Category: Photography

10 Amazing Camera Hacks for Better Dog Photography
In this article, you will learn 10 camera tricks and hacks that could help you take far more interesting dog photography — or photos of any pet, for that matter.

If you love taking pictures of your pooch but don’t feel that you are getting any spectacular results that are worth framing, then perhaps some of the following tips will help inspire you to take your pet and dog photography to the next level.

Let’s see if these 10 dog photography hacks will inspire you to try something new today.

1. Use window light

This might not seem like much of a hack, but it is your job as a photographer to look for the best light. Many photographers say that window light is their favorite light because it’s a soft light that creates beautiful shadows across your subject.

If you are looking for the quickest and easiest way to create a more professional look for your pictures, moving them closer to a soft light source such as a window would be my first tip.

In the image above, you can see the difference between having the dog by the window and not. Not only is the light more dynamic, because your camera will detect more light, but it will use a lower ISO, which all means a cleaner, less “noisy” image.

2. Use your phone light

We probably all know the saying, “Never work with children or animals”. The reason is that they are unpredictable and quite often do not do what you want them to do when you want them to do it. There may be times when your dog is doing something cute, and it is simply not possible to move them to a window to get that perfect lighting.

These days, however, you have access to light right in your pocket. Next time your dog is doing something cute in lousy lighting conditions, rather than pushing that ISO up and just dealing with the bad light, why not introduce some of your own light using the phone in your pocket? It takes seconds to set up and can instantly give your pictures a far more dynamic feel.

3. Tin foil

Now that we have covered the basics of good lighting, we can move on to some of the fun stuff. If you are a fan of beautiful round bokeh (blurred background), then tin foil could be your new best friend. By putting some scrunched up foil behind your subject and shining a light on it, you will instantly get a “starry” bokeh effect.

This technique requires a bit of practice, but my top tips are to use a lower aperture and move your dog far enough in front of the foil that the camera focuses on the dog, causing the background to blur.

My second bit of advice is to use a short telephoto or zoom lens, preferably above 50mm to 85mm. This is because a wider lens takes in more of the background so you will need more foil. If you use a telephoto lens, less of the background will be in the shot, which means you will need less foil to create the effect.

4. The upside down reflection shot

This tip is as simple as it sounds! The next time you are near some still water, such as a puddle or a pond, try holding your camera upside down and shooting your dog’s reflection in the water. When you look at the image the correct way, you will create a fantastic illusion. When people see your dog’s feet at the bottom of the picture, they will realize that they are looking at a reflection.

This tip works well with dogs as they are so low to the ground.

5. Use a mirror to create white space

It is your job as a photographer to lead the viewer’s eye to the subject that you want them to look at. This is part of the beauty of these fast lenses with really blurry backgrounds; you can leave your subject in focus and blur the background, so it is clear what you want our viewer to look at.

Another way to do this is the use of white space. By shooting in a mirror, you can purposely introduce a significant portion of the wall behind the mirror and put your subject off to the corner of the image. This creates a massive amount of white space, producing a far more interesting picture.

6. Fairy lights

Fairy lights are great as they introduce three elements that photographers love:
1. Added detail.
2. Possibility for nice round bokeh.
3. Additional light.
Why not get your dog to sit on some fairy lights when you are taking his picture next? You can also add your phone light as well to add that lovely dynamic shadow at the same time.

7. Phone or Perspex reflections

Symmetry will become your best friend when taking pictures. There is something about reflections and balance that are very pleasing to the human eye.

If you find yourself without a reflective surface to shoot into, why not make your own? I carry a small bit of perspex with me wherever I go. However, many photographers use their mobile phones.

All you need to do is hold it next to your lens to create a reflection of your pet.

7. Prisms

Prisms mix two elements that we have already discussed; they can create white space, almost blurring out a significant portion of your photographs, and you can get some exciting reflections out of them.

However, the reason why I love using prisms is that they can add some fantastic color to an image that might otherwise be a little dull.

9. Phone flare

Flare is a real sought-after look. We have all spent time pointing our lenses almost directly at the sun trying to get that beautiful lens flare look.

Well, the next time you want instant lens flare, just get your trusty phone out of your pocket again and try shining that light into the camera to get a very similar effect.

10. Change your perspective

Finally, why not just change your perspective? The number one thing that will make your pictures look more professional is capturing things in a different way from others.

Most of the time, this just comes down to shooting something from a different angle. People are used to looking down at their dogs, so they will typically take images of their dogs from above. Why not take your pictures from floor level to get pictures of your pet you may not have seen before?

Also, try mixing my technique of using white space in combination with this tip. Purposely shoot more of the floor and put your dog in the corner of the image to help lead the viewer’s eye.

11. One final bonus tip for good luck

One of the best tips I have ever received for my photography comes in particularly handy photographing dogs.

Always focus on the eye that is nearest you.

Your viewers will always focus on the subject’s eyes. If they are sharp, then people do not worry so much about the rest of the image.

If you look back at some of the pictures above, you will notice that sometimes the nose is slightly out of focus due to the use of a shallow aperture. However, you may not have noticed that when you first looked at the images because the eyes are in focus. I do this with all the pictures I take.

Conclusion

I hope the video and these tips have inspired you to go try and take new images that you may not have thought of before. Even if you don’t use these exact tips, perhaps some of them might help you think more about using reflections, lighting, and white space, which will help your pictures stand out from the crowd.

Please share some of your tricks and tips in the comments below.

The post 10 Amazing Camera Hacks for Better Dog Photography by Phil Harris appeared first on Digital Photography School.

Digital Photography School
March 13, 2018
6 Creative Composition Techniques to Boost Your Images

I am a huge fan of the Canadian rock band Barenaked Ladies. They were very popular in the 2000s and their songs were creative, fun and edgy. They also came up with a children’s album called Snacktime and it was a blockbuster hit. Now you must be wondering what a music band has to do with photography but just bear (pun intended!) with me and keep reading on.

One of the songs on the kid’s album is called “Crazy ABC’s” and it was not the traditional alphabet song. In fact, the whole song used unique and different words that begin with the traditional letters of the alphabet. Are you still with me here? At the end of the song, the lead singer (Ed) encourages kids to think outside the box when it comes to learning. Everyones knows the typical A, B and C words like Apple, Cat, and Ball. But think outside the box and see what a wonderful world it opens up.

