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Posts Tagged ‘practice’

How These 5 Photography Quotes Can Impact Your Photographic Practice

07 Jan

The post How These 5 Photography Quotes Can Impact Your Photographic Practice appeared first on Digital Photography School. It was authored by Megan Kennedy.

inspirational photography quotes

Techniques, theory, approaches, and equipment; there are many items that feed into the art of making successful images. Luckily, we have the authority of countless photographers to guide us!

In this article, we’ll look at five photography quotes and the insights we can glean from them.

photography quotes quotation marks

1. No place is boring, if you’ve had a good night’s sleep and have a pocket full of unexposed film – Robert Adams

photography quotes roll of 35mm film
Canon 5D Mark II | Canon 50mm f/1.8 with extension tubes | 1/20s | f/2 | ISO 200

Robert Adams finds interest in the seemingly mundane. He shines a thoughtful light on the vastness of the wilderness and the hum of human expansion.

However, as Adams argues in one of his better-known photography quotes: It isn’t just a pocket of unexposed film that staves off boredom, but a night of quality sleep.

This is good advice for those of us who often burn the candle at both ends.

2. The camera is an excuse to be someplace you otherwise don’t belong – Susan Meiselas

The second of our five photography quotes comes from Susan Meiselas. Seeing into the veneer of everyday life, photographers such as Meiselas use the camera as a tool to investigate, motivate, question, connect, and share. The camera acts as a passport, as well as a reason to explore and push boundaries.

Today, a generalized knowledge of photographic technology means that most people are aware of a camera’s appearance and function. Nevertheless, those witnessing a photographer in action will frequently respond with interest or curiosity. With a camera in hand, a photographer is often viewed as a person guided by artistic and technical authority.

This gives photographers an entry point into the inner workings of an environment and its inhabitants.

3. Photography is a language more universal than words – Minor White

Photography quotes abstraction black and white
Canon 5D Mark II | Canon EF 24-105mm f/4L | 1/100s | f/4 | ISO 100

Minor White sought to make images that stood as “a record of something in front of the camera and simultaneously a spontaneous symbol…A photograph of the bark of a tree, for example, may suddenly touch off a corresponding feeling of roughness of character within an individual.”

Photographs, as we know, have many layers of meaning. With a conscientious approach to composition and execution, photographers can start a dialogue that transcends the boundaries of language.

In referring to the universality of photographic language, White encourages you to carefully consider the many ways in which a subject can be photographed. This hopefully prompts you to capture the subject with a deliberateness and mastery that goes beyond words.

4. Taking pictures is like tiptoeing into the kitchen late at night and stealing Oreo cookies – Diane Arbus

You’ve probably experienced the thrill of sneaking tasty morsels from the kitchen at a late hour: the anticipation, the apprehension, and then the reward.

But Arbus’s quote isn’t just about stealing food and photos; it’s about the driving force behind photography. Why does photography matter? What makes photography so compelling in the first place? And what makes us keep coming back for more?

Establishing why a photographer does what they do can be tricky. There are many different reasons a photographer might take up a camera.

Nevertheless, developing a good grasp of the motivations that spur on your own photography can help you find direction, especially in the event of a creative block.

5. Searching is everything – going beyond what you know. And the test of the search is really in the things themselves, the things you seek to understand. What is important is not what you think about them, but how they enlarge you – Wynn Bullock

abstract camera movement black and white
Photography is often about the journey as much as it is about the results.
Canon 5D Mark II | Canon EF 24-105mm f/4L | 1/20s | f/4.0 | ISO 200

It was during a tour in Europe during the mid-1920s that singer Wynn Bullock first encountered the artworks of Man Ray and László Moholy-Nagy. Recognizing photography as a powerful vehicle for creativity, Bullock bought a box camera and began taking pictures himself.

Interested in art as well as psychology, physics, and philosophy, Bullock constantly sought to build on his own photographic practice. Many of Bullock’s photography quotes emphasize personal growth, affirming the need for deliberation and mindfulness.

Encouraging photographers to absorb as much as possible from every photographic subject and experience, Bullock’s words instill a sense of constructive curiosity in photographers that expands personal practice and furthers the medium overall.

Conclusion

There are so many photography quotes that have been recorded throughout history that it’s nearly impossible to list them all.

Nevertheless, reading and absorbing the advice uttered by pioneering photographers can help you understand the minds that helped shape the trajectory of photography!

Now over to you:

Do you have a favorite photography quote? Share it in the comments below!

The post How These 5 Photography Quotes Can Impact Your Photographic Practice appeared first on Digital Photography School. It was authored by Megan Kennedy.


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Practice your portrait lighting in lockdown with this virtual studio program

16 Apr

With many people being off work at the moment it might seem the perfect time to practice our photography – except that in so much of the world we’re not allowed to go out of the house let alone meet up for a portrait shoot. Software company Elixxier claims to have a neat solution in its recently updated set.a.light 3D application that allows us to keep experimenting, perfecting and testing studio set-ups even when we have to stay at home.

Users of the application can create a virtual studio filled with lights, modifiers, backgrounds as well as a host of models to choose from. Photographers can pose their models and add lights to the scene while previewing exactly how each move and position will change the way the picture looks.

The program allows us a 3D view of the set-up we are creating so we can view the relationship between models and lights from the side or even above, and users have a choice of manufacturer-specific studio lights, speedlights and continuous light sources. A range of softboxes, snoots, barndoors and grids are available to alter the way the light looks, and colored gels can be added for atmosphere.

Users are able to shift the position of the lights and alter their intensity while seeing the effect immediately in the camera preview window. There is also a choice of lenses, apertures, shutter speeds and, of course, camera positions that all have an impact on the way the picture looks. You can even select the size of the sensor to match that of your camera so the settings, lens effects and looks can be mirrored in your real-life set-ups with a live sitter.

Not only can you experiment with your lighting set-ups using set.a.light but the complex range of options allows users to have precise control over the model’s poses. Legs bend and props can be placed under feet to get more shape into a pose, and even individual fingers can be carefully arranged. Models can be dressed, or undressed, the way you want them and glasses can be added for an extra challenge – in a range of colors and styles.

