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Archive for August, 2018

Lensbaby Sol 45 impressions and sample gallery

07 Aug

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Lensbaby has announced the Sol 45, a lens aimed at photographers new to the Lensbaby lineup. The Sol 45 is a fixed F3.5 aperture 45mm manual focus creative lens that offers a relatively straight-forward way to try out the creative effects that Lensbaby is known for. You get the signature Lensbaby tilting focus, sharp center and blurred edges, but in a more restrained package that can help you get the look you are after.

The fixed F3.5 aperture on the Sol means that you only have one “level” of focus + blur to work with. If you are familiar with other Lensbaby lenses, you can typically use the aperture to control how strong of an effect you get: the wider open the aperture, the stronger the effect. This is useful if you want control over how bold or subtle the effect is, but it does add one more decision you need to make when setting up your shot. With the Sol 45, that decision is removed so you have a more consistent experience. This might feel limiting if you are accustomed to using aperture as one of your controls, but it also simplifies the process.

The Sol 45 can be tilted to move the focus to different parts of the frame, giving you plenty of options for composition. If you are coming from another Lensbaby tilting lens system like the Composer Pro II, you will notice that the Sol 45 does not tilt quite as much — the Sol tilts 8.5° whereas the Composer Pro II can tilt up to 15°. But the feature that I am excited about is the ability to lock the Sol 45 back to the center (or keep it locked so that the focus sweet spot is always in the center). The narrower tilting range combined with the ability to find and lock the focus back to center gives photographers a lot more predictability and control.

If the tilt and blurred edges aren’t enough for your creative tastes, the Sol 45 has one more trick up its sleeve: two bokeh blades that can be used to add texture to your bokeh. You can use the bokeh blades alone or together, and they can be rotated to create different effects. As someone who doesn’t use textures very often in my editing I prefer to keep the bokeh blades tucked safely away, but I can see the appeal for someone who is a fan of textured bokeh and who is using more appropriate backgrounds and composition (most of my sample images include very busy backgrounds because I wanted to see the maximum effect of the bokeh blades).

My only frustration with the Sol 45 is that the in-focus area seems a bit small compared to the frame, especially if I have the lens tilted at an angle. With a 45mm focal length, I found that my normal framing for portraits was too close if my subject wasn’t centered; any off-center subjects would have only one eye in focus. This could be corrected by taking a few steps back, of course.

Overall, I found the Sol 45 to be simple and fun to use. The more conservative controls made it less intimidating than creative lenses sometimes can be, and I was able to quickly get the hang of it and get results I liked. It’s a good way to be introduced to the world of in-camera creative effects if you are curious about the potential but you’re not quite ready to dive in.

Check out our Lensbaby Sol 45
real-world sample gallery

Lensbaby Inspires New Audiences With the Fun and Accessible Sol 45

A tool to inspire. A tool to be bold. A tool to build memories.

Portland, OR (August 7th)Lensbaby—makers of award-winning creative effects lenses, optics and accessories—announces the launch of their most playful and accessible lens yet, the Sol 45.

“Sol 45 opens up a new creative experience for those who want to dip their toes in the Lensbaby pool,” said Craig Strong Lensbaby Co-Founder and CCO. “Sol inspires visual artists to find new and fun ways to see their world by creating unique images in camera – no filters needed.”

The Sol 45 responds to those curious and insightful individuals who desire intention, imagination, and passion within each experience they live. This fixed aperture lens features an ease-of-use that injects the classic Lensbaby energy into images while creating a fun photography experience that benefits from the creation of unique photos that are representative of the users’ passions.

Users simply identify a subject in frame, bend the lens toward it, rotate the focus ring to bring subject into focus and shoot, ultimately creating a tack-sharp circular area of focus surrounded by bold blur and smooth bokeh. In addition, users can bring the lens’s bokeh blades – situated on hinged arms hiding at the edge of the lens – into the lens’s field of view. These bokeh blades add subtle lines of texture in-camera to the bokeh, creating stylized texture effects that many photographers only experience post-edit.

Since 2004, Lensbaby has challenged photographers to make their creative process one that distinctly captures the voice they find behind the camera. Today, the Sol 45 opens this door to all creatives, regardless of skill level. Enthusiast DSLR and mirrorless camera shooters, especially those who are newer to Lensbaby, now have the opportunity to experiment with the brand’s iconic look for an affordable price of $ 199.95.

The Sol 45 is made specifically for DSLR and mirrorless cameras, and is compatible with Canon EF, Nikon F, Sony A, Pentax K, Sony E, and Fuji X. The lens will also be available in a 22mm version specifically for Micro 4/3rd shooters. The Micro 4/3rd community is a passionate group who has embraced Lensbaby for years, all while longing for lenses tailored specifically for them. The Sol 22 was developed in a 22mm focal length (44mm equivalent) to serve these photographers.

For more information about the Sol Lenses please visit: https://sol.lensbaby.com/. The Sol 45 will be available for purchase on: https://lensbaby.com/product/sol45mm/ and select Lensbaby-authorized retailers for $ 199.95 on August 7th, 2018, and the Sol 22 will be available for purchase in September at: https://lensbaby.com/product/sol22mm/ . For more information please contact Keri Friedman at keri@lensbaby.com or Elizabeth Gerken with Groundswell PR at Elizabeth@groundswellpr.com.

About Lensbaby:

For over a decade Portland, Oregon-based Lensbaby has inspired and challenged photographers on their journey to finding their unique, visual voice. Lensbaby makes award-winning, one-of-a-kind lenses, optics and accessories for risk-taking photographers who believe that photography is an expression of their soul. Lensbaby provides instructional content through their educational hub, Lensbaby University and sells its products worldwide. For more information, visit www.lensbaby.com

Articles: Digital Photography Review (dpreview.com)

 
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Pigs don’t fly, but bears do with DJI’s latest Spark drone

07 Aug

In one of the more bizarre collaborations we’ve seen in a while, drone manufacturer DJI has teamed up with Line Friends to release an animal-themed DJI Spark drone.

For those unfamiliar, Line Friends is a collection of playful characters taken from the messaging app Line. Although pictures indicate other characters could make their way onto DJI Spark drones, the only confirmed character collaboration is with a bear named Brown.

