You like to shoot birds, but your technique is not good or you want to improve it.
Mark Yokoyama, the author of this photography ebook, will tell you his secret on how to shoot birds, how to get closer and many more secrets, to get outstanding photos of birds.
Just use (copy & paste) this link to get your free ebook.
OK, you're enjoying the free Ebooks, (above - and in the Blog Archive found by scrolling down the right side of this page) but you realize you get what you pay for. You want to take your photography to the next level, but you know free ebooks have their limitations. You also know you're not going to break the family budget by splurging on expensive courses especially if you're new to Photography. Below are low cost alternatives, just $19 each. And unlike the free ebooks they're NOT limited to just 20 or 30 pages. Check them out at this link:
Photography is an amazing way to express yourself and see the world around you. It’s therefore not surprising that photography is a favorite pass time for young people. Recently I was asked to give my tips for aspiring young photographers (and those of any age!). It’s such a great subject that sharing it with the dPS community seemed like a great idea. Even if you’re an old hand at photography, it’s always worth remembering the path you took to becoming a great photographer. We were all young and aspiring once! Let’s look at some tips that will help you succeed whether you’re new to photography or not.
Learning to use off-camera flash is a key lesson for aspiring young photographers who want
to take portraits.
1 – Be patient
In today’s world, we all want everything at once. To quote the lyrics from a song “How soon is now?” As with anything that’s new to you, you’ll need to show patience. Learning a new vocation is a marathon, not a sprint. While it’s true some people will have a natural eye for photography, they also won’t succeed without patience and application. You also need to figure out what success means to you. There are many who will see that as a large following through social media. While it’s a measure of success to have a large following, it’s certainly not the only measure. In fact, the approval of a huge number of likes through social media can stunt your development, as it may well blind you to some of the mistakes you make when taking photos. So take your time, accept the fact that you’ll make some mistakes along the way, and allow your photography to grow organically.
Photographing with friends is a great way to gain experience. This is of a local music band.
2 – Look for places to get feedback
Feedback is an important part of your development. You can’t always see your blind spots, that’s why seeking out advice from others is a good idea. The type of feedback aspiring young photographers look for is important, it can have a big impact on your growth.
Thick skin – You’ll need thick skin, or the ability to accept constructive feedback. Then you need to be able to apply it to your future work which will allow you to grow.
Seek feedback – The choice of the word feedback over critique is important here. Critique is a negative word, where feedback is neutral. In addition to being given advice on areas a photo needs improving, the feedback giver should also be telling you the things you have done right. All too often people see the word critique and will then only look for the faults in a photo.
Stay true – As a photographer, you will develop your own style, so you need to remain true to this style. Feedback should be fixing technical faults, not seeking to change a photographers style. Photography, after all, a creative pursuit, and the wrong feedback has the potential to stunt the growth of aspiring young photographers.
It’s always a good idea to get feedback on your work but choose your sources carefully.
3 – Choose a niche to master
Photography is a broad area, and there are so many different types or genres of photography. The old saying about being a “jack of all trades, and master of none” rings true here. Every photographer will eventually gravitate to a particular type of photography. Of course, it’s great to try out new genres from time to time, and in the early day’s it’s worth trying out different techniques to see which is the one for you. But sooner or later though you’ll need to decide whether you’re a portrait, landscape or food photographer. Each of those photography types has many skills you’ll need to master before your photos really stand out from the crowd. There again you may wish to be a travel photographer, in which case, you’ll need to be good at just about everything.
Every field of photography will have its masters. In most cases, there will be more than one person you can approach as a mentor. Once you have decided on the genre of photography you wish to become good at, find someone who is already good at that, and approach them to be your mentor. In today’s digital world it’s much easier to do this online. Remember the photographer you approach will be a busy working professional, and you may need to pay a fee for their time. Of course, if you pay a fee you will expect results, so set some clear parameters and goals for your sessions with them.
Your mentor will teach you the ways of The Force. Well okay, the ways of the camera.
5 – Join a photography group
One of the best things aspiring young photographers can do is join a photography group. This can either be online or in person. The majority of photography groups or clubs have a mixture of levels and abilities, and it may well be you’ll find your mentor by joining such a group. There are so many benefits to hanging out with other photographers. The ability to bounce ideas off others, gain feedback on your work, and grow as a photographer within the group are all positives to joining a group.
