jiawenli

*Shot in Fotopro Studio @ Berjaya Times Square

What I heard from a fellow photographer/customer recently got me thinking deeply. He went, “We (amateur) photographers should never pay anyone so we can shoot them. The amount of money we spent buying equipment (usually in the tens of thousands!) and time spent working on images SHOULD be compensated and yet people expect you to offer money. That’s ridiculous and models coming to me telling me they don’t do TF or RM500 for fully clothed and RM800 for bikini, I tell them to piss off!”

Rude he may be but he has a lot of truth behind him. While shooting professionally and also at the same time working as a camera retailer has given me insight into both side of the game. I have sold hundreds of thousands of ringgit of camera equipment to beginners and season photographers and listen to all their stories. Some come to me with hopes of making it as a photographer/videographer (thanks to great video capabilities of Canon DLSR’s) while others just want to make better pictures.

And here we have someone who has spent nearly RM20,000 since picking up the camera for the first time two months ago. With serious money to burn spend and friendly personality (in a masculine way), he has made a lot of photographer friends in this short period of time while gaining precious advice like the one above. And chatting to him made me think about those photographers that pay to go shoot some models in bikini. Shoulda - woulda - coulda?

Over the other side however, I cannot continue this blog post without mentioning one particular cruising photographer. Opinions are quite divided about him but I do glad we have him in our industry just like Hollywood’s need for the Lindsey Lohan’s and Britney Spears’s. You see, all society needs something to associate or disassociate with and Hollywood stars are perfect as they’re highly identifiable. While their artistic talents are at times questionable, it is their personality that we’re most interested in. Lindsey doing time for DUI. Britney’s shaved skull.

So what does this cruising photographer gives to us photographers? To me, everything that he does, I should NOT do. You could say he is the anti-ME. And sometimes when I question myself over photographic issues I wonder if I am becoming him. So you ask, any examples?

Here is only but a few:

~Not afraid to admit I am a man and I do like women and sex. I express it openly but behave appropriately. Ironically it takes the tension away and much better than acting like a monk while staring at boobs uncontrollably. Honesty is the best policy but please behave like a gentleman at all times.

~Taking responsibility for all images I make. If pictures turns out nothing more than stray dog crap, I blame no one but myself. Not my camera. Not my lens. Not my MUA. Not “I did not have time to do post processing.” And definately not “My focusing screen fell off and I could not focus.” :-p

Getting back to the topic, I believe we shall all make pictures for free. Not just photographers/camera owners, MUA’s, models, stylists, retouchers, etc.. All of us are artists and we would create regardless if we get paid or not. And I stand by Chase Jarvis’s idea of creation, sharing and sustaining. The more we create and share, the more chance we are able to sustain ourselves as well as creating more opportunity for more creation and sharing. It’s a cycle and it starts with creation. 

What I would love to see is a group of passionate artists coming together and creating something incredible. Say, I have a studio and camera gear, and I seek out a wardrobe stylist or a fashion designer. We would art direct and come up with themes and ideas while models would volunteer for the shoot. Hair and mua would also come in to seek a new challenges and experiment. Boutiques or fashion houses would donate/supply the wardrobe and shoot will proceed. Images created could be used freely by anyone on the team as well as the wardrobe supplier. 

This getting together and creating images will benefit everyone creatively as well as financially once the sharing starts. The more awareness and publicity the images get, work will start to come in and again we get to work but with monetary compensation. But imagine without all this? No pictures. No sharing. No assigments. No money.

So I beg to all artists in the industry to be more gracious and value the spirit of sharing. Let us all start making pictures! And I start by shooting for free.

Cyabye.

50 Reasons not to Date a Photographer

Was inspired to write one of these hehe.

