TRIBUTE TO THE YEAR OF THE TIGER

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L’anno della Tigre

Il tutto è nato dal mio amore per questo splendido animale e dal fatto che questo è il suo anno..si stanno estinguendo e ne siamo tutti responsabili. Io amo la natura, amo tutti gli animali e mi piace la fotografia e immortalare certi momenti o particolari che lasciano un segno nei miei occhi e nel mio cuore..parimenti sempre come hobby mi piace anche farmi fotografare, se riesco a stabilire un buon feeling con il fotografo, che deve saper cogliere i miei stati d’animo e tirarli fuori nei modi e tempi giusti.

Un giorno ho visto una foto bellissima, di una fotografa, con una modella nuda contro la roccia in bianco e nero dove si vedevano appena i contorni del corpo e del viso..mi sono entusiasmata all’idea e l’ho fatta vedere a Ferdi. Lui immediatamente mi ha detto che non c’era nessun problema, che anche noi avevamo un posto così..ovvero la bellissima Valrosandra..e allora il mio progetto ha preso forma…la Tigre..ValRosandra..natura..io…Ferdi!



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Mi sono entusiasmata al progetto fin dall’inizio, ho studiato i minimi particolari per gli abiti e cosa mettere o non mettere e poi finalmente la mattina all’appuntamento ero emozionata..avevo una grande responsabilità..in primis verso me stessa, e poi verso un progetto che ritenevo importante e Ferdi doveva assolutamente comprendere e interpretare tutte quelle mie sensazioni.

Quando siamo arrivati sul posto era ancora mattino presto, c’era un bel sole, il rumore della natura e dell’acqua e nessun’altro. Abbiamo camminato un po’ e finalmente scorgiamo una piccola conca tra gli alberi con un ponticello, il sentiero che sale lungo il fiume e poi loro..quegli alberi stupendi che ho sentiti subito parte della mia Tigre.



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D’accordo con Ferdi ci siamo fermati li..ed è iniziata l’avventura. Ferdi non ci ha messo molto a farmi sentire a mio agio..già il fatto di essere li mi sembrava di essere a casa mia ..è stato un continuo susseguirsi di suggerimenti e idee tra me e lui.

Lo ho chiuso gli occhi ho respirato la Natura e l’anima della Tigre e abbiamo cominiciato..certe scelte di pose le volevo io perché sapevo come una tigre si muove (vedi la foto sull’albero che dormo..) o nel fiume seduta sullo scoglio ..o tra i tre alberi…le mie sono state scelte di cuore e sensazioni che Ferdi ha saputo cogliere e sfruttare nel modo più giusto con i giochi di luci, riflessi, ombre, nel saper farmi sorridere o girare al momento giusto..Torno a ripetere..non sono una modella..a me piace riuscire a trasmettere quello che sento dentro..perchè a parole non sono molto brava…e spero di essere riuscita nel mio intento.



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Altre foto sono state scelte da Ferdi e lui ha saputo far venire fuori la parte intensa della Tigre..tutte le foto sull’albero sono state molto impegnative sotto tanti punti di vista..però mi sentivo sul mio giaciglio..e Ferdi non ha perso occasione a fotografare il minimo particolare di ogni mia espressione o sensazione emotiva e questo credo si veda bene dalle foto..Infatti il risultato è stato ampiamente soddisfacente..circa 400 foto tutte buone…e se lo diciamo noi due che siamo due ipercritici….!!!

Per concludere non posso dire che il rapporto tra il fotografo e la modella è fondamentale…perché solo così riesci a lasciare andare le tue emozioni le tue espressioni più vere e profonde..e poi la location è altrettanto importante perché devi sentirti a casa tua..e per me la Natura è una di quelle case che mi fanno stare bene.

Il prossimo progetto che abbiamo già in piedi è un set con i cavalli a pelo..abbiamo trovato una location magnifica con delle persone disponibilissime e ci saranno i colori dell’autunno che io amo…ottobre è il mio mese..tutti quei rossi,aranci, gialli, colori caldi, malinconie lontane, memorie e profumi antichi….e poi loro, i cavalli, queste magnifiche e sensibili creature al servizio dell’uomo fin dai tempi più antichi..e ora vorrei delle foto in libertà..io loro e la Natura..chissà se Ferdi ci riuscirà di nuovo..ma ne sono certa..ormai mi conosce molto bene..

Cristina Carbi


A tribute for the year of the tiger.