Joining a group is a great way to learn about photography and make new friends.
6 – Learn your craft in your locality
Now hopefully you’ve joined a photography group, and you know which style of photography you want to pursue. It’s time to really put the time into learning everything there is to know about it. Now, of course, you might happen to live in an amazing location like New York, or you have easy access to Angkor Wat because you live in Siem Reap. Those living in less glamorous places nevertheless need to learn the techniques and tricks needed to make the best photos they can, and in turn, put the glamour in their local area. Everywhere has its point of interest, and training your photographer’s eye to see that will help you become a better photographer.
Landscape photographers – A great technique to learn is digital blending. You can learn how to do this in your local area, and then when you visit one of the world’s iconic landmarks you’ll be ready to make the best photos you can.
Portrait photographers – Learning how to use off-camera flash will really lift your game, you can do this with friends and family as your models. Then when the chance for that big photography gig comes along, you’ll be ready.
Practicing your photography skills close to home is a good idea.
7 – Visit locations that will help your photography shine
Having built your knowledge in photography, and picked out a style, it’s now time to pick out a location where your photography will really shine. This will involve some form of investment in you traveling to a specific place that best suits your photography. This is obviously not something you want to rush into, the key to success here is good planning. As an aspiring young photographer looking to establish yourself, getting some amazing portfolio photos is important. These are some of the steps needed:
Location research – Use websites like 500px as a resource to find the locations you’d like to photograph yourself. Time spent on these sites will also give you inspiration for new ideas and directions you could take your photography.
Equipment – You’ll need the right equipment to get the best photos, so consider carefully what you’ll purchase.
Logistics – Think about the logistics. How much will your trip cost? Are you going at the best time of year for the light and weather? Is where you’re staying going to give you easy access to places you want to photograph?
This photo is of the Petronas Towers in Kuala Lumpur is iconic. Earlier photos were taken to
practice the techniques needed for this photo, such as digital blending.
8 – Invest time learning post-processing
Photography is a two-step process. First, you’ll need to take the photo, but then you’ll need to process it on a computer or perhaps even in a darkroom. There are lots of things that can add to your photography with post-processing, below are just a few areas that you should focus on for landscape or portrait photography.
Landscape – Learning how to use digital blending, sharpen your image, and how to remove unwanted elements from your photo.
Portraits – Learn how to soften the face, but sharpen the eyes. Learn about compositing your photos, so you can blend studio portraits with other backgrounds.
9 – Set limits
A great way to push yourself, and learn more about photography is to set limits. In the days of film photography, you’d be limited to 24 or 36 photos per roll of film, though you could, of course, carry additional rolls with you. The point is you were limited to a finite number of photos, so you’d have to consider your shot selection carefully. This is an example of a limit or parameter that can make you grow as a photographer. The following are a few others which you could try:
Focal length – Take photos from only one focal length.
Aperture – Choose only one aperture for the whole day.
One color – Take photos of only one color for the whole day.
What tips do you have for aspiring young photographers?
Are you an aspiring young photographer? Which of these tips will you follow, and have you learned anything new that you can take into your photography? Have you ever mentored someone else who was new to photography? What was your experience with that? As always we love to hear from the dPS community, so please leave your replies in the comments section below.
Simon Bond is a specialist in creative photography techniques and is well known for his work with a crystal ball. His work has featured in national newspapers and magazines including National Geographic Traveler. With over 8 years of experience in crystal ball photography Simon is the leading figure in this field, get some great tips by downloading his free e-book! Do you want to learn more about crystal ball photography? He has a video course just for you!
Share this article.
Thursday, May 30, 2019
Are Early 2000s Digital Cameras Secondhand Bargains?
Today, digital photography is ubiquitous, but there is still a demand among enthusiasts for classic film cameras. By all accounts, the analog medium has made a comeback over the last 2-3 years. What you don’t often hear of is people hankering for older digital cameras, even for the sake of nostalgia. Technology has moved on, but has it moved on so much that they are obsolete? Or are early 2000s digital cameras secondhand bargains? We’ll find out.
There is still plenty of love out there for old film cameras. This is an Olympus OM10
(c. 1978-87).
