The Things We Do For Pictures

I Ran across this site while reading Scott Kelby’s blog. It really has some funny photos of us photographers. Here is the link.

What are your rights as a photographer?

What are your rights as a photographer? Take a look at Scott Kelby’s 4th of July web entry and interviews with attorney Ed Greenberg. There are two videos so click here to begin.

More Night Photography

I found this tidbit while surfing the web this morning. It is a Shutterbug Source Photography tip linking to several other sites on the subject of night photography. Check it out here.

More Night Photography

I found this tidbit while surfing the web this morning. It is a Shutterbug Source Photography tip linking to several other sites on the subject of night photography. Check it out here.

How To Photograph Smoke

Several of our members have asked how to photograph smoke. Here is a link to a blog that has a very good tutorial.

Take Better Night Photos

1. Start During Daylight

Start taking your night photos in the day, by finding suitable locations that you want to shoot and the best vantage points. Take some photos and make notes to remind you of where you’ve been – even better, invest in a GPS device that records the exact co-ordinates, mapping them onto Google Earth. The last thing you want to do is stumble around in the dark, looking for an appropriate location and wasting valuable time and energy. Sure, some subjects such as buildings may not seem very interesting during the day, but anything you can do whilst the sun is out will only help after it disappears over the horizon.

2. Don’t Go Out After Dark!

You may think that all night photos should have a deep black sky, but the most interesting shots are usually taken in the hour just after the sun has set. The colours will shift dramatically in that time, from bright oranges through to deep blues, so you can take completely different pictures in the space of an hour. Using a long exposure on your camera will also help accentuate the colours. By contrast, images taken late at night with a black sky tend to look a bit dull and lifeless (although really long exposures can produce some amazing results).

“…the most interesting shots are usually taken in the hour just after the sun has set.”

3. Keep the Camera Steady

Every photographer should own a tripod, and certainly every photographer who wants to take night photos should always use one. It’s absolutely essential to keep your camera rock-steady, as the slightest movement when using a long exposure time will ruin the picture. Invest in a good model that is light enough to carry around, but also strong enough to support a combination of your camera and heaviest lens. You should also purchase a remote release, either a wired or wireless version, which is used to trip the shutter release without having to touch the camera. Finally, if your DSLR has a mirror-lockup function, set it to avoid further unwanted camera movement.

4. Manual Mode

The best shooting mode to use for night photos is also the scariest for many DSLR owners – Manual exposure mode. The main reason for using this particular mode is that it’s usually the way to access the Bulb setting, which in turn allows you use shutter speeds longer than 30 seconds. Also, you’ll often find that the exposure suggested by the camera in Aperture or Shutter priority modes doesn’t give the most appealing results. Using Manual mode, you can quickly experiment with different shutter speed and apertures, finding the best combination for the subject that you’re shooting. Start by dialing in an aperture (f/8 is usually a good starting-point), then select whichever shutter speed provides the “correct” exposure as calculated by the camera. If you don’t like the result, vary the shutter speed longer or shorter to change the lighting effect, or the aperture to alter the depth of field.

5. Finding Focus

You’ve already mastered the manual exposure mode – now’s the time to summon up some more courage and get to grips with manual focusing. The auto-focusing systems in DSLR cameras are very advanced, usually locking onto the subject with the briefest of hesitations. At night things get a lot more difficult. The presence of bright lights in a cityscape may allow your camera to find focus, but if the subject is a lot darker then it will typically hunt around for a few seconds before giving up completely. If that happens, manually focusing on your subject is the best option. Make sure that the dioptre adjustment on your camera’s viewfinder is set for your level of vision before you go out shooting. If it’s really dark, shine a flashlight so that you can at least see your subject! For landscape shots, try and focus a third of the way into the image and set a small aperture (try f/16), which will ensure that most things in the picture will be sharp.

“…using long exposure times dramatically increases the amount of noise in an image.”

6. Slow ISO Speeds

You’ll probably know that you should use a faster ISO speed for low light conditions, and this is certainly true when you’re hand-holding your DSLR. So why should the rules be different at night? For starters, you’ve already read this guide and are now supporting your camera on a sturdy tripod, hopefully with a remote release too, reducing any unwanted camera-shake. The main reason is that using long exposure times dramatically increases the amount of noise in an image. A photo taken for 30 seconds at ISO 800 will have a lot more noise than one taken for ½ second at ISO 800. Therefore you need to reduce the noise levels as much as possible by using the slowest possible ISO speed, which has the lowest noise levels – 50, 80 or 100, whatever is the slowest setting on your particular DSLR. You’ll probably find some noise after doing this anyway, but nothing like the hideous mess that shooting at ISO 800 or 1600 would produce.