Thi is how that example relates to photography. We all know the basic composition techniques – the rule of thirds, center focus, fill the frame, etc. How about we change things up and look at some of the atypical composition techniques – after all, it really is such a wonderful world out there, why see it from a boring frame of reference!! Let’s get creative.

#1 Look for reflections

Reflections don’t always have to be done with water. Reflections on water are probably the easiest thing to do if you want to get creative. But following the theme of changing things up, try other surfaces as well. Actually, any reflective surface can be used to add an element of creativity to your frame.

Nothing wrong with the typical reflection in water shot…the fact that I get to see the snow-capped Himalayas twice over was enough to get me to do the typical/traditional shot.

But pushing beyond the boundaries of typical and photographing this lovely couple’s first look on their wedding day, with an added reflection in the glass takes it to another level.

#2 Look for symmetry

Just like in point number one above, symmetry does not necessarily mean centered composition of the subject. As long as you can draw a virtual line across the frame and have two exact replicas of the image, symmetry is achieved. Try to think of creative ways to achieve symmetry.

Food is one of those subjects that lends itself to a multitude of different composition techniques. By isolating these appetizers (don’t they look absolutely delicious) in a central composition, I was able to create symmetry horizontally, vertically and maybe even diagonally! Again, think outside the box.

One of my favorite clients from a few years ago…here the symmetry is implied – parents on one end of the spectrum and kids on the other.

#3 Use of negative space

I love the use of negative space to add so much more to an image without any additional weight of other subjects. I am always thinking of ways to use negative space to add that extra special “oomph” factor to my images.

This little Italian car screamed for my full attention – using negative space with a wall exactly the same color as the car was a little different but this image is all about that car and nothing else!

Negative space can be used for any genre of photography – people, things, and even places. The Vatican deserves everyone’s undivided attention, there’s no doubt about that!

My lovely model from an editorial shoot last year. She totally owned that shoot and this image shows her strength, tenacity, and attitude – the only thing in this image is her, simplified by the use of negative space.

#4 Multiple exposures

This is by far one of my favorite ways to add a little creativity to my images. Don’t feel you need to be limited by using only two exposures in the case of multiple exposures. This works great for three or even four exposures and can be done in-camera as well as in post-processing.

A typical double exposure using a textured image and a human element.

But why stop at two exposures? Here I used three exposures to showcase the active, multi-faceted mind of a creative. A lot of thoughts race through our minds at any given point in time – here is a creative way of documenting that!

Another three exposure frame – an extension of being creative with your composition.

#5 Slow down your shutter speed

By having a long exposure (slowing your shutter speed) you can add some creativity to your shots. Traditionally we see this with waterfalls or flowing water shots. But try and do this with other subject matter as well. Sometimes that intentional blur can be used just as a creative expression, or to create abstract art in your images.

This was actually taken from a car as we were driving along a California highway. The car was too fast for me to get any sort of sunset shot so I decided to embrace the movement and create an abstract version of what I was seeing.

Here motion blur or slow shutter speed was much more intentional. I was camping on the beach along the Oregon coast as the fog was just rolling in and people were walking back to their tents. By slowing the shutter, the waves took on this milky look and the people magically faded away from the shot. For this kind of shot, I used a tripod to make sure the sea stacks were sharp.

#6 Creative framing

Try and incorporate frame within a frame within a frame or any combination of that in your photos to add a fun element and lead the viewer into where you want them to focus their attention.

My lovely client backlit and framed within the doorway. The sun was too bright behind her and the rest of the room was dark – a perfect recipe for taking a step back and framing the dark against the bright.

Here the happy couple is being framed by the staircase and steps in a more subtle way. The eye is being led down and around the sides of the railing leading the viewer into the bottom of the frame where the couple is taking a moment to be with each other.

This is one of my favorite images of my kids…one of the few times that big sister is being nice to her little brother! The leaves along with the tree frame them, directing your eyes to the center of the frame where they are interacting.

Conclusion

I hope these tips encourage you to think differently when it comes to photographic composition. Sure you likely know the tried and true rules – things that you know will work when all else fails. But you know what? Embrace that failure to grow creatively.

Experiment and try some of these creative composition techniques. In fact, take a chance and maybe try a couple of them together. Who knows what might happen, but at least you will feel like you explored outside your comfort zone. And the best part is that these tips work well for almost any genre of photography. So get out there and create some magic.

The post 6 Creative Composition Techniques to Boost Your Images by Karthika Gupta appeared first on Digital Photography School.

Digital Photography School

March 12, 2018
What to Bring to Photograph a Wedding Besides Your Photo Gear
Our main job as wedding photographers is to create beautiful images for our clients. But our job is also to provide a phenomenal customer service experience from beginning to end. Throughout the last decade as a wedding photographer, I’ve developed this list of non-gear related items to bring along when you photograph a wedding.

Wedding Day Essentials

The Wedding Timeline

Six weeks before the wedding, send the bride and groom a questionnaire requesting details about the timeline, addresses, wedding party, their families and vendors. Not only will this help the bride and groom think through any details they may have overlooked in their busyness, but their answers will help you foresee any timeline delays or issues.

Some important questions to ask:
- At what address will the bride be getting ready?
- At what address is the groom getting ready?
- Ceremony start time and address.
- Reception start time and address.
- When would you like photo coverage to begin?
- Based on the number of hours purchased, what time would you like photography coverage to end?
- Will you be having a First Look?
- Please provide the timeline for your wedding day, so far.
- Are there any specific locations you have in mind for your wedding day portraits?
- Will you be exchanging gifts with your spouse or family members?
- What mailing address should I use for you after the wedding?
- How many bridesmaids do you have and what are their names?
- How many groomsmen do you have and what are their names?
Family Photo List

Under no circumstance should you show up to a wedding without a list of family photos, created and approved in advance by the bride and groom. Attempting to focus the bride and groom minutes after they’ve been pronounced husband and wife, in front of a room full of family and friends eager to talk to them, is a recipe for disaster!

Having a list you can work from, and check off each grouping with a pen, will save valuable time.

On the wedding questionnaire, request the following information about family:
- Please list immediate family of the bride
- Please list immediate family of the groom
- Please provide a list of family photos you’d like and please note the names of each person in the grouping.
- Are there any divorces/deaths I should be aware of so as to not embarrass anyone on either side of the family?
Review and take charge of the list

Review the information received about each immediate family before the wedding. Throughout the hours you’re photographing, you’ll meet at least 40 people by name! Don’t rely on your own memory. By having everything written down, you can check your timeline and remember the bride has two brothers named Matt and Joseph. Now, all you need to do is figure out which brother you met was Matt and which was Joseph. Magic!

