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How Understanding Your Learning Style Can Improve Your Photography

28 Apr

Lady in the blue hat walked into my shot and I chose to include her to emphasize the size of the trees and the distance of the park

Introduction

It’s an exciting time, going to the camera shop, discussing options, making the final choice, parting with a reasonable sum of money. Finally the anticipation of getting home and unpacking your shiny new camera gear. Suddenly all the dials and buttons seem so much more confusing, the manual may not explain things enough. The menus are complicated so it’s easiest to switch over to Auto mode and leave it there while you try to figure it out.

Six months later what’s happening with your camera? Are you still using it? Is it still on Auto or have you tried other modes? Did you decide it was too hard and the camera is gathering dust in a cupboard somewhere (this is more common than you may realize)?

Toi Toi silhouetted by sunset – an experiment in backlighting.

Learning to learn is a skill that also needs to be developed

Learning a new skill is difficult. It takes commitment to put time and effort into the learning process. It requires you to admit you are at the beginner stage, where you will struggle to produce the quality of work that you want. Learning is a process which requires you to put some thought and structure into working out a process that is right for you. Different people learn in different ways, so it’s helpful for you to understand how you prefer to learn. Why?

  •  Value: If you are spending money on a course or a workshop, you want to make sure you are going to get the best value out of it.
  • Time: Learning takes time, so when choosing an option, knowing your preferences helps maximize your benefits.
  • Fun: It’s more fun if you are learning in a way that you enjoy.
  • Return: You are more likely to invest the time and effort into something that makes sense to you and shows a return on your investment.
  • Pain avoidance: No one enjoys doing something painful or difficult for the sake of it.
  • Find the best sources: Information is everywhere but varies in quality – you need to sift the good from the not so good.

Narrow depth of field, focused on the sparrow using a 70-200mm lens at a distance.

Learning styles

While there are many theories on learning styles, there are three basic types that apply to most people:

  1. Auditory learners – learn by hearing and listening – you may prefer to read things out loud as you store information by the way it sounds to you.
  2. Visual learners – like to see what you are learning as either pictures or words – you understand and remember things that you see.  May use flash cards or similar for studying.
  3. Tactile learners – you learn best by being hands on – touching things, taking them apart, twiddling with the settings (probably not listening to a speaker while you are doing it).

Of course, most people are a combination of all of these styles but you will likely have a preference for one or two. Understanding them can help you make choices around developing your own personal approach to learning photography. There are many options. Some don’t need lots of money but others might cost quite a lot, and it’s difficult to know in advance if it will be worth it.

Swan Yoga – if you take time to sit and be with your subject, all sorts of interesting things might happen

Opportunities for learning photography

  1. Books, magazines and other printed material – can be purchased, downloaded in digital format or borrowed from libraries.
  2. Online tutorials – short tutorials on a specific subject.
  3. Video courses – can be watched for free online or many options can be purchased.
  4. Short workshops (a day or less) – attend in person – usually listening to a speaker plus opportunities for questions and hands-on experimenting.
  5. Long workshops (several days) – attend in person – some travel may be involved, often with a specific focus, planned talks plus time for independent shooting, discussion sessions, editing sessions.
  6. One-on-one tutoring – customized service offered by some professionals where you can have a training session targeted to a particular subject.
  7. Small groups – similar to one-on-one tutoring but with 3-5 students.
  8. Camera clubs – often organize workshops or field trips for members with the aim of learning for everyone, often a safe place to ask questions.
  9. Photography forums – online forums where photographers gather to post images and share information, might be general or around a specific subject (landscapes or birds).
  10. Online courses – structured learning courses hosted online aimed at a range of capabilities from beginner to advanced (rather than random videos) on specific topics.
  11. Formal education – University Degree courses in photography and other tertiary institutes are available.
  12. Apprentice or intern – offering to work for free assisting a professional and learning on the job.
  13. Mentor – someone experienced who is happy to answer questions, go for a bit of a photo walk, give you tips and advice (be nice and buy them lunch).
  14. Organize your own DIY photography retreat focused on specific techniques.
  15. PRACTICE!! – take your camera out and use it as often as you can.

Learning the hard way about photographing a subject in bright sunlight – washed out colors and harsh shadows as the result.

How to choose?

There are many choices listed above and even within just one of those options, there are many more choices – thousands of books available, tons of YouTube videos, loads of courses and workshop options. That workshop in Iceland might sound super exciting but are you okay with learning outside in some possibly dodgy weather, where you have to drive and hike for hours? Maybe you have to camp and will be tired and grumpy from getting up early in the morning to get the sunrise.

Would you prefer a structured classroom environment, where you can interact with students and the teacher for questions and discussion? Does it suit you better to watch videos at home after work, when the kids are in bed and you can pause them to write notes, or play the same step over and over until you understand it?

Practicing isolating a subject from the background and blurring with bokeh effect.

We are all busy people, with limited spare time to dedicate to our hobbies and passions. So it makes sense to maximize the value of your time spent learning. Understand what your personal preferences are and then take the next steps.

Learning factors

  •  If you like to read do you need to buy expensive printed books or magazines – does your library have them? Can you get them cheaper in digital format? Can you borrow them?
  • The voice of the person presenting a video course is important – do they speak in a language or an accent you can understand? Do they present in a style that you like? Are they to the point or do they waffle all over the place and take twice as long to get the point across? Is the video a “talking head” or are they demonstrating the subject matter in some way? Is it something you can listen to for hours without getting annoyed or a headache?
  • When attending a workshop is there time allocated for questions and discussion? What reviews do the workshop speakers get from other attendees?
  • Are there sample videos available for you to hear/see speakers present so you can get a feel for their delivery style and approach to the subject matter?
  • Do you get frustrated in a group of mixed ability? If you are new and need a lot of help do you feel uncomfortable asking questions, or if you are more advanced do you feel held back when beginners are present?
  • Is the subject matter relevant to what you want to achieve? Do you have a chance to clarify goals and outcomes with a workshop presenter or speaker in advance?
  • Do you have the time or money for more formal education? Is it really necessary or a nice to have in the overall scheme of things?
  • Does being in a group of strangers bother you or inspire you?
  • How much time or money do you have available?

