10 Myths and Misconceptions About Photography
Photography began with a slow, chemical process: Nicéphore Niépce made the first permanent photograph in 1826. A century and a half later, Kodak engineer Steve Sasson built the first digital camera prototype in 1975, and the tools and rules changed again. Now smartphones account for well over 80% of casual photos worldwide, so many old rules feel out of date.
Still, myths persist—passed along in workshops, specs sheets, and ad copy. Some are helpful shortcuts; others add cost or hold back creativity. This piece debunks ten common myths about photography and explains what actually matters for better pictures: context, technique, and intent.
Read on for ten practical corrections, organized into technical, gear, and artistic/practical sections so you can pick what to test first and shoot smarter, not just harder.
Technical Myths About Photography
Many technical “rules” grew from film-era limits or simplified teaching. Today sensors, optics, and processing interact in complex ways, so a single spec rarely tells the whole story. Smartphones, mirrorless bodies, and computational photography have blurred old boundaries—so treat guidelines as context-dependent rather than absolute.
These photography myths affect how you choose gear and settings. Test them on your own kit to see what matters for the images you want.
1. Myth: More megapixels always means better photos
Claim: higher megapixel counts equal better images. Reality: megapixels only measure resolution, not overall image quality.
Sensor size, pixel pitch, lens quality, dynamic range, and processing all matter more for perceived image quality—especially in low light. A 45.7MP Nikon D850 produces huge, detailed files great for large prints and heavy cropping. But a 12MP Sony A7S-series sensor with larger pixels and excellent noise handling can outperform it at ISO 6400 and beyond.
High-megapixel files are also larger—often 2–3 times bigger or more—so storage, backup, and editing speed are real costs. Use high MP when you need large prints or cropping; favor lower MP sensors or faster glass when low-light and high ISO matter.
2. Myth: Shooting in JPEG always ruins image quality compared to RAW
Statement: JPEGs are inherently inferior to RAW. Nuance: RAW preserves more tonal and color data and gives greater latitude for heavy edits, but modern in-camera JPEG engines do excellent work for straight-out-of-camera results.
RAW retains more highlight and shadow information and uses formats such as CR3, NEF, or ARW. RAW files are commonly 2–4× larger than JPEGs depending on compression, and they require software like Adobe Lightroom or Capture One to process. For social posts, snapshots, or quick deliveries, JPEGs save time and storage.
Practical rule: shoot RAW for important shoots, high-dynamic-range scenes, or when you plan significant color and exposure edits. Use JPEG for fast workflows or when you trust your camera’s picture profiles.
3. Myth: Keep ISO as low as possible because higher ISO always ruins images
Myth: low ISO is sacred. Reality: ISO is a tool to reach correct exposure when you need shutter speed or depth of field.
Sensor technology has improved dramatically. Many modern full-frame cameras deliver usable images at ISO 3200–6400, and specialized models like the Sony A7S line are usable well past ISO 12,800. Noise rises with gain, but noise reduction in camera or in post can render shots perfectly acceptable for web or client use.
Choose ISO to get the shutter speed you need for sharpness in hand-held low light, action, or events. Trade-offs remain—noise versus shutter speed—but automatic or stepped ISO strategies often beat underexposed, low-ISO files that are unusable.
4. Myth: Manual mode is the only ‘real’ way to learn photography
Some claim manual mode is the only path to mastery. Counterpoint: aperture-priority and shutter-priority modes teach discrete exposure concepts while reducing mental load.
A practical learning path is to start in aperture priority for portraits and landscapes, use shutter priority for action, and move to manual when lighting is predictable—studio or purposeful long exposures. Many pros, like wedding and news photographers, prefer semi-auto modes with auto-ISO to stay fast and flexible.
Focus on learning exposure relationships and composition rather than insisting on manual mode as a badge of seriousness.
Gear & Equipment Myths
Marketing and spec sheets often create anxiety. Expensive gear can help, but technique and understanding usually beat chasing specs. Consider total system cost—lenses, support, and time—rather than a single body spec when planning purchases.
To compare costs: a professional 24–70mm f/2.8 zoom is a common workhorse that replaces several primes for event shooters, while affordable primes like a 50mm f/1.8 deliver great image quality at a fraction of the price. Pick tools that match your use-case.
5. Myth: You must use prime lenses to get professional results
Claim: primes are the only way to pro-quality images. Reality: modern zooms, like 24–70mm f/2.8, are optically excellent and much more versatile for many pros.