Usually, the family photo list that the couple returns is perfect. I may re-arrange groupings for ease of the photo time (starting with the largest groupings first and peeling people away as needed) but very minimal change is usually required.

However, sometimes the list may include large group after large group of extended family. When this situation happens, send the couple a warm and polite email confirming the list. Review the timeline and see how much time is needed capture the family photos requested.

Let the couple know you are happy to capture whatever images they would like, but you may have to steal 30 minutes from another portion of the day. When you present the options this way, many couples will choose to forego large groupings for family photos and enjoy their cocktail hour instead.

Verify Addresses and Phone Numbers

You can never be too careful when it comes to details, so leave no stone unturned. Even if the couple provided the name of the venue, request the specific address to eliminate all room for error. It’s important to have addresses for the bride’s house, groom’s house, photo locations and the reception.

Basically, anywhere you need to visit on the wedding day, have an exact location and meeting spot if the location is a park, for example.

Phone numbers are a key piece of wedding day communication. Have the bride and groom’s phone numbers on file, but also request the phone numbers of the Maid of Honour and the Best Man and confirm they will have their phones with them. It’s quite common for a bride and a groom to not have their personal phones on them, and rightly so.

Have the wedding coordinator’s name and phone number printed on your timeline for easy access. It is also not a bad idea to have phone numbers of a few other key vendors. Always be more prepared than necessary.

Step up Your Experience with These Items

If you only remember half of this article, stop reading now and remember the first part. But if you want to step up your “photography game” and look like a wedding day hero, keep reading. Make gathering the following items a goal for your next wedding season.

Parking Payment

Depending on your city’s parking meter structure, a credit card may be all you need — but some cities require coins. Stock your wallet with five dollars worth of coins for parking in a time crunch. Additionally, research if your city has an iPhone app for easy parking with your credit card.

Set of Umbrellas

Purchase a set of matching umbrellas in either a solid black or a clear color so they match any wedding party — your brides will be thankful. Keep the umbrellas in the trunk of your car at all times so you’re never left out in the rain.

Extra Clothing

Wedding days can be long and weather can be inconsistent. Prepare for everything with a rain jacket or parka (depending on the season), sweater or cardigan for the reception (if the AC starts up) and my favorite – a change of shoes for tired feet halfway through the day.

Business Cards

Don’t be caught repeating your name to a potential customer over and over again so they can memorize it and find you on Instagram. Have business cards in your bag at all times.

Laptop and Card Reader

For slower receptions, you could download your memory cards to a laptop for immediate back-up. Also handy for downloading your second shooter’s images before driving separate ways at the end of the workday.

Water, Snacks, and Gum

Working on an empty stomach isn’t fun. Pack more snacks than you think you’ll need — you can keep some in your camera bag and the rest in the car for an emergency. Having gum or breath mints nearby is a bonus while talking with guests and, of course, a water bottle and staying hydrated is a must.

Wooden Hanger for Dress

I have yet to add a wooden hanger to my wedding day list, but it’s a good idea. You’ll save 3-5 minutes at the bride’s house looking for a wooden hanger to replace the flimsy clear plastic one.

Emergency Kit

Photographer to the rescue! Pack a small bag with bobby pins, band-aids, tide-to-go, Tylenol, a sewing kit, a lint brush packs of Kleenex and anything else you think a bride or bridesmaid or family member may want at some point in the day. You’ll be the hero when the bride stains her dress and you whip out the tide-to-go or hand the mother of the bride some Tylenol.

If you photograph weddings, what else do you take along besides your photo gear? Please share in the comments below.

The post What to Bring to Photograph a Wedding Besides Your Photo Gear by Jamie Delaine Watson appeared first on Digital Photography School.

Digital Photography School
March 12, 2018
Wide-Angle Versus Telephoto Lenses for Landscape Photography
When you arrive at a beautiful scene, open your camera bag, and reach in to pick out a lens for landscape photography, which one do you usually choose and why?

A mid-range focal length lens, say between 35mm and 70mm, is usually the one that gets picked the most because it is closest to what we see with our eyes. When we choose that lens, we come home with photos that look like what we saw and they feel natural.

A wide-angle lens is often chosen when we simply want to take in a wider scene, and a telephoto lens is chosen when we want to get closer to something in the distance. While these uses are certainly valid, these lenses can also be used in the exact opposite way.

Let’s take a look at different ways that wide-angle and telephoto lenses can be used to emphasize different aspects of a scene for landscape photography.

Wide-angle of view versus distant details

This is the way most people use wide-angle and telephoto lenses, as follows.

When I arrived at the scene below, I wanted to capture as much of the lake as possible while eliminating a few distractions on the edges. I reached for my wide angle lens and made an image at 14mm.

This image was shot using a 14mm wide-angle lens.

Then I noticed some interesting details in the distance on the left side of the frame above. I really liked how the colors of the plants seemed to come down the hill at an angle and were reflected in the lake making a triangle shape. To emphasize this detail, I reached for my telephoto lens and made this image at 65mm.

The same scene with a 65mm lens.

Wide-angle of view versus close-up details

I made this photo of some cacti and the setting sun right in my campground in southern Arizona. To get the foreground rocks, the cacti, and the background in the frame, I used my wide-angle lens at 15mm and set the aperture to f/22 to make the starburst.

Then I became drawn to the lines in the organ pipe cactus. To emphasize the lines in an abstract way I moved around the cactus, so I would be working with side light, and used my telephoto lens at 210mm to capture the details.

Get close with a wide lens, go wide with a telephoto lens

As I mentioned in the introduction, lenses can be used in the exact opposite way from our usual mode of operation. Sometimes the best way to get close is to use a wide-angle lens. But you have to be really close!

To make this image of a chain fruit cholla, I was only a couple of feet away from it when I made this image at 33mm. Getting physically close to a subject in the foreground makes that subject look large in comparison to the background. The cholla would have looked even larger if I had gotten closer and used a wider angle like 10mm.

33mm

At the same location, I wanted to make an image that captured the huge expanse of cacti and the surrounding mountains. With a wide-angle lens, things in the distance look tiny and you don’t get the feeling I was looking for. So I used my telephoto lens to capture more distant subjects at 122mm.