Tigre per caso

Fotografia, natura, bellezza, voglia di divertirsi lasciando un segno e creare immagini che appassionino, coinvolgendo, piacere e interessi comuni.

Con Cristina, eravamo d’accordo di passare una mattinata fotografando all’aria aperta in un mix di natura e glamour. Location la splendida ” Val Rosandra” incantevole parco naturale a due passi da casa. L’atmosfera era quella giusta, vegetazione spontanea, rocce, silenzio e lo scorrere del torrente ben si prestavano alla realizzazione. Uno scambio di idee, due passi ed il set era davanti ai nostri occhi. Il feeling, con la spontanea semplicità di Cristina, mi hanno agevolato nel percorso fotografico con un susseguirsi di battute e idee che ben supportavano l’entusiasmo per l’ambiente e la figura.

Un tronco d’albero inclinato ed ecco materializzarsi immagini feline, in un riposo, che ne ricorda gli atteggiamenti. Tutto il prosieguo era un incrociarsi di situazioni che portavano a realizzare le immagini assaporandone la gioia per la visione della figura nell’ambiente che la circondava, in un piacevole accostamento, lontano da una civiltà industriale che quotidianamente siamo, fortunatamente non sempre, costretti a condividere.

Fredo Rozzo

Nota:

Estamos empezando el año en forma muy especial...la contribución de dos
colaboradores y amigos de Trieste Italia.Este es el primer dedicado a la mujer
como mujer ya sea en el mundo de la moda, el arte, la fotografía y la aventura.
Espero que sea motivo de inspiración para nuestras lectoras se lancen
a colaborar con el blog.

Cristina nos escribe desde sus emociones sobre un animal mítico, el tigre.
Lo hizo por estar terminando el Año del Tigre para el calendario chino.

También nos comunica su angustia porque es muy probable que este animal
desaparezca de la tierra en 20 años por culpa del hombre. Hoy día hay más
tigres en zoológicos que en estado salvaje.

Me siento muy contento de que Digital Camera Adventures traspase
las fronteras editoriales y se globalice en Internet con la entrada de
amigos italianos al blog.

Cristina...Fred, les agradezco de corazón su amistad y compartir juntos este trabajo editorial.

Leopoldo García
Editor

Coordenadas Cris:

Facebook: facebook.com/cristina.carbi

Coordenadas: Fred Rozzo:

http://www.ferdifoto.com
http://www.flickr.com/photos/ferdi2009/
http://www.photographers.it/free/ferdi/

LA TARANTULA Y LA MACROFOTOGRAFIA HIPERFOCAL

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El mundo digital de la fotografía rompe con muchos  paradigmas, pero lo mejor de la nueva tecnología, es que nos abre un sin fin de opciones para obtener logros que serían impensables hace muy poco tiempo. Por eso es que ahora se impone PENSAR EN DIGITAL al planificar nuestros trabajos de fotografía.

Ejemplo 1:

La PROFUNDIDAD DE CAMPO (PDC) es un tema muy amplio en la fotografía y más aún en la macrofotografía. Pero la fotografía digital nos ha abierto un mundo fabuloso de posibilidades. Que es llevar, hacia lo más amplio de la imaginación, nuestras capacidades en la fotografía y nos permite, anticiparnos a nuestros objetivos, explorando el flujo de trabajo para la tarea que nos disponemos a realizar. Esto significa, prepararnos antes de hacer el trabajo planificando que técnicas vamos a utilizar, para pasar al trabajo de producir las fotografías, anticipándonos, al trabajo del laboratorio digital con que culminaríamos nuestro trabajo final.

Salir de safari suena caro, pero salir de cacería de imágenes, en un parque cerca de tu casa, donde los depredadores son fieros pero los puedes evitar con solo moverte un poco es un verdadero reto. Hacer macro en espacios abiertos o en la naturaleza puede parecernos fácil, sin embargo, el viento mueve las plantas y las flores, también lo hace con telas de araña y cuando se trata de fotografiar una abeja, abejorro, avispa o una serpiente, nos resulta igual de difícil que fotografiar un elefante corriendo, una ballena saltando o un mono sobre un árbol. Todos tienen mentes propias y no siempre están dispuestos a colaborar.

Nos preguntaremos que tiene que ver la PROFUNDIDAD DE CAMPO (PDC) con todo esto. Bueno, muchísimo, ya que la PDC es crítica en la macrofotografía y también es uno de sus mayores retos. Esto me lleva al manejo de escenarios para fotografiar fieras de pequeño tamaño, que en mi caso fue una tarántula rubia del Bosque de la Virgen en Topotepuy.

