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Yesterday I did a Google+ Hangout with fellow action and ski photographer Dan Carr. We talked for an hour and covered quite a few topics, from adventure photography gear, being a pro, contacting clients as an emerging shooter and about my new eBook, Behind The Action. We even answered a few questions that were posted live on the G+ page during the event.

We ran the simulcast on YouTube, where it’s now preserved forever. If you missed the Hangout, or if you want to relive the magic, you can now watch the hour-long informal interview with me at your own convenience.

This was my first G+ Hangout, so I wasn’t sure what to expect. I really enjoyed the experience of being able to share my thoughts on photography in this format and connect in real time with some of my readers. Plus it was great to finally meet Dan Carr face to face. He’s a great photographer! I definitely plan to do more of these in the future!

Check it out for yourself and let me know what you think! Many thanks to Dan for setting this event up.

March 27, 2013
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Video – Talking Adventure Photography with Dan Carr

With Spring officially underway here in Alaska, the sun is now setting at well past 8:00 PM. That means much more time for afternoon and evening photography out on the trails, especially during the week.

Plus, it’s not bitter cold, which translates to much happier models, especially when they’re standing around waiting for you to set up your gear.

Last week I took the lighting gear out to shoot some snow biking imagery. My flash of choice was the Photoflex TritonFlash, which is very capable and surprisingly portable battery powered strobe. (Read my review of this unit here.) It recycles very quickly and the lithium battery pack holds its charge in the cold and lasts for many hundreds of shots.

For a lighting modifier, I went with the Photoflex WhiteDome softbox, which is a 24″ x 32″ box with removable sides. I find this feature very usable when shooting in the snow, because I can open up the sides on top for a wide blast of light, and keep the bottom panel on to reduce light spillage onto the already reflective snow.

The setup was pretty simple. I wanted to catch a bit of the sunset light through the trees, while illuminating the biker with the flash. After finding a suitable spot in the forest trails of Anchorage, I set up the TritonFlash on a compact light stand that I strapped to the side of my pack, placed it off trail about 45-50 degrees off axis to my vantage point and and had my friend Glenn ride back and forth along the trail. You can see how much of a difference the flash makes in completely rescuing the subject from the shadows.

I triggered the TritonFlash with a pair of PocketWizard radios and used two different lenses, my 24mm f/2.8D and my new AF-S 70-200mm f/4G ED VR Telephoto Zoom, which I keep falling more in love with every single day. Although the VR doesn’t have much of an effect when you’re shooting moving subjects, it rocks for shooting low light portraits.

When your flash sync speed is 1/250 and lower, you’re usually pushing the hand hold limits of a lens that’s zoomed out to 200mm. When you activate the VR, you have that much more stability for getting tack sharp images.

For the shot above, I used a camera shutter speed of 1/100 sec. at ISO 500 on the Nikon D700 in order to get some motion blur into the shot. Power on the TritonFlash was set by doing some test passes and adjusting to whatever setting gave me the look I wanted. In this case, I think it was about 1/8 power.

For the two shots below, which was made with the 70-200mm lens, I used a shutter speed of 1/160. Flash power was set to about 1/16. I had to decrease it slightly because I wanted a bit softer light for the portrait and moved the light a bit closer to my subject.

One thing I find when shooting with external lights in the snow is that I have to angle the softbox way up (45 degrees) in order to prevent too much light from hitting the snow below the flash. These big softboxes throw out so much light, and the snow is so bright that if you don’t make this adjustment, you’ll end up with WAY to much light in the foreground.

Keep in mind that you could make any of these images with a regular flash, but in the cold, the bigger batter powered units just hold a charge for longer. Plus, when shooting action, they recycle much more quickly. Yes, the bigger lights are more cumbersome to carry, but that’s why I like the TritonFlash– it’s got a battery that’s so much smaller and lighter than some of the other units out there. It actually works really well for outdoor and action photography.

The flash, battery, and all of my camera gear fit right inside my regular Lowepro Photo Sport 200 AW camera pack. Softbox and stand go on the outside, and off I go, riding down the trail chasing my model. I call that Going Fast with Light.