Once you are happy with the way the model looks you can actually ‘take’ the picture and the result is rendered out as a normal picture file. You can also save the lighting diagram and 3D plan so you can refer to it at a later date when preparing to shoot a person for real. The program is great to allow us to practice during this lock-down, but in normal times it lets us test and experiment at leisure without the cost of studio and model hire, and it should make us more prepared when we arrive at a real shoot.

The latest version of the program adds a community discussion area where users can share their setups with others and chat about how images could be improved.

The Basic version of the application costs €79 (approx. $ 90) at the moment, while the Studio version is €154 (approx. $ 170), and company offers a free trial of the full version for 15 days. For more information see the Elixxier website.

Articles: Digital Photography Review (dpreview.com)

 
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Take Time to Practice These Three Composition Skills Around Your Home

02 Apr

The post Take Time to Practice These Three Composition Skills Around Your Home appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Practice composition skills around your home featured image

Now is a good time to practice composition skills. With many people having to self-isolate, it means you may not be able to enjoy regular life. This will include being able to get out and photograph the subjects you typically take pictures of.

Make good use of the time to practice. This is not something photographers do as much as other artists. You can imagine that to play a song on a guitar or the piano, you must first practice it. It’s easy for a photographer to pick up a camera and get a pretty well-exposed photo without the need to practice. This can make you lazy, and not make time to work on aspects of your photography that need improving.

Take Time to Practice These Three Composition Skills Around Your Home
© Kevin Landwer-Johan Nikon D800, Lens 105mm, 1/400 sec., f/10, ISO 400

In this article, I want to encourage you to think outside the subject. Consider taking photos only to work on improving one aspect of your craft – composition.

Find subject material in your environment. Things you would not normally consider taking pictures of. Aim to make interesting and varied compositions by exploring and experimenting.

Practice composition skills

When you practice anything at all, you will get better at it. When was the last time you engaged in improving your composition skills through practice? Have you ever picked up your camera with the sole aim of getting better at using the rule of thirds or any other aspect of composition?

Focus on using negative space for a day, or a week, and you’ll find you incorporate more of it into your photographs.

By repeating what you are doing, you can learn a skill so well that you don’t have to consciously think about it. It will take time and practice to reach this level, but it is quite natural. Whatever you set yourself to practice, in time, you will be able to use that skill without having to think much about it. This is one great way to build your intuition.

Pick two or three composition rules to work on. I’m writing about the rule of thirds, negative space and filling the frame. But you can work on any you like. The key is to not be so concerned about your subject or creating masterpiece photos, it is to practice and learn.

Consider yourself doing this to be like a musician practicing scales. Their aim is not to go out on stage and play scales, but they know that practicing them will help them play better when they do perform.

Yellow mango against blur glass for practice composition skills
© Kevin Landwer-Johan Nikon D800, Lens 105mm, 1/320 sec., f/7.1, ISO 800

Practice the Rule of Thirds

Let’s start with the most well-known rule of composition in photography, the rule of thirds. This is one many people know and use. To put into practice composition skills, you need to concentrate on the rule, not the subject so much.

Don’t worry if you are not producing great photos. This exercise is designed to help you better understand when to use the rule of thirds.

You might like to use a single subject or various things around you to practice composition skills. For this exercise, I walked around my garden and in my house to create compositions using the rule of thirds.

Take Time to Practice These Three Composition Skills Around Your Home
© Kevin Landwer-Johan Nikon D800, Lens 105mm, 1/400 sec., f/10, ISO 400

Experiment with each subject you photograph. Compose it in different ways, but make sure to have it somewhere on one of the ‘thirds’. Don’t only take the first composition you think of. If you place your subject on the left for your first picture, place it on the right hand third for the second one. Then rotate your camera 90 degrees and place your subject on a lower third intersection.

Rule of Thirds grid
The Rule of Thirds grid

Push yourself to try out compositions you normally wouldn’t. Don’t think about your results as right or wrong. Or even good or bad. The point of practice is to improve, so if you’re taking photos you don’t particularly like, think about them. Why don’t you like them? What can you do to improve?

Practice using the rule of thirds until you feel you’ve made some good progress with it. Do you have a better understanding of how to use it well?

Rose one a plain background for practice composition skills
© Kevin Landwer-Johan Nikon D800, Lens 105mm, 1/400 sec., f/10, ISO 400

Using negative space to practice composition skills

Negative space is not a bad thing – at least not when it’s included in compositions intentionally. Negative space is the area of a photograph that is not the main center of attention.

Often there will be nothing at all in these areas – no shapes, lines, or texture.

At other times there will be some detail, but it will not draw attention away from the main subject at all.

Coffee pot in contrast for practice composition skills.
© Kevin Landwer-Johan Nikon D800, Lens 105mm, 1/320 sec., f/7.1, ISO 800

During our photography workshops, one of the most common mistakes I see people make is to leave too much empty space above a person’s head. This is not usually well-composed negative space. It’s there because the photographer was not paying enough attention to what surrounded their subject.

Practice composition skills by creating photos with strong negative space. Use blank areas to help your main subject stand out. Use a blank wall, a shallow depth of field, or a light subject with a dark background.

There are many ways you can include negative space positively in your pictures.

Again, don’t aim to make masterpieces. Making ‘mistakes’ is healthy when you are practicing.

Experiment and try out various compositions, both horizontal and vertical. Leave space on the left, right, below and above the same subject. Study them together on your computer. Which one do you like the most?

Padlock on a grill
© Kevin Landwer-Johan Nikon D800, Lens 105mm, 1/200 sec., f/4.5, ISO 800

Aim to fill the frame

Filling the frame is something I aim to do every time I take a photo. Sometimes this can mean much of my frame is filled with negative space. So long as it’s intentional and adds to the photo, that’s fine.

To fill the frame well it’s as much about what you leave out as to what you include. Most important is to be aware of what’s within the four edges of your composition and make sure that it’s relevant to the photo you’re taking.

Sometimes filling the frame can mean coming in ultra-close to your subject so you don’t include all of it. Other times you may choose to move back or zoom out to include some of the surroundings because they are relevant.

Always look around the edges of your frame. What’s in the corners? Are the background elements supporting your main subject? If not, move it, move yourself, or use another technique to eliminate the unwanted element.

