Is a Career in Travel Photography Right for You?

By: Kav Dadfar 

It sounds tempting and exotic. Traveling the world taking photos and seeing those photos appear in newspapers and magazines can be thrilling but are you made for a career in travel photography? Here are seven ways to know if a career in travel photography is right for you.

#1 – You have a longing to travel

The first requirement of being a travel photographer is actually enjoying traveling but it’s more than that. It’s a restlessness that simply doesn’t go away no matter what you are doing or where you have already been. You simply can’t sit still and want to explore everything and everywhere. Does that sound like you?
But it’s also important to remember that taking photos while traveling is different than traveling to take photos. Your time on the road as a travel photographer has one reason and one reason only and that’s to take photos. Nothing else matters and nothing can come between you and your next great shot.

#2 – You enjoy your own company

Travel photography is a lonely business and most of your time is spent on the road with your own thoughts. Yes you’ll have the odd conversation with a local but ultimately you are working alone. You are usually awake and out and about before others and you usually end up being the last one back to the hotel room. While spending time on your own can sometimes be nice, can you handle days, weeks or even months by yourself?

#3 – You can adapt quickly

There is a common theme amongst travel photographers and that is “not enough time”. You will usually find yourself with a long shot list and not enough time to fulfil it. So you need to be able to adapt quickly and hit the ground running straightaway, even in new destinations. There won’t be time to spend a couple of days getting to know a destination and every second wasted is eating into your time needed to cover off your shot list.
But you also need to learn to adapt while you are at a destination, for example, if the weather is causing problems to your shot list. You need to be able to think, act, and plan quickly and efficiently.

#4 – You have an eye for what people want

I remember learning very early in my career as a travel photographer that you need to learn what people want to see. This is a business after all, and the only way that you can earn a living from it is by being able to sell your images or getting paid for assignments. Some photographers are better at this than others. Ultimately the success or failure of your photography business comes down to being able to give people what they want to see and what they will pay for.
Part of this will come with experience through years of seeing which of your images sell. But you also need to actively spend time researching and looking at trends in the travel industry, be in the know with up and coming destinations and the news. For example a major airline could be starting a new route, or a previously “closed off” country could be opening its doors to tourists.

One of my images recently used by Tatler.

#5 – You can function with little sleep

There’s no getting around it, being a travel photographer on location is tiring work. You often have to function on little sleep as you’ll be getting up before sunrise, spending all day walking around, then hanging around until well after sunset to capture great shots.
In the summer months that could mean having to get by with just a few hours of sleep a night. Add to that carrying camera equipment all day and not eating properly and you will quickly learn that being on a photo assignment is completely different than being on holiday.

#6 – You are confident

As a travel photographer, you often have to do things by yourself. Whether that is adapting to a new location, finding your way around a city or trying to explain to a local why you want to take their photo. But arguably the biggest requirement for a travel photographer is being confident in your ability to capture great photos that will go on to sell.
Unlike working in a studio when you can set up and art direct your shoot and make adjustments as necessary, as a travel photographer sometimes you only get one shot at documenting a location. You may only have a few days at any given place so you have to capture what you need to in that time.
Because of this you need to believe in your ability both to compose and frame your photos, making sure things like the lighting and the subject are right, but also in your ability to execute that shot perfectly. Sometimes there are no second chances to correct a photo that is blurred or poorly focused.

#7 – You can work quickly

Travel photography is about telling the story of that destination. Whether it’s a famous monument, a beautiful cityscape or a local going about their day, a travel photographer’s job is to capture that. Often those moments are fleeting and don’t stay around for long. For example the gap in the flow of traffic in front of that famous monument could just be a few minutes. Or the interaction between a market vendor and a customer could last a few seconds. Even capturing landscape or city shots could only have a short window where the light is perfect.
The only way to ensure you don’t miss these moments is to be able to work quickly. This means being ready and knowing how to use your camera completely. With practice over time you will naturally improve and get faster in your work and your camera will become an extension of your arm.