Watch out for a more detailed version of this lesson in one of my future Photoflex Lighting School entries, which will include more images, outtakes and detailed setup shots that show the gear and how I used it.

For more behind the scenes lessons, check out my brand new eBook Behind The Action – Creating Adventure Imagery, Step By Step. It’s on sale today for 20% off.

snow biker portrait. Fat tire snow biking, Alaska

March 26, 2013
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Behind The Shot – Photographing Snow Biking with Flash

The other day, I took my friend Glenn Charles, aka @trvlingbagabond, on a little bush plane adventure. Although he’s had many amazing trips all over the world, Glenn had never been in a small plane before, so while he was a little nervous, he was pretty giddy at the chance to see Alaska from the air.

Of course, in order to have him work off his first class seat assignment, I had him help me shovel snow away from my little Cessna 120 while I preheated the engine with my MSR XGC/aluminum stovepipe rig. Lucky for him, last week’s wind had blown most of it down to the pavement, so he got off pretty easy. He was pretty giddy when our wheels left heground.

Our first destination was the Knik Glacier, which is one of my favorite airplane stomping grounds. As we flew up the valley, we noticed quite a bit of open water in the Knik River, which meant that the Knik glacier biking season is quickly drawing to a close for the year. It can still be done, but with the increased sunlight, those ice bridges are getting thinner by the day.

When we reached the edge of the glacier, I flew a couple of circles so that Glenn could take pictures of the ice formations below. Then I turned back around, dropped in over the river right next to the cliff on the right and lined up on the 1,600 foot long gravel strip that cuts across the moraine just off the river.

Although I had walked the entire strip before, and knew about the whoop-dee-doo about halfway down the strip, I had never landed it on my own; I’m usually out there by myself and usually use another shorter strip nearby. However, with two people, I needed the extra length.

As with many glaciers and mountain valleys, the wind out there can really knock you around, which would normally make me nervous about flying that close to the cliff. Fortunately, conditions were still and calm, so when I saw the end of the strip, I pulled back on the throttle, dropped in over the threshold and let the wheels settle to the ground. Once we were down, I pulled the power, applied light braking and rolled gently over that bump in the middle before slowing to a stop.

That’s when I told Glenn that this was my first time landing “Picnic Strip.” He was glad that I waited until now to let him know. Exiting the plane, I discovered on definite advantage of landing gravel in the wintertime: the rocks are all frozen into the dirt. This means that there’s much less debris to get thrown up into the bottom of the plane. I learn something new every time I fly.

Glenn and I grabbed our cameras, hiked over the little ridge and went right out onto the ice to explore. He remarked that the last time he’d seen a glacier, he was in a kayak. He’d never actually walked around one. I’ve been out here on a few different occasions, and it never ceases to excite me. Enormous ice blocks, some frozen into the lake, some sitting right on the edge of the bank, I wonder to myself how old they are.

What began as snowfall, perhaps hundreds or even thousands of years ago, got compressed into a solid sheet of ice over the years, before gravity forced it downhill, where it broke up over the rugged mountain terrain, and ended up calving as chunks into the lake. Now, here they are, just waiting for us to photograph them. Before leaving, I kicked off a small piece to take home and use for ice cubes in my scotch.

With sunset quickly approaching, we headed back to the plane so that we could explore one more area before heading back to Anchorage. I fired up the engine, turned the plane around and poured on the coals. Opting to take off in the opposite direction, I figured that we’d hit that whoop-dee-doo just as we reached flying speed.

I watched the airspeed indicator climb slowly as we raced down the runway, and although we hit the first little bump before we reached flying speed, the plane was going fast enough to be light on the wheels, so it wasn’t much of a knock. A second later, we hit the second, bigger bump. I dropped the right aileron for a brief instant to give us a bit of extra lift, pulled back on the yoke and we bounced into the air. Cruising a few feet above the ground, we gained additional speed and then climbed out with a turn to the right.

Ten minutes later, we circled over the Colony Glacier, which spills into Inner Lake George. I’d landed on the lake last month when it was bare ice, but since then, it had seen three big storms. Much of it had blown off, though, and when I flew low and dragged thewheels, I could tell that there was only a light layer over a base of hard packed wind slab. Turning back around, I set the little Cessna down right onto the lake.

