Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides...

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Teacher: Kenji Tachibana Digital Digital Photography I Photography I . Re-shoot FC Re-shoot FC Take it to the next level! Take it to the next level! 26 slides 26 slides Copyright 2003 - 2009 Kenji Tachibana Copyright 2003 - 2009 Kenji Tachibana

Transcript of Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides...

Page 1: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography I.

Re-shoot FCRe-shoot FCTake it to the next level!Take it to the next level!

26 slides26 slides

Copyright 2003 - 2009 Kenji TachibanaCopyright 2003 - 2009 Kenji Tachibana

Page 2: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IRe-shoot FC AssignmentRe-shoot FC Assignment

One More Time: Yes!One More Time: Yes!

Now that you’ve done it once, you’ve got a hands-on Now that you’ve done it once, you’ve got a hands-on perspective earned through experience. And now we’ve perspective earned through experience. And now we’ve all seen your first assignment shots based on your own all seen your first assignment shots based on your own story idea. That’s irreplaceable.story idea. That’s irreplaceable.

Now it’s time to take it to the next level on:Now it’s time to take it to the next level on:1.1. Story – make it more focused on telling your story.Story – make it more focused on telling your story.2.2. Composition – use design and negative space to lead the Composition – use design and negative space to lead the

eye to the focal point. eye to the focal point. 3.3. Technique – zero in that brightness, use the Skylight to Technique – zero in that brightness, use the Skylight to

get the right tone and color, and focus on the subject.get the right tone and color, and focus on the subject.4.4. Lighting – use soft broad-source Skylight from the side Lighting – use soft broad-source Skylight from the side

direction to draw form and texture. Avoid harsh light.direction to draw form and texture. Avoid harsh light.

Page 3: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IRe-shoot FC AssignmentRe-shoot FC Assignment

Aside Metaphor: Archery as processAside Metaphor: Archery as process

Goal of archery is to hit the bull’s eye. But you start off Goal of archery is to hit the bull’s eye. But you start off feeling lucky to just get close to hitting the target at all. It feeling lucky to just get close to hitting the target at all. It takes a while to consistently hit the target.takes a while to consistently hit the target.

Once you start hitting the target, the next step is to Once you start hitting the target, the next step is to achieve a consistent pattern. And pattern is about achieve a consistent pattern. And pattern is about predictability. With predictable patterns, it becomes predictability. With predictable patterns, it becomes possible to move the pattern towards the bull’s eye in possible to move the pattern towards the bull’s eye in incremental stages.incremental stages.

‘‘Re-shoot to make incremental improvements.’Re-shoot to make incremental improvements.’

Page 4: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IRe-shoot FC AssignmentRe-shoot FC Assignment

Reference Image:Reference Image:

The results from the Free Choice shoot was your The results from the Free Choice shoot was your starting point Reference Images. Try to notch up from starting point Reference Images. Try to notch up from there. And be sure to avoid making the same technical, there. And be sure to avoid making the same technical, lighting, or other obvious errors.lighting, or other obvious errors.

Page 5: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IRe-shoot FC AssignmentRe-shoot FC Assignment

Reference Image: Use it…Reference Image: Use it…

The reference image must be used during the re-The reference image must be used during the re-shoot process. That means that your Best image shoot process. That means that your Best image must be left on the memory card.must be left on the memory card.

If you removed it off of your memory card, you will If you removed it off of your memory card, you will have to copy it back to the digital film.have to copy it back to the digital film.

Page 6: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IRe-shoot FC AssignmentRe-shoot FC Assignment

Mistakes: Great for learningMistakes: Great for learning

Yes, we all make them. And, probably, too many times Yes, we all make them. And, probably, too many times for our delicate egos. Although mistakes offer the best for our delicate egos. Although mistakes offer the best learning opportunities. They give you a hands-on learning opportunities. They give you a hands-on reference point that’s totally yours (real).reference point that’s totally yours (real).