Manejar animales silvestres requiere conocimientos que no se adquieren de inmediato, así que esta tarántula era una incógnita para el trabajo. Primero, no sabía que tan rápida era esta araña, que señas daría sobre su estado de ánimo. La tarántulas exponen sus quelíceros levantado las patas anteriores y exponiendo sus brillantes ganchos con los que atacan o se defienden. Estas modelos no tienen paciencia, ni se dejan manipular por maquilladores y mucho menos posan a nuestra disposición. Así que la fotografía digital nos resulta una herramienta excelente para lograr objetivos complicados tales como: Resaltar detalles del objeto a fotografiar, superar las capacidades de los equipos fotográficos, mejorar nuestras posibilidades de lograr lo que nos imaginamos y unificar técnicas para realizar lo que antes no era posible.

La preparación:

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Luego de manipular y posicionar a la araña a manera de que el flash permitiera una apertura entre f/16 y f/32, la cámara con un lente macro 100 f/2.8, El equipo montado en un trípode, se posicionó de manera que la araña llenara al máximo el cuadro como para poder reconocer el tipo de araña que era. La Cámara también se le puso un disparador remoto para minimizar el movimiento de la misma y mantener el encuadre exactamente igual para todas las tomas (primer plano,plano medio y plano posterior). Todo esto para preveer problemas de alineación durante el trabajo en Photoshop.

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Se realizaron una serie de imágenes a diferentes aperturas para lograr captar los diferentes campos de enfoque y al mismo tiempo subexponer para resaltar los tonos claros. Hacer una toma de algún objeto antes de iniciar la serie o después de la misma nos permitirá definir las secuencias tomadas para cuando pasemos hacer nuestra selección y trajarlas en Bridge y Photoshop

El trabajo:

1) En Adobe Bridge, se seleccionan las imágenes que con anticipación habíamos realizado para este trabajo. Noten, que fotografié mi mano para separar las series de fotos con las que trabajaría. Esto es muy útil cuando son muchas series del mismo objetivo.

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2) El próximo paso es definir cuales imágenes serán las más convenientes para el trabajo de stacking o mezcla/apilamiento de imágenes.

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Se seleccionan las imágenes que se van a trabajar sombreándolas simultáneamente. Luego se selecciona TOOLS – PhotoShop - Load Files into PhotoShop Layers (Cargar imágenes en capasde Photoshop) en el menu de Bridge y al realizar este paso Bridge pasa automáticamente a PhotoShop para convertir los archivos en PhotoShop layers.

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En esta imagen se puede ver que Bridge ha sido remplazado automáticamente por Photoshop

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Se ha magnificado el segmento para que se entienda que hay que escoger ambas capas antes de seguir con el proceso de apilar/mezclar las capas o realizar el stacking.

Luego se activa en el menú el segmento EDIT – AUTOALIGN Layers (Editar-autoalinear capas)

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Al escoger Auto-align,  yo escogí por la opción presentada de facto en la ventana y marque Cromatic Distorsión para mantener los colores uniformes.

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Puede ser posible que al alinear las imágenes, las cuales permanecen solapadas, se vean áreas sin información que se trabajarán posteriormente. Al realizar la opción, saldrá otra ventana donde nos darán la opción de mezclar las imágenes para panoramicas on en stacks/apilamiento-mezclar capas…Se escoge la segunda opción y ya estamos a punto de lograr el resultado buscado.

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Al mezclar las capas podrán ver que Photoshop les creó sus respectivas máscaras y ya el proceso está por terminar.

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Para eliminar bordes que quedan en las partes superiores e inferiores del cuadro, se pueden usar las herramientas de recorte y una ves realizado el mismo, la imagen ya esta lista para hacerle un merge layers o flatten layers a manera que la imagen final no sea tan pesada.

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Al terminar el recorte o CROP, la imagen ya está lista para archivar. Se recomienda hacer un layer merge o flatten para que la imagen no ocupe mucho espacio en los archivos. Al finalizar podrán apreciar que al hacer converger las capas se le añadió mas información y foco a muchas de las áreas de la foto final.