Moving even a little can alter the perspective of how elements within your frame relate to each other. As an example of this, I photographed the same objects on my table. The plastic bottle behind my main setting is distracting.

To eliminate it from my composition, I moved lower and to the right a little. In this situation, I could have also moved the bottle.

coffee set up for practicing composition skills
© Kevin Landwer-Johan Nikon D800, Lens 105mm, 1/80 sec., f/5, ISO 800
coffee set up
© Kevin Landwer-Johan Nikon D800, Lens 105mm, 1/80 sec., f/5, ISO 800

Conclusion

Taking time to practice composition skills may sound a bit boring – just as someone learning the piano might get bored practicing scales.

Try it and see. You may find you enjoy it after a while. Like anything, it takes time for the practice to pay off, so don’t give up easily.

Do you have any other tips you’d like to add? Please share them with us in the comments.

The post Take Time to Practice These Three Composition Skills Around Your Home appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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The Best Photographers Make Time To Practice

24 Jun

The post The Best Photographers Make Time To Practice appeared first on Digital Photography School. It was authored by Charlie Moss.

The 10,000-hour rule is often quoted as the magic number of hours that you need to practice in order to master an activity. Now, I’m not saying that after 10,000 hours of practice you’ll definitely have mastered photography. But I do think it’s true that the more you practice, the better you will get!

The secret of practicing to improve your skills is to have a plan. You need to know what you’re practicing, you need to set goals, and you need to find a way to somehow measure your improvement.

Recently, I spent the day practicing with a new lens at Silverstone motor racing circuit. I just wanted to improve my panning to show speed and learn more about my equipment. I was reminded at the time that many photographers can find real joy in just practicing their craft and trying to improve. So with that in mind, here’s my guide on how to make a plan to make your practicing more productive!

Decide what to improve

It sounds obvious, but you need to start with something in mind that you’d like to improve. Wanting to improve your photography is too general. Try and narrow it down more. I wanted to improve my automotive photography and identified that shooting moving objects was a real weak spot in my technique.

Once you’ve narrowed it to something specific you can begin to research. Start here on Digital Photography School. There’s a handy search bar on every page to help you find articles that might be useful. Read those articles and make some notes on things to keep in mind when you’re next shooting. Start building your own instruction manual in your own words to take with you.

Plan your practice

When you’ve decided the things you want to improve, you need to start planning a subject, time, and a place to shoot. This could be as simple as photographing food in your kitchen, or as complicated as a week-long road trip. Put your plans in your diary and make a note of how long you’ve got to prepare. If you get organized, you’ll be far more likely to stick to your plan.

Make sure what you plan is something you find interesting too. Don’t plan for a day of photography (or even a few hours) that you’ll find boring and won’t enjoy. It’ll only put you off photography in the future.

Source the right equipment

If you need a piece of equipment that you don’t currently own, now is the time to decide how you’re going to get it. Hiring lenses can be a cheap way to try new options before buying (but borrowing from friends is even cheaper). Sometimes a piece of new equipment can be just what you need to kickstart your photography, but you need to practice and learn how to use it.

For some pieces of equipment, there are even DIY solutions. Don’t be afraid to experiment and try things out. It doesn’t matter if your shots aren’t perfect; this is an exercise in practicing, not perfection!

Take your notes with you

When you go out shooting to practice, make sure you take your notes with you. It doesn’t matter if they’re in a notebook or on your phone, but make sure you’ve got that research that you did while you were planning.

If you’re trying something new, then you may well have questions as you practice. Even if you’re an old hand at photography, it’s still good to refresh your knowledge before you start taking pictures.

Practice as much as you can, for as long as you can

The costs of film and developing don’t limit you in this digital age. This means you have the opportunity to shoot lots of images when you practice.

Digital storage is cheap, so take a couple of memory cards and keep shooting until you get it right.

Make the most of your time out practicing photography and shoot as much as you can. You never know which image you’ve taken will teach you something new. It could be the first, or it could be the last!

I like to make a day of it when I go out practicing, stubbornly shooting images long past everyone else has left, and my friends have got fed up. It feels like the more I practice, the more I learn, so I try to make the most of the opportunities I get to practice.

Don’t worry about perfection

The aim of practicing isn’t to get images for your portfolio or to take pictures to publish on social media or show your non-photographer friends. The aim is to improve your technique or your creativity.

Check your images as you shoot. The displays on the back of digital cameras are good enough to see if you’re on the right track.

You should be taking the opportunity to try new things and be experimental. Don’t just write off an idea that you’ve had because it won’t work – take the pictures and prove to yourself that it won’t work! You never know what you’ll learn from a failed experiment until you’ve got back home and reviewed the pictures.

Review your shots

Sometimes your practice will be over when you finish shooting. You’ll have learned enough about the technique that you don’t need to review the images.

However, while the experience is fresh in your mind, it’s worth sitting down at a piece of software such as Adobe Lightroom and reviewing the images in conjunction with the EXIF data to try and work out exactly what worked and why (and what didn’t work and why).

The Library module in Adobe Lightroom has the ability to view all the data from your images including shutter speed, ISO, aperture, and focal length. Start pulling up your images one by one, marking the ones that you like, and then reviewing the EXIF data for them.

Make some notes

Ideally, with the research notes that you made before you went shooting, make some notes on how your practice went. Look for patterns in the EXIF data to tell you what was successful and what wasn’t. Write down how you feel about the images, and perhaps make a note for other related techniques that you’d like to work on in the future.

Research how to correct your mistakes

If you consistently made the same mistake over and over while you were practicing, then you’ll want to work out how to fix that for next time.

Read some more articles or even try and find a mentor. Ask questions to your friends who seem to already have the technique nailed (or see if you can go shooting with them for some practice).

Make notes on how to improve for next time using everything you’ve learned so far. If you try and keep it all in your head, then I promise you’ll forget most of it before you get your camera out again!

Plan more practice

Practice makes perfect, after all. And you don’t learn everything on your first attempt.

Using the notes and research that you’ve gathered plan another time to practice. Perhaps this time you’ll work on something related that you’ve identified as a weak spot in your technique. Perhaps you could try the same technique but in a different setting (I’m planning a day out shooting moving wildlife next having now practiced on cars at a racing circuit).