Inescapable truths
Those of us that have been shooting digitally for over ten years probably don’t miss the early days of post-processing. The sensors were noisier and there was no in-camera dust removal. One way or another, a lot of time was spent trying to clean things up. Less advanced, too, was the software we used to process photos. Trying to recover highlights or remove noise, for instance, was harder than it is today. Photos were abandoned that might be saved with modern editing.
The original Canon EOS 5d (c. 2005) had no dust-cleaning capability. Neither did I.
Whenever I had the sensor cleaned, dust spots quickly reappeared.
Aside from noisier, dirtier sensors and editing limitations, exterior hardware on cameras was also inferior in the early days. LCDs were smaller with a lower resolution, and electronic viewfinders weren’t as clear. The benefit of a bright viewfinder shouldn’t be underestimated, and it’s still a feature of higher-end cameras today over entry-level models (e.g., pentaprism vs. pentamirror optical viewfinders).
Sensor resolution
With camera age comes the question of sensor resolution. Modern cameras have high-res sensors. More resolution gives you more freedom to crop pictures after the event and still end up with a decent-sized print. It’s like having an extra lens. Many photographers prefer not cropping pictures, but it’s a luxury that didn’t always exist. In the “old” days of low sensor resolution, there was more discussion among photographers on interpolation methods. People wanted to make their digital files bigger so they could create larger prints. That subject is now almost archaic.
The CCD sensor of the Panasonic Lumix DMC-FZ28 (c. 2008). Despite having a
smaller sensor than the earlier FZ30, the FZ28’s resolution was higher. Advances in sensor
technology are frequently used to increase resolution rather than substantially decrease noise.
Photo: Thomas Bresson [CC BY 3.0], via Wikimedia Commons
Glimmer of light
Despite the drawbacks of using old digital cameras, some had useful features that are rare or even extinct today. And the minuses are mostly surmountable. Let’s examine three cameras that are all 10+ years old and see what we can do with them. All of the following are eminently affordable on the secondhand market: more so than many classic film cameras.
Old camera #1: Sony Cyber-shot DSC-R1
Even by today’s standards, the 2005 10.3-megapixel Sony DSC-R1 is an innovative camera. It never sold well, but it had a unique combination of a fixed 24-120mm Carl Zeiss lens, an APS-C sized CMOS sensor, full-time live-view LCD display (a first at that sensor size), and live histogram. The technical quality was/is excellent.
The Sony Cyber-shot DSC-R1 is a bridge camera with a large APS-C sensor. It was unusual
in 2005 and remains so today.
The main limitation of the Sony R1 is a sensor that gets noisy above ISO 400 combined with an absence of image stabilization. This is not a camera you can easily use for high-quality interior photos without a tripod. You have to employ old-school sturdy shooting methods with controlled breathing, a good stance, a steady hand, and a camera braced against pillars or posts if necessary.
This is a Sony R1 JPEG with a bit of fill light from the built-in flash. I persist with the raw files
despite their slowness in writing.
At ISO 160-200, Sony R1 pictures are clear with great color. At ISO 400 they’re still good. When viewed at 100%, the images are satisfying with lots of detail. On the minus side, raw files take a long time to write on the R1 (several seconds, typically). This was never a rapid-fire camera for those aiming to pull the most quality from it. The R1 takes CF cards or Sony memory sticks – no SD cards.
The quality of the R1’s Carl Zeiss T* 24-120mm lens doesn’t disappoint. Exposure:
1/160th sec, ISO 160, f/8, approx 40mm equivalent focal length.
The R1’s WLF (waist level finder)
The flip-out 2″ LCD of the R1 didn’t appeal to everyone as it swivels upwards, effectively making the camera bigger. It’s already quite a bulky bridge camera. Personally, I love the fact that the LCD screen can slot flush into the top of the camera, turning it into a waist-level finder. That’s great for candid portraits or street photos, even if you have to wait for those big Sony raw files to write (you can shoot JPEGs). The camera has an electronic viewfinder that’s dimmer and lower resolution than you’d expect from today’s cameras, but it’s usable.
I’m not aware of any other digital stills camera that allows this. The LCD is only 2″ wide, but
that allows it to slot neatly into the top of the camera like a WLF.
Of all the digital cameras I’ve used, the Sony R1 is one of the few that I haven’t sold over time. I can’t bring myself to get rid of it because of its quirkiness and quality. For those familiar with him, well-known US photographer and blogger Kirk Tuck was still singing the praises of the R1 just a few years back. This is a secondhand bargain if you can cope with the cons.
