn how to use Shutter+'s intervalometer in bulb mode. Set your camera to BULB, control shutter speed from the app, and configure intervals. Yes, in Shutter+, BULB can be used together with the intervalometer. Simply set the camera into BULB mode, and then you can set the shutter speed using the app. After this, turn on and setup the intervalometer intervals as normal. New to long exposures? See our [guide to using BULB mode](/docs/guides/bulb) for astrophotography, light painting, and night photography. ### Connecting with multiple iPhone or iPad devices How to use Shutter+ on both an iPhone and iPad with your Canon camera. Covers three generations of Canon connection settings. Each remote control app — including Shutter+ — needs to be registered as a **new smartphone device** on your Canon camera. If you already use Shutter+ on your iPhone and want to add your iPad (or vice versa), you'll need to go through the connection setup again for the second device. If you try to connect with the camera using a configuration of another app, the camera will reject the connection. The exact steps depend on your camera model. Open your camera's **Menu** and find the tab with network (wireless) options: - [ Network under a **zig-zag icon** — e.g. EOS R6 Mark II, PowerShot V1](#communication-functions-menu) - [ Network under a **wireless antenna** icon — e.g. EOS R6, EOS 850D](#wireless-features-menu) - [ Network under a **wrench/spanner** icon — e.g. EOS Rebel T7, EOS 6D](#setup-menu) {` details[data-section] summary { list-style: none; cursor: pointer; } details[data-section] summary::-webkit-details-marker { display: none; } details[data-section] .chevron-icon { transition: transform 0.2s ease; } details[data-section][open] .chevron-icon { transform: rotate(180deg); } `} Cameras with a zig-zag icon for network functions e.g. Canon EOS R6 Mark II, PowerShot V1 We recommend using Bluetooth on your most-used device (e.g. your iPhone) for the most seamless experience — the camera will automatically establish a Wi-Fi connection when you open Shutter+. Your second device (e.g. iPad) connects via Wi-Fi only. On these cameras, Bluetooth and Wi-Fi connections are added separately. ### Setting up your main remote (Bluetooth + Wi-Fi) Follow these steps on your most used iOS device (e.g. iPhone). Only one device can be paired via Bluetooth. 1. On the camera, go to **Menu → Network function tab → Connect to smartphone(tablet)**. 2. Select **Add a device to connect to**. 3. The camera may prompt you to enable Bluetooth — select **OK**. 4. Press **SET** to begin pairing. 5. Open **Shutter+** app and follow the **Add camera → Wireless (Wi-Fi + Bluetooth)** guide. The camera name will appear — tap it to pair. 6. Confirm the Bluetooth pairing dialog on your iPhone. 7. Press **SET** on the camera to complete pairing. When you use Shutter+, the camera will automatically set up a Wi-Fi connection on top of Bluetooth. ### Reconnecting your main remote (Bluetooth + Wi-Fi) With Bluetooth, reconnection is automatic. Simply turn on the camera, open **Shutter+** app on your device and select **Remote Control** or **Photo Import** to connect. ### Setting up your secondary remote (Wi-Fi only) Follow these steps on all of your additional iOS devices (e.g. iPad or family member's iPhone). The camera can only be Bluetooth-paired with one device at a time, so the second device connects via Wi-Fi. 1. On the camera, go to **Menu → Network function tab → Advanced connection → Connect to smartphone(tablet)**. 2. Select **Add a device to connect to**. 4. Press **SET** to skip the QR code. 3. Select **Camera access point mode**. 4. The camera will display an SSID and password. 5. Open **Shutter+** app and follow the **Add camera → Wireless (Wi-Fi only)** guide. 6. Scan the SSID and password displayed on the camera with **Shutter+** and confirm Wi-Fi connection. ### Reconnecting your secondary remote (Wi-Fi only) 1. On the camera, go to **Menu → Network function tab → Connect to smartphone(tablet)**. 2. Select [Shutter+] option **without the Bluetooth logo** next to it. The camera will start a Wi-Fi connection. 3. Open **Shutter+** app on your device and select **Remote Control** or **Photo Import** to connect. Cameras with an antenna icon for the network tab e.g. Canon EOS R6, EOS 850D We recommend using Bluetooth on your most-used device (e.g. your iPhone) for the most seamless experience — the camera will automatically establish a Wi-Fi connection when you open Shutter+. Your second device (e.g. iPad) connects via Wi-Fi only. On these cameras, Bluetooth and Wi-Fi connections are added separately. ### Setting up your main remote (Bluetooth + Wi-Fi) 1. On the camera, go to **Menu → Network tab → Wi-Fi/Bluetooth connection → Connect to smartphone**. 2. Select **Add a device to connect to**. 3. If asked about Camera Connect, select **Do not display**. 4. Select **Pair via Bluetooth** and press **SET**. 5. On your iPhone, open **Shutter+**. The camera name will appear — tap it to pair. 6. Confirm the Bluetooth pairing dialog on your iPhone. 7. Press **SET** on the camera to complete pairing. When you use Shutter+, the camera will automatically set up a Wi-Fi connection on top of Bluetooth. ### Reconnecting your main remote (Bluetooth + Wi-Fi) With Bluetooth, reconnection is automatic. Simply turn on the camera, open **Shutter+** app on your device and select **Remote Control** or **Photo Import** to connect. ### Setting up your secondary remote (Wi-Fi only) Follow these steps on all of your additional iOS devices (e.g. iPad or family member's iPhone). The camera can only be Bluetooth-paired with one device at a time, so the second device connects via Wi-Fi. 1. On the camera, go to **Menu → Network tab → Wi-Fi/Bluetooth connection → Connect to smartphone**. 2. Select **Add a device to connect to**. 3. If asked about Camera Connect, select **Do not display**. 4. Select **Connect via Wi-Fi** (not "Pair via Bluetooth"). 5. The camera will display an SSID and password. 6. On your iPad, go to **Settings → Wi-Fi**, find the camera's SSID, and enter the password. 7. Open **Shutter+** on your iPad. ### Reconnecting your secondary remote (Wi-Fi only) 1. On the camera, go to **Menu → Network tab → Wi-Fi/Bluetooth connection → Connect to smartphone**. 2. Select **Shutter+** option. Confirm if asked to connect without Bluetooth. The camera will start a Wi-Fi connection. 3. Open **Shutter+** app on your device and select **Remote Control** or **Photo Import** to connect. Cameras with network functions under a wrench icon e.g. Canon EOS Rebel T7, EOS 6D These cameras store connections in numbered **SET slots** (up to 3). You should create a single SET associated with Shutter+ and reuse it across your iPhone and iPad. ### Setting up your iPhone 1. On the camera, go to **Menu → Wi-Fi function → Connect to smartphone**. 2. Select **Register a device for connection**. 3. If asked about Camera Connect, select **Do not display**. 4. Select **Easy connection**. The camera will display an SSID (network name) and password. 5. On your iPhone, go to **Settings → Wi-Fi**, find the camera's SSID, and enter the password. 6. Open **Shutter+** on your iPhone. 7. On the camera, confirm the connection when prompted. The camera saves this as **SET1**. ### Reconnecting your iPhone 1. On the camera, go to **Menu → Wi-Fi function → Connect to smartphone**. 2. Select **Choose set.** and pick the SET you created for Shutter+ (e.g. SET1). 3. On your iPhone, go to **Settings → Wi-Fi** and connect to the camera's network. 4. Open **Shutter+**. ### Setting up your iPad You don't need a separate SET slot. Reuse the same SET you created for your iPhone: 1. On the camera, go to **Menu → Wi-Fi function → Connect to smartphone**. 2. Select **Choose set.** and pick the SET you created for Shutter+ (e.g. SET1). 3. The camera will display the SSID and password. 4. On your iPad, go to **Settings → Wi-Fi**, find the camera's SSID, and enter the password. 5. Open **Shutter+** on your iPad. ### Reconnecting your iPad 1. On the camera, go to **Menu → Wi-Fi function → Connect to smartphone**. 2. Select **Choose set.** and pick the SET you created for Shutter+ (e.g. SET1). 3. On your iPad, go to **Settings → Wi-Fi** and connect to the camera's network. 4. Open **Shutter+**. ## Tips - **Only one device at a time.** Only one iPhone or iPad can control the camera at any given time. - **Use Bluetooth on your main device.** If your camera supports Bluetooth, pair it with the device you use most often. Bluetooth enables automatic reconnection — you just open Shutter+ and it connects. - **Wi-Fi connections work on all devices.** The "Connect via Wi-Fi" path works on both iPhone and iPad and doesn't require Bluetooth. {` function openSectionFromHash() { var hash = window.location.hash.slice(1); if (!hash) return; var el = document.getElementById(hash); if (!el || el.tagName !== 'DETAILS') return; if (!el.open) el.open = true; el.scrollIntoView({ behavior: 'smooth', block: 'start' }); } openSectionFromHash(); window.addEventListener('hashchange', openSectionFromHash); `} ### Exposure bracketing for sunrises Video tutorial: use Shutter+'s exposure bracketing for sunrise photography, then blend exposures in Adobe Photoshop for natural HDR results. In the following video guide, photographer Ian Middleton gives a great example of how to use the exposure bracketing feature for sunrises, and then how to easily do the exposure blending in Adobe Photoshop. ## Features Covered in this Video * Pre-sunrise planning and positioning at Saint Thomas Church using Peak Finder * Using the Shutter+ app for automated exposure bracketing * Camera settings for challenging sunrise lighting conditions * Complete Adobe Photoshop workflow for blending multiple exposures * Professional HDR techniques without the artificial look * Composing with the dramatic Kamnik Alps backdrop * Why timing is everything for this once-a-year shot ## Watch the video below ### Timestamps * [0:00](https://youtu.be/EwmwBslCmgk?si=4XBPwN3sZ2I8bJEk&t=2) Introduction * [1:18](https://youtu.be/EwmwBslCmgk?si=CUj-GmYSxVv8nOaq&t=78) Setting Up for the Perfect Alignment * [4:16](https://youtu.be/EwmwBslCmgk?si=L-5PbN1hNoUZIpV0&t=256) Exposure Bracketing with Shutter+ App * [8:36](https://youtu.be/EwmwBslCmgk?si=Hjh7v63DmCyDRowO&t=516) Capturing the Solstice Sunrise Over Kamnik Alps * [9:17](https://youtu.be/EwmwBslCmgk?si=X4rjEB8MoahBTmuf&t=554) Photoshop: Blending Exposures for Natural HDR ## Equipment Used * Canon EOS R5 Mirrorless camera + Canon EF 100-400mm f/4.5-5.6L IS II USM Lens * Benro 34CLV tripod + geared head (essential for sharp bracketed shots) * Shutter+ on iPhone 15 Pro Max * Adobe Photoshop CC Read our complete guide to exposure bracketing and shooting a sunrise here: [_Exposure Bracketing: A Complete Guide_](/docs/exposure-bracketing-lens-flare-removal-with-shutter-photoshop) ### Exposure controls disappear when focusing Exposure controls hide during focusing because your camera locks exposure settings while autofocus is active. This is normal camera behavior. This is how your camera works. Whenever you focus (whether it’s in camera or via our app), the camera will lock exposure settings until you take a photo or cancel the action. ### Focus stacking photography — 5 ways a remote control app helps Focus stacking made easy: 5 ways a camera remote app like Shutter+ helps you shoot tack-sharp macro and landscape images with focus bracketing. ## Why use a remote control app for focus stacking? Focus stacking is one of the most effective techniques in landscape and macro photography for achieving front-to-back sharpness across a scene. The challenge is capturing multiple frames at slightly different focal points without any movement between shots -- because even the slightest shift between frames can ruin the final composite. This is where a remote control app like Shutter+ becomes invaluable. By controlling your camera entirely from your phone or tablet, you eliminate the need to touch the camera at all, resulting in a perfectly stable set of frames that are far easier to blend in post-processing. ## 5 useful features for focus stacking ### Use Shutter+'s built-in focus bracketing Shutter+ supports focus bracketing feature with Sony cameras and lenses. This is by far the quickest and most automated approach to focus stacking. Simply set the number of frames and the focus step interval, and the camera takes care of the rest -- capturing a complete bracketed sequence without any manual intervention. If your camera supports it, this is the place to start. ### Tap to focus for precise manual focus bracketing For cameras that don't support in-camera focus bracketing, or when you want full manual control over each focal point, Shutter+'s tap to focus feature is the perfect solution. Simply tap anywhere on the live view image within the app to set your focal point precisely where you need it -- whether that's on a flower just centimetres from your lens, a mid-distance rock, or a church on a hillside far in the background. You can work your way methodically through the scene, frame by frame, placing focus exactly where you want it each time. ### Zero camera movement between frames The biggest enemy of a clean focus stack is movement between frames. Even the gentle act of pressing the shutter button on your camera or tapping the rear screen each time to focus can introduce enough vibration to misalign your frames and create artefacts in the final composite. Because Shutter+ lets you trigger the shutter, adjust focus, and control every aspect of the process entirely from your mobile device, you never need to touch the camera itself. The result is a perfectly consistent set of frames with no shift in position, making the blending process in Photoshop or Lightroom significantly cleaner and more accurate. The only unavoidable movement is that caused by the adjustments in focal distance, which is a natural result of the changes in lens magnification and field of view. This phenomenon is commonly known as focus breathing. ### Control your aperture for the right depth of field per frame Focus stacking isn't just about where you focus -- it's also about how much depth of field each frame captures. With Shutter+ you have full control over aperture, shutter speed, and ISO directly from the app, so you can dial in the settings that give you the ideal overlap between focal planes. A slightly narrower aperture gives you more depth of field per frame, meaning fewer frames to capture and blend. A wider aperture gives you shallower slices, which can produce a more convincing final composite in scenes with complex foreground detail. Either way, you can adjust on the fly without ever going near the camera. ### Preview every frame as you shoot As you work through your focus stack, you can preview every frame directly in the Shutter+ app without needing to walk back to the camera. View thumbnails of each shot and expand any of them to full screen to check focus placement, exposure, and sharpness before moving on to the next focal point. If you're using Shutter+ on an iPad, the larger screen makes this even more useful. Catching a missed frame on location is far better than discovering a gap in your stack back at the computer. ### How to stack and blend in Photoshop or Lightroom Once you've captured all your frames, transfer your photos to a computer. From there, it's a straightforward process to bring them into Adobe Photoshop or Lightroom for stacking. In Photoshop, load your frames as layers into a stack (File > Scripts > Load Files into Stack). Select your photos, then tick "Attempt to Automatically Align Source Images." This will correct the misalignment caused by the focus breathing. Once all layers have been loaded, go to the layers palette, select all layers then choose Edit > Auto-Blend Layers. In the box, choose "stack images" and make sure to tick "Seamless Tones and Colors." Then sit back as Photoshop will intelligently blend the sharpest areas of each frame into a single image with front-to-back sharpness. The cleaner and more consistent your original frames are, the better Photoshop's automated blending performs. Frames captured with Shutter+, without any camera contact, give the algorithm as good a starting set as it's possible to have. ## See this in action on our video Watch our video using this very scene -- Saint Thomas Church in Slovenia, with a carpet of purple crocuses in the foreground and the hilltop church in the far distance -- to see just how easy focus stacking with Shutter+ can be. We show you how to use tap to focus to work through the scene step by step, and blending the frames in Photoshop to achieve front-to-back sharpness across the entire image. ## Here are a few other things worth knowing about focus stacking ### What is focus stacking and why do you need it? Every camera lens has a limit to how much depth of field it can produce at any given aperture. In scenes with significant depth -- a field of wildflowers stretching to a distant landmark, a macro subject with intricate near and far detail, or a landscape with compelling foreground interest -- no single frame can keep everything sharp from front to back. Stopping down to a very small aperture (f/16 or beyond) can help, but introduces diffraction, which actually softens the overall image. Focus stacking solves this by combining multiple frames, each sharp at a different focal distance, into one composite image where everything appears in sharp focus simultaneously. The technique is widely used in landscape photography, macro and nature photography, product photography, and architectural work -- anywhere that depth of field limitations are getting in the way of the image you're after. ### Planning a focus stack on location Before you start shooting, it pays to think through your focal planes. Look at the scene and identify the nearest point you want sharp, the furthest point, and how many distinct planes of interest lie between them. For a scene like a meadow with flowers a metre or two from the lens leading to a hillside church hundreds of metres away, you might need anywhere from three to six frames depending on your aperture and lens. Use Shutter+'s live view to scan the scene and plan your focus points before you begin -- this avoids gaps or unnecessary duplication in your stack and keeps the blending clean. A sturdy tripod is essential. Even with zero camera shake during capture, any movement of the camera between frames caused by an unstable platform will introduce misalignment that Auto-Align Layers may struggle to correct fully, particularly at the edges of the frame. ### In-camera focus bracketing vs. manual bracketing with tap to focus Both approaches work well, but they suit different situations. In-camera focus bracketing is fast and largely automated -- the camera steps through a predetermined number of focus increments and fires the shutter at each one. It's excellent for relatively straightforward scenes where evenly spaced focal planes cover the depth you need. The limitation is that you have less control over exactly where each focal point lands, which can be a problem in scenes with very specific areas of interest. Additionally, if the camera shoots too fast after focusing it can introduce vibration, especially on longer lenses which are more sensitive to movement. Manual focus bracketing using Shutter+'s tap to focus gives you complete control. You place each focal point deliberately on the exact part of the scene you need sharp -- the nearest crocus, the bend in the path, the church tower -- and you can take as many or as few frames as the scene demands. You can also wait a while after focusing to allow any vibration caused by refocusing to settle down. It takes a little longer, but the results are precisely tailored to your subject, and because you're working entirely via the app without touching the camera, the stability of your frame set is just as good as, if not better than, in-camera automation. ## Learn more about Shutter+ for your camera Visit the [supported cameras list](https://shutter.dev/cameras) to confirm compatibility for Sony, Canon, and Fujifilm models, including whether your camera supports in-camera focus bracketing through the Shutter+ app. ### How to connect a Sony camera Step-by-step guide to connecting your Sony Alpha or Cyber-shot camera to Shutter+ using NFC tap-to-connect or manual Wi-Fi setup. We've designed Shutter+ to be as easy to connect as possible. If you are using an iPhone 7 or newer, you should be able to connect with your Sony Alpha or Cyber-shot simply by touching the NFC logo (little “N” mark) printed on the side of the camera. ### “Tap to connect” and done If you have an iPhone 7 or newer, just follow these simple steps. If you need more information, you’ll find a complete explanation below. 1. Open Shutter+ and click “Tap to connect”. 2. Locate the NFC logo on the side of the camera and touch it with the top edge of your iPhone. 3. Click “Join” to connect with the camera. 4. *iOS 14 only: if step 3 fails and you see an error, just try again - it resolves the problem.* 5. **That’s it**. ### “Tap to connect” – longer explanation If you have an iPhone 7 or newer, Shutter+ will display a “Tap to connect” button at the top of the screen. When you click “Tap to connect”, you will be prompted to touch the camera with your phone. First, click “Tap to connect” to initiate connection process. Then find a little NFC logo printed on the side of your camera. If you have a Sony Alpha (e.g. a5000-series, a6000-series, a7-series, a9-series) camera, it’ll be printed on the grip, right next to the SD card slot. If you have a Cyber-shot (RX-series, ZV-series or other) it’ll be on the left side of the camera. You need to **touch the NFC logo with the top edge of your iPhone**. The same way as if you would use Apple Pay. After successful NFC scan, you will be asked if you want to join a Wi-Fi network. Click “Join”. **Technical Note:** Sony cameras use Wi-Fi to communicate with remote devices. This doesn’t mean that you need to stay at home or office to use the app. The camera generates its own network that can be used anywhere you want. On some iOS 14/15 devices, the initial connection attempt might fail and display a “Unable to join the network” error. When that happens, click “Tap to connect” again, touch the “N” mark and click “Join” again. It always succeeds on the second try. **That’s it.** You are now connected. ### Connect by manually entering camera details If you are using iPad, iPhone older than iPhone 7, or find NFC impractical due to your setup (e.g. due to a video rig or camera placement), you can manually enter camera details in the iOS Settings app. The initial setup takes a little more time but subsequent connections are really easy. First, you need to identify what kind of camera you have. Turn on the camera and go to “Menu”. Depending on what you see, choose one of the options below. - If you see an Applications icon , go to PlayMemories Cameras. - If you see a green Network icon , go to cameras released after 2017. ### PlayMemories Cameras Open Network1 tab and make sure Airplane Mode is switched OFF. Open Applications List from Applications tab. Select Smart Remote Control. [If you see “Smart Remote Embedded” that’s OK, too. The camera will connect with limited options. Please follow our update guide to enable all features.](/docs/sony-update) Camera will display connection details. Open your smartphone’s Wi-Fi settings and enter details displayed by the camera. **Smart Remote Embedded uses different settings than the default shooting mode. Make sure the file format and exposure settings are right!** [If all exposure settings are disabled in Shutter+ app, please update “Smart Remote Control” app in camera. Follow official Sony instructions on how to upgrade camera software.](/docs/sony-update) ### Cameras Released After 2017 (Sony a7 III and newer) Open Network1 tab in camera Menu. Click on Ctrl w/ Smartphone option. Make sure both Ctrl w/ Smartphone and Always Connected options are On. Open Connection page and click trash icon to switch to password view. Open your smartphone’s Wi-Fi settings and enter details displayed by the camera. ### Connecting Apple Watch to the camera 1. Make sure your iPhone is connected to your camera’s network. 2. Open the Apple Watch app. 3. **That’s it!** The Watch will automatically detect the camera. ### How to focus without “tap to focus” Tips for Sony cameras without remote focus support (a6100, a6400, a7 III, RX100 VII & more). Use Eye-AF and manual focus workarounds in Shutter+. ##### For users of Sony a6100, a6400, a6600, a7 III, a7R III, HX99, RX10 IV, RX100 VI, RX100 VII. If you own Sony a6100, a6400, a6600, a7 III, a7R III, HX99, RX10 IV, RX100 VI, or RX100 VII you might have noticed that the remote app is unable to control focus points. Neither Imaging Edge Mobile, nor any other 3rd party app can do it. But we have a solution that will allow you to take sharp pictures. Sadly, the control of focus points is not allowed by the camera itself. This is a hardware limitation and no remote app can work around that. However, that doesn’t mean that you cannot take sharp self-portraits or travel photos with these cameras. The excellent Eye Autofocus comes to the rescue. - When photographing people, set AF to “Wide AF area” and let the camera do the work. Sony cameras are great at finding faces. You can even prioritize certain people in camera settings. - When photographing other subjects, pre-select the focus point in camera and make sure your subject will be inside that point when you remotely trigger the camera. The wider the point, the easier it’ll be to focus on the subject. - Consider switching to manual focus. You can use AF to focus on your subject, and then switch camera to MF mode to avoid focus changes. ### How to Photograph Lightning Safely: Complete Guide Learn how to photograph a lightning storm safely — the right camera settings, composition tricks, and how to trigger your shutter remotely from your car with Shutter+. A good lightning photo looks as dramatic as it was to take — branching bolts, a cloud lit up from inside, a whole sky captured in a fraction of a second. It's a genre that rewards preparation more than luck. It's also one of the few genres where the biggest threat to your shot can also hurt you. This guide covers getting the shot and staying safe while you do it, including how to run your whole setup remotely with Shutter+, so you're shooting from your car or a window instead of standing next to your tripod. **Quick answer:** When completely dark, set your camera up on a tripod facing the storm, switch to manual focus at infinity, and dial in a 20–30 second exposure at ISO 200 and around f/8–f/11. Start an intervalometer to repeat exposure back-to-back for as long as the storm lasts, then walk away from the equipment entirely — into a nearby car or a building — and control everything remotely from there with an app like Shutter+. Once lightning is within earshot, never stand beside your tripod again until the storm has passed. If you are shooting a lightning storm at dusk or dawn, then set your exposure accordingly so you don’t overexpose the scene. Use your in-camera light meter and histogram to determine the correct exposure for the scene. Either use full manual, or aperture priority. You can easily adjust these as the light changes from the Shutter+ app without needing to return to your camera. Remember that when shooting at dusk it will get darker through each exposure, and vice-versa for dawn. ## Is It Safe to Photograph Lightning? Read This Before You Head Out Short answer: yes, but only if you plan for it before the storm arrives instead of improvising once it's overhead. The National Weather Service doesn't hedge on this one: **there is no safe place outdoors during a thunderstorm.** Lightning kills an estimated 20–30 people in the US every year and injures hundreds more, and photographers are disproportionately represented in those numbers for the same reason golfers and outdoor workers are — they're often the ones who stay outside longest trying to get one more shot. **A few rules worth treating as non-negotiable:** * **Use the 30/30 rule.** If fewer than 30 seconds pass between seeing a flash and hearing the thunder, the storm is close enough to strike you — get to shelter immediately. Don't go back out until 30 minutes after the last rumble of thunder. * **Shelter properly.** The only two places considered safe during a storm are a substantial building (one with wiring and plumbing) or an enclosed vehicle with a hard, metal roof and the windows rolled up. * **If you're in the car, don't touch anything metal connected to the outside** — the steering wheel, door handles, the window frames — while the storm is nearby. * **Estimate distance by counting.** Count the seconds between the flash and the thunder, then divide by five. That's roughly how many miles away the storm is. ## Why standing next to your tripod is actually dangerous **Quick myth check:** a metal tripod doesn't "attract" lightning. Height, shape, and isolation determine where a bolt strikes, not what something's made of; a wooden tripod in the same spot would be just as exposed. That doesn't make standing next to your gear safe. Getting a clear view of the sky usually means setting up somewhere open, elevated, and unobstructed, which is the kind of isolated spot lightning tends to hit anyway. And metal conducts electricity extremely well, so if a strike does land on your tripod, a nearby tree, or the ground close to you, standing beside it — or holding it — puts you right in the path of that current. Set a tripod up in an open field during a storm and it's sitting where a lightning rod would: tall, isolated, with nothing nearby to take a hit instead. Stay next to it once lightning is close, and you're standing in the same spot. Which is the whole point of controlling the camera remotely. Once your composition, focus, and exposure are set, there's no reason left to stand at the tripod. Shutter+ lets you keep shooting, change settings, check exposure, and fire the shutter from inside your car or a building, without going near the equipment again until the storm has cleared. ## More things to stay away from * **Isolated trees or the tallest object around.** If a nearby tree or pole gets struck, the current can jump ("side flash") or travel through the ground to anyone standing close by. * **Open fields, hilltops, and high ground.** Same principle — don't be the tallest or most exposed thing in the area. * **Water, and wet ropes or fences.** Excellent conductors, and lightning's ground current can travel a surprising distance through wet ground. * **Shooting from underneath the storm.** Aim to photograph from the edge of a storm cell rather than its core. It's both safer and produces cleaner images, since you're less likely to be shooting through heavy rain. _This article covers photography technique — for full, up-to-date safety guidance, see the National Weather Service at_ [_weather.gov/safety/lightning_](https://weather.gov/safety/lightning)_, and always defer to your own judgment on the day._ ## What You Need for Lightning Photography You don't need specialized gear to get started. Most of this is standard landscape-photography kit, plus one addition that changes how safely you can shoot. * **A camera with manual exposure control.** Any DSLR or mirrorless camera that lets you set shutter speed, aperture, and ISO manually will work. * **A sturdy tripod.** Non-negotiable for exposures of several seconds or longer. Extend the thickest leg sections first, and do not use the centre column at all. * **A wide-to-standard lens.** Something in the 14–35mm range covers more sky, which means better odds of catching a bolt somewhere in the frame. If the storm is further off, a mid-range or short telephoto (up to around 200mm) fills the frame more dramatically. Although you can try to anticipate where lightning will strike based, it is safer to compose for more sky in order to maximise your chances of catching a good bolt of lightning. You can always crop later, but you can’t add. * **A remote shutter release, ideally with an intervalometer.** Nothing else on this list does as much for both safety and success. Pressing the shutter by hand introduces vibration and, more importantly, means someone has to be standing at the camera. Shutter+ replaces a cabled remote or a separate intervalometer gadget entirely — a full intervalometer, timed BULB exposures, live view, and a remote histogram, all from your phone, over Wi-Fi on Sony, Canon, and Fujifilm cameras. * **A neutral density (ND) filter.** Only needed for daytime lightning, to slow your shutter down without overexposing the scene. * **A weather radar app.