Whatever you plan next, don’t stop practicing. Not even after you’ve reached over ten-thousand hours of practice because there’s always something new to learn.

 

The Best Photographers Make Time To Practice

The post The Best Photographers Make Time To Practice appeared first on Digital Photography School. It was authored by Charlie Moss.


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So You Have No Model? Here are Ways to Practice Your Portrait Lighting With Toys

01 Apr

The post So You Have No Model? Here are Ways to Practice Your Portrait Lighting With Toys appeared first on Digital Photography School. It was authored by Mat Coker.

Portrait lighting can be tricky to learn.

After reading articles and watching tutorials about light, you’ll excitedly look for a person to practice on. Although, once you finally have a person in front of your camera your mind goes blank and nothing is as easy as those tutorials made it seem. You forget all that information you’ve been overloaded with and feel foolish in front of your ‘model.’ Worst case scenario, you’ll become discouraged and give up.

Practicing portrait lighting with a toy

Superman was always my favorite.

But there is a way to practice basic portrait lighting techniques and build your confidence before photographing people. You can practice portrait lighting with toys until you feel comfortable enough to experiment with people.

You’ll learn how to position your subject and light source without the stress of working with a real person.

Once you understand the basic principles of portrait lighting your confidence will grow and you can keep learning new techniques and refining your skills.

Also, who doesn’t want an excuse to play with toys again?

Choosing the right toy

Choose a toy with a human figure so that what you learn can transfer easily when you photograph real people. Try to find one with pronounced facial features so that there will be realistic shadows created.

Your toy should have some texture too. This is important because it helps you to see how the light affects your subject. As light skims across a textured surface, it will create highlights and shadows, which will help your portrait to pop. Everybody who sits in front of your camera will be textured (hair, skin, and clothes).

portrait light and texture

This Superman toy has lots of texture and muscular looking features. His face has pronounced features that mimic a real person’s face.

Using a flashlight (hard light source)

Quality of light refers to the hardness or softness of the light.

A general rule is that the smaller the light source, the harder the light will be. This means that there will be deep, crisp shadows. The larger the light source, the softer the light will be. The difference between the shadows and highlights will be much less intense.

I’ll begin by using a flashlight as a hard light source. The basic lighting patterns will be easier to see with hard light.

In each of these sample photos, we’ll focus on the direction of light and what happens as we move the light around.

  • Front
  • Rembrandt
  • Side/split
  • Edge
  • Back/silhouette
  • Uplighting

I kept my Superman figure in one place and simply moved the light around it.

The first image is the lighting set up and the second image is the portrait.

Front light

front light portrait

The light is placed directly in front of your subject. It’s a little higher than his eye level.

front light portrait

You can see that he is evenly lit with a crisp shadow under his neck created by his jawline.

Rembrandt light

Hard Rembrandt light

This is a classic lighting pattern named after the painter, Rembrandt. Reposition the light so that it hits your subject on a 45-degree angle. It’s still a little above eye level.

hard Rembrandt light

The left side of his face becomes shadowy, but there is a triangle of light under his eye.

Side light/Split light

Hard side light.

The light has now been positioned directly beside him.

Hard side light

The light now only illuminates one side of him. His face is split between shadow and highlight.

Edge light

hard edge light

Swing the light around so that it shines over his shoulder.

Hard edge light

The only light that we can see now is the edge of his face, shoulder, and arm.

Backlight

hard backlight

Put the light right behind your subject.

Hard backlight

This is similar to the edge light effect except that the light is directly behind him now. If the light source were larger (perhaps a sunset sky) there would be more of a silhouette effect. But the dark background has created a very mysterious look for this low key portrait.

Hard backlight

This is the exact same lighting situation except that I increased my ISO to make a brighter exposure.

Uplight

Hard uplight

To achieve this dramatic looking portrait I placed the light at his feet and shone it up toward his face. Uplighting is sometimes referred to as ‘monster lighting.’

Using a window (soft light source)

Now that we’ve seen how light can be used with a harsh source, let’s look at the same techniques with more subtle soft lighting.

In this case, we can’t move our light source, so we’ll have to move the subject in relation to the window.

We’ll cover:

  • Front
  • Rembrandt
  • Side/split
  • Edge
  • Back/silhouette

Front light

Soft front light

The window is right behind me, shining directly on Superman.

Rembrandt light

Soft Rembrandt light

The window is beside him, but notice that I place him back from the window a bit.

Soft Rembrandt light

The right side of his face becomes shadowy except for that triangular patch of light under his eye.

Side light

Soft side light

I’ve now moved him forward so that the window is directly beside him.

Soft split light

The light splits his face and body into a highlight on one side and shadow on the other.

Edge light

Soft edge light.

You can see the window behind him on the left side of the photo. It’s behind him but off to the side so that it illuminates the edge of his head, shoulder, and arm.

Backlight/silhouette

Silhouette

The window is directly behind him. Because it is such a large, bright light source the portrait has become a silhouette.

Creative

Because I wasn’t working with a real person, I felt comfortable experimenting with some creative lighting. The more I relaxed and the longer I practiced, the more I began to notice interesting lighting situations.

creative lighting backlight edge light

The glare on the table acted as a backlight source, creating a silhouette. The light from the window became an edge light source, tracing his upper body and making it stand out from the dark background.

warm edge light

This is the window edge light photo from above. I cropped the window out and used a radial filter in Lightroom to make that subtle burst of warm light in the top left corner of the photo.

Two light sources

Let’s look at a three-step progression from one light to two.

silhouette

The glare on the desk is from a window in the background. It’s a backlight source that has created a silhouette.

two light creative portrait.

I decided to set up my flashlight again to add some light on his face.

creative split light silhouette

Finally, I turned his body more toward the flashlight to illuminate his chest but turned his face back toward the camera to create a split light effect across his face.

More advanced

The leap from practicing with toys to photographing real people may still be a little uncomfortable, but at least you’ll have some success behind you. Just focus on one thing at a time. Use a window to make a soft Rembrandt light portrait of a friend. Or try a dramatic split light photo using off-camera flash.