As you may have suspected, the special-edition DJI Spark, named ‘LINE FRIENDS (BROWN) | Spark,’ features a brown paint scheme with the bear’s adorable features on top. In addition to the drone’s paint scheme, the remote control also features an image of Brown on the top faceplate, between the antennas. To wrap it all up, a custom box is included as well, which features an image of Brown holding a DJI remote control.

Aside from the custom paint scheme, the Spark drone remains identical to the standard version, including the 16 minute flight time, two mile range, 2-axis gimbal and 12-megapixel camera. Like its less decorative counterpart, the LINE FRIENDS (BROWN) | Spark costs $ 399 and can be purchased through DJI’s online store.

Articles: Digital Photography Review (dpreview.com)

 
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Don’t Show Me Your Tricks, Show Me Your Photography Skills

07 Aug

Did you know that the automated features and tricks built into cameras and computer software can actually stunt your photographic growth and photography skills? It’s true. Unless you are seeking to learn how to achieve specific results from the canned effects used by others, you might be shortchanging yourself.

Think back to what made you take up photography in the first place. Remember seeing the amazing shots in magazines, online, or taken by a friend and then dreaming that you too might produce amazing pictures?

Well, you can and you should. Learn the camera’s basic controls and how to shape your pictures with software tools, and don’t just rely on packaged effects.

Tricks Bode Orig - Don’t Show Me Your Tricks, Show Me Your Photography Skills

Photography skills override tricks

If you enjoy fishing but purchase fresh fish from the market on your way home, are you really fishing? You might bring home a tasty meal but can you really take credit for the catch? You dove into photography to capture great shots and produce gorgeous pictures. don’t shortchange yourself with tricks and shortcuts.

Tricks Bode Blue - Photography Skills

An occasional foray into visual effects can be interesting, but a steady diet gets boring and appears cliché.

Are you relying on auto settings, presets, and effects to make your shots look special? Do you run your photos through software that pushes your shots through prefab cookie-cutter interpretations?

Perhaps it’s time to put your time into understanding the basics of the photographic process. There’s an artist inside you yearning to learn. Put that artist to work in reality. Let your pride be in your work, not someone else’s.

Stop being predictable.

Those pre-digested interpretations offered by many post-processing software packages are way too easy to spot. The effects should be used sparingly and only when the scene really lends itself to the effect. Presets look good once in a while (I use them myself occasionally). But I want people to see my photography skills, not someone else’s tricks.

Be the individual, not the trend.

Stop doing what everybody else does and start expressing yourself. I grew up in the hippie era and to some degree, I bought into the trend. I wanted to be taken seriously as an individual; a non-conformist who didn’t just follow the masses and do what everybody else did.

But eventually, I realized that all my non-conformists friends dressed alike, talked alike, acted alike, and (frankly) smelled alike. All while proclaiming their individuality.

They conformed to the accepted non-conformity trends. That herd-mentality behavior didn’t make sense back then and it doesn’t make sense now. If you want to express yourself, do just that – express yourself. Just take the time to learn the basics of shaping images. It’s a whole lot easier than you think and it’s amazingly rewarding.

Tricks Bridge Orig - Photography Skills

Tricks Bridge Neon - Photography Skills

Nobody I know actually lives in a fantasyland with color as over-amped as this. Indiscriminately using a colorful effect on the wrong image can reduce the image to a clown show.

You are a logical person with a good head on your shoulders. You know you can do serious work if you take the time to learn the process. There is more to photography than learning the camera controls. You must understand the why issues of photography, not just the how of the camera buttons.

Your images deserve special attention… yours!

Use your imagination.

Determine today to see life through your own lens and interpret what you see with your eyes and your imagination. Shape your images with a clear understanding of how to command the medium of photography. Don’t see life through the lens of popular automation and trick treatments, learn to control the light and color that your camera captures.

Classy Nassau - Photography Skills

This is a pricey waterfront condo in Nassau. When you take the time to match the scene with an appropriate treatment, the results make sense to the viewer.

Capture images and shape them into what your mind sees. Don’t try to force your shots into someone else’s prefab, over-used interpretations. If this really is an age of personal expression, take control of your creative life by learning how to control the light in your photographs, both during the capture process and in post-production.

Eventually, you will come to a point where you want to test the waters of photo-creativity, learn the basics of image shaping, and let your images show your talent and photography skills instead of displaying someone else’s. It all starts with taking the time to learn the basics and believing in yourself.

Just the right amount.

One of the most beneficial parts of understanding how to shape your own pictures is knowing how much adjustment is enough and how much is too much. Like a four-year-old little girl playing with her mother’s makeup, your first attempts won’t be works of art, but that’s the way EVERY great photographer starts; over-producing their pictures.

The single most important ingredient in success is practice. Practice makes better, none of us ever get to perfect.

FoldedSail SBS - Photography Skills

Here’s the first rule of editing. When alterations start looking surrealistic, you’ve probably taken the processing too far. We enjoy special effects in the movies but we live in the real world. Small adjustments to colors and tones sometimes produce big differences. Make your initial moves and then back away from the picture for a few minutes and then take another look at the project again.

Imaging Basics

Nudging the mid-tones lighter and increasing the overall contrast can improve the appearance of almost every photo. It’s a good place to start.

Because of the linear manner in which digital cameras capture images, the simple process of capturing a scene with pixels produces images that are darker in the three-quarter tones than they need to be. These images usually benefit from shifting the mid-tones lighter simply by making some minor adjustments in the Basic panel in Camera Raw or Lightroom.

Learn to fine-tune your images to bring out the true colors and detail. The process is simple but the results can be profound. Target specific regions of light to reveal to the viewer what your mind saw when your camera captured the image. Our brains compensate for unbalanced lighting in a scene while the camera simply records existing light levels.

Basic Adjustments - Photography Skills

Small adjustments can make a major difference in the appearance of digital image captures.

Your camera doesn’t know where important detail is located in an image, although your brain located the detail and mentally enhanced the scene. You must learn how to deal with the scene’s lighting and reveal that detail manually. Most of those ho-hum images just need a little TLC to come to life.