** Track the storm's speed and direction so you know how much shooting time you have left, and exactly when to stop. ## Best Camera Settings for Photographing Lightning Settings shift with how dark the sky is and how far away the storm sits, but this is a solid starting point for shooting at night: * **Mode:** Manual (M) * **ISO:** 200 * **Aperture:** Start around f/8–f/11 * **Shutter speed:** 20–30 seconds, or BULB if you want more control over the exact length. One thing to be careful of though, is that superlong exposures can introduce noise and hot spots as the sensor tends to get hot. So try not to go over 1 minute for each exposure. * **Focus:** Manual, set to infinity * **Image stabilization:** Off — on a tripod, it can introduce its own micro-vibrations * **File format:** RAW, for more room to recover highlight and shadow detail afterward **A few things to note:** **Focus is where most beginners go wrong.** Skip autofocus entirely — in the dark or even low light, it will hunt endlessly and may never lock on. Instead, switch to live view, zoom in digitally on a distant light source (a star, a tower light, a streetlamp miles away), and turn the focus ring manually until it's sharp. **Check your first few frames and adjust.** If a bolt looks blown out and shapeless, close down the aperture (f/8 → f/11) or lower the ISO. If the sky looks muddy and the bolt looks weak, do the opposite, or lengthen the exposure. **Daytime lightning is a different problem.** You can't leave a 20-second exposure open in broad daylight without badly overexposing the shot, so your best bet is to put on an ND filter and use a narrower aperture (f/13–f/22) to get longer exposures. ## Why You Can't "React" to Lightning — and What to Do Instead This is the core idea behind lightning photography, and it's why every experienced lightning photographer shoots with an intervalometer instead of watching the sky with a finger hovering over the shutter button. A visible flash is over in a fraction of a second. Even a fast human reaction to something you _see_ is around 200 milliseconds at best, and by the time that signal reaches your finger, presses the button, and the camera itself responds, the bolt has already come and gone. You will not react in time. Nobody does. So don't try to. Open the shutter before anything happens and leave it open: one long exposure after another, back to back, with no gaps in between. Whatever happens in the sky during that window gets recorded automatically, whether you're watching the screen or not. That's also why composition has to happen _before_ the storm gives you anything to compose around. Watch which direction the storm is moving and where the strikes have been concentrated, then aim your frame at where lightning is **likely to strike next** — not where it just struck. You're composing for the next few minutes, not the last few seconds. ## How to Capture Lightning Safely with Shutter+ Once that idea clicks, the workflow itself is straightforward: 1. **Set up and compose while it's still safe** — before the storm arrives, or during a lull the 30/30 rule says is clear. Frame your shot toward the direction the storm is moving, or wherever you've seen the most activity, and mount the camera securely. Don't rush this step; it's the only one you'll be doing in person. 2. **Nail focus manually**, digitally zoom in on a distant light source and fine-tune the focus, then lock the lens to manual focus so it can't hunt or drift later. Alternatively, just set your focus to infinity, as that is where the activity will be. 3. **Dial in your base exposure** in the app — ISO, aperture, and a 20–30 second shutter speed (or a timed BULB exposure, if you want finer control over the exact length). 4. **Retreat to your car or a building.** This is the point where your job at the tripod is done. 5. **Start the intervalometer**, set to repeat your exposure back-to-back — a one-second gap between frames is typical — for as long as the storm stays active. Your camera now shoots continuously, hands-free, for as long as it takes. 6. **Keep watching the sky through live view** on your phone rather than the camera's LCD, so you can judge the storm's direction and intensity without leaving shelter. On Shutter+ you can also preview the photos already taken while the camera is still shooting. 7. **Check exposure remotely.** Use the histogram or zebras in the app to see if a bright bolt is clipping highlights, or if you're losing shadow detail, then adjust ISO, aperture, or shutter speed directly from your phone. You should never need to walk back to the camera just to change a setting. 8. **Let it run in the background.** Shutter+ keeps the connection alive even if you lock your phone or switch apps, so you can check radar, wait it out, or just sit tight without babysitting the connection. 9. **Review and download once it's over** — and it's been at least 30 minutes since the last thunder. Browse your favourite frames from your phone first, so you know what to grab before you head back out to the camera. ## Composition Tips: Anticipating Where Lightning Will Strike Since you can't react to a bolt after it happens, every good lightning photo is really a bet placed in advance. A few ways to shorten the odds: * **Watch before you shoot.** Spend a few minutes observing where lightning is actually occurring within the storm before committing to a composition. * **Aim at the active cell, not the whole sky.** A storm usually has one area producing most of the strikes — typically the darkest, most turbulent-looking part of the cloud base. * **Include a foreground.** A skyline, a lone building, a ridgeline — anything that gives the bolt scale and turns "streak of light" into an actual landscape photo. * **Leave room in the frame.** Don't compose so tight that a bolt landing slightly off from where you expect gets clipped at the edge. You can always crop later. * **Shoot across the storm's path, not into it.** Positioning yourself to the side of where the storm is heading, rather than directly in front of it, tends to buy you a longer, safer viewing window and a better angle on the bolts themselves. ## **Frequently Asked Questions** ### Is it safe to photograph a lightning storm? It can be, as long as you're not the one standing outside next to the camera. Set up your composition, retreat to a substantial building or a hard-topped vehicle, and control the camera remotely from there. There's no safe spot outdoors once a storm is close enough to see lightning from. ### How far away should you be to photograph lightning safely? If you can hear thunder at all, the storm is within striking distance — that's your cue to already be sheltering, with the camera running unattended. Many photographers aim to shoot storms from the edge rather than from underneath them, which is both safer and produces cleaner images. ### Does a metal tripod attract lightning? No — that's a common myth. Height, shape, and isolation determine where lightning strikes, not what something's made of. But a tripod set up in an open spot for a clear sky view is usually the tallest, most exposed thing around, and metal conducts a strike's current extremely well — so standing close to it, or touching it, when lightning is nearby is a bad idea. ### What are the best camera settings for lightning photography? A good starting point at night is manual mode, ISO 200, an aperture around f/8–f/11, and a shutter speed of 20–30 seconds, with focus set manually to infinity. Adjust from there — narrow the aperture or lower the ISO if bolts look overexposed, and do the opposite if the sky looks too dark. ### What's the best lens for photographing lightning? A wide-angle lens (roughly 14–35mm) covers more sky and improves your odds of catching a bolt somewhere in the frame. For storms further away, a mid-range or short telephoto lens (up to around 200mm) fills the frame with a more compressed, dramatic-looking bolt. ### Can I photograph lightning from inside my car? Yes — a vehicle with a solid metal roof is one of the two shelter types the National Weather Service considers safe during a storm. Keep the windows up, avoid touching metal that connects to the outside, and control your camera on its tripod outside (or through the windshield) using a remote app. ### How does an intervalometer help you capture lightning? An intervalometer fires a new exposure automatically after the previous one ends, at a timed interval you set, so your camera shoots continuously for as long as the storm lasts. Since a lightning flash lasts a fraction of a second — far faster than you could ever manually react to — the only reliable way to capture one is to already have the shutter open when it happens. ### Can you photograph lightning with a smartphone? Some phones with a manual or "pro" camera mode and long-exposure support can capture lightning, especially at night. But a dedicated camera with full manual control, interchangeable lenses, and a real intervalometer — controlled remotely so you're never standing next to it — will give you far more consistent, higher-quality results. ## Try It for Yourself Get your composition, focus, and exposure right before the storm peaks, then let the camera do the waiting for you. Shutter+ puts everything in this guide into one app — a full intervalometer, timed BULB exposures, live view, remote histogram and zebras, and complete manual control over ISO, aperture, and shutter speed — for Sony, Canon, and Fujifilm cameras. Set your shot up, get back in the car, and watch the storm from somewhere it can't reach you. [See supported cameras](https://shutter.dev/cameras)   |   [Try Shutter+ free for 7 days](https://shutter.dev/download) * * * **Related Articles**_:_ •      [How BULB Mode Works — Long Exposure Basics](https://shutter.dev/docs/how-to-use-bulb-mode-for-long-exposure-photography-or-shutter) •      [What is an Intervalometer?](https://shutter.dev/docs/what-is-an-intervalometer-and-how-to-use-one-on-your-camera) ### How to Photograph Snow Without It Looking Grey Stop snow coming out grey. Use exposure compensation, live histogram, and bracketing to protect every highlight — and control it all remotely with Shutter+. ## Tips for Photographing Snow with Shutter+ **Why does snow always look grey in photos — and how to fix it fast** Snow photography is one of the most rewarding and most frustrating challenges in outdoor photography. A clean white landscape can look stunning, but without the right camera settings, your images will come out flat, underexposed, or completely blown out. In this guide, we'll walk through the exact techniques that produce great snow photos — and show how **Shutter+** makes each one dramatically faster and easier than wrestling with your camera's built-in menus in freezing cold weather. ### Why Is Snow Photography So Difficult? Your camera's light metering system is calibrated to expose for a theoretical "average" scene — one that reflects roughly 18% of the light hitting it (known as 18% grey). Snow reflects around 90% of available light. The result? Your camera consistently underexposes snowy scenes, rendering brilliant white snow as a dull, muddy grey. This is the single most common reason snow photographs disappoint, and it affects every camera — Sony, Canon, Fujifilm, and beyond. The fix is surprisingly simple once you know it, and Shutter+ makes applying it faster than ever. ### Tip 1: Set Exposure Compensation Instantly — Without Touching Your Camera #### Why Exposure Compensation Is the Key to Great Snow Photos To counteract your camera's tendency to underexpose bright white scenes, you need to dial in **positive exposure compensation** — typically between +1 and +2 stops, depending on conditions. This tells the camera: "This scene is brighter than average. Expose accordingly." The challenge is doing this quickly and accurately in the field, especially with gloves on or when the light is changing fast. #### How Shutter+ Makes It Effortless On most cameras, adjusting exposure compensation requires navigating physical dials, button combinations, or nested menus — awkward at the best of times, maddening in freezing temperatures. With **Shutter+**, exposure compensation is a single, prominent control on your iPhone or iPad screen, adjustable in seconds. Change it once, and the result is **immediately visible in the live view preview** on your device — no guessing, no test shots, no chimping through your camera's rear screen. What you see on your phone is exactly what you'll capture. #### Why Your iPhone or iPad Screen Beats Your Camera's Display in Snow In bright winter conditions, your camera's rear LCD is almost impossible to read outdoors. Glare and reflections make it effectively useless for judging exposure accuracy. Your iPhone or iPad screen, by contrast, is engineered for real-world outdoor use — with significantly better brightness and contrast in direct sunlight. **Pro tip for extreme conditions:** In very bright snow, drape your coat or jacket over yourself and your device to completely shield the screen from the light. This gives you an accurate, glare-free preview of your exposure. Crucially, this is far safer to do with your phone than with your camera — a camera covered in a coat can be easily knocked, moved, or have its focus accidentally shifted. Your iPhone stays safely in your hand where you're in full control. #### Bonus: Use Shutter+ from Your Apple Watch Shutter+ also runs on Apple Watch, letting you adjust exposure settings and trigger the shutter directly from your wrist — ideal when your hands are buried in gloves and you don't want to pull out your phone. It's one of the most practical features for cold-weather photography, especially when your camera is on a tripod. ### Tip 2: Use Zebra Stripes to Spot Blown Snow Highlights in Real Time #### What Are Zebra Stripes? Zebra stripes are a live view overlay that marks over- or under-exposed areas of your frame with an animated striped pattern — directly on the image, in real time. They're borrowed from professional video cameras and are one of the most useful tools for snow photography. #### Why Zebra Stripes Are Perfect for Snow Snow is a natural highlight trap. Small changes in exposure — a cloud clearing, sunlight shifting — can tip your snow from beautifully textured white to completely blown out with no recoverable detail. Zebra stripes catch this the moment it happens, before you take the shot. In Shutter+, you can **adjust the brightness threshold** for the stripes, so you can set them to trigger precisely at the level where your snow starts to lose detail — giving you a precise, visual early warning system. ### Tip 3: Use the Histogram to Nail ETTR (Expose to the Right) for Snow #### What Is the Histogram and Why Does It Matter? The histogram is a graph showing the distribution of tones in your image, from pure black on the left to pure white on the right. It is the most reliable exposure tool available to any photographer — far more accurate than your screen, which varies depending on ambient light and viewing angle. For snow photography, the histogram does two critical jobs: * **It tells you if your highlights are clipping.** If the graph is jammed hard against the right edge, you've lost detail in your snow highlights — they'll appear as pure, featureless white with no texture. This is often impossible to recover, even from RAW files. * **It helps you execute ETTR (Expose to the Right) technique.** ETTR means deliberately pushing your exposure as far right as possible _without_ clipping the highlights. This maximises the tonal data captured in your RAW file, producing cleaner, more detailed images with significantly less noise — especially valuable in flat winter light or blue-hour snow scenes. #### Using the Histogram in Shutter+ Shutter+'s **real-time histogram** is always available in the shooting interface alongside your live view. You can monitor it continuously as you adjust exposure, and see instantly whether your snow is retaining detail or beginning to clip — making precise corrections using the exposure controls, without ever touching the camera. The combination of **live histogram + instantly adjustable exposure compensation** creates a feedback loop that simply isn't available when working from a camera's rear screen — and it lets you apply ETTR technique accurately and confidently, even in rapidly changing light. ### Tip 4: Use Exposure Bracketing for High-Contrast Scenes and Highlight Protection #### When Snow Photography Needs Extra Insurance Some snowy scenes present an extreme **dynamic range** — bright sunlit snow alongside deep shadows, or a clear blue sky above a reflective white foreground. In these situations, a single exposure will either clip the snow highlights or lose shadow detail. There's no single "correct" exposure that holds both ends. This is where **exposure bracketing** becomes essential. #### What Is Exposure Bracketing? Exposure bracketing means capturing multiple shots of the same scene at different exposure values — for example, one at the metered exposure, one stop under, and one stop over. Together, these frames contain all the tonal information in the scene. #### How Shutter+'s Exposure Bracketing Feature Works Shutter+'s built-in **exposure bracketing** lets you configure and shoot a complete bracket sequence with minimal fuss. You can set the number of brackets, the EV step size between them, and choose whether to vary shutter speed, ISO, or exposure compensation. There are three compelling reasons to use it for snow photography: 1. **Exposure blending in post-processing.** If you shoot RAW and use editing software such as Lightroom, Photoshop, or Capture One, you can blend the best-exposed parts of each frame into a single, balanced final image — snow retaining texture, shadows retaining detail. 2. **HDR capture for dramatic winter landscapes.** Bracketed exposures are the foundation of HDR photography — particularly effective for high-contrast winter scenes with bright skies and deep snow shadows. 3. **An insurance policy against blown highlights.** Even if you only plan to use a single shot, having a bracketed sequence means there's always a slightly underexposed frame to fall back on if the main exposure has clipped the snow. In snow photography, burned-out highlights are notoriously difficult — often impossible — to recover, even from RAW. A bracket costs you almost nothing; losing the shot costs you the image. ### Tip 5: Review Every Shot on a Proper Screen — Then Share Straight to Social #### See Your Snow Photos as They Deserve to Be Seen Your camera's rear LCD screen is small, often glary in winter light, and simply not large enough to judge whether your snow shot truly worked — whether the texture in the snowfield is preserved, whether the shadows hold detail, or whether that fast-moving subject is sharp. After a shoot in the cold, the last thing you want is to get home and discover a problem you could have caught and corrected on location. With Shutter+, you can **browse and download your photos directly from the camera's memory card to your iPhone or iPad** — giving you a much larger, clearer screen to review your images the moment they're taken. Zoom in to check that the snow texture is crisp, that your focus landed exactly where you intended, and that your exposure has held the highlight detail you worked to protect. The difference between a 3-inch camera screen and a 6-inch iPhone display in good colour and sharpness is genuinely significant. #### Find the Right Shot Fast After a bracketed sequence or a burst on a snowy landscape, you can end up with dozens of frames to sift through. Shutter+'s **photo browsing** lets you filter images by date, star rating, or file format — so you can jump straight to the shots you care about without scrolling through hundreds of thumbnails. On cameras with dual card slots, you can switch between cards instantly without touching the camera. #### Download and Share to Social Media on the Spot If you've captured something special — a perfectly lit snowscape, a first snowfall moment, a shot you're proud of — you don't have to wait until you're back at your desk to share it. Shutter+ lets you **download JPEG files directly to your iPhone's camera roll**, ready to share to Instagram, share in a message, or post wherever you like, right there in the field. Shoot in both RAW and JPEG simultaneously on your camera, and you'll always have the JPEG for immediate social sharing and the RAW for careful post-processing later — the best of both worlds. ### Tip 6: No Signal? No Problem — Shutter+ Works Completely Off-Grid Winter landscapes often mean remote locations — mountains, moorland, forests far from Wi-Fi. Shutter+ connects to your camera via **Wi-Fi Direct**, meaning the camera creates its own private network. No internet connection, no home router, no mobile signal required. You can use Shutter+ in the most isolated winter locations without losing any functionality. For an even more reliable connection in harsh conditions, you can connect via **USB cable** — useful when cold or moisture might affect wireless performance. ### Additional Snow Photography Tips **Check your white balance.** Snow can take on a strong blue cast in open shade, or shift warm and golden at sunrise. Use the white balance control in Shutter+ to fine-tune this in real time, or shoot RAW and adjust in post. **Shoot RAW format.** Snow leaves little margin for exposure error. RAW files give you significantly more latitude to recover highlights, adjust white balance, and reduce noise compared to JPEGs. **Look for contrast and colour.** The most compelling snow photographs often include a strong focal point — a red door, a dark tree line, a figure in a brightly coloured jacket — to contrast with the white landscape. Shutter+'s live view makes it easy to evaluate your composition on a larger screen before committing. **Shoot in the golden hours.** Low winter sun casts long shadows across snow, adding texture, depth, and warmth that flat midday light cannot provide. The short winter day means golden hour arrives early and leaves fast — Shutter+'s remote live view lets you monitor your composition from a distance while the light does its work. ### Frequently Asked Questions About Snow Photography #### Why does snow look grey in my photos? Your camera's metering system exposes for an average mid-tone scene. Snow is much brighter than average, so the camera underexposes it — rendering white snow as grey. The fix is positive exposure compensation, typically +1 to +2 stops, to tell the camera the scene is brighter than it assumes. In Shutter+, this is a single tap on your iPhone or iPad screen. ### How much exposure compensation should I use for snow? Start at +1 stop and check your histogram. For very bright sunlit snow under a clear sky, you may need +1.5 to +2 stops. Use Shutter+'s live histogram to verify that your highlights aren't clipping before you shoot. #### What is ETTR and how does it help with snow photography? ETTR (Expose to the Right) means setting your exposure so the histogram sits as far right as possible without clipping the highlights. This maximises the data captured in your RAW file, giving you cleaner, more detailed snow tones with less noise — and more flexibility in post-processing. #### Should I use exposure bracketing for snow photography? Yes — especially in high-contrast scenes such as sunlit snow with shadowed trees, or a white foreground under a deep blue sky. Bracketing gives you frames to blend in post, and acts as insurance against accidentally clipping the snow highlights in your main shot. Shutter+'s bracketing feature handles the sequence automatically. #### How do I stop my camera screen from washing out in bright snow? Your camera's LCD is easily overwhelmed by reflected light from snow. Shutter+ lets you use your iPhone or iPad screen as a live viewfinder instead — which handles bright conditions far better. In extreme light, shield your device screen from glare by covering yourself with your coat for a completely accurate preview, without risking knocking your camera. #### Can I download photos from my camera to my iPhone using Shutter+? Yes. Shutter+ lets you browse your camera's memory card and download photos directly to your iPhone or iPad — RAW or JPEG. You can filter by date, rating, or file format to find the shots you want quickly. JPEG files land straight in your camera roll, ready to share to social media immediately. #### Does Shutter+ work without Wi-Fi or internet? Yes. Shutter+ connects to your camera using Wi-Fi Direct — the camera creates its own network, with no router or internet connection required. It also supports USB connection for maximum reliability. You can use it in the most remote winter locations. #### Which cameras does Shutter+ support? Shutter+ supports Sony, Canon, and Fujifilm cameras. You can check whether your specific model is compatible on the [Shutter+ cameras page](https://shutter.dev/cameras). #### Is Shutter+ available on Android? No. Shutter+ is available exclusively on iOS — iPhone, iPad, and Apple Watch. #### Can I shoot RAW with Shutter+? Yes. Shutter+ supports RAW capture, giving you maximum flexibility in post-processing to recover highlights, adjust white balance, and reduce noise — all of which matter greatly in snow photography. ### Start Getting Better Snow Photos Today Snow photography rewards photographers who understand exposure — and punishes those who leave it to the camera. With **Shutter+**, the controls you need are always one tap away on your iPhone, iPad, or Apple Watch. The live view shows you exactly what your exposure will produce before you shoot, the real-time histogram keeps your highlights safe, and zebra stripes catch any clipping the moment it appears. Whether you're photographing a vast winter landscape, a snowy cityscape at dusk, or someone playing in fresh powder, Shutter+ puts you firmly in charge — from setting your exposure before the shot, to reviewing your images on a proper screen the moment they're taken, to sharing your best frames to social media before you've even packed up the tripod. **Try Shutter+ free for 7 days — no commitment required.** [Download Shutter+ for your camera brand →](https://shutter.dev/download) _Related article:_ [_Exposure Bracketing: A Complete Guide_](/docs/exposure-bracketing-lens-flare-removal-with-shutter-photoshop) ### How to Photograph the Sunrise Over a Mountain Peak: Exposure Bracketing & Lens Flare Removal with Shutter+ & Photoshop Capture the full dynamic range of shooting directly into the sun — and blend it to perfection in Photoshop. Shooting directly into a rising sun is one of the most rewarding — and technically demanding — challenges in landscape photography. The moment the sun crests a mountain peak and floods the scene with blinding light is fleeting, the contrast is extreme, and there is absolutely no room for camera shake or missed exposures. In this guide, photographer Ian Middleton walks through exactly how he tackled all of those problems to capture the magical sunrise over **Mt. Storžič** behind the historic **Jamnik Church** in Slovenia — using **Shutter+** on iPhone to control his Canon EOS R5, and **Adobe Photoshop** to blend the results into a single, flare-free image. _Whether you’re asking “how do I photograph a sunrise without blowing out the sky?” or “how do I shoot into the sun without losing shadow detail?” — this guide has the answers._ In the following video guide, photographer Ian Middleton shows you how he uses Shutter+ to capture the magical moment when the sun rises over Mt. Storžič behind the historic Jamnik Church. He then guides you through blending the multiple exposures and easily removing unwanted lens flare for a professional result. ## Watch the video below ## The Problem: Shooting Directly Into the Sun When the sun rises directly behind a mountain peak, your camera faces a scene with an extreme tonal range — easily 15–20 stops from the darkest shadows in the foreground to the brightest point of the sun itself. No single camera exposure can capture this in one shot. If you expose for the foreground, the sun and sky are completely blown out. Expose for the sun, and everything below the horizon becomes a black silhouette. Beyond the exposure challenge, shooting into the sun introduces a second enemy: **lens flare**. Even the best lenses produce artefacts — ghosted circles, streaks, and colour casts — when pointed directly at a bright light source. These flares can ruin an otherwise perfect shot, and they change position and intensity as the sun moves, making them difficult to predict or avoid entirely. Finally, there’s the logistical challenge: **the window is tiny**. The moment the sun is perfectly positioned behind the peak lasts only seconds. You need a system that lets you shoot continuously without touching the camera and without missing a single frame. **This is exactly the workflow that Shutter+ makes possible.** ## The Solution: Exposure Bracketing with a Remote Camera App Exposure bracketing is the professional answer to high-contrast scenes. Instead of committing to a single exposure, you shoot a rapid sequence of frames at different exposure values (EVs) — typically three to five shots ranging from underexposed to overexposed. In post-processing, you select the best-exposed regions from each frame and blend them into a single image that represents the full dynamic range your eye could see on location. The key requirement for blending to work cleanly is that **all frames must be perfectly aligned**. Even the slightest camera movement between shots makes blending difficult and creates ghosting artefacts at edges. This is why a remote camera controller isn’t just a convenience — it’s essential. ## Equipment Used •      **Canon EOS R5** Mirrorless Camera + Canon EF 100–400mm f/4.5–5.6L IS II USM Lens •      **Benro 34CLV Tripod + Geared Head** (essential for sharp, repeatable framing across bracketed sets) •      **Shutter+ on iPhone 15 Pro Max** — remote camera control, exposure bracketing, intervalometer, and grid overlay •      **Adobe Photoshop CC** — exposure blending and lens flare removal ## How Shutter+ Solves Each Problem ### 1\. Grid Overlays: Nail Your Composition Before the Sun Arrives Composition decisions made in a hurry rarely hold up. With the sun still below the horizon, Ian used Shutter+’s live camera view — transmitted to his iPhone — to compose the shot carefully and lock it in before the action began. Shutter+’s **2×2 grid overlay** proved particularly valuable here. Most cameras start with a standard rule-of-thirds (3×3) grid, which splits the frame into nine equal cells. The 2×2 grid divides the frame into quadrants, with a single central crosshair at the exact geometric centre of the image. This allowed Ian to align both the **church spire** and the **mountain peak** along the same central vertical axis, placing them dead centre in the frame with precision that a 3×3 grid simply doesn’t offer. Something he couldn’t do in camera. Getting this alignment right before sunrise meant no last-minute adjustments once the light began to change — a critical advantage when every second counts. **Why this matters for sun-over-peak shots:** The sun rises quickly. Once it starts to clear the mountain top, you have very little time. Having your composition locked in advance means you are shooting, not fiddling. ### 2\. Exposure Bracketing: Capturing the Full Dynamic Range Once the composition was locked, Ian configured **exposure bracketing** directly from the Shutter+ app. With a long telephoto lens, any physical contact with the camera body — even the lightest touch of a dial — introduces vibration that takes seconds to settle. On a tripod, this is not just inconvenient; it means unusable frames at the critical moment. Shutter+ lets you set and adjust your bracketing parameters entirely from your iPhone, without touching the camera. This means: •      **No vibration introduced when changing settings** as the sun gets higher and brighter •      **Instant adjustments** to the number of brackets, the EV spread, and the base exposure — all from your phone •      **Consistent, repeatable bracket sets** that align cleanly in post For this shoot, Ian captured brackets across a wide enough EV range to expose for both the deepest shadows in the foreground and the blinding point of the sun itself. In Photoshop, these frames become the raw material for a composite image with natural-looking tonal depth across the full scene. **How many brackets do I need for a sunrise shot?