Old camera #2: Panasonic Lumix DMC-FZ30
The main problem with the 2005 Panasonic Lumix FZ30 is the noise from its 8-megapixel CCD 1/1.8″ sensor. Even at ISO 80, it’s there. That aside, there are many appealing features. The 12x Leica-branded optical zoom lens with image stabilization is sharp across its whole range. Despite its age, the electronic viewfinder in this camera isn’t bad, even if the dioptric dial nudges out of place too easily. I tend to use the EVF more than the 2″ flip-down LCD.
The 12x optical zoom of the Lumix FZ-30 is fairly modest by today’s standards and isn’t very
wide at the wide end. But still, you get good long-lens versatility that doesn’t seem to
exceed its Mega O.I.S. ability (Optical Image Stabilization).
Offering all the exposure control you’d expect from an SLR, the Lumix FZ30 also allows raw shooting – a strong point in its favor. With today’s processing, and by restricting your photography to base ISO where possible, you can achieve good results. Limiting? Yes, but you get 36-432mm versatility for your trouble. The stabilization is effective, allowing you to make use of that long zoom at relatively low speeds with good technique.
The Panasonic Lumix DMC-FZ30 feels well made and gives you as much control as you
want.
Aside from allowing raw files, it captures modest VGA res video (typical for its age).
This is a camera that yields detailed pictures, is quick to handle, has long battery life and doesn’t hold you up with big raw files. One frustrating aspect is the need for 2GB SD cards to run it, which many people will not have in this day and age. It doesn’t accept SDHC cards (4GB+).
This is a 100% section of an FZ30 file with Adobe’s “enhanced details” and some basic
masked capture sharpening applied in Lightroom. The detail isn’t at all bad at base ISO
and unsharpened
noise is unimposing. (Best viewed full size @ 1500 pixels.) Exposure: 1/500th, f/5, ISO 80.
Although noise is an issue with the Lumix DMC-FZ30, that is less important now than 14 years ago when the camera came out. Software like Topaz AI Sharpen, though not perfect, is good at suppressing noise and bringing out detail. The tools in Lightroom and other programs have also improved no end. Old cameras become more viable as processing technology advances.
Exposure: 1/160th @ f/4 – ISO 80. The focal length is 52mm, equating to around 250mm in
35mm terms. Image stabilization is probably helping a little here.
Old camera #3: Canon EOS 450D/Rebel XSi
I wouldn’t recommend early digital SLRs to anyone based on dust problems alone, but that becomes a non-issue four generations in. The Canon EOS Rebel XSi (450D in Europe) came out in 2008. It was an entry-level DSLR offering many benefits over previous models. Among them were a sizeable 3″ LCD, Live View with phase and contrast detection AF, spot metering and a bigger, brighter viewfinder.
The lightest camera among the three even with its lens is the EOS Rebel XSi (450D). The
kit lens is good, but a cheap 50mm f/1.8 would make even more of the camera’s excellent
sensor.
The Rebel XSi is small and light by SLR standards and won’t give much satisfaction to metal-loving traditionalists. It doesn’t feel substantial. However, it’s understated and functional, and lets you go about your work stealthily. No-one is going to think you’re a pro, no matter how well you hold the camera. The most noticeable flaw is some wacky white balance results from time to time, especially under artificial light. Shooting raw, that’s not a deal-breaker.
This 100% view (with capture sharpening) shows good detail from the 18-55mm Canon
kit lens.
A 50% view creates more of a real-world impression, so this is okay at full size.
As you might expect from a Canon CMOS sensor, noise levels are low with the EOS Rebel XSi (lower than the Sony R1, for instance). Obviously, they’re not as impressive as a high-end camera from today or even yesterday, but you can risk ISO 800 or even max ISO 1600 images for some indoor shots and polish them up later. Better still, you can make use of live view, manual focusing and a tripod if circumstances allow.
Topaz Sharpen AI is good at sorting out detail from noise, though you have to check over the
result for artifacts. This is an ISO 800 shot viewed at 100% with Topaz sharpening and noise
suppression. This type of software is only going to improve.