1. They rather hold their bulky camera, than hold hands with you.
2. On a romantic date, you’ll watch the sun go down and think “Wow this is gorgeous” and they’ll go “mirror lock, tripod, and stop down f/8 at 1/125.”
3. You’ll never be able to enjoy tv, movies, or magazines because they’ll point out all the visual flaws.
4. They like to sit in obscure coffee shop and voyeuristically watch people for great lengths of time.
5. If you’re taking a walk outside and you come across some “interesting light” they will make you sit/stand/pose in public so that they can take a photo.
6. You’ll never get to enjoy freshly cooked meals because they’ll spend 15 minutes taking 20 variations of the same dish with their iPhone.
7. They get angry when your friends go up to them and say “I am interested in photography, can you recommend a good camera for me?  Nothing professional I just want to take pretty pictures.”
8. You’ll wait longer for them to finish analyzing art in a museum than you’ll wait at the dmv
9. Same goes with old used bookstores.
10. When you think they’re giving you their undivided attention, they’re really wondering how they could fix you with a little Clone Tool and Patch Tool.
11. Or they are actually using you to not look so creepy as they people watch everything going on around you.
12. They rather drop $1,000+ on new glass than a purse for you. 
13. You can’t take a photo with them without taking at least five more.
14. If you ask them if you look fat, they’ll say “don’t worry I can photoshop you later.”
15. They’ll never photoshop something simple for you if the content is not up to their “standards.”
16. That photo they randomly took of you yesterday?  Good luck getting them to send it to you.
17. They spend all their time on the computer (and not for porn.)
18. They can’t have a normal conversation with throwing acronyms and random numbers.
19. They still use film cameras.
20. They spend a lot of time with people cooler than you i.e. models, actors, musicians, successful rich people.
21. They’ll be fussy over the position of a common household object, like a coffee cup.
22. They won’t return your calls or text messages, but you can bet they’re still posting pics on Instagram.
23. They like watching old films that you’ve never heard or will ever understand.
24. They like looking at weird things in general.
25. Instead of having penis-envy, they have camera-gear-envy.
26. If there’s a natural disaster in a far away land, they’re already on a plane going over there.
27. Everything is watermarked.
28. They think everyone else’s photos suck.
29. They want to color correct a lot of scenes from Twilight and Jersey Shore.
30. They hate rainbows, especially ones spinning in a circle.
31. Whenever you’re in a group talking and the conversation goes deep, they’re taking notes in some form of Moleskin.
32. They use over priced Moleskin notebooks.
33. They like trespassing into old abandoned buildings filled with health hazards.
34. They always want to show a new photo they took, but don’t really care if you like it or not.
35. They hate your n00bie friend’s new artsy profile picture.
36. Bright, sunny days make them sad, but cloudy, overcast days are apparently great!
37. They’ll take you into places that have “culture” as well a high chance of getting mugged.
38. Your birthday present will be a portrait that they’ve taken of you.
39. You can’t go anywhere new without them stopping to take a photo of everything and anything.
40. They will always bug you to be a test subject.
41. Nothing can ever be naturally pretty, everything must be fixed in Photoshop.
42. Bringing their camera means, bringing 50lbs of equipment.
43. If you break any of their things on accident, you’ll owe them thousands of dollars.
44. You can’t get them a birthday/Christmas present without spending at least $500
45. They are natural hoarders, collecting and keeping piles of old newspapers, packaging, magazines, and other things that “inspire” them.
46. They are weird and geeky.
47. They have hard drives of photos, but probably have printed 10 images.
48. They are always secretly judging your creativity.
49. If you’re ever in auto mode, they laugh at you.
50. They orgasm every time they learn a new lighting technique.

Reposted from 

http://notastarvingartist.com/post/12766897643

 We hear it all the time - “keep it simple!” but just how many times do we actually think about what it means and why it is so important in photography especially portraiture like the one above? Before we get to the point lets take a look at how the image was shot.

Just one big softbox slightly above her head pointing downwards at about 45 degrees. She standing approximately 5 feet away from the white paper background. A white reflector (actually just a A1 size board) about hip high pointing back at her at again 45 degrees. Shot with a cheaply EOS 1000D and kit lens at 1/125s, f16, ISO 100, JPEG.

Other photogs would have another softbox in place of the reflector for a classic clamshell lighting that guarantees soft and smooth skin but I wanted to make it even simpler so a reflector was used. She could’ve stood closer to the background and that would brighten up the background a bit more (spill from the softbox hitting the background) but a grey background looks so much better to my eyes so I have her stood further. That was all.

Easy and natural makeup by one of my favourite MUA Nicole from M.A.C. and we’re all set for shooting. With simple setups like this, talents don’t get nervous or intimidated. When you have five strobes and cables everywhere - even photographers gets shaky let alone talents. Professional models are a different story.