** For most high-contrast scenes, three to five exposures at 1–2 EV spacing covers the range. Scenes where you are shooting directly at the sun may benefit from five frames to ensure clean detail in both the deep shadows and the solar disc itself. ### 3\. Intervalometer: Continuous Shooting as the Sun Moves The sun does not stop for anyone. Once it begins to clear the mountain, its position and intensity change every few seconds — which means the ideal exposure changes too, and the opportunity for the perfect frame is constantly shifting. Shutter+’s intervalometer allowed Ian to set the camera shooting automatically at a defined interval, capturing a continuous sequence of bracketed sets as the sun moved up the mountainside. This meant: •      **No missed moments** — the camera fired continuously without needing to be triggered manually •      **A full sequence of frames** to choose from in post, covering the entire event from the first glint of light to the full sunrise •      **No camera contact at all during the shoot** — every frame captured without the risk of shake The combination of intervalometer and exposure bracketing is genuinely powerful. You’re not just capturing one bracketed set — you’re capturing dozens, at regular intervals, giving you complete creative choice in post about which moment and which blend tells the story best. ## Post-Processing: Blending Exposures and Removing Lens Flare in Photoshop Once back at the computer, Ian opens his selected bracket set in Adobe Photoshop and works through a blend-and-clean workflow. ### Blending the Exposures With the frames loaded as layers — typically with the best base exposure at the bottom and the darker brackets above it — the blending process uses luminosity masks or simple layer masks to select the best-exposed regions from each frame. The bright sky and solar detail come from the darkest bracket; the foreground detail and church come from the brighter frames. Because Shutter+’s remote control meant no camera contact between shots, the frames align perfectly and the blending edges are clean. ### Removing Lens Flare Lens flare is an almost unavoidable consequence of pointing a lens directly at the sun. Shutter+ cannot prevent it at the capture stage — no remote app can — but the workflow contains a built-in solution that makes removal far easier than most people expect. **The key trick: start shooting before the sun appears.** Because Ian started shooting before the sun came up, he had a complete set of frames captured while the sun was still hidden behind the mountain — images with perfect foreground detail and absolutely no flare whatsoever. These pre-sunrise frames become an invaluable resource in Photoshop, providing clean source material to blend over the flare-affected areas in the later shots. This is especially valuable in the **foreground**, where lens flare artefacts are the hardest to remove by hand. Cloning or patching over flare across complex textured areas — grass, rock, the church façade — risks looking unnatural and can take considerable time to do convincingly. Having a clean pre-sunrise frame of the same scene, perfectly aligned thanks to the tripod and remote control, means you can simply mask in the flare-free foreground sections directly, with no cloning required. For any remaining artefacts where the light has changed too much between the pre-sunrise and post-sunrise frames to blend cleanly, Ian demonstrates how to finish the job with **content-aware fill** and **clone stamp** in Photoshop — a task made significantly easier by having multiple aligned source frames to borrow texture from. _The result is a set of composed images that looks exactly as the scene appeared to the human eye: a glowing mountain sunrise with a beautifully lit foreground, no blown highlights, and no distracting lens artefacts._ ## Key Takeaways **The single biggest challenge in shooting into the sun is dynamic range.** No camera sensor can capture in one frame what the human eye sees in a high-contrast sunrise scene. Exposure bracketing is the solution — and Shutter+ makes it possible to set up, adjust, and trigger those brackets entirely from your phone, so the camera never needs to be touched once it’s on the tripod. **Composition precision is as important as exposure.** The 2×2 grid in Shutter+ — a feature not found on most camera bodies — gave Ian a compositional reference that no standard camera grid provides, enabling the precise centre alignment of the church spire and the mountain peak. **Automation removes the human from the equation at the critical moment.** The intervalometer meant the camera captured every frame of the sunrise automatically, without Ian needing to fire it manually. Combined with remote exposure control, this means the only variable left is the light itself. ## Frequently Asked Questions ### How do you photograph a sunrise without blowing out the sky? Use exposure bracketing to capture multiple frames at different exposure levels, then blend them in Photoshop. A remote controller like Shutter+ lets you adjust your brackets without touching the camera, which is essential for keeping frames aligned. ### How do you shoot into the sun without losing detail in the shadows? No single exposure can hold both. Shoot three to five bracketed exposures, ensuring at least one frame exposes cleanly for the shadows and at least one holds detail in the solar disc. Blend the results in Photoshop using layer masks. ### How do I remove lens flare in Photoshop? Start by shooting before the sun appears so you have flare-free frames to blend in for the foreground — this is the cleanest and most convincing approach. For any remaining artefacts, use content-aware fill or clone stamp, borrowing texture from nearby clean areas or from earlier frames in your intervalometer sequence. ### Why do I need a tripod for exposure bracketing? The frames must be perfectly aligned for blending to work without ghosting. A stable tripod and a remote shutter trigger (rather than the camera’s built-in shutter button) are essential. A geared tripod head makes it easier to fine-tune framing precisely. ### What is the best interval for photographing a sunrise? For a rising sun over a mountain peak, an interval of 5–15 seconds captures enough frames to cover the full event without missing key moments. The exact interval depends on how quickly the light is changing. ### Can I use Shutter+ with my Canon mirrorless camera? Yes. Shutter+ supports a wide range of Canon EOS R-series and EOS DSLR bodies, including the EOS R5 used in this tutorial. Check the Shutter+ supported cameras list at [shutter.dev/cameras](http://shutter.dev/cameras) for full compatibility. _Ready to try this workflow yourself?_ [_Download Shutter+_](https://shutter.dev/download) _and explore the full User Guide at_ [_shutter.dev/user-guide/introduction_](http://shutter.dev/user-guide/introduction) _to get started with exposure bracketing, intervalometer shooting, and grid overlays._ * * * **Related Articles:** [What Is an Intervalometer? And How to Use One on Your Camera](https://shutter.dev/docs/what-is-an-intervalometer-and-how-to-use-one-on-your-camera) [How to Read a Camera Histogram in Photography](https://shutter.dev/docs/how-to-read-a-camera-histogram-in-photography) ### How to Read a Camera Histogram in Photography Learn how to read a camera histogram, understand highlight and shadow clipping, avoid blown-out photos, and use ETTR for perfectly exposed images every time. **_The Most Reliable Exposure Tool — and How to Use It_** When it comes to getting exposure right in photography, your eyes can deceive you. The brightness of your camera's rear LCD shifts depending on how much ambient light surrounds you — what looks perfectly exposed in a dim room can turn out badly overexposed when you review it on a proper screen. Learning **how to read a histogram** changes that completely. A **camera histogram** is a graph that shows the complete tonal distribution of your image — from pure black on the far left to pure white on the far right, with every shade of grey and midtone in between. The height of the graph at any point represents how many pixels in your image fall at that brightness level. It gives you an objective, numerical picture of your exposure that no screen preview can match. Once you know how to read a histogram in photography, you'll never need to guess whether a shot is correctly exposed again. * * * ## What Is a Histogram in Photography? A histogram is a bar graph of brightness values. Every pixel in your image has a brightness value somewhere between 0 (pure black) and 255 (pure white). The histogram plots all of those values simultaneously, so you can see at a glance whether your image is dominated by dark tones, bright tones, or a balanced mix of both. Think of it as the science behind the photo. The image preview on your camera shows you what the scene looks like — the histogram shows you whether the camera has actually captured it accurately. These two things are not always the same. Unlike the LCD preview, which changes in appearance depending on the ambient light around you, the histogram is objective. It shows the same data whether you're in a dark studio or shooting in bright midday sun. That's what makes it the most reliable exposure tool available to any photographer — beginner or professional. * * * ## How to Read a Camera Histogram The horizontal axis represents brightness — dark tones on the left, bright tones on the right. The vertical axis represents the number of pixels at each brightness level. * **Left side (shadows):** Pixels here are very dark or black. A large spike on the far left indicates large areas of deep shadow in your image. * **Middle (midtones):** The centre represents the mid-grey tones — skin tones, green foliage, blue sky. A well-exposed general scene will often have a healthy spread through the middle. * **Right side (highlights):** Pixels here are very bright or white. A large spike on the far right indicates bright areas — a white shirt, a clear sky, sunlit snow, a candle flame. There is no single "correct" histogram shape. A dramatic silhouette at sunset will push most tones to the left and right simultaneously and look stunning. What matters is whether the histogram matches your creative intent. That said, there are two clear warning signals every photographer needs to know: **highlight clipping** and **shadow clipping**. * * * ## What Is Highlight Clipping in Photography? **Highlight clipping** — sometimes called "burning out" or "blown-out highlights" — occurs when areas of your image become so bright that they exceed what the sensor can record. These areas are rendered as pure, featureless white with no tonal information whatsoever. No texture, no detail, no colour. They are gone, and in most cases **they cannot be recovered** — even from a RAW file. On the histogram, highlight clipping is unmistakable: the graph is cut off hard against the **right edge**, as if it has been pushed off the chart. The taller the spike against the right edge, the more significant the clipping. Common situations where highlight clipping occurs include: * **Bright skies** photographed behind a shaded subject * **Snow or white sand** in direct sunlight * **Candles, flames, or artificial lights** included in the frame * **Specular reflections** on water, glass, or metal * **White clothing** in bright outdoor light ### Why Blown-Out Highlights Are Such a Problem A small area of clipping — a distant light source, a tiny specular reflection — is often acceptable or unavoidable. But clipping across large, prominent areas destroys irreplaceable visual information. In landscape photography, a blown-out sky looks artificial. In portraits, overexposed skin appears harsh. In product photography, clipped highlights remove all sense of depth. And unlike underexposure — where lifting shadows in editing often yields usable results — blown-out highlights in a JPEG are unrecoverable. Even in RAW, severely clipped highlights rarely recover cleanly. Detect and prevent highlight clipping before you shoot. ### How to Fix Clipped Highlights On the histogram, watch the right edge. If there is a visible spike jammed against it, clipping is occurring. To correct it, reduce your exposure — use a faster shutter speed, close your aperture, reduce your ISO, or dial in negative exposure compensation — until that spike drops away from the right edge. In Shutter+, you can watch the histogram respond in real time as you adjust exposure compensation, giving you instant feedback before you take the shot. Here the exposure is better, and although you can still see a spike (which is the bright part of the sky in the top right corner) it's not pushed right up to the edge, indicating that detail is preserved. * * * ## What Is Shadow Clipping in Photography? **Shadow clipping** is the inverse of highlight clipping. It occurs when areas of your image fall below the minimum value the sensor can record, and are captured as pure black with no recoverable detail. On the histogram, this appears as a spike against the **left edge** of the graph. Like blown highlights, heavily clipped shadows lose all texture and information — a dark interior becomes a flat black void, a subject in shade loses definition, foreground details in a landscape disappear. ### When Shadow Clipping Is a Problem — and When It's Creative Intent Shadow clipping is often more forgiving than highlight clipping, and sometimes it's entirely intentional. High-contrast portraits, backlit subjects, and moody night scenes often rely on pure black shadows for their visual impact. Shadow clipping is only a technical problem when you intended to retain detail in areas that have clipped. To recover shadow detail, increase your exposure: use a slower shutter speed, open your aperture, raise your ISO, or dial in positive exposure compensation. ### Balancing Highlights and Shadows: Understanding Dynamic Range Every scene has a brightness range from its darkest point to its brightest. Your camera can only capture a finite number of stops of light — its **dynamic range**. In high-contrast scenes, you may face a choice: protect the highlights, or expose for shadow detail. The histogram shows you both extremes simultaneously, letting you make an informed decision. If spikes appear at both edges, the scene exceeds your sensor's dynamic range — options include a compromise exposure, exposure bracketing, or a deliberate creative choice. * * * ## How to Use the Histogram to Determine Correct Exposure For a typical scene, a correctly exposed image will usually show a histogram that: * Has no hard spikes against the right edge (no blown highlights) * Has no hard spikes against the left edge (no crushed shadows, unless intended) * Shows a gradual, rounded distribution spread across the tones * Doesn't bunch entirely at one end of the graph * * * ## What Is ETTR (Expose to the Right)? **ETTR — Expose to the Right** — is a technique that uses the histogram to maximise the data captured in a RAW file. The idea is to push your exposure as far to the right as possible — making the image as bright as it can be — without tipping over into highlight clipping. Why does this help? Digital sensors capture significantly more tonal data in the brighter half of the exposure range. A brighter exposure (histogram sitting closer to the right) results in cleaner shadow detail, less digital noise, and more flexibility in post-processing. For landscape, studio, and macro photographers shooting RAW, ETTR is one of the most useful techniques available. To apply ETTR accurately, you need a live histogram that updates in real time as you adjust your exposure — not an after-the-fact review of a shot you've already taken. * * * ## The Live Histogram in Shutter+ Shutter+ includes a **real-time histogram that updates continuously** as you compose your shot, giving you an accurate readout of your exposure before you press the shutter. As you adjust your shutter speed, aperture, ISO, or exposure compensation, the histogram responds immediately — showing you the effect of every change as it happens. The histogram sits unobtrusively in the corner of the live view screen, always visible without obscuring your composition. You can resize it and toggle it on or off at any time. It works alongside every other Shutter+ overlay — zebra stripes, false colour, focus peaking, and composition grids — so you can build exactly the monitoring workflow you need. * * * ## Why Viewing the Histogram on iPhone or iPad Beats Your Camera Screen There is a fundamental practical problem with reading your histogram on your camera's built-in display: the screen is simply too small. Your camera's rear LCD is typically around three inches — designed for menu navigation, not precision exposure monitoring. Many cameras only show a histogram in image review mode, which means you see it only after the shot has already been taken. By then, the light may have changed or the moment may have passed. **Shutter+ runs on your iPhone or iPad**, which changes the histogram experience entirely. Your live histogram is displayed on a screen that is: * **Dramatically larger** — an iPhone screen is roughly twice the size of a typical camera LCD. An iPad Pro gives you over 11 inches. The histogram is readable at a glance. * **Brighter and optimised for outdoor conditions** — iPhone and iPad screens are engineered for real-world outdoor use, with peak brightness levels that make them readable in direct sunlight. * **Positioned in the corner without obstructing your image** — in Shutter+, the histogram overlay sits in a small corner of the live view. On a large phone or tablet screen, this means full composition visibility alongside your exposure data simultaneously. The result is that reading the histogram becomes a continuous, natural part of your shooting workflow rather than a deliberate interruption. That shift — from occasional checking to constant awareness — produces noticeably more consistent exposures across a shoot. ### Using the Live Histogram for Video The live histogram in Shutter+ is equally valuable when shooting video. Consistent, accurate exposure is even more critical in video than in stills — you can't bracket-expose a moving scene. The histogram gives you a precise, real-time summary of your brightness distribution throughout a recording, and works alongside false colour and zebra stripe overlays to give you a complete exposure monitoring toolkit on your iPhone or iPad screen. * * * ## Quick Reference: Reading the Histogram | | | | | --- | --- | --- | | **What You See** | **What It Means** | **What to Do** | | **Spike against the right edge** | Highlight clipping — detail is lost in bright areas | Reduce exposure | | **Spike against the left edge** | Shadow clipping — detail is lost in dark areas | Increase exposure (if detail is needed) | | **Distribution bunched to the left** | Underexposure — image is too dark overall | Increase exposure | | **Distribution bunched to right (no spike)** | Bright scene or deliberate ETTR — check highlights | Fine if no spike at the right edge | | **Gradual distribution across the middle** | Well-balanced midtone exposure | Usually correct for general scenes | | **Spikes at both edges** | Scene exceeds the sensor's dynamic range | Consider exposure bracketing | * * * ## Summary The histogram is the most reliable exposure tool in photography. Unlike your camera's LCD, it doesn't shift with ambient light. Unlike the image preview, it works in real time — before you've taken the shot. And unlike guesswork, it gives you objective data about exactly where your tones sit. Understanding highlight clipping and shadow clipping is the foundation. Once you know what to look for at each edge of the histogram, you'll catch exposure problems before they become lost shots — and techniques like ETTR become straightforward to apply rather than abstract concepts. Shutter+'s live histogram puts that data in front of you continuously, on a screen large enough to actually read it, positioned so it doesn't get in the way of your image.  **Ready to try it?** [Download Shutter+ on the App Store →](https://shutter.dev/getshutter)  * * * ## Frequently Asked Questions **What does a good histogram look like in photography?** There is no single correct shape — it depends entirely on the scene and your creative intent. However, for a typical, well-exposed scene, a good histogram will spread across the full tonal range without hard spikes pushing against either edge. The left and right walls should be clear, with the graph tailing off naturally before reaching them. A histogram bunched entirely to one end, or spiking off either edge, usually indicates an exposure problem worth addressing before shooting. **What does a spike on the right side of the histogram mean?** A spike against the right edge indicates **highlight clipping** — some pixels in your image have exceeded the maximum brightness the sensor can record and will appear as pure, textureless white. The larger the spike, the more extensive the clipping. To fix it, reduce your exposure until the spike falls away from the right edge. In Shutter+, you can watch the histogram respond in real time as you adjust exposure compensation. **What does it mean when the histogram is bunched to the left?** A histogram sitting almost entirely on the left side of the graph indicates **underexposure** — your image is too dark overall. If the graph also has a spike hard against the left wall, some shadow areas are clipping to pure black. To correct underexposure, increase your exposure by opening your aperture, slowing your shutter speed, raising your ISO, or dialling in positive exposure compensation. **Can you recover clipped highlights in post-processing?** Only partially, and with significant limitations. In a RAW file, very slight highlight clipping can sometimes be partially recovered using the Highlights slider in software like Lightroom or Capture One. However, severely clipped highlights — where pixels have truly maxed out at pure white — contain no tonal information and cannot be recovered. In a JPEG, even slight highlight clipping is generally unrecoverable. This is why preventing highlight clipping at the point of capture is so important. **What is ETTR in photography?** **ETTR (Expose to the Right)** is a shooting technique where you push your exposure as bright as possible — moving the histogram as far right as it can go — without tipping over into highlight clipping. The benefit is that digital sensors capture more tonal data in the brighter half of the exposure range, so a brighter exposure produces a RAW file with cleaner shadow detail, less noise, and more post-processing flexibility. The histogram is the essential tool for applying ETTR accurately. **Is it better to slightly overexpose or underexpose when shooting RAW?** Generally, slight overexposure (without clipping highlights) produces better results from a RAW file than slight underexposure. Underexposed shadows contain less tonal data and introduce more digital noise when lifted in editing. A slightly brighter exposure captures more information — as long as you protect the highlights. That said, in scenes with bright highlight areas such as snow, bright sky, or flames, it can be safer to err slightly toward underexposure to protect that detail, which is much harder to recover than lifted shadows. **Should you always avoid shadow clipping?** No. Shadow clipping is sometimes entirely intentional and appropriate. High-contrast black and white photography, dramatic portraits with dark backgrounds, and silhouette images often rely on pure black shadows for their visual impact. Shadow clipping only becomes a technical problem if you intended to retain detail in the areas that have clipped. The histogram lets you see exactly when and how much shadow clipping is occurring, so you can make an informed creative decision. **What is the difference between a luminance histogram and an RGB histogram?** A **luminance histogram** shows the overall tonal distribution as a single combined graph. An **RGB histogram** shows three separate graphs — one for each colour channel — allowing you to see whether individual channels are clipping even when the overall luminance looks balanced. For most exposure monitoring purposes, the luminance histogram is sufficient. But if you're shooting scenes with strong, saturated colours, the RGB histogram gives you more complete information. **Why is my camera's LCD screen unreliable for checking exposure?** Your camera's rear LCD changes in apparent brightness depending on the ambient light around you. In a dark room, a correctly exposed image can look too bright and lead you to underexpose. In bright sunlight, the same image can look dim and lead you to overexpose. The histogram is immune to this — it shows the same objective data regardless of surroundings. This is also why viewing your live view on your iPhone or iPad with Shutter+ is more reliable: Apple's displays have significantly higher peak brightness than typical camera LCDs and are designed specifically to remain readable in outdoor conditions. **How do I enable the histogram in Shutter+?** The histogram in Shutter+ can be toggled on or off directly from the live view screen. Once enabled, it appears as an overlay in the corner of the display and updates in real time as you adjust your exposure settings. You can also resize it to suit your preference. It works alongside all other Shutter+ overlays including zebra stripes, false colour, and focus peaking. * * * **Related Articles** * [How to Photograph Snow Without It Looking Grey](https://shutter.dev/docs/how-to-photograph-snow-without-it-looking-grey-or-shutter) * [Exposure Bracketing for Sunrises](https://shutter.dev/docs/exposure-bracketing-for-sunrises) ### How to restore a purchase Restore your Shutter+ subscription using the Restore Purchase button. Troubleshoot expired subscriptions, wrong Apple accounts, and wrong app installs. Heads up: Shutter+ is available as separate apps for Sony, Canon, and Fujifilm cameras. Restore Purchase only works in the app where the subscription or lifetime license was purchased. Tap **Restore Purchase** on the payment page to unlock access for active subscribers and their family members via Family Sharing. ## Common issues ### Subscription has expired If your subscription has expired, the restore will not work. You can check your subscription expiration date on the payment page. ### Wrong Apple account Make sure you are signed in to the same Apple account that was used for the original purchase. If you are not sure which account that is, look for the email receipt from Apple — it will show the Apple account used for the transaction. ### Wrong Shutter+ app Make sure you installed the Shutter+ app for the same camera brand you originally purchased: - [Shutter+ for Sony](/getsony) - [Shutter+ for Canon](/getcanon) - [Shutter+ for Fujifilm](/getfuji) If you are not sure which app you purchased, open the App Store, tap your profile icon, then go to "Apps & Purchase History" and check your purchase list. ### How to Shoot a Stitched Panoramic Photo Using Shutter+ Learn how to capture sharp, perfectly composed multi-frame panoramas using the Shutter+ remote camera app — and stitch them seamlessly in Adobe Photoshop. ## Master the Art of Panoramic Photography With Shutter+ We are always happy when users share their experience with Shutter+. Ian Middleton created a great YouTube tutorial on how to create a stitched panoramic photo, showing how he used Shutter+ with his Canon EOS R5 to make everything so much easier, completely avoid the risk of camera shake, get a much clearer view of the composition on the app's display and see the overlap more clearly when framing each successive shot. Watch his video to see the full process, or read the detailed article below. [Explore Shutter+ features for Canon EOS R5.](/docs/canon-eos-r5) ## What Is a Stitched Panoramic Photo? A stitched panoramic photograph is created by taking a sequence of overlapping frames by rotating the camera incrementally between each shot and then blending them together in post-processing software to create a single, ultra-wide, high-resolution image. Unlike the in-camera panoramic sweep mode found on most cameras and smartphones, a properly stitched pano preserves full image quality and gives you precise control over every frame. Whether you're capturing sweeping mountain landscapes, dramatic coastlines, or urban skylines, stitched panoramics deliver a level of detail and resolution that a single frame simply cannot match. ## What Equipment Do You Need to Shoot a Stitched Panoramic? ### Camera & Lens Any mirrorless or DSLR camera with manual exposure controls will work well. The setup used in this tutorial is: * **Canon EOS R5** mirrorless camera * **Canon EF 24–105mm f/4L IS USM** lens A versatile standard zoom like the 24–105mm is an excellent choice for panoramics — it gives you the flexibility to frame your starting composition, then commit to a focal length for the sequence. Longer telephoto lenses can also work well and produce a compressed, dramatic look, but any lens from 24mm and above can be used effectively depending on your subject. ### Tripod A sturdy, well-levelled tripod is **non-negotiable** for stitched panoramics. Any movement between frames — tilt, twist, or vibration — will cause alignment issues that are difficult or impossible to fix in post. For this tutorial, a **Benro 34CLV tripod with a geared head** was used. A geared head is particularly valuable because it allows ultra-precise, micro-adjustment movements, which is critical when rotating between frames. **Key tripod requirements for panoramic photography:** * Solid build with minimal flex under the weight of your lens * A pan head or geared head that allows smooth, controlled horizontal rotation * Ideally a dedicated panoramic nodal rail to reduce parallax error (more important with wider lenses) ## Remote Shutter: Why Shutter+ is the Best Option This is where most photographers make a costly mistake. Many photographers use a basic wired or Bluetooth remote shutter release; and while that avoids pressing the camera button directly, it still leaves you hovering near the camera, squinting at a small rear screen to check your composition and settings. **Shutter+** transforms your iPhone or iPad into a full remote camera control. It connects wirelessly to your camera via Wi-Fi and gives you a live view of your scene on a large, bright screen; making it far easier to compose, check focus, and trigger each frame with absolute precision. **Supported cameras include:** [Canon](https://shutter.dev/canon), [Sony](https://shutter.dev/sony) & [Fujifilm](https://shutter.dev/fujifilm). See [shutter.dev/cameras](http://shutter.dev/cameras) for the full compatibility list. ## Why Use Shutter+ Instead of an Ordinary Remote Trigger? A basic remote shutter release does one thing: fires the shutter. Shutter+ does far more: | | | | | --- | --- | --- | | **Feature** | **Basic Remote** | **Shutter+** | | Remote shutter trigger | ✅ | ✅ | | Live view on your iPhone or iPad | ❌ | ✅ | | Adjust exposure settings remotely | ❌ | ✅ | | Set focus remotely | ❌ | ✅ | | Grid overlays for composition | ❌ | ✅ | | Large screen for frame visualisation | ❌ | ✅ | | Check each frame without touching camera | ❌ | ✅ | When shooting a panoramic sequence, you’re rotating the camera between 5, 7, 10 or more frames. You do need to go to the camera to rotate it between each shot — but that should be the only reason you’re touching it. With a standard remote, you’re also having to check the screen, verify exposure and focus, and maybe even fiddle with settings every time. With Shutter+, all of that is handled from your phone. You rotate the camera, step back, and everything else — live view, settings, triggering — is done without any further contact. That minimal-touch approach is what keeps the camera stable and your sequence consistent. ## Step-by-Step Guide: How to Shoot a Stitched Panoramic with Shutter+ ### Step 1: Set Up and Level Your Tripod Before you think about composition or camera settings, get your tripod perfectly level. On uneven terrain — a hillside, a beach, rough ground — this takes patience but is absolutely essential. * Extend the legs to compensate for any slope, adjusting each leg independently * Use a spirit level to check you’re perfectly flat — a small, flat bubble level from a hardware store placed directly on a flat surface of the tripod head or camera base works extremely well. It’s much easier to read at eye level than a top-mounted level on a tall tripod, which often requires standing on tiptoe to see clearly * Check the level in **two axes** — front-to-back and side-to-side * Once level, tighten all leg locks firmly * If using a geared head, use the fine-adjustment controls to get the pan axis perfectly horizontal A poorly levelled tripod means your sequence of frames will arc up or down as you pan — making stitching difficult and wasting image real estate. ### Step 2: Pre-Visualise the Full Panoramic Frame Pan slowly through the full intended sequence to visualise where your panorama will begin and end. Think about: * What will anchor the left edge of the final image? * What will anchor the right edge? * Is there anything in the foreground that could cause parallax issues as you pan? * How much sky and foreground do you want to include? This step is dramatically easier with Shutter+ — rather than squinting at your camera’s small rear screen while crouching behind a tripod, you can stand upright, hold your phone comfortably, and sweep through the scene on a large, bright display. ### Step 3: Set Your Camera to Portrait (Vertical) Orientation Rotate your camera 90° so it’s shooting in portrait orientation. This