122mm

Make the background or foreground look large

The two photos below are shots of the exact same plant. I chose this organ pipe cactus with a mountain in the background to demonstrate depth compression and how it applies to your lens choice.

When I was quite a distance away from the subject, approximately 100 feet, I made the photo below using my telephoto lens at 129mm. I would have gone farther away from it, but other cacti prevented me from getting a clear view of my subject from a farther distance. Notice how large the mountain appears in this image.

129mm focal length.

Then I went right up to the cactus, only inches away, and made the photo below with my wide angle lens at 18mm. Now you can tell that there are actually two organ pipes that looked like one in the previous image. Notice how small the mountain appears in the image below.

18mm

Note that this difference is not a result of the lenses themselves, but rather it is due to the distance between the camera and the subject.

When you want to make something that is the background look larger, get farther away from it and use a longer lens. If you want something in the background to disappear, or at least be minimized, get closer to your subject and use a wider lens.

Depth of Field

The depth of field in your image, which is the amount of the scene that is sharp, is determined by the aperture you use. So if you want the background to be blurry you use a wide aperture like f/2.8 or f/5.6. But the aperture you choose does not have the same result with every lens.

I made the photo below with a wide-angle lens at 20mm and an aperture of f/5.6. The result is that most of the flowers are sharp and the background is just slightly blurred.

20mm at f/5.6

If you want the background to be extremely soft, it’s better to get farther away from your subject and use a longer lens. In the example below, I wanted to make the flowers stand out and minimize the appearance of a house in the background, so I moved farther away, used my telephoto lens at 250mm and an aperture of f/5.6.

250mm and f/5.6

Conclusion

Here is a quick summary to help you remember what you just learned.

Use a wide-angle lens when you want to:
- Get close to subjects in the foreground and make them seem more important than the background.
- Make subjects in the background appear smaller.
- Get everything in focus.
- Photograph in tight areas like canyons.
Use a telephoto lens when you want to:
- Get closer to subjects in the distance.
- Make subjects in the background appear larger.
- Get a shallow depth of field by blurring the background.
- Make close-up images of details.
The post Wide-Angle Versus Telephoto Lenses for Landscape Photography by Anne McKinnell appeared first on Digital Photography School.

Digital Photography School
March 11, 2018
My First Time Shooting Infrared Photography
Up until a few months ago, my only experience with infrared photography was through the work of Minor White and a few other photographers that shoot masterful infrared photographs. Their images were dreamy scenes with glowing trees that completely transformed my idea of what made a beautiful picture.

Most people I speak to about infrared photography immediately say something about the movie Predator or ask, “You mean like those cameras they use in police chases, right?” While those are in fact infrared cameras, they use thermal infrared which…hang on. I’m getting ahead of myself here.

A couple weeks ago I was lucky enough to have the opportunity to try out an infrared converted digital camera (Canon 60D) from LifePixel Infrared. Seeing as this would be my first time shooting any type of infrared photography I immediately wanted to share my experience with anyone who might be considering taking the leap and trying infrared picture work.

In this article, I’m going to take you along with me and tell you all about my first experience shooting infrared. This will not be a tutorial on how to make and process infrared but rather a real-world account from an infrared newbie. And I promise, no more Predator references.

The Camera

It might come as a surprise but all digital cameras are capable of capturing infrared images. The reason your unconverted DSLR can’t is that manufacturers add filters to purposefully eliminate (or greatly reduce) light in infrared wavelength from reaching the sensor. An infrared conversion is essentially camera surgery where the infrared eliminating filter is replaced with one that allows infrared light to pass through.

And unconverted sensor.

In reality, the images we think of as infrared are in fact near infrared. This type of light has a wavelength that hovers approximately around 700nm. Exactly how much infrared light passes through to the sensor depends on the filter and the type of conversion.

The 60D I was sent sports LifePixels’ popular Super Color IR filter which allows for a more flexible infrared experience because it also allows a small amount of visible light to pass through as well. This Super Color filter leaves lots of room for incredibly creative and downright insane post-processing possibilities for working with color and black and white pictures. The filter looks dark red (below) compared to a non-converted sensor filter (see above).

The infrared converted camera from LifePixel.

Aside from that, there’s not much to say about the external appearance of the converted Canon 60D. It just looks like a normal 60D. This is a good thing in my opinion. Given the complexity of the conversion procedure, it’s nice to see all the screws and joints of the camera remaining just as they were before.

Out and about with infrared

The entire experience of actually shooting images with an infrared camera was incredibly different than how I had imagined. Not at all in a negative or even difficult way, but the creative involvement that was needed reminded me of shooting film and also added an element of excitement you don’t always get when shooting straight digital.

I had assumed that using an infrared camera would be fairly straightforward. Meaning that the image that came out of the camera would essentially be an entity unto itself complete with weird colors and that finished infrared look. This is not the case. Have a look at a RAW infrared photo fresh from the camera equipped with the Super Color IR filter.

Shock. Panic. Gnashing of teeth. When I saw this on the LCD screen my heart sank. What had I done wrong? This wasn’t the cool looking picture I had expected. As it turns out, everything was just as it should be. So, if you’re thinking about using an infrared camera for the first time take some comfort in knowing that things are going to look downright horrible until the image is appropriately processed. We’ll talk about the post-processing of the infrared images a little later.

And seriously, I mean just look at that. They really do look horrible. Moving on…

The best thing about putting the camera into use is relearning how to visualize a photo before you actually snap the shutter. As I said, this is something that has been lost in translation during the digital age. Shooting infrared brings in a fresh feeling of involvement when shooting because you can make all the creative choices but still not know what you have until the photo has been processed.

What’s more is that infrared photography loves being shot in harsh midday light that would normally be absolutely fatal to most sorts of photography. Which is actually really cool. Something I would recommend is to make use of your camera’s Live View mode if it is so equipped. This allows you to see what your sensor sees in real-time.

Also, note that with infrared converted DSLR cameras there can be a slight focusing inaccuracy when shooting at wider apertures unless it is corrected (which LifePixel offers). The Canon D60 I tested out was focused corrected before it was sent to me. Now, let’s talk about the completely incredible way (but not the only way) I processed some of the photographs I made with the infrared converted 60D. You’re not going to believe this.

Post-processing the IR images

Let me start off by saying that post-processing infrared photos is not difficult. The biggest help you can give yourself is to remember these images are just photographs, but they are photographs that include nearly infrared light.