We didn’t have much time to kill, but it was enough to get out and take a few pictures before climbing over the top of the Chugach front range and heading back to Merrill Field for an gorgeous evening landing. I let Glenn steer the plane all the way down Eagle River Valley. I think he’s hooked.

My camera setup for the day was my trusty  Fujifilm X10 and my D700 with the new Nikon AF-S 70-200mm f/4G ED VR Telephoto Zoom Lens. Glenn had his Nikon Nikon D800, and his trio of Carl Zeiss lenses- the 21mm f/4.5, the 50mm f/1.4 and the 100mm f/2.0. It’s an amazing setup, and between the ultra high resolution of the D800 and the Zeiss glass, it produces absolutely stunning image quality. For serious outdoor and landscape work, this is a rock solid combination.

I love Glenn’s photography. He doesn’t just have great gear, he’s got a great eye as well. Check out his writeup and photos of our little Alasak bush flying adventure and visit his website, The Traveling Vagabond. He lives a pretty amazing life and his adventures aredefinitely worth following. He’s been up here exploring Alaska on his fat tire bike for two months now and I’m really glad to have had the chance to get to know him.

March 21, 2013
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Winter Bush Flying Adventures

The word photography has Greek origins and it means “To Write With Light.” Fitting, since photography is largely about capturing the quality and direction of the light as if falls upon our subject.

However, photography is also about moment. Yes, light matters, but it’s the concept of, yes, that’s right, one singular decisive moment that makes one image stand out with so much more power and clarity than others in a batch of similar shots. The word moment comes from the Latin word momentum. Perhaps Photography should have been called momentumcaptura. Nah. Too long. Doesn’t have the same ring as photography. 

Whatever you want to call it, don’t forget about the concept of moment when you’re out there taking photographs, or momentumcaptures if you prefer. With every single subject, there’s a particular instant that has more visual power than all of the other moments that have occurred, or will occur around that one instance. Sometimes it’s obvious, while other times it might just be a very subtle difference in expression, body position, placement within the frame or the way a gust of wind blasts the snow right into your face.

Of course, you can’t predict these moments, so the only way to try and capture them is to keep your eye trained on your subject and your camera the ready. Try to anticipate what might happen, and then pressing the shutter until you’re absolutely sure that such a moment has already passed.

As you’re looking through your viewfinder, you might be able to recognize when a moment happens, but often times, you won’t know that you actually nailed it in camera until you’re back at home in front of your monitor. That’s why I often keep even my little cameras set to continuous frame mode, because I’d hate to lose a moment while the camera is busy writing to the memory card.

No matter if you’re on the trip of a lifetime, shooting portraits of a friend or goofing off in the mountains for the afternoon, moments happen everywhere and all the time. Open your eyes, be perceptive and keep that shutter clicking.

I shot these photos in about a one hour time span while skiing by myself in the Chugach Mountains outside of Anchorage. I used the Fujifilm X10, which has proven time and time again to be a great little, ultra lightweight, compact adventure camera.

March 19, 2013
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Shooting For Moment

My Brand New eBook is Here!!

I’m excited to announce that my brand new eBook is finally available. It’s called “Behind The Action – Creating Adventure Imagery, Step By Step,” and it’s co-published by the awesome photography website, Light Stalking.

$16.95

Add to Cart

It’s All About The Method

Over the years, I’ve learned that great images are not just plucked out of the air as you pass through a scene. They’re crafted with a blend of vision, technical skills, a bit of luck, and a specific approach that’s unique to each photographer. Essentially, it’s the method that makes the image.

Through my own learning process, I’ve come to understand that more than anything else, studying the methods of photographers who you admire is one of the best ways to advance your own skills and creative techniques. When I first started shooting, I spent hours poring through books and studying the methods by photographers like Galen Rowell, Bryan Peterson and Nevada Wier. What I found most useful was when I was able to read about the specific insight, the creative ideas and the technical approach that went into each photograph.

Years later, I can look back and see how vital those tools were for my own development, which is why I decided to write this book.