7. Use RAW Mode

Just as a fast ISO speed increases the noise, shooting in JPEG mode when using long exposure times can result in unwanted and difficult to remove artifacts. Most DSLRs offer a RAW image mode, which is similar to a negative in 35mm film terminology. Very little processing to applied to a RAW image by the camera, unlike a JPEG, and subsequently it gives you the “cleanest” image quality. There’s also more latitude in terms of exposure, which essentially means that you can brighten an under-exposed image or darken an over-exposed image using software on your computer. Use RAW mode if you want the absolute best results from your night photos.

8. Take a Torch

Your DSLR probably has a button that turns a light on for the top-panel LCD, and the screen on the back of the camera will light up whenever you open a menu or view a picture. But how do you use the rest of the camera, operate the tripod and generally find your way around in the dark? The answer is a torch, an indispensable tool for any serious night photographer. Sure, you might look a bit stupid to other people, but who cares? Fumbling around changing memory cards or batteries is no fun in the pitch black. So always carry a small but powerful torch.

“Fumbling around changing memory cards or batteries is no fun in the pitch black.”

9. Stay Warm

Even in the summertime, standing around in the dark can be very cold, especially as each photo will typically take longer than 30 seconds to capture. If you want to take a lot of photos, then you may be outside for at least a couple of hours. So make sure that you dress warmly in several layers and a waterproof jacket. A hat and gloves are also a good idea for when the temperatures begin to dip. Some food and a hot drink can make the difference between a fun night out and your first and last night photo expedition!

10. Keep Safe

Most human beings stay indoors when the sun disappears. Not being able to clearly see where you’re going puts most people off. If you decide to venture out after dark, it’s essential to put your safety first and your photos second, especially if you’re alone. Try not to visit somewhere that’s completely unfamiliar, and regularly keep a close eye on the people around you. Take a mobile phone and let somewhere know where you’re going and when you expect to be back. Remember that with valuable photo equipment, you’re an appealing target for criminals, so if you see anyone behaving suspiciously, pick everything up and move on. You can always return for that award-winning shot another night.

Bonus Tip: Experiment and Have Fun!

Night photos have an amazing quality all of their own, often
transforming mundane subjects by day into works of art by night. You
wouldn’t necessarily think it, but each consecutive evening, month and
season can produce completely different results. Once you’ve tried
night photography, it’s difficult to stop!

visit http://www.dslrdoctor.com for more info

Tips for Capturing Movement

1. Slow Down Your Shutter Speed
The reason for movement blur is simply that the amount of time that the shutter of a camera is open is long enough to allow your camera’s image sensor to ’see’ the movement of your subject.

So the number one tip in capturing movement in an image is to select a longer shutter speed.

If your shutter speed is fast (eg 1/4000th of a second) it’s not going to see much movement (unless the the subject is moving mighty fast) while if you select a longer shutter speed (eg 5 seconds) you don’t need your subject to move very much at all before you start to see blur.

How long should your shutter speed be? – Of course the speed of your subject comes into play. A moving snail and a moving racing car will give you very different results at the same shutter speed.

The other factor that comes into play in determining shutter speed is how much light there is in the scene you are photographing. A longer shutter speed lets more light into your camera and runs the risk of blowing out or overexposing your shot. We’ll cover some ways to let less light in and give you the option to have longer shutter speeds below.

So how long should your shutter speed be to get movement blur in your shot? There is no ‘answer’ for this question as it will obviously vary a lot depending upon the speed of your subject, how much blur you want to capture and how well lit the subject is. The key is to experiment (something that a digital camera is ideal for as you can take as many shots as you like without it costing you anything).

2. Secure Your Camera
There are two ways to get a feeling of movement in your images – have your subject move or have your camera move (or both).

In this type of shot you need to do everything that you can to keep your camera perfectly still or in addition to the blur from the subject you’ll find that the whole frame looks like it’s moving as a result of using a longer shutter speed. Whether it be by using a tripod or have your camera sitting on some other still object (consider a shutter release mechanism or using the self timer) you’ll want to ensure that camera is perfectly still.