San Juan House CR - Photography Skills

Two panels in Camera Raw provided all the controls and tools I needed to target and enhance specific areas of this image.

The white surfaces of the house above needed a boost to brighten them up without losing the surface detail. The detail in the deep shadow tones of the trees and stair steps needed to be lightened without losing the defining deep shadows.

The Basic panel provided the tools and the Tone Curve panel provided the narrow target for both the highlight and shadow adjustment without affecting the mid-tones.

Conclusion

Be the artist who understands their medium and is in command of their art. Let others see your style and maybe they’ll try to emulate you. Stop playing follow the leader and become the leader. There are only a handful of basic skills you need to develop to break the mold and really control your pictures.

Enough of the grunge, the excessive saturation, the surrealism, and the pre-packaged garbage. Start showing the world your skills and leave the tricks to the those who need them.

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Android ‘Pie’ adds multiple-camera access for developers, HEIF support

07 Aug

Android 9, taking the moniker ‘Pie,’ only adds a few photography features but they’re notable. With Pie, app developers will now be able to access streams from multiple physical cameras simultaneously. This means third party apps will be able to take advantage of information from dual-cameras for bokeh effects and zooming seamlessly between cameras. HEIF support is also introduced – a compressed image format that saves more space than JPEG and is now in regular use by Apple in its iOS devices.

App developers will now be able to access streams from multiple physical cameras simultaneously

Other additions in Pie include support for external USB/UVC cameras and adaptive display brightness to learn your preferred brightness settings in various lighting situations and automatically enable them. HDR VP9 Profile 2 is also added for HDR video viewing on YouTube and Google Play Movies.

Android Pie will start rolling out to Pixel phones today. Beta participants can expect the update by the end of this fall, and Google says it will work with other partners to roll out the update this year.

Articles: Digital Photography Review (dpreview.com)

 
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Discover How to Master Off-Camera Flash like a Pro

06 Aug

Off-Camera Flash Advanced Course

If you want to figure out how to get amazing results like the pros, the secret is off-camera flash. Phil Steele has just released the sequel to one of the best off-camera flash courses we’ve ever promoted through Digital Photography School. And it has been worth the 4 year wait!

But don’t worry, if you haven’t done the original course, you can still learn these advanced lighting techniques to make your photos stand out. For one week only we can offer you a one-time only 50% discount off the $ 147 course fee. The course will never be available at this price again.

For just $ 74 the Advanced Off-Camera Flash Photography course by Phil Steele makes amazing photography accessible. What once required a complicated and expensive studio setup, can now be done with small portable speedlights.

Phil will save you even more money by showing the few essential and inexpensive pieces of gear you’ll need to get started, and some options for more advanced shooting. He’ll then teach you all the techniques you need to get the kind of photos that photographers with on-camera flash just can’t achieve. He’ll even show you his mistakes so you can learn from them.

Just some of the fun techniques you will learn include how to:

  • take beautiful night portraits using background lights for a glamourous bokeh effect
  • master the art of tabletop photography for selling on ebay or simply capturing beautiful objects
  • master the art of daylight portrait photography with blurry backgrounds, even in full sunlight
  • use simple colored gels that transport your photos to another world, or add excitement to any event
  • create drama in your event photography with flash backlighting
  • remove your own lights from your photos in post-production

Or maybe you have already dabbled in off-camera flash, but you know you’re not quite there, like Sue:

“Phil, I have had three flashes for couple of years, and they have just sat there doing nothing. I just needed someone to explain in my terms how to use these flashes, and your course certainly is doing that. I love that you show us that everyone makes mistakes. I never know if what I am doing is right, and this course is pointing me in the right direction. I also love the in-depth retouching explained so well. Thank you!”

—Sue Masterson, Ballarat, Australia

For the next week only, Phil is offering a 50% discount off his course fee of $ 147. dPS readers will pay just $ 74 for his Advanced Off-Camera Flash Photography course, and you’ll also get a great deal if you want to pick up his original course “How to Shoot Professional-Looking Headshots and Portraits on a Budget with Small Flashes”.

You’ll get instant access for life to 22 videos (over 5 hours of training) distilling almost a decade of Phil’s experience with off-camera flash, and of course, a 100% full money back guarantee.

If you’re not getting the results you want with your photography, off-camera flash may just be what you need to get professional-caliber results.

And remember, it doesn’t matter if you haven’t done the original course (all though a lot of you have!), and you get a great deal on it if you haven’t.

Learn more and buy the course

More testimonials from Phil’s students:

“Another informative, clear, and easy-to-understand course. I like the manageable “chunks”, which allow you to digest and understand each section, before moving onto the next. The easy, relaxed teaching style aids concentration, and you avoid getting bogged down in jargon. Showing your mistakes was a great idea, not only showing you as “human” but also a great learning tool. This course is up to, if not exceeding, the high standards of your previous courses.”

—John Steel, Rochdale, UK

“This is THE course I have been waiting for for soooooo long. Perfect! I watch videos from everyone out there, both on YouTube and some that I’ve paid for. You are the best by far hands down. You speak clearly. I am the lead photographer at my university (I loved your Event Photography course, too.) I will be recommending your course to the other photographers on my team. It was worth the wait.”

—Bob Weidner, Pocono Mountains, Pennsylvania

“Phil—another fantastic course—well worth the wait!  I learned something from every video, and feel (once again) a renewed sense of confidence to raise my own photography game!  Particular favorite videos were #15 (Colored Gels) and #21 (Overpowering The Sun). Your teaching style is terrific as always, and I thoroughly enjoyed every minute of the course. I can’t wait for the next one!”

—Steve Burn, Toronto Canada

“GREAT JOB! Kudos on making this course “up close and personal.” It has a wealth of technical expertise…explained, illustrated, and demonstrated in a very easy to understand way. I loved the removing-the-lights trick. Including some of your “mistakes” makes this much more helpful for the real-world photographers who are going to implement this vast amount of knowledge. Thank you so much!”