seems counterintuitive when shooting a wide panoramic, but it is the correct approach for two reasons: * **More vertical coverage:** rotating portrait gives you significantly more height in the final stitched image, which means more room to crop and still have a tall panoramic * **More frames, more resolution:** you will take more individual shots to cover the same horizontal span, resulting in a much higher final megapixel count Make sure your tripod head allows the camera to sit in portrait orientation stably without any tilt or slop in the head. ### Step 4: Connect Shutter+ and Set Your Exposure Open Shutter+ on your iPhone and connect to your camera. Once connected: * **Switch to Manual mode (M)** on your camera — consistent exposure across all frames is critical. Any exposure variation between frames will create bright or dark banding in the final stitch * Use Shutter+ to adjust your **ISO, aperture, and shutter speed** without touching the camera * Use the live view histogram in Shutter+ to verify your exposure is correct * **Lock your white balance** — do not leave it on Auto. If white balance shifts between frames, your frames will have different colour casts that are very difficult to match in post * **Lock your focus** — autofocus between frames risks a focus shift. Set your focus on your subject, confirm it in the Shutter+ live view, then switch the lens to Manual Focus (MF) to lock it in place ### Step 5: Use the Grid Overlay to Set Your Starting Frame In Shutter+, enable the **grid overlay**. This gives you compositional guidelines — rule of thirds lines and frame edge markers — displayed directly on the live view on your phone screen. Use these to: * Identify a clear reference point on the left edge of your starting frame * Note where the horizon sits relative to the grid lines — this helps you keep it consistent as you pan * Assess whether your framing includes enough overlap on the left and right edges ### Step 6: Capture Your Sequence of Frames Now you’re ready to shoot. The key rules for a successful sequence: * **Overlap each frame by 30–50%:** this gives Photoshop plenty of shared visual information to stitch the frames together. Less than 20% overlap and stitching can fail or produce visible seams * **Pan in one direction only** — left to right is the convention * **Do not rush:** after each pan, wait 2–3 seconds for any vibration to settle before triggering * **Trigger each frame using Shutter+** — tap the shutter on your phone screen. Your hands never touch the camera. Zero camera shake * Use the Shutter+ live view to check each frame as you go — verify that focus and exposure remain consistent, and that your overlap is sufficient * Shoot a **few extra frames at each end** — it’s easy to clip something important at the edges, and extra coverage costs nothing After each frame, pan the camera slightly in your chosen direction, keeping the rotation smooth and consistent. A geared head makes this much more precise. ### Step 7: Review Your Sequence Before Leaving the Location Before packing up, scroll through your frames in Shutter+ or on the camera. Check: * Every frame is sharp * Exposure is consistent across the full sequence * Overlap is present on every adjacent pair * No frames were accidentally skipped It is far better to reshoot on location than to discover a problem at your desk. ## How to Stitch a Panoramic Photo in Adobe Photoshop Once you have your sequence of frames, Photoshop’s **Photomerge** feature does the heavy lifting. ### Step 1: Stitch First, Edit Later (Or Develop RAWs First) There are two valid approaches here, and the workflow used in this tutorial is to **feed the RAW files directly into Photomerge without any prior development**. Photoshop stitches from the original RAW data, and all editing is done on the final stitched result. This is a clean, efficient approach — and it sidesteps any risk of subtle inconsistency between individually processed frames. If you prefer to develop your RAWs before stitching, that is equally valid: * Open all frames together in Lightroom or Camera Raw * Apply identical corrections to every frame — exposure, white balance, lens correction, noise reduction * **Sync your settings** across all frames before proceeding * Export as 16-bit TIFFs for maximum editing latitude, then bring those into Photomerge ### Step 2: Open Photomerge in Photoshop * Go to **File → Automate → Photomerge** * Click **Browse** and select all the frames in your panoramic sequence * Choose **Auto** as the layout option — Photoshop will analyse the overlapping content and select the best projection method automatically * Enable **Blend Images Together** and **Geometric Distortion Correction** * Click **OK** — Photoshop will now align and blend the frames. Depending on resolution and the number of frames, this may take several minutes ### Step 3: Flatten, Crop, and Finalise Once Photomerge completes, you will have a layered file with each frame on its own layer, masked together with gradient blends: * Go to **Layer → Flatten Image** * Use the **Crop tool** to trim the ragged, uneven edges that are inevitable in a stitched panoramic — this is why you shot with enough vertical coverage in portrait orientation * Make any final colour grading, sharpening, or tonal adjustments * Save as a PSD to preserve your full resolution working file, then export a JPEG or TIFF for sharing or printing ### Tips for a Cleaner Stitch * **Avoid moving subjects** in the scene where possible — people, waves, or trees blowing in wind can cause ghosting artefacts at stitch boundaries * If you have a problematic seam, use the **Clone Stamp** or **Content-Aware Fill** to repair it after flattening * For very wide sequences (10+ frames), **Cylindrical** projection in Photomerge can produce better results than Auto ## Summary: Why Shutter+ Makes Stitched Panoramics Better Shooting a stitched panoramic is a technical process. Every variable — exposure, focus, overlap, shake — has to be controlled consistently across every single frame. Shutter+ addresses the biggest practical challenges: * **No camera shake:** triggering from your phone means zero physical contact with the camera or tripod during capture * **Better visualisation:** the large iPhone screen gives you a far clearer view of each frame’s composition than the camera’s rear LCD — especially useful outdoors in bright light * **Remote control of settings:** adjust ISO, shutter speed, and aperture from your phone if conditions change mid-sequence, without disturbing the camera’s position * **Grid overlays:** compositional guides on the live view help you maintain consistent framing and horizon placement across the sequence * **Confidence in every frame:** checking each shot on a large screen as you go means you leave the location knowing your sequence is solid ## Frequently Asked Questions ### What is the best camera for panoramic photography? Any camera with full manual controls and RAW shooting capability will work well. Full-frame mirrorless cameras such as the Canon EOS R5, Sony A7R V, or Nikon Z8 offer the highest resolution for large-format panoramic prints. ### What lens should I use for a stitched panoramic? Wide-angle to short telephoto lenses (24mm–200mm) are most commonly used. Longer telephoto lenses produce a compressed, dramatic look and are excellent for distant landscapes. Wider lenses require more careful attention to parallax error. ### Do I need a special panoramic tripod head? A geared head or fluid pan head is strongly recommended. For wide-angle lenses, a dedicated nodal rail helps eliminate parallax error. For telephoto panoramics, a standard geared head is sufficient. ### How much overlap should I use between panoramic frames? 30–50% overlap between adjacent frames is the standard recommendation. More overlap gives the stitching software more to work with and produces cleaner seams. ### Why is my panoramic blurry or misaligned? The most common causes are camera shake during capture (solved by remote triggering with Shutter+), a poorly levelled tripod, inconsistent focus between frames, or insufficient overlap. Using Shutter+’s live view and grid overlay helps prevent all of these. ### What is the best app for remote camera control for panoramic photography? Shutter+ is one of the most capable options available for Canon, Sony, and Fujifilm cameras. It provides live view on your iPhone, full remote control of exposure settings, and grid overlays — all of which are directly useful for panoramic capture. ### Can I stitch panoramics without Photoshop? Yes — PTGui, Hugin (free), and Lightroom’s Panorama Merge feature are all capable alternatives. However, Photoshop’s Photomerge remains one of the most accessible and reliable options for most photographers. _Equipment used in this tutorial: Canon EOS R5 · Canon EF 24–105mm f/4L IS USM · Benro 34CLV tripod with geared head · Shutter+ on iPhone 15 Pro Max · Adobe Photoshop CC_ ### How to Take Solo Travel Photos of Yourself (Without Asking a Stranger) You've saved up, booked the flights, and finally arrived at that view you've seen a hundred times on Instagram. The last thing you want is a blurry, poorly-framed shot from a reluctant passerby. Shutter+ allows you to remotely control your camera and see everything, so you can take your time to compose the perfect set of holiday photos. # **How to Take Solo Travel Photos of Yourself (Without Asking a Stranger)** You've saved up, booked the flights, and finally arrived at that view you've seen a hundred times on Instagram. The last thing you want is a blurry, poorly-framed shot from a reluctant passerby. Here's a better way. ## **1\. Why Asking a Stranger Almost Never Works** You know the drill. You spot the perfect spot — golden hour light, an iconic landmark, barely any crowds — and you look around for someone to take your photo. You find a willing volunteer, hand over your camera, and hold your breath. Most of the time, you get something back that's fine. Off-centre. A little blurry. Or just not what you pictured in your head. You smile, say "thank you so much," and quietly feel disappointed. | | | | --- | --- | | **The rushed shot** They fire off one photo and hand your camera straight back before you've had a chance to check it. | **The bad crop** Your face is perfect but your feet are cut off, or the view you came for is barely in frame. | | **The mystery blur** No one knows exactly how they managed it, but the photo is blurry despite the sun being out. | **The awkward stand-off** They want you to take theirs in return, and you feel you can't say no even if you're in a rush. | Even when a stranger takes a genuinely good shot, it's a gamble — and you're handing your expensive camera to someone you've never met. There's a better way to get the photos you came for. ## **2\. Why Your Phone Selfie Camera Isn't Cutting It** Switching to the front camera on your phone is the obvious alternative. And for a quick casual snap, it works. But if you've invested in a proper camera — a Canon, Sony, or Fujifilm — you already know there's a world of difference in what you get back. _Your Canon or Sony has a bigger sensor, proper zoom, and better low-light performance than any phone front camera. You didn't carry it halfway around the world to default to selfie mode._ There's also the angle problem. Arms-length selfies distort your face and make it hard to capture any real sense of where you are. The background either disappears behind you or it's so far away it loses context entirely. It rarely looks like the shot you had in mind. ## **3\. The Smarter Solution: Use Your Real Camera and Control It Remotely** Set your camera on a tripod — even a small travel tripod or a flat surface works — and use the **Shutter+ app** on your iPhone, iPad, or Apple Watch to trigger it remotely. That's the whole idea, and it works remarkably well. Shutter+ connects wirelessly to your Canon, Sony, or Fujifilm camera and lets you see exactly what the camera sees on your phone screen. You can frame the shot, tap to focus on yourself, set a timer, and fire the shutter — all from wherever you're standing in the scene. **No Wi-Fi needed.** Shutter+ connects directly to the Wi-Fi signal your camera broadcasts itself. No internet, no mobile data, no home network required. It works in the middle of a forest, on top of a mountain, or at a beach with no phone signal. Anywhere your camera can go, this setup can go. ## **4\. How It Works: 4 Simple Steps for Travelers** You don't need any photography experience beyond knowing how to turn your camera on. Here's the setup from start to finish: **01: Set up your camera** Put your camera on a tripod or prop it on a steady surface — a wall, a rock, a café table. Point it at where you want to stand. Even a mini travel tripod is enough. **02: Open Shutter+ and connect** Enable Wi-Fi on your camera (it'll be in the menu), open Shutter+ on your iPhone, and follow the on-screen connection steps. It takes about 30 seconds the first time. **03: Walk into the frame and check your position** You can see a live view of what your camera sees on your phone screen. Walk to your spot, glance at your phone, and adjust until the composition looks exactly right. No more guessing. **04: Set a timer and let it fire** Tap to focus on yourself in the frame, set a short countdown so you have time to pocket your phone and settle into a natural pose, then let Shutter+ take care of the rest. Set it to shoot several frames so you have options to pick from. That's it. You can repeat as many times as you like, adjusting your position or expression between shots without running back to the camera each time. ## **5\. Holiday Scenarios Where Shutter+ Saves the Day** ### **Busy landmark, no queue for help** Popular spots like the Eiffel Tower or Colosseum are crowded — and everyone else is trying to get their own photo. Set your camera down, connect Shutter+, and you're completely independent of anyone around you. Take your time, get it right. ### **Beach shots with your whole body in frame** The full-length beach photo is nearly impossible to ask a stranger for. Too awkward, too many directions to give. With your camera on a tripod and Shutter+ on your Apple Watch, you can trigger it from anywhere on the beach without looking at your phone at all. ### **Golden hour with no strangers around** The best light for photos often happens somewhere quiet — a cliff edge at sunset, a rice terrace at dawn. These are usually the moments with no one else around. Shutter+ means you don't need anyone. Just you, your camera, and the view. ### **The group holiday where you always end up behind the lens** Traveling with a few friends and always the one taking photos? Shutter+ means you can be in them too. Set the intervalometer to fire a sequence of shots — everyone has time to settle into a natural moment rather than a stiff "say cheese" pose. ### **Remote or wild locations** No phone signal, no passing hikers, no internet — no problem. Shutter+ works on the camera's own direct Wi-Fi connection, so it functions perfectly in the middle of nowhere. The summit photo you worked three hours to reach deserves more than a phone selfie. ## **6\. Which Cameras Does It Work With?** Shutter+ works with the cameras that most keen travellers already own. If you've got a mirrorless or DSLR from one of these three brands, you're covered: | **Canon** | **Sony** | **Fujifilm** | | --- | --- | --- | | EOS R series, EOS M series, Rebel series, PowerShot — most Canon cameras with Wi-Fi built in. | Alpha a7 series, a6000 series, ZV series, Cyber-shot — Sony's mirrorless and compact lineup. | X-T series, X-S series, X100 series, GFX — popular with travel photographers for their size and image quality. | Not sure if your exact camera model is supported? The [full compatibility list](https://shutter.dev/cameras) covers every supported camera in detail. ## **7\. iPhone, iPad, or Apple Watch — Your Choice** Shutter+ is an Apple app, available across the devices you probably already have in your bag: | **iPhone** | **Apple Watch** | **iPad** | | --- | --- | --- | | See the live view, tap to focus, set your timer — all from your phone screen. | Trigger the shutter from your wrist without glancing at your phone. Great for beach and outdoor shots. | Bigger live view screen — useful when propping your iPad somewhere you can see it while you pose. | The Apple Watch option is especially handy for travel. Once you've framed the shot and set your focus, you can pocket your phone and trigger the shutter from your wrist — no visible phone in hand, no awkward timing, just a natural pose. ## **8\. Quick Tips for Better Solo Travel Shots** **✓ Shoot more frames than you think you need** Use Shutter+'s intervalometer to fire a sequence of shots automatically. More frames means more options — one of them will have your expression and posture exactly right. **✓ Don't look at the camera every time** Some of the best travel photos look candid — someone looking at the view, walking into the scene, or mid-laugh. Use the timer and just be natural while the camera fires. **✓ A mini tripod is all you need** You don't need a full-size tripod. Small, flexible travel tripods that pack flat are brilliant for this — you can attach them to railings, benches, and rocks, not just flat ground. **✓ Tap to focus before you start the timer** Tap on your position in the Shutter+ live view before starting the countdown. This locks focus on where you'll be standing so the camera doesn't drift to focus on something behind you. **✓ Turn the sound on** Shutter+ plays an audible countdown and shutter sound. With your phone in your pocket, the sound is your cue — you'll know exactly when the shot is about to fire without checking the screen. ## **9\. Frequently Asked Questions** ### **Do I need a phone signal or internet connection for Shutter+ to work?** No — Shutter+ connects directly to the Wi-Fi signal your camera broadcasts itself. No internet, no mobile data, no home network required. It works in remote locations, mountains, countryside, anywhere. ### **Does it work if I don't have a tripod?** Yes. You just need your camera to be on a stable surface — a wall, table, rock, or ledge. A mini travel tripod (they're tiny and cheap) gives you much more flexibility, but it's not a hard requirement. ### **Can I see myself in frame before taking the photo?** Yes. Shutter+ streams a live view from your camera to your iPhone screen. Walk into position, look at your phone to check the framing, adjust, then put the phone away and let the timer fire. No guessing. ### **Can I use it on an Apple Watch without my phone nearby?** The Apple Watch app works in conjunction with your iPhone — your iPhone needs to be nearby (in your pocket is fine). You use the watch to trigger the shutter without having to hold or look at your phone. ### **What if my specific camera model isn't listed?** Shutter+ has a detailed camera compatibility list at [shutter.dev/cameras](http://shutter.dev/cameras). Most Wi-Fi enabled Canon, Sony, and Fujifilm cameras released in the last several years are supported. ### **Is it difficult to set up?** It takes a couple of minutes the first time — you enable Wi-Fi on your camera, open Shutter+, and follow a short connection process. Once you've done it once, reconnecting on future trips is much faster. ### **Can I use this for video too?** Yes. You can start and stop video recording remotely through Shutter+ and monitor the live view while you record. The timer and multi-shot features are for stills only, but remote video control works the same way. ## **Ready to stop relying on strangers?** Try Shutter+ free for 7 days and take your best-ever travel photos — solo, on your own terms, from anywhere in the world. [**Download Shutter+**](https://shutter.dev/download) 7-day free trial · No commitment · iPhone, iPad & Apple Watch Related article: [Taking Self-Portraits and Group Photos with Shutter+](https://shutter.dev/docs/taking-self-portraits-and-group-photos-with-shutter) ### How to Use BULB Mode for Long Exposure Photography | Shutter+ Learn how BULB mode lets you shoot past your camera's 30-second limit, why camera shake ruins long exposures, and how to set an exact timer wirelessly with Shutter+. Shoot exposures far longer than your camera's 30-second limit — without camera shake — by pairing a tripod with a BULB timer you control from your phone. ## Master Long Exposure Photography Some of the most striking photographs in any genre — silky waterfalls, star trails circling overhead, glowing rivers of car headlights, fireworks blooming over a skyline — share one thing in common: an exposure that runs far longer than a normal photo. Once you go past a few seconds, you leave your camera's standard shutter speed range behind and enter **BULB mode**, the setting built for exposures with no fixed time limit. BULB mode gives you complete control over exposure length. It also hands you a new problem: how do you hold a shutter open for two minutes without shaking the camera? This guide covers what BULB mode actually is, why it causes camera shake even on a tripod, every option for triggering it remotely, and how to set an exact BULB duration — down to the second — using Shutter+. ## What Is BULB Mode? BULB mode is a camera shooting mode that keeps the shutter open for as long as you hold the shutter button down — or as long as a connected remote tells it to — instead of closing automatically after a preset time. It's the only way to shoot an exposure longer than your camera's maximum standard shutter speed, which is 30 seconds on the vast majority of cameras. The name comes from early film cameras, which used a rubber air bulb connected to the shutter by a tube: squeeze the bulb and the shutter opens, release it and the shutter closes. Digital cameras kept the name and the same basic idea, minus the rubber bulb. Your camera's standard shutter speed dial stops at 30 seconds because that range covers the vast majority of everyday photography. Exposures beyond that point are entirely scene-dependent — how dark it is, how much star movement or light trail you want to capture, whether you're stacking on a neutral density filter — so rather than standardizing a "one size fits all" set of longer speeds, manufacturers hand control over to you. BULB mode is that handoff: you decide exactly how long the shutter stays open. ### **It's what makes these long exposure classics possible:** * **Astrophotography and star trails** — exposures from several minutes to hours * **Light trails and light painting** — car headlights, sparklers, or a torch drawn through the frame * **Long exposure landscapes and seascapes** — smoothing moving water or drifting clouds * **Fireworks** — holding the shutter open across multiple bursts * **Night cityscapes** — gathering enough ambient light for a properly exposed frame ### **What You'll Need** * **A camera with a BULB mode.** Most DSLRs and mirrorless cameras have one, though some video-oriented models leave it out. * **A sturdy tripod.** Non-negotiable — more on why below. * **A way to trigger the shutter without touching the camera.** This is the part most photographers get wrong, and it's the focus of this guide. ## The Problem: Why Holding the Shutter Button Causes Camera Shake Here's the core issue with BULB mode: by default, you open the shutter by pressing the button, and you close it by releasing the button (or pressing it a second time, depending on your camera). For a 2-second exposure that's barely noticeable. For a 90-second star trail, it means one of two things: 1. **Physically holding your finger on the shutter button for the entire exposure** — which is close to impossible to do without introducing small movements the whole time, or 2. **Pressing to start, letting go, then pressing again to stop** — which introduces a sharp little jolt of movement at the exact moments that matter most: the instant the shutter opens and the instant it closes. Either way, your finger transmits motion into the camera body at the worst possible time. The result is a photo that looks slightly soft, with point sources of light — stars, distant lights, sparks — smeared into little comets instead of staying crisp. It's a subtle kind of blur, and it's one of the most common reasons long exposure photos don't turn out as sharp as expected, even when everything else about the shot was done right. ### **Step 1: Eliminate Vibration With a Tripod** A tripod is the foundation of any long exposure — there's no substitute for it. A few things matter beyond simply owning one: * **Weight and stability.** A lightweight travel tripod can still sway in wind or on soft ground. Hang a bag from the centre column or use a hook to add weight if conditions are breezy. * **Turn off image stabilization / VR.** With the camera locked down, in-lens or in-body stabilization can sometimes hunt for movement that isn't there, introducing blur instead of preventing it. Switch it off once you're on a tripod. * **Level ground, locked legs.** Tighten every leg lock and the centre column fully before you start. A tripod solves the biggest source of camera shake — you holding the camera. It doesn't solve the next one. ### **Step 2: Why a Tripod Alone Isn't Enough — You Still Need a Remote Trigger** Even on the sturdiest tripod, your camera is only as stable as the last thing that touched it. Pressing the shutter button — even gently — transmits a small amount of movement into the camera body right as the exposure begins. In BULB mode, that same problem repeats when you touch the camera again to end the exposure. This is why serious long exposure photography always pairs a tripod with some way to trigger — and in BULB mode, also stop — the shutter without physically touching the camera. There are a few ways to do that. ## Your Remote Trigger Options for BULB Mode ### Self-Timer Every camera has a built-in self-timer, usually a 2-second or 10-second delay between pressing the shutter button and the photo actually being taken. It exists for exactly this problem: press the button, step back, and let any vibration from your touch settle before the shutter fires. The catch is that a self-timer only helps with the _start_ of an exposure, and only up to your camera's standard 30-second limit. It doesn't solve BULB mode's real challenge, which is controlling — and remotely ending — an exposure that might run for minutes. You'd still need to be at the camera to close the shutter manually, which puts you right back to touching it at the worst possible moment. ### Cable Release (Wired Remote) A cable release is a cord that plugs into your camera's remote port, with a button on the other end — some include a small lock switch so you can hold BULB mode open without keeping your finger pressed down. It's inexpensive, reliable, and keeps your hands completely off the camera body during the exposure itself. The downside: a basic cable release has no idea what time it is. It can hold the shutter open, but it can't close it for you at a specific moment. You're watching a stopwatch or your phone and pressing the release again by eye, which makes your exposure time an estimate rather than a precise figure — and you've got a dangling cable that can introduce its own tiny vibrations if it catches the wind or snags the tripod. ### Standard Wireless Remote A basic wireless (RF or infrared) remote does the same job as a cable release without the cord — press to open BULB mode, press again to close it. It's a genuine step up in convenience: no cable limiting how far you can stand from the camera, and nothing that can tug on the tripod. But it shares the same core limitation as a cable release: it can lock the shutter open, but it can't count the time for you. You're still eyeballing a stopwatch and pressing a tiny button in the dark to close the shutter at the right moment — and now you've got a separate gadget to charge, carry, and keep track of. ## The Best Option: A Wireless Release That Also Times Your Exposure This is the gap Shutter+ fills. It connects your iPhone or iPad directly to your Canon, Sony, or Fujifilm camera over the camera's own Wi-Fi network — no cable, no separate remote to charge, no internet or home network required, even far off-grid. But the real advantage for BULB mode is what happens once you're connected. **It sets your exact BULB duration in advance.** Most cameras — and every basic remote — can only hold the shutter open until something closes it manually. Shutter+'s BULB Timer lets you dial in the exact exposure length you want, in minutes and seconds, up to 60 minutes, before you even open the shutter. Tap to start, and the app closes the shutter automatically at precisely the time you set. No stopwatch, no guessing, no second touch to the camera. **It combines BULB mode with the intervalometer.** This is the feature most remotes simply don't have. Instead of shooting one long BULB exposure, you can set Shutter+ to repeat a timed BULB exposure automatically — firing the same duration over and over with a set interval in between. That combination is exactly how photographers shoot **star trail stacks** (many shorter exposures blended together in post-processing for a cleaner result with less sensor noise than one very long single exposure) and **night sky time-lapses**, where each frame in the sequence is itself a long exposure. Both features live in the same app you're already using for live view, exposure settings, and everything else — so you can check your histogram and composition on a full-size screen before you commit to a five-minute exposure, rather than squinting at a rear LCD in the dark. ### A couple of things worth knowing before you head out: * **Not every camera supports BULB mode.** It's common on DSLRs and mirrorless cameras but often missing from video-oriented models. [Check your camera's page](https://shutter.dev/cameras) to confirm support. * **BULB mode needs a mechanical or electronic first-curtain shutter** — it isn't available with a fully electronic shutter. Electronic first-curtain is the better of the two for long exposures, since it reduces the small vibration the shutter mechanism itself creates at the start of the exposure — fittingly, the same kind of shake this entire guide is about avoiding. ## Self-Timer vs. Cable Release vs. Wireless Remote vs. Shutter+ | | | | | | | --- | --- | --- | --- | --- | | | **Self-Timer** | **Cable Release** | **Wireless Remote** | **Shutter+** | | No hand contact once exposure starts | ❌ (short delay only) | ✅ | ✅ | ✅ | | Practical for exposures over 30 seconds | ❌ | ✅ (manually timed) | ✅ (manually timed) | ✅ (auto-timed) | | Sets an exact BULB duration for you | ❌ | ❌ | ❌ | ✅ | | Combines BULB with an intervalometer | ❌ | ❌ | ❌ | ✅ | | Live view and histogram while shooting | ❌ | ❌ | ❌ | ✅ | | No extra hardware to buy or charge | ✅ | ❌ | ❌ | ✅ (uses your phone) | ## How to Shoot a BULB Exposure With Shutter+: Step-by-Step 1. **Set up your tripod** on stable ground and mount your camera. Turn off image stabilization. 2. **Compose and focus**, then switch to manual focus so the camera doesn't hunt for focus in the dark once you start shooting. 3. **Put your camera into BULB mode.** This step differs slightly by brand: * **Canon** — set the mode dial on the camera itself to BULB (**B**). * **Sony** — set the mode dial to Manual (**M**), then select BULB from the shutter speed menu inside Shutter+. * **Fujifilm** — only preset BULB lengths are available, and the exposure time needs to be set to BULB on the camera _before_ connecting to the app. 4. [**Connect Shutter+ to your camera**](https://shutter.dev/user-guide/getting-started/connecting-to-your-camera) over Wi-Fi. 5. **Open the shutter speed menu in the app and select** [**BULB Timer**](https://shutter.dev/user-guide/automations/bulb-timer)**.** Dial in your exact exposure length in minutes and seconds. 6. **Optional: turn on the** [**intervalometer**](https://shutter.dev/user-guide/automations/intervalometer) if you're stacking exposures for a star trail or shooting a long-exposure time-lapse. Set your interval and the number of exposures, or leave it running until you stop it manually. 7. **Step back and trigger the shot from your phone** — or your Apple Watch. Your hands never touch the camera. 