All these factors can have an affect on how well you will learn. It would be a real shame to spend several thousand dollars on a workshop in an exotic location to find that you get very little out of it. Or you might discover the most helpful channel on YouTube that really resonates with you.

Using flash on a dull overcast day seemed like a good idea until you see the bright highlights in the final image

How do we learn?

Research tells us that the best way to learn is via a technique called “distributed practice” which is where you study in an intense burst and then take a break, and keep repeating this cycle. Photography lends itself well to this style as it is often taken up as a hobby to be done in spare time. So allocating a weekend or an evening when you have time to focus on a particular style or technique, and then having a break is actually okay.

Applying some variety to your learning process improves outcomes as well. You could apply this easily with photography by changing the subject matter you are shooting. Or take your camera into different situations. Moving between similar topics can help you see connections or understand concepts in a different way. Bear in mind that getting out of your comfort zone is an important learning opportunity too, so be prepared to push your boundaries as well.

NZ Native Tui – shot in an enclosure at a nature park

Teaching someone else also helps you retain knowledge more effectively too. Writing things down after a learning session is also a recommended way to improve knowledge retention. Perhaps start a photography blog and share your learning journey with others? Keeping track of your achievements is important to give you a sense of scale (i.e. how far you have come from being a complete beginner) and it also motivates you to move forward, knowing that you have mastered some learning steps.

Learning to see from a different viewpoint is important as a photographer, as is taking chances and experimenting – this is a chair

Summary

Ultimately everyone learns on their own but the learning doesn’t truly happen until there is a link between action and reflection (i.e. what was I trying to achieve and did I manage it?) You must be prepared to experiment, and with experimentation there comes failure.

No one likes to fail as there is a lot of ego tied up in success. So to truly learn you must suspend your ego, embrace failure and admit to yourself that you can improve. These days with digital it’s more or less free to shoot as many frames as you want. So other than the cost of time, it’s never been more cost effective to get into photography (after the initial hardware purchase, of course).

Both the foreground and background were important in this image, composition was a challenge

Spend some time on this

Learning also requires you to move out of your comfort zone and do different things, try new styles. It requires you to actively think about what you are doing, what outcomes you are trying to achieve, and analyzing how and why you did (or didn’t) achieve them. Yes, you can just go out and randomly shoot and put no more work into it than that. However, any improvement is likely to be slow. It’s difficult to produce work of a consistent quality if you don’t understand how you got there in the first place.

Take a bit of time to understand your best learning style, look at the available options, try a few out. Maybe ask for recommendations from other beginners. Accept that it’s okay to say, “I’m new at this and I need some help.” In general, many people are happy to offer advice, after all, they were once new at it too.

Playing with an old vintage lens with manual focus and odd imperfections that did strange things around the edges was a fun afternoon field trip.

Conclusion

Investing in your own personal learning process is important. Learning a new skill can happen via osmosis but improvement will be slow and the process is frustrating for many. So much so that they may give up completely as it was too hard. Having a considered structured approach gives you an achievable goal to aim for – it’s even better if you break it down into smaller milestones so you get some sense of accomplishment at each step.

Learning a new skill takes time, so why not ensure that your time is well spent in the learning you are doing. Often there is a cost involved, so investing time in understanding a good learning choice for yourself is also important. Keep in mind that your learning journey will never be finished, don’t get lazy or complacent once you reach a certain level of mastery, there will always be something new to try.

Most of all, it should be fun!

Long exposure as the tide was going out after sunset.

(Note:  All the images provided are ones taken by the author on her learning journey which started 10 years ago and is only now getting to the really fun stuff!)

The post How Understanding Your Learning Style Can Improve Your Photography by Stacey Hill appeared first on Digital Photography School.


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7 Tips to Get Professional Results on Your Next Outdoor Fashion Photography Shoot

28 Apr

Many photographers like to take portraits or fashion outdoors, as it does not require any huge investment such as owning a studio space and lights. Though it might look like an easy task, there are few things that you need to be aware of before and while doing fashion photography outdoors.

Outdoor fashion photography 01

You might have a good-looking model and expensive camera and lens, but you still may not be able to capture professional results. You need not worry, as the tips mentioned below would help you drastically improve your results during your next outdoor fashion photo shoot.

1. Know the location well

The location is one of the first things you should finalize while planning an outdoor photo shoot. Scout the location at least once before the day of the shoot to ensure that you do not waste time on the final day. It is even better if you take some photos of the places that you feel could be perfect for your images, and simply browse through them on the day of your shoot.

If you follow these practices for your next outdoor photo shoot, you would surely save a lot of time as you would have already pre-planned and pre-visualized your frames.

Outdoor fashion photography 4

2. Choose the right time of the day

Once you have finalized the location for the fashion photo shoot, you need to make sure that you choose the right time of the day to captured desired results. There is no fixed time of day that you should be shooting, it all depends on the weather conditions and how you want to use the ambient light.

Try and avoid the time when the sun is at its peak as it would create hard shadows on your model’s face. The safest time to shoot outdoors is either just after the sunrise or a couple of hours before the sunset. During a cloudy day, the light would be soft and there would be less contrast in the background (depending on the backdrop) but it all depends on your choice. I you wish to capture photos with diffused light, you can go ahead and shoot during a cloudy day.

Outdoor fashion photography 5b

3. Choose the right background

It is important to spend some time thinking about the background in your photo. You might see a beautiful location and simply pick up your camera and get started taking photos, without even visualizing whether the background will make or break your photo.

You need to think, visualize, and then frame accordingly, making sure that the colors in the background and the colors of the model’s clothes are not getting merged. The colors in the background should not overpower the model, which is the main highlight of your photo.

Outdoor fashion photography 05

4. Try mixing ambient and flash light

Go out of your comfort zone and do something different by using both ambient light as well as flash. This gives an extra dimension to your photos. You can use the sun as the key light falling on the subject and place the flash at the back of the model to give a rim light effect on their face or hair. Or you can use the sun light as the rim light or the kicker and the flash as the key light source, this allows you to control the shadows on the face.

