25 Practical Photography Projects for the New Year

By: Mat Coker

So many photographers become stale in their pursuit of photography. Perhaps your hard drive overflows with tens of thousands of photos, yet somehow your photography seems to have become stagnant?
A new year is upon you and with this fresh beginning comes a chance to renew your love of photography. Perhaps there is no better way to do this than with practical photography projects.
Here are 25 practical photography projects to get you started!

#Practicalphotography#Projects#Oldphotos

I use Lightroom to bring the chaos of my overflowing hard drives under control. Photos are sorted into

folders waiting to be flagged, tagged, starred, and colored! Once this is done, projects become much 

easier to accomplish.

Projects based on photos you’ve already taken

Many projects can be accomplished based on photos you have already taken. Photography isn’t merely about snapping more and more photos. Therefore, it’s important to look back at our earlier work and draw it together in some sort of coherent project.

1. Study your old photos

You might be surprised by what you find when you sift through your old photos. It’s the perfect way to measure your improvement and growth as a photographer. Take as long as you wish to work on this project.
When you focus on your current difficulties or look ahead at all the skills you’re struggling to learn, it can seem like you’re never going to get there. But when you look back on where you’ve come from you can see how much you’ve truly grown.
Set goals for the future, but always look back to see how you’ve grown.

2. Create a collection

As you study your old work, you may notice patterns in all those photos. Perhaps you’ll see enough of a pattern to create a collection of photos. As you sort through your old photos, try to create collections based on subjects, themes, people or locations.

Sifting back through old pictures, I noticed I had quite a collection of photos of my kids playing in the

window and curtains.

3. Print your collection

Studying your old work and creating collections are big projects in themselves. Once you’ve completed them, your next project should be taking time to appreciate your work by printing it.

4. Hang your collection

Raise your hand if you’ve already got stacks of photos stored away in albums and boxes? A perfect project for you is to find a place in your home or studio to display your printed collection. Maybe you know a small business owner or hotel manager who would appreciate displaying your collection for a while.

5. Invite other photographers to join you

All of these projects become ten times better when you work on them with other photographers.
Help each other narrow down your collections. Gain insight from others as to what should be printed and why.
You could even host a gallery evening together. Invite other photographers and friends to come and enjoy your photos along with some coffee or wine. Why not approach a local cafe or winery to host your event?

I volunteer as a photographer for Habitat for Humanity. I follow the house build from the first shovel

going into the ground to the keys of the finished house being handed to the family. In the midst of
running my photography business, I have this exciting photography project throughout the year.

Photos you’ve always dreamed of

So much for all those photos you’ve already taken, how about the photos you’ve always dreamed of taking? Let’s look at 20 more projects that will keep you busy exploring new things.

6. A childhood project you never completed

Maybe you had dreams and ideas for photos when you first got your camera but didn’t have the know-how to pull them off. Now that you’ve developed your creativity and skill, you should tackle one of those old ideas.

7. A half-finished project that needs completion

Look around for a half-finished project. There is nothing more discouraging than half-finished work reminding you how incapable you are. Even if you’ve lost your inspiration for that project; get it done! Sometimes tackling a project and finishing it off will inspire you to something bigger.

8. Learn a new skill

Perhaps your project won’t be a collection of photos or a new body of work but learning a new skill. DPS has plenty of books, courses and tips to help you learn something new. You can even document your learning journey through photos on social media or your website.

Many of the volunteers with Habitat for Humanity do not know how to build houses. But by the end 

of the day, they’ve learned some new skill and feel happy with their accomplishments.

Projects that take all year

It’s worth considering how long you would like your project to be. You may even wish to tackle a number of smaller projects that feed into one larger project over the year. Here are several more projects that can last a week, month, or year!

9. Start a photography website

Whether you want a place to display your photos, write tutorials, or document your journey as a photographer, a website is a great place to get started. Find something with nice templates if you don’t want to fuss over the details, or use a highly customizable website if you want to stretch your creativity.

10. Something uncomfortable

When we talk about getting better as a photographer we often mean learning about technology or refining our technique. Those are important, and why not add growing as a person?
Try a type of photography that will take you out of your comfort zone. If you’re uncomfortable with people then try portrait or street photography. If you’re lazy, get out hiking and try landscape photography.

As a person who is very introverted, I try to take on photography projects that involve people. This

helps me break out of my shell and be more social. My wife notices that I’m far less withdrawn than I
was a couple of years ago. Photography isn’t just about expanding your portfolio, it’s also about
growing as a person.