Despite all of these points, there really aren’t many jobs that can give you the same excitement, anticipation, and satisfaction as being a travel photographer. Seeing your work published makes all of the early mornings and endless hours of walking around and waiting worth it.
So do you think a career in travel photography is right for you? Share your thoughts below.

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Black Friday and Cyber Monday Photography Deals

It's that time of the year - if you're looking for a good deal, then you're sure to be on alert for the next few days! Here at dPS we save our best deals for our dPS Holiday Deals over 12 days in December. But in the meantime, here's a great saving on one of our most popular collection of eBooks.

Save 70% on our Black Friday Cyber Monday Portrait Photography Bundle

Tens of thousands of photographers from all around the world have significantly improved their portrait photography with this series by Gina Milicia. This is your chance to own all 5 eBooks plus some great bonuses:
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Or save 71% on Picture Correct's Photography Tutorial eBook. An in-depth eBook on how to capture amazing photography anywhere. Over 250 pages of photography tips & tricks from industry insiders. 

Looking for Photography Gear Deals?

We took a quick look at what Amazon is offering. We get a commission if you buy anything through our links below, at no extra cost to you.
There is a big sale happening in their Camera, Photo and Video section. Their specials are changing all the time so do check back later to see what else they’ve added. Or take a look at our most popular digital cameras and gear page for some hints as to what others are buying. Many of the cameras listed there are currently on sale at Amazon too.
Also, B&H Photo's Black Friday Deals can instantly save you $600 on a Canon EOS 5D Mark IV DSLR Camera Body with Accessory Kit or $700 on an Apple 27" iMac with Retina 5K Display (Mid 2017), plus many more deals!
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Christian Photographer Preemptively Sues City to Prevent Her from “Being Forced” to Capture and Blog About Same-Sex Weddings

By Kehl Bayern 

Tales of bakers and officiants having issues with same-sex marriages are becoming rarer with each passing year yet that doesn’t mean that stories about a person’s right to refuse service based upon some kind of moral or religious objection don’t get attention.

Photo by Rocsana Nicolete Gurza from Pexels.

One Kentucky photographer finds herself at the center of a story about a photographer’s right to refuse to shoot (and, oddly, blog about) same-sex weddings because she is suing the city of Louisville, Kentucky – preemptively – in order to prevent the enforcement of a fairness ordinance which prevents discrimination based upon sexual orientation.

Photographer Chelsey Nelson is being represented by a group called Alliance Defending Freedom, a conservative rights group, and is acting to prevent what they perceive as the city government somehow “forcing” her to accommodate these groups in terms of professional services and aforementioned blogging.
As anyone who has worked with weddings and wedding photographers knows, it would be a brave couple that enlists a photographer that sues her city to prevent working with certain clients in the first place and this author feels comfortable enough with the notion that Nelson’s current marketing efforts are doing an amazing job at procuring only the kinds of clients she wants to work with in the future.
Specifically, the lawsuit says that the law would “force Chelsey to create photographs for, blog about, and participate in solemn ceremonies she disagrees with—same-sex wedding ceremonies” and that she “doesn’t want to have to violate the law in order to challenge what is an unjust application of a law.”
Further, Nelson and her legal representatives are casting all of this as an artist rights issue with Nelson herself saying, “The government shouldn’t force artists to express views they disagree with. And that goes for both people who share my particular views and those who don’t.”
As PetaPixel points out, all of this might be a gigantic smoke and mirrors show because Nelson’s rights are already protected under a law in Kentucky called the Religious Freedom Restoration Act.
Ultimately, Nelson’s goal is to have the law ruled unconstitutional though many point out that is unlikely to happen given the law’s robust stance in the face of previous, likely more well-positioned, challenges.
What do you think about a photographer preemptively suing a city to make sure they don’t “force” her to photograph and, by her accounts, BLOG about gay weddings? Let us know your thoughts in the comments below.

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I'm posting this article as a direct result of my encounter this past Wednesday with someone's drone.

  

Rogue Drone Ends Up Costing Pilot $20,000

By Kehl Bayern

It’s that time of the year again and drones and airports are showing the world just how much they don’t mix.

Photo by Inmortal Producciones from Pexels.