Usually I will lead the talent to the spot that I want her to stand and just keep talking to her to take her attention away from all the equipment. My favourite question being (Malaysian will forever be Malaysian) “what did you had for lunch?” Having one light above her on axis means that she doesn’t need to stick to a certain angle which sometimes kills the energy of the shot. Here she can turn to the left, to the right, chin down, chin up and even straight to the lens like above.

And in just a few frames she gave me this. Shoulders one side higher than the other (because she has one foot forward). Chin TRYING to get close to her right shoulder. Her smile with just a bit of a squint completes the picture. You cannot get simpler than this.

The simplicity theme carried on to post production work. Beauty retouching usually requires careful and skillful Photoshop techniques but not in this case. Her flawless skin (literally) coupled with the soft lighting requires zero work. All I did was to clean up her hair and made a conversion to black and white. DONE!

I believe with simplicity you encourage spontaneity.

KISS = keep it simple stupid

Cyabye!

You got the right lens. The light is exactly where you want it. Exposure so perfect, you swear you won’t mess with the levels later. With a big grin you say, “Let’s get it on!”

But after 50 frames or so, there’s nothing. Not even one keeper. That chill down the spine every photographer dreads. Even your mouth dries up.

A lot people do not realize that on assignments or commission jobs there are plenty of stress and the stress of not getting the job done is the worse of them all. You screw this up and you might just have to sell of the precious full frame body to survive. That voice is always at the back of your mind “Please don’t mess this up.”

Cold sweat drips from the side of your forehead (sometimes they just hangs there =.=”’), you move the lights, change the aperture, move in some props, throw out some props, swap the background, raise your tone of “You’re so hot” to “You’re so HOT!” Still nothing. Gulp.

Just as you want to throw your camera on the ground and storm off the set - the stars align. One turn and suddenly time slows. Like Neo in bullet time. That one look you’ve been tearing your hair off for the past 30 minutes now appears and you index finger reacts. One more time you cheated death and redeemed yourself.

Here is one example of the story. Absolutely nothing after 55 frames and he was starting to get restless. You just knew he is going to throw a diva fit anytime now. Parents too got tired to coaxing a smile. Nothing worked. There’s no talking to this young man. He is all himself. He sat down. He got up. Throw his arms up in the air. But no pictures. Then suddenly as he was trying to walk off the set I said, “hey, buddy - look this way.” He turned around and gave me this.

If you have shot enough pictures you would know when opportunity presents itself. It really felt as if time has slowed down and in a fraction of a second you squeeze the shutter at the exact moment. Bam!

I was utterly impressed with this little guy for I have shot professional male models that don’t have this look in them. Perfect body language and that confident stare that carries no ego.

In any shoot, if things don’t go your way - keep trying and don’t give up. You just have to be patient enough and wait till the stars line up.

Cyabye!

 

It’s not everyday that we wake up and get to shoot what we want. And shooting professionally means you spend more time shooting what you don’t wish but have no choice as you have taken money from somebody or at least promised you money. One of the most boring type of paid work is catalogs and I got plenty of them.

In most cases, catalog work requires a white back ground and evenly lit items. Shadows are usually below the subject to show orientation and nothing else. While we usually craft form and shape with shadows, here we do it with highlight and midtones. The more white the better as the graphic designer would have an easier time cutting out subjects and laying them out later. Some has suggested using green screens, but that would make items/products seems like floating in the air too much. The objective of a catalog is to showcase products as close as possible to the real thing but in a much refined manner.

So there are not much challenge in terms of technicalities as consistency is highly regarded here. Too much tinkering and images turns out too different from one another isn’t going to make the graphic designer any happier (but that could be the point :-p.) Some photographers like to use acrylic sheets as base with various scrims and reflectors while some other use light boxes. I use a cheap light tent which could be folded when not in use. Though it’s called a light tent, it doesn’t resembles anything like the usual tent you imagined but more like a big white cube with a Velcro front panel and a zip in the middle. I always lit it with a big softbox on top and another similar sized softbox at the back. With everything white, there would be a lot of reflection and in my mind does not require lights from the side to add illumination. Subjects do go dark in front but when you cover the front panel (also white) it acts like a big reflector which bangs light back to the front.

Even if this is boring stuff to shoot it does not make work easier. In fact it is one of the most tedious type of photography you can imagine. Every little detail counts and minute adjustments are made constantly like you cannot expect. But whatever you do, you do not adjust the lighting or the exposure.