Outdoor fashion photography 02

5. Make the model comfortable: Talk and Compliment

Expressions and body language of the model are key ingredients in fashion photography. You need to make sure that your model is comfortable shooting outdoors, as sometimes there may be other people surrounding you as you work. If it’s possibility that you are shooting with a model who is not professional or has just started his/her career, you as a photographer have to make your model feel comfortable.

You can do so by constantly interacting with your model, compliment them while he/she is posing and make them feel confident. You need to tell your model whether they are posing right, you must direct and get the best out of the model in the friendliest way possible.

Outdoor fashion photography 08 Outdoor fashion photography 09

6. Get the best possible exposure in camera

Never shoot with the thought that the exposure can easily be adjusted during post-processing. You can adjust the exposure later during the post-processing stage but you might end up losing details in your photo, depending on the camera that you are using. If you have taken a photo which is 2-3 stops over/under exposed, adjusting the exposure during processing will not give details as good as a correct exposure would.

If you adjust the exposure of an underexposed photo, remember that you may also be introducing noise. Similarly, if you adjust the exposure of an overexposed photo then you will not be able to retain as much details in the highlights as you would have in a correctly exposed photo.

To ensure that you are capturing correctly exposed photos during the shoot, you should refer to the histogram in your camera.

7. Shoot in RAW format

Never be afraid of shooting in RAW. It may take up space on your memory card but it is really for your benefit. Shooting fashion in RAW format allows you to capture much more details as compared to the JPEG format, which helps in retouching the image during post-processing.

Outdoor fashion photography 6

Another benefit of RAW format is that it contains the maximum dynamic range possible from your camera and can be used to recover an overexposed or an underexposed image during the processing, as discussed in the previous point. You can also edit the same RAW file multiple times, without losing any details. Whereas, a JPEG file loses its quality every time you edit the image.

Conclusion

Being a photographer, you need to plan and stage the photo shoot so that you get the best possible results out of your model. From choosing the apt location to scheduling the shoot at the right time of the day, it is your job to get the things planned in advance to save time and energy. Try and get out of your comfort zone by adding more light sources such as the flash lights or strobes, this will help give you more professional results.

You might be using the best possible camera and lens, but if you are not able to get good expressions and body language, your photos will not stand out. So, the next time you plan an outdoor fashion photo shoot, do keep these tips in mind to achieve the best possible results.

Share your fashion photography tips and images below.

The post 7 Tips to Get Professional Results on Your Next Outdoor Fashion Photography Shoot by Kunal Malhotra appeared first on Digital Photography School.


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How to Find the Best Locations for Landscape Photography

28 Apr

Have you ever looked at the work of a good landscape photographer and wondered how they found such beautiful places to shoot? Or would you like to travel to a new place to do landscape photography but are unsure how to find the best locations?

You are not alone. It takes work to find the best locations and most landscape photographers go through this process. The tips in this article will help you.

Landscape photography locations

1. Look at the work of other photographers

The first step to finding great places to take landscape photos is to look at the work of other photographers. There are so many great photographers on 500px, Instagram, and Flickr that it should be relatively easy to find some who have worked in the areas that you have in mind.

Looking at the work of other photographers helps you in two ways:

  1. It helps you find the most iconic, popular, and spectacular places to take photos.
  2. It gives you an idea of the potential of a place for the type of landscape photography you have in mind (for example, perhaps you are looking for somewhere to do long exposure photography, or perhaps you like to work in black and white).

It’s a good idea to look for the work of a local photographer. Locals have a huge advantage over visitors. They know the area better and are familiar with photogenic but relatively unknown locations. They may have lived there for years and built up a substantial body of work. Their portfolios contain photos taken at different times of the year. All these things help build a picture in your mind of the location and its potential for landscape photography.

I went through this process when I traveled to northern Spain last year. Looking at the work of local photographers helped me find locations like this.

Landscape photography locations

2. Go out and explore

Once you’re on location, curiosity is the key to finding interesting things and places to photograph. If you’ve done your research you already know the most iconic and popular locations – they are probably what attracted you in the first place.

But what about other locations? The not so well known ones? You can only find those by exploring. It’s only the desire to see what lies around the next corner, or where a lonely road takes you that allows you to find these places.

I made this landscape photo while walking along footpaths near my parent’s house. This is not a well-known area and you’ll struggle to find other photos taken here. Yet it has a lot of potential and I was able to make photos like this.

Landscape photography locations

3. Make a bucket list of great locations

As you look at other photographer’s work and read about landscape photography on websites like Digital Photography School you are bound to come across interesting places and locations.

My suggestion is that you set up a spreadsheet or word processing file that contains a list of all the places you might like to visit one day. The world’s a big place and there are a lot of photos to look at online. If you don’t make a note when you find something interesting you may forget it and never find it again.

As time goes by you can go back to your list and research the places that seem most interesting to you. For example, let’s say you have the city of Venice on your bucket list. Whenever you find an interesting photo or a good article about photography in Venice, add it to your file. Then, when the time comes that you finally get to go, you’ve already done most of the research required and have a good idea of what you’d like to achieve.

Make your list

Another approach is to write down a list of the places you’d like to visit. Don’t censor the list – they are ideas, not certainties. Then you can research them and make notes as you find out more information. This gives you time to think about how much time you need on location, and how to fit that into your schedule. You can think about time and money and gradually build your plans.

Places on my bucket list include the mountains of Torre del Paines National Park in Patagonia, the Italian Dolomites, and the desert landscapes in the southwestern United States. How about you?

The Picos de Europa in northern Spain, where this photo was taken, were also on my list.

Landscape photography locations

4. Find your personal vision

One of the dangers of looking at the work of other photographers is that it creates a desire to take photos of the same places as other photographers. There’s nothing wrong with capturing photos of iconic locations, and sometimes it’s just an itch that has to be scratched before going on and finding the lesser known places. But the danger is that you forget to look elsewhere for good places to take photos.

Photographer Cole Thompson has an interesting idea he calls photographic abstinence. He never looks at the work of other photographers as he wants to find his own locations and his own way of seeing the landscape. There’s a lot of merit to this idea and it’s something you might like to try for yourself. It’s the opposite approach to the advice given at the beginning of this article, and it may work well for you.