One drone pilot who lost control of his device is facing a $USD 20,000 fine after his UAV decided to fly off course and land at an airport. How’s that for bad luck?

As reported last year, some drones at London’s Heathrow airport caused some real chaos for travelers during the holiday season.
Yet, even before that, we were reporting on how much of a problem drone pilots were proving for some airports around the world and how this was one of the major concerns impacting the growing UAV community going forward.
While on vacation in Las Vegas in 2018, California resident Reuben Burciaga piloted his DJI Phantom 3 from his hotel but then it decided to take off on its own and landed near a Las Vegas McCarran International Airport runway.
Burciaga said he wanted to get some shots of the strip but that the drone lost its GPS mid flight and then decided to fly itself to one of the world’s busiest airports.
Fox 5 KVVU reports that flying a drone over the strip requires prior authorization so Burciaga was in the wrong to start. The station featured some of the footage captured by Burciaga’s drone which you can view here.
After landing, the drone was found by some airport workers and it was identified as Burciaga’s by the FAA and returned to him in April of this year along with a fine for some $USD 14k. He ignored the notices from the government and apparently racked up late fees that pushed the total to over $USD 20,000. Burciaga admits his culpability in the drone’s errant landing but thinks that the fines are somewhat excessive.
What do you think? Are the fines from the FAA excessive? Let us know your thoughts in the comments below.

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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.

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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Review of Metabones Adapter Mark V – Canon EF to Sony E-Mount

By: Suzi Pratt

For Canon shooters thinking about switching to Sony mirrorless cameras, the Metabones adapter is often suggested to help with the transition. Lens mount adapters are often frowned upon as they historically have had limited functionality, such as no autofocus and simply not working well or consistently.
But this latest generation of lens adapters is pretty impressive, offering nearly all of the same features that you would get with a native Sony lens. Here’s my take on the Metabones Adapter Mark V, as used with select Canon EF lenses and a Sony A7rIII and Sony a6300.

Product Specifications

The Metabones Canon EF to Sony E Mount Smart Adapter Mark V officially debuted in July 2017. It’s all black and made of metal. Compared to previous generation adapters, the Mark V adds three key features:

1. A dedicated on/off switch for SteadyShot (IBIS)
2. Rubber gasket weather seals to protect the E-mount connection
3. An indicator light for basic/advanced modes

Other features offered by the Metabones V include:

• Fast contrast-detection and phase-detect autofocus
• Eye autofocus (!!)
• Powered by camera body (no external power source needed)
• Support of image stabilization lenses
• Auto “APS-C Size Capture” on full-frame cameras

Currently, theMetabones Adapter Mark V can be purchased for $399 USD.

Here you see the adapter mounting a Canon EF lens onto a Sony body.

Metabones V Compatibility

Since there are lots of different cameras and lenses out there, so it’s difficult to verify that the Metabones V adapter will work in every case. The Metabones website has a long list of cameras and lenses that should be compatible with this adapter. In this case, the Metabones V adapter worked with the following setups:

• Sony A7rIII and Sony A6300 camera bodies
• Canon 70-200mm f/2.8 II
• Canon 24-70mm f/2.8 II
• Canon 16-35mm f/1.8 II
• Canon 50mm f/1.8
• Canon 35mm f/1.4
• Canon 85mm f/1.8
• Canon 100mm f/2.8 macro

What works well

It works as advertised

I tested the Metabones V adapter primarily with the Sony A7rIII and Canon 24-70mm f/2.8 II, as this is my preferred shooting setup. For comparison with how autofocus would function on a native Sony lens, I also shot with the Zeiss 55mm f/1.8 and Sony 24-240mm lenses.
While testing the adapter, I was blown away by the autofocus system’s speed and accuracy when using my Canon 24-70mm. Not only could I use most of the autofocus settings on the camera (with the exception of Zone area focus), but eye autofocus also worked extremely well. Even when shooting in continuous burst mode at 10 frames per second, there was no lag when using a Canon lens and the adapter.