—John Quinn, S.J., Photography Instructor, Loyola High School, Los Angeles

“Finally a photography course to get EXCITED about. The techniques laid out in this course not only deliver immediate (and truly dramatic) results, but also will change how I’ll be shooting serious photos the rest of my life. Phil Steele can teach like few others. Whatever your experience, the material here will open up to you an entirely new realm of photographic possibilities.”

—Sebastian Michaels, Photoshop Instructor, North Carolina

“Your courses are well organized and deliver the proper content in the right amount of time. I love the fact that you teach it from the beginning of the shoot (planning and gear explanation) to the end product ready for the client. I find it helpful to know that even as a professional that you can make mistakes as well! I have learned so much from your training courses that could never be accomplished by reading books or attending seminars!”

—Duane T. Bruning

Like many dPS students before you, we’re confident you’ll get a lot out of Phil’s teaching. And remember, Phil offers a full money back guarantee, so you can benefit from this one-time only 50% discount completely risk-free. And if it’s not for you, you can get a full refund.

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Four Ways to Generate Stunning Bokeh in Your Images

06 Aug

Bokeh refers to the blur in the background of an image, and for photographers, stunning bokeh is like gold. We want it, struggle for it, need it. Yet how do you generate stunning bokeh consistently?

Fortunately, there a few simple ways to create high-quality background bokeh.

macro flower bokeh photography tulip - Four Ways to Generate Stunning Bokeh in Your Images

In this article, you’ll find four ways that will enhance your ability to produce pleasing bokeh, and therefore increase your photographic versatility and skill.

I’ll first discuss techniques such as increasing the subject to background distance and shooting wide opened. Then I’ll explain bokeh-enhancing situations such as backlighting. You’ll finish with the knowledge to creatively generate stunning bokeh in your own images.

macro flower bokeh photography aster - Four Ways to Generate Stunning Bokeh in Your Images

What is pleasing bokeh?

A quick word on great bokeh: In general, bokeh simply refers to the background blur generated by a lens. However, there are two types of bokeh that I’m going to focus on here.

The first is what I will call geometric bokeh. Geometric bokeh is out of focus highlights that actually take on a geometric shape. This particular shape depends on the nature of the lens, but circles, hexagons, heptagons, and octagons are all fairly common.

When properly utilized, this type of bokeh can add an impressive edge to your images.

macro flower bokeh photography aster geometric bokeh

The lights in the background of this image produce geometric bokeh.

I will refer to the second type of bokeh as creamy bokeh. This is the smooth, out-of-focus look that photographers often strive to achieve.

macro flower creamy bokeh photography daisy

This daisy image has very creamy bokeh.

Both types of bokeh can be generated, but require slightly different methods. Let’s take a look at each.

1. Shoot wide opened

This is really the bread and butter of creating stunning bokeh. Regardless of whether you want geometric or creamy bokeh, shooting wide open (that is, with an aperture in the f/1.2-2.8 range) will greatly increase your chances of achieving it.

I will focus on creamy bokeh here.

macro flower creamy bokeh photography tulip

A wide aperture assisted me in producing a really creamy bokeh background.

If you stop down your lens so that the depth of field is far less shallow, you’ll find that you lose the possibility of nice, creamy backgrounds.

This is because a larger depth of field means that the background is rendered less blurry. To generate the creamiest bokeh, you want to blur the background as much as possible. It’s as simple as that.

To generate better creamy bokeh, widen your aperture to decrease the depth of field. Only then will you start to achieve that beautiful, creamy look and stunning bokeh.

2. Maintain a good subject to background distance

Another essential aspect of producing pleasing bokeh is keeping a good distance between the subject and background. As in the first tip, this applies to both creamy and geometric bokeh, but I’m going to focus on creamy bokeh here.

When I talk about the subject to background distance, I’m referring to the distance between the elements of the photograph that are in focus—your subject—and the elements of the photograph that are out of focus, i.e. your background.

macro flower bokeh photography - Four Ways to Generate Stunning Bokeh in Your Images

Why does having a good distance between the subject and background enhance the quality of creamy bokeh?

It has to do with the depth of field. A greater distance between the subject and background means that the depth of field (the area that is sharp within the image) ends far before the background. The background is then rendered in the form of a lovely blur, rather than as a more in-focus mess.

So in order to increase the creaminess of the bokeh, increase the distance between your subject and your background.

3. Find bright highlights behind the subject

I’ve talked a bit about generating creamy bokeh, now it’s time to turn briefly to geometric bokeh.

Impressive geometric bokeh is created by highlights. One way to get strong geometric bokeh is to look for bright lights in the background.

macro flower bright geometric bokeh photography

The water behind this flower was reflecting the setting sun.

You can achieve this in a few ways. For instance, you might look for objects that filter sunlight, such as leaves. They break up the rays of the sun and turns them into small pinpricks of light that then become impressive geometric bokeh.

You can also look for elements that reflect light. Water is a great option. Another is water droplets. Areas that are wet with morning dew can generate beautiful bokeh when placed behind the subject.

macro flower bokeh photography dandelion - Four Ways to Generate Stunning Bokeh in Your Images

Third, you might search for small light sources in the background. Car lights, street lamps, or christmas lights all work well, especially when shooting after sunset.

Fourth, if you really want to create bokeh but are struggling to find the proper conditions, you can create them yourself. Bring a string of fairy lights with you when you’re shooting, and place them behind the subject.

macro flower bokeh photography yellow

I used fairy lights to create the geometric bokeh in this image.

Geometric bokeh is not all that common in photographs, but can be fairly easily produced. Just follow the tips discussed above!

4. Put the subject in the shade, with a bright background

This method of generating stunning bokeh is unique, in that it can produce amazing creamy bokeh when used one way, and amazing geometric bokeh when reversed.

Both ways involve making sure that your subject is in the shade. Both methods also involve having a bright background. Ideally, you should be shooting in the early morning or late evening when the sun is low in the sky.

macro leaf autumn bokeh photography

Where the techniques diverge is in the placement of the sun.

If you shoot with strong frontlighting—that is, if the sun comes from behind you, over your shoulder—position your subject so that beautiful golden light spills onto the background behind your subject (while your subject remains shaded).