8. **Check the result** using Shutter+'s live view and histogram before you reposition or pack up, so you're not discovering a problem back at your computer. ## Bonus Tips for Sharper Long Exposures * **Shoot RAW** for the most flexibility recovering shadows, highlights, and reducing noise afterward. * **Cover the viewfinder** on DSLRs during long exposures — stray light can leak in through the eyepiece and affect exposure. * **Stack shorter exposures instead of one very long one** for star trails. A sequence of, say, thirty 60-second BULB exposures blended in post gives a cleaner result than one 30-minute exposure — exactly what the BULB Timer and intervalometer combination in Shutter+ is built for. * **Give vibrations time to settle** after touching the tripod — to rotate, refocus, or check something — before starting the next exposure. A couple of seconds makes a real difference. ## Summary: Why Shutter+ Is the Best Way to Trigger BULB Mode Camera shake in long exposure photography almost never comes from wind or a bad tripod — it comes from your own hand touching the camera at the start and end of the shot. Solving that takes more than just getting off a basic remote: * **Zero contact with the camera** once your BULB exposure starts or stops * **An exact, auto-stopping BULB duration** instead of a stopwatch and a guess * **BULB mode combined with an intervalometer** for star trail stacks and long-exposure time-lapses * **Live view and a histogram** on a full-size screen to check your exposure before committing minutes to a single frame * **No separate hardware** to buy, charge, or lose in the dark — it's the phone already in your pocket ## **Frequently Asked Questions** ### What is BULB mode on a camera? BULB mode is a shutter setting that keeps the shutter open for as long as you hold the button, or as long as a connected remote tells it to, rather than for a fixed preset time. It's the only way to shoot exposures longer than your camera's standard shutter speed limit, which is 30 seconds on most cameras. ### Why can't I set a shutter speed longer than 30 seconds? Most cameras cap their standard shutter speed dial at 30 seconds because exposures beyond that point are highly scene-dependent — how dark it is, how much movement you want to capture, whether you're using filters. Rather than standardizing a set of longer speeds, manufacturers hand full control to the photographer through BULB mode instead. ### Why is my long exposure blurry even though I used a tripod? The most common cause is camera shake from your hand touching the shutter button to start or stop the exposure. A tripod stops the camera from moving on its own, but it can't stop the small jolt your finger transmits into the body — that's what a remote trigger is for. ### Do I need a remote shutter release for BULB mode photography? Yes, for anything beyond a couple of seconds. Without one, you either hold the shutter button down for the full exposure, which introduces continuous vibration, or press it twice, jolting the camera at the exact moments the shutter opens and closes. ### Can I use the self-timer instead of a remote for long exposures? A self-timer helps avoid shake at the very start of a normal, under-30-second shot, but it doesn't solve BULB mode's real problem — you'd still need to be at the camera to end a multi-minute exposure manually, which brings the shake risk right back. ### Can I set an exact BULB exposure duration? With a basic cable release or wireless remote, no — they can only lock the shutter open until you close it manually, timed by eye. Shutter+'s BULB Timer lets you set an exact duration in minutes and seconds, up to 60 minutes, and closes the shutter automatically. ### Can BULB mode be combined with an intervalometer? Yes, in Shutter+. Combining the BULB Timer with the intervalometer lets you repeat a timed long exposure automatically — the basis for star trail stacking (blending multiple shorter exposures for a cleaner result) and long-exposure time-lapses. ### Does BULB mode work with any camera or shutter type? Not every camera has a BULB mode — it's common on DSLRs and mirrorless cameras but often missing from video-focused models, so it's worth checking your specific camera. BULB mode also requires a mechanical or electronic first-curtain shutter; it isn't available with a fully electronic shutter. * * * Ready to try it? [See if your camera is supported](https://shutter.dev/cameras), or head straight to the [Shutter+ for Canon](https://shutter.dev/canon), [Sony](https://shutter.dev/sony), or [Fujifilm](https://shutter.dev/fujifilm) page. Every plan includes a 7-day free trial. [See pricing](https://shutter.dev/pricing). ### How to View and Photograph a Solar Eclipse Safely Using a Camera Remote Control App Eclipses don't happen often in any given location, and the temptation to keep checking focus through the viewfinder or squinting up at the sky is real. This guide covers eye safety, gear, camera settings, and exactly how a remote app fits into the process — whether you're shooting your first partial eclipse or planning for totality. The safest way to photograph a solar eclipse is to never look at the sun directly or through an optical viewfinder. Fit your lens with a certified solar filter, then compose and check focus on your phone or tablet screen using a camera remote app instead of putting your eye anywhere near the camera. That's the whole idea behind shooting an eclipse with a remote app like Shutter+: your eyes stay on a screen, not on the sun. Eclipses don't happen often in any given location, and the temptation to keep checking focus through the viewfinder or squinting up at the sky is real. This guide covers eye safety, gear, camera settings, and exactly how a remote app fits into the process — whether you're shooting your first partial eclipse or planning for totality. ## Why You Should Never Look at the Sun Through a Viewfinder A camera lens, especially a telephoto lens, works the same way as a magnifying glass. Point it at the sun without protection and you're concentrating sunlight and heat onto a single point — in this case, your retina. There are no pain receptors inside the eye, so damage can happen before you even feel anything, and it can be permanent. This applies to any optical path between your eye and the sun: binoculars, telescopes, and DSLR optical viewfinders, which show you the scene directly through the lens. Mirrorless cameras with electronic viewfinders (EVFs) show a digital feed rather than a direct optical path, which removes the direct-line-of-sight risk, but the underlying rule doesn't change — if there's no solar filter on the front of the lens, both your camera's sensor and your eyes are at risk the moment the lens points anywhere near the sun. The safest habit, regardless of camera type, is to keep your eye away from any eyepiece entirely during an eclipse and compose using a screen instead. ## The Safest Way to Compose: Use Your Phone as a Remote Monitor This is where a camera remote app changes how you shoot an eclipse. Instead of hunching over a viewfinder or squinting at a camera's small rear LCD in bright daylight, Shutter+ streams your camera's live view to your iPhone or iPad over USB or a wireless connection. You compose, check focus, and monitor exposure on a screen you're holding at a comfortable distance from your face — not an eyepiece pointed toward the sun. A few practical reasons this matters on eclipse day: * **You never need to put your eye near the lens axis.** Framing, refining composition, and confirming focus all happen on the phone or tablet screen in your hands. * **A larger screen is easier to judge exposure on.** An iPad's screen makes it far easier to read a live histogram or spot a blown-out highlight around the sun's edge than a 3-inch camera LCD in full daylight. * **You can step back from the camera entirely.** Because Shutter+ connects wirelessly or by USB, you can set the camera and tripod up, then operate everything from a few feet away — useful if you've got kids or other people near the equipment. * **Your own eyes stay protected for naked-eye viewing.** Wear ISO 12312-2 certified eclipse glasses when you want to look at the sun directly with your own eyes, and let the phone screen handle everything related to the camera. None of this replaces a proper solar filter on the lens — that's still essential and covered below — but it removes the habit of leaning into a viewfinder to check your shot, which is one of the easiest ways to end up looking at unfiltered, magnified sunlight without thinking about it. ## Essential Gear Before You Shoot * **A certified solar filter for your lens.** It must cover the entire front element and be rated for direct solar viewing/photography (commonly ND 5.0, roughly a 100,000x light reduction). This is different from a standard photographic ND filter used for long exposures — don't substitute one for the other. * **ISO 12312-2 certified eclipse glasses**, for looking at the sun with your own eyes when you're not viewing through the camera. * **A sturdy tripod.** At longer focal lengths the sun moves through the frame quickly, and you'll be re-centering the shot often. * **A telephoto lens** if you want the sun to appear reasonably large in the frame — 300mm and up is a common starting point. A wider lens works well if you're going for a landscape shot that includes the eclipsed sun in context. * **An iPhone or iPad with Shutter+ installed**, with your camera model checked against the supported camera list in advance. * **An Apple Watch**, optionally, for triggering the shutter without touching your phone or the camera. ## Setting Up Your Gear 1. **Test everything a few days beforehand.** Attach the solar filter, point at the sun, and practice focusing and dialing in exposure so eclipse day itself isn't the first time you're doing this. 2. **Attach the solar filter before pointing the lens anywhere near the sun.** Every time. No exceptions during partial phases. 3. **Mount the camera on the tripod** and get a rough frame on the sun. 4. **Connect Shutter+ to your camera** — USB is worth considering for eclipse day specifically, since it's the most reliable connection if you're shooting from a crowded public viewing site where wireless networks get congested. 5. **Use live view on your phone or iPad to fine-tune framing and focus**, rather than the camera's own screen or viewfinder. 6. **Switch to manual focus and lock it once you're sharp on the sun's edge or a sunspot.** Autofocus can hunt on a mostly featureless disk, and you don't want it re-hunting mid-eclipse. ## Camera Settings for Each Phase of the Eclipse Settings depend on your specific filter's density, your lens, and local atmospheric conditions, so treat these as a starting point to refine using the live histogram rather than fixed numbers to copy exactly. **Partial phases (filter on):** Start around manual mode, ISO 100, f/8–f/11, and 1/1000s, then adjust shutter speed up or down based on what the live histogram on your phone shows. Every filter is slightly different, so a test shot with the histogram is more reliable than a formula. **Baily's beads and the diamond ring effect (brief transition moments):** Brightness changes quickly here as the last direct sunlight disappears behind the moon's edge. A burst of bracketed exposures gives you a much better chance of catching this than trying to nail one exposure manually in the moment. **Totality (filter off — only within the path of totality, and only during totality):** Once totality begins, remove the solar filter — this is the one point in the whole event where it's safe to view and photograph the sun without one, because the moon is fully blocking the photosphere. The corona spans a huge dynamic range, from the bright inner corona to faint outer streamers, so a single exposure won't capture all of it. This is exactly the kind of moment where bracketing a range of shutter speeds (roughly 1/1000s down to 1–2 seconds, aperture and ISO fixed) gives you images you can blend later for detail across the whole corona. The instant totality ends, the filter goes back on before the sun reappears. ## How Shutter+ Fits Into Eclipse Photography Shutter+ doesn't have an "eclipse mode" — it's a general-purpose remote control app for Sony, Canon, and Fujifilm cameras — but several of its existing features map directly onto what an eclipse actually demands from you: * **Live view with histogram, zebra stripes, and false color** let you dial in exposure through the filter using real data from your phone screen, rather than guessing based on how bright the sun looks by eye. * **Exposure bracketing** lets you fire off a pre-set sequence of exposures with one tap — genuinely useful during totality, where you have a couple of minutes at most and no time to be turning dials for each shot. * **The intervalometer** can capture the full arc of the eclipse as a sequence of images at set intervals, so you get a progression from first contact to totality and back without manually triggering the camera every few minutes. * **Tap-to-focus with a focus indicator** lets you confirm you're sharp on the sun's edge from the live view before locking to manual focus. * **Apple Watch support** means you can trigger the shutter from your wrist — handy if you want to be hands-free for eclipse glasses, helping other people nearby, or simply not touching the camera and risking it moving on the tripod. * **USB and wireless connectivity** both work, with USB being the steadier option if you expect a crowded site with heavy Wi-Fi traffic. A single Shutter+ purchase covers every supported camera from your chosen brand, and the app is available as separate downloads for Sony, Canon, and Fujifilm cameras — download the one that matches your gear and check your exact model against the supported camera list before eclipse day, since it's worth confirming compatibility with time to spare rather than finding out the morning of. ## Common Mistakes to Avoid * **Not testing beforehand.** Eclipse day is the wrong time to discover your filter is too dark, too light, or that your connection keeps dropping. * **Removing the filter during partial phases**, even briefly, to "check something." Don't. * **Leaving the filter on during totality.** You'll get nothing but black frames during the only window where the corona is visible. * **Being slow to refit the filter as totality ends.** The transition back to partial phase happens fast, and this is the moment people most often get caught out. * **Underestimating how quickly the sun moves out of frame** at long focal lengths — plan on re-centering the shot regularly. * **Relying on a phone camera alone for close-up shots.** A phone's built-in lens will render the sun as a tiny dot; it's fine for wide, ambient shots of the darkening sky and landscape, but not for a detailed disk or corona shot. ## Do You Need a Dedicated Camera, or Is a Phone Enough? A phone alone captures the atmosphere well — the darkening sky, the strange quality of light, people's reactions — but without an add-on telephoto lens, the sun itself will be a small point in the frame. A mirrorless or DSLR camera with a longer lens, a proper solar filter, and a remote app for hands-off control is what gets you a detailed, well-exposed shot of the eclipsed sun itself. Many photographers do both: a phone or wide lens for context shots, and a telephoto setup on a tripod, controlled remotely, for the close-up. ## FAQ ### Is it safe to look at a solar eclipse through my phone screen? Yes. You're looking at a screen, not the sun directly, so there's no risk to your eyes from viewing the live feed. The camera lens itself still needs a certified solar filter during all partial phases, both to protect the sensor and to avoid a completely blown-out image. ### Can I look through my camera's viewfinder during an eclipse? Only with a solar filter fitted to the lens. Without one, even a brief look through an optical viewfinder exposes your eye to magnified, unfiltered sunlight. Using a remote app to view live view on your phone instead removes this risk, since you're never lining your eye up with the lens. ### What filter strength do I need for eclipse photography? Look for a filter specifically rated for solar viewing or photography, typically around ND 5.0 (roughly a 100,000x reduction in light), meeting the ISO 12312-2 standard. A standard photographic ND filter used for long exposures is not a substitute and isn't safe for this purpose. ### Do I need the solar filter on during totality? No — and you shouldn't use one during totality, or you won't capture anything. The filter comes off only once the moon fully covers the sun, and only if you're within the path of totality. It goes back on the instant totality ends. ### What camera settings should I start with for eclipse photography? For partial phases with a filter on, a common starting point is manual mode, ISO 100, f/8–f/11, and roughly 1/1000s, refined using the live histogram. For totality, bracket a range of shutter speeds from around 1/1000s to 1–2 seconds to capture both the bright inner corona and fainter outer detail. ### Does Shutter+ need an internet connection to work at an eclipse viewing site? No. Shutter+ connects directly to your camera over Wi-Fi Direct or USB, not through a broader internet connection, which matters at outdoor viewing sites where mobile data and public Wi-Fi are often overloaded. ### Will Shutter+ work with my specific camera model? Shutter+ supports a wide range of Sony, Canon, and Fujifilm cameras, but not every model. Check your exact model against the supported camera list on the Sony, Canon, or Fujifilm pages before eclipse day. ### How far in advance should I test my eclipse photography setup? At least a few days, ideally in similar sunny conditions. Test the filter, exposure settings, focus, and the connection between your camera and phone so eclipse day is just execution, not troubleshooting. ## Related Guides * [Exposure Bracketing & Lens Flare Removal with Shutter+ and Photoshop](https://shutter.dev/docs/exposure-bracketing-lens-flare-removal-with-shutter-photoshop) — a walkthrough of using exposure bracketing to capture a scene's full dynamic range and blend it afterward, the same technique this guide recommends for the corona during totality. * [How to Use BULB Mode for Long Exposure Photography](https://shutter.dev/docs/how-to-use-bulb-mode-for-long-exposure-photography-or-shutter) — useful if you're also planning to shoot the night sky or star trails around your eclipse trip, using the same remote-triggering principles. * [Video Guide to All Features on Shutter+](https://shutter.dev/docs/video-guide-to-all-features-on-shutter) — a full walkthrough of live view, bracketing, and the intervalometer, worth watching before eclipse day if you're new to the app. * [What Is an Intervalometer? And How to Use One on Your Camera](https://shutter.dev/docs/what-is-an-intervalometer-and-how-to-use-one-on-your-camera) — a closer look at setting up the interval sequences used to capture an eclipse's progression from first contact to totality. * [How to Photograph Lightning Safely: Complete Guide](https://shutter.dev/docs/how-to-photograph-lightning-safely-complete-guide) — another guide built around shooting an unpredictable sky event remotely, with safety as the first consideration. * [How to Read a Camera Histogram in Photography](https://shutter.dev/docs/how-to-read-a-camera-histogram-in-photography) — a deeper explanation of the histogram tool this guide relies on to judge exposure through a solar filter. ### I cannot control focus from the app Troubleshoot focus control issues in Shutter+. Covers Smart Remote Control updates, hardware limitations on select Sony models, and AF area settings. - If you see an orange “Please upgrade remote control” message, that means your camera software (Smart Remote Control app) is out of date. Please follow these update instructions to enable focus and exposure controls. - If you have Sony a7 III, a7R III, a6100, a6400, a6600 — your camera does not support remote focus control. Unfortunately, this is a hardware limitation and no app can solve that. The good news is that you can leverage the excellent Eye-AF to get great results. See our focus guide here. - If your camera is not on the list above, and you do not see an orange error message, please make sure your AF Area in camera is set to “Spot”, “Expand Spot” or “Tracking Spot” (i.e. a point that you can move with the joystick). ### My camera is shooting JPEG. How do I switch to RAW? Cameras using Smart Remote Control have separate remote shooting settings. Switch to RAW format in the camera menu after connecting to Shutter+. Cameras that connect using “Smart Remote Control” have separate settings for remote shooting. Please make sure you switch to the RAW format in the camera menu after you connect to our app. ### Photographing wildlife - 7 ways a remote control app helps How a camera remote control app like Shutter+ helps you photograph wildlife — get closer without disturbing the animals. 7 practical advantages. ## Why use a remote control app to photograph wildlife? One of the advantages of using a wireless camera remote control app like Shutter+ is the ability to get closer when photographing wildlife without disturbing the animals you are photographing. Not only can you maintain a greater distance, but you can be well out of view and even tucked up in the warmth of your vehicle or other place. ## 7 useful features for photographing wildlife ### 1: Set up your camera and move away Set up your camera as close to your subject as possible, then move well away so the animals cannot see or detect you. This can be inside the warmth of a house, your car or any other sheltered place. ### 2: Tap to focus and focus failed warning You can fully control your focusing using Shutter+. Use the tap to focus feature to manually select your focal point. One of the really useful features of this app is the focus failed warning; perfect for small, fast-moving subjects. ### 3: Adjust the focus mode on your camera You can change the focus mode on your camera, switching between one shot or continuous and select the AF area. This allows for more precise focusing depending on the subject you are photographing. ### 4: Control the aperture, shutter speed, and ISO With Shutter+ you have full control over your settings, so you can adjust the aperture, shutter speed and ISO on the fly. Ideal for moving subjects and changing light. ### 5: Set exposure compensation You can also control the exposure compensation to account for bright backgrounds or colors fooling the camera’s built-in light meter. Ideal especially for small subjects against a bright sky. ### 6: Change the drive mode Shutter+ allows you to change the drive mode on your camera remotely, so you can easily switch between single shot or high speed continuous shooting for faster action. For continuous shooting, simply press the red button once to start, then again to stop. ### 7: Preview all your photos as you shoot You can preview all your photos as you shoot without needing to go out to your camera or retrieve your card. View thumbnails and expand to full screen. If you are using Shutter+ with an iPad, you can really get a larger view of each shot you take. Additionally, transfer all or selected photos to your device wirelessly should you wish. ## See this in action on our video Watch our video photographing birds at a feeding table to see just how easily photographing wildlife like this can be. Here, using Shutter+ with a Canon EOS R5, we show how you can pretty much control all the settings on your camera remotely, negating the need to go outside in the cold to make adjustments and risk the animals running or flying away. ## Here are a few other reasons to use a remote control app ### Photographing Natural Behaviour Animals are smart when it comes to sensing their environment, and are acutely aware of potential danger. Therefore, nothing is more unnerving or distracting than a photographer with a giant lens nearby. Wildlife can sense your proximity through sight, sound, and even scent, often becoming alert, defensive, or fleeing entirely when they detect the presence of a human or predator. There are many things you can do to reduce the chances of being detected: camouflage tents, camouflaged lenses and even clothing. However, by placing your camera close by on a tripod or secured some other way, and then controlling it remotely from a safe distance with an app like Shutter+, animals remain in their natural state, completely unaware of your presence. This way you can capture authentic behaviours such as feeding, grooming, playing, or interacting with their young, rather than the tense, watchful poses that occur when they are uneasy. The difference in your images is immediately noticeable: ears are relaxed rather than pricked forward in alarm, body language is loose and natural rather than coiled and ready to flee, and the animals’ attention remains on their actual activities rather than fixed nervously on you. These genuine moments create photographs that truly tell the story of wildlife as it exists when humans aren’t interfering. And who knows, you may even get some curious critters coming right up to the camera for some quirky, full face shots. ### Get Close to Sensitive Locations Some of the best most interesting moments happen in areas where human presence is particularly disruptive: nesting sites, dens, watering holes, or feeding grounds. For wildfowl, getting close to these areas can involve wading into waist-deep water, shooting from a floating hide or boat. While all effective methods, nothing compares to setting up your camera nearby, moving well away and remaining warm and dry. This is particularly valuable during breeding seasons or when photographing species that are easily stressed by human activity. Birds, for instance, may abandon nests if they feel threatened during incubation. Many mammals will relocate their young if they sense danger near their dens. By using a remote control app, you can control the majority of your camera settings and photograph precious moments such as a mother otter teaching her pups to swim, eagles feeding their chicks, or fox kits playing outside their den. ### Stay Longer and Cosier Photographing wildlife can more often than not involve spending hours, sometimes entire days, waiting for the perfect moment. Animals don’t perform for us, and appear when they are good and ready. Many mothers will often wait out on the sidelines watching even a regular feeding area to be sure it’s safe before bringing their young out in the open. Therefore, patience is essential. By using a remote control app, you can remain comfortable in a wildlife blind, vehicle, sheltered building or simply tucked away in a warm camouflaged tent out of sight, while your camera stays positioned in the perfect spot. The advantage to using Shutter+ on your iPhone or even your iPad, is the ability to not only maintain full control of all your settings, but also preview each and every photo you take right there on your screen. This can also help reduce physical fatigue and allow you to maintain focus for longer periods, increasing your chances of capturing that decisive moment. Rather than standing motionless in an uncomfortable position for hours, cramping and losing circulation, you can sit comfortably, ready to trigger the shutter the instant something remarkable happens. You can monitor the scene without having to move slowly and quietly. ### Stay Safe Shooting from a distance isn’t just better for the animals; it’s safer for the photographer too. When photographing potentially dangerous wildlife like bears, big cats, crocodiles, or territorial birds during nesting season, maintaining your distance while still getting close-up shots provides an important safety buffer. With a remote control app, you can get these close-up shots without putting yourself at risk of a defensive charge, attack, or injury. This is particularly crucial when working with unpredictable species or during times when animals are more aggressive. A mother bear with cubs, for example, may perceive any nearby presence as a threat and respond with alarming speed and force. By controlling your camera from a safe distance, you won’t inadvertently corner an animal or block an escape route, situations that can turn dangerous quickly when wild animals feel trapped. OK, you might be putting your camera at risk but the camera can be replaced, you cannot! Just make sure you have good camera insurance. ### Protect the Environment By keeping out of wildlife habitats as much as possible, you reduce trampling over vegetation, soil disturbance, and the creation of new trails that other animals or humans might follow. This is particularly important in fragile ecosystems or protected areas where conservation is a priority. Every footstep in a wilderness area has an impact. When you can place a camera in one spot and then control it remotely from a safe and clear vantage point, you eliminate the need for repeated trips into sensitive zones. This is especially significant in alpine environments, wetlands, or areas with cryptobiotic soil crusts that can take decades to recover from even a single footprint. Additionally, by not creating new paths through habitually visiting the same hidden spots, you’re not inadvertently leading other photographers, hikers, or predators to vulnerable wildlife locations. Your practice of remote photography becomes not just a technique for better images, but an active contribution to conservation and responsible environmental protection. ## Learn more about Shutter+ for your camera Visit the [supported cameras list](/cameras) to confirm compatibility for Sony, Canon, and Fujifilm models. ### RAW vs JPEG: Which Should You Shoot? Whether you’re a beginner trying to understand your camera’s settings or a seasoned photographer looking to refine your workflow, the RAW vs JPEG question is one of the most debated topics in photography. The short answer? Both formats have a place — and knowing when to use each one can genuinely transform the way you work. Whether you’re a beginner trying to understand your camera’s settings or a seasoned photographer looking to refine your workflow, the RAW vs JPEG question is one of the most debated topics in photography. The short answer? Both formats have a place — and knowing when to use each one can genuinely transform the way you work. ## What Is a RAW File? A RAW file is exactly what it sounds like: the raw, unprocessed data captured by your camera’s sensor. When you press the shutter, the sensor records every bit of information it can — light, colour, dynamic range, shadow detail — and saves it without any in-camera processing. Think of it as a digital negative. Nothing is baked in, nothing is discarded. Everything is preserved, ready for you to develop however you choose. RAW files are typically much larger than JPEGs. They require dedicated editing software — such as Adobe Lightroom, Capture One, or Apple Photos — to view and process properly. The trade-off for that extra storage and workflow step is extraordinary control and flexibility. ## What Is a JPEG File? JPEG (or JPG) is the format most cameras default to, and it’s the format most people recognise from everyday life. When your camera shoots a JPEG, it processes the image automatically: it adjusts white balance, sharpens the image, applies contrast and colour profiles, compresses the data, and then discards the information it doesn’t need. The result is a smaller, ready-to-use image that can be shared, uploaded, or printed immediately. This is an important point worth dwelling on: **a JPEG is not an “unedited” photo. It is an edited photo — edited automatically by your camera’s software.** The camera has made decisions about exposure, colour rendering, sharpening, and noise reduction on your behalf. You simply weren’t the one in the editing seat. ## RAW vs JPEG: A Practical Comparison | | | | | --- | --- | --- | | Feature | RAW | JPEG | | **File size** | Large (20–80 MB+) | Small (2–10 MB) | | **Editing flexibility** | Maximum | Limited | | **Ready to share** | No – requires processing | Yes | | **Dynamic range** | Excellent recovery | Poor recovery | | **White balance** | Full flexibility | Baked in | | **In-camera processing** | None | Applied automatically | | **Best for** | Controlled editing, portfolio | Speed, sharing, events | ## When Should You Shoot RAW? Shoot RAW when you want **full creative control** over every image, and when you’re prepared to invest the time in post-processing. RAW is the right choice for: * **Portrait and studio photography**, where precise skin tone rendering and fine colour grading matter * **Landscape photography**, where recovering shadow or highlight detail in a high-contrast scene can make or break an image * **Low-light photography**, where you’ll want to reduce noise and recover detail that JPEG compression won’t allow * **Any situation where the lighting is tricky or unpredictable** and you’d rather have maximum latitude to fix it later * **Portfolio or client work** where image quality is non-negotiable The main trade-off is workflow time. RAW files need to be imported, reviewed, and processed before they’re usable. If you shoot hundreds of frames, that’s a significant commitment. ## When Should You Shoot JPEG? Shoot JPEG when **speed matters more than editing flexibility.