"camera settings"

Lesson 10 – Flattering Portraits


A while back, I was doing a one-on-one photography outing at my place with Nela, another photographer I had met. One of the topics for the evening was, "What camera lenses should be used to create beautiful, flattering portraits of my friends, family, and clients?" I thought I'd share a recap for ya'll to enjoy!

The difference between the right lens and the wrong one is dramatic. (I didn't do any photo editing on these other than to re-size and sharpen them for web use.) The boy didn't move at all. Doesn't the one on the left look like he has his neck stuck out?


The picture on the left was taken with a 17-55mm lens. (That's the type of lens that likely came with your camera if you have an SLR - your “kit” lens.) It’s a great lens for certain things, but NOT the right one to choose when you want to impress someone by taking a great picture of him or her. This lens will distort people’s faces terribly, especially if you don’t zoom in at all! Did you ever wonder why you are hardly ever happy with the way you look in photos? The camera lens’ focal length plays a big part in that. Nobody likes to look worse than they do in real life.

The photo on the right is taken with a 70-200mm lens, zoomed in to 200mm. This is the way the boy looks in real life. All I did was to change my lens, take several steps backward, and zoom in. The boy didn't move at all


What is "focal length"?

"The focal length of a lens determines how much magnification it provides. A lens with a shorter focal length will be able to 'see' a wider view of a subject than can a lens with a longer focal length, which would see a narrower view of the scene, but at a higher level of magnification.”
– Definition from mobileburn glossary
The smaller the number on the lens (e.g. 18-55mm), the wider the view seen in the camera. The larger the number printed on the lens (e.g. 70-200mm), the more things are magnified.

The good photo of the boy that I showed you earlier was taken with a 70-200mm lens. (It was one of those bigger, longer lenses.) You can easily see the difference between the good image and the distorted one.
Note: I mention the 17-55mm lens, the 18-55mm lens, and the 70-200mm lens, but you could substitute your 55-250mm lens or 70-300mm lens, etc. for the 70-200mm lens I have.

Q: Why did the wide angle lens – the 17-55mm lens – distort the boy’s face?
A: All wide-angle lenses distort straight lines: they make straight lines look curved. Look at these examples I took of a grid. See how the one on the left taken with the wide 17-55mm lens skews the lines? The photo on the right was taken with the 70-200mm and has much less distortion. Look at how much straighter the lines are.


If you have a small camera – a point-and-shoot – instead of an SLR, you can still benefit from this advice. When you’re taking a picture of a friend, step back and zoom in on your subject’s face instead of standing really close to her to take the photo. She will thank you when she sees the result and you will have a MUCH nicer picture to show for your trouble. Try it and see! It makes an AMAZING difference. 

Q: Are there times to use a wide-angle lens for portraits?
A: Yes, and we’ll talk about those times later – you can do some exciting stuff with wide-angle lenses! They aren't made for gorgeous close-up portrait photography though.

So.. there you have it! Step back and zoom in to get the best results!
Speaking of results, here are some of the photos I came away with after the photography outing.
Nela and I shared a wonderful evening together shooting photos to our heart’s content…well, not really. I only had about a million other places to show her and a hundred other techniques to talk about! It was fun. J All of these photos were shot with my 70-200mm lens.


We had a great time together.




Backlighting is fun and gorgeous...and so is long grass!






Lots of laughs.
Lots of photos.
Lots of fun.


"Surely I come quickly. 
Amen. 
Even so, come, Lord Jesus."
Revelation 22:20b

What are ISO numbers? Lesson 6



A Definition:

The ISO number = how sensitive the camera is to light

“The lower the number the lower the sensitivity of the film 
and the finer the grain in the shots you’re taking.”  
- Darren Rowse

There are 3 basic variables that are part of the process of taking a picture. We talked about the first two variables in Lesson 4 and Lesson 5 – the camera’s aperture and shutter speed. The last variable we will talk about is the ISO.

Can you remember waaay back to the film days before basically everything went digital? (I wasn’t even taking pictures back then!) Anyway, when people bought their film, they had to choose what light sensitivity they wanted – what ISO number to choose. The higher the number, the more sensitive the film was to the light. People chose a higher speed film such as ISO 800 for use indoors and bought a lower speed film like ISO 200 to use outside.

Of course, nowadays most people have digital cameras and therefore don’t use film, but changing the ISO according to your circumstances is still important. There’s no reason not to! It’s so much easier than changing film!