11. 365 project

A 365 project usually means taking a picture a day for a whole year. You can use it as a way to document your life, explore a theme, or follow a subject.

• The first 365 days of your child’s life
• 365 days in the life of your dog/cat
• 365 unique plant types
• 365 landscapes, documenting the seasons
• 365 streets in a big city like New York

Don’t become anxious if you miss a day. The spirit of this project is to establish a collection over the course of a year. 300 photos, or even 100, is better than 0.

12. 52-week project

If the 365 project sounds too much for you, try a less intense version. Take 52 weekly photos over the course of a year.

• 52 portraits of strangers
• 52 food dishes
• 52 photos of roses
• 52 pasta dishes

13. A theme

Explore a theme on your own time and on your own terms.
It could be something warm and positive such as childhood or love.
It could be something confrontational such as violence or pollution.
This project is perfect for inquisitive explorer types.

Expressing a theme in a photograph can be difficult. In this photo, I wanted to capture the idea of the

difficult and messy work that volunteers do. I captured the muddy boots climbing up the scaffolding
with people working in the background.

14. The seasons

Document the seasons throughout the year. You may consider traveling for this project. Hop on a plane 4 times a year to photograph the seasons in a climate different to yours. This project is perfect for people who travel a lot anyhow.

15. A person a day/week

Photograph a person (family, friend, stranger) daily or weekly. This might mean photographing one person over and over throughout the year or finding a new person each day or week. A perfect project for the social butterfly!

When I photograph a group of people over a long period of time, I try to mix things up every time I 

photograph them. Sometimes I’ll limit myself to certain angles, like this low angle photo.

Projects that take a month

16. 30-day project

Similar to the 365 or 52-week project, but this one only lasts a month.

17. A color

Choose a color to photograph for one month. Then choose another color each month and make this project last the whole year.

18. Document a charity

Find a charity that you can volunteer to photograph. You’ll expand your experience, build your portfolio and help them with their photography needs.

I began with a desire to photograph a house build. Then I discovered a charity who I could volunteer 

with. When you volunteer your time as a photographer, make sure it’s something you’re excited to get
involved in and a worthy cause.

19. One camera, one lens

Choose one camera body and one lens to use for a month. Don’t touch anything else. Constraints like this can really help your creativity and photography to grow.

20. Camera phone

Perhaps that one camera/one lens is your phone! Treat your phone as a serious camera and you can take great photos with it. Through practice, you can learn to be just as creative with your phone as you are with your DSLR and 70-200mm lens.

21. Black and white for a month

Limit yourself to black and white photography in order to grow your vision and creativity. Set your digital camera to photograph in black and white in order to help train your eye.

In my mind, some moments are made for black and white. I know when I lift the camera to my eye 

that the photo will be black and white.

22. One subject

Find one subject to photograph for a month. Push yourself to take a different sort of photo than you did the day before. This will exercise your creativity and leave you craving the next month’s project.

23. Teach photography to a newbie

Your own understanding and ability grow when you teach what you know (or think you know) to somebody else. Your ideas and techniques become more deeply ingrained in yourself when you can learn to explain them simply to another person.
You’ll both grow as photographers. They may even push you to learn new things just so that you can explain it to them!

Projects that take a day

24. Day in the life of…

Photograph a person, place or thing for a whole day. Maybe your kids, the sun, your dog or a garden.

25. Self-portraits

Break out beyond the selfie and take some interesting portraits of yourself.

• Street photographers can photograph their reflection in buildings
• Portrait photographer can experience themselves as the subject
• Landscape photographers can work themselves into the photo

Choose one

Pick one of these projects that suits where you are on your photography journey. You can easily choose a variety of shorter projects that you can weave together into a larger project over the course of the year.


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These Quick and Easy Photography Tips Will Take Your Photos Up a Notch

^{photo by hsyncoban via iStock}

Photography is hard work, there’s no mistake about that.

But there are plenty of tips, tricks, and techniques you can learn that will help you take better photos right now, today. 

That’s where this list comes in…

Below, I’ve outlined just a few quick and easy photography tips that will help you take your photos to the next level.

Editor’s Tip: You need the right gear to advance your photography skills. START UPGRADING YOUR KIT TODAY WITH A NEW CAMERA STRAP.

Easy Photography Tip #1: Fill the Frame

 ^{photo by opolja via iStock}

A common problem in photos taken by new photographers is that the subject isn’t strong. Without a commanding presence in the picture, it can be a bit on the boring side, leaving viewers wondering what the subject of the photo might be.