Learn By Looking Over My Shoulder

Behind The Action is all method. It lays out the exact step-by-step process for 12 specific adventure and outdoor type images. Essentially, I take the reader along with me on a number of shoots and let them look over my shoulder as I scout the location, gauge the light, choose my equipment, come up with an approach, execute the final image and reflect on how it all went down. I even show you a number of outtakes so that you can follow along and see how the final shot eventually came about.

In short, Behind The Action is the closest thing you’ll ever get to actually being there on the shoot with me and watching me work. Honestly, I can’t think of a better way to teach you how to become a better photographer aside from bringing you on as an assistant. Even if you have a solid understanding of photography and equipment, this book will show you the nuts and bolts of how to put it all together when you’re out there on location and the dust is flying, the light is changing and your scene is quickly unfolding.

What You’ll Learn

For each of the 12 images that’s featured inside the book, I detail the following:

  • Concept: The basic idea behind the shoot & what I was hoping to achieve in a final shot.
  • Gear: An exact inventory of what gear was taken along with me and what gear was used.
  • Light: My assessment of the light and the challenges that each scene presented.
  • Approach: My own unique ideas on how I planned to tackle the shoot.
  • Execution: What ACTUALLY happened after all the planning.
  • Final Thoughts: Reflections on what went right and what went wrong.
  • Post Processing: Exact notations of how I adjusted the image in the digital darkroom.
  • Quick Tips: Thoughts and advice on how to get these kinds of results for yourself.

This is not a “Best of” collection, but rather a selection of photographs that represent a variety of shooting conditions and styles. Some of them were made “on the fly,” while others were born from a specific idea and the time it took to transform them from idea to actual image. Most of the images were shot within the past couple of years, but they all utilize the techniques that I’ve developed over my 16+ years as a working pro photographer.

None of the shots in this book required any special or expensive gear, it’s all done with what would be considered a normal outdoor photography kit, because that’s how I operate in the field. Most of them are images that you could even recreate yourself.

Behind The Action – Creating Adventure Imagery, Step By Step is an adventure photography how-to manual, but it’s not designed to make you shoot just like I do. Instead, it shows you some time tested techniques and methods that you can use to create your own dynamic and exciting imagery in the outdoors, no matter what style or outdoor subject matter appeals to you.

Finally, I’m excited to be working with Light Stalking on this book. They not only share my own excitement and enthusiasm for photography, they also work hard to inspire and help other photographers become better and more accomplished shooters.

Think of all the ways you can blow this kind of money and still have nothing real to show for it. Heck, a decent lunch barely costs $20, and I know some people who spend that much on turnpike tolls in a week. Here you get a huge collection of real world photography ideas, tips and techniques that you can put to use right away.

These are the very same techniques that I use when shooting for my top professional clients. Not the watered down versions, mind you, we’re talking the exact same methods that I use when I’m shooting assignments. In fact, these methods are what actually go me where I am today and I’m sharing them with you for less than the cost of a single dinner out.

Add to Cart

 100% Guarantee

As with every Light Stalking guide, Behind The Action comes with a 100% Money Back Guarantee. We both stand behind this book and we think it will help you learn. If you pick it up and you don’t agree, just contact me and we’ll give you a full refund.

Behind The Action Testimonials

If you are interested in learning outdoor adventure photography, this eBook will show you some time tested techniques and methods that you can use to create your own dynamic and exciting images. – Anne McKinnell

Great read if you’re into action & environmental portrait photography! – Jim Goldstein

He is an industry veteran whose clients read like a who’s who list of the worlds top adventure brands and companies. When it comes to professional adventure photography, Dan walks the walk. Nothing is left out. – The Light Stalking Team

March 12, 2013
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Get My Brand New eBook – “Behind The Action”

When I was a grade school kid, I hated having to carry things. My need to run around with unfettered freedom conflicted strongly with the mundane need of having to transport certain items home from school. Homework, important notes for my parents and permission slips all got folded and shoved into the back pocket of my jeans, where they were quickly forgotten about and sent through the wash by my mother at the end of the week.

“Was I supposed to sign this…?” is a phrase that I heard quite often during my youth. It was usually uttered as my mom was peeling apart some document that had been rendered completely illegible by the washing machine.