Q: Why not just use ISO 800 (or another high ISO number) all the time? After all, it’s more sensitive to light!

A: The higher the ISO number, the grainier, “noisier” and lower the quality of the resulting image. The lower the ISO speed, the better the quality and the less grainy or noisy the picture is.

 



This is the view at 100% of part of a picture that was taken using a high ISO number. You can see the grain and noise, can't you?




Here is a view zoomed in at 100% of part of a picture taken at a low ISO number. The picture details are much cleaner and clearer in this shot.









Here is the total picture. The place where the 100% crop was taken from is circled in red.
The more you spend to buy a camera, the better it will perform at higher ISO numbers. (Point and shoot cameras are especially prone to noise and grain, even when the ISO number is only sort of high!)




The camera’s aperture, shutter speed, and ISO all word together. You can change any one of these and the exposure will change (the picture will turn out lighter or darker) if the camera is set to M (manual mode). For the other camera modes, the camera compensates for the changes you make to any of these settings.

Look at the three variables - aperture number, shutter speed, and ISO number - as if they are 3 crucial ingredients in a cake. If you change one of them the picture will turn out differently.


In the photo on the left, I used an aperture of f/3.5, and a shutter speed of 1/250 sec. at ISO 200.

In the photo on the right, I used an aperture number of f/3.5 and a shutter speed of 1/1500 sec. at ISO 800. By having the ISO number at 800 instead of 200, I could raise the shutter speed. (not that I needed to in this instance!)
Even though the settings are different, the picture can still turn out basically the same. The only difference is the lower quality of the one that was taken at ISO 800 (When an 8x10 print is made of each image, the difference in quality is much more apparent.)

 





For this picture, I changed the aperture number to f/19. This meant that the shutter speed or ISO number had to change also. Since I didn't want to raise the ISO number any higher than 800, I used a longer shutter speed - 1/45 second - to let in more light and compensate for aperture number I chose.








Do you see in these pictures that in order to get the same exposure (same brightness of the image) if I change the aperture, the shutter speed changes. If I change the shutter speed, the aperture changes too. If I change the ISO, either the shutter speed or the aperture (or both) have to change also.

Q: How do I know what camera mode to use and what settings to adjust?

A: This depends on what you want the final picture to look like. Let me explain.
  • If the background in the image needs to be out of focus, set the camera to Av (aperture priority mode) and set the aperture to a small aperture number for a small amount of the picture to be sharp. The camera will adjust the shutter speed for you.


  • If you are after the dreamy, soft feel of a slow shutter speed, set the camera to Tv (time value) and select a slow shutter speed. The camera will then adjust the aperture to get the correct exposure – not too bright and not too dark.


  • If you are in a dim environment and need the camera be more sensitive to the light, know that the picture quality will suffer somewhat when you boost the ISO number, but boosting the ISO number will enable you to take a picture that otherwise might have been impossible to capture.


A Review:

  1. If you used to use a film camera, bumping up the ISO is the equivalent of putting in a higher speed of film
  2. Low light – in situations where the light levels are very dim and you can’t use a lower shutter speed or bigger aperture to let in more light, boost your ISO
  3. A higher ISO number makes the camera more sensitive to light
  4. A high ISO number does degrade the image quality –  it makes the picture more noisy or grainy
  5. Don’t pick a higher ISO number than is needed.
  6. The lower the ISO, the better, but make sure not to get a blurry picture!


“Whoso offereth praise glorifieth me: 
and to him that ordereth his conversation aright will I shew the salvation of God.”

Psalm 50:23

Controlling the Camera’s Shutter Speed: Lesson 5

The shutter speed you select controls how long the camera’s shutter is open letting in light and making the picture.

Why should you learn how to control the shutter speed?
  1. Be able to set a shutter speed high enough not to get blurry pictures at low light levels
  2. Be able to create all kinds of pictures that show movement.

Camera Mode to use: Tv (time value) – controls the shutter speed


In your camera, the shutter speeds looks something like this: 1/60 (the shutter is open for one sixtieth of a second), or this: 1/200 (the shutter is open for one two hundredth of a second), etc.

Regularly, the goal when taking pictures is to freeze a moment in time forever. If the room is dark or the lights are dim, the camera will often set a slow shutter speed, motion will not be frozen, and you will be left with a blurry picture and only a mental picture of how cute baby Anna Marie or little Timmy looked.