With very little tricks to play (lighting, angles, etc..) all I can do is arrange the items to look as appealing as possible. There’s a lot of room to be creative, its just not the lighting part.

Here is one of the many images shot for a catalog. Shot at ISO100, f13, and 1/125s. Canon EOS 7D with Tamron 17-50 f2.8 VC (turned off) mounted on a Velbon 800R tripod. Tethered to Lightroom and retouched rightaway in Photoshop CS5 (you cannot imagine the amount of cleaning required).

Have a good time with blinding stobes. Cyabye!

“If you get that intuition or that feeling inside that something isn’t going right, you need to fix it and change course a bit. So its a process, its not boom! I’m going to do this great picture I’m done - its a process” Micheal Grecco

Photo sessions rarely go as you expect them to especially with portraiture. More so if you’re working with everyday Joe’s and Jane’s. Unlike professional models, you need find ways to connect with them and achieve response. Something as easy as turning shoulders to the left or right might take more than a few attempts. And there are times when nothing works - but no photographer should ever give up, throw everything out and start again.

I work from back to front. Its background to foreground instead of the usual subject to background. Some talents looks better with a high key white background while others jumps off the screen with a dark one. Here is one example when i started with a white background but couldn’t decide if I should light it (so it turns white like above) or flag my key light so the white background turns grey. While I personally prefers darker backgrounds but in this case the talent is wearing a grey dress with a red belt. Grey background on grey dress would emphasize too much on the striking belt and takes the attention away from her sweet smile.

So after a few frames of grey background, I felt it wasn’t quite right but couldn’t put my finger on exactly what. Still I change the overall look and went for a brighter background and immediately I saw a better picture. By the way, white paper is my favourite as you can change it around. Depending on how you light it, it can be white, grey, black (not always easy), or even color by gelling your strobes. But the important thing is to recognize what’s working and what’s not.

But still i made some mistakes in this picture and I’ve been kicking myself over it for a while now. Here I lit the talent with two strobes - a beauty dish above the camera (a bit to the right) and a big softbox camera left but slightly behind. The beauty dish aims for the face and by being a smaller light source gives more shape (shadows) while the softbox lights the entire scene while at the same time fills the shadows. And here is where I got it wrong. The ratio between highlights and shadow are a bit too much and i ended up with too dark shadows below the chin. Had I turn it up a bit more, it would’ve been perfect.

Of course I told myself, hey maybe if I had a few more strobes things would turn out better. Right. Beauty dish and parabolic for key and fill. Two strips softbox for rim. Another two for background. Be it Profoto if possible. Oh and a Hasselblad. And a stylist. And two assistants. And a few more thousand ringgit please.

Not to say the picture turned out as an epic-phail. I kinda like it considering how much I charge for for it - which happens to be zero in whatever currency. Do better next time and there’s always next time.

*Made with harsh midday natural light. Car was in the shade with just strips of light coming through. All processing was done in Lightroom with no dodging and burning. Odd composition with extreme contrast are usually big no’s in photography but works well here.

Lets face it, photographers talk a lot. The more ‘likes’ the get, boy the more words come out and even when there’s no acknowledgement the blabber won’t stop. Bad photo will usually responded with “Hey, photography is art - and in art there’s no right or wrong.” While I agree there is some truth with that statement, most just sounds like an excuse and save face.

But then again, you see images that breaks every rule yet they are beautiful. How come you ask? I still stick by what I learned during my days practicing music - understand everything you can while you practice but throw them all away when you perform. For a while I didn’t quite get it at first largely because there’s nothing much that I know about music theory and that rule does not apply. Magic starts to happen when you become more proficient with art ‘rules.’

So you ask, why break rules when you’re thought to be following them? Well, that’s art :-p

*f.y.i.: this photo was taken in Siem Riep, Cambodia and has no connection with this post - another funny picture in my library :-p

I believe making pictures are not getting enough recognition as it should. There you have it. One sentence to make my statement. If you make pictures professionally you would understand that photography and the art of it has gone down in value and acknowledgment in the age of digital. Once upon a time, photographers were part artist, part chemist and part engineer. Now people perceives us as button pressers.

Take this into perspective. Before roll film was introduced, photos were made with plates and one of the various types of wet plates was the ambrotypes whereby a sheet of glass is coated with light sensitive chemicals, making it into a solid piece of negative. The amount of work and expertise that goes into making a picture was monumental compare to what we do today. And it was almost foolproof. No one can ‘save image’ your picture and use it on their blog. And comes the next question of copying images.