The only warning is … DON’T KEEP MAKING THE The only warning is … DON’T KEEP MAKING THE SAME MISTAKES!SAME MISTAKES!

Page 7: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IRe-shoot FC AssignmentRe-shoot FC Assignment

Playback Review: OverviewPlayback Review: Overview

During your re-shoot (any shoot), you must Playback During your re-shoot (any shoot), you must Playback review your images before you leave the shooting review your images before you leave the shooting location. Even if your shooting location is your location. Even if your shooting location is your backyard, the shooting conditions in the backyard will backyard, the shooting conditions in the backyard will never be the same.never be the same.

Page 8: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IRe-shoot FC Assignment: Re-shoot FC Assignment: PlaybackPlayback

Critical Review Topics:Critical Review Topics:

Please make a 3x5 card with the list below:Please make a 3x5 card with the list below:

1.1. Story Story – make it more focused on telling your story.– make it more focused on telling your story.2.2. CompositionComposition – use design and negative space to lead – use design and negative space to lead

the eye to the focal point. the eye to the focal point. 3.3. Technique Technique – zero in that brightness, use the Skylight to – zero in that brightness, use the Skylight to

get the right tone and color, and focus on the subject.get the right tone and color, and focus on the subject.4.4. LightingLighting – use soft broad-source Skylight from the side – use soft broad-source Skylight from the side

direction to draw form and texture. Avoid harsh lightdirection to draw form and texture. Avoid harsh light

Page 9: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IRe-shoot FC Assignment: Re-shoot FC Assignment: PlaybackPlayback

Digital Camera LCD Screen:Digital Camera LCD Screen:

Compared to the 17” to 21” computer monitor, even the Compared to the 17” to 21” computer monitor, even the largest camera LCD screen is puny. Besides that, it’s largest camera LCD screen is puny. Besides that, it’s too bright, contrasty, cool in color, and overly saturated. too bright, contrasty, cool in color, and overly saturated. Consider the LCD image to be only an approximation. Consider the LCD image to be only an approximation.

At the beginning of the quarter, many students will be At the beginning of the quarter, many students will be fooled by the LCD image. By mid-quarter, you will less fooled by the LCD image. By mid-quarter, you will less likely to be fooled by your LCD image.likely to be fooled by your LCD image.

Until you can really see and interpret the LCD image, I Until you can really see and interpret the LCD image, I highly recommend exposure bracketing.highly recommend exposure bracketing.

Page 10: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IRe-shoot FC Assignment: Re-shoot FC Assignment: PlaybackPlayback

LCD Screen: Another takeLCD Screen: Another take

The manufacturer’s focus on the LCD screen is to show The manufacturer’s focus on the LCD screen is to show a ‘pumped up’ image that helps to sell the camera. So, a ‘pumped up’ image that helps to sell the camera. So, an overly bright, high contrast, and too saturated image an overly bright, high contrast, and too saturated image makes most LCD images looks great.makes most LCD images looks great.

When that same great looking image is viewed on a When that same great looking image is viewed on a computer monitor at ‘actual size’, it often disappoints.computer monitor at ‘actual size’, it often disappoints.

Page 11: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IRe-shoot FC Assignment: Re-shoot FC Assignment: PlaybackPlayback

LCD: Useful informationLCD: Useful information

Most compact digitals have ‘active’ exposure graph Most compact digitals have ‘active’ exposure graph called a Histogram. The exposure graph is active called a Histogram. The exposure graph is active (changes in real time) before the shot is taken. (changes in real time) before the shot is taken. Although, the graph is not part of the default Display Although, the graph is not part of the default Display Option and its size is very small.Option and its size is very small.

Cycle through the Display OptionsCycle through the Display Optionsuntil you find the Exposure Graph,until you find the Exposure Graph,Histogram, shown to the right. Histogram, shown to the right.

Most DSLR cameras have ‘passive’ Histogram.Most DSLR cameras have ‘passive’ Histogram.