There are two types of motion that have to be compensated for: your shaking hands and the movement of your subjects.

For shaking hands – and everybody’s hands shake at least a little! – If your camera has something called IS (Canon), VR (Nikon), or OS (Sigma), use it!

Image Stabilization (IS) or Vibration Reduction (VR) or whatever you want to call it (!) is very helpful in compensating for small jiggles on your part, but does nothing to fix the blur of your dog dashing towards you or any other movement in the scene apart from your movement. Bracing your hands or camera against something solid or using a tripod also helps reduce or eliminate blurriness from your hand movements.  Remember that what is needed to fix the blur of a dog running past you is a high shutter speed.



I’m sure you’ve all seen pictures of water – rushing through rocks, and in streams, rivers and waterfalls. When photographing water, you have a choice to make. Either pick a high shutter speed (1/2000 of a second) and capture each water droplet as it is sprayed into the air, freezing the moment, OR pick a slow shutter speed (1/2 to 2 seconds depending on how fast the water is flowing) and capture the silky smooth, painterly motion of the water.

For these fun shots, the girl or boy had to stand VERY still for several seconds and then duck out of the picture quickly at my signal for the rest of the exposure time (the camera was on a tripod). The effect turns out different every time! (If needed, the faces can be lit with a weak flash light from off to the side of the camera, but be careful not to hurt their eyes!) I took these pictures several years ago when I was first learning to control my shutter speed. :) 



In this photo, I wanted to take a picture of this tiny toy in a dramatic way. The problem: it was dark and it was evening. So, I picked up a flashlight and BAM! I had dramatic lighting. All I had to do was set the camera on a solid surface, set the 2 second delay timer, and keep the flashlight shining on the truck. The shutter speed was 1/8 second. One other important point: Remember to set the exposure compensation if you’re taking a picture of a dark scene and don’t want the blacks to end up as grays. Here, I set my exposure compensation to -1.

An Interesting Thought:

When taking a picture...
A small aperture number and a shorter shutter speed = A big aperture number and a longer shutter speed

Some general guidelines:

  1. Check your pictures for blur, especially indoors or at twilight. If they’re blurry, boost the shutter speed!
  2. If you have very steady hands, you’ll be able to handhold your camera at much slower shutter speeds than those whose hands aren't super steady. Experiment to find out how low you can go while still getting crystal clear pictures. Keep in mind that when you are excited or rushed, you may have to set the shutter speed higher.
  3. If you can, a minimum shutter speed of 1/500 of a second is a good shutter speed to start with for freezing action. Even 1/500 doesn’t stop all action! Sometimes I have to set a shutter speed of 1/2000 of a second or even 1/4000 of a second!
  4. It’s always best to err on the safe side and choose a higher shutter speed than you think is needed (if the lighting is bright enough for you to have that option!). Better safe than sorry!


Assignment:


Go out and test your knowledge! Don’t be afraid to try anything! (We learn by making mistakes -  sometimes I wish that wasn’t so true!)

So many creative possibilities open up once you’ve learned how to control the shutter speed. I can’t even begin to cover them here. See ya later!

Have a marvelous day!

~ Laura

"And the angel answered and said unto the women, 
Fear not ye: for I know that ye seek Jesus, which was crucified. 
He is not here: for he is risen, as he said.”
Matthew 28:5-6a

I hope you all had a meaningful Resurrection Sunday!

Understanding Apertures: Lesson 4

First, set your camera mode to Av (Aperture Value) so that you can take control of the aperture rather than letting the camera make your creative decisions.

A Definition: 

Your camera lens' aperture = an adjustable opening in the camera that limits the amount of light passing through a lens

A large aperture number such as f/16 or f/22 = a large part of the scene in focus (a large depth of field)
A large aperture number lets in less light.

A small aperture number like f/2.8 or f/4 = a small part or small slice of the scene in focus (a small depth of field)
A small aperture number lets in more light. Pick a smaller aperture number when you are inside or when it is dark. By picking a small number, you will let in more light and be able to take better pictures in dim lighting conditions.
A small aperture number is a way to simplify or isolate your subject.

“If you get confused with the f-stop numbers, try to remember that the bigger the number, the bigger the amount of focus, and the smaller the number, the smaller the amount of focus.”
 – Mike Moats

Do you want everything sharp and filled with detail - from the foreground to the background? 
Pick a big aperture number like I did in the picture below.