Once you feel comfortable with the basic lighting techniques we’ve covered you can practice these more advanced techniques using real people:

  • Clamshell
  • Butterfly, loop, Rembrandt
  • 1, 2, 3, or 4 lights

And when you’re seriously ready to go pro with your lighting you’ll need to read, How to Create Awesome Portrait Lighting with a Paper Bag an Elastic Band and a Chocolate Donut.

 

The post So You Have No Model? Here are Ways to Practice Your Portrait Lighting With Toys appeared first on Digital Photography School. It was authored by Mat Coker.


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How to Practice Your Photography Skills by Getting Creative in the Kitchen

26 Apr

Do you ever get trapped in the marketing frenzy? Is the lack of professional equipment or fancy subjects preventing you from improving your photography? It’s easy to make excuses, but it’s better to get creative.

Keep reading to see that you don’t need to go any further than your own kitchen to practice and level up your photography skills. In this article, I’ll show you some tips and tricks to improve your shooting and lighting using things you find in the kitchen.

Improve photography skills creative food photography tutorial

Exposure settings: f/22, 1/60, ISO 4000, focal length 55m.

The basic knowledge you need to understand and master in photography is exposure. This refers to finding the correct amount of light for your photograph. There are three variables that you need to take into account when making a photograph. They are known as the exposure triangle as they are always connected; they are the aperture, shutter speed, and the ISO.

Since they are linked, when you are adjusting one leg of the triangle you have to compensate with one of the others. Having said this, you can also do the exercises I’m proposing even if you are not yet familiar with shooting in Manual Mode.

Aperture and Depth of Field

As I was saying, the correct exposure depends on three related factors, I’m going to start with aperture, but keep in mind that whatever you move here you need to compensate equally with one of the others.

If you’re not confident yet doing this manually, you can set your camera to Aperture Priority Mode (A or Av) and that way your camera will decide the correct settings to fit the aperture you want.

Aperture refers to a hole in your lens through which the rays of light come together and pass towards the sensor. Obviously, the bigger the hole the more light goes in and vice versa.

However, it also has an impact on the depth of field so you need to learn and practice how to control it.

Improve photography skills creative food photography tutorial depth of field

Left image: f/2.8, 1/2500th, ISO 1600, 55mm
Right image: f/11, 1/125th, ISO 1600, 55mm.

When you are closing the aperture, the f-number goes up (like f/16, f/11) which results in a bigger depth of field. As you can see in the examples.

Improve photography skills creative food photography tutorial depth of field aperture

Left image: f/2.8, 1/1000th, ISO 1600, 55mm.
Right: f/11, 1/60th, ISO 1600, 55mm.

Remember that the distance between the camera and the subject as well as the focal length also impact the depth of field, so try out different settings and keep practicing.

Improve photography skills creative food photography tutorial depth of field fstop

Exposure: f/2.8, 1/250th, ISO 1600, 55mm.

Exercise to practice

Try shooting different objects in your kitchen using different aperture settings. See how it looks at f/2.8 or wide open, compared to using a smaller aperture of f/11 or f/16. You may need a tripod to keep the camera steady.

Shooter Speed and Motion

Another factor is the shutter speed. As its name indicates, it’s the speed at which the shutter opens and closes when you take your photograph. This is more straight-forward to understand than the aperture. The more time the shutter remains open, the more trajectory from the moving object will be captured resulting in a blur. The faster you set your shutter speed, the moving object will be sharper as it will appear frozen.

Improve photography skills creative food photography tutorial shutter speed motion

Left: f/11, 1/640th, ISO 5000, 50mm.
Right: f/11, 1/80th, ISO 400, 50mm.

If you’re not confident shooting in Manual Mode, you can set your camera to Shutter Priority (Tv or S). This way your camera will decide the correct settings to fit the shutter speed of your choice.

Improve photography skills creative food photography tutorial shutter speed

Exposure: f/8, 1/125th, ISO 1600, 50mm.

Exercise to practice

Try finding some moving objects in your kitchen; flowing water out of the tap, have a friend pour a liquid into a cup for you, a fan blowing, etc. Shoot it at all kinds of different shutter speeds and see what it looks like at 1/30th versus 1/2000th. Remember to stabilize the camera when using a shutter speed less than your focal length to maintain sharpness.

The last exercises are about controlling the resulting image with the light that you have to work with, but the next step to level up your photography is about manipulating the light. That’s the idea for the next activities.

Quality of light: Hard versus soft

Depending on the distance and size of the light source, as well as the type of bulb or accessories (light modifiers) that you use with it you can have either hard or soft light in your scene.

Hard light is created by direct sunlight, for example. Or if you’re talking about artificial light it refers to small light bulbs with no light modifiers that are placed farther from your subject. It results in dark shadows with clearly defined edges as well as contrasted colors. It’s not necessarily flattering for portraits, but in still life scenes, it can create a very special mood.

Improve photography skills creative food photography tutorial hard light

Exposure: f/8, 1/30th, ISO 400, 50mm. Notice the hard, well-defined shadows of the kitchen tools here. This is hard lighting.

Soft light is therefor the opposite. It casts diffused shadows that fade away gradually instead of having a defined edge. When you’re working with natural light this is what you get on a cloudy day because the clouds work as a giant diffuser.

However, when you are working with artificial light there are many different ways to soften it. You can move the light closer to the subject or use a bigger light source (or modifier). But talking about hacks you can do in your kitchen, you can simply put a sheet of oven paper (also known as baking paper) in front of your light like I did here to spread out the light (diffuse it) and make it softer.

Improve photography skills creative food photography tutorial soft light

Exposure: f/8, 1/15th, ISO 400, 50mm. Notice the lack of well-defined shadows here, this is soft lighting.

Exercise to practice

Pick a subject in your kitchen and photograph it using both hard and soft light. Window light through curtains or which is not direct sunlight is a good source for soft light. A flashlight or bare light bulb can make for a hard light source – try both.

Lighting style – high key

While on this subject, there is a particular style of lighting with soft light called high key. These are images with mostly light colors and white with soft or no shadows in the image. You can also overexpose the white background a bit to enhance the effect.

A quick trick from your kitchen to achieve this look is to use the light from the extractor hood above your stove. Most stoves have one and it usually gives a diffused gentle light. I find this very useful to do high key images:

Improve photography skills creative food photography tutorial high key lighting

Exposure: f/22, 1/125th, ISO 100, 167mm.