When I took art classes back in secondary school, I was blessed to have a very good art teacher. Instead of the usual, do this and pass up your work tomorrow like other subjects such as maths, he would give us a pace to follow. So it will be drawing the outline today, laying the colours tomorrow bit by bit until the deadline which was usually a week. Little did I know, he was teaching us how to manage our workflow!

He also taught us to copy. My first assignment was to produce a comic strip. Mind you my drawing skills are spastic to say the least, even comics are hard work for me but that was exactly the point he was trying to make. When you get stuck, copy. There is nothing wrong with it, you’re practicing your craft, and copying will let you have an idea on what to practice. So my comic strip assignment was a modification of the famous Calvin and Hobbes strip traced from the Sunday newspaper. Calvin was standing against a white background (so Richard Avedon :-p) and instead of his usual outfit, I had him in school uniform - white shirt untucked with dark green long pants. Only three frames, but my best three frames ever.

Later in my teens, I picked up the guitar and my whole life revolved around music. Music really is an expressive art form and a very tough one too. Even hours and hours of practice does not promise you great success - you must study the styles of other guitarist to improve. Take the legendary Jimi Hendrix. Many does not realize that while Hendrix was a truly out of this world guitarist, he was also a master copycat. He was reported to jam with other guitarist whenever he got the chance to learn their styles and use it for his own. I personally believe it was his ability to learn styles very quickly and incorporating it into his own that had him elevated to guitar god status.

But the funny thing is that while guitarist take it as an honour and pride to have others play or incorporate your style of music into their own, photographers take it as an insult. I still have not quite figured that out. Maybe its too simple to do that in photography. You don’t hear Rolling Stones accusing Aerosmith of copying them. But you do hear, “Oh, that grey background is so Irving Penn.” With sarcasm.

I understand that many so called photographers would copy images instead of styles. How many times we have looked at images from bridal houses that looks the same as those WPPI winning images? I don’t blame photographers for making a fuss about putting watermark on their images. With this type of copycats copydogs, one has to play defense.

However, can you copy for fun? Just like I’m going to practice a piece by Hendrix, can you shoot an image of say Helmut Newton’s picture of Cindy Crawford walking down the stairs? Sure you won’t be able to afford Cindy or go to Monaco for that, but something similar? Will you get blasted to death once your image goes online? You can bet your 5DMkII on that one.

Maybe after all this digital technology settles down, and we get comfortable with images appearing on your LCD screen rather than on a 4x6 inch Fuji Crystal Archive, photographers will be more open to these kinda “practice.” And maybe then I’ll post my copycat images.

Cyabye

At 709 feet long the Starcruise Libra is truly an imposing sight at the Penang Port. With its bright white hull - you can spot it from miles away and its probably the largest thing you’d ever seen. Once you board the ship via the gangway - your neck will hurt trying to gauge the size of the ship.

After passing through some borderline over-zealous securities, we took the lifts to the Deck 3 at where the reception area is. Being merchandisers, we were checked into regular guest rooms instead of crew quarters - and the receptionist labelled us as ‘house-use.’ :-( No house is using me whatsoever :-p

So after settling down my luggage I went to check out my workplace which is located at the Deck 5 which also happens to house all the casinos and halls.  My work over the weekend was to train and observe the market pattern on board Libra. With just two nights on board - things have to move quickly. While the usual training consists of classes, notes and endless jargon explanations, I wanted to do things differently and opted for no notes at all and turn the session into a fun photography session instead. Besides, with the exception of the retail manager and supervisor, all the rest of the staff hails from the People’s Republic of China. English notes will not be very effective I suppose.

But they turn out to be better than I expected. Much better in fact. This is one hard working bunch and honestly have not seen younger people this hardworking and dedicated for a long time. Sure their English is not perfect, but they could understand what I was trying to express just fine. Mind you I speak very little Mandarin and not for once they complained. Just as planned, I started the session showing them various cameras like an old manual focus film camera, a new high performance DLSR and a few point and shoots.