You can resolve all those problems by filling the frame with the subject.

Use your lens’s zoom (or simply walk closer to the subject if you don’t have a zoom lens) and frame the shot such that the subject is the most prominent thing in the photo.

 ^{photo by eugenesergeev via iStock}

As you can see in the sample photos above, this trick works with everything from portraits to architecture.

Give it a try, and see how much more impactful your photos can be!

Learn More:

• Must-Have Tips for Travel Photography in 2019
• Improve the Quality of Your Photos With These Simple Tips and Tricks

Easy Photography Tip #2: Keep Your Eyes on the Prize

 ^{photo by silverblack via iStock}

When you watch people take photos, you’ll often see them close the eye that isn’t looking through the viewfinder. You might even do this yourself.

If you do, keep that other eye open. It has a couple of advantages.

First, by having both eyes open, you can see through the viewfinder and also see what’s happening out of frame. This is especially important when you’re photographing scenes that change, like a sporting event or a wildlife shot.

^{photo by lechatnoir via iStock} 

Secondly, if you’re shooting portraits, keeping the off-camera eye open allows you to connect with the subject because they can see the whites of your eye. That’s advantageous because it can help the subject relax in front of the camera, and the more relaxed they are, the better the portrait will be.

Easy Photography Tip #3: Gear Up With a Better Camera Strap 

I know what you’re thinking…

How can a different camera strap improve your photos?

Think of it this way - the strap that came with your camera is totally uncomfortable, right? It cuts into your shoulder and causes your neck, shoulders, and upper back to ache. The more you hurt, the less likely you are to keep shooting, let alone enjoy it. 

And since practice makes perfect in photography, being comfortable while you take photos will enable you to shoot more often and take more photos, thereby becoming a better photographer.

You don’t have to spend a ton of money to get a better camera strap, either.

In fact, I field tested a Hyperion camera strap - which set me back less than $20 - and it totally rocked.

The unique construction of the strap, which uses acrylic cloth cordage, was both attractive looking and comfortable to wear. 

The cordage is nice and thick, so it helped distribute the weight of my Nikon D850 over a larger area.

I also liked the fact that if I didn’t want to carry the camera over my shoulder that I could use it as a sling strap or wrap it around my wrist.

The point here is that straps like these look great, are incredibly versatile, and comfortable to boot, so it’s really the best of all worlds, especially at this price point!

Courtesy of:  PhotographyTalk

Avoid These 4 Post-Processing Mistakes That Can Ruin Your Images

By: Christian Hoiberg

Post-processing is a particularly sensitive topic and there’s always a certain amount of processing versus non-processing discussions that take place after articles on the topic. It’s not hard to understand since how you choose to process your images is your artistic choice.
There’s not necessarily a right or wrong way to go about it but, that being said, there are certain “mistakes” that I notice quite regularly, especially amongst beginning photographers who aren’t quite able to achieve the looks they want.

#Color#Mistakes#Photographers

Some of these mistakes are obvious while others, not so much. What they have in common, though, is that they are mistakes that most of us are guilty of making or have made at some point. Let’s dive in.

1. Not Considering Color

Let’s start with a mistake that the majority of us are or have been making, and one which isn’t necessarily that obvious to all of us: failing to understand color harmonies.
Color harmonies might be easier to control as portrait or studio photographers but as landscape photographers, we have to work with the conditions nature gives us. Sometimes, our job is to find order in the chaos and highlight the most interesting aspects of the landscape. Indeed, it’s not an easy task.

The discussions can quickly become controversial as we start talking about working with colors in nature. I’m not here to say what you should or shouldn’t do but I’ll give you a couple of ideas on how you can work with color in post-processing:

1. Use the HSL sliders in Lightroom/Camera RAW to adjust the hues of certain colors to create a better color harmony in the image.
2. Rhe HSL sliders can also be used to desaturate colors that are too dominant and take unnecessary attention away from the main subject.
3. Use techniques such as Luminosity Masks or Saturation Masks in Photoshop to selectively work on the brightness, saturation and contrast of specific areas within an image.

The goal when working with colors should be to only highlight those that are in harmony with each other. I often bring out a color wheel to check that the colors in an image are in harmony and if I need to desaturate (or saturate) any of them.