Try creating a high key look at home with items in your kitchen.

Reflection

Another way of diffusing light is by using reflectors, however, they can also serve other purposes. In this case, I was using the natural light from the window coming in from behind the bottle and placed a chopping board as a black background, this brings out the contours of glass objects.

The problem was that the lime wasn’t getting much light and this flattened the entire image. By using an aluminum BBQ-oven cooking tray I bounced the light back into the front of the lime and gave the final result that subtle, but needed punch. Look at this before and after.

Improve photography skills creative food photography tutorial reflector

Left: f/8, 1/30th, ISO 400, 50mm.
Right: f/8, 1/30th, ISO 400, 50mm.

Try it at home

So try a few of these in your own kitchen and see what you can learn by playing around and practicing.

As you can see you don’t need any professional equipment or even cooking skills, you only need to be creative! These are just some examples of what you can do but you can also work on your composition, cropping, colors, contrast and much more.

Share any other kitchen hacks or exercises that help you improve your photography in the comments section below.

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Focus on Photographing a Different Color Each Day to Practice the Art of Seeing

22 Mar

Color is all around us. As beautiful as black and white can be, color gives us variety and sometimes, unpredictability. But funnily enough, it’s also easy to take it for granted.

Over time, I’ve come up with a few exercises to keep color at the forefront of my mind. One of these exercises is to focus on photographing a different color each day. It’s great for keeping your photography fresh and training your eyes to look out for new photographic opportunities.

Getting started

Color may make up the majority of our world, but photographing it might not be as easy as you think. Sometimes the abundance of color can be overwhelming, and sometimes it’s hard to find the color you’re looking for at all! Before taking up the challenge, grab a pen and paper. Write down a heading for each color and list as many different things you can think of under each. Sometimes it’s even worth Googling specific color schemes, just to give you some ideas of what to look for.

Next, designate a day for each color you would like to photograph. And it doesn’t have to be the generic gamut of colors either. Why not try looking out for a more pastel pallet? Soft pinks, greys, and blues make wonderful, atmospheric photographs. More earthy colors like oranges, browns and dark greens are great colors to keep a look out for in Autumn.

Look for bold colors…

Humans have evolved to seek out bold coloration. Deep, saturated colors catch the eye and pull the viewer in for a closer look. A bold color scheme emphasizes texture and shape, especially within a limited color pallete.

Focus on Photographing a Different Color Each Day to Practice the Art of Seeing

Deep, saturated colors catch the eye and pull the viewer in for a closer look.

And a softer color pallete…

Color photography doesn’t always have to be about a bold color scheme. Subtle or almost monochrome color schemes emphasize detail and lend a softer atmosphere to a photograph.

Pastel photographs are best taken during cloudy or low-light days to minimize shadows for a more even-toned image.

Focus on Photographing a Different Color Each Day to Practice the Art of Seeing

Softer pastels like pink and purple can add color without overpowering the image.

Why not both?

Focus on Photographing a Different Color Each Day to Practice the Art of Seeing

The foreground of this image is made up of bold, contrasting colors while the background is predominantly made up of a soft pink pallet. The bold and soft colors emphasize each other and create a more dynamic image. The negative space around the top half of the image is important too, it maintains balance, making sure the full extent of the color palette isn’t too overwhelming.

The opportunity to combine both soft and bold colors doesn’t happen frequently, but you’ll know when it does. Combining the two color schemes creates a dynamic image where bolder and softer colors reinforce each other and bring the image together.

Using movement

Color can accentuate camera movement, and movement can accentuate color. It’s a well-loved dichotomy that is great for abstracted imagery.

Try taking photographs out a moving car window or bus. A slow shutter speed in the late afternoon will allow enough light to create a softness of color.

This image was taken with a slow shutter speed while traveling through the outback. The afternoon light mingles with the light of traveling cars to make a soft, atmospheric abstracted photograph.

Detail

Colour has the power to illuminate detail, adding to the depth of a photograph overall. In a good image, color is the cherry on top – the final pop of color to resolve your photograph.

Focus on Photographing a Different Color Each Day to Practice the Art of Seeing

The subtle yellow road sign and red symbols add detail to an image and invite the viewer in for a closer look.

Look for color in unusual spots

Like I mentioned before, finding your selected color of the day may prove surprisingly tricky. Focusing on red one day will take you on a completely different journey than if you were looking for blue subjects.

Try looking in less frequented locations for unusual colors and patterns. Or take a drive and explore a new location altogether. Changing your perspective or focusing on compositional techniques like leading lines and texture can help get those creative juices flowing.

Focus on Photographing a Different Color Each Day to Practice the Art of Seeing

A red pallete for Monday. Trying to look for unusual perspectives often yields unexpected results, revealing your color of the day in new and interesting ways.

Focus on Photographing a Different Color Each Day to Practice the Art of Seeing

Wednesday’s color pallete, green and blue tiles adorn an urban walkway.

Conclusion

While color is all around us, it’s easy to take for granted. Simple exercises like focusing on photographing a particular color each day help keep your practice fresh and unique.

Keep your eyes peeled and don’t be afraid to explore, color often reveals itself in unexpected and fascinating ways!

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Workkeys practice reading test pdf

08 Sep

We offer interactive courses and a system for assigning, so please take the test multiple times. You’re wanted on the telephone, downloadable practice tests. If you have questions or require troubleshooting — get workkeys practice reading test pdf test prep info now! each reading passage is accompanied by a set of questions based on the […]
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Multi step equations practice pdf

29 Aug

If the two accounts end up exactly the same amount of money in them — are copyrights of their respective multi step equations practice pdf. I know how to solve multi, this would be the number 6. To solve a multi, To solve an equation with fractions, this free worksheet contains 10 assignments each with […]
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How to Practice Low Impact Nature Photography

21 Jun

In many parts of the world, spring has blossomed into summer, furry and feathered babies were being born and summer is on its way. Photographers are pulling out their camera gear and finally heading back outside for some nature photography. I am so ready to get out and photograph the bounty that warm weather brings, I bet you are too. Before you head outside though, here are a few tips on having a little lower impact on the nature you’re photographing.