Personalize it

Last year I visited my family in Norfolk, England. Look up the work of local photographers and you’ll find lots of photos of sand dunes, wide beaches, and beach huts – the typical landscape of the local area.

I stayed away from those places and walked around with my camera through the landscapes around the village where my family left. It wasn’t intentional to start, but as I did so I found that I was building a body of work photographing the elements of the landscape that were personal to me. I was ignoring the iconic locations, the ones you see photos of for sale in local galleries, and photographing the landscape in a much more personal and interpretive way.

I ended up taking photos like the one above, and this one.

Landscape photography locations

Wherever you go to take landscape photos, and no matter how well known and iconic some of the locations there are, I encourage you to look for and find your own personal vision.

Conclusion

These ideas are just some of the ways that you can find interesting landscapes to photograph. Do you have any more? I’d love to hear them – please let me know in the comments.


Andrew is the author of the ebook The Black & White Landscape.

The post How to Find the Best Locations for Landscape Photography by Andrew S. Gibson appeared first on Digital Photography School.


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Harbortronics’ DigiSnap Pro is designed for long-term time-lapse photography

28 Apr

Harbortronics has announced DigiSnap Pro, its new low-power complete system controller for long-term time-lapse photography. The controller supports both networked and autonomous operation and can be used with the company’s Cyclapse Pro, a time-lapse photography system that includes a camera housing and solar panel for use in locations where AC power is unavailable. 

According to Harbortronics, the DigiSnap Pro controller can be used with ‘practically any modern high quality digital camera,’ which is said to include medium format models, mirrorless, and full-frame SLRs. When used with the Cyclapse Classic systems, the company says DigiSnap Pro replaces both the Cyclapse Power Module and the DigiSnap 2700, and that all the cables support the DigiSnap Pro. The new controller can be remotely configured using the company’s Android app and Bluetooth LE, and a network remote configuration option is being developed. 

DigiSnap Pro itself offers all the functions one would typically need for long-term time-lapse photography, according to the company, including power management, automated image transfer and local data storage, and monitoring the system for issues. Status emails are sent when a problem is detected, including issues with the housing door, camera failure, low battery, temperature issues, and more.

Articles: Digital Photography Review (dpreview.com)

 
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Post-Processing: The Final Phase of Studio Product Photography

22 Apr

For the final installation of this series we will be exploring the third and final cog to the product photography studio. We will discuss the system that will allow you to catalog and edit your images to get them web ready in a hurry. For this we are going to deploy Lightroom. I am sure that there are other programs that can be inserted here since we are only doing some minor adjustments and renaming. If you have Lightroom fire it up and follow along.

SHOOTING TETHERED

I like to shoot tethered whenever I work in studio for a few reasons. The first being that I can see the image I just shot on a large monitor. I can zoom in and see details that are difficult to get to on the back of a camera screen. The second reason is that I have all the shots automatically sorted into the correct folders.

SETUP THE TETHER

To get started with tethering in Lightroom go to File > Tethered Capture > Start Tether Capture.

Studio product photography processing 01

From there you will enter the tethered settings. I always put the product name as the session name, in this case “Stan Lee” since I am shooting action figures. Next is the naming, I let the filename remain the part number (or product name) but add a number sequence to the end. You can do whatever works for you to differentiate the shots.

Next choose the location where you want Lightroom to store your images. In this case I am going to have all of the shots go into the folder for my client “XYZ” so I make a folder called “XYZ Product Images”. Lastly add the metadata information, in this case my contact and copyright information. Then hit OK.

Studio product photography processing 02

Next you will get a little display that you can position anywhere on your Lightroom screen, I like to put it up at the top. It shows that the camera is connected.

*TIP* If nothing is showing up check that you camera is turned on and that the cable is connected. If that fails, reboot your camera, reboot Lightroom and remove and reconnect the cable. This usually clears up 99% of tether issues. Below the camera make is the part number and the rest of your camera settings.

Studio product photography processing 03

(You can read all about my camera setting on my other DPS article here; Tips for Fast and Effective Studio Product Photography. Now that you have your tether capture all setup you can begin taking photos.

Studio product photography processing 04

THE PHOTO SHOOT

For this shoot my client wants two angles of this Stan Lee action figure. So I use our basic lighting setup (discussed in this article; Equipment Tips for Quick and Efficient Studio Product Photography) and take the first shot.

Let’s take a look at this shot in Lightroom Develop module. Hit the D key to enter the develop module, or click Develop at the top of Lightroom. Make sure your clipping detection is turned on by hitting the J key.

Studio product photography processing 05

What I am trying to accomplish here is to blow out the background. If it were blown out we would be showing red (clipped) in Lightroom. We aren’t seeing that, which means I need to decrease the shutter speed to let in more light. Let’s try 1/3 of a stop for a bit more additional light and shoot again.

Studio product photography processing 06

Set the exposure

Now we are cooking with fire. All of our subsequent shots will be dialled in making less work. It is not necessary to have the entire background clipping. In fact, for some subjects it will likely mean you have lost a ton of contrast in the image. This amount of red is okay for this subject.

Keep in mind white and reflective products will become overexposed must sooner than darker ones, so set your exposure accordingly. Even if you have zero red on the background it is okay, there Lightroom tools that will make quick work of the background. But remember that every bit of extra work you do later in Lightroom costs time so try to get it right in camera.

*TIP* With this product photography studio setup it is so easy to get many product angles in such a short amount of time. It’s always wiser to shoot extra angles now rather than have a client ask for others later. Now that we have four angles of Stan Lee let’s switch to the next product.

Change the product

Studio product photography processing 07

Click the little gear icon on the tether tool which will bring up the Tether Capture Settings and you can change your session name to the new product number, in this case, “Wookiee”. Hit the tab key twice, because, as you can see the sequence number is retained from the last shot and it reads shot number 5. Hit the number 1 key and then hit OK or Enter.

You are now setup to take the next shot and all of these new images will go into the “Wookie” folder but stay in the main project for XYZ Products.

Studio product photography processing 08

Just as before, we will take four angles for the client to make sure we have enough.