Then that golden light will often render the background similarly golden, and you’ll find that your bokeh becomes wonderful and creamy.

macro flower bokeh photography cosmos

If you shoot with strong backlighting—that is, if the sun comes from behind your subject—position the subject so that the sun must go through trees, leaves, branches, or grasses. As mentioned above, this creates bright highlights behind the subject.

These are then blown into beautiful geometric bokeh.

macro flower bokeh photography

Feel free to experiment. Try to vary the amount of shade on your subject, moving from complete shade to direct backlighting.

macro flower bokeh photography

This flower was more directly backlit.

Whether you choose to shoot with frontlighting or backlighting, by placing your subject in the shade and working during the “golden hours” of sunrise and sunset, you’ll generate beautiful bokeh.

Conclusion

While photographers often struggle to create beautiful bokeh, it doesn’t have to be hard. By shooting with a wide aperture, using a large subject to background distance, by positioning the subject so that bright highlights exist behind it, and by using special types of lighting, you can begin producing images with stunning bokeh.

macro flower bokeh photography hyacinth

Know other ways of generating great bokeh? Please share them and your bokeh images in the comment area below.

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You probably don’t know what ISO means – and that’s a problem

06 Aug

Whatever camera or phone you have, it’ll report the ISO value it used to take its photos. Despite its ubiquity, ‘ISO’ probably doesn’t mean what you think it does. Worse still, it may be holding your camera back, both in terms of the images it takes and in the tools it provides you. This means it’s potentially holding your photography back, too. Part of the problem stems from the fact that ISO sounds like something you were already familiar with.

At first glance, ISO settings look just like the sensitivity ratings used for film (to the extent that there are some people who still refer to ASA: the US standard incorporated into the ISO standard for film). But ISO in digital isn’t the same as film. it’s essentially a metaphor for the way film sensitivity worked, if you got it processed in a minilab machine. This is a problem.

It causes confusion

The apparent familiarity and simplicity of ISO setting leads to a number of common misunderstandings. Despite what you may have heard or read, changing the ISO of your camera does not change its sensitivity.

ISO changes the lightness of the final image but it doesn’t change the fundamental sensitivity of your sensor. Nor is it an indicator of amplification being applied: although many cameras do increase their amplification as you increase the ISO setting, this isn’t always the case.

“Why can’t I use ISO 100 in Log mode?” The answer is that a log gamma curve is so flat that it requires very little light to achieve middle grey, which means it’s considered a high ISO. Strictly speaking, though, you can’t really calculate an ISO value for log at all, since the standard is based on a different colorspace and gamma. It’s a similar story for Raw.

This may sound like semantic nit-picking, but it causes a lot of misunderstandings. It’s widely thought that the additional noise in high ISO image comes from the ‘background hum’ of the sensor’s amplifiers. This feels right: we’ve all heard more hum if we turn up the volume on an audio amplifier. Unfortunately it’s simply not true: most noise actually comes from the light you’re capturing, so it primarily depends on your shutter speed and aperture*.

The ISO standard doesn’t specify that amplification needs to be used, nor does it specify what happens in the Raw file

The ISO standard doesn’t specify that amplification needs to be used, nor does it specify what happens in the Raw file. All it does is relate initial exposure to output JPEG lightness, however that is achieved. The only sure difference at the Raw level from an increase in ISO is that the change in ISO setting almost certainly led to less exposure, which means less light and therefore more noise for each tone from the scene.

There’s an ISO standard that’s slightly more pertinent to Raw files, which looks at when the sensor becomes completely saturated, but this doesn’t correspond to the standard used by your camera. So next time you see a graph comparing ‘Manufacturer’ and ‘Measured’ ISO, what you’re actually looking at is the ‘JPEG ISO’ vs ‘Saturation ISO.’ Any differences between the two mainly tell you how many stops above middle grey the manufacturer’s JPEG tone curve is designed to deliver.

It encourages poor exposure

As well as giving a false sense of simplicity, ISO’s increasingly tenuous attempt to mimic film ratings can mean making poor use of sensor response.

Film (particularly negative film) has a very distinctive response curve that gives lots of latitude for recovering highlights. Digital is very different: it offers a much more linear response but with a hard, unrecoverable clipping point in the highlights. And no, your favorite software doesn’t really recover completely clipped highlights from your Raw file**.

This graph shows the signal-to-noise ratio (essentially the noisiness) at different brightness levels of film and digital. The film response peaks and then gradually declines, with plenty of scope for recovering highlights from the right-hand side of the curve. The digital response rises to much higher levels than the film, then cuts-off abruptly. So why would you expose these two media in the same way?

Illustration based on DxO’s analysis

And yet, despite these differences, the digital ISO standard is based around ‘correctly’ exposing JPEG midtones***. A 2006 update to the standard gave manufacturers some flexibility in terms of how many stops of highlights they wanted in their JPEGs above middle grey****, but it still encourages exposure based on midtones, with a pre-set number of stops above this for highlights.

That’s not the best way to expose digital. The best results are achieved by giving as much exposure as possible without clipping the brightest tones you care about: a process called ‘exposing to the right.’ This maximizes the amount of light, and hence signal which, in turn, optimizes the signal-to-noise ratio (essentially ‘noisiness’).

And yet, by worrying about the JPEG middle grey, cameras end up giving every image the same number of stops for highlights, even though this is wasted in low DR scenes (that highlight space isn’t used and exposure is lower than optimal) or insufficient in high DR situations: the lovely colors of the sunset you’re shooting are lost, unrecoverably, to clipping.

Fujifilm’s DR modes essentially give you a choice of amplification and tone curve combinations that include different amounts of highlight information. These end up being rated as different ISO settings.

The ISO 200 / DR 100 example on the left has the least noise. The ISO 400 / DR 200 image has a shorter exposure, bringing more noise, despite having the same amount of amplification as the ISO 200 image. This low level of amplification means it has retained more highlight information than the ISO 400 / DR 100 image on the right, which used the same exposure but more amplification.

This problem isn’t easily solved: there are times that exposing-to-the-right will result in noisier midtones than you want. In these situations, you have to let the highlights go. However, fixating on JPEG midtones isn’t helpful.