A question of balance
If you’re using heavy “L” series lenses, they may not sit well on the Rebel XSi. It doesn’t have any heft. The original 18-55mm kit lens is sharp, lightweight and has good image stabilization. A modern equivalent of the Rebel XSi would give you more resolution, more advanced processing (a little quicker, less noise at high ISOs), a higher res LCD and video. All this was available in the camera that superseded it in 2009 – the EOS Rebel T1i (500D). But the stills photographer looking for a bargain DSLR might find an answer in the Rebel XSi. It has just enough and a bit more.
This 50% crop gives you a good idea of what the 2008 18-55mm kit lens can do,
albeit through a compressed JPEG. There’s not much to complain about quality-wise,
even if the sensor promises more.
With modern processing at our disposal, digital cameras from the early part of this century have more potential now than they had when new. Especially those that shot raw files. Yes, you’ll find it hard to go back to them if you’ve spoiled yourself with ultra-high-res LCDs and mega-bright EVFs. But some of the downsides in old cameras have upsides of their own: less brightness and resolution means better battery life. Low-res sensors mean not editing football-pitch-sized files.
You wouldn’t use old cameras if your living relied on the best high-ISO performance. Still, any of the three models I’ve discussed can easily produce a publishable, high-quality photo if you accept their constraints and process the files carefully. Other than the Sony R1’s slow write times, the cameras are quick and easy to handle.
So, with one or two caveats, I’d say early 2000s digital cameras can definitely be bargains.
Do you use any of these cameras, or have any to add to this list? Please share with the dPS community in the comments below.
Share this article.
Learning to See Like an Artist – 7 Powerful Techniques to Help You See More Compelling Images
Being an artist has nothing to do with your camera, your kit or your photo knowledge.
It has nothing to do with how long you’ve been taking photos or if you shoot on manual or automatic.
Being an artist is totally and completely about the mindset you inhabit when you are out shooting, and what you create from this state.
It’s about looking at the world in a way that is different from how we usually see it. It’s ridding ourselves of the habits to ‘get somewhere,’ to accomplish and tick things off our to-do lists.
It’s all about immersing ourselves, our senses, our beings in this beautiful, wild, chaotic and amazing world.
It’s diving deeper, seeing more and finding new and interesting ways to capture what we discover.
What you get from bringing this artistic approach into your photography are unique images.
Your photos become about expressing who you are, encompassing everything that you have seen and experienced in your life.
This to me is the joy of photography. So I have some simple, but immensely powerful tips that will help you connect to your inner artist.
“There is only you and your camera. The limitations in
your photography are in yourself, for what we see is what we are.” –
Ernst Haas
7 Powerful Techniques to Help You See More Compelling Images
First – ignore everyone
We spend so much of our lives in contact with other people. At work, our efforts are analyzed by our colleagues, boss or clients.
At home, our children, partner or family will comment on how we live, wash clothes, what we eat etc. We post something on Facebook and someone comments; everyone has an opinion.
As we are in constant contact with other humans, we find ourselves playing a role, fitting into expectations or rules or ways of living. We probably don’t even think about how the constant stream of people in and out of our lives makes us adjust and alter our behavior.
Creating art operates in a very different space – completely outside this interaction with other humans.
Being in the space of creativity is about forgetting what other people might think of our work, what other people are doing, literally everything that connects us to other human beings.
We need to release ourselves from our ‘normal lives’ and the way we live.
Because art can never be created by a committee. And what is completely unique and interesting about you is what will make the most compelling photos.
2. Know that we aren’t seeing the world as it really is
“Vision is the art of seeing what is invisible to others.” – Jonathan Swift
Did you know that your brain processes two billion pieces of visual data per second? And yet we only see about 50 bits of this information.
Of course, our brains are doing us a massive favor. If it didn’t block out most of what was happening around us, we couldn’t focus.
What’s interesting here is what 50 bits of information are you seeing, and what 50 bits am I seeing?
If we are seeing such a small selection of what’s available, then it’s highly unlikely we are all seeing similar things.
Which makes our personal world highly selective.
I find this so exciting because it shows how we are always able to create something new if we only open up our awareness.
This explains why we can all stand in front of the same scene and take different photos (this happens all the time on my workshops.)
Let’s celebrate that there is so much more to discover in the world around us.
3. Take your time to really observe the world around you
One thing I constantly see in my workshops is when people find a subject they love, they shoot it, then move on way too quickly.
I think it’s a natural response to how we live in this modern life. We are very driven by results. We shoot something, then we move on to the next thing. Almost like we are ticking a box.