Primes excel with wider maximum apertures and often simpler optics. But zooms reduce lens changes, speed up workflow, and cover multiple focal lengths—valuable for weddings, events, and travel. A wedding photographer often prefers two reliable zooms (24–70 and 70–200) over switching between several primes.
Choose primes when you need the absolute widest aperture, compact size, or specific rendering. Choose zooms for flexibility and efficiency. Both approaches produce professional results when used skillfully.
6. Myth: Full-frame cameras are always better than crop sensors
Belief: full-frame is always superior. Nuance: full-frame sensors generally offer better low-light performance and shallower depth of field for a given aperture, but crop sensors bring benefits.
Crop bodies (APS-C) give extra effective reach, lower entry costs, and smaller systems—advantages for wildlife or hobbyists on a budget. Choose based on what you shoot: portraits and landscapes often favor full-frame; wildlife and sports may favor crop for that extra framing reach.
Compare specific models for your needs—Canon’s EOS R6 (full-frame) versus an R7 (APS-C) illustrate how different sensor formats suit different photographers rather than being universally better or worse.
7. Myth: Image stabilization (IBIS/VR) makes tripods obsolete
Observation: stabilization dramatically reduces handshake blur for many handheld shots. But it has limits.
IBIS and lens VR commonly advertise up to about 5 stops of benefit, which is excellent for walk-and-shoot low-light situations. They do not replace a tripod for long exposures, precise framing, HDR brackets, or panoramas. For exposures of several seconds to minutes, a solid tripod remains essential.
Also note some stabilization systems should be disabled on a tripod to prevent micro-adjustments. Use stabilization and tripods together thoughtfully, not as substitutes in every case.
Artistic, Workflow & Practical Myths
Creative and social myths shape confidence and how photographers present work. Darkroom traditions, social platforms, and client expectations all play a role in what feels “correct” or successful.
Understanding workflow, ethics, and context helps you make choices that serve the image and your goals rather than following a rule because it sounds authoritative.
8. Myth: Post-processing is cheating — the best photos are untouched
Claim: editing is dishonest. Historical context: photographers have manipulated images since the darkroom era—Ansel Adams used dodging and burning to realize his vision.
Editing is part of photographic practice. The ethical line depends on genre: photojournalism demands strict accuracy, while fine art, advertising, and portraiture allow creative interpretation. Tools like Adobe Photoshop and Lightroom are standard parts of professional workflows.
Practical guideline: edit to match intent and be transparent in contexts that require it. Converting a RAW file to a finished JPEG for client delivery is routine, not cheating.
9. Myth: You must shoot at golden hour for good photos
Statement: golden hour is the only good light. Reality: it’s a valuable option, but different lighting produces different moods and genres call for different approaches.
Midday sun gives strong contrast and dramatic shadows that street and documentary photographers often prefer. Studio flash lets you craft precise light for portraits. Harsh light can be shaped with reflectors, fill flash, or position to create punchy images.
Try shooting in varied conditions. Learning to work with and shape available light expands your creative toolkit beyond the golden hour aesthetic.
10. Myth: Social media likes equal photographic success
Myth: likes measure skill. Reality: algorithms, follower networks, and timing influence reach more than craft alone.
Alternative success metrics include client briefs completed, published assignments, gallery shows, awards like World Press Photo, and personal progress measures such as completing a shot list or mastering a new technique. Those are tangible, career-building indicators.
Decide what success means for your practice—hobby, commercial work, or editorial—and set measurable goals that align with that aim rather than chasing likes alone.
Summary
These myths about photography often simplify complex trade-offs into rules that don’t fit every situation. Testing assumptions on your own gear and workflow is the fastest way to improve.
- More megapixels don’t automatically mean better images—sensor size, pixel pitch, lens, and processing matter.
- Shoot RAW when you need flexibility; use JPEG for faster workflows—RAW files are typically 2–4× larger.
- Image stabilization helps handheld shooting but doesn’t replace tripods for long exposures or precise multi-frame techniques.
- Post-processing is part of photographic practice (Ansel Adams edited in the darkroom); ethics vary by genre.
- Measure progress with tangible goals—published work, client briefs, competitions—not just social metrics.
Challenge one myth this week: try shooting a session in RAW and a comparable set in JPEG, or push ISO to find your camera’s usable threshold. Compare results and let evidence, not hearsay, guide your choices.