Now you can see why I love little cameras so much, especially considering the level of quality that the latest generation offers.

The Nikon COOLPIX A

Nikon’s latest offering in this realm is the The COOLPIX A, a simple, stylish looking mirrorless camera with a 16MP DX-format CMOS sensor and the equivalent of a fixed 28mm f/2.8 lens. That’s right- a little camera that has the same sized sensor as many DSLR cameras, including the new D7100 and the D5100.

Offering a full array of both auto and manual options, Wi-fi, the ability to shoot in RAW, FullHD 1080p video with stereo sound, the COOLPIX A is aimed at professionals and serious photographers who want maximum image quality, creativity and unencumbered flexibility.

This is a game changer for Nikon. They’re obviously trying hard to compete with cameras like the Fujfilm X100S, and my first impression is that they did a great job with the COOLPIX A. As confirmed by DxO Labs, image quality and ISO performance exceeds many other compact cameras, and in fact rivals that of the D7100 and the D5200.

It’s not quite as stylish as the X100, (what is?) and it has no built-in optical viewfinder, but two things that would make me consider this over the X100S are that it’s more compact, and that it has a 28mm f/2.8 lens.

The X100 has a fixed 35mm lens, which many photojournalists and street photographers love, but for my style of outdoor photography, 35mm is kind of a frustrating focal length. It’s just not not wide enough for me. One of the reasons I love the X10 is that it also goes 28mm on the wide end.

Regarding the size, while the X100S is certainly compact when compared to a DLSR, the Nikon COOLPIX A is even smaller and lighter. I’d consider carrying this camera with me on a climb and in rugged settings where I wouldn’t feel comfortable banging around something so gorgeous as the X100. It just looks a little more pocket sized. Also, since it has the finger-tab zoom control, the COOLPIX A looks like it would be easier to use one handed for adventure type shooting.

It has a very simple design, a pop-up flash, and a hot shoe that accepts a dedicated add-on optical viewfinder, and of course, any Nikon Speedlight. That alone could make the difference for many photographers. Who wouldn’t love Nikon CLS lighting capabilities in a pocket sized camera?

I haven’t been very enamored with some of Nikon’s other small cameras, but I’m pretty excited about the COOLPIX A. While it doesn’t quite match the look and feel of the Fuji X series cameras, it’s still not a bad looking camera. That aside, the COOLPIX A has it where it counts with its 16MP DX sensor and fast, fixed 28mm f/2.8 lens.

With a retail price of $1,099, it’s also a little cheaper than the the X100. I’ll be curious to see what this camera does. Check out all the specs at the Nikon website. Hopefully, I’ll be able to get my hands on one for a full review. In the meantime, you can pre-order the new Nikon COOLPIX A from both B&H Photo and Amazon. Expected ship date is March 21.

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March 11, 2013
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Nikon Announces the 16MP DX-Sensor COOLPIX A

The crux with radio triggers has always been cost. They’re not cheap, which often deters new users. Back in the day, a pair of Pocket Wizard Plus II radios would have set you back about $350. That’s a lot of money for a new photographer who wants experiment with remote flashes and camera setups.

Last year, Pocket Wizard came out with the Plus IIIs, which are only $149 each. They’re awesome. They have some great new features, and I’d definitely recommend them. Still that’s almost $300 for the pair.

Enter the brand new Pocket Wizard Plus X. It’s a basic radio trigger with a simple design and a very reasonable price tag. Only $99 ea. For less than two hundred bucks, you can get yourself a pair and start triggering an off camera flash or a remote camera and have some real fun. Get a third and you can fire a camera AND a flash at the same time, or a pair of lights.

So what’s missing? It won’t do TTL flash, but none of the previous Plus models did either. It doesn’t have a any of the more advanced modes that the Plus III has, but honestly, most people don’t need those very often. I don’t need them very often. Doesn’t have a display either, but neither did the Plus II. The Plus X is a trigger. No more, no less. One button, knob. Connect to flash/camera, turn it on, set the channel and boom. You’re ready to fire. Boundless creative options.

That said, the Plus X still has 10 channels that are compatible with all Pocket Wizard radios, new or old, a 1,600-foot range, a long, 100 hour battery life, all stuffed into a durable little housing.