Page 12: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IRe-shoot FC Assignment: Re-shoot FC Assignment: PlaybackPlayback

Histogram: Passive and ActiveHistogram: Passive and Active

The active histogram displays the exposure graph The active histogram displays the exposure graph before the picture is taken, which is a fantastic before the picture is taken, which is a fantastic learning tool. It can act like a tachometer for ‘driving’ learning tool. It can act like a tachometer for ‘driving’ your stick-shift camera.your stick-shift camera.

The passive histogram only shows up after the shot is The passive histogram only shows up after the shot is taken. It’s less useful than the active histogram. The taken. It’s less useful than the active histogram. The passive histogram is more useful when combined with passive histogram is more useful when combined with flashing zebra stripingflashing zebra striping of the blown out areas of the of the blown out areas of the image.image.

Page 13: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IRe-shoot FC Assignment: Re-shoot FC Assignment: PlaybackPlayback

Exposure Assessment: Histogram viewsExposure Assessment: Histogram views

UnderUnder Normal ExposureNormal Exposure OverOver

Way Too DarkWay Too Dark Believable Believable Way Too LightWay Too Light

This simple solution will only work properly whenThis simple solution will only work properly whenyou follow assignment requirement such as:you follow assignment requirement such as:1.1.Use soft broad-source Skylight.Use soft broad-source Skylight.2.2.Don’t have a light source in the background.Don’t have a light source in the background.3.3.Don’t shoot a light source.Don’t shoot a light source.4.4.Don’t shoot black, white, or shiny objects.Don’t shoot black, white, or shiny objects.

This indicates blown This indicates blown out highlights. Avoid out highlights. Avoid this at all cost. Lost this at all cost. Lost detail can’t be detail can’t be retrieved!retrieved!

Page 14: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IRe-shoot FC Assignment: Re-shoot FC Assignment: PlaybackPlayback

Exposure Compensation: Adjustment (bias) and rangeExposure Compensation: Adjustment (bias) and range

Digital camera exposure can be adjusted lighter or Digital camera exposure can be adjusted lighter or darker using exposure compensation (EC). EC has an darker using exposure compensation (EC). EC has an adjustment range from -2 to +2 f/stops as shown below:adjustment range from -2 to +2 f/stops as shown below:

|| | | || || || || || || || | | || | | | | --2.02.0 - -1.71.7 - -1.31.3 --1.01.0 - -0.7 0.7 - -0.30.3 0000 + +0.3 0.3 + +0.70.7 ++1.01.0 + +1.31.3 +1.7 +1.7 ++2.02.0

Page 15: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IRe-shoot FC Assignment: Re-shoot FC Assignment: PlaybackPlayback

Adjustment: Bias considerationsAdjustment: Bias considerations

Exposure can be lightened or darkened in 1/3 f/stop Exposure can be lightened or darkened in 1/3 f/stop increments. Usually the adjustment change can be seen in increments. Usually the adjustment change can be seen in the camera display. Corrective action shown below:the camera display. Corrective action shown below:

If UnderIf Under Normal ExposureNormal Exposure If OverIf Over

Add Add “+”“+” No changeNo change Subtract Subtract “-”“-”

Try it for yourself now!Try it for yourself now!

Page 16: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IRe-shoot FC Assignment: Re-shoot FC Assignment: Playback and more…Playback and more…

Focus: OverviewFocus: Overview

Most blurry pictures are the result of camera movementMost blurry pictures are the result of camera movement..

There are 3 aspects to sharpness and they are distinct There are 3 aspects to sharpness and they are distinct aspects but are intimately inter-related. aspects but are intimately inter-related.