Studio product photography processing 09

If we expand the navigator pane you can see that we have two product folders, “Stan Lee” and “Wookie” and there are four images in each. We can view all the images by selecting the “XYZ Product Images” folder. We are now done with the tether tool so you can close it.

Studio product photography processing 10

THE EDIT

Typically this is where I will grab all the images from the shoot and export them as small files for client proofs. The client chooses the images they want and then we edit those. Let’s pretend they’ve already given us their list and begin the edits.

Make the background white

Hit the D key to enter the develop module, or click Develop at the top of Lightroom. The first thing I like to do is make sure that the background is blown out (pure white with no detail). To do this, make sure your clipping highlight feature is turned on, (hit J on the keyboard if it’s not).

Since our shot could use a little help at the bottom we will increase the whites with an adjustment brush. Hit the K key and with a new brush enter +1.00 on exposure and +40 on whites (I have saved this preset as its own brush called “blowout”). Turn on Auto Mask, it does a good job of keeping these settings from inadvertently bleeding onto the subject if you get a little too close. Now simply paint the white background and it will clip the whites. If it doesn’t, finish painting, then add a new brush and paint again.

Studio product photograph processing 11

Global adjustments

Hit your K key once more to return to image adjustments. Turn off clipping highlights by hitting the J key. This helps you to focus on the subject during the adjustments. For this image I added +20 contrast, -30 blacks, +30 clarity and +20 saturation.

You can easily sync these settings to the rest of the product image by bringing up the filmstrip at the bottom of Lightroom. If you don’t see your filmstrip, click the little up arrow at the bottom of the develop module. Now select your first image, hold you Shift key and click the last image. Click the Sync button in Lightroom to apply the settings to all the selected images.

Studio product processing 12

We will select Basic Tone, Clarity and Color to sync just those effects to the rest of the images.

Studio product processing 13

Click Synchronize and the rest of the products will get the same adjustments. Keep in mind you still need to go back to each image and ensure their backgrounds are properly clipped as well. You can use the Adjustment Brush feature as before. Our Stan Lee products are now on completely white backgrounds and they look great.

Alternate method

For the Wookie products I will show you a slightly faster albeit sometimes not as accurate method. Enter the Develop module, and instead of using an Adjustment Brush let’s see if the Whites slider will clip the background. For this image I added +93 to the Whites slider.

Studio product processing 14

Worked like a charm. Now let’s finish giving this little guy some additional love. I added +20 contrast, -30 blacks, and +20 clarity. Additionally I added some sharpness found in the Detail pane. This time, when we select all of our Wookie products and synchronize I will click the Check All button.

Studio product processing 15

When I do a quick look at the rest of my Wookie products they all look great. These are ready to export and it took me less than two minutes to edit all four images.

Studio product processing 16

Studio product processing 17

Studio product processing 18

Conclusion

Assuming you already have a calibrated monitor, the only other thing you might want to do is add a custom color profile for you camera to Lightroom. This will ensure that your product colors remain true, which is very important. You can see how to do that with this dPS article; How to Use the X-Rite ColorChecker Passport to Obtain Perfect Color.

This concludes my three part series for studio photography and how to inject some speed into it. I hope you enjoyed it. Thank you for reading.

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Essential Equipment for Long Exposure Photography

22 Apr

Normally, I say that equipment is not important, at least not for those just getting started with photography. Until you know how to master the camera, equipment shouldn’t be the main focus. You don’t need to worry about having the best equipment or things you don’t actually need. However, to achieve certain techniques or effects, having the right equipment is essential. Long Exposure Photography is one of these techniques where some additional equipment is needed.

equipment for long exposure photography

Let’s jump straight to it and look at what I consider to be essential equipment for long exposure photography:

Camera with Manual and Bulb Mode

Okay, so this one might be a given. It’s obvious that you’ll need a camera to take an image. However, to be able to use a slow shutter speed (which is what long exposure photography is all about), you need a camera that allows you to manually adjust the ISO, aperture and shutter speed.

Since you are working with different shutter speeds it’s essential that you’re able to adjust these settings yourself, so you can then control the quality of your image. Even though most compact cameras do have this opportunity now, I highly recommend using a DSLR (or mirrorless) camera if you don’t already. It doesn’t have to be anything fancy, an entry level camera will do just fine.

bulb mode

Nikon D800 Bulb Mode

Bulb Mode is another option that it’s beneficial for your camera to have. While it’s not essential, it allows you to take exposures that are longer than 30 seconds. Most DSLR cameras have a maximum shutter speed of 30 seconds so if you want to use an exposure longer than that, you need to be in Bulb Mode. 

With this mode selected (it’s located different places on different cameras), you can expose an image for as long as you want. Basically, as long as you hold the shutter button triggered, the camera continues to take the image. I’ll come back to a neat trick to avoid pushing the button for several seconds or minutes in a bit.

A Tripod

I consider a tripod to be essential for any type of landscape photography but when dealing with slow shutter speeds, it’s hard to work without one. Some of you might comment that you can just lean the camera on a fence or lay it on a rock but that really limits your flexibility and, of course, the stability of your camera.

The reason I always travel with a tripod is because I normally work with images that have a shutter speed just too slow to capture handheld. Plus even if I’m not, I have the option.

This image wouldn’t be possible without a tripod.

You don’t need to spend thousands of dollars on the best tripods available but avoid getting the cheapest aluminum ones from the local electronic shop. Make sure that the tripod you choose is sturdy enough to be used in a river with rushing water, or when the weather is windy.

Exposure times of anywhere between 1/4th of a second to multiple minutes is common with long exposure photography. It goes without saying that you’re not able to get a sharp handheld image when using a shutter speed of 30 seconds. By using a tripod you make it possible to work with such long exposures and capture great, sharp images.

Neutral density filters

I’ve previously explained how to do long exposure photography without filters, so why do I now say they are essential? It’s quite simple – the quality of your images will be much higher.

Before explaining why I consider neutral density filters to be essential for long exposure photography, let’s quickly look at what they are:

  • Neutral density filters are darkened filters that are placed in front of the lens, requiring a slower shutter speed for the same amount of light to reach the sensor.
  • There are two systems available: screw-in and drop-in or square filters.
  • The filters come in different strengths (3-stop, 6-stop, 10-stop, etc.) which describes how much you need to lengthen the exposure time to maintain a well-exposed image.