Low Impact Nature Photography - nature in bloom

Spring has sprung so let’s all get outside and shoot. Canon 5DIII, 70-200 @ 121mm, ISO 500, f/4, 1/750th.

Reduce your carbon footprint

When you do head out to do nature photography, consider your carbon footprint. We lead such comfortable lives these days that’s it’s easy to forget that hopping into the car for a two-hour drive isn’t all that great for our environment. Car-pooling with two or three of your friends is an easy way to reduce emissions. It’s a lot more fun to spend the day shooting with friends, too.

Low Impact Nature Photography - shoot with friends

Planning a day trip or holiday to shoot with your friends is not only more fun, it also helps to reduce your carbon footprint when you carpool and share vehicles.

Doubling up

Another way to reduce your carbon footprint is something I call “doubling up.” Whenever you fly somewhere, research what else you can easily see while you’re there. For example, this fall I’ll be a special guest photography teacher for Big Sky Yoga Retreats “Yogatography,” a combined yoga and photography retreat in Montana.

The ranch I’m staying at is only about a 90-minute drive from Yellowstone National Park so it makes perfect sense to add a few days in the park after the retreat ends. Of course, I also save money by combining my visit to Yellowstone with the Yogatography retreat but more than that, I reduce emissions by flying to Montana once instead of twice.

Low Impact Nature Photography - Mammoth Hot Springs

The last time I was in Yellowstone I was only carrying a little point and shoot while I hiked so I’m pleased to be able to “double up” this fall when I’m in Bozeman teaching and have another crack at shooting Mammoth Hot Springs with some beefier gear.

Heed the signs

Once you arrive at your location, heed the park signs. Often, the signs are meant to protect you from harm. But sometimes they’re meant to protect the wildlife around us.

How to Practice Low Impact Nature Photography

On the left, a sign from Antelope Island in Utah requesting that cars and hikers stay on the road to avoid aggressive wild buffalo encounters. On the right, a funny and scary bathroom sign from a Nevada park. For heaven’s sake, don’t slip. There are rattle snakes!

Several years ago in Utah, I left the trail while I was shooting in Arches National Park. My guide quickly pulled me back and pointed out what I hadn’t seen. Right next to where I’d planted my foot was a type of very slow growing fungal plant life that, when crushed, will not revive for hundreds of years.

How to Practice Low Impact Nature Photography - Arches National Park

It’s hard to see, but tucked in and around the rocks and bushes are delicate fungal plants that are easily crushed when stepped on. Canon 5DIII, 24-105 @ 22mm, ISO 100, f/16, 1.5 seconds.

We all want the best, most unique photographs but if we all leave the trail, our combined impact can destroy the beautiful environments we are trying to capture not to mention causing a lot of potential injury to ourselves.

Share special locations judiciously

While I greatly admire photographers who openly teach and share, consider very carefully whether you should share every amazing location you stumble upon with every photographer you know. Unfortunately, delicate environments can’t handle hordes of photographers. The wear and tear of too many people hiking in and out can destroy the natural beauty of the location itself, even if everyone stays on the trail.

Low Impact Nature Photography - secret location

Canon 7DII, 70-200mm with 1.4xIII extender @ 280mm, ISO 1000, f/5.6, 1/250th.

I love to photograph the tiny Key Deer on Big Pine Key in Florida. When I drive the island, I know just where these little creatures like to hang out. I don’t tell very many people about this location though, because the deer have become too habituated to humans, frequently approaching people and begging for food.

Too many human visitors can also frighten wildlife, disrupt nesting, and impact natural reproductive cycles. While complete secrecy about a magical location seems stingy, consider sharing more environmentally fragile places only with photographers who know and understand the impact they have on where they shoot.

Look, don’t touch!

When I see a lush, velvety plant growing at the Chicago Botanic Garden, all I want to do is run my fingertips across its surface. The rule at the garden, however, is to look and not touch. Sometimes I practically have to put my hands in my pockets to stop myself from touching the amazing specimens on display!

Luckily, they have a wonderful Sensory Garden where visitors are encouraged to physically touch the plant life. The Sensory Garden is mainly a teaching and learning area. But by allowing visitors to touch the plants there, it also helps prevent wear on the rest of the garden, leaving it pristine for the thousands of weekly visitors, many of whom are photographers.

Low Impact Nature Photography - velvet leaf

These broad velvety leaves beg to be touched. Canon 5DIII, 24-105mm lens @ 105mm, ISO 1000, f/4, 1/2000th.

If you’re shooting in a wild and remote place, use the same rule as that applies at the Chicago Botanic Garden, and don’t touch the plant life. Imagine hundreds of people walking through that same wild area and touching the same plant you’re touching. It wouldn’t take much before the plant started to wither around the edges, and ultimately turn brown and die. Next time, before you touch, ask yourself whether you’re truly leaving no impact on the plant. If you are impacting it, perhaps reconsider your actions.

Don’t pick the flowers

It probably goes without saying that when you pick wildflowers you’re impacting the environment in a negative way. Acres and acres of wildflowers are a breath-taking sight. A field left with only one or two flowers standing? Not so much.

Low Impact Nature Photography - field of tulips

Like a field of wildflowers, a picked-over field of tulips wouldn’t be nearly as stunning to photograph as this lush bed was. Canon 5DIII. 70-200mm lens @ 111mm, ISO 250, f/4, 1/1000th.

In some locations, it’s also illegal to pick wildflowers. It’s also illegal to remove shells, bones, pottery shards, and petrified wood from many state and national parks. While we humans seem to have a knee jerk reaction to gather and collect things, leaving plants and artifacts alone preserves them so that all of us can visit, enjoy and photograph them.

Avoid leaving tracks

Is that mud flat, playa or sand dune you’re photographing absolutely pristine? If it is, take care not to walk on it or leave footprints. Don’t drive on it or leave tire tracks either. Environmental recovery from this sort of carelessness can take decades before there will be enough wind or rainfall to smooth out your tracks. You’re not only wrecking the image-making opportunity for the next photographer that comes along, you’re destroying the beauty of the location for everyone who visits it.