I feel as if I entered into the post-processing phase of my newly shot IR photos with a certain timidness, which was completely unfounded. While we’re about to briefly talk about the biggest hurdle I had to overcome with the processing the overall concept of editing an IR photo is really no different than any other picture.

The Magical Realm of White Balance

If you’ve ever heard someone say “always shoot RAW” and doubted the truth of it – let me tell you now that when it comes to post-processing your near-infrared images, shooting in RAW format is essential. I made the mistake of not switching the camera from JPG (my fault, I should have checked) to RAW and the resulting images were completely unusable.

Why? Because JPG files simply do not have the information to effectively set an accurate White Balance in post-production. If there’s one thing that is completely 100%, definitely, totally essential, and inescapable it is that White Balance is key to a successful infrared photograph.

The challenge with IR converted cameras is that the influx of IR light confuses the camera so that Auto White Balance is completely inaccurate. You can set a Custom White Balance in camera and the easiest way is set it off of green foliage (chlorophyll reflects infrared and is thusly white or close). But if you want to do it all in the editing phase, here’s a quick run-through of how to get it done.

Using Adobe’s DNG Profile Editor

This goes back to what we talked about earlier in this section. Don’t assume that there is a secret to IR photography processing. They are no different from normal photos in that you should have a desired White Balance and exposure. That’s it.

The problem with setting a White Balance for IR images in post-processing is that the color temperature can’t go low enough to correct the image. This is where an often neglected section of Adobe Lightroom called “Camera Calibration” will quite literally save you from pulling out clumps of your hair in frustration.

Using an even lesser known piece of Adobe wizardry called the DNG Profile Editor, you can create a custom White Balance profile and place it in the Camera Calibration section of Lightroom. This is what will allow you to accurately color correct your IR photos.

Never heard of the DNG Profile Editor? Don’t worry, I wrote a book on Lightroom and I had no clue about it myself. Firstly, it’s a free download from Adobe that allows you to create custom profiles based on your camera, and save those so that they appear in the Camera Calibration section of Lightroom.

Read more here: How to Use Adobe’s DNG Profile Editor to Make Custom Camera Profiles

It’s easy, actually kind of fun, and it doesn’t take much time. We’ll skip the particulars but if you want to learn more about the entire IR process, check out this excellent video from B&H Photo by Vincent Versace.

Once you’ve created your custom camera profile it can then be applied to any image you make with your IR converted camera. Then you can go back and make detailed White Balance selections based on the particular image you happen to be editing at the time. Here’s that RAW image again from earlier as it looked straight from the camera.

With the White Balance corrected using the custom profile from the DNG Profile Editor.

With a color channel swap (blue/red) in Photoshop and some basic editing back in Lightroom.

The possibilities really are endless and include black and white conversions, color swaps in Photoshop, selective color, as well as any other edits you feel like trying out!

Here are a few more images I shot with the IR converted Canon D60 from LifePixel.

Final Thoughts on My First Infrared Experience

Often times I talk about the importance of stepping outside of your comfort zone when it comes to your shooting. It’s essential to be bold and extend your creative reach which will, in turn, help you grow technically, professionally, and creatively.

My first time shooting infrared is a classic example of how refreshing it can be to try something completely new with your work. I learned so many new things and reminded myself of how much I truly love this thing that we all do, called photography. Needless to say, my time shooting infrared was immensely positive. Here are a few tips that will help avoid some pitfalls should you decide to try IR photography for yourself:
- Shoot RAW.
- Use your camera’s Live View mode.
- Remember plants and foliage generally reflect IR light.
- Accurate White Balance is a MUST!
- Use Adobe’s DNG Profile Editor to create a custom color profile for your camera.
- Remember there is no set way to edit your IR photographs.
Check out LifePixel Infrared at their website. Not only are they a group of super nice people who do awesome camera conversions but they also offer a treasure trove of educational information about infrared photography and post-processing infrared images.

I hope you enjoyed taking a trip with me during my first time with IR photography. Next on the agenda? Deciding which of my cameras to have converted to IR.

The post My First Time Shooting Infrared Photography by Adam Welch appeared first on Digital Photography School.

Digital Photography School
March 11, 2018
Long Exposure Photography 201 – How to Edit a Long Exposure Seascape
In case you missed it, in an earlier article I introduced you to the 101’s of Long Exposure Photography, provided a checklist of the essential equipment, and detailed the exact steps to follow so you can capture a long exposure photograph.

In this article, I will share a precise workflow that you can use to process your long exposure photographs.

Long exposure seascape after editing.

Straight out of the camera (SOOC)

Long exposure photographs, when imported straight out of the camera are, in many ways, a lot like rough diamonds. Sadly, in most cases, the price tag usually isn’t one of them.

Straight out of the camera, it’s inevitable that your long exposure photograph will have a color cast and a degree of undesirable noise. Particularly if you miscalculate the exposure time and underexpose your image by accident (nobody’s perfect right?).

Underexposed, blue, and noisy RAW image straight out of the camera.

After taking one look at an image like this, it would be easy to feel a little disheartened. You’d probably reject the image, write your time off, and hope for better luck next time.

Noise, color casts, and the occasional exposure miscalculations happen – it comes with the territory. Fortunately, with a little sprinkle of post-processing magic, you can correct these mishaps.

Now, to be clear, I’m not suggesting you adopt a “fix it in post-production” approach. Like any genre of photography, you want to capture your subject as best as you possibly can in-camera. But, unlike more sensitive photography genres (portraiture, commercial, beauty, etc.), the atmospheric and surreal nature of long exposure photographs provides you with greater tolerance for post-processing corrections.

The chances are there’s a diamond hidden among all those imperfections. Here’s precisely how you can uncover it.

Processing Steps for Long Exposure Images

Step One – Basic Edits

Step one: Dust it down.

After importing your RAW image into Lightroom, it’s likely it will look a little flat and may have a handful of imperfections. The most common being color noise and color casts.

This image has a significant amount of Color and Luminance Noise.

Before you can tackle the corrections, polish your image off, and proudly display it for the world to see, you need to be able to see what you’re doing.

Regardless of whether your image is underexposed or overexposed, it’s a good idea to use the Lens Corrections and Basic Tone Panel in Lightroom to strengthen the basics of your image. Doing so will make correcting those imperfections much easier in the next step.

Here’s an example

Load your image into Lightroom’s Develop Module and navigate to the Lens Corrections tab.