There are a number of less expensive radio triggers starting to appear on the market, but for overall reliability, usability, range and company experience, you can’t ever go wrong with Pocket Wizards.

They last for years (my Plus IIs are about fifteen years old) and they have full compatibility with every other model ever made. I don’t think you can say the same for a set of cheap Chinese off brand triggers.

At $99 each, The new Plus X is by far the best value for a radio trigger. It’s the perfect choice for photographers who are just entering the world of radio remotes, as well as shooters who just need more triggers because they keep getting more lights. If you’re just firing flashes or strobes, you probably don’t need extra features, you just need extra radios.

Announced a couple of weeks ago, The Pocket Wizard Plus X is available now at both B&H Photo and Amazon.

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March 6, 2013
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The Pocket Wizard Plus X – Radio Trigger for under $100

No tips today, no special insight, just some backcountry skiing goodness from Alaska. Much to our delight up here, March has taken a firm hold with noticeably increased sunshine, a gradually stabilizing snowpack, decent powder and temperatures that sometimes make you sweat too much to even wear gloves while you’re skinning.

Sure, it’s not like this every day in March, but it sure was nice yesterday. Good snow, good friends, great weather, good vertical, a good burn on the legs and a brand new Nikon AF-S 70-200mm f/4G VR Lens to play around with. What wasn’t there to love?

Seriously, I’m loving this thing! It’s proving very quickly to be a solid go-to backcountry lens. Check out my full review of this lens and bear with me, because I’m definitely going to keep writing about more in the coming weeks.

Hope you’re getting out here with the camera!

Sign up for my newsletter and get yumminess like this delivered right to your inbox. Of course, I mean that figuratively. I can’t actually send you any real snow.

March 4, 2013
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March Skiing in Alaska

I’ve been a fan of Outdoor Photographer Magazine ever since I started shooting. In fact, I can even say that the magazine changed my life. Back in 1993, I saw an ad in the back of the mag for a photo workshop trek in Mustang, Nepal with Galen and Barbara Rowell.

I scraped together all my cash, ran my own Kickstarter-type promotion to help pay for 50 rolls of Kodachrome + processing, and went on the trip of my life. In short, that adventure pretty much set me on my course, and within three years, I had struck out on my own as a full time photographer.

Then, in 2006, Outdoor Photographer ran a feature article about me and my photography, called Into The Action.

In honor of these two momentous events that altered my life forever, I’m working with Zinio to give away 10 free subscriptions to Outdoor Photographer Magazine, which you can read on your computer, Kindle or mobile device.

Edit: This contest is over.

Even though the 10 winners have been chosen, consider leaving a comment anyway. Tell me about an event that changed your photography life forever. I’ve enjoyed reading the stories and comments that have been added below, and I’d love to read yours as well!

Also, when you’re filling in the comment section, consider signing up for my newsletter, which is a regular digest full of tips, news, pro insight, reviews and special offers. Think if it as my own mini outdoor photography magazine that comes right to your inbox every week or so.

February 28, 2013
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Win a Free Zinio Subscription to Outdoor Photographer Magazine

My latest lighting lesson is up on the Photoflex Lighting School Website. This one is called Photographing Cyclocross with the TritonFlash.

The lesson details how I used a single off-camera light to add life and excitement to the subjects while shooting cyclocross racing here in Alaska last fall. I demonstrate my method for shooting with the light in a variety of different vantage points during two separate races.

It also highlights the versatility and portability of the TritonFlash batter powered strobe for photographing action and fast moving subjects. I’ve been using the TritonFlash for over a year now and have found it to be an excellent, and surprisingly packable unit for outdoor photography. You can read my full review of the TritonFlash here.

This is my third lesson for the Photoflex Lighting School. You can find links to my other lessons on my Photoflex home page. I’m excited to be a part of the Photoflex testing and teaching team- look for more lessons from me in the coming months!

To be notified of other lessons that I do online and get more creative photography tips delivered right to your inbox, sign up for my newsletter!

 

February 27, 2013
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New Photoflex Lighting School Lesson – Shooting Cyclocross