IMAGEN FINAL

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Les agradezco a todos cualquier comentario sobre este artículo o lo temas que estamos escogiendo para mejorar el contenido del blog

Nos vemos en la Pantalla

Leopoldo Garcia Berrizbeitia

Fotonaturalista / Editor

Una Golondrina Sola Sobre los Rapidos

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El rugir del río me hizo sentarme a admirar su fortaleza. Lo hago pensando en lo que está frente a mis ojos, una caída de varios metros, de una roca milenaria, que hace que el Caroní se transforme, de un espejo de agua a una turbulencia infranqueable. Ésta forma remolinos que se tragan todo, y cambia el reflejo del cielo sobre las aguas por espuma blanca siempre cambiante. Es aquí, donde Wiyú, la gran serpiente arcoiris descansa bajos las aguas y espera pacientemente a otro incauto para tragarlo sin compasión alguna.

De pronto, pasa volando una golondrina, la veo, y se que viene de muy lejos, de la Región Boreal y pronto, seguirá vuelo hasta la Región Austral. Sigue esta ruta mientras viva y en algún lado de ella morirá. Pero ahora vuela desafiando a Wiyú, y esta no la puede tocar, hace vuelos rasantes alardeando de su habilidad. Ella es muy pequeña pero logra hazañas que el hombre solo pudo lograr miles de años después de aparecer sobre la faz de la tierra.

La veo absorto, mientras sus compañeras, apenas visibles, vuelan muy alto camino al Auyantepuy. Ellas desafían a los vientos que dicen yauyan, la voz del jaguar, señor de las selvas, que sombra y luz al mismo tiempo lo hacen invisible a los demás. Medito en lo que aprendí a ver y me pregunto que ven los demás. Sin embargo, se que nada importa, porque el pensamiento se queda en el mismo lugar donde empezó y solo se hace transcendental, con acciones que otros entiendan y hasta puedan ver y palpar.

Más abajo, el río se para, no puede seguir a voluntad, Wiyú no tiene vida allí y al Señor de la Noche ya no se le oye roncar. Solo hay grandes aguas que a Guri y Macagua van a parar. Aquí, el pensamiento y la visión del hombre, en la figura de un Kanaimó, levantó varios embalses para arrebatarle al Caroní su cursó y energía, a Wiyú sus rápidos y al jaguar su rugir en la noche. Ahora rugen turbinas, las aguas bravas son de Kanaimó y la luz y la sombra que hacían invisible al Señor de la Noche son manejadas al antojo del hombre que también desafió a las alturas, conquistó el imperio de Wiyú, y le puso un sol muy pequeño a la luna en la noche, que hoy llaman... ELECTRIFICACION. Esa palabra no la conocían los Pemones ni Yekuanas, que en antaño, nombraron las tierras ancestrales cuyo origen, el hombre nunca vio.

Mientras, sigo sentado en la selva, y la golondrina de Wiyú se despidió, para volar junto a sus compañeras a conocer la Patagonia, de la que su abuelo tanto le habló. Sus ojos verán lugares que difícilmente vea yo. Por eso sigo pensado a orillas del río en todo lo que un pajarito vio y me digo, que importa lo que lo demás vean si aquí sentado lo vi yo.


® 2010 Leopoldo García Berrizbeitia

A Swallow over the Rapids

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The roaring of the Caroni river urged me to sit down and admire what was before my eyes, a break in the ancestral mother rock that makes the river bed a fifteen foot drop. This changes, an otherwise reflection of the skies on a watery mirror, into a turbulent fury of dark whirlpools, that swallow everything into their visceral hollows. It is here, where Wiyu, the Rainbow Anaconda, queen of all the waters, patiently waits for the unaware to fall into her merciless coils, just to be swallowed, as many others who had venture too close to her realm.

Suddenly, a barn swallow flies bye, I recognize its flight and shape, now there is a formidable creature. It has arrived to the Lost World after crossing most of the boreal region and the Caribbean. Now, it flies right over Wiyu’s realm, as it knows, it is out of reach of the traps set by the lady of the deep. It skims over the water for a drink and to clean its feathers after a long trip. Her audacity comes from self-respect after conquering so many things during her arduous flight. In fact, she and her ancestors have flown long before man ruled the earth. I think her attitude is well deserved and I watch her do her thing.

I remain in and endless gaze, deep within my thoughts as the swallow’s kin call from high above. They are on their way to Angel Falls, a route where they will have to challenge the winds of Devil’s Canyon, those winds that roar YAUYAN making the world’s highest waterfall a veil. Their sound is the voice of the jaguar, lord of the jungles, the mystical force that light and shadows hide from its victims eyes. Lost within my thoughts, I realized, that only a few can see what I can, or are even interested in seen it, and how important is to understand this. In fact, I ask myself what is it that others see that I can’t? However, I know that thoughts die where they are born unless they transcend into actions that other may see and feel.