Is the background of your picture "busy" or cluttered, meaning that it has lots of distracting elements?
Choose a small aperture number for a small depth of field (a small amount of the picture sharp) 
to focus attention on the subject.
This photo was made using a small aperture number.

Choose where people's eyes will go in the picture by using a small aperture number. 
What is the focus of the image?
Here I chose to focus on the hot sauce bottle and let the boy go out of focus. 

How to choose which aperture to use:


  • What are you trying to convey?
  • Does the background add to the picture or does it detract from the subject?

Assignment:


Find 3 different scenes or subjects. For each one, take a picture at your camera's smallest aperture number, biggest aperture number, and middle aperture number. Study the differences between the pictures in each set.
Not seeing much difference? Set the camera's smallest aperture number and focus on an object very close to your camera lens. Take a picture. Now, set the camera to the highest aperture number. Keep the camera in the same place and keep the focus on the same object. Take a second picture.


"Repeat shooting the same images at different apertures each time you go out. Little by little, you will become comfortable at the different f-stops and be able to recognize and take advantage of opportunities that are better suited to one style or the other.” – Alan L. Detrick



"Offer unto God thanksgiving; and pay thy vows unto the most High: And call upon me in the day of trouble: I will deliver thee, and thou shalt glorify me."
Psalm 50:14-15



Exposure Compensation, Flash Compensation and the Camera Manual - Lesson 3

In the last two lessons and the next four, we are working to construct a solid base of camera knowledge to build on in the lessons following this group of six. Then we can concentrate on maximizing our creativity. As always, we must learn the basics first to have the most fun (and the easiest journey!) later.

Lesson 3

Today we’ll cover 3 things: Exposure Compensation, Flash Exposure Compensation, and the camera manual. If you don’t think these subjects sound fascinating, keep reading anyway. The information in this lesson is another important building block on the road to success!


Exposure Compensation:

I use this setting all the time except in Manual mode. It is one of the most useful settings on my camera. Exposure Compensation is used to make a picture brighter or darker than the camera “thinks” it should be. 

Why do we need this setting? After all, the camera is smart, isn’t it? 
Here’s why: 
The camera tries to make everything a medium tone. (It’s called 18% gray, for those who like specifics.J) The camera doesn’t like bright white – it tries to make bright white things (like snow) a dirty gray.  

 The snow looks much better when Exposure Compensation is used!

 The camera doesn't like deep, dark things (like black kittens) either – it tries to make black things too light.

 Here again, using Exposure Compensation for this image saves the day.
Without a brain, the camera doesn’t know that the kitten is black, not gray and that snow, white walls, and white paper are white and not gray. This is why you have to step in and help the camera.

Exposure Compensation is usually designated by a button or a function with a plus and minus (+/-) symbol. Press the button or select the function and you should see something like this:
-2 . . 1 . . 0 . . 1 . . +2
l
Move the little line marker under the diagram to the left to make your picture turn out darker. Move the line over to the right to make your whites whiter. (Check the camera manual if you’re having trouble figuring out how to do this.)


Flash Exposure Compensation:

Flash Exposure Compensation has the same idea behind it as Exposure Compensation with the only difference being that Flash  Exposure Compensation relates to the flash output but Exposure Compensation relates to the exposure, no matter if the flash is used or not. 

By using Flash Exposure Compensation when you use the camera’s flash, you can control how bright the flash is (how much light it puts out). If you move the Flash Compensation mark over to the left to somewhere around -1, the flash photo won’t have the ugly, un-natural flash highlights that plague photographers. 

Each situation is different. Through practice, you will figure out how to set the Flash Compensation to best create the needed fill light in the picture and not end up with glaring or blown-out highlights on the subject and harsh, black shadows in the background as in the picture below.

The secret to beautiful flash photography is to balance the flash with the ambient light in the room.


Flash is very useful outside also! In some of the future lessons, I'll explain how to make many kinds of exciting photos using your camera flash outside and inside.


A review:

  • Flash often looks ugly if it isn't used properly.
  • Use Flash Exposure Compensation so flash doesn't overpower natural light
  • Look for a plus and minus symbol with a lightning strike beside it – this is where to control the flash.
  • Try starting at -1 for the Flash Exposure Compensation, but don’t be afraid to experiment to find the best setting for each circumstance.