Enable the “Remove Chromatic Aberration” and “Profile Corrections” checkboxes. These features will detect the lens you used to capture your image and load a profile to correct any distortion. This is particularly efficient at removing the vignette caused by any ND filters.

Before and after comparison of the Lens Corrections.

With the Lens Corrections in place, navigate up to the Basic panel. The general aim here is to refine your image as a whole using global adjustments. A good rule of thumb is to correct your exposure, restore detail in your highlights and shadows, and retain a good degree of overall contrast.

The specific values will vary for each image. Here you can see that increasing the exposure slider helps to correct the underexposed image. Further adjustments to the Shadows and Highlights were applied to restore detail. Finally, the Contrast, White, and Black sliders were fine-tuned to boost the overall contrast.

Before and after basic global adjustments.

Step Two: Correcting Color Casts

Long exposure images are prone to blue or magenta color casts, often caused by using ND filters. Provided you captured your image in RAW, correcting the color cast couldn’t be simpler. Simply adjust the White Balance sliders to counter your color cast.

In this case, the blue color cast is easily removed by adjusting the White Balance to almost 10,000 K.

The White Balance tool can be used to remove the color cast caused by your ND filters.

Step Three: Correct Noise

Noise can be problematic in long exposure photography. It’s caused by a variety of factors – ISO setting, the length of your exposure, and the heat of your camera sensor – none of which are terribly exciting to talk about.

In short, there are two variations of noise. Luminosity noise and color noise.

Luminosity noise creeps its way into your long exposure photographs through a combination of your ISO and the heat of your camera’s sensor. Essentially, the longer your exposure, or the higher your ISO, the more luminosity noise it will generate. Luminosity noise is colorless and typically shows up as small bright pixels.

The small bright pixels are known as Luminosity Noise.

Color Noise is luminosity noise’s irritating ugly brother. It typically looks like unsightly splotchy green and red pixels. It’s often found in the darker and lighter areas of your image.

Unsightly Color Noise.

In long exposure photography (LEP), it’s inevitable that you will encounter noise in your images. Sure, there are techniques to minimize it in camera. Like taking a bunch of shorter exposures, then aligning and blending them all together.

But if you read part one of this tutorial, you’ll know that sitting back and letting your camera do all the work while you enjoy a cup of tea is all part of the fun of long exposure photography. If the price you pay is a little bit of noise then I say, “Boil that kettle!”. Besides, it’s really easy to reduce or completely remove noise from your images. Take a look.

Navigate to your Detail tab in the Develop module and zoom into your image at 100%.

The Detail tab allows you to reduce Luminosity and Color Noise.

Start by adjusting the Color Noise reduction slider upwards until the bulk of your color noise disappears.

The Color Noise has been significantly reduced.

It’s likely you will still have some residual color noise. In that case, tweak the Detail and Smoothness sliders until you find a balance that removes the color noise and still retains detail in your image.

Tweaking the Detail and Smoothness sliders has completely removed the Color Noise.

Now you can turn your focus to the Luminosity Noise. Adjust the Luminosity slider upwards until the bulk of your luminosity noise has vanished. To fine-tune the adjustment, you can tweak the Detail and Contrast sliders.

The Luminance Noise is almost completely removed.

Be careful not to overdo the Luminosity slider. Retaining detail is more important than complete noise reduction. It’s no good having a perfect noise-free image if your subject now looks like it’s carved out of wax.

Before and after noise reduction.

Step Four: Restore Presence

By now, your image should either be noise free or have a degree of acceptable noise. If you’ve had to be a little heavy-handed with your noise reduction, the chances are your subject might have lost a little texture and overall presence.

To restore this, navigate to the Basic panel and adjust the Clarity slider upwards. This will bring a little texture and presence back into your subject.

Before and after increasing the Clarity slider to enhance the rock formation.

The overall color strength of your image also plays a big role in how your subject appears. In the example, you can see that reducing the overall saturation helps to mute the vibrant colors and lets the rock formation do all the talking.

Decreasing the Saturation helps to mute the ocean and make the rock formation stand out.

Step Five: Creative Vision

By now your image will have progressed significantly. Let’s take a second to compare the results in just four steps.

Original RAW versus current image with global adjustments.

You’ve probably invested a considerable amount of time preparing the shot, capturing the image, and processing it in Lightroom. Therefore, you might be tempted to call it a day, settle for the current progress, and share your not-so-rough diamond with us in the comments section below.

Alternatively, if you want to give your image a little extra sparkle before proudly unveiling it for the world to admire, then I welcome you to join me. Let me hold your hand while we lightly step into the world of Photoshop.

To get there, right click on your image, scroll down to “Edit” and select “Edit in Adobe Photoshop…”

Open your image in Adobe Photoshop.

Photoshop can be a little overwhelming. Therefore, it can help to create a plan and jot down your ideas before you get to work. This will help keep you focused and will serve as a reminder of what you are trying to achieve.

Create a new layer and rename “Notes”. Then use the brush and type tools to jot down your vision and ideas. If you’re stuck for ideas, these questions (and this article) will give you a good place to start.
- Where do your eyes get drawn to first?
- Where do your eyes go next?
- What elements enhance the story?
- Which elements weaken the story?
Here you can see the notes that were created for the example image. These set the goal for the final outcome.

Creating notes will serve as a reminder of your goal when you are editing your image.

Step Six: Bring it to Life

Up until now, all the edits have been applied globally (meaning to the entire image). If, like in the example, your long exposure image is looking a little flat and is in desperate need of some sparkle and polish, applying local adjustments to target specific areas of interest is a very effective method.

How do you know which areas to target? When you look at an image, your eyes will tend to gravitate towards the sharper areas that contain the most brightness and contrast. Take a look at the example.

Notice how your eyes want to gravitate up into the bright sky. And, if they haven’t already left the frame, they may descend to settle in the high contrast areas on the outer areas of the rock.

Controlling your viewer’s eye is both important and quite simple. An easy method you can adopt is to create a series of simple minor adjustments that:
- a. Gradually decrease the contrast and highlights in the areas you don’t want your viewer to focus on.
- b. Gradually build up contrast and highlights in the areas that you do want your viewer’s eyes to settle on.
Referring to our notes, you can see that the aim is to draw the viewer towards the rock formation.

How to do you create those minor adjustments?

Here’s a simple Curves Masking System that allows you to lighten or darken selective areas of your image to control contrast, shadows, and highlights in a natural and subtle way.