Without the usual blabber on aperture, shutter speeds, ISO etc., we got right into the fun of making images. We shot each other and give out a few simple points while keeping the session light and casual. After a lot of laughs and giggles with plenty of pictures taken - it was time to call it a day. I left them to explore the camera by themselves and have fun making images. Lastly, I was rewarded with the designation “Teacher.” :-p

Passengers still haven’t boarded and with time to kill, I set out exploring the rest of the ship and was met with some good light. During this time of the year, peninsular Malaysia is usually covered with haze but today was an exception. Skies were clear and blue so I wasted no time a shot away. Most of the shots were taken at Deck 6 where all the lifeboats at kept. To give you an idea of how big this ship is, there’s a half basketball court at the aft. Gulp!

Shot with Canon EOS 7D with EFS10-22 and Tamron 70-300 VC. Images came out clean with plenty of dynamic range. After a year of using this camera, it never ceases to amaze me. Super fast and accurate focusing. Clean images even at higher ISO. Good dynamic range. Big file sizes that agencies love. 

Libra, I’ll be back.

Cyabye!

I believe its a bit inaccurate to say we (photographers) love photography. While I do not part with my camera for more than a few hours - over the years I have found that releasing the shutter has become a voice rather than the sentence. Through the lens I could see life and it is the world around me that I’m in love with. Not the camera made in Japan.

And those photographers that does really well in their field say mountaineering are usually a fan themselves. Take NatGeo Adventure photographer Jimmy Chin. He was in love with climbing way before he made a picture and I believe that is why his images stands above others. When you love your subjects, people will love your images.

Even so, I am sure there’s some subjects we just don’t like to shoot. Take me for example, my biggest love is sports and women portraiture. Throw in some fashion too. Ironically I have always hated fashion shows. Its fashion all right and proper, but not quite in my mind. But everyone should test themselves and get out of their comfort zone which I did a few weeks back.

Fashion shows (those held in shopping malls) are notorious for attracting photographers with deep pockets and a penchant for staring at models. I have heard to stories of how these photogs would act unprofessionally (which is quite appropriate since they are not professionals anyway) - some goes as far as catcalls and peeking …. you know what I’m talking about here :-p.

But shooting fashion shows are not easy work. Getty has dedicated staffs that specializes in fashion shows. Think about that for a second there. Like weddings and reportage - there’s no reshoots. Worse of all - you have all the competition standing right next to you. Definitely survival of the fittest photography. After some research I have found the perfect opportunity to lose my fashion show cherry.

Berjaya Times Square launched a new campaign called I LOVE BTS with a fashion show that lasted 3 days highlighting some of the fashion houses there and it was to be a grand one. Local celebrities were invited as guest and some like star musician Dennis Lau performed for the first opening show along with the fashion shows. To their credit, the venue was well prepared with a nice runway and plenty of lighting. There’s even a proper marque for photographers. Nice.

I decided to approach the shoot as if I’m shooting sports so I geared up with a Canon EOS 7D instead of the 5DMk2 for better focusing performance. 70-200 f2.8 non-IS would work perfectly since I’m using a monopod. By the way, I always have the IS turned OFF when I’m using tripod or monopod. Lastly a 580EXII mounted directly on the body.

Arriving just after the show has started (proving once again I’m Malaysian), first thing on my mind was to get the exposure right. Few things I have to take into account here which are shutter speed and flash compensation. I wanted the images to come out sharp without harsh shadow underneath the eyes and chin so I came to 1/500s at f2.8 at ISO640. Flash was set to High Speed Sync at -2/3 EV and pointed directly to the target instead of bouncing with a diffuser.

But the real trick is the timing of the shot. You want to have the models’ back foot at exactly the right position when they are walking towards you. Models walks by swaying their hips and crossing their legs thus showcasing the wardrobe elegantly. But you want to release the shutter as soon as the back foot lifts off the ground not before or after. That’s the moment when she/he looks best (to me at least). 

Funny thing is, the models seems to know it. With so many photographers tearing the runway with their machine guns, they know exactly how to work the cameras. Once you start to nail the timing of their steps, instinctively they know who can do the job right. And you will be rewarded with that look that you always dreamed of at the end of the runway. Model looking straight into your lens.

After a the session ended, I shifted positions and shot some more. All in all fashion shows are no walk in the park. It takes good skills in terms of focusing and controlling your flash. And with this I have gained more respect to those who shoots fashion shows for a living. Here’s a few more images to brighten your day up :-p

Cyabye!