NiSi 6-Stop ND Filter in front of my Nikkor 14-24mm

There are many filters to choose from on the market and it seems like new brands appear all the time. Personally, I’ve been using LEE Filters, NiSi Filters and B+W. NiSi has become my go-to choice these days as their filters don’t have a visible color cast (which is a common issue with these types of filters). LEE is known for its strong blue color cast and B+W had a very dominant red tone. These are relatively easy to fix in Adobe Lightroom or Camera RAW but I prefer to get as much as possible right in the camera.

Why are ND Filters essential for long exposure photography?

As mentioned, these filters require you to lengthen the exposure time for the same amount of light to reach the camera’s sensor in order to get a well-exposed image. The filters are darkened and their strength dictates how much you need to slow down the shutter speed. Compared to doing this without filters, using an ND filter allows you to use a much longer exposure times while still maintaining optimal quality (the sharpest aperture of your lens).

equipment for long exposure photography

Nikon D800 w/ Nikkor 16-35mm f/4 @ ISO100 – f/11 – 241 seconds.

It wouldn’t have been possible to capture an image with a 241-second shutter speed, without using an ND filter in the conditions present when I took the image above. You might be able to reach such an exposure time at night but not during a sunset. Without a filter, I might have gotten a 1-second exposure, which would look completely different with an overall lower quality. By placing a dark ND filter in front of my lens (the NiSi 10-stop) I was able to use a very long exposure and capture some of the beautiful motion going on in the sky as well as soften the surface of the lake.

Remote shutter

I’ll admit it right away, a remote shutter isn’t essential to achieve a long exposure but it is going to make the process much easier (I feel naked when mine is left behind)!

I’ve previously written an article where I compared using a Delayed Shutter and Remote Shutter, so I won’t go into the details of which is better here. What I will mention, however, is that when doing long exposure photography you often have to work with quickly changing elements (such as rushing waves). In these scenarios, you want to be able to capture the image at the exact moment the moving element is where you want it to be and can’t afford to wait an additional two seconds (for the self-timer to go off).

equipment for long exposure

A remote shutter was used to capture the exact moment the waves went over the rock

The image above represents one of these scenarios. As the tide was rising, the formations of the waves were constantly changing. I knew that I wanted to capture the exact moment the water started running down the left side rock and to be able to do that, I needed a remote shutter. Had I used the built-in delayed shutter (with a delay of two seconds) I would most likely have missed that exact moment, even though I could have tried to predict the moment of impact.

For Bulb Mode

Another benefit of using a remote shutter for long exposure photography is that most of them have a shutter lock function, which is going to save you a lot of hassle when working in Bulb Mode. Rather than manually holding the shutter button (and causing a visible camera shake) for minutes, you can lock up the shutter with a remote release.

remote shutter

Remote Cable Release

You don’t need to purchase the most expensive release out there (they can be surprisingly pricey) just make sure that it’s something that won’t break right away and one that has the opportunity to lock up the shutter. Note: make sure to get one that is compatible with your camera model.

Cardboard to cover the viewfinder

My last recommendation is something that many articles forget to mention. You need something to cover the viewfinder! Many cameras have this as built-in function and have a sort of “curtain” that you can close. But there are still many cameras that don’t have this option. If your camera doesn’t, make sure that you bring a piece of cardboard, or similar, that you can use to block the viewfinder during a long exposure. This is to avoid any unwanted light leaks as you see in the image below.

camera light leak

I forgot to block my viewfinder so my two-minute exposure looked like this.

Conclusion

While there are many other accessories available to make long exposure photography easier, these are the ones I consider to be essential. Do you have any others to add to the list?


The-Ultimate-Guide-to-Long-Exposure-Photography-eBookIf you want to learn more about Long Exposure Photography I’ve shared everything I know in my eBook The Ultimate Guide to Long Exposure Photography. This eBook is for those who are ready to take their images to the next level and expand their creative vision.

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7 Tips for Urban Landscape Photography

22 Apr

When you ask people what is landscape photography they have no trouble defining it. But ask what urban landscape photography is and you will get conflicting answers. People have an idea, but often don’t really understand what it is, or how to go about doing it. One of the first things to do is work out what it is, and then how you can do your own urban landscapes.

7 Tips for Urban Landscape Photography

Urban landscape photograph, taken in the early evening from a rooftop looking back towards the city.

What is urban landscape photography?

Before you can start taking specific urban landscape images it is good if you understand what it is. If urban refers to cities and towns, then it is generally understood that landscapes of these would be defined as that. Any image within those places where humans live, work and play would be considered in that category.

Cities are very popular for this kind of photography. You will find that many of you are already doing urban landscapes, especially when you travel. However, when you ask others what it is you are often told cityscapes. Yes they are, but there is so much more to the genre than that.

Here are seven tips to help you get better urban landscapes and, hopefully, help you to understand what it is as well.

1 – Street photography

Street photography can fall into two categories, one is street portraits, and the other looks more at the scene and what is going on. The first is not what you would typically find in urban landscapes, but the second is.

Look for scenes where people are, groups, or individuals, but place them in their environment so you get a context of where they are and what is happening. You could photograph people shopping and take a look at consumerism. Perhaps go to sporting events and photograph how people carry on at them. There are parks where people may be sitting on their own with no one around. Anywhere that people hang out is going to make for some interesting urban landscape photography.

7 Tips for Urban Landscape Photography

A street scene showing the landscape and what people are doing in it.

2 – From above

There are many ways to photograph above the city now. You can see the tops of the buildings looking straight down to the streets below. You can get amazing views that are unique.

Observation decks allow you to look down onto the city. They aren’t always easy to shoot from, as you sometimes have to take photos through glass or some sort of security mesh.

Another way is a helicopter ride over a city. It is an option that many cities offer now. You can take a 15-minute ride if you want to pay for it. If you are lucky to live somewhere like Melbourne, you can also take early morning balloon rides over the city. You will get some views of the city that are available no other way.

7 Tips for Urban Landscape Photography

A view from above, this was taken from Eureka Deck, an observation deck looking over Melbourne.