2. Only Making Global Adjustments

This brings us to mistake number two: you only make global adjustments. In other words, each adjustment you make is applied to the entire image.
Let’s say that you want to increase the green grass in one of your summer images. The traditional way of boosting the color is by using the Saturation slider. However, that will increase the saturation of the entire image and will in most cases lead to an oversaturated image; which results in visual chaos rather than a pleasant experience when viewing it.
In mistake number one, I briefly mentioned using the HSL sliders for making adjustments. By using this panel you’re able to affect only one specific color rather than the entire image. By using the Green Saturation slider you can target only the green colors and make an adjustment to only those hues.

It’s not only when adjusting the saturation that you should work selectively though. Personally, I make selective adjustments (often through Luminosity Masks in Photoshop) when working with color, contrast, brightness and pretty much any other adjustment you can think of.

3. Clarity at 100%

You might not want to hear this but increasing Lightroom’s Clarity slider to 100% is rarely a good idea, especially when it’s added globally. While I agree that adding clarity can often give an extra pop to the image as it brings out a lot of nice textures and details, it does more harm than good when it’s applied to the whole image. It also adds a significant amount of noise and lowers the overall quality of the file.
Let’s look at an example. In the image below I have increased the clarity to 100%. (Besides that, no other adjustments were made). I do like how it brought out a lot of texture in the mountain but the foreground now contains just as much texture and it’s competing with the mountain to grab your attention. In fact, the moss in the foreground is the natural place to look as it’s both bright and crisp.

If instead, I only add clarity to the mountain by using a Gradient Filter you’ll see that it makes a big difference compared to the image above. There’s still nice texture in the mountain but the foreground is now less crisp and working as a natural leading line.
Note: I prefer to rather use a mask in Photoshop and add it to only the mountain, as a gradient filter adds it to more places than what I want. But you can now use the brush tools to edit your gradient filter in LR as well.

Clarity applied only to the mountain.

Keep in mind that you want the most important areas of the image to be the sharpest. Naturally, the viewer’s eyes are guided to the sharpest parts of the image. Also, there’s no point in adding clarity to soft surfaces such as a blue sky or silky water. These are often better left alone.

4. Leaving Dust Spots

Unless you’ve got a brand new camera or you’re a superstar when it comes to having clean equipment, it’s likely that you’re going to have at least a few dust spots on your images. This is especially true if you regularly photograph in rough conditions including wind, snow, rain, and sand.
Removing dust spots is super easy and takes no more than a few minutes, so really there is no excuse not to do so. You have to admit, it looks quite unprofessional if a beautiful image has a bunch of dust spots in the sky. Would you hang that on your wall?
Keep in mind that if you enlarge and print your images, even the smallest dust spots become visible. Therefore, it’s a good practice to zoom in 100% on the image to look for any possible dust spots. When you find one, simply use Lightroom’s Spot Removal Tool and move on to the next.
It can be tedious work if you’ve got an extremely dirt lens but it’s something that needs to be done.

Turn on “Visualize spots” to help you find dust.

Conclusion

To end this I want to say one final thing: the most important is that you’re happy with the images you capture and process. If you like highly saturated images, go for it. If you like tilted horizons, good for you.
Stay true to your style and vision and create the art you want – don’t let anyone decide what your images should look like.

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3 Quick Tips for Achieving Moody Portraits with Natural Light

By: Lily Sawyer

If, like me, you are drawn to moody portraits and have been wondering how to take them, read on. Achieving moody portraits with natural light can be quite simple. I hope this takes the mystery our of dark moody portraits in natural light.

#Photographyforever#Portraits#Naturallight

Before you start, plan your photo shoot first by keeping the following in mind: mood, tones (light or dark), outfits (colors to complement the tones), and the time of day to shoot. This may not make a difference to you, but to me, with my window north-east facing, I know I get decent light between 10am and 2pm, and after that, light availability deteriorates. This is the limitation of shooting with natural light. You are dependent on the amount and quality of the available light.

1. The importance of background

The easiest way to achieve a natural light moody portrait is by using a medium to dark background. The darkness of the background adds depth and the illusion of space and getting drawn into it. In effect, it also gives the illusion of a three-dimensional space. Not only that, but it also helps provide contrast between the background and the face of the subject which you want to emphasize and focus on. You draw the viewer’s eye to the image, and the background effectively provides context and setting.
There are various types of backgrounds: plain solid color, textured, scenery, and patterns such as wallpaper. Choose one that doesn’t clash with your subject (unless clashing is your intention) so that the portrait subject is the star of the show and the background is just that – background.
With a plain background, you can always add texture in post-production and change the tones up if you wish. Below is a side-by-side comparison of the photo without texture (left) and with a warm texture added (right).