** JPEG is the right choice for: * **Sports and action photography**, where you need fast burst rates and a full buffer * **News and photojournalism**, where images need to reach a picture desk or wire service within minutes * **Events photography**, where clients expect same-day or next-day delivery of hundreds of images * **Social media content**, where the image goes straight from camera to phone to feed * **Street photography**, where spontaneity is more important than technical perfection Many professional photographers who work in fast-moving situations trust their camera’s JPEG output completely — fine-tuning their in-camera picture profiles and working with files that are essentially print-ready. That’s a legitimate, professional approach. ## When Should You Shoot RAW + JPEG Simultaneously? Most modern cameras allow you to capture both a RAW file and a JPEG at the same time for every shot. It takes up more storage, but the benefits in the right circumstances are significant. **Shoot RAW + JPEG when:** * You’re learning photography. Having both files gives you a safety net. The JPEG shows you what the camera thinks the image should look like; the RAW gives you the flexibility to develop your own interpretation. * You need to deliver fast but also want the best shots edited. A wedding photographer might hand over JPEGs to a client’s social media team the same evening, while keeping the RAWs to produce the final edited gallery. * You want a reference file. The JPEG acts as a visual benchmark when you sit down to edit the RAW. * You want backup flexibility. If you’re pressed for time and can’t process RAWs, the JPEGs are always there as a deliverable fallback. ## How to Quickly Preview and Transfer RAW and JPEG Files to Your iPhone or iPad One of the practical challenges of shooting RAW is getting the files off your camera when you’re away from your desktop. This is where [Shutter+](https://shutter.dev/) becomes an invaluable part of your workflow. Shutter+ is a remote control and photo management app for iPhone, iPad, and Apple Watch, built for **Sony, Canon, and Fujifilm** cameras. Alongside its powerful remote shooting features, it includes a **Photo Import** function that lets you browse your camera’s memory card directly from your iOS device — and download either RAW or JPEG files — without needing a card reader or a laptop. ### How Photo Import Works in Shutter+ Once connected to your camera — either **wirelessly via Wi-Fi Direct** (no internet or home network required) or via **USB cable** — you can browse every image on the memory card from your iPhone or iPad. Shutter+ lets you filter images by date, star rating, or file format, so if you only want to pull the JPEGs for a quick social media post, you can do exactly that. When you’re ready to edit, you can pull the RAWs. For photographers who shoot RAW + JPEG simultaneously, this workflow is particularly smooth. Transfer the JPEGs immediately for anything that needs to go out quickly, then download the RAW files at your own pace for the images you want to edit properly. You can also choose how to download the RAW file, so could convert it to a jpeg immediately (although this would then be an unedited RAW). The wireless connection uses the camera’s own Wi-Fi Direct network, which means you can use Shutter+ anywhere — in the field, at a location shoot, or at the back of a venue — without needing to be on a network. USB connection is also fully supported for faster transfers when you have a cable handy. ### Why This Matters in Practice Consider a wedding photographer: they’re shooting RAW + JPEG throughout the day. During the reception, they connect Shutter+ to their camera, filter for the best JPEG images from the ceremony, and send a handful of hero shots to the couple’s family within hours. Weeks later, they sit down with the RAW files and produce the full edited album. Two completely different deliverables, from one set of files, without ever needing a laptop on location. Or consider a landscape photographer: they’re out at golden hour, shooting RAW for maximum dynamic range. Back at the car, they open Shutter+ on their iPad, pull a few of the best shots, and can see immediately — on a larger screen than the camera’s LCD — whether they’ve nailed the shots they wanted. ## RAW vs JPEG for Specific Camera Brands ### Sony RAW vs JPEG Sony cameras — including the popular Alpha series — produce excellent JPEG output with Sony’s Creative Looks profiles, but their RAW files (in ARW format) offer exceptional dynamic range for editing. Sony RAW files respond beautifully to shadow recovery and selective colour adjustments, making them well-suited to landscape and portrait work. Shutter+ supports both wireless and USB connections for Sony cameras. ### Canon RAW vs JPEG Canon’s in-camera Picture Styles can produce pleasing JPEGs, particularly with the Portrait and Landscape presets. Canon RAW files (CR2 and CR3) give you full latitude for professional retouching and colour grading. Many Canon shooters use the Camera Connect app to transfer files — but Shutter+ is widely regarded as a significantly more reliable and feature-rich alternative. ### Fujifilm RAW vs JPEG Fujifilm occupies a unique position in this debate. Fujifilm’s Film Simulations — Velvia, Provia, Classic Chrome, Eterna, and others — are among the best in-camera JPEG processing of any manufacturer, and many Fujifilm photographers genuinely prefer to shoot JPEG and rely on the film simulations as the finished look. That said, Fujifilm’s RAF RAW files still provide significantly more flexibility for exposure recovery and colour correction when you need it. ## Frequently Asked Questions ### Is RAW better than JPEG? Not categorically. RAW offers more editing flexibility and higher quality output when processed well. JPEG offers speed and convenience. The right format depends on your workflow and your priorities for each shoot. ### Does shooting RAW make you a better photographer? Not on its own — but it can help you learn. Editing RAW files forces you to engage with every element of an image: exposure, white balance, contrast, colour. Over time, that understanding feeds back into how you shoot. ### Can I convert JPEG to RAW? No. Once the camera has processed a JPEG and discarded the raw data, that information is gone. You can edit a JPEG, but you can’t recover the dynamic range or detail that a RAW file would have contained. ### Should beginners shoot RAW or JPEG? For beginners, shooting RAW + JPEG simultaneously is often the best approach. The JPEGs give you immediately usable images; the RAWs give you material to learn from and edit. As your workflow develops, you can decide which format suits your photography better. ### What is SOOC photography? SOOC stands for Straight Out Of Camera. It refers to images shared without any post-processing editing. However, SOOC images are still processed — by the camera’s own software. Every digital photograph has been edited in some way. ### Can I transfer RAW files wirelessly to my iPhone? Yes. Using an app like Shutter+, you can connect to compatible Sony, Canon, or Fujifilm cameras via Wi-Fi Direct or USB and download RAW or JPEG files directly to your iPhone or iPad — no computer or card reader needed. ## The Bottom Line RAW and JPEG are not competitors — they’re tools, and like all tools, their value depends on how and when you use them. If you’re shooting a news event and an editor needs images in fifteen minutes, JPEG is the professional choice. If you’re photographing a landscape at sunrise and want to spend an evening coaxing every last detail out of the shadows and sky, RAW is the professional choice. If you’re learning, shoot both. The idea that one format is more “authentic” or “legitimate” than the other is a myth worth setting aside. What matters is the image you end up with — and the workflow that gets you there as efficiently and creatively as possible. Tools like Shutter+ make managing both formats easier than ever, letting you browse, filter, and transfer RAW or JPEG files wirelessly or via USB from your camera to your iPhone or iPad — wherever you happen to be shooting. Whatever format you choose, shoot with intention. Then edit with care. The rest is just file format. * * * _Shutter+ is available for iPhone, iPad, and Apple Watch, with support for Sony, Canon, and Fujifilm cameras. Connect wirelessly or via USB to remote control your camera, monitor your shot, and import RAW or JPEG files directly to your iOS device._ [_Learn more and download Shutter+_](https://shutter.dev/)_._ ### Sony Smart Control Update Sony discontinued PlayMemories Camera Apps. Cameras using Smart Remote Embedded will have limited exposure and focus controls in Shutter+. On August 31, 2025, Sony discontinued [PlayMemories Camera Apps service](https://www.playmemoriescameraapps.com). **Updating Smart Remote Embedded app in your camera is no longer supported by Sony.** If your camera still uses Smart Remote Embedded app to connect with remote control apps, you will be unable to control exposure or focus settings from Shutter+. If you don’t enjoy Shutter+ because of this limitation, you can cancel your subscription in the “Support” tab > “Manage Subscription” section, or [request a refund](https://support.apple.com/en-us/HT204084). ### Contact support If you have any additional questions, don’t hesitate to contact us at [help@shutter.dev](mailto:help@shutter.dev). ### Taking Self-Portraits and Group Photos with Shutter+ Use Shutter+'s live view, tap-to-focus, timer, and intervalometer to photograph yourself — selfies, group shots, and placing yourself in a scene. ## **Taking Self-Portraits and Group Photos with Shutter+** Shutter+ gives you everything you need to photograph yourself — whether that's a quick selfie with your mirrorless camera, a family group shot, or placing yourself inside a landscape scene. This guide covers the four key features to use and how to combine them. ## **1\. Use Live View to Frame the Shot from Inside the Scene** Once connected, Shutter+ streams a live view from your camera to your iPhone. Walk to where you intend to stand, look back at your iPhone, and adjust your position until the composition is exactly right. You can see in real time whether you're centred, too close to the edge, or obscured by something in the foreground. This removes the guesswork that comes with using the camera's built-in self-timer alone, where you have no way of checking framing without returning to the camera after every attempt. ## **2\. Tap to Focus on Yourself** With the live view open, tap your position in the frame on the iPhone screen. Shutter+ directs the camera's autofocus to that point and locks it. This is particularly important for landscape and outdoor shots, where the camera's autofocus might otherwise prioritise background elements over your subject. Set the focus point before starting the timer, while you can still see and interact with the screen. ## **3\. Set the Timer to Give Yourself Time to Get in Position** Shutter+'s timer lets you configure a delay before the shutter fires. Set it long enough to pocket your iPhone, walk to your spot, and settle into a natural position. The countdown is audible, so you'll know when the shot is about to fire without needing to watch the screen. ## **4\. Use the Intervalometer for Multiple Shots** The intervalometer automates a series of shots at set intervals. Configure two things: * **Number of shots** — how many frames to capture in the sequence, or leave it running until you stop it * **Interval** — the time between each shot, giving you time to change pose or expression between frames **Shutter+ refocuses between every shot in the sequence.** If you move or shift your pose between frames, the camera adjusts its autofocus before each new capture. This makes it practical to shoot a varied sequence without needing to reset anything manually. This is useful for selfies (more options to choose from), group photos (increases the chance of everyone looking good at the same time), and landscape self-portraits where natural, unposed frames are often preferable to a single staged shot. ## **5\. Turn on the Sound** Turn on the sound you can hear the countdown and shots taken so you can be prepared each time. ## **Workflow: Placing Yourself in a Landscape** A common use case combining all four features: 1. Mount your camera on a tripod and open Shutter+ on your iPhone 2. Use the live view to walk into position and confirm your framing 3. Tap to focus on yourself in the frame 4. Set a timer delay — long enough to pocket your phone and compose yourself 5. Configure the intervalometer for the number of shots you want 6. Start the sequence, pocket your phone, and move naturally between frames The camera fires, refocuses, and fires again automatically until the sequence is complete. ### **Works Without a Network** Shutter+ connects via Wi-Fi Direct — the camera creates its own local network and your iPhone connects directly to it. No home Wi-Fi, internet connection, or mobile signal is required. This makes it usable in remote outdoor locations where no network is available. ## **Frequently Asked Questions** **How many shots can I set the intervalometer to take?** You can set any number of shots, or leave the count open-ended and stop the sequence manually when you're done. **Does Shutter+ refocus between intervalometer shots?** Yes. Shutter+ refocuses before each shot in the sequence. This is not the case with many cameras' built-in interval functions. Please note that if you move outside the pre-defined focal point the camera will focus on something behind you. In this case, simply stop the sequence, refocus and start again. **Can I use Shutter+ on Apple Watch for self-portraits?** Yes. The Apple Watch app lets you trigger the shutter and control the intervalometer from your wrist — useful for triggering a shot while remaining in position. **Does this work for video as well?** Yes. You can start and stop video recording remotely via Shutter+, and monitor the live view while recording. The timer and intervalometer features apply to stills only. **Which cameras are supported?** Shutter+ is available for Sony Alpha and Cyber-shot, Canon EOS and PowerShot, and Fujifilm X-series and GFX cameras. See the [full camera compatibility list →](https://shutter.dev/cameras) _New to Shutter+? A 7-day free trial is available with no commitment required._ [_See pricing →_](https://shutter.dev/pricing) ### The app doesn’t connect to the camera Troubleshoot Shutter+ connection issues. Restart your iPhone, disable any VPN, and send a diagnostic report if the problem persists. Restart your iPhone. If you are using a VPN (Virtual Private Network) app, disable it. If Shutter+ still doesn’t work, send us a diagnostic report and we will investigate right away. To attach the report, please go to “Help & Support” → “Share Diagnostic Report” and email files to [help@shutter.dev](mailto:help@shutter.dev). ### The app is showing an error: “Please upgrade Smart Remote Control”. Exposure controls don’t work. Fix the 'Please upgrade Smart Remote Control' error by updating Sony's remote control app on your camera to enable full exposure and focus controls. You need to upgrade Sony’s Smart Remote Control app in camera. This will enable exposure settings, focus controls, continuous and video modes. [We provide update instructions here](/docs/sony-update). ### The app is slow or live view is lagging Fix slow performance and live view lag in Shutter+. Bluetooth can interfere with Wi-Fi — try switching to 5 GHz or disabling Bluetooth. iPhones share a single antenna between Bluetooth and 2.4 GHz Wi-Fi. When Bluetooth is active, it competes with the camera's Wi-Fi signal and slows down data transfer. ## Fixes 1. **Set up the [Bluetooth Extension](/user-guide/getting-started/connecting-to-your-camera/bluetooth-extension)** to toggle Bluetooth automatically when you connect and disconnect. - Alternatively, **Disable Bluetooth** from **iOS Settings** (not Control Center). Control Center only disconnects active devices — it doesn't turn off the Bluetooth radio. 2. **Reduce preview quality** to 2M in camera's **Remote Shoot Settings** (Sony only). Smaller images transfer faster. 3. **Move closer** to the camera. 4. **Avoid crowded Wi-Fi environments** — areas with many 2.4 GHz networks cause more interference. ### Bluetooth Extension Setup Video ## 5 GHz Cameras If your Sony camera supports 5 GHz Wi-Fi, enable it in the menu. The 5 GHz band uses a separate antenna, so Bluetooth doesn't interfere. ### Video guide to all features on Shutter+ Complete video walkthrough of every Shutter+ feature with a Canon EOS R5. Covers exposure controls, bracketing, intervalometer, and composition tools. In the following video guide, photographer Ian Middleton gives a full overview and description of Shutter+’s many features using his Canon EOS R5. ## Features Covered in this Video - Complete walkthrough of all the app's features using his Canon R5 - Advanced features like exposure bracketing - Intervalometer for time-lapse and astrophotography - Professional composition tools and overlays - Tap to focus and initial delay timer for selfies, and travel photography ## Watch the full video below ### Timestamps - Intro: [00:41](https://www.youtube.com/watch?v=mrpt2m5g95E&t=41s) - Connecting Shutter+: [01:44](https://www.youtube.com/watch?v=mrpt2m5g95E&t=104s) - Aperture, shutter speed, ISO & Exposure Compensation: [06:05](https://www.youtube.com/watch?v=mrpt2m5g95E&t=365s) - AF modes, white balance: [07:30](https://www.youtube.com/watch?v=mrpt2m5g95E&t=450s) - Grid overlays, flip view: [08:15](https://www.youtube.com/watch?v=mrpt2m5g95E&t=495s) - Histogram, zebra stripes, false color: [10:25](https://www.youtube.com/watch?v=mrpt2m5g95E&t=625s) - How & why to turn sounds on or off: [11:49](https://www.youtube.com/watch?v=mrpt2m5g95E&t=709s) - Focus & Exposure bracketing: [13:54](https://www.youtube.com/watch?v=mrpt2m5g95E&t=834s) - Self timer, intervalometer for selfies & timelapses: [16:31](https://www.youtube.com/watch?v=mrpt2m5g95E&t=991s) - Drive mode, continuous shooting with timer control: [19:59](https://www.youtube.com/watch?v=mrpt2m5g95E&t=1199s) - Photo transfer & preview: [21:23](https://www.youtube.com/watch?v=mrpt2m5g95E&t=1283s) - How shutter stays connected: [22:54](https://www.youtube.com/watch?v=mrpt2m5g95E&t=1374s) - Advantage of the live preview: [24:21](https://www.youtube.com/watch?v=mrpt2m5g95E&t=1461s) - Using the aspect ratios: [25:34](https://www.youtube.com/watch?v=mrpt2m5g95E&t=1534s) - Photographing the castle & mountain at sunset using the grid overlay & zebra stripes: [27:23](https://www.youtube.com/watch?v=mrpt2m5g95E&t=1643s) ### What Is an Intervalometer? And How to Use One on Your Camera What is an intervalometer, and how is it different from continuous shooting? Learn when to use one — time-lapse, astrophotography — with Shutter+. An intervalometer is a timer that fires your camera's shutter automatically, over and over, at a fixed interval you set in advance — every 2 seconds, every 30 seconds, every hour — for as long as you need it to run. It's the tool behind almost every time-lapse video and star-trail photo you've ever seen, and it's one of the most useful camera features most people never end up using. **In this guide:** what an intervalometer actually does, how it's different from your camera's continuous shooting (burst) mode, when to reach for one, and how to set one up — including a much easier way to run an intervalometer using nothing but your iPhone or iPad. ## What Is an Intervalometer? Essentially, an intervalometer is simple: you tell it how long to wait before the first shot, how much time to leave between each shot after that, and how many shots to take (or just let it run until you stop it) — then it handles the rest, firing the shutter on its own so you don't have to stand there pressing a button for the next three hours. "Intervalometer" can refer to a few different things, depending on your setup: * A **built-in camera feature**, usually tucked into the shooting menu as "interval timer shooting" or something similar. * A **standalone hardware remote** that plugs into your camera's remote port, with its own small screen and buttons for setting delay, interval, and shot count. * An **app-based intervalometer**, like the one built into Shutter+, that runs on your phone and talks to your camera over Wi-Fi or USB. All three do the same basic job. What separates them is how easy they are to program, how much else you can control while the sequence runs, and how well you can check in on a long shoot without walking back over to the tripod — more on that later. First, it's worth clearing up a common mix-up: how an intervalometer differs from continuous shooting mode. ## Intervalometer vs. Continuous Shooting Mode: What's the Difference? It's an easy pair to confuse, since both fire the shutter repeatedly without you pressing the button for every single frame. But they solve opposite problems. **Continuous shooting mode** (also called burst mode) fires as many frames as your camera's frame rate allows for as long as you hold the shutter button down — often several frames per second. It exists to catch one fast, unpredictable moment: the instant a bird takes flight, a ball connects with a bat, or when everyone in a group photo actually has their eyes open at the same time. **An intervalometer** does the opposite job. It spaces single frames apart at an interval you choose — seconds, minutes, or hours — and keeps going, hands-free, for as long as you've told it to. It exists to document gradual change over a long stretch of time, using only as many frames as you actually need. | | | | | --- | --- | --- | | | **Continuous Shooting (Burst)** | **Intervalometer** | | How it fires | Rapidly, while you hold the button | One frame at a time, at a set interval | | Typical duration | A few seconds | Minutes to days | | Hands-free? | No — you hold the button down | Yes — runs on its own once started | | Best for | Fast, unpredictable action | Gradual change over a long period | | Common uses | Sports, wildlife, kids and pets | Time-lapse, astrophotography, image stacking | It's worth noting that Shutter+ itself keeps these as two distinct tools in the app — a dedicated Burst Shooting mode for fast continuous frames, and a separate Timer/Intervalometer mode for spaced-out, automated sequences — because they're genuinely built for two different jobs. If you're ever unsure which one you need, ask whether you're trying to freeze one moment or capture many moments spread across a longer stretch of time. The former is burst mode. The latter is exactly what an intervalometer is for. ## When Should You Use an Intervalometer? ### Time-Lapse Photography The most familiar use case: clouds rolling across the sky, a sunset fading into blue hour, a city intersection from day to night, a flower opening over a few days. Set an interval — a few seconds for fast-moving clouds, a bit longer for a sunset, minutes or hours for something as slow as construction progress — and let the camera collect the hundreds of frames you'll later stitch into a video. ### Astrophotography Intervalometers are essential kit for photographing the night sky. Star-trail images are built from dozens of consecutive long exposures — commonly 15–30 seconds each — stacked together afterward in software, and there's no realistic way to fire thirty-plus exposures back to back by hand without introducing shake or gaps between frames. An intervalometer paired with a bulb timer also lets you shoot a sequence of long exposures for noise-reduction stacking, or capture a night-sky time-lapse of the Milky Way arcing overhead. ### Long Exposures and HDR Bracketing Anything that benefits from nobody touching the camera — waterfalls, seascapes, light trails, repeated exposure brackets as the light shifts through sunrise or sunset — is a good candidate. Triggering the shutter remotely rather than pressing it also avoids the small amount of shake a physical button press can introduce into a long exposure. ### Wildlife and Remote Monitoring Camera traps, nest-box monitoring, or documenting a build-out over several weeks all rely on a camera that can fire on a schedule with nobody present. ### Self-Portraits and Group Shots A lighter use, but a common one: set a delay and a repeating interval, and you can take several shots in a row while you get into position — far less painful than resetting a 10-second self-timer over and over between poses. ## Built-In, External, or App: Where Does Your Intervalometer Come From? Most current Canon, Sony, and Fujifilm bodies include some form of built-in interval timer shooting in the menu — but how good it is varies a lot, even between models from the same brand. Some don't refocus between shots. Some cap out at a limited number of frames or a limited exposure length. Sony in particular has a mixed reputation here: interval shooting has historically been fairly basic on many bodies, and a common complaint is that it doesn't refocus between frames the way a more capable remote does. Older or budget bodies may not have an interval timer at all. That gap is exactly why standalone hardware intervalometers exist — small remotes with their own screen and buttons that plug into the camera's remote port and handle delay, interval, shot count, and often a bulb timer for long exposures. They work, but they're one more thing to buy, charge, carry, and program by feel in the dark, usually with no way to preview what you're actually capturing until you're back at a computer. The third option is an app running on a device you probably already have in your pocket: your phone. ## A Better Intervalometer: Controlling Canon, Sony, and Fujifilm Cameras with Shutter+ Shutter+ turns your iPhone or iPad into a full remote control for Canon (EOS and PowerShot), Sony (Alpha and Cyber-shot), and Fujifilm (X and GFX) cameras, connecting over Wi-Fi Direct or USB — no internet or home network required, so it works just as well on a mountainside at 2 a.m. as it does in your living room. Its Timer/Intervalometer feature is built to solve the exact pain points of a standard intervalometer: * **A real screen, not a two-line LCD:** Set delay, interval, and shot count on your iPhone or iPad's display instead of squinting at a tiny remote in the dark. * **Refocus before each shot**: An option many built-in camera intervalometers simply don't offer — useful for sequences where focus needs to hold rock-steady, or shift gradually, across dozens of frames. * **Set the number of shots you want:** You can either choose to allow it run continuously until you click stop (set to infinity) or set the exact number of shots you want. * **Combine it with the BULB Timer** to shoot a sequence of long exposures beyond your camera's standard 30-second limit — exactly what's needed for star trails, noise-reduction stacking, and night-sky time-lapses. * **Live histogram, zebra stripes, and false colour** while the sequence runs, so you can confirm exposure is holding steady without walking over and touching the tripod. * **Check in and adjust from your Apple Watch**, including monitoring a sequence that's already running. * **One interface across three brands** — handy if you shoot more than one system, or you've switched brands and don't want to relearn a new menu from scratch. * **Filter and download the results** straight to your phone afterward, by date, rating, or file format, so you can start culling a 300-frame overnight sequence before you're even back at the car. ## How to Set Up an Intervalometer Sequence with Shutter+ 1. **Connect your camera** to Shutter+ over Wi-Fi or USB. ([Wireless connection guide](https://shutter.dev/user-guide/getting-started/connecting-to-your-camera/wireless-connection)) 2. **Open the Timer/Intervalometer automation** and set your start delay, interval, and number of shots (or let it run until you stop it). Shooting the night sky or another long-exposure sequence? Pair it with the [BULB Timer](https://shutter.dev/user-guide/automations/bulb-timer) to set your exact exposure length. Full walkthrough: [Intervalometer guide](https://shutter.dev/user-guide/automations/intervalometer). 3. **Check composition and exposure** using the live histogram before committing to a long run. 4. **Start the sequence** and step back — monitor progress from your phone or Apple Watch without touching the tripod. 5. **Import your photos** through the app once you're done, filtering by date or rating to find your keepers fast. ## Tips for Better Time-Lapse and Astrophotography Results * **Shoot manual exposure and manual white balance.** Letting the camera adjust either automatically between frames is the single most common cause of visible flicker in a finished time-lapse. * **Watch your long exposure noise reduction setting.** Left on, the camera doubles its processing time after every shot — which can eat into a short interval and cause it to miss frames entirely. * **Bring extra power.** Long overnight sequences are hard on batteries, especially in the cold; a spare battery or a power adapter is worth the extra weight in your bag. * **Use a solid tripod.** Wind and vibration show up as jitter in a time-lapse and throw off the alignment needed for stacking. * **Test with a short run first.