3 – Long exposure photography

Without a doubt, there aren’t many types of photography that long exposures don’t suit. You can use it for individual buildings or for groups and streets. It allows you to create some magical scenes.

The most common one that people think of is using Neutral Density filters so you can get very long exposures, anything from 30-seconds to several minutes. They can help create movement with getting blurred clouds, or you can remove people and cars from streets. You can get some interesting effects with the filters. Whether you use it for one building or many, and over water you will get some different images.

7 Tips for Urban Landscape Photography

A long exposure of Melbourne taken across the river.

4 – Night photography and light trails

Night photography is another way. Urban environments are great when the sun goes down. As the lights come on you can get a completely different view. The camera will pick up a lot more than you can see with your eyes. Depending on how bright or dim it is you may be able to take some exposures for a minute to two, even longer.

You can also get great light trails at night. Look for interesting streets that have some great buildings in the background that you can use when capturing the trails.

7 Tips for Urban Landscape Photography

Light trails of cars moving around captured during the night.

5 – Interesting architecture

Every city strives to build interesting buildings. Architects like to show off as much as anyone. No matter where you are, see if you can find the most interesting structures to photograph.

You could figure out why a building was designed for an area; if there is something unique about it. Churches were often built on hills so the congregations were still looking up to them when they weren’t attending.

Look for buildings that are nestled in with others that are very different. Perhaps there is an old building somewhere that is surrounded by new ones. Scenes like that can give your images an interesting story.

7 Tips for Urban Landscape Photography

One of the most distinctive buildings in Melbourne, Flinders Street Station.

6 – Weather and seasons

People often forget how a city or town can look completely different in each season and how the weather can change it as well. If you only go to a place once, you don’t get a lot of choices. But if you live or visit them often then you can get a wide variety of shots when you photograph it at other times and in various conditions.

Throughout the year, the seasons will give you numerous opportunities to get scenes that are unique to that time. Autumn will have the colors, so any trees in the streets or parks can make them colorful. Winter will have people rugged up against the cold and public places are empty. In summer everyone is in lighter clothing and those same spaces are filled with people. Consider what sort of photos you want and then choose the season accordingly.

Rain, hail or shine, well perhaps not hail, but each will give your urban landscape a distinct look. The weather is not something you can control but you can take advantage of it. Photos of cities that are white from the snow can be magical. Rain will make all the surfaces reflective and make it look bigger and shinier. Don’t underestimate how much bad weather can make your photos that bit different.

7 Tips for Urban Landscape Photography

Rain has given Hosier Lane a shiny appearance.

7 – Leading lines

Bridges are beautiful, but they can be used for so much more than traveling. They can be the perfect way to help your viewer enter your image. Leading lines are fantastic for helping your audience know where you want them to look. Though bridges are one type, there are lots of others as well.

Really anything that will lead people into an image will work. Look for roads that enter and leave cities and towns. Using the light trails of cars or other vehicles can be great for the same thing. Don’t just think road and bridges, consider train tracks, a moving bus, anything that will take or point your viewer to the area where you want them to focus.

7 Tips for Urban Landscape Photography

Using the bridge as a leading line to take you into the early morning light in Melbourne.

Taking the tips

You don’t have to do all of these, but using one or a few will help you get good urban landscape photography images. Consider what you are taking and think about the environment around you. Make the most of it and give your images a purpose.

Share your urban landscape photography in the comments below!

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Frederik Buyckx named Sony World Photography Awards 2017 Photographer of the Year

21 Apr

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Belgian photographer Frederik Buyckx has been named the Sony World Photography Awards 2017 Photographer of the Year. Buyckx is a freelance photographer for the Belgian newspaper De Standaard and will receive the $ 25,000 prize for his winning series of images entitle ‘Whiteout’, which was shot in the Balkans, Scandinavia and Central Asia, all remote areas where people often live in isolation and in close contact with nature.

“There is a peculiar transformation of nature when winter comes, when snow and ice start to dominate the landscape and when humans and animals have to deal with the extreme weather,” Buyckx says. “The series investigates this struggle against disappearance.”

Chosen from the winners of the Awards’ 10 Professional categories, Chair of Judges Zelda Cheatle said of Buyckx’s images: “I have chosen a series of landscapes so that we may return to the essence of looking at photography. Landscape is often overlooked but it is central to our existence. These are beautiful pictures made by a serious photographer, and they are to be enjoyed.”

This year the contest received more 227,000 entries from 183 countries, making it the world’s largest photography competition. An exhibition of all winning and shortlisted images and a selection of rare photographs by British photographer Martin Parr, who is this year’s recipient of the Outstanding Contribution to Photography prize, will run at Somerset House in London from now until 7 May. 

The annual Sony World Photography Awards are free to enter and open to all photographers. The 2018 Sony World Photography Awards open for entries on 1 June 2017. You can find the full list of of this year’s winners below and see a selection of shortlisted and winning images on the World Photography Organisation website. 

Professional  Category Winners and Finalists

An expert panel of international judges were challenged to find the best photography series (between 5-10 images) across the ten Professional categories. The winning and finalist photographers are:

Architecture winner: Dongni, China
2nd – Julien Chatelin, France / 3rd – Diego Mayon, Italy

Conceptual winner – Sabine Cattaneo, Switzerland
2nd – Gao Peng, China / 3rd – Alexander Anufriev, Russian Federation

Contemporary Issues winner – Tasneem Alsultan, Saudi Arabia
2nd – Li Sony, China / 3rd – Lorzenzo Maccotta, Italy

Current Affairs & News winner – Alessio Romenzi, Italy
2nd – Joe Raedle, United States / 3rd – Ivor Prickett, Ireland

Daily Life winner: Sandra Hoyn, Germany
2nd – Christina Simons, Iceland / 3rd – Alice Cannara Malan, Italy

Landscape winner: Frederik Buyckx, Belgium
2nd – Kurt Tong, United Kingdom / 3rd – Peter Franck, Landscape

Natural World winner: Will Burrard-Lucas, United Kingdom
2nd – Ami Vitale, United States / 3rd – Christian Vizl, Mexico

Portraiture winner: George Mayer, Russian Federation
2nd – Romina Ressia, Argentina / 3rd – Ren shi Chen, China