1.1. Focus point (plane-of-focus).Focus point (plane-of-focus).2.2. Depth-of-field – illusion of sharpness.Depth-of-field – illusion of sharpness.3.3. Shutter speed – use 1/30 sec or higher speed for Shutter speed – use 1/30 sec or higher speed for

general purpose shooting with the zoom set on general purpose shooting with the zoom set on WWide. Use 1/125 sec or higher speed to shoot ide. Use 1/125 sec or higher speed to shoot using the zoom set on using the zoom set on TTelephoto.elephoto.

Page 17: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IRe-shoot FC Assignment: Re-shoot FC Assignment: Playback and more…Playback and more…

Auto Focus: Not so smartAuto Focus: Not so smart

You have to be the smart one.You have to be the smart one.This shot probably looked sharpThis shot probably looked sharpin the DSLR’s LCD screen.in the DSLR’s LCD screen.

Although a magnified PlaybackAlthough a magnified Playbackinspection would have shown the inspection would have shown the Back-focus problem.Back-focus problem.

The position of the focus bracket tells the back-focus story. The The position of the focus bracket tells the back-focus story. The student would have been better off to focus manually with his student would have been better off to focus manually with his DSLR camera.DSLR camera.

Page 18: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IRe-shoot FC Assignment: Re-shoot FC Assignment: Playback and more…Playback and more…

Auto Focus: MechanismAuto Focus: Mechanism

Most auto focus works by lookingMost auto focus works by lookingfor the highest contrast change infor the highest contrast change inthe focus bracket area and noticethe focus bracket area and noticethat the highest contrast area isthat the highest contrast area isbetween the cheek and thebetween the cheek and thebackground. So, that’s where it auto focused, which is background. So, that’s where it auto focused, which is behind the subject.behind the subject.The focus mechanism does not know what your subject is – The focus mechanism does not know what your subject is – you have to be the smart oneyou have to be the smart one..

Page 19: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IRe-shoot FC Assignment: Re-shoot FC Assignment: Playback and more…Playback and more…

Smart focus: Take controlSmart focus: Take control

With today’s technology, I wouldWith today’s technology, I wouldhave set the focus to the ‘Facehave set the focus to the ‘FaceRecognition’ mode.Recognition’ mode.

But that technology didn’t existBut that technology didn’t existwhen this image was made. But, manual focus was when this image was made. But, manual focus was readily available. And that’s the preferred focus method readily available. And that’s the preferred focus method for complete control over the focus point when using a for complete control over the focus point when using a DSLR camera. DSLR camera.

Page 20: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

DSLR: Disadvantage?DSLR: Disadvantage?

Ironically, the DSLR high Ironically, the DSLR high image quality shows off the image quality shows off the focus error. This was shot at focus error. This was shot at 1/80 second using the 1/80 second using the standard 33mm focal length standard 33mm focal length with the aperture set to f/5.6.with the aperture set to f/5.6.

Partial Solution - using f/8 Partial Solution - using f/8 could have helped with the could have helped with the deeper dof. Although the deeper dof. Although the cigarette tip would still have cigarette tip would still have been out of focus.been out of focus.

Better Solution – re-shoot Better Solution – re-shoot with the focus point on the with the focus point on the finger tip using ‘spot focus’. finger tip using ‘spot focus’. That would have carried the That would have carried the dof from the eyes to the dof from the eyes to the cigarette tip.cigarette tip.

..

Page 21: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IRe-shoot FC Assignment: Re-shoot FC Assignment: Playback and more…Playback and more…

Correct Color: Use Auto White balanceCorrect Color: Use Auto White balance

Getting neutral color balance manually is very tricky. Getting neutral color balance manually is very tricky. My advice is to use White Balance set to Auto. The My advice is to use White Balance set to Auto. The WB is a mature technology perfected on the WB is a mature technology perfected on the camcorder. It will deliver good color 99% of the time.camcorder. It will deliver good color 99% of the time.

I recommend that you keep the white balance set to I recommend that you keep the white balance set to Auto for all your class assignment shoots. Although Auto for all your class assignment shoots. Although make sure to shoot based on all the assignment make sure to shoot based on all the assignment requirements.requirements.