But the way to be more creative in your photography is to forget about where you want to go next.
In fact, forget about everything that is not totally related to the present moment you are inhabiting, and the subject you are facing.
Take your time. Watch the light. Maybe wait for the light to change to see what would happen to your subject.
Look at the shadows. The people that are passing. What’s happening around your subject? Feel the atmosphere, and maybe how it is changing.
Observe.
As you see more and get to know your subject more, new angles will open up on how to shoot. Maybe the weather will change, making more dramatic images, or the light will soften creating a totally different feel to the mood of the shot.
The more you observe your subject the more it will reveal different qualities to you. You will notice more subtleties.
There is no rush. Allow yourself all the time you need to observe and shoot your subject.
4. It’s all about the light
“I am forever chasing light. Light turns the ordinary into the magical.” – Trent Parke
When people ask me what I photograph, I always say the same thing – light.
My biggest passion and main subject in photography is light. I love light in all of its forms.
The joyful, effervescent light of a spring morning; the deep, brooding, metallic grey light before a storm; the deep, deep blues of twilight in the city; the misty, melancholic light of a winter’s afternoon.
Light is always changing. Each day brings us something different and each part of the day has different qualities. And when you have interesting light it makes your subject so much more compelling.
Your job is to play with light and your subject, seeing what happens when the light changes.
What qualities are revealed in your subject in different light?
“Embrace light. Admire it. Love it. But above all, know
light. Know it for all you are worth, and you will know the key to
photography.” – George Eastman
5. Photography is all about feeling
When we see a photo we really love it’s rarely only because it’s nice to look at.
Beyond the composition, color, light and all of the things that we can organize, there is a more important element to a photograph that is more elusive and hard to capture.
This element is emotion.
“Photography’s a case of keeping all the pores of the
skin open, as well as the eyes. A lot of photographers today think that
by putting on the uniform, the fishing vest, and all the Nikons, that
that makes them a photographer. But it doesn’t. It’s not just seeing.
It’s feeling.” – Don McCullin
When a subject stirs emotion in us – joy, love, fear – it will transfer into our photo. And when the viewer sees that image, we want that emotion to be evoked in them too.
Capturing emotion is an art, and it’s not automatic. But it’s totally worth focusing on. Find subjects that stir your emotion, and try to capture that feeling in your images.
The most iconic photos that we remember for years, or the ones that really speak to us personally, will be communicating a powerful feeling.
6. Be in awe
“Instructions for living a life. Pay attention. Be astonished. Tell about it.” – Mary Oliver
If we think that photography is all about feeling then the most sensible option when deciding what to photograph is to find subjects that fill you with emotion.
I like to ask myself – what fills me with such deep excitement I am in total awe when I see it?
You can probably guess that light is what makes my heart burst with excitement and makes me want to get my camera out.
But there are other things too.
Exploring nature is always something that excites me. Spending days walking through the hills near where I live in Southern Spain, or through the pretty English countryside of my adopted homeland on a beautiful summer’s morning.
Cities too, especially at sunrise when they are empty and beautiful. I like to explore, wander and see what I come across.
It doesn’t matter though what your subject is, the most important part of your decision of what to photograph is that it has to be something that stirs your soul. It has to thrill you. It has to fill you with awe.
Otherwise, what’s the point of taking the photo?
7. Stop thinking
Now, the last step is often the hardest. We are trained from an early age to be in our heads. To be thinking and doing all the time.
However, if you want to hit that artistic mindset where you are present, connected to the world and in total creative flow, you will not be thinking or analyzing what’s happening around you.
“Don’t think. Thinking is the enemy of creativity. It’s
self-conscious, and anything self-conscious is lousy. You can’t try to
do things. You simply must do things” – Ray Bradbury
Once you have made the choices of when and what to shoot, then you can let yourself go.
Being an artist is losing yourself and becoming part of this magical and amazing world.
It’s daring to lose yourself to see what you can find. It’s being prepared to forget all the things that you have to do or worry about.
For this we have to be a little courageous, we have to experiment and try, we have to make mistakes and trust that we will take good photos (eventually). But –
“What would life be if we had no courage to attempt anything?” – Vincent Van Gogh
I hope you enjoyed these ideas.
I’d love to know if these sparked ideas or inspiration for you. Let me know in the comments below. Thanks!