Further down the river, the flow of water stops. The river cannot impose its will any longer; Wiyu cannot live there any more, a huge lake lies on the river`s path. The Lord of the Night lost his place as well, as the shaddows and light are harnessed by Kanaimo, the evil spirit of the forest, who works under the guise of man. Here Kanaimo rules, he and his subjects built a huge wall to stop the river`s running waters. Now Kanaimo places little suns all over the land when the moon comes out and the river roars at Kanaimo’s will. Kanaimo created a new word, which his subjects call electrification, a word that the ancestors of the Pemon and Yeakuana, who gave the land where they lived their name, had never heard before.

I remained sited at the rivers edge, the swallow chirped good bye to Wiyu in her roaring empire, she joined her kin to their flight south to see Patagonia and the Andes, lands that made up its ancestors stories. I know and envy what its eyes will see… things I never will. That is why I say to myself, it doesn’t matter what others can see, as long as who sees this is ME (I).

VISITING FRIENDS: HOW TO PHOTOGRAPH DIFFERENT RELIGIONS

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WELCOME!

Digital Camera Adventures’ fan and fellow photographer Omar Ponceleon is our first Visiting Friend to share his experience to our growing audience. He brings us a very especial adventure which is: How o photograph weddings from different religions. Omar has been a pro for many years and his line of work has covered: Commercial, fashion, religious ceremonies and teaching. Omar, like many of us, started with film cameras and he recognizes the versatility of the digital world as a new challange to our imagination.

As one may think, anyone who has devoted so many years to a job will have plenty of anecdotes and stories to tell. Some of us may feel that a wedding is a wedding, and once you get the hang of it, you are in good shape. Well, you may be in for a surprise, for instance, what would happen, if your would be client was from another culture and religion? Our story begins with a chat on a job Omar had just finished, where I worked as a second camera, paying my dues to learn wedding photography. The last job Omar worked on was the wedding of Venezuela’s ambassador to Japan (a Japanese-venezuelan and his beautiful Japanese wife).

As weddings have a especial requiremenst, the workflow most be done with care, as in other events with dated deadlines. Time is so important, that planning should be very detailed and each wedding has its own requirements, that may need to add or take off your check list.

As we are habituated to our own culture’s religions and ceremonies, we may think that our skills are enough to do any job we are used to do in a frequent way. However, a wedding photographer, as any other kind of photographer, will be challenged when he/she faces a job in a culture or religion other than his own.

CASE STUDY: A HINDU WEDDING

In accordance with Sastra Hindu culture, life is made up by four stages, where the Ashram Grahastha of life in matrimony is its second stage and as other stages in life, it has its own charm and duties. In India, as in other eastern cultures, arranged marriages are a common practice, where the parents of the wife and groom consider it as the union of the souls of their children and of their families.



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Without a doubt, no one, in western culture terms, could do the follow up of a religious ceremony that starts, when groom and bride’s parents choose the future couple. In fact, once the decision is made, the parents will meet with a priest who will choose the date of the future ceremony, which I presume, it will be a time, when the holy man thinks, it will be the most favorable day for the future spouses to get married. This ceremony is named Misri or the exchange of rings. How is that for a surprise?

As Hindu wedding traditions are so detailed, I will write about outstanding events in order to make a long story short.



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The most important ceremony in the wedding is the Saptapardi where a small fire is started which symbolizes Agniveda the God of Fire. This god sees that the couple commits to their vows and blesses them. The couple most go around the fire seven times which signifies the seven vows that will keep them together as a couple, and as a family ,for the rest of their life. Thereafter, the groom places the Bindi, a redspot in the middle of the eyebrows and gives her a Mangalsutra necklace. Married women wear the Bindi as a symbol of status and currently, Bindis are fashionable and can take different shapes and are made from different materials.



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As demanding as this ceremony is to a layman, getting one's information in advance can be of extreme importance, however, Omar was called the day before the civil ceremony. One would say, this could be expected and that it was the typical fate of someone trying to do a VENE-HINDU wedding.