Still Life winner: Henry Agudelo , Columbia
2nd – Shinya Masuda, Japan / 3rd – Christoffer Askman, Denmark

Sport winner: Yuan Peng, China
2nd – Eduard Korniyenko, Russian Federation / 3rd – Jason O’Brien, Australia

OPEN PHOTOGRAPHER OF THE YEAR – Alexander Vinogradov, Russia
YOUTH PHOTOGRAPHER OF THE YEAR – Katelyn Wang, US
STUDENT PHOTOGRAPHER OF THE YEAR – Michelle Daiana Gentile, Argentina

Articles: Digital Photography Review (dpreview.com)

 
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A Passion for Wrecks and Images Give a Photography Enthusiast a Second Career

21 Apr

photography-wrecks

Image: Pongsatorn Sukhum

Pongsatorn Sukhum was on his way to becoming a professional photographer. A long-time camera enthusiast, he took a year off college while studying in the UK to work in a studio that shot advertising photography. He then moved into editorial photography, shooting for travel magazines and building up a collection of underwater stock images that combined his love of photography with his passion for Scuba diving. In the mid-nineties, his work was shown in a group exhibition in his native Thailand. Today, Pongsatorn runs an engineering business in Bangkok but his continued work in underwater photography, and in particular, his images of World War II wrecks off the coast of Thailand are an example of how talented enthusiasts can keep their professions while maintaining their passion for image-making and even contributing to the preservation of the subjects they love to shoot.

Pongsatorn now produces fine art prints of his photography which he sells through his website. But publications call him whenever they need images to complement their editorials on wrecks in the region and he is still commissioned occasionally for advertising work. If he’s not working on an engineering project, he’ll dive one or two weekends each month and when he’s not on the water, he’ll find time each week to process images and research ships.

Artistry Meets Expertise

That demand for professional imagery from a photographer who only works in the profession part-time continues for a couple of reasons. The quality of Pongsatorn’s photographs is certainly one factor. Pongsatorn may not be a full-time photographer but his images are professional quality. He shoots in black and white to convey the sense of being in an environment in which color has been stripped away by the water, and to convey the mood at the depths where the ships rest.

“I feel that the characteristics of high-speed b/w film faithfully capture the light and ambiance at these great depths,” he told us by email. “I also believe that entering the water loaded with b/w film is a mindset.”

The result is a collection of atmospheric shots in which the fragility and graceful lines of the diver are set against the solidity of a slowly decaying steel hulk placed in front of a backdrop of silty grays.

But the continued demand among buyers for Pongsatorn’s skills can also be put down to his expertise. Underwater photography is demanding. Photographers have to be skilled in diving as well as in image-making. They need to understand their equipment and the environment as well as the subject of the shoot.

“Underwater, we can’t change lenses, add filters, or replace batteries so advanced planning is required,” says Pongsatorn. “Familiarity with the layout of the wreck is crucial to avoid delays associated with orientation.”

Pongsatorn keeps a collection of construction blueprints related to the wreck he’s about to shoot, as well as sketches that he updates regularly. Before the dive, those plans are transferred to a waterproof slate for use underwater so that he’s not trying to communicate a new idea to a co-diver or assistant while they’re swimming. The choice of shots, too, poses a range of different problems. Wide angle images mean keeping other divers and their bubbles away from the scene long enough for Pongsatorn to get his shots. That’s not usually an issue when shooting wrecks that aren’t popular dive sites but for well-known locations, Pongsatorn usually pleads for a ten-minute head start. Before some shoots, he’s even asked the Thai Navy to cordon off a wreck for a day.

While underwater photographers don’t have the same daylight worries as landscape photographers, they do have to cope with other challenges. Weather conditions can restrict accessibility to remote sites to certain times of the year, and sediment raised by the actions of a swimming photographer can reduce visibility.

“This happens frequently as the wrecks are naturally on the sea bed (with the exception of the so-called vertical wreck) where there is a great deal of sediment just waiting to be disturbed,” says Pongsatorn. “Diver buoyancy control and proper finning techniques need to be practiced.”

Learn How to Fin

Often, the constraints of time and the limitations of depth mean that Pongsatorn can only make one or two dives to a low-lying wreck on any given day. Some dive profiles, he says, are so deep that he’ll only be able to stay at the site for as little as five minutes.

“As you can imagine, deep wreck photography is a very low-yield activity. However, these challenges make it exciting and create opportunities for some truly creative work.”

For other photographers looking to specialize in underwater photography, Pongsatorn notes that while no official training is required, there are numerous basic courses and workshops available that will explain how light behaves underwater and how to set up and look after equipment. Photographers who happen to live in tropical areas can start by photographing clown fish, he recommends, as they’re easy to find and tend to stay in one place. Once they’ve mastered finning and have control over their stability, photographers can pick a subject and study its behavior.

Most important though is to respect the environment in which you’re shooting. On his blog, Pongsatorn has highlighted campaigns for shark preservation and attacked dive operators who remove artifacts from the wrecks they visit.

“There are several operators who specifically set out to loot. It’s in their literature. They abuse the legal loopholes and lack of enforcement. It’s sad to see all these artifacts being hauled up day after day. These people need to be educated.”

Similarly, divers who venture into a wreck exhale bubbles which can get trapped below decks and under bulkheads. In time, these air pockets corrode the metal and exert an upward pressure on the metal plates, causing them to collapse, Pongsatorn warns.

It’s that kind of knowledge and that level of concern that combines with creativity and artistry to produce images that are attractive to buyers — both of art prints and for commercial use. Find a subject for which you feel passionate enough to want to study and understand completely, bring to it your photography skills, and you also won’t need to give up the day job to earn money from your photography.


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7 Secrets of Black and White Photography

20 Apr

We’ve all heard it … “to master black and white photography you must learning to see in black and white” – but just how do you do that?

It can sometimes seem like actually learning to see in black and white is a skill for only the chosen few. But trust us, it’s for you too!

Here are seven (not-so-secret-anymore) secrets that will help you train your brain and expand your eye for the art of black and white photography.

(…)
Read the rest of 7 Secrets of Black and White Photography (844 words)


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