Generally speaking, it felt nearly the same as using a native Sony lens on the A7rIII. The same can’t be said for the cheaper FotodioX lens adapter that I was using previously. This other adapter worked with only half of my lenses and had inconsistent and slow autofocus. In that sense, you truly get what you pay for when it comes to camera gear (the FotodioX is $99 compared to the Metabones at $399).

Small and compact

Weighing in at 5.3 ounces (150g) and measuring 2.6 x 1.4 x 3 inches (6.6 x 3.6 x 7.6 cm), this slick adapter is compact and easy to stash in a camera bag. It feels about equivalent in size to the Canon 1.4X EF Extender. The Metabones V adapter comes in a plastic box that can you use for long-term storage, but unfortunately, there is no carrying case.

You can easily receive firmware updates

Besides a couple of buttons and indicator lights, there’s also a micro-USB port that can connect the adapter to a computer for firmware upgrades.

What needs improving

For all of the excellent qualities of the Metabones V adapter, there are two shortcomings worth mentioning.
First is the occasional freezing of the camera screen while trying to autofocus. You can fix the problem by simply turning the camera off and on. However, this lag slows down your workflow and makes you question reliability. This problem happens sporadically, mostly with my Canon 24-70mm f/2.8 II, but it never happens when using native Sony lenses.
Another shortcoming is the loss of touchscreen autofocus when using a Canon lens and the Metabones V adapter. One of the biggest selling points of new Sony cameras such as the A7rIII is touchscreen autofocus. While it’s a bit laggy and imperfect even when using Sony lenses, touchscreen autofocus seems to disappear altogether when using adapted lenses. Hopefully, this will be fixed with future a firmware update.

If you’re transitioning from Canon to Sony, the Metabones Adapter Mark V is a must-have addition to your photography kit. It’s not perfect, but it is a solution that seems to get better over time. At $399, the Metabones V adapter isn’t cheap, but it seems to work more consistently than cheaper options such as the Sigma MC-11.
Have you tried the Metabones lens adapter before? What was your experience like? Let me know in the comments below!
Sample Photos Taken with Sony A7rIII, Metabones V adapter, and Canon lenses:






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11 Ideas for More Unique Concert Photos

By: Anabel DFlux  

Musicians, magazines, fans, and record labels alike turn to skilled photographers to tell a story of a momentous performance and return unique concert photos.

Concert photographers are often on assignment for a publication that has sent them out to capture meaningful pictures that could very well go down in music history. Otherwise, music photographers are individually hired by the performing artists. Whatever brings you to the photo pit, your goal is to capture something wonderful.
That being said, the music photography industry has become surprisingly saturated in recent years. In order to stand out amongst the crowd, you have to take live music photographs that differ from others in your photo pit. Here are 11 tips on how to take more unique concert photographs.

#1 – Don’t Forget About the Detail Shots

Band: Behemoth

Although you want to focus heavily on the musicians performing on the stage, the detail shots are just as important.
Many bands put in a significant amount of effort into their live show productions, from stage props to lighting schemes. A unique and effective statement to your live concert gallery are some close-ups of the epic stage props that the band uses.
At the very least, the artist who created the props or the instrument company will thank you!

#2 – Play with Art and Distortion Lenses

Band: MGT. Shot with the Lensbaby Burnside 35.

Though concert photography is often an assignment from a journalistic outlet, that doesn’t mean that you can’t have a couple of minutes to yourself to do something vastly different. You do not have to be afraid of using artistic or distortion lenses at a live show. If anything, they make the frame exceptionally cool!
The fish-eye lens became very famous by well-known concert photographers by being used at live shows. I, myself, love using the Lensbaby lenses at live concerts. The manual focus can oftentimes be much more effective than relying on autofocus.
Try using a copper tube to create very cool swirls around your subject.

Band: A Mirror Hollow. Shot with the Canon 16-35mm f/2.8 L IS USM lens.

You can submit the standard shots to the outlet, and the unique ones to the band. I am telling you, the musicians will love a new take on their live performances.

#3 – Tons of Flying Hair is Great

Band: Cradle of Filth

Naturally, try to capture the facial expressions of the performers. However, you are dealing with rockstars here, and part of the cool factor of these rock gods is their wild style.
Take advantage of the flying hair and fun headbanging, they can sometimes make cooler shots than your standard singing portraits.