Page 22: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IRe-shoot FC Assignment: Re-shoot FC Assignment: Playback and more…Playback and more…

Zoom Lens: Zoom Lens: WWide ide angleangle to to TTeleelephotophoto

The terms The terms WWide and ide and TTele come from the well ele come from the well established 35 mm camera tradition. Those who are established 35 mm camera tradition. Those who are familiar with 35 mm photography, the actual numbers are familiar with 35 mm photography, the actual numbers are confusing because they are too small. A work-around to confusing because they are too small. A work-around to this is to use the idea of this is to use the idea of equivalentsequivalents..

TermTerm 35 mm35 mm Compact DigitalCompact Digital Factor & ReasonFactor & ReasonWideWide 35 mm35 mm 7.2 mm approximate7.2 mm approximate 7.2 mm x 7.2 mm x 4.854.85 = 35 mm = 35 mm

TeleTele 105 mm105 mm 22 mm approximate22 mm approximate Relative to actual chip sizeRelative to actual chip size

Page 23: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IRe-shoot FC Assignment: Re-shoot FC Assignment: Playback and more…Playback and more…

Ideal Focal Length:Ideal Focal Length:

105 mm on the 35 mm format is favored by many 105 mm on the 35 mm format is favored by many photographers. It’s good for shooting both portraits photographers. It’s good for shooting both portraits and still life. and still life.

Compact digital equivalent number is 22 mm. And Compact digital equivalent number is 22 mm. And the DSLR equivalent is 70 mm. The usual focal the DSLR equivalent is 70 mm. The usual focal length assignment recommendation is 22 mm for the length assignment recommendation is 22 mm for the compact digital and 70 mm for the DSLR.compact digital and 70 mm for the DSLR.

Page 24: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IRe-shoot FC Assignment: Re-shoot FC Assignment: Playback and more…Playback and more…

Portrait Lens:Portrait Lens:

The 105 is ideal for shooting portraits because it The 105 is ideal for shooting portraits because it allows for:allows for:

1.1.Good physical working-distance for lighting.Good physical working-distance for lighting.

2.2.Good psychological working-distance for both the Good psychological working-distance for both the subject and photographer comfort.subject and photographer comfort.

3.3. Slight flattening of facial features considered Slight flattening of facial features considered flattering by most subjects.flattering by most subjects.

4.4.Good for putting the background out of focus due to Good for putting the background out of focus due to the telephoto tendency for shallow DOF.the telephoto tendency for shallow DOF.

Page 25: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IRe-shoot FC Assignment: Re-shoot FC Assignment: Playback and more…Playback and more…

Still Life Lens:Still Life Lens:

The 105 is also ideal for shooting still life because it The 105 is also ideal for shooting still life because it allows for:allows for:

1.1.Good physical working distance for lighting and set Good physical working distance for lighting and set manipulation.manipulation.

2.2.Good for minimizing perspective distortion on Good for minimizing perspective distortion on objects preferred for rendering most objects.objects preferred for rendering most objects.

Page 26: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IRe-shoot: FCRe-shoot: FC

Summary:Summary:

Learning can’t be rushed nor forced . Give yourself Learning can’t be rushed nor forced . Give yourself time to reflect consciously and subconsciously on all time to reflect consciously and subconsciously on all this new information. When doing further research, this new information. When doing further research, trust your gut to guide your research topics.trust your gut to guide your research topics.

Pacing is important to learning. If you try to rush and Pacing is important to learning. If you try to rush and force feed yourself to learn, your more likely not to force feed yourself to learn, your more likely not to learn and to burn out before the end of the quarter. learn and to burn out before the end of the quarter. Keep your learning expectation real.Keep your learning expectation real.

Page 27: Teacher: Kenji Tachibana Digital Photography I. Re-shoot FC Take it to the next level! 26 slides Copyright 2003 - 2009 Kenji Tachibana.

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

xx

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