It warps camera development

This brings us to the biggest problem with using a clumsy metaphor for film sensitivity as the way of setting image brightness in digital: it means we aren’t given the tools to optimally expose our sensors.

ISO ends up conflating the effects of amplification and of tone curve, meaning you have to do your own research to find out what your camera’s doing behind the scenes, and what the best way to expose it is.

We aren’t given the most basic tools: Raw histograms or Raw clipping warnings that would help optimize exposure

The preview image your camera gives, the histograms it draws and the exposure meters and guides it offers are all based on JPEG output and their midtones, because ISO says that’s what matters. This means we aren’t given the most basic tools we need: Raw histograms or Raw clipping warnings that would help optimize exposure. It means no development has been done to create more sophisticated tools that would help you judge the quality implications of exposing to the right, and when to let the highlights go.

In short, ISO is an increasingly shaky metaphor that promotes misunderstanding, obscures what your camera is doing and robs us of the tools we need to get the most out of our cameras. Isn’t it time for something better?

Thanks to Bobn2 for feedback and fact-checking

* This misunderstanding possibly stems from another misunderstanding. The hum you hear when you turn up the volume on an audio amplifier isn’t caused by the amplifier itself, it’s the hum of the mains electricity, made audible. [Return to text]

** Highlight recovery sliders usually rely on only one of the color channels having truly clipped, and try to guess the value of the clipped channels, based on the remaining, unclipped one, so tend to be limited in their effectiveness. [Return to text]

*** We put the word “correctly” in inverted commas because the more you think about it, the harder it becomes to pin down what ‘correct’ exposure might be. If you’re certain that you know what ‘correct’ exposure means, then you should probably check through the assumptions that underpin it. [Return to text]

**** This change is why the JPEG ISO ratings used by manufacturers don’t need to coincide with clipping-based Raw ISO numbers. We’ve previously written an article about how it works. [Return to text]

Articles: Digital Photography Review (dpreview.com)

 
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Tamron introduces affordable 17-35mm F2.8-4 full-frame lens for Canon and Nikon

06 Aug

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Tamron has introduced its 17-35mm F2.8-4 Di OSD lens for full-frame Canon and Nikon bodies. This compact lens, which weighs just 460g (16.2oz), features 15 elements, including low-dispersion and glass-molded aspherical elements. Both ‘BBAR’ and fluorine coatings are employed, with the latter helping to fingerprints and moisture from adhering to this weather-sealed lens. The Optimized Silent Drive motor promises ‘excellent AF speed and drive noise reduction,’ according to Tamron.

The 17-35mm F2.8-4 Di OSD will be available in early September for Nikon FX bodies, with a Canon EF model to follow later. It will be priced at a very reasonable $ 599.

Tamron Announces the Smallest, Lightest Ultra-Wide-Angle Zoom Lens in its Class

A sophisticated balance of outstanding optics and matchless mobility

August 6, 2018, Commack, New York— Tamron announces the launch of a new ultra-wide-angle zoom lens, the 17-35mm F/2.8-4 Di OSD (Model A037), for 35mm full-frame DSLR cameras. The vision behind the Model A037 is that of an ultra-wide-angle zoom lens that has a separate concept from SP 15-30mm F/2.8 Di VC USD (Model A012), with superb image quality and easy portability. At just 3.5 in in length and 16.2 oz. in weight, it is the smallest and lightest in its class. The focal length ranges from an ultra-wide 17mm that is suitable for professional landscape photography to a standard 35mm perfect for snapshot photography. As for F-stops, the wide-angle end is a large aperture F/2.8, and at the telephoto end is a fast F/4. The Moisture-Resistant Construction and Fluorine Coating help to enhance the user’s photographic experience. For those looking to try out an ultra-wide-angle zoom lens for the first time, as well as having a lens that is easily portable, the A037 is the definitive choice. The lens will be available in Nikon mount on September 4, 2018 at a suggested retail price of $ 599. The launch of the Canon mount model will be announced at a later date.

PRODUCT HIGHLIGHTS

1. High-performance imaging for shooting vast landscapes in sharp detail
The optical construction (15 elements in 10 groups) uses four LD (Low Dispersion) lens elements to minimize axial chromatic aberrations that can occur with ultra-wide-angle zoom lenses. With two properly positioned GM (Glass Molded Aspherical) lenses, distortion and other aberration can be satisfactorily corrected as well. Being the smallest and lightest in its class and dedicated to high quality imaging, the engineers have paid particular attention to size. The lens has also been carefully designed to allow peripheral point image reproducibility and thereby facilitate a high degree of sharpness and contrast. The Minimum Object Distance (MOD) for the entire zoom range is a short 11 in., so background blurring is still possible when opening the aperture and approaching the subject close-up with this ultra-wide-angle zoom.

2. Advanced coating technology along with proprietary ghosting analysis simulation technology enabled the high level of backlighting control
Resistance to backlighting is extremely important for wide-angle lenses as they are often subjected to strong light sources. The Model A037 has a high level optical construction that repeatedly employs comprehensive ghosting analysis simulation. The BBAR (Broad-Band Anti-Reflection) Coating is highly effective in reducing reflection, allowing ghosting and flare throughout the entire zoom range to be controlled.

3. OSD (Optimized Silent Drive) enables both excellent AF speed and drive noise reduction
The AF drive system employs an OSD (Optimized Silent Drive) to ensure quiet operation. Through the innovative optimization of the system that includes AF system speed reduction gear, Tamron could greatly reduce the drive noise in comparison to conventional AF types with built-in DC motors. AF performance and speed have also been vastly improved. Thus, even if silence is required, AF can be employed without having to worry at all about noise creation. The Model A037 can provide superlative AF precision for exact focus even when shooting moving objects, as well as outstanding trackability.

4. Circular aperture to produce a smooth-edged bokeh
A 7-blade diaphragm is configured to retain a smooth, circular-shaped aperture opening even when stopped down by two stops from the wide-open aperture. This produces a smooth-edged bokeh in background light spots and avoids rugged aperture geometry.