#4 – Perspective is Everything

Band: HIM

Although concert photography can be very limited, between shooting time restrictions and limitations on your shooting location, you can still play with perspective.
The key to being different is viewing life through a lens that is more diverse than those around you, no pun intended. Get low, low, low to the ground and shoot up or move yourself to the very far side of the photo pit and shoot from there! Photograph in between the heads of fans or get up on the balcony.
Whatever you do, find new angles, views, and compositions to take advantage of to create more unique concert photos.

#5 – The Musician Doesn’t  Always Have to Look at You

Band: Nightwish

It is true that the viewer connects best when the subject is looking at or engaging with the camera.
However, you don’t always have to fight for that type of shot during a live concert setting. It’s okay for the musicians not to interact with you as a photographer. Shots of them looking away or down can be just as eye-catching.

#6 – Embrace the Light, Don’t Avoid it

Band: IAMX

Having a good grip on lighting will aid you in your concert photography journey. Stage lighting can differ tremendously between shows, venues, and even what lighting is available for that evening. The lighting can range from bright white strobes to deep reds.
Understanding how lighting is photographed by your camera, how it reflects on the instruments and equipment, and how the bulbs affect the performer’s skin tones will change how you take the photograph.

Most incredibly safe and tame images come from the photographer being wary of taking advantage of the lighting situation at concerts. Don’t be afraid to jump right in there and take advantage of whatever bizarre lighting scheme the performers have cooked up for you.
At the end of the day, the lighting is a part of the concert experience, and your job is to capture that.

#7 – Lens Flares are Rad

Band: Epica

On the topic of lighting, lens flares can be very cool!
This is, of course, an aesthetic choice, but I personally find them to be quite fun. You can cause a flare in a similar fashion to photographing during sunset or golden hour. When the light hits the front glass element of your lens at a specific angle, a flare will appear.

#8 – Overexposing and Underexposing Can Work

Band: The Misfits

To help accurately capture the emotion and feel of the show, it is alright to overexpose or underexpose your frame. This can also create a rather unique and uncommon type of photograph.
Use your best judgment and common sense here to determine when such exposures are appropriate.

#9 – Don’t Be Afraid to Get Close

Band: Jyrki69

Guitarists don’t bite (not hard anyway)! Don’t be afraid to get close to the performers on the stage. Take a wide-angle lens, such as a 16-35mm lens, and get right up in there. The perspective distortion can make for a very cool shot.
However, that being said, be aware of your surroundings. I cannot reiterate this point enough. Absolutely be aware of your surroundings!
It is easy to get lost in the moment and fall into a creative bliss when shooting, but a live music event is not the place to lose yourself.
If you’re not growing eyes in the back of your head, you’ll most likely get clonked right in the temple by a crowd surfer, tangled in a microphone cord, or smacked by a flying guitar. This will help you avoid injury to yourself and others.

#10 – In-Between Moments Tell a Story

Band: HIM

The band may have put their instruments down for a moment, but that doesn’t mean that the job of the photographer ends there.
Some in-between moments can become incredible iconic images through their powerful storytelling ability.

#11 – The Moment is More Important than Technical Accuracy

Band: IAMX

Let’s face the facts, we all pixel peep. I believe that over time, passionate photographers get a bit anxious about technical perfection in their images (I know I sure do sometimes). However, some niches such as event photography are not as fussed over technical mistakes as long as the moment captured is important.
There is be a fine balance between taking a good photograph by technique and taking a good photograph by design (aka a great and powerful moment). However, if you have to choose between capturing a fantastic story and ensuring equipment perfection, pick the story.
Many wonderful images are overlooked because the focus is too set on ensuring that an image is tack sharp rather than what the subject portrays.
Of course, this isn’t meant to be interpreted as disregarding technical proficiency. You should aim to take exceptional photographs, but don’t get lost in your pursuit and forget your purpose for photographing the event.

Your turn

Now that you have these tips in your photography toolbelt, go out there and take some wicked shots!

Band: Epica

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