** Before committing to an all-night sequence, shoot a five-minute test at your chosen interval and exposure to confirm everything's dialled in. ## **Frequently Asked Questions** ### Do I need a separate intervalometer if my camera already has a built-in interval timer? Not necessarily — it depends on how capable your camera's built-in version is. Some don't refocus between shots, cap the number of frames, or make it awkward to combine with long bulb exposures. If you've bumped into any of those limits, an app-based option like Shutter+ adds a bigger screen, live preview, and more flexibility on top of what's already built in. ### Can I use continuous/burst shooting mode instead of an intervalometer for a time-lapse? You can, but it's rarely the right tool. Burst mode fires as fast as your camera allows for as long as you hold the button, front-loading far more frames than you need into a much shorter window than most time-lapses actually cover, and filling your memory card fast. An intervalometer spreads single shots evenly across the entire period you want to capture. ### What interval should I use for a time-lapse? It depends on your subject and total shooting time. As a rough starting point: fast-moving clouds, 2–5 seconds; sunrise or sunset, 3–10 seconds; star trails or the night sky, 15–30 seconds (matched to your exposure length); slow subjects like construction or plant growth, anywhere from several minutes to a few hours apart. ### Does using an intervalometer drain my camera's battery faster? Any extended session uses more battery than a single shot, particularly with live view active or long exposures in cold weather. For overnight astro or time-lapse sessions, plan for a spare battery or a power adapter regardless of which intervalometer you use. ### Can I control an intervalometer from my phone instead of buying a dedicated remote? Yes — that's essentially what Shutter+ does. It connects wirelessly (or via USB) to compatible Canon, Sony, and Fujifilm cameras and gives you a complete intervalometer — delay, interval, shot count, live view, and a BULB timer — from your iPhone, iPad, or Apple Watch, with nothing extra to carry or charge. ### Which cameras does Shutter+ support? A wide range of Canon EOS and PowerShot, Sony Alpha and Cyber-shot, and Fujifilm X and GFX cameras. Check the full [supported camera list](https://shutter.dev/cameras) for your specific model. ## Ready to Try It Yourself? Whether you're planning your first Milky Way shoot or setting up a sunset time-lapse tonight, an intervalometer takes the manual labour out of long sequences — and running it from your phone makes it a lot easier to get right. [Download Shutter+](https://shutter.dev/download) for Canon, Sony, or Fujifilm and try the intervalometer with a free trial. * * * **Related articles:** [Taking Self-Portraits and Group Photos with Shutter+](https://shutter.dev/docs/taking-self-portraits-and-group-photos-with-shutter) [How to Take Solo Travel Photos of Yourself (Without Asking a Stranger)](https://shutter.dev/docs/how-to-take-solo-travel-photos-of-yourself-without-asking-a-stranger) [Photographing wildlife - 7 ways a remote control app helps](https://shutter.dev/docs/photographing-wildlife-using-a-remote-control-app) ### What Is False Color and Zebra Stripes? A Step-by-Step Guide to Reading Your Exposure Confused by false color and zebra stripes? Here's what they actually mean, how to read them, and how to use both — even if your camera doesn't have them built in. Zebra stripes and false color are two live-view tools that show you exposure problems before you press the shutter, instead of after. Zebra stripes lay a striped pattern over the parts of your image that are too bright or too dark. False color goes further and recolors the entire live view based on brightness, so you can read the exposure of a whole scene in a glance. Both are monitoring tools. Neither one touches your actual photo or video file — they only change what you see on screen while you're framing the shot. If you've only ever seen these described in a manual for a cinema camera or a high-end mirrorless body, that's not a coincidence. A lot of cameras — including plenty of well-loved DSLRs and entry-level mirrorless bodies — were never built with either tool. That's where a remote control app like Shutter+ changes things: it can generate zebra stripes and false color on your iPhone's screen from the live view feed itself, regardless of whether your camera's own menus have ever heard of either feature. More on exactly how that works below. ## What Are Zebra Stripes? Zebra stripes overlay a pattern of diagonal lines on any part of the image that crosses a brightness threshold you set — usually the highlights that are about to blow out, sometimes the shadows too. The rest of the frame stays in full color. Only the flagged areas get the stripes, which makes zebra stripes easy to read at a glance: no stripes, no clipping (at whatever threshold you've set). A typical use case: you're shooting a landscape with a bright sky and a shaded foreground. Turn zebra stripes on, and the sky lights up with diagonal lines the moment it crosses your threshold — telling you to dial back exposure before you lose detail in the clouds, without you having to squint at a histogram to figure out which part of the frame is the problem. ## What Is False Color? False color takes it a step further. Instead of leaving the image alone and only flagging problem areas, it replaces the entire live view with a color-coded map of brightness. Every pixel gets recolored according to how bright or dark it is, so you can read the exposure of the whole frame — not just the extremes — at once. In Shutter+, the false color scale runs from 0 to 100 IRE. Darker areas show up in cool colors (blues and greens), and brighter areas show up in warm colors (yellows and reds). Correctly exposed midtones and skin tones land in the middle of that scale. A brightness key is displayed alongside the live view so you can match colors to values as you shoot. This is especially handy for video, where you often can't just glance at a still frame — you need to track exposure continuously as a scene changes, and false color gives you a consistent visual reference for that. It's also useful for flat or log color profiles, which tend to look washed out on a normal screen and make it hard to judge exposure by eye alone. Note that some other false color systems (found on dedicated video monitors and cinema cameras) use a more granular scale with specific colors reserved for things like clipped whites or ideal skin tone. Shutter+ uses a simpler blue-to-red gradient, which is easier to read at speed but worth knowing about if you've used false color elsewhere and expect to see, say, pink for skin tones. ## False Color vs. Zebra Stripes: What's the Difference? | Comparison | Zebra Stripes | False Color | | --- | --- | --- | | What you see | The normal image, with stripes only on flagged areas | The entire frame recolored by brightness | | Best for | Quickly spotting clipped highlights or shadows | Reading exposure across the whole frame at once | | Adjustable | Yes — set your own min/max brightness thresholds | Fixed 0–100 IRE scale | | Most useful for | Landscapes, real estate, general photography | Video, log/flat profiles, matching shots for consistency | | Affects the captured file | No | No | They're not competing tools — they're answering slightly different questions. Zebra stripes tell you "is this specific area clipping?" False color tells you "how is exposure distributed across everything I can see?" Many photographers switch between the two depending on what they're shooting. ## The Problem: A Lot of Cameras Don't Have Either Tool Zebra stripes and false color both have roots in professional video monitoring, and they've only slowly made their way into stills cameras — usually starting with flagship, video-focused bodies. Entry-level DSLRs, older mirrorless cameras, and compact cameras built primarily for stills were often never given either feature in their firmware at all. That leaves a lot of photographers stuck guessing at exposure using nothing but a small rear LCD in bright daylight, or relying on a histogram that only appears after you've already taken the shot. ## How Shutter+ Adds Both — Even If Your Camera's Menus Don't Have Them This is the part that surprises people the first time they try it: **Shutter+ doesn't ask your camera to generate zebra stripes or false color.** It generates them itself, on your iPhone or iPad, from the live view video your camera is already streaming to the app. Here's what that means in practice. When you connect a [supported camera](https://shutter.dev/cameras) to Shutter+, the camera sends a live video feed to your phone so you can monitor the shot. Shutter+ analyzes that feed pixel by pixel in real time — processed on the GPU for smooth performance and low battery drain — and draws the zebra pattern or false color map directly on top of it, on your screen. Your camera never needs to know any of this is happening. Practically, this means: * If you're shooting with an entry-level DSLR that was never built with in-camera exposure monitoring tools, Shutter+ still gives you both zebra stripes and false color, because the overlay lives in the app, not the camera's firmware. * If your camera is older and simply predates these features, the same applies — connect it to Shutter+ and the tools are there. * If your camera already has zebra stripes or false color in its own menus, Shutter+ still gives you the same tools, but on a bigger, brighter iPhone or iPad screen instead of a small viewfinder or rear LCD, which is a real advantage in bright outdoor light. It's worth being clear about who's doing what here. Your camera still handles the actual exposure — the shutter speed, aperture, ISO, and sensor readout that determine what gets recorded. Shutter+ only affects what you see while framing the shot; it doesn't change anything about the file your camera captures. Think of it the same way you'd think of an external monitor with zebra or false color built in on a professional video set — except instead of a dedicated monitor, it's the iPhone already in your pocket. Before relying on this for a shoot, it's worth checking your specific model on the [supported cameras page](https://shutter.dev/cameras) to confirm your camera connects to Shutter+ over Wi-Fi or USB. ## Step-by-Step: How to Turn On Zebra Stripes or False Color in Shutter+ 1. **Connect your camera to Shutter+.** Open the app, tap **Add Camera**, and choose wireless or USB depending on your setup. Follow the on-screen instructions — they're specific to your camera brand. 2. **Open Live View.** Once connected, you'll see your camera's live feed on your phone or tablet screen. 3. **Find the Exposure Tools menu.** Look for the icon made of three overlapping circles near the exposure controls. If you don't see it, tap the arrow next to the exposure controls to reveal additional options. 4. **Choose your Color Effect.** You'll be able to select Zebra, False Color, or LUT. Only one of these three can be active at a time — turning one on switches the others off. (The histogram is separate and can stay on screen alongside whichever one you pick.) 5. **If you chose Zebra, set your thresholds.** You can set a minimum and maximum brightness percentage — anything outside that range gets striped. The default range is 1%–99%. Lower the max threshold to catch highlights earlier, raise the min threshold to catch shadows earlier, or tap **Reset Threshold** to go back to the default. 6. **If you chose False Color, use the brightness key next to the live view** to read what each color means, and adjust your exposure until midtones and skin tones sit near the middle of the scale. That's the whole setup. Both tools update in real time as you adjust shutter speed, aperture, ISO, or exposure compensation from the same screen, so you can dial in exposure and watch the overlay respond immediately. ## How to Actually Use Zebra Stripes Once They're On Reading zebra stripes is straightforward, but getting the thresholds right takes a little judgment: * **For highlights**, a common approach is setting the max threshold somewhere around 95–99%, so you get a warning just before you actually clip detail — giving yourself a small buffer rather than finding out only once it's too late. * **For shadows**, raising the min threshold flags areas that are about to lose detail into pure black, which matters more in scenes with deep shade or heavy backlighting. * **What "correct" looks like changes with the shot.** A scene with a bright sky and dark foreground calls for different thresholds than a flat, evenly lit product shot. There's no single number that's right for every situation — it depends on the light levels in the scene, how much dynamic range your sensor can hold, and how much you're willing to sacrifice in post-processing. * **Pair zebra stripes with the histogram** rather than using it alone. Zebra stripes tell you where in the frame a problem is; the histogram tells you the overall shape of your exposure. Together they cover more ground than either alone. ## How to Actually Use False Color Once It's On * **Aim to keep midtones and skin tones near the center of the scale.** That's where Shutter+'s false color reads correct exposure for the average subject. * **Watch for warm colors creeping in** — yellows and reds signal you're heading toward overexposed areas, the same way zebra stripes would flag them, just spread across the whole frame instead of isolated patches. * **Use it especially when shooting flat or log video profiles**, since the live view in those profiles often looks deliberately washed out and is hard to judge by eye. False color gives you a consistent reference regardless of how flat the picture profile looks. * **Re-check after any exposure change.** Because false color recolors the whole frame, small adjustments to shutter speed or ISO are immediately visible as shifting colors — which makes it a fast way to fine-tune exposure by feel once you're used to reading it. ## Where These Tools Actually Help * **Landscape photography** — spot a blown-out sky or lost shadow detail before you've locked in your composition, instead of finding out back at your computer. * **Real estate photography** — bright windows against darker interiors are a classic clipping trap; zebra stripes make it obvious when a window has gone past recoverable. * **Portraits and self-portraits** — false color's midtone reference is a fast way to judge whether skin tones are properly exposed, especially useful if you're shooting solo and can't have someone else check the screen for you. * **Video and vlogging** — false color paired with a flat or log profile keeps exposure consistent shot to shot, which matters more in video than stills since inconsistent exposure between clips is much more noticeable once edited together. * **Long exposure and astrophotography** — zebra stripes help you judge whether a bright light source (like the moon, or foreground lighting) is clipping during a long exposure, before you commit several minutes to a shot you'll need to redo. ## Common Mistakes to Avoid * **Trying to run zebra and false color at the same time.** Only one color effect can be active at once in Shutter+ — pick whichever answers the question you actually have for that shot. * **Setting zebra thresholds and forgetting about them.** A 95% threshold that's perfect for a sunny landscape will constantly flag skin tones in a portrait. Reset or adjust thresholds when you switch subjects. * **Assuming the overlay is baked into the photo or video.** Both tools are preview-only; they don't alter your captured file in any way, so don't worry about them showing up in your final images. * **Not checking camera compatibility first.** Not every camera model connects to every remote app the same way — confirm yours is on the [supported cameras list](https://shutter.dev/cameras) before you build a shoot around it. ## False Color and Zebra Stripes vs. the Histogram These tools aren't a replacement for [the histogram](https://shutter.dev/docs/how-to-read-a-camera-histogram-in-photography) — they answer a different question. The histogram shows you the overall distribution of tones across the frame as a graph, which is great for judging overall exposure balance at a glance, but it doesn't tell you where in the frame a problem is. Zebra stripes and false color show you exactly where. Using the histogram together with zebra stripes or false color gives you both the big picture and the specific trouble spots, which is why Shutter+ keeps the histogram available alongside either overlay rather than forcing you to choose. ## FAQ ### What's the actual difference between false color and zebra stripes? Zebra stripes overlay a striped pattern only on areas that cross a brightness threshold you set, leaving the rest of the image in normal color. False color recolors the entire frame based on brightness, giving you a full exposure map rather than flagging isolated trouble spots. ### Can I use zebra stripes and false color at the same time? No — in Shutter+, only one color effect (Zebra, False Color, or LUT) can be active at once. The histogram is separate and can stay visible alongside whichever one you choose. ### Do zebra stripes or false color affect my final photo or video? No. Both are live-view monitoring tools only. They change what you see on screen while shooting, not the file your camera actually records. ### How do I know if my camera has zebra stripes or false color built in? Check your camera's own menu system, usually under video or display settings. Many entry-level DSLRs, older mirrorless cameras, and stills-focused compacts never included either feature, since both originated as video-monitoring tools. ### Can Shutter+ add these tools to a camera that doesn't have them natively? Yes. Shutter+ generates zebra stripes and false color itself from the live view feed your camera streams to the app, so it works even if the camera's own firmware has no such option. Confirm your specific model on the [supported cameras page](https://shutter.dev/cameras) first. ### What do the colors mean in Shutter+'s false color mode? The scale runs from 0–100 IRE. Cool colors (blues and greens) mean darker areas, warm colors (yellows and reds) mean brighter areas, and properly exposed midtones and skin tones sit near the middle of the scale. ### What zebra threshold should I use? It depends on the scene. A common starting point is a max threshold around 95–99% to catch highlights just before they clip, but the right setting shifts with the light levels, your sensor's dynamic range, and how much detail you're willing to lose. There's no single correct number for every shot. ### Is Shutter+ available on Android? No. Shutter+ is built for iPhone, iPad, and Apple Watch only, with no current plans for an Android version. ## Related Guides * [**Understanding the Shutter+ Histogram**](https://shutter.dev/user-guide/live-view/exposure-aids/histogram) — the tool to pair with zebra stripes or false color for a full picture of your exposure. * [**LUT Preview: Grading Your Shot Before You Record**](https://shutter.dev/user-guide/live-view/exposure-aids/lut-preview) — useful if you shoot flat or log video profiles and want to preview the graded look in real time. * [**Focus Peaking**](https://shutter.dev/user-guide/live-view/focus-peaking) — the equivalent live-view tool for nailing focus instead of exposure. * [**Supported Cameras**](https://shutter.dev/cameras) — check compatibility and see exactly which features work with your camera model. ### What Is Focus Peaking? Focus peaking highlights exactly what's in sharp focus with a colored overlay. Here's how it works, when to use it, and how to add it to a camera that doesn't have it. Focus peaking is a live view display that outlines the parts of your image currently in sharp focus with a colored overlay, usually red, green, or white. As you turn the focus ring or move the focus point, the highlighted edges shift in real time, so you can see exactly what's sharp before you press the shutter, instead of guessing from a small screen or waiting until you've already taken the shot. It's one of the most useful tools for manual focusing, and it's also a fast way to double-check that autofocus locked onto the right thing. Here's how it works, when it's worth using, and what to do if your camera never got the feature in the first place. ## How Focus Peaking Actually Works Focus peaking analyzes the live view feed for edge contrast. Wherever the contrast between light and dark is sharpest, the software assumes that area is in focus and draws a colored outline over it. Move the focus ring, and the outlines follow whatever part of the scene has the highest contrast at that moment. It's a contrast-detection trick, not a measurement of actual distance, which is why it works differently from autofocus. Autofocus tries to lock onto and track a subject. Focus peaking just tells you, visually, which edges are currently sharp, and leaves the decision about what matters in the frame up to you. ## Why Photographers Use It A few situations where focus peaking earns its keep: * **Manual focus lenses.** Vintage glass, cine lenses, and macro lenses with no autofocus motor all rely on you turning the ring accurately. Peaking makes that fast instead of frustrating. * **Macro photography.** Depth of field can be a few millimetres at close range. Peaking shows you precisely which sliver of the subject is sharp. * **Video.** You can't half-press a shutter button mid-recording to check focus. A peaking overlay lets you pull focus confidently while rolling. * **Low light and low contrast scenes.** Autofocus hunts when there isn't much contrast to grab onto. Manual focus with peaking often gets there faster. * **Confirming autofocus.** Even in AF mode, a quick glance at the peaking overlay tells you whether the camera focused on the eye or the eyebrow. ## Focus Peaking vs. Zooming In to Check Focus Digitally zooming into the live view to check sharpness is more precise for a single static point, since you're looking at actual pixels rather than an edge-detection estimate. But it only shows you one area at a time, and it doesn't work at all for video or for tracking focus as you turn the ring. Focus peaking trades a bit of precision for speed and full-frame coverage — you see everything that's sharp at once, continuously, which is what makes it so useful in the moment. Many photographers use both: peaking to get close, then a quick zoom-in to confirm on a critical shot. ## What If Your Camera Doesn't Have Focus Peaking? Focus peaking isn't universal. It's most common on higher-end mirrorless cameras, and even then it depends on the manufacturer having built it into the firmware. A lot of DSLRs, entry-level mirrorless bodies, and older camera generations never got it at all, which leaves you focusing manually on a small screen with no visual aid whatsoever. This is where [**Shutter+**](https://shutter.dev/) changes the equation. Focus peaking in Shutter+ is processed on your iPhone or iPad itself, using the live view feed streamed from the camera — not by the camera's own processor. That means it doesn't depend on whether your specific camera model shipped with peaking built in. As long as your camera is on Shutter+'s [supported cameras list](https://shutter.dev/cameras) and can send a live view feed, Shutter+ can overlay focus peaking on top of it, even on a body that has no peaking option anywhere in its own menus. It's worth being clear about what this is and isn't: Shutter+ isn't unlocking a hidden camera feature, it's generating the overlay independently on your phone from the video feed it receives. The peaking display only exists on your iPhone or iPad screen — it doesn't get baked into the photo or video file, and it doesn't change anything about how the camera itself focuses. ## Step-by-Step: Using Focus Peaking with Shutter+ 1. **Connect your camera to Shutter+.** Use Wi-Fi (the camera creates its own network, so you don't need internet or a home router) or a USB cable, depending on your camera and preference. 2. **Open live view** so you can see what the camera sees on your iPhone or iPad screen. 3. **Tap the Exposure Tools icon** (the three circles) below the live view. If you don't see it, tap the arrow next to the exposure controls to reveal the additional controls row first. 4. **Toggle Focus Peaking on.** The colored overlay appears immediately over any in-focus edges in the frame. 5. **Set your camera's focus mode to Manual (MF) or Direct Manual Focus (DMF)** through the camera's own switch, if you want full manual control. 6. **Adjust focus** using the lens's focus ring, or the on-screen pull-focus arrows in Shutter+ if you'd rather focus remotely without touching the camera. Watch the peaking overlay shift as you go: for more detail on the on-screen controls, see the [manual focus control guide](https://shutter.dev/user-guide/remote-control/focus-controls/manual-focus-control). 7. **Once the area you want is outlined,** take the shot as normal — with the shutter button on the camera, through Shutter+, or from the Apple Watch app. ## Choosing the Right Color and Threshold Shutter+ gives you two settings to fine-tune the overlay: **Color** — pick between green, red, or white. The default is green, but green disappears against foliage, and red gets lost against skin tones or anything reddish. Choose whichever color contrasts most with your specific subject; switching before a shoot takes a couple of seconds and saves you squinting at an overlay you can barely see. **Threshold** — this controls how sensitive the detection is. A lower threshold flags more edges, including areas that are only slightly out of focus, which is useful when you want a broad sense of what's roughly sharp. A higher threshold only highlights the sharpest edges, which is better when you need to nail focus on one precise point, like an eye or a macro subject's edge. One limitation worth knowing: focus peaking can't run at the same time as Shutter+'s zebra stripes, false color, or LUT preview. Turning on any of those color-based exposure tools switches focus peaking off, and vice versa, since they all use the same overlay layer on the live view. ## Common Mistakes to Avoid * **Using a peaking color that blends into the scene.** If you can't see the highlights clearly, they're not helping you. Switch colors rather than squinting. * **Trusting peaking blindly on a very shallow depth of field.** At wide apertures on close subjects, the "in focus" zone can be thinner than the peaking overlay suggests. Zoom in to confirm on shots where getting it wrong is costly. * **Forgetting to switch back to autofocus.** If you leave the camera in Manual or DMF mode after a manual-focus session, autofocus won't re-engage until you switch modes again. * **Not adjusting the threshold for the subject.** A low threshold on a busy, high-contrast scene can highlight so much of the frame that the overlay stops being useful. Bump it up when the whole image looks "peaked." ## A Few Practical Uses For **macro photography**, where depth of field might only cover a few millimeters, focus peaking combined with a high threshold setting lets you see precisely which plane is sharp before committing to a shot. If you're stacking multiple frames for extended depth of field, focus peaking is also a good sanity check before running an automated sequence like [Sony focus bracketing](https://shutter.dev/user-guide/automations/focus-bracketing). For **portraits with vintage or manual lenses**, set peaking to a color that contrasts with skin tones (white or green usually work better than red), and use a mid-range threshold so you can see the eye lashes and eyebrow edges clearly without the whole face lighting up. For **video**, a lower threshold with a subtle color like white tends to be less distracting on camera while still giving you enough information to pull focus smoothly between two points. ## Frequently Asked Questions ### What does focus peaking actually show me? It highlights the edges in your live view that currently have the sharpest contrast, using a colored outline. It's an approximation of what's in focus, not a precise distance measurement. ### Does focus peaking change or appear in my photos or videos? No. In Shutter+, focus peaking is a live view overlay only. It's processed on your iPhone and has no effect on the actual image or video file the camera captures. ### Can I use focus peaking with autofocus, or only in manual focus mode? It works best in Manual or Direct Manual Focus mode, since that's when you're actively adjusting focus yourself. You can also glance at it briefly after autofocus locks to confirm the result, though the overlay is most useful while you're turning the focus ring. ### Which color should I use for focus peaking? Whichever contrasts most with your subject. Green is the default and works well for most scenes, but switch to red or white if your subject is green, or to white if it's reddish or skin-toned. ### Why doesn't my camera have a focus peaking option in its menu? Not every camera manufacturer includes it, particularly on DSLRs, entry-level bodies, and older camera generations. It's more common on higher-end and newer mirrorless cameras. ### Can Shutter+ add focus peaking to a camera that doesn't have it built in? Yes. Because Shutter+ processes the peaking overlay on your iPhone or iPad from the live view feed rather than relying on the camera's own firmware, it can add focus peaking to any [supported camera](https://shutter.dev/cameras), including models whose manufacturer never added the feature. ### Does focus peaking work over Wi-Fi, or do I need a USB cable? Either. Shutter+ supports both wireless connection (the camera creates its own Wi-Fi network, so no internet or router is needed) and USB tethering, and focus peaking works the same way over both. ### Is focus peaking better than zooming in to check focus? They're complementary. Zooming in is more precise for one static point, but only shows a single area at a time. Focus peaking covers the whole frame continuously, which makes it faster for video and for tracking focus as you adjust it — many photographers use peaking to get close, then zoom in to confirm on important shots. ## Related Guides * [**Manual Focus Control**](https://shutter.dev/user-guide/remote-control/focus-controls/manual-focus-control) — how to pull focus remotely from the app, useful alongside focus peaking when you don't want to touch the camera. * [**Sony: Focus Bracketing**](https://shutter.dev/user-guide/automations/focus-bracketing) — for macro and landscape work where you need more depth of field than one frame can give you. * [**Zebra Stripes**](https://shutter.dev/user-guide/live-view/exposure-aids/zebra-stripes) — another live view overlay, this one for checking exposure rather than focus. * [**Supported Cameras**](https://shutter.dev/cameras) — check whether your Sony, Canon, or Fujifilm camera works with Shutter+. ## Supported Cameras ### Sony **Sony a1**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, raw, video. **Sony a1 II**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, raw, video. **Sony a5000**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, zoom, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, video. **Sony a5100**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony a6000**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, zoom, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony a6100**: Remote: wireless remote, usb remote, exposure control, composition assist, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony a6300**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony a6400**: Remote: wireless remote, usb remote, exposure control, composition assist, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony a6500**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony a6600**: Remote: wireless remote, usb remote, exposure control, composition assist, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony a6700**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, raw, video. **Sony a7**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, zoom, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony a7 II**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony a7 III**: Remote: wireless remote, usb remote, exposure control, composition assist, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony a7 IV**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, raw, video. **Sony a7 V**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, raw, video. **Sony a7C**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, raw, video. **Sony a7C II**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, raw, video. **Sony a7CR**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, raw, video. **Sony a7R**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, zoom, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony a7R II**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony a7R III**: Remote: wireless remote, usb remote, exposure control, composition assist, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony a7R IV**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, raw, video. **Sony a7R V**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, raw, video. **Sony a7R VI**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, raw, video. **Sony a7S**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony a7S II**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony a7S III**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, raw, video. **Sony a9**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, raw, video. **Sony a9 II**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, raw, video. **Sony a9 III**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, raw, video. **Sony FX2**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, raw, video. **Sony FX3**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, raw, video. **Sony FX30**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, raw, video. **Sony HX400V**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony HX60V**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony HX80**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony HX90V**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony HX99**: Remote: wireless remote, usb remote, exposure control, composition assist, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony NEX-5R**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony NEX-5T**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony NEX-6**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony RX1 II**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony RX10 II**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony RX10 III**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony RX10 IV**: Remote: wireless remote, usb remote, exposure control, composition assist, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony RX10 V**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, raw, video. **Sony RX100 III**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony RX100 IV**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony RX100 V**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony RX100 VI**: Remote: wireless remote, usb remote, exposure control, composition assist, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony RX100 VII**: Remote: wireless remote, usb remote, exposure control, composition assist, self timer, bulb timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, raw, video. **Sony RX1R III**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, raw, video. **Sony WX500**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony ZV-1**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony ZV-1 II**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, raw, video. **Sony ZV-1F**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, raw, video. **Sony ZV-E1**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, raw, video. **Sony ZV-E10**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, video. **Sony ZV-E10 II**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, focus bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, previews, jpeg, raw, video. ### Canon **Canon EOS 1300D**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS 1500D**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS 2000D**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS 200D**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS 200D II**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS 250D**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS 3000D**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS 4000D**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS 5D IV**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS 6D**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS 6D II**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS 70D**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS 750D**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS 760D**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS 77D**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS 8000D**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS 800D**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS 80D**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS 850D**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS 9000D**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS 90D**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS Kiss M**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS Kiss M2**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS Kiss X10**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS Kiss X10i**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS Kiss X80**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS Kiss X8i**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS Kiss X9**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS Kiss X90**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS Kiss X9i**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS M10**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS M100**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS M200**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS M5**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS M50**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS M50 II**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS M6**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS M6 II**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS R**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS R1**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS R10**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS R100**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS R3**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS R5**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS R5 C**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, jpeg, raw, video. **Canon EOS R5 II**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS R50**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS R6**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS R6 II**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS R6 III**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS R6 V**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS R7**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS R8**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS Ra**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS Rebel SL2**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS Rebel SL3**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS Rebel T100**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS Rebel T6**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS Rebel T6i**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS Rebel T6s**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS Rebel T7**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS Rebel T7i**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS RP**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon EOS T8i**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon PowerShot G1 X Mark III**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon PowerShot G5 X Mark II**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon PowerShot G7 X Mark II**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon PowerShot G7 X Mark III**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon PowerShot G9 X Mark II**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon PowerShot SX420 HS**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon PowerShot SX430 IS**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon PowerShot SX432 IS**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon PowerShot SX540 HS**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon PowerShot SX620 HS**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon PowerShot SX70 HS**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon PowerShot SX720 HS**: Remote: wireless remote, usb remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon PowerShot SX730 HS**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. **Canon PowerShot SX740 HS**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, bulb timer, intervalometer, exposure bracketing, burst mode, zoom, video recording, apple watch. Transfer: photo preview, photo filter date, photo filter format, photo filter rating, previews, jpeg, raw, video. ### Fujifilm **Fujifilm GFX100**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm GFX100 II**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm GFX100 IR**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm GFX100S**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm GFX100S II**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm GFX50R**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm GFX50S**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm GFX50S II**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm X-E3**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm X-E4**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm X-H1**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm X-H2**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm X-H2S**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm X-M5**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm X-Pro2**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm X-Pro3**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm X-S10**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm X-S20**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm X-T2**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm X-T20**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm X-T3**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm X-T30**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm X-T30 II**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm X-T30 III**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm X-T4**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm X-T5**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm X-T50**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm X100F**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm X100V**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. **Fujifilm X100VI**: Remote: wireless remote, exposure control, composition assist, tap to focus, self timer, intervalometer, exposure bracketing, video recording, apple watch. Transfer: photo preview, previews. ## Blog ### How to Shoot a Stitched Panoramic Photo Using Shutter+ Learn how to capture sharp, perfectly composed multi-frame panoramas using the Shutter+ remote camera app — and stitch them seamlessly in Adobe Photoshop. ## Master the Art of Panoramic Photography With Shutter+ We are always happy when users share their experience with Shutter+. Ian Middleton created a great YouTube tutorial on how to create a stitched panoramic photo, showing how he used Shutter+ with his Canon EOS R5 to make everything so much easier, completely avoid the risk of camera shake, get a much clearer view of the composition on the app's display and see the overlap more clearly when framing each successive shot. Watch his video to see the full process, or read the detailed article below. [Explore Shutter+ features for Canon EOS R5.](/docs/canon-eos-r5) ## What Is a Stitched Panoramic Photo? A stitched panoramic photograph is created by taking a sequence of overlapping frames by rotating the camera incrementally between each shot and then blending them together in post-processing software to create a single, ultra-wide, high-resolution image. Unlike the in-camera panoramic sweep mode found on most cameras and smartphones, a properly stitched pano preserves full image quality and gives you precise control over every frame. Whether you're capturing sweeping mountain landscapes, dramatic coastlines, or urban skylines, stitched panoramics deliver a level of detail and resolution that a single frame simply cannot match. ## What Equipment Do You Need to Shoot a Stitched Panoramic? ### Camera & Lens Any mirrorless or DSLR camera with manual exposure controls will work well. The setup used in this tutorial is: •      **Canon EOS R5** mirrorless camera •      **Canon EF 24–105mm f/4L IS USM** lens A versatile standard zoom like the 24–105mm is an excellent choice for panoramics — it gives you the flexibility to frame your starting composition, then commit to a focal length for the sequence. Longer telephoto lenses can also work well and produce a compressed, dramatic look, but any lens from 24mm and above can be used effectively depending on your subject. ### Tripod A sturdy, well-levelled tripod is **non-negotiable** for stitched panoramics. Any movement between frames — tilt, twist, or vibration — will cause alignment issues that are difficult or impossible to fix in post. For this tutorial, a **Benro 34CLV tripod with a geared head** was used. A geared head is particularly valuable because it allows ultra-precise, micro-adjustment movements, which is critical when rotating between frames. **Key tripod requirements for panoramic photography:** •      Solid build with minimal flex under the weight of your lens •      A pan head or geared head that allows smooth, controlled horizontal rotation •      Ideally a dedicated panoramic nodal rail to reduce parallax error (more important with wider lenses) ## Remote Shutter: Why Shutter+ is the Best Option This is where most photographers make a costly mistake. Many photographers use a basic wired or Bluetooth remote shutter release; and while that avoids pressing the camera button directly, it still leaves you hovering near the camera, squinting at a small rear screen to check your composition and settings. **Shutter+** transforms your iPhone or iPad into a full remote camera control. It connects wirelessly to your camera via Wi-Fi and gives you a live view of your scene on a large, bright screen; making it far easier to compose, check focus, and trigger each frame with absolute precision. **Supported cameras include:** [Canon](https://shutter.dev/canon), [Sony](https://shutter.dev/sony) & [Fujifilm](https://shutter.dev/fujifilm). See [shutter.dev/cameras](http://shutter.dev/cameras) for the full compatibility list. ## Why Use Shutter+ Instead of an Ordinary Remote Trigger? A basic remote shutter release does one thing: fires the shutter. Shutter+ does far more: | | | | | --- | --- | --- | | **Feature** | **Basic Remote** | **Shutter+** | | Remote shutter trigger | ✅ | ✅ | | Live view on your iPhone or iPad | ❌ | ✅ | | Adjust exposure settings remotely | ❌ | ✅ | | Set focus remotely | ❌ | ✅ | | Grid overlays for composition | ❌ | ✅ | | Large screen for frame visualisation | ❌ | ✅ | | Check each frame without touching camera | ❌ | ✅ | When shooting a panoramic sequence, you’re rotating the camera between 5, 7, 10 or more frames. You do need to go to the camera to rotate it between each shot — but that should be the only reason you’re touching it. With a standard remote, you’re also having to check the screen, verify exposure and focus, and maybe even fiddle with settings every time. With Shutter+, all of that is handled from your phone. You rotate the camera, step back, and everything else — live view, settings, triggering — is done without any further contact. That minimal-touch approach is what keeps the camera stable and your sequence consistent. ## Step-by-Step Guide: How to Shoot a Stitched Panoramic with Shutter+ ### Step 1: Set Up and Level Your Tripod Before you think about composition or camera settings, get your tripod perfectly level. On uneven terrain — a hillside, a beach, rough ground — this takes patience but is absolutely essential. •      Extend the legs to compensate for any slope, adjusting each leg independently •      Use a spirit level to check you’re perfectly flat — a small, flat bubble level from a hardware store placed directly on a flat surface of the tripod head or camera base works extremely well. It’s much easier to read at eye level than a top-mounted level on a tall tripod, which often requires standing on tiptoe to see clearly •      Check the level in **two axes** — front-to-back and side-to-side •      Once level, tighten all leg locks firmly •      If using a geared head, use the fine-adjustment controls to get the pan axis perfectly horizontal A poorly levelled tripod means your sequence of frames will arc up or down as you pan — making stitching difficult and wasting image real estate. ### Step 2: Pre-Visualise the Full Panoramic Frame Pan slowly through the full intended sequence to visualise where your panorama will begin and end. Think about: • What will anchor the left edge of the final image? • What will anchor the right edge? • Is there anything in the foreground that could cause parallax issues as you pan? • How much sky and foreground do you want to include? This step is dramatically easier with Shutter+ — rather than squinting at your camera’s small rear screen while crouching behind a tripod, you can stand upright, hold your phone comfortably, and sweep through the scene on a large, bright display. ### Step 3: Set Your Camera to Portrait (Vertical) Orientation Rotate your camera 90° so it’s shooting in portrait orientation. This seems counterintuitive when shooting a wide panoramic, but it is the correct approach for two reasons: •      **More vertical coverage:** rotating portrait gives you significantly more height in the final stitched image, which means more room to crop and still have a tall panoramic •      **More frames, more resolution:** you will take more individual shots to cover the same horizontal span, resulting in a much higher final megapixel count Make sure your tripod head allows the camera to sit in portrait orientation stably without any tilt or slop in the head. ### Step 4: Connect Shutter+ and Set Your Exposure Open Shutter+ on your iPhone and connect to your camera. Once connected: •      **Switch to Manual mode (M)** on your camera — consistent exposure across all frames is critical. Any exposure variation between frames will create bright or dark banding in the final stitch •      Use Shutter+ to adjust your **ISO, aperture, and shutter speed** without touching the camera •      Use the live view histogram in Shutter+ to verify your exposure is correct •      **Lock your white balance** — do not leave it on Auto. If white balance shifts between frames, your frames will have different colour casts that are very difficult to match in post •      **Lock your focus** — autofocus between frames risks a focus shift. Set your focus on your subject, confirm it in the Shutter+ live view, then switch the lens to Manual Focus (MF) to lock it in place ### Step 5: Use the Grid Overlay to Set Your Starting Frame In Shutter+, enable the **grid overlay**. This gives you compositional guidelines — rule of thirds lines and frame edge markers — displayed directly on the live view on your phone screen. Use these to: •      Identify a clear reference point on the left edge of your starting frame •      Note where the horizon sits relative to the grid lines — this helps you keep it consistent as you pan •      Assess whether your framing includes enough overlap on the left and right edges ### Step 6: Capture Your Sequence of Frames Now you’re ready to shoot. The key rules for a successful sequence: •      **Overlap each frame by 30–50%:** this gives Photoshop plenty of shared visual information to stitch the frames together. Less than 20% overlap and stitching can fail or produce visible seams •      **Pan in one direction only** — left to right is the convention •      **Do not rush:** after each pan, wait 2–3 seconds for any vibration to settle before triggering •      **Trigger each frame using Shutter+** — tap the shutter on your phone screen. Your hands never touch the camera. Zero camera shake •      Use the Shutter+ live view to check each frame as you go — verify that focus and exposure remain consistent, and that your overlap is sufficient •      Shoot a **few extra frames at each end** — it’s easy to clip something important at the edges, and extra coverage costs nothing After each frame, pan the camera slightly in your chosen direction, keeping the rotation smooth and consistent. A geared head makes this much more precise. ### Step 7: Review Your Sequence Before Leaving the Location Before packing up, scroll through your frames in Shutter+ or on the camera. Check: •      Every frame is sharp •      Exposure is consistent across the full sequence •      Overlap is present on every adjacent pair •      No frames were accidentally skipped It is far better to reshoot on location than to discover a problem at your desk. ## How to Stitch a Panoramic Photo in Adobe Photoshop Once you have your sequence of frames, Photoshop’s **Photomerge** feature does the heavy lifting. ### Step 1: Stitch First, Edit Later (Or Develop RAWs First) There are two valid approaches here, and the workflow used in this tutorial is to **feed the RAW files directly into Photomerge without any prior development**. Photoshop stitches from the original RAW data, and all editing is done on the final stitched result. This is a clean, efficient approach — and it sidesteps any risk of subtle inconsistency between individually processed frames. If you prefer to develop your RAWs before stitching, that is equally valid: •      Open all frames together in Lightroom or Camera Raw •      Apply identical corrections to every frame — exposure, white balance, lens correction, noise reduction •      **Sync your settings** across all frames before proceeding •      Export as 16-bit TIFFs for maximum editing latitude, then bring those into Photomerge ### Step 2: Open Photomerge in Photoshop •      Go to **File → Automate → Photomerge** •      Click **Browse** and select all the frames in your panoramic sequence •      Choose **Auto** as the layout option — Photoshop will analyse the overlapping content and select the best projection method automatically •      Enable **Blend Images Together** and **Geometric Distortion Correction** •      Click **OK** — Photoshop will now align and blend the frames. Depending on resolution and the number of frames, this may take several minutes ### Step 3: Flatten, Crop, and Finalise Once Photomerge completes, you will have a layered file with each frame on its own layer, masked together with gradient blends: •      Go to **Layer → Flatten Image** •      Use the **Crop tool** to trim the ragged, uneven edges that are inevitable in a stitched panoramic — this is why you shot with enough vertical coverage in portrait orientation •      Make any final colour grading, sharpening, or tonal adjustments •      Save as a PSD to preserve your full resolution working file, then export a JPEG or TIFF for sharing or printing ### Tips for a Cleaner Stitch •      **Avoid moving subjects** in the scene where possible — people, waves, or trees blowing in wind can cause ghosting artefacts at stitch boundaries •      If you have a problematic seam, use the **Clone Stamp** or **Content-Aware Fill** to repair it after flattening •      For very wide sequences (10+ frames), **Cylindrical** projection in Photomerge can produce better results than Auto ## Summary: Why Shutter+ Makes Stitched Panoramics Better Shooting a stitched panoramic is a technical process. Every variable — exposure, focus, overlap, shake — has to be controlled consistently across every single frame. Shutter+ addresses the biggest practical challenges: •      **No camera shake:** triggering from your phone means zero physical contact with the camera or tripod during capture •      **Better visualisation:** the large iPhone screen gives you a far clearer view of each frame’s composition than the camera’s rear LCD — especially useful outdoors in bright light •      **Remote control of settings:** adjust ISO, shutter speed, and aperture from your phone if conditions change mid-sequence, without disturbing the camera’s position •      **Grid overlays:** compositional guides on the live view help you maintain consistent framing and horizon placement across the sequence •      **Confidence in every frame:** checking each shot on a large screen as you go means you leave the location knowing your sequence is solid ## Frequently Asked Questions ### What is the best camera for panoramic photography? Any camera with full manual controls and RAW shooting capability will work well. Full-frame mirrorless cameras such as the Canon EOS R5, Sony A7R V, or Nikon Z8 offer the highest resolution for large-format panoramic prints. ### What lens should I use for a stitched panoramic? Wide-angle to short telephoto lenses (24mm–200mm) are most commonly used. Longer telephoto lenses produce a compressed, dramatic look and are excellent for distant landscapes. Wider lenses require more careful attention to parallax error. ### Do I need a special panoramic tripod head? A geared head or fluid pan head is strongly recommended. For wide-angle lenses, a dedicated nodal rail helps eliminate parallax error. For telephoto panoramics, a standard geared head is sufficient. ### How much overlap should I use between panoramic frames? 30–50% overlap between adjacent frames is the standard recommendation. More overlap gives the stitching software more to work with and produces cleaner seams. ### Why is my panoramic blurry or misaligned? The most common causes are camera shake during capture (solved by remote triggering with Shutter+), a poorly levelled tripod, inconsistent focus between frames, or insufficient overlap. Using Shutter+’s live view and grid overlay helps prevent all of these. ### What is the best app for remote camera control for panoramic photography? Shutter+ is one of the most capable options available for Canon, Sony, and Fujifilm cameras. It provides live view on your iPhone, full remote control of exposure settings, and grid overlays — all of which are directly useful for panoramic capture. ### Can I stitch panoramics without Photoshop? Yes — PTGui, Hugin (free), and Lightroom’s Panorama Merge feature are all capable alternatives. However, Photoshop’s Photomerge remains one of the most accessible and reliable options for most photographers. _Equipment used in this tutorial: Canon EOS R5 · Canon EF 24–105mm f/4L IS USM · Benro 34CLV tripod with geared head · Shutter+ on iPhone 15 Pro Max · Adobe Photoshop CC_ ### Shutter+ review by DIY Photography Alex Baker from DIY Photography reviews Shutter+, tested with a Canon camera. Read a snippet of the review and why she liked the app. ## Remote shooting has never been so easy We are always happy to hear how someone liked our app. Here you can read a snippet from a review by Alex Baker from DIY Photography, who tried Shutter+ with a Canon camera. > The Shutter+ app worked smoothly almost every time I used it. It responds quickly with no time lag, which is something that I have found to be an issue with other wifi or Bluetooth remote apps. For me, this functions much better than the Canon Connect app and doesn’t drop out when you least expect it to. > > It’s a huge bonus that the app supports both stills and video shooting, particularly if you find yourself shooting video by yourself. You can operate a camera remotely on the other side of the room without having to walk over there to hit record. Or, you can use your iPhone with the Shutter+ app as a field monitor, complete with showing zebra stripes and focus peaking. The other great thing is that advanced menu controls are supported, such as HDR bracketing. It also supports RAW, so image quality isn’t compromised. [Read the full review on DIY Photography.](https://www.diyphotography.net/shutter-app-for-canon-remote-shooting-has-never-been-so-easy/) [Explore Shutter+ features for Canon cameras.](/canon) ### Photo Transfers & PowerShot support Shutter+ now supports Canon PowerShot cameras and photo transfers. Download photos, filter by rating, choose RAW or JPEG, and more. Summary of what's new: - [New icons](#new-icons) - [Canon PowerShot support](#powershot-support) - [Photo Transfer](#photo-transfer) - [Download Shutter+ update](#download) New Icons Shutter+ started as a simple intervalometer app (think advanced timer). Since then, it grew to be a complete companion for your Canon camera. To represent that change, we're changing our app icon! Shutter+ comes with a set of beautiful alternative icons. If you want to customize your home screen, head over to the "Support" tab → "Change app icon" and select one of our 15 beautiful designs. Canon PowerShot support If you have a PowerShot camera released in the last 7 years, you can now fully enjoy Shutter+! This includes popular models like PowerShot G1 X, G5 X, G7 X, G9 X, SX-series… [head on to our website to see the full list.](/cameras) Photo Transfer We took extra long to make sure it's extra polished! A few highlights: - [Filter by date and rating](#photo-transfer-filter) - [JPEG/RAW selector](#photo-transfer-raw-jpeg) - [Photos library integration](#photo-transfer-photos) - [Faster shooting experience](#photo-transfer-speed) Filter by date and rating Instead of loading all the thumbnails, rate your favorite images in camera, and pull up exactly what you're looking for in Shutter+. JPEG/RAW selector If you shoot RAW, Shutter+ gives you two options: - Download the original RAW image for a full creative control in your favorite editor (e.g. Photos, Lightroom or similar). - Automatically develop the image in camera, and get a JPEG file ready to be shared with your friends and family. Photos library integration All photos downloaded with Shutter+ go directly to your Photos collection. This way, they are easily available in your favorite photo editor, and ready to be shared with your friends and family. Faster shooting experience Now that photo transfers are directly integrated with our photo viewer, Shutter+ no longer needs to fetch photo previews immediately after a shot. This means much faster shooting speed! Download Shutter+ update Click here to download the latest version from the App Store. If you are reading this on your computer, point your iPhone or iPad camera to the QR code on the right. --- So there you have it. I'm sure you are going to enjoy these updates. If you created something cool using Shutter+, please share it with us. Nothing makes us happier than seeing how creative people around the world use our tools. — Grzegorz ### Shutter+ review by Fstoppers We are always happy to hear how someone liked our app. Here you can read a snippet from a review by Fstoppers, who tried Shutter+ with a Sony a7 IV. ## We Review an iPhone App That Will Control Your Sony Camera We are always happy to hear how someone liked our app. Here you can read a snippet from a review by Fstoppers, who tried Shutter+ with a Sony a7 IV. > Shutter+ is easy to understand and gives me a whole lot of features no wired or wireless remote I've seen offers. I have a Sony BT remote (the Sony Wireless Remote Commander). It can autofocus lenses and trigger the shutter, but that's about it. It's better than the old IR remotes, but only slightly. The Shutter+ app does a lot more, doesn't tie me physically to the camera, shows me what the camera sees, and provides a host of bracket options and interval timers for astrophotography or time-lapse imaging. [Read the full review on Fstoppers.](https://fstoppers.com/reviews/review-iphone-app-will-control-your-sony-camera-592773) [Explore Shutter+ features for Sony a7 IV.](/docs/sony-a7-iv) ### Shutter+ YouTube review by Geek's Table Watch the Geek's Table YouTube review of Shutter+, tested with a Sony Alpha 7 III — impressed by how fast and responsive the app is. ## The ultimate iOS app to control a Sony Alpha camera We are always happy to hear how someone liked our app. Here you can watch the YouTube review from Geek's Table, who tried the Shutter+ app with his Sony Alpha 7 III and was so amazed how quick this app is. He also compared the connection procedure of Shutter+ and Sony's Imaging Edge Mobile app and the modes they provide. Watch his video to see what he thought. [Explore Shutter+ features for Sony Alpha 7 III.](/docs/sony-a7-iii) ## Pages ### Shutter+ Pricing — Monthly, Annual & Lifetime Plans Shutter+ pricing: monthly ($3.49), annual ($24.99), or lifetime ($65), with a 7-day free trial. One purchase covers all supported camera brands. We offer three types of licenses for using Shutter+ (prices exclusive of local taxes): - **Monthly:** $3.49 per month - **Annual:** $24.99 USD per year, 7-day free trial - **Lifetime:** $65 USD paid once You can find the prices for your country by visiting the Shutter+ page in the App Store (expand "In-App Purchases" section at the bottom of the App Store listing). ## Free Trial We offer a **7-day free trial**. Cancel any time, no questions asked. If you don't enjoy Shutter+ for any reason, you can cancel your subscription in the "Support" tab → "Manage Subscription" section, or [request a refund](https://support.apple.com/en-us/HT204084). ## Multiple Devices & Family Sharing You can use Shutter+ on multiple devices (iPhone, iPad, Apple Watch) without purchasing another subscription. Just make sure you're signed in with the same Apple ID on all devices. All devices in your Family Sharing group also get access to Shutter+ on a single license. ## All Supported Cameras A single Shutter+ purchase covers every supported Sony, Canon, and Fujifilm camera. You don't need a separate purchase for each camera or camera brand. Shutter+ remains available as three separate App Store apps so existing subscriptions and lifetime purchases continue working without interruption. Choose the app named for your preferred camera manufacturer; every app supports the same cameras and receives the same features and updates. ## Lifetime Plan Apple separates subscriptions from non-renewable purchases. If you want to switch from a subscription to the lifetime plan, cancel your current subscription first, then purchase the lifetime option from the payment screen in the app. ## Questions? If you have any additional questions, please [contact us](/contact) or email [help@shutter.dev](mailto:help@shutter.dev). ## Frequently Asked Questions **Can I use Shutter+ on multiple devices (iPhone, iPad and Apple Watch) with one purchase?** Yes! A Shutter+ license works on all your Apple devices — iPhone, iPad, and Apple Watch — as long as they're signed in with the same Apple ID or you're using Family Sharing. **Does my family get access too? Do you support Family Sharing?** Yes. All members of your Family Sharing group get access to Shutter+ with a single license. **Can I use one subscription for multiple cameras?** A Shutter+ license covers supported cameras within the app you choose. Download Shutter+ for Sony, Canon, or Fujifilm depending on the camera brand you shoot. **What are the pricing plans?** Monthly: $3.49/month. Annual: $24.99/year (includes 7-day free trial). Lifetime: $65 one-time payment. **How do I switch from a subscription to the lifetime plan?** Apple treats subscriptions and one-time purchases separately. To switch, open the "Support" tab > "Manage Subscription" > "Upgrade to Lifetime" section to first cancel your current subscription, then purchase the lifetime option from the payment screen in the app. **I already paid for Shutter+ but it's asking me to pay again.** Make sure you're signed in to the same Apple ID that was used for the original purchase (or an Apple ID in your Family Sharing account). Then tap "Restore Purchase" on the payment screen to unlock your access. **How do I get a refund?** We'd love your feedback and a chance to fix the issue first — just contact us. If you'd rather not wait, you can request a refund directly from Apple. **Can I use Shutter+ for USB tethered shooting?** Yes, Shutter+ supports USB tethering with compatible cameras. If your iPhone or iPad has a USB-C port, connect it directly to your camera. If it has a Lightning port, you'll need a USB 3 Camera Adapter from Apple. **Does wireless connection use Bluetooth or Wi-Fi? Can I use it off-grid?** Shutter+ uses Wi-Fi Direct, meaning the camera creates its own network — no internet or home Wi-Fi needed. You can use Shutter+ in the most remote locations. Some camera models use Bluetooth for initiating the Wi-Fi connection. **What's the range of Shutter+?** Shutter+'s range depends on your camera's Wi-Fi signal. In open spaces, you can typically expect a range of around 10-30 meters (30-100 feet). Walls, obstacles, and interference can reduce the range. For maximum distance, maintain a clear line of sight between your device and the camera. **Is Shutter+ available on Android?** No, we're focusing on making the best possible experience on iOS and currently have no plans for an Android version. **I have a feature request or feedback.** We'd love to hear from you! Contact us at help@shutter.dev or use the contact form.