1. Create a Curves Adjustment Layer.

2. Decide what areas of your image you want to target and lighten or darken the curve accordingly.

3. Click on the layer mask thumbnail and use the keyboard shortcut Command + I (Mac) or Control + I (PC) to fill the layer mask with black to hide the effect.

4. Select either the Gradient Tool or a soft Brush with the settings at Hardness 0%, Flow 10%.

5. Press D to set your foreground color to white.

6. Apply your Gradient or paint with white over your Layer Mask to reveal the effect of the Curves Adjustment Layer.

This is what your Layer Mask will look like after applying the Gradient tool. The white areas of the Layer Mask will reveal the effect of the Curves Adjustment Layer.

7. Create a Hue/Saturation Adjustment Layer, clip it to your Curves Adjustment Layer and reduce the Saturation slider to desaturate your adjustment. Note: Only do this step if you Darken the curve in step 2.

Using your notes to guide you, work your way around your image. Apply several versions of the Curves Masking System to lighten or darken particular areas and control the viewer’s eye, each time varying the intensity of the Curve to create a subtle and natural result.

Here you can see how the Curves Masking System allows you to:
- Selectively darken the sky to push the viewer’s attention down towards the rock formation.
- Lighten the foreground to draw attention to the bottom half of the image.
- Create contrast, presence, and depth in the rock formation to capture and hold the viewer’s focus.
Using the Curves Masking System to Darken the Sky

Two applications of the Curves Masking System were used here to gradually darken the sky.

The darkened sky helps to push your focus back into the middle of the frame.

While darkening the sky helps to keep your eyes inside the frame, you’ll notice the image is still looking a little flat and not very interesting. To inject a little more life into the image, you can use the Curves Masking System to create contrast, presence, and depth in your subject as well. Here’s an example.

Creating contrast, depth, and presence in the rock formation

Several applications of the Curves Masking System were used here, alternating between lightening and darkening the Curve to gradually build up presence in the rock formation.

Selectively enhancing the contrast and highlights in the rock formation helps to draw your focus in and creates a point of interest for your eyes to settle in and get comfortable.

With your subject now sparkling and ready to flaunt its new-found presence, you want to make sure it gets seen.

We know eyes love to settle on bright sparkly things. Therefore, you can use the Curves Masking System to strategically lighten areas of your image to practically escort your viewer’s eyes directly to your subject. Here’s an example.

Selectively Lighten the Foreground

Several applications of the Curves Masking System were used to lighten the foreground to draw your attention to the lower half of the image.

Increasing the brightness of the water immediately captures your attention. Care was taken to ensure the rock formation still contained the brightest pixels in the image.

Let’s take a quick look at the example image before and after, applying the Curves Masking System:

Before

After

After several applications of the Curves Masking System, you’ll notice that your eyes no longer gravitate up into the sky and exit the frame. Instead, your eyes now descend toward the rock formation and go for a little swim in the silky water. Much more refreshing!

All that’s left for you to do now is to give your image a good clean and polish, then share it with us in the comments. Here’s how to do it.

Step Seven: Clean and Polish

Long exposure photograph is not only great for capturing surreal images, it’s excellent for letting you know if your camera gear needs a clean. Upon close inspection of your image, you may notice random dull spots. If so, the chances are there’s a bit of dust on your lens, ND filters, or your camera’s sensor.

Random dull spot – often caused by dust on your lens, filters or camera sensor.

Removing these spots is incredibly simple.

On a new layer, select the Spot Healing Brush and simply paint over the spots. Photoshop will work its magic and voila! Your once (very) rough diamond is now ready for unveiling to the world for all to enjoy.

You can use the Spot Healing Brush to remove dust spots and hot pixels from your image.

Recap

Let’s take a second to recap the long exposure processing workflow before taking a peek at the before and after.
1. Dust it down – start off in Lightroom to apply Lens Corrections and basic tone adjustments.
2. Correct color casts – adjust the White Balance to correct the color cast from your ND filters.
3. Correct noise – use the Detail tab to remove Color and Luminosity Noise.
4. Restore presence – navigate the Clarity, Vibrance and Saturation sliders to give your subject more presence.
5. Creative vision – open your image in Photoshop and note down your vision for your final image.
6. Bring it to life – use a series of Curves Adjustment Layers and Layer Masks to manipulate light and direct attention towards your subject.
7. Clean and polish – Select Photoshop’s Spot Removal Brush and remove the dust spots from your image.
Before and After

Original image before processing.

Final image.

Well, that concludes this two-part guide for capturing and editing long exposure photographs. Hopefully, the workflow, tips, and bad jokes shared encourage you to reach for your camera, venture outside, and unearth something special.

Share it below, I’d love to see it.

In case you missed it, you can read part one here: Long Exposure Photography 101 – How to Create the Shot.

The post Long Exposure Photography 201 – How to Edit a Long Exposure Seascape by William Palfrey appeared first on Digital Photography School.

Digital Photography School
March 10, 2018
Things People Say to Photographers – What Have You Heard?
If you’re in the photography business you’ve likely heard some pretty outrageous comments made by clients. In these three videos let’s have a humorous look at things clients say to photographers. Remember this is all in fun, and we, as photographers, value our loyal clients fiercely. Right?!

Things Clients Say

I this first video by Queen Photographers we see some of the most common phrases and things heard by photographers. Some just make our eyes roll. Have you heard any of these gems?

Shtuff People Say

Here’s another tongue-in-cheek look at “shtuff” people say to photographers. What’s your favorite? How about, “Wow your camera takes really good pictures!” If you aren’t a professional, even as an amateur or hobby photographer you’ve probably heard that one right?

Kid Edition

This one is probably my favorite of the lot. It was made by a photographer and his kids, using the kids as models. I think they did a fantastic job.

?