3. Shutter Priority Mode
One of the most important settings in photographing an image which emphasizes movement is the shutter speed (as outlined above). Even small changes in shutter speed will have a big impact upon your shot – so you want to shoot in a mode that gives you full control over it.

This means either switching your camera into full Manual Mode or Shutter Priority Mode. Shutter Priority Mode is a mode that allows you to set your shutter speed and where the camera chooses other settings (like Aperture) to ensure the shot is well exposed. It’s a very handy mode to play with as it ensures you get the movement effect that you’re after but also generally well exposed shots.

The other option is to go with Manual mode if you feel more confident in getting the aperture/shutter speed balance right.

How to Compensate for Long Shutter Speeds When there is too Much Light

Mentioned above that one of the effects of using longer exposure times (slow shutter speeds) is that more light will get into your camera. Unless you compensate for this in some way this will lead to over exposed shots.

Below are three suggested main methods for making this compensation (note – a forth method is simply to wait for the light to change (ie for it to get darker). This is why many shots that incorporate blur are taken at night or at dawn/dusk):

1. Small Apertures
So how do you cut down the amount of light that gets into your camera to help compensate for a longer shutter speed? How about changing the size of the hole that the light comes in through. This is called adjusting your camera’s Aperture.

If you shoot in shutter priority mode the camera will do this automatically for you – but if you’re in manual mode you’ll need to decrease your Aperture in a proportional amount to the amount that you lengthen the shutter speed.

Luckily this isn’t as hard as you might think because shutter speed and aperture settings are organized in ’stops’. As you decrease shutter speed by a ’stop’ you double the amount of time the shutter is open (eg – from 1/250 to 1/125). The same is true with Aperture settings – as you decrease the Aperture by one stop you decrease the size of the shutter opening by 50%. This is great because an adjustment of 1 stop in one means that you just need to adjust the other by 1 stop too and you’ll still get good exposure.

2. Decrease Your ISO

Another way to compensate for the extra light that a longer shutter speed lets into your camera is to adjust the ISO setting of your camera. ISO impacts the sensitivity of your digital camera’s image sensor. A higher number will make it more sensitive to light and a lower number will make the sensor less sensitive. Choose a low number and you’ll find yourself able to choose longer shutter speeds.

3. Try a Neutral Density Filter
These filters cut down the light passing through your lens and into your camera which in turn allows you to use a slower shutter speed.

It is sort of like putting sunglasses on your camera (in fact some people actually have been known to use sunglasses when they didn’t have an ND filter handy).

For instance, if you’re shooting a landscape in a brightly lit situation but want a shutter speed of a second or more you could well end up with a very over exposed image. A ND filter can be very helpful in slowing the shutter speed down enough to still get a well balanced shot.

It is the use of ND filters that enabled some of the shots in our previous post to get a lot of motion blur while being taken in daylight.

Another type of filter that can have a similar impact is a polarizing filter. Keep in mind however that polarizers not only cut out some light but they can impact the look of your image in other ways (ie cut out reflection and even change the color of a sky – this may or may not be the look you’re after).

Two More Technique to Try – one more technique to experiment if you’re wanting to capture images with motion blur is to experiment with Slow Sync Flash. This combines longer shutter speeds with the use of a flash so that elements in the shot are frozen still while others are blurry. Another technique worth trying out is panning – moving your camera along with a moving subject so that they come out nicely in focus but the background blurs.

Visit http://digital-photography-school.com/blog for more info

How to Shoot Lightning

WARNING:

1. This is extremely dangerous. I can’t stress that enough. You’ve got a very real chance of being struck by lightning so realize that before running after the next storm. You’re generally out in the open, someplace high off the ground, standing on wet ground with a metal tripod. Do the math. Bolts can drop out of a cell and travel over 20 miles before hitting the ground – so if you’re close enough to see it, you’re close enough for it to reach out and zap you.

2. You want to be inside a full metal body car (not an open top jeep, etc) as much as possible with your hands off of the metal parts. As long as you’re inside the car with your feet off the ground, you’re pretty well safe. I often setup the tripod right outside the car door, then hop back inside running the cable release through the open window – I sit inside in relative safety while I click.