The story goes as follow: Omar reached the place where the ceremony was going to take place. As he arrived, he found everyone dressed in traditional Hindu garments, including the Venezuelan groom. Omar was prepared for a typical Venezuelan civil wedding (Carried on by a civil judge). These weddings tend to be smaller than the religious ceremonies and lo and behold! It turned out to be both a civil and a Hindu wedding! Pure culture shock, thus, Omar had to talk to the bride as she was getting her makeup and accessories placed on. She told him the good news…you cannot take any pictures during the Hindu ceremony, as it is a solemn event that requires utmost respect. Therefore, the shoot was staged for after the ceremony. Fortunately, this enabled Omar to see what he was going to shoot later (an advantage of knowing your stuff).



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He fell in love with their lavish garments, sumptuous ornaments and wonderful colors. The result is part of what we can see in the article. After the shoot, there was a typical Venezuelan party, and the cross- cultural event was as much fun to photograph as the wedding. The crowd danced Salsa, calypso and limbo letting loose the Venezuelan Caribbean culture among everyone at the wedding.



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At the moment when the bride was to give part of the dowry, as is customary in the Hindu culture, Omar and his staff got theirs as the other guest. So at the end, Mr. Murphy (And his Law) did not make it to the ceremony or the party and all turned out well.



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Omar and I worked out a checklist for photographing religions other than your own hoping they can help you.

At the first meeting:

1. If you notice that you client comes from a different culture do no presume that they have crossed cultures and assumed your own.

2. Ask as much information about them and their culture as you can. Then, do your homework. One most do research on your would be subject, so both the photographer and his clients, can be comfortable with each other during the shoot. It pays to talk the talk and it shows that one really cares about your client and your work and then, you can walk the walk.

3. Talk to the bride and the groom separately. This will help you get vital information on how each person feels about the ceremony, their guest and their future spouse’s needs. If it is possible, try to talk to relatives and friends that live in the same city. This will enable you to get the inside story about your client’s personalities. Then talk to the couple so you get to know how they act when they are together.

4. Once you learn your customer’s religion you need to research as much as you can about it. We advise the photographer to meet with the person o persons conducting the religious ceremony. It is not the same to photograph a Catholic wedding than a Greek Orthodox one, even tough they are both Christian. In fact, priest, rabbi, monks may have their own feelings about photographers taking pictures of a holy ceremony. They will teach you the ceremonial etiquette that you should follow to the finest detail.

5. Visit the place of the ceremony to find out what logistics you will need to make the shoot. Study the LIGHT, the angles, where can you and you assistants place yourselves to be less intrusive. If there is going to be a rehearsal, BE THERE! As it will give you a great planning advantage.

During the Ceremony

1. Become invisible during the ceremony, nothing is more annoying, that a photographer getting in the way and blocking the ceremony from guest and friends.

2. Be fast and precise to make the shots.

3. Make sure that you know the symbols, moments and scenes that you can photograph.

4. Make sure you ID each important person in the ceremony. No one is spendable and you most make sure that everyone gets into the shoot. A picture with the best friend, a very old and dear relative will be memorable and get you very important PPRR pointers from your clients ;-)

5. Remember you are telling a story. Make sure you cover the pre-ceremony, the ceremony and the party. If there is a rehearsal, make a storyboard in your mind, so you can get the best out of your shoot.

At the Party

1. Adornments, table setups, buffets, church, temples, surroundings are important spaces to fill in. Make time for them. We usually visit the place after the set up and do the shooting of sitting arrangements, the religious icons, the adornments and so on. Doing this the day before the wedding works very well for your shooting plans.

2. Plan a moment alone with the bride and the groom. Make sure you tell them before the wedding to avoid misunderstandings and tell let the other people that they required this private moment.

3. Be a mentor, if you need a second camera or more, make a mentor program, as trainees are often very enthusiastic and will help you concentrate on the important issues, while they do fill in shoots for scrapbooks and videos. I work as second Camera for Omar's social and events photography and he enjoys my outdoors out of the beaten path photo-shoots. At the end, we are learning right from the source.

Thank you for visiting and let us have your input. We like to encourage you to share your digital camera adventures with us.

See you on the screen.
Best regards

Leopoldo García
Editor

DIGITAL CAMERA ADVENTURES: DIGITAL CAMERA ADVENTURES: NOTICIAS DE PRÓXIMOS ARTÍCULOS

DIGITAL CAMERA ADVENTURES: DIGITAL CAMERA ADVENTURES: NOTICIAS DE PRÓXIMOS ARTÍCULOS

APRENDIENDO A VER-NATURALEZA AMENA 2

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