Let’s hear from you

So now it’s your turn. What are some of the doozies you’ve heard from people? Here are some of my faves:
- Your camera takes great photos. (Never mind the two years of photography school, and years of experience I have been doing it.)
- Much be nice charging that much for a wedding, you hardly have to do any work at all. (Said a wedding guest who has no idea a wedding takes up to 40-50 hours of work before, during and after the big day.)
- Can you take a photo with my camera? (A father of the bride asked me this once, and I was the paid wedding photographer taking their family photo at the time!)
- Can you NOT put your name/signature on our prints? I might want to get them copied and the copy shop won’t do it if there’s a professional mark on them. (Asked of me by an actual paying client.)
- Can you NOT put your signature on any of my family’s prints? That is only for art and artists. You’re just a photographer and what you do isn’t really art, so I don’t want your name on it. (He then proceeded to convince everyone in the extended family why they didn’t need 20×24 prints which they have purchased and they all downsized to 11×14 or 8×10, thanks, buddy! But I refused to not sign them so he had to take it or get none.)
- Can you give us the wedding photography package we want but just throw in a free 16×20 wall canvas? The studio down the street said they’d do it for less. (To which I suggested they go meet with that photographer and hire him if they liked his work. After 2 days they hired me at my price PLUS the 16×20 at full price.)
Let’s hear yours. Remember – this is dPS so please keep it clean folks, no curse words (use a bleep if you have to), or name calling. Keep it light-hearted in the spirit of the videos. Just do an eye-roll and move on.

The post Things People Say to Photographers – What Have You Heard? by Darlene Hildebrandt appeared first on Digital Photography School.

Digital Photography School
March 10, 2018
Week Photography Challenge – Antiques
This week it’s time to dig out all your old stuff, or get out and look for some antiques. Things that are aged and beautiful – look for old buildings, your old shoes, rotting wood of an old window, antique cars, clocks, books, etc., yes even people. Remember these old things have great value, especially our senior citizens – so photograph them with the respect they deserve.

Textured wall of an old building in Havana, Cuba.

If you want to add a few tricks to your images of antiques try these techniques:
- How to Create an Antique Photo Look Using a Lemon and Layer Masks in Photoshop
- How to Apply a Texture Overlay to Your Images to Create an Antique Look
- How to Create a Retro Faded Look Using Lightroom or Photoshop
- How to Add Vintage Frame Overlays Using Alien Skin Exposure X
- How to Use Split Toning to Make Your Photos Stand Out
Split toning to make it look like an antique photo.

Antique cars of Havana.

Even try your hand at some light painting as was done here to “turn on” the car’s headlights.

An old typewriter makes a great subject. Simplify your composition for maximum impact.

Weekly Photography Challenge – Antiques

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge. Sometimes it takes a while for an image to appear so be patient and try not to post the same image twice.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

The post Week Photography Challenge – Antiques by Darlene Hildebrandt appeared first on Digital Photography School.

Digital Photography School
March 10, 2018
Announcement: Strobist Full-Day Shooting Workshop, June 7th in Washington, DC

Just a quick heads-up that I’ll be teaching a small-class lighting workshop in Washington, DC this June 7th. It is part of the Focus on the Story International Photo Festival being held June 7-10.

This class is small — a maximum of 16 people — and we will be shooting all day. It is designed for people who are new to intermediate in their lighting skills. If you are comfortable with shooting in manual mode, you will not be out of place. If you already have some experience, we will happily stretch you out a bit.

If you have your own lighting gear (small flash only, please) feel free to bring it. But you need not, as lighting gear will be provided for the class. Just bring a camera, normal range lens (a kit zoom would be fine) a storage card and batteries and you are good to go.

I teach this class a lot; it’s my favorite course. But oddly, almost never in the U.S. In fact, this is the only time I am scheduled to teach a small shooting workshop in the U.S. this year.

Here is my promise: if you show up as an “available light” photographer, you will leave as a lighting photographer. Period. I guarantee it. (In fact, I won’t let you leave until you understand it. So if you are intimidated, maybe… bring a sleeping bag.)

The class, which includes lunch, is $ 230. You need not sign up for the whole festival to take this class. (But the festival has a really strong speaker lineup, and a 40% off early bird discount until March 18.)

Links below, hope to see you there. (Hit me on Twitter if you’re coming!)
__________

FOTS International Photo Festival
My Lighting Workshop
Strobist

March 10, 2018
Contest – Win One of THREE Online Professional Photography Courses from the New York Institute of Photography
Over the last few years here at dPS, we’ve run some incredibly popular competitions with one of our partners – the New York Institute of Photography – to give away some of their great online photography courses to lucky dPS readers.

Photo by Finnur Tomason, NYIP Graduate.

Due to popular demand – we’re doing it again this week.

For this competition, NYIP will name 3 winners.

Each winner will receive a free enrollment in their most popular course:

Professional Photography Course – worth $ 1,199

The professional photography will teach you to take control your digital camera.
- Develop your eye as a photographer and develop a visual signature.
- Utilize exposure, lighting, and lenses on your camera.
- Describe the proper composition and how to take the perfect photograph in all conditions.
- Discuss different photographic genres including wedding, landscapes, portraits, studio, and more.
- Use the manual mode on a camera.
- Explain how to make money with your camera in a variety of fields.
- A professional photographer will serve as your mentor.
- NYIP Graduates are eligible to become certified by the Professional Photographers of America (PPA).
Photo by Etienne Ludovic, NYIP Graduate

All students get the benefit of online courses they can work through at their own pace, as well as one-to-one feedback from professional photographers on their work!

How to Win

To win this competition you’ll need to:

Watch the video below and visit the course page HERE

Leave a comment below and tell us why you’d like to enter to win this course from New York Institute of Photography. Please note: there is a limit of ONE entry per person.

Do this in the next two weeks and on March 30th, 2018, the team at NYIP will choose the best three answers and we will announce the winners shortly after that date.

Deadline is March 23rd, 2018 at 11:59 pm PDT. Comments left after the deadline will not be considered.

By “best” – we’re looking for people who understand what NYIP is, what the course offers, and how it suits their needs. There’s no need to write essay length comments to win – but we’re looking to hear what you like about NYIP, the course and how it would help your development as a photographer.

This competition is open to everyone around the world no matter where you live, but there is only one entry per person, please. To enter – simply leave your comment below.

Don’t forget to share this post with your friends!

Learn more about New York Institute of Photography here.

NYIP is partnered with the PPA – Professional Photographers of America. NYIP graduates are eligible to become certified by the PPA.

Contest open to all. No purchase necessary to enter. The winner is responsible for any fees or taxes. The prize will be delivered electronically by NYIP. Only ONE entry per person. Please allow 2-4 weeks for prize delivery.

Disclaimer: NYIP is a paid partner of dPS.

The post Contest – Win One of THREE Online Professional Photography Courses from the New York Institute of Photography by Juanita Nessinger appeared first on Digital Photography School.

Digital Photography School
March 9, 2018