The “How To”:

1. First you’ve got to find a predictable shot – find a cell with some good activity that’s repeating flashes at least every 2 minutes. Hunting lightning is like fishing – sometimes you get it, sometimes you waste your time. Patience is key here. You’ve got to predict where the cell is moving, at what speed, and how to get into a good viewing location around it while staying safe at the same time.

2. Wider angles have a better chance of catching the strike if it’s off of your aim point, but the strike will be smaller in your viewfinder. For something really bold and dramatic you can enlarge well, you need to have a tighter shot – which means a more predictably active part of the sky. Dig? I’ll shoot 15mm if I’m not sure or if it’s getting really close to me, or maybe 35-70mm range if it’s a bit further away and happening in one particular spot.

3. Lock your camera down on a tripod. Focus to infinity manual on your lens (note most pro lenses will focus ‘past’ infinity, so you need to back it off just a bit of the end stop or your pics won’t be sharp – experiment on a clear day to test this). Get your zoom set and frame up your shot.

4. You really need a cable release, or “remote trigger” button. I use the RS-80N3 – works on all Canon cameras and worth having in your bag. You can also get the super high tech version – the TC-80N3 which has a built in cycle timer and other goodies. This may be on a future shopping list for me.

5. Shoot manual of course. You can either “use the force” and time your shots by hand using Bulb mode, or you can use your light meter and let your camera time the shots for you. It all depends on ambient lighting here. If the sun is still up or it’s still dusk out, or you’re in a metro area – then you need shorter exposures to avoid over exposing. If it’s dead dark except for the storm, you can get away with 1 minute plus exposures. This is where you get to be a photographer and figure it out for yourself a bit along the way.

6. Shoot in Raw!!! You’ll never get anything but a white strike on a black sky shooting jpeg. You need the extra dynamic range in Raw to pull this off. Export as 16 bit TIFF to Photoshop, tweak as necessary with curves and saturation, clone out the water spots on your lens, flatten, and export Jpeg’s to the correct size while keeping your 16 bit originals saved as PSD’s.

7. A good starting point….

Dusk / Visible Light:
ISO 100, f/4, ~10 sec exposures. (Let your light meter guide your exposure time)

Full Dark:
ISO 100, f/4, ~30 seconds to 1 minute.

For really active cells, you just Bulb it by holding the button, let a few flashes happen, when you think you’ve filled your shot with enough, release.

Practice Practice Practice:

Unlike every other type of photography, there is no “easy” way to do this. You’re camera doesn’t have a “lightning” mode, so there is a certain amount of trial and error here. You’ve got to guess when the strike will happen and have your shutter open at that time. You’ll shoot a whole lot of empty frames to catch that one strike. I probably average one good catch per every 30 exposures. That’s just the name of the game. I used to shoot this on Velvia film which got real expensive.

That’s part of the fun. It’s dangerous, it’s exciting, you have to get into position, setup, and dial in the shot quickly to make it happen – but once you figure out the basics, it really is pretty easy.

Depending on the intensity of the strikes and how close they are – adjust your ISO, f/stop and exposure time all together as needed. After every strike do a quick view of your LCD and histogram and see if you got it right, adjust as needed.

Remember, lightning is BRIGHT – adjust your f/stop and ISO as needed to get the intensity of the flashes exposing about right – don’t blow them out or you’ll loose all the cool purple / yellow color. Lower ISO means less noise as the flash lights the clouds. Lower ISO also means longer exposure times, which means your shutter is open more of the time, which means you’ve got a better chance of catching a strike.

Challenge:

The challenge (once you catch a strike or two) is to create an interesting picture with it. Anyone can point at open sky and catch a strike. The key is to get some foreground into the shot – give it presence and location. Get the foreground in there, use other objects to silhouette the sky – like a cactus or a barn.

Have fun – and be careful!! If you do get something cool, email it to me – I’d love to see it.

from www.kevinkingphoto.com

5 Ways to deal with negative photo-critiques

5 Ways to deal with negative photo-critiques

It is relatively self-explanatory that doing a photo critique is quite difficult. What few people stop to think about, however, is that receiving a photo critique can be as difficult – if not more difficult: When you move beyond mere snapshots and start putting more of yourself into your photographs, you are a lot more intimately involved with the work you are putting out there.