The Camera Manual

Guess what! It’s high time you read and understood your camera manual.

How to do it:
  • One chapter a day – take it slowly, but get all the way through it. Yes, it’s boring! But it is worth it.
  • Review the manual once a year.
  • Make sure you know how to use everything on your camera. If you don’t know what it’s for, look it up in the manual!
  • If you’re stuck, I’ll explain anything you don’t understand!
  • Practice what you learn until the technical side of photography is second nature. This way you can concentrate on capturing the moments and translate your feelings into pictures.
  • I encourage you to set a goal of spending time each week with your camera. You will become a better photographer.

"In this was manifested the love of God toward us, because that God sent his only begotten Son into the world, that we might live through him. Herein is love, not that we loved God, but that he loved us, 
and sent his Son to be the propitiation for our sins."
1 John 4:9-10


White Balance Settings and Color Correction - Lesson 2

How was the first lesson? (If you didn’t understand something, let me know!)


Lesson 2

This lesson is all about white balance and creative white balance.

Sometime, sooner or later, you will have a big problem on your hands. The pictures you take may end up with weird, ugly colors – not at all the way the scene looks to your eyes! The color cast in your problem pictures can be corrected by changing the white balance setting in your camera.

Look at this picture. The colors don't look realistic at all. Candlelight, firelight, and lantern light all look yellow/orange, but the camera often makes the light from these things dull and lifeless. 
Compare the picture above with this one:

The good news is, fixing the weird, ugly colors of the first image isn't hard! First, make sure your camera is set to Av (Aperture Value or Aperture Priority) or Tv (Time value, otherwise known as shutter speed priority) mode - something other than full auto. Then, figure out how to get to the white balance options. If you’re having trouble, go get the camera manual and look up how to set the white balance. (Yeah, yeah. I know – it’s probably the first thing you threw away after you figured out how to take a picture! Bad idea. The camera manual, boring as it is to slog through, is one of the most useful tools available!)

White Balance Settings – Set the camera's white balance to match the lighting conditions around you.

Here’s how the white balance setting work:

AWB (Auto White Balance) is easy to use, quick, and gives you absolutely no creative control. It gets good results in many cases, but miserably fails in the tougher situations. That is when you have to take control!

Daylight, often designated by a sun icon, is a great setting to use on sunny days when you’re outside taking pictures.

The Cloudy setting – usually shown by a cloud icon – is used for exactly what the name says – a cloudy or overcast day when the sun isn’t shining. It also comes in handy when taking beautiful portraits using window light. (Note: Use the Cloudy setting or the Daylight setting in the shade if your camera doesn’t have a Shade setting for use in the shade.) 
Light on a cloudy day is blue. A picture taken using AWB (Auto White Balance) on a cloudy day often ends up looking cool, not warm and cheerful.
A picture of a cute kitten chewing on a flower bud shouldn't look dull and lifeless. Changing your camera settings to Cloudy will fix this problem quickly.

The Fluorescent setting comes in handy when inside under fluorescent lights. (See! This is all very logical!) The fluorescent setting helps remove the green color cast that is produced by these lights. People are much more flattered when they don't look slightly green and a bit seasick in photos!

Try it and you’ll see that the Tungsten setting (usually designated by a light bulb) gives most pictures a very blue cast. This setting is useful for two things:
1. Under yellow or orange lights inside a building, Tungsten helps produce pictures with more realistic colors by cancelling out the yellow/orange color cast.
2. Tungsten is one of my favorite settings to use creatively as we’ll talk about later.

Flash white balance – (It looks like a lightning strike.) Use when taking flash pictures. J How hard is that?

Last is Custom White Balance. This one takes a little bit of time to learn and is well worth the extra effort. 
Basically, all you do is to fill the whole picture with plain white – either a piece of paper, a white wall, or ceiling, etc. and photograph that white object in the same room under the same lighting conditions where you will be taking the following pictures. Then use the picture of the white object to set the Custom White Balance. Once the white balance is set using your white picture, all the following pictures you take under the same lighting conditions will have perfectly balanced colors. This setting is wonderful for the trickiest lighting situations. (Just remember to change the white balance back to one of the regular settings when you leave the room! If you don't, all the pictures you take under different lighting conditions will have skewed colors.)  Another use for custom white balance is when white balance is used creatively.