2. The importance of lighting

Because we are limiting ourselves to available natural light, it is a good idea to work with it. In most spaces, especially in homes, natural light comes from a 45-degree angle streaming from a window unless you have skylights in which case light comes from the top. You would want to cover that skylight and limit yourself to one light source coming from one direction, preferably 45-degree angle from the side. You want to place your subject in such a spot where the light hits them at this angle. Beware of placing the subject too close to the window as this tends to illuminate the face too much.
You want just a small amount of light touching the subject to achieve that ambiance and mood you are after. Before you shoot, look at the shadows on the face and especially under the nose. Position your subject by moving them around adjusting to the light and how the shadows fall on the face.
From a 45-degree angle window lighting where the window is higher than the subject, shadows on the face get cast at a slightly downward angle to the side opposite the light source. This is felt to be a pleasing shadow and is also known as the Rembrandt lighting. I have written an article touching on this with both natural and artificial lights on here.
With Rembrandt lighting, you need a reflector positioned on the opposite side of the light. The aim is to reflect some of the window light back onto the subject’s face, so you get a softer gradation of shadows instead of a very sharp drop from light to dark. If you don’t have a reflector, you can use a white sheet or white piece of cardboard.
Reflectors come in different colors which cast a tint on the face so choose carefully. See here for a side-by-side comparison of what different types of reflectors do.

3. The importance of light diffusion

Diffusion is passing the light source through a translucent material so that the light is spread out instead of coming from a concentrated source. Once spread, it touches the subject more softly thus removing the harshness of otherwise undiffused light.
One can argue that, on a cloudy day, available natural light coming from a window is already diffused by the great big clouds above. I agree with this. However, if you have the option to diffuse, I would still do it. On a sunny day where the light is powerful, I would say diffusion is an absolute must.
In the photo above, the window light is frosted at the bottom and covered in a voile fabric at the top thereby acting as a diffuser. From my experience of shooting for more than a decade, I have learned to see the difference between undiffused and diffused light and the former is definitely softer and better for the skin.
Overall, it’s a factor that contributes to achieving the type of moody portrait I am aiming for in this shoot.
I hope you found this helpful!

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Gear Review – Fikaz Sony E-Mount Lens Adapters

By: Adam Welch

Not too many years ago, in a sad and dark time, there weren’t many ways for us adventurous types to branch out in ways we used our photography gear. Namely, our camera lenses weren’t easily usable across platforms. It was possible, but adapters and converters weren’t plentiful or easy to find.

#Nikon#Sensor#Adapter#Photographyforever

Today, mirrorless, full-frame, and crop-sensor cameras are essentially pairable with many lenses. Adapters for these lenses are relatively easy to find too. So much so, that there is an over-saturation of the lens conversion market making most lens mount adapters affordable for any budget.
Unfortunately, not all lens adapters are created equal. So when Fikaz, a company I had never heard of, approached me to test out some of their new Sony E-Mount (NEX) adapters, I was open-minded but still cautious of yet another lens adapter-maker.
Luckily, all of my reservations about the Fikaz Sony E-Mount lens adapters were unfounded. As it turns out, the two adapters I received were pleasantly high-quality pieces of kit. Let me explain to you what I thought about these nifty little adapters from one of the newest kids on the lens converter block.
As I said, the lens adapter world is a hot commodity right now and being able to use your lenses (especially manual vintage lenses) is currently in vogue. The two adapters I evaluated were the Nikon F (G) to Sony E-Mount and M42 to Sony E-Mount. Both adapters were high quality in both aesthetics and their build.

Nikon F (G) Adapter

Until their recent leap into the full-frame mirrorless realm, and since the late 1950s, all of Nikon’s lens mounts have been variations of the “F” mount. So technically, virtually all Nikon lenses should be compatible with a Nikon F-mount adapter.
The caveat is that later “G” series lenses (read as modern) don’t sport a physical aperture ring on the lens itself. This missing aperture ring means that while the lens is physically shootable with most F-mount lens adapters, there is nowhere for the photographer to change the aperture. A dedicated G-mount adapter comes in handy because the shooter can use the aperture ring on the adapter to physically control the amount of light entering the camera via the lens.

The Nikon F (G) adapter is solidly built and feels extremely substantial in the hand. The aperture controller ring is a nicely contrasting silver against the black frame of the adapter.