5. Moisture-Resistant Construction
Seals are located at the lens mount area and other critical locations to prevent infiltration of moisture and/or rain drops to provide Moisture-Resistant Construction. This feature affords an additional layer of protection when shooting outdoors under adverse weather conditions.

6. Fluorine Coating
The surface of the front element is coated with a protective fluorine compound that has excellent water- and oil-repellant qualities. The front surface is easier to wipe clean and is less vulnerable to the damaging effects of dirt, dust, moisture or oily fingerprints, allowing for much easier maintenance. The coating also provides an enhanced level of durability, and will sustain its effectiveness for years.

7. Compatible with TAMRON TAP-in ConsoleTM, an optional accessory
The new A037 is compatible with the optional TAMRON TAP-in Console, an optional accessory product that provides a USB connection to a personal computer, enabling users to easily update a lens’s firmware as well as customize features including fine adjustments to the AF.

Tamron 17-35mm F2.8-4 Di OSD specifications

Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 17–35 mm
Image stabilization No
Lens mount Canon EF, Nikon F (FX)
Aperture
Maximum aperture F2.8–4
Minimum aperture F16–22
Aperture ring No
Number of diaphragm blades 7
Optics
Elements 15
Groups 10
Special elements / coatings LD/GM elements, BBAR/fluorine coatings
Focus
Minimum focus 0.28 m (11.02)
Maximum magnification 0.2×
Autofocus Yes
Motor type Micromotor
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Physical
Weight 460 g (1.01 lb)
Diameter 84 mm (3.31)
Length 93 mm (3.66)
Sealing Yes
Colour Black
Zoom method Rotary (extending)
Power zoom No
Filter thread 77 mm
Hood supplied Yes
Tripod collar No

Articles: Digital Photography Review (dpreview.com)

 
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How to do Extreme Close-Up Photography with a Macro Bellows

06 Aug

Macro photography is technically designated as the ability to photograph subjects at magnifications equal to or greater than life size. This means that if the subject’s projection size on the camera’s sensor is the same size as the subject itself, then you have life-size magnification, also known as a 1:1 ratio.

Even though many lenses state they have macro functions, a true macro lens must be able to do 1:1 or greater ratio magnification. These specialized lenses allow for a closer focus distance and have great image quality, but they tend to be expensive.

There are cheaper ways to create macro images though. Reverse rings, extension tubes and close up lenses are good options, but my very favorite one is the macro bellows. In this article, I will show you how to use macro bellows to achieve great extreme macro images the easy way.

The Gear

I am very proud to be the lucky owner of one of the very rare Spiratone Kenlock tilt-shift macro bellows sold by Hama in the 80s.

This is probably the rarest and the fullest featured bellows out there, designed originally for 35mm SLR cameras.
In fact, it looks like a scaled down monorail camera with the ability to be adapted to an SLR body.

macro bellow - How to do Extreme Close-Up Photography with a Macro Bellows

This is an amazing piece of gear, despite the fact it was built in the 80s for film cameras, that remains perfectly actual and can be used with modern digital cameras.

It has removable adapters for different brands of lenses and camera bodies.
In this particular setup, I’m using an M42 mount 50mm Tessar Carl Zeiss Jena DDR 2.8 lens and full frame sensor Canon 5D MKIII.

Because this equipment was made for old cameras with flat fronts without a hand grip like the modern digital ones, I am also using a Canon 25mm Extension Tube between the camera body and the bellows to give me some space for the mount.

This is obviously an expensive setup, but you can find many inexpensive simple function macro bellows that can be used with your existing camera and lenses.

Magnification

The magnification ratio is simply the relationship between the size of the (in-focus) subject’s projection on the imaging sensor and the subject’s size in reality.

Imagine a subject like a bug that is 1cm long in real life;

  • If its projection on the camera’s sensor is also 1cm then you have a 1:1 ratio.
  • You have a 2:1 ration if its projection on the camera’s sensor is 2cm.
  • And so forth…

This magnification is achieved by the extension of the bellows operated by two knobs that allow you to move the front and rear elements.

macro bellow on a Canon body - How to do Extreme Close-Up Photography with a Macro Bellows

Retracted, the macro bellows creates a smaller magnification.

extended - How to do Extreme Close-Up Photography with a Macro Bellows

Extended, the macro bellows makes a greater magnification.

There is some really complex optics math behind this magnification process that I am not able to calculate myself. So I used an online calculator to try to understand what I could achieve with this setup and these are the results I got.

magnification - How to do Extreme Close-Up Photography with a Macro Bellows

I was able to find out that the combination of this particular lens with this macro bellows allows me to get a magnification of 3:1 with the bellows at its minimum extension and 5:1 at its maximum extension.

Focusing

The process of focusing is done by moving the whole set constituted by the lens, macro bellows and camera body along a rail, making it closer or further to the subject.

Although it might sound simple, it is, in fact, a very hard process due to the scale of the image we are composing. Any minimal movement throws everything out of focus. So the use of a sturdy tripod and making sure the subject doesn’t move are critical factors to minimize error and allow precise control.

The focusing process is usually done with the lens at its widest aperture to allow enough light in and then it is changed to the chosen aperture for the image capture.

lens - How to do Extreme Close-Up Photography with a Macro Bellows

This aperture open/close process is done automatically in modern cameras and lenses, but with most bellows, it is not possible to have the communication between the camera and the lens due to the lack of electronic contacts, so it has to be done manually.

Sometimes this simple act of changing the lens aperture is enough to change the focus plane, making it a really hard process to control.

Depth of Field

This is for sure the toughest factor to control in macro photography. The depth of field is extremely reduced at this magnification even when photographing with the lens’s narrowest aperture.

A tilt and shift bellows like the one I am using helps to minimize the depth of field issues with some focal plane movements. But many macro photographers choose to use a much more complex technique called focus stacking. The process consists of digitally merging multiple images taken at different focus distances, resulting in a greater depth of field in the final image.

Getting the Picture

Now we’ve gone through the basic technicalities it is time to put everything in action.

For this setup, I will be photographing a dead house fly I found near my living room window. The fact that is not moving makes it a perfect case study to use in a macro stage.

To allow me full control of the equipment, I prepared a tethered setup with the camera connected to a computer, being operated by its native capture software. This way I can avoid touching the camera to release the shutter.