Using White Balance Settings Creatively

What can you do to increase the vividness and color of a sunset or sunrise? Why don't you try setting your White Balance to Cloudy or Shade? This brings out the fiery reds, oranges, and yellows even more.


Want to make it seem more like night or just get a cool, mysterious effect? Try the Tungsten setting and see what happens! You might love the results.  Another use for the Tungsten setting would be if a sunset or sunrise has a lot of blue or purple in it.


Want to explore even more? Really get creative using Custom White Balance. Instead of being confined to taking pictures of a flat white object and using those pictures to set your custom white balance, try photographing a blue or an orange sheet of paper (Fill the frame completely with the sheet of paper.) or another flat, one-colored object. Use this photo to set the custom white balance. Using your new setting, the world’s colors will be transformed! With some practice and a spirit of adventure, you will learn what subjects and scenes benefit from this treatment. Play around. The possibilities are endless!


Assignment:

  • Go over the lesson again, this time with your camera.
  • Try each setting and see the effect it produces!
  • When taking pictures this week, remember to experiment with the many white balance settings.
  • Use white balance to help fix weird colors in your problem pictures.
  • Go outside for at least one sunrise or sunset this week and try out your new creative white balance techniques.


See you next time!

A helpful quote:

 “Shoot a lot and take a lot of notes!  The more you know 
about what you did and how to either repeat 
what is successful or eliminate your errors, the faster you’ll see major advancements in your photography.”…”Owning the most gadgets and fanciest equipment doesn’t guarantee the best images, you must know how to control all the variables.” – Ross Burden 

The Rule of Thirds - Lesson 1

Why do you want to take pictures? What motivates you to learn photography?

There are many good reasons and I’m sure you could think of a whole list, but the point is that you want to learn, so let’s get started!

Guideline #1:

Several of you have probably heard of the Rule of Thirds. If you haven’t, it’s simple. Let me explain.


Look at the horizon in this picture. Do you see how it splits the photo in half? Unless the scene is a peaceful one and the subject is a mirror image such as a mountain and a lake with a reflection of the mountain in the water, it is unlikely that cutting your image in two with the horizon is a good idea.

Instead, place the horizon in either the top or the bottom third of the picture, like this:
See how much more impact the photo has? Focusing attention on either the sky or the foreground makes the scene much more exciting! (which, of course, is the goal!)

Don’t know where to put the horizon? (Ground or sky – how can you tell?) 
Answer: Which is more interesting? That is what you should emphasize and include more of in your picture.

Imagine a tic-tac-toe board placed over the screen or viewfinder of your camera. The places where the grid lines intersect are great spots to position your subjects. Here, the horizon falls along the first horizontal grid line and the rainbows are both at least slightly off center.

When doing a portrait, don’t place the eyes of the person smack dab in the center of the frame. 
How boring! 
Try something like this instead:
(Note: Look at how the violin bow cuts the picture in half. If I was to take this picture again, I would remove the violin bow or position it somewhere else.)

So, how does the rule of thirds work with your camera? 
This depends on what method the camera is set to use to decide where to focus in the scene. For most point-and-shoot cameras, it works best if you point the camera at the subject, press the shutter button down halfway to focus, keep holding it halfway down while you recompose the shot (recompose = move the camera) to follow the rule of thirds, and then press the shutter button down all the way to take the picture. Whew!!! (Don’t worry! With a bit of practice, this will become soooo easy and soon be second nature.)

SLR (Single Lens Reflex) cameras (ones that can change lenses) can use the method above, or they can change where the camera’s focus point is. (This is the way I do it.) Look up how to do this in your camera manual. Some point-and-shoot owners can also do this – they can put the place where the camera focuses somewhere else in the picture.

Assignment:
      This week, take at least 10 pictures using these techniques. Getting used to the "how" in the technical part of taking pictures using the Rule of Thirds is important so you can concentrate on capturing the emotion and excitement of the moment.

If you would like, send the best picture you've taken following the Rule of Thirds to me. I'd love to see your progress! (Send a low resolution picture - 200KB or smaller.)

By following this guideline, you are on your way to becoming an amazing photographer!

Congratulations!

Come back soon for Lesson 2 in your astonishing journey toward success!


"Yea, I have loved thee with an everlasting love: 
therefore with lovingkindness have I drawn thee."
Jeremiah 31:3b