Putting your photos up for criticism – whether it is at your local photography club, via a site such as DeviantArt, or even when asking a good friend to give some feed-back – is like putting your own head in the guillotine and taking a chance.

Nonetheless, it’s one of the best ways to improve as a photographer, and one of the best lessons you’ll learn is to discover how to deal with negative photo critiques…

1) It may come across as crass, rude, or wrong, but there may be a kernel of truth in it.

If someone tells you “LOL learn how 2 autofocus, you dweeb”, you need to do 2 things: Live in the happy knowledge that whilst your camera might have had an off day, at least you know how to string a grammatically correct sentence together.

And perhaps that picture is a little bit blurry, now tat you look at it closely…

Take a step back, and take commentary on face value. If you honestly can’t say you agree with a piece of criticism, that’s perfectly fine, as long as you are objective enough to be able to try and see it from their viewpoint.

2) They might disagree, but they are your audience.

Ultimately, you are the photographer, and what you decide is how the final result gets done. Nobody can tell you what to do, and if you like your photo, then you’ve won one of the huge battles.

At the same time, it’s quite possible that the people ripping your photos to shreds are the people you were trying to target: whether you’re thinking about selling them as microstock, as art works, or just to give your mum a present is irrelevant.

Your photos are out there for interpretation, and if you care about the message you are sending, you’ll have to go the extra mile to make sure that they aren’t getting misinterpreted.

3) As soon as you let ‘em go, you no longer own ‘em.

It’s the curse of all writers and poets: They spend months – years, even – crafting their masterpiece, and then nobody ‘gets’ it. They all ‘get it’ wrong. Tell you what though, that’s where part of the beauty comes from: If you are taking a photo which you meant to symbolise the innocence of youth, and your first 10 commenters feel it’s a strong commentary on, say, child abuse, then they are per definition right.

It is not your job to interpret your own photographs, it is your job to take them. This is a good thing: if people can make up their own story to go with the photograph – their own connotations and bias, as it were – they are much more likely to connect emotionally with the photograph. If this is achieved; if someone is caused to feel something because of your photo; your mission is complete.

4) They talk. You shut up.

Remember that, just like you are not there to interpret your work, you’re not there to defend it either.

In a way, the best thing you can do is to never respond to any criticism. Let’s be honest – you will never be able to re-create the EXACT same image ever again anyway. Take the criticisms on board as points of reference for future photographs.

Learn from your mistakes, learn about what makes your audience buzz, and learn from your own opinions of your work.

5) Remember that the best works might be universally hated: Be thick-skinned.

Technical aspects of your photographs might be objective: A photo can be accidentally over-exposed, blurry, or have some rubbish in the background which makes your photograph less-than-perfect. Once you start killing the technical foibles of your photographic work one by one (don’t go too perfectionist on it though, it’s not useful to end up deleting all of your photos because of every little detail), the actual creative work starts shining through, and this is where the worst potential for getting hurt comes from.

You can kick yourself for small technical mistakes in your photographs (and you’ll continue making them for the rest of your photographic career), but if people start critiquing your artistic choices, it’s a different thing altogether.

The important thing here is to believe in your own work 100%: If you feel you’ve done it right, and if the image is an accurate representation of what you were trying to do, then all you can do is to shrug off their comments and move on.

Just think about it: Pink Floyd, The Decemberists, Pendulum, Metallica, Billy Joel, Leonard Cohen, Zero 7 – they’ve all been called ‘the best band ever’ by reviewers at one point or another, and yet it is never difficult to find someone who doesn’t care about – or even actively dislikes – them.

From Photocritique.org

Photowalk

I got this information from http://www.revellphotography.com/blog/. Check it out. There is

some good stuff there.

Q. – What exactly is a Photowalk ?

A. – A photowalk is the act of walking around with your camera and photographing your

surroundings. Recently the term has become synonymous with a group of photographers,

walking in predetermined locations and then sharing their imagery. Alone or with a group, the

purpose is still the same and that is to go out and shoot.

Q. What is the difference between a Photo Safari and a Photowalk?

A. The best way I can figure it is that photo safaris are usually associated with a class or

workshop environment. A photo safari may just be to a specific location and is usually a little

more of a learning atmosphere. That’s not to say that you can’t do a little learning during a

photowalk, in fact I would be disappointed if I didn’t learn something on a photowalk.