For lighting, I will use two speedlights controlled by a transmitter connected to the camera’s hotshoe that also allows power control through software.

setup for macro - How to do Extreme Close-Up Photography with a Macro Bellows

The intention was to create some light and shadow volume on the fly and separate it from the dark background. Here is the result:

house fly - How to do Extreme Close-Up Photography with a Macro Bellows

Illuminating such a small subject is a very difficult task as the smallest changes produce totally different results. Such is the case in this next image with softer light where I used only one flash and one reflector, instead of two speedlights.

house fly - How to do Extreme Close-Up Photography with a Macro Bellows

To me, it is really fascinating to see a fly at this magnification with all the small details. It is a creepy experience for sure.

This was just with the macro bellows retracted. For the full magnification experience, I will now extend the bellows all the way and experiment greater magnification.

This time I will focus on the fly’s head and the lighting will be done with an LED panel and a small reflector.

behind the scenes shot - How to do Extreme Close-Up Photography with a Macro Bellows

Here is the result:

fly head extreme close-up - How to do Extreme Close-Up Photography with a Macro Bellows

Now we’ve achieved extreme macro with fantastic detail.

Conclusion

It is amazing how an old lens and macro bellows can produce such a high-quality image.

Give this technique a try, I’m sure you will have a lot of fun and make some great images along the way! Please share your macro images with a bellows in the comment area below.

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6 Tips To Help You Improve Your Documentary Photos

06 Aug

Documentary photos can have a powerful impact on viewers. They can notify people of an issue that they wouldn’t otherwise know about. Documentary images can help focus attention on different cultures that are rarely seen by other people. They can inspire, tell stories, and above all they can take the viewer on a journey that they may not go on themselves.

It’s important to remember that documentary photos differ to the conventional travel photographs. Yes they can overlap sometimes but documentary photos need to tell a story first and foremost. Here are 6 tips to help you improve your documentary photos.

woman burning leaves - Documentary Photos

1. Tell a Story

Before even a single photo has been taken, you need to decide on the story that you want to tell.

Are you trying to capture a specific event or ritual? Do you want to shed light on an environmental issue? Or do you want to document a different aspect of an already well-photographed location by focusing on say the grittier side of it away from the glitz and glamour?

Whatever the story is, your first action should be to write it down in a sentence. That will become your brief and with every photo you take, you should be looking to ensure it meets that requirement.

Not only will this help you to begin to build a shot list of potential things to photograph, but it will also ensure that you are always focused on the subjects you are photographing.

man cooking over a fire - Documentary Photos

2. Brainstorm Shots

Once you have an idea of what your story is about, you can begin to create a shot list based on that headline. So for example, if you want to photograph a traditional festival, some of the things that might be on your shot list could be things like:

  • The performers getting ready
  • Close up of the costumes
  • Head and shoulder portraits of the performers and audience
  • Action shots of the festival in action (for example dancing, singing, etc.)
  • Wide-angle shots capturing the entire event (for example to show the scale)
  • The venue (if it is in a place of special interest)
  • Any traditional foods or drinks served

This will help you plan your shoot and make sure that you cover different aspects of the story you are trying to tell.

Clearly, while you are there you may find that this list changes and other things get added or crossed off. The key is to make sure you capture a variety of shots based on your initial brief.

two men in red costumes - Documentary Photos

3. Planning and Setting Up

It’s not by accident that documentary photographers seem to be in the right place at the right time to capture stunning shots. This is not by accident or luck. There has likely been a lot of planning and research that’s gone into the shoot to ensure that they can maximize their time and capture the best photos. So, do your research before you start shooting.

For example, if you are photographing a parade get to that location a day before and work out the best place to be. Ask the locals if they know anything that might help you. Or if you are planning to photograph a remote tribe, contact local guides that can help you get there and also translate if needed.

Preparation is a huge part of documentary photography and you should spend time making sure you are fully prepared before you start.

parade with a religious float - Documentary Photos

4. Be Ready to Shoot

Once your research is done and you have planned everything, it’s time to execute and capture the photos. There is no magic formula for choosing your camera settings when taking documentary photos, as every scenario is different.

But you can prepare for it in advance by understanding your camera and predicting the scenario that you might face. For example, if you are photographing locals in their home where you are likely to encounter low light conditions, you can safely assume that you will need to raise your ISO level to be able to capture the shot. So, practice at home so that not only can work quickly but also you know your camera’s capabilities at high ISO settings.

Or if you are going to be photographing a dance festival where there will be fast movement practice being able to focus accurately and capture sharp photos. Trying to predict the scenario you are working in will often help ensure that you don’t panic when you are actually there and taking photos for real.

demonstration by doctors and nurses - Documentary Photos

5. Story Over Aesthetics

Arguably this is where documentary photography and travel photography differ.

While often in travel photography you want to try and tell a story, you also need to convey that in a beautiful and aspiring way that will make people want to travel to that destination. But documentary photography is about telling the story first and foremost and if the aesthetics have to suffer to capture it, then so be it.

So, don’t be afraid to break away from convention if it means you will capture the shot that will help tell that story.

protestors in the park - Documentary Photos

6. Edit Ruthlessly

Once you have captured all of the images that you wanted to get, then arguably the really hard work starts.

You need to edit and select the best of those images with which to showcase and tell the entire story. Flick through magazines and you will see that generally, a photo essay is anywhere between  6-10 photos maximum. You need to be ruthless in your culling and only feature photos that contribute to the overall story.

Try to detach yourself and think like a photo editor, not a photographer. The end result should be a collection of photos that are strong enough individually but also work as a collective.

Lightroom browser of images - Documentary Photos

Conclusion

Well done documentary photos can be mesmerizing to view and they tell an incredibly powerful story. It could be argued that they are often more powerful than the words that go along with them. Even the simplest stories can be phenomenal in a series of photos.

But capturing a set of photos that are different and yet can work together as a series and also tell a story is incredibly difficult. Follow these six simple tips and you will be on your way to capturing amazing documentary photos.

Now it’s your turn. Share your amazing documentary photos below.

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