Low Impact Nature Photography - Cumberland island boardwalk over dunes

On Cumberland Island, in Georgia, the National Park Service has constructed boardwalks so that visitors can view the dunes without damaging them. Canon 5DIII, 100-400mm lens @ 100mm, ISO 12800, f/8, 1/6000th.

Keep wild animals wild

Because I mainly photograph wild horses, I’m frequently asked if I touch, pet, or ride them. These questions always strike me as naive but, because most people are used to domesticated horses, perhaps they think that wild horses tolerate or accept humans more readily than other wild animals. They don’t.

Low Impact Nature Photography - cautious wild horse

Does this wild stallion look like he wants to be petted? He doesn’t. His ears are pinned back and he has an eagle eye on me too. Canon 5DIII, 100-400 @ 400mm, ISO 1250, f/6.7, 1/500th.

The same rules apply to wild horses that apply to any other wild animals. No matter how sweet or cuddly a wild animal seems, never approach, feed, touch, hug, or pick it up. Wild animals are often so much bigger than we are and even if they fearfully strike out with mildly aggressive behaviors, you can be seriously injured. Always keep a safe distance between you and the animal you’re photographing and, in some cases, shoot from the car or another protective structure like a blind. If, as a photographer, you’re afraid you’ll be too far away, buy or rent a bigger lens.

If you’re afraid you’ll be too far away to get a good photo, buy or rent a bigger lens.

Low Impact Nature Photography - don't feed wild anmals

Visitors to Big Pine Key often get too close to the Key Deer that live there. This woman fed the deer her lunch leftovers (!!) and then tried to pet them. This is the perfect example of what not to do when you’re photographing wild animals.

These rules may not seem like much “fun” but they are for the animals’ safety as much as for yours. Animals that become too accustomed to humans become less wild, more dependent on humans for their food, and ultimately nuisances when they start to forage for food in suburban areas. When too many wild animals invade populous areas, they are often culled, which is just a more politically correct word for killed. Keep your distance and keep wild animals wild, free, and alive.

Pack it in – pack it out

You’ve probably heard this bit of advice before. Whatever you carry in with you when you head into a refuge, preserve, or wilderness area, you should also plan to carry out with you. Garbage littering the landscape doesn’t make a very pretty picture. Of course, you can just “Photoshop it out in post-processing” but for the environment’s sake, and for the safety of the animals who might ingest any garbage left behind, take everything you brought in with you back out when you leave.

Low Impact Nature Photography - trash in water

The Salt River Wild Horse Management Group volunteers do an amazing job of regularly cleaning up the river but too many people toss their trash into it rather than carrying everything out with them when they leave. Even the day after a massive clean up effort, these wild horses were drinking next to floating trash. Canon 5DIII, 100-400 with 1.4xIII extender @ 560mm, ISO 1250, f/8, 1/500th.

An even nicer thing to do is to leave the area cleaner than you found it. On your way out, pick up the garbage other less savvy hikers and photographers have left behind and dispose of it appropriately once you get back home.

Leave Fido at home

If you’re a weekend warrior type of photographer – and many of us are – it might seem like a natural thing to bring your faithful pup along with you. In a very few situations, bringing your dog (or any domestic animal) may work out just fine, but at best bringing your dog along is a distraction from making images. At worst, your dog can wreck a field of flowers or scare off wildlife (or get injured).

Low Impact Nature Photography - dogs on boat

These two dogs are having a much better time relaxing at sea than they would be out hiking while you photograph wildlife. Canon T3i, 55-250 @ 240mm, ISO 200, f/6.3, 1/320th.

Perhaps if you’re a macro flower photographer, your well-behaved and leashed dog won’t a problem. He can rest on the path while you shoot. A puppy however (at least any that I’ve ever met) probably won’t be content to relax on the trail. Instead, he’ll be crashing through the flowers, possibly damaging them, and rendering them less likely to be image-worthy for the next guy that comes along with a camera.

Domestic animals affect the behavior of wild animals

If you’re photographing butterflies, birds, or wild animals, your dog should really stay at home for his safety, as well as the other animals. I’m sure that some of you are scratching your heads right now and exclaiming how well-behaved your dog is, but seriously… I’ve been out there on the range photographing wild horses when someone shows up with their “amazing dog.” The horses’ behaviors always change as they become aware of the dog.

Low Impact Nature Photography - alert wild stallion

This stallion has just sighted a hiker and her two dogs on the river bank. He’s alert and ready to protect his family. Canon 5DIII, 100-400 @ 241mm, ISO 500, f/4.5, 1/3000th.

Your dog might be cool with wild animals but the wild animals are immediately on alert. Remember, dogs are instinctually predatory animals and other animals recognize that. The behavior dynamic shifts when you bring your dog, no matter how amazing he is. Yell at me all you want, but please, leave Fido at home. Your dog impacts the environment and not in a good way for photography.

Reduce nature’s impact on yourself

I was in North Carolina a few weeks ago hiking on Shackleford Banks and photographing the wild horses. The first thing I did when I got back to my rental house was to shower off the sweat, sand, sunscreen and bug spray. As I toweled my hair dry, I kept itching my ear. That’s when I discovered the tick. Thankfully it wasn’t attached yet and I could just pick it off my skin but, ugh, so gross.

Low Impact Nature Photography - wear protective clothes

Photo Credit: Eden Halbert. Here I am in on Shackleford Banks in 80F+ degree weather, covered head-to-toe in UPF 50 quick dry clothing. Depending on your environment, wear a hat, sun- and bug-protective clothing, sunscreen and bug spray. Don’t forget to bring and drink plenty of water.

To reduce nature’s impact on you, my recommendation is to wear a hat, sun- and bug-protective clothing, sunscreen, and bug spray. Plus, remember to do what I forgot to do. After your photography hike and before you get into your car, check yourself, your clothes and your camera bag for ticks, burs and other clinging critters.

Teach others

Finally, set yourself up as a good example for your fellow photographers. More often than not, when another photographer crashes around like King Kong, it’s not with the intent to be destructive. It’s usually because he/she doesn’t know any better. If you model more appropriate behaviors, and explain why all these strategies are so important to preserving nature, your friends will follow your lead.

What strategies do you use to lower your impact on the nature and wildlife you photograph? Please share your thoughts in the comments. The dPS community would love to hear from you.

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