Photowalks also seem to be a little bit more on the social side.

Q. – So what am I supposed to take pictures of?

A. – What ever you find interesting. Try to look beyond the obvious and see what the casual

pedestrian doesn’t, than capture it in your camera. There’s color and shapes, and patterns.

Light and shadow. Of course these are just my thoughts but you get the idea. Maybe you are a

people watcher so you could try and capture the diversity of the people you see along the

way. Perhaps you could shoot the entire time with the intent of making all black & white

images. The sky is the limit.

Q. – What do I need to bring with me?

A. – There is of course the obvious answer, your camera. But you should put some thought

into how much gear you want to haul around with you. Try to think in terms of being a

minimalist when it comes to your gear. My best advice is to stick with two to three lenses. Two

would probably be best, a wide to medium zoom and a medium to telephoto zoom would

probably cover most scenarios. If your walk is during the daylight hours, which most are, you

can probably leave that flash at home. Tripods are a personal choice but they will add to your

load and you may run into some issues when trying to use them. They seem to make some

folks nervous, especially the Police. Maybe you could try a monopod instead. Make sure that

you have adequate storage cards or film (does anyone still shoot film?). A well charged

camera battery is something to add to your checklist. My best advice is to travel light. A camera

bag or photo-backpack will feel twice as heavy after you have walked a mile. Some other

notables are comfortable shoes and clothes that suit the weather (think layers).

Q. – I don’t own a dslr or slr, can I just use my point-and-shoot?

A. – Of course you can. Don’t be intimidated by all those big cameras and long lenses. I have

seen some spectacular images created with a 4MP digital point-n-shoot.

Q. – How long does a photowalk last, how far do you walk?

A. – Unlike a marathon, there are no predetermined distances associated with a photowalk. It

could be around a block or a few miles. The amount of time is really dependent upon how fast

you cover the route. Another factor would be the number of people who attend. A large group

will tend to move a little slower.

Q. – Do I have to stick with the group?

A. – This isn’t a paid tour and no one will be taking attendance at the end so if you get tired or

sidetracked during the walk then you should, by all means, do your own thing. Remember

though that one of the purposes of doing this with a group is the interaction with other

photographers. Don’t miss out on the opportunity to chat it up with others on the walk. There

will probably be photographers of differing skill levels and you might be able to learn

something, teach something, or just make some new friends.

Q. – So what do we do when it’s over?

A. – Let the chimping begin (chimping is a term used for reviewing your shots on your lcd

screen on the back of your camera, usually accompanied by lots of ooh, oohs and aah, aahs)

One of the great benefits of the photowalk is seeing how others photographed the scenery

and what their creative interpretations were. It can be amazing how everyone can walk the

same path and yet come up with such different photographs. One very popular thing to do

after a photowalk is for everyone to post their images on a web group page (Smugmug). This

is truly the best way for everyone to share their images and experience.

Planning a Photowalk

1.) The first thing you should do is find the location that you believe would be appropriate. Do

a little scouting to find areas that will offer a variety of subject matter that a variety of

photographers might find interesting. Try to think beyond what you like and focus on what

would have the widest appeal to a wide variety of shooters.

2.) Make sure the area is pedestrian-friendly. It is a photowalk after all.

3.) Public access areas are usually the best since there are less restrictions on photography in

general.

4.) Once you have a location, pick a date that will work for you and make sure it is far enough

out to raise interest. It’s nice to be flexible but let’s face it, there will never be a date that will

work for everyone so go ahead and pick one and stick to it. There will be opportunities later on

for those that can’t make it.

5.) A great resource for getting the word out is to invite your local camera clubs. Most of them

have web sites and are happy to pass the word out amongst their members.

6.) Keep your photowalk manageable in terms of time and distance. From what I have been

told, the longer the walk, the more your walkers will lose interest. Two hours seems to be just

about right. Make sure your distance will be adequate but not too long. This is a hard one but I

am guessing that somewhere between 1 and 2 miles would be just about right.

7.) On the day of the walk, have a short introduction period at the beginning so that people

know who you are and a little about each other. This will hopefully get a little more interaction

between the participants.

So there you go. That’s a lot of information about something that really isn’t too complicated,

especially if you are just a participant. So now that you are armed with all of this photowalking

knowledge, rev up your search engines and find yourself a photowalk to call your own.