The Nikon F (G) adapter was tested using my relatively ancient Nikkor 70-300mm F/4-5.6 lens. Both the lens and camera sides of the adapter fit extremely snug…but not too snug…to the lens bayonet and the camera mount. Absolutely no play or movement was observed.

A well placed and crisply-springy release slider is also present on the adapter which is, again, in the visually pleasing contrasting silver tone. Fikaz has also included a highly visible red bead for easy mating of both the lens and camera with the adapter.

From what I would approximate, the aperture ring, or rather more accurately, the “aperture approximator” ring works in full stop increments with six stops of adjustment. Basing my lens at 70mm and F/4, the apertures provided from the adapter should be approximately F/4, F/5.6, F/8, and so on. The adapter has a visual representation to aid you in selecting aperture size.

Aperture control using the Fikaz Nikon F (G) to Sony E-mount adapter

Aperture control using the Fikaz Nikon F (G) to Sony E-mount adapter

M42 Adapter

I had intended to test the Fikaz M42 to Sony E-mount adapter using a fan-favorite lens, the Helios 44-2. Unfortunately, I realized far too late that my Helios was not in my bag. Seeing as I’m currently 3,000 miles from my test lens, this portion of the review shows my impressions of the build and appearance of the M42 adapter only. Which I must say, is extremely impressive for its price tag.

The M42 adapter from Fikaz is incredibly Spartan in its appearance. The majority of the converter is mostly flat black with accenting bare aluminum areas which cut an understated yet classical form. Like the Nikon adapter, the markings are well executed and quite clean. The threads on the M42 side are very uniform and smooth with no burrs or metal shavings present.

This same level of craftsmanship also holds through for the Sony bayonet end of the adapter which shows no flaws in the cutting or finish of the mount. The perimeter of the M42 adapter sports deep cut serrations offering a superb grip even with gloved hands.

Final Thoughts on the Fikaz Sony E-mount Adapters for Nikon F(G) and M42

In the grand scope of things, both the construction quality and thoughtfulness of design displayed with Fikaz’s first entries into the world of mirrorless adapters impressed me. Hopefully, both the build and looks of the adapters hint at great things to come too.
The Nikon F (G) adapter worked extremely well to allow a large measure of aperture control with newer Nikon lenses and mated perfectly to my 70-300mm test lens. However, I wasn’t able to test the M42 mount with a lens, the build and precision left little doubt that it would also perform well.
That said, there are some things to keep in mind about the M42 (and any other non-AF adapters). Essentially, all that is needed is a mount conversion. There is no real need for the relatively large size of the adapter which can affect infinity focus. While the M42 adapter has an excellent build, it may be beneficial to search for a slimmer “ring” adapter if you are worried about focusing issues.
On that note, the Fikaz adapters both feature black paint on their interior but no flocking to eliminate possible reflections. This shouldn’t be a problem, but maybe a concern for those seeking complete security for lengthy exposures.
Currently, the Fikaz Sony E-mount adapters are available for the following lens mounts: Nikon F (G), M42, Pentax K, and Fuji X mount. I have been informed that Canon EF mount will be available in the future. At the time this review, these adapters have a selling price of around US$24, making them a bargain. There are plenty of choices for lens adapters and converters today. Some are high quality and others, well, not so much.
I feel as if Fikaz can now join the ranks of some of the better budget adapters currently on the market. A bonus for those who are looking at a cost-effective way to use their lenses across a wide range of camera systems.

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Free eBook on Wildflower Photography

by Steve Berardi 

With spring beginning here in the southwestern United States, I thought it was time to update our free ebook on wildflower photography. The original version was released about three years ago, so it was due for an update.
Most of the content is the same, but I’ve learned a lot in the last three years, so I’ve updated just about every page in the book, and replaced a few tips with newer articles.
Anyway, here’s a sneak peak of what you’ll learn in this ebook:

• How to get perfect light
• How to control the light
• How to get sharper images
• How to get a perfect exposure
• How to get a perfect background
• How to focus closer
• How to make identification easier
• How to battle the wind
• How to create intimate images
• How to leave no trace
• How to sharpen your photos in Photoshop
• How to darken the background in Photoshop
• How to fix underexposed areas in Photoshop

So, what are you waiting for?

The eBook is in Adobe PDF format (which you can view with Adobe’s free reader).
If you enjoy the tips in this eBook, the best way to thank us is to tell your friends about it, or purchase our complete guide to photographing wildflowers
To celebrate the spring season, I’ve also decided to permanently reduce the price of my complete guide to wildflower photography. You can get the ebook now for just $12.00!

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