As many of you know I have turned almost exclusively to Micro 4/3 cameras and lenses for both my professional portraiture and also from my personal photography. But I don’t just create portraits of people, I have a separate area of the website just for animal portraiture and wildlife imagery. If you happen to subscribe […]

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  • Mag D - July 13, 2013 - 2:40 pm

    Your photos are so ‘real’ I feel they could come to life any moment. Write-up is also terrific, actually a mine of information for novices like me. Great work, thank you.

Let’s play make-believe for a moment. Let’s say that every week or so a motorist makes a journey from London to Manchester in his car. The journey serves a number of purposes, sometimes the motorist is visiting a friend, sometimes he’s embarking on a sightseeing outing (perhaps with his camera), or he might be travelling […]

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  • james - July 8, 2013 - 8:09 pm

    Totally agree with everything you say. There are some good photographers out there who don’t do it for a living and they think it’s cool and clever to give there photos away to these big moneymaking organisations – what a complete joke. Then they get defensive when you ask them why they’re helping out a bunch of rich users. These big firms plead poverty which makes it even more laughable. The worst thing is they know full well there damaging the industry, and putting pro photographers out of work. When you ask them why they don’t demand to get paid they come up with a load of excuses because deep down they know they look like an ass. Your little dialogue with the hobby photographer and his friend was spot on.

  • Nat - July 8, 2013 - 8:15 pm

    Yep, bang on. I still haven’t turned pro and I’ve been sick and tired before when people expect me to photograph their kids for free – admittedly I’ve done it to build my portfolio, but even if I was a pro I’m pretty sure a lot of people would still expect free work. I don’t think my photography is good enough for publishers to ask for favours but I know what I would say if they did. I can imagine it would be nice to see your pictures printed nice and big in a mainstream magazine, and you can just blank out the fact that the publisher is raking in the sales while you get nothing. Like James said, these photographers get angry when you mention it because they know they look stupid and can’t come up with any good reasons to do what they’re doing. As for being called miserly and tightfisted, I’ve done photography for two charities that I support (and I know you’ve done a lot for several organisations which are worthy causes) who are non-profit making and need all the help they can get just to survive.

  • Lindsay - July 8, 2013 - 8:23 pm

    Nat and James, thank you for your views. I will impress again that I’m not trying to tell anyone what to do with their photos, but rather to remind those who share images indiscriminately that the whole hobby argument doesn’t work – your hobby is costing you and my personal view is that a bunch of strangers shouldn’t be the beneficiaries of your efforts and outlay. I do think that if you want the pleasure of giving then there are many good causes whom you could support. The argument I hear against that of course is that the photographer won’t have the pleasure of seeing their picture in a recognisable publication, or in a book. I guess you can keep quiet about the fact no one paid you.

  • Mark44 - July 8, 2013 - 8:31 pm

    I’m a keen amateur photographer and I don’t need or seek an income from my photography, so I don’t worry about getting paid for it. I’ve done free stuff of family and friends. I openly admit that when I’ve had a couple of pictures published its been a good feeling. But I want to point out that this is in the reader’s photos section of a couple of good photography magazines, which I do think has helped me get a bit of positive attention, because the magazine has been relevant and is good quality. I have to agree that if a commercial business wanted my work to help their promotional efforts or sales then I would insist on recompense. I think your article will give a few people some serious food for thought and I agree that the supply of good photography is starting to look like a one-way street. I like your articles and your work is top drawer. Regards, Mark

  • Lindsay - July 8, 2013 - 8:36 pm

    Welcome Mark, and many thanks indeed for commenting. I do agree with what you say and getting your pictures published in a relevant journal can definitely help to get you noticed and can help to build a portfolio of genuine published work. But as you point out we are of course talking about the widespread commercial usage of imagery, where there is rarely any benefit to the photographer. This could be corporate websites, company brochures and adverts, the list is endless. This is a personal remark, but it pains me when really good photography is seen as utterly without value by the originator. It’s little wonder that publishers (and to a degree the buying public) are starting to take the same view.

  • Mark44 - July 8, 2013 - 8:56 pm

    Lindsay, you’ve written some really good articles for your Blog – you obviously share a lot with the photographic community. Could you not get paid for publishing these – I mean, in view of this feature would that not be more sensible? I’m saying that nicely, it’s not a criticism, I’m just curious.

  • Lindsay - July 8, 2013 - 9:01 pm

    Mark, I try to offer what I can to the causes I support. And the photography community is one I feel very passionately about. If my articles can help somebody to run a more profitable business, or manage their clients, or understand their outlay, then so much the better – we will all benefit indirectly. And of course good articles drive plenty of traffic to my website, which helps to keep me at a good place in the rankings, which is important. This is one of the main reasons why blogging is so popular within the professional photography community. But be aware of one thing – if someone came along and asked if they could publish one of my essays in a commercial/retail journal or magazine (or in any other profit-making capacity) then I would expect fair payment. And if my work is used without my permission then it is my policy to hold someone accountable.

  • Mark44 - July 8, 2013 - 9:04 pm

    That makes perfect sense Lindsay, thank you for answering my question. Looks like I’ve got some serious reading to do, judging by some of the other features you’ve written – top stuff by the way.

  • Stephen Scharf - July 8, 2013 - 9:53 pm

    Absolutely brilliant, post, Lindsay. I couldn’t agree with you more.

    I know the frustration and insult from clients who expect to be paid for free. For example, in my capacity as one of the official track photographers for Mazda Raceway Laguna Seca, I was asked to photograph the Umbrella Girls, a for-profit “pit girls” company started by a female attorney in Northern California. They wanted a series of shots at the podium after the American LeMans race at Laguna back in ’07 or ’08. It was a series of photos for their yearly calendar, which was specifically used to promote their business. I spent the better part of an hour photographing the girls, and then about 3 hours in post-production editing the images in Photoshop. When their operations manager contacted me about getting the photos, I told them her expected to be paid $500 for the images and my work in postprocessing that went into them (usual rates for PS post-processing is about $150/hr in the U.S.)

    Like your client, they got angry and arrogant, and said, “We thought you were just going to give them to us for free.” I replied, “You’re going to use these to promote your profit-making venture, and I expect to be paid for these images, is your printer going to print them for free?” The ops manager replied, “No.” I replied, “Then why would you expect the photographer to work for free?”

  • Lindsay - July 8, 2013 - 10:09 pm

    Hi Stephen, great to hear from you and hopefully I’ll get a chance to catch up with you properly later in the week. I was disappointed to read about your experience with the promoter – unfortunately this is becoming all too common. Publishers have become used to amateurs donating images for free and this has created an expectation that all photographers are the same and will do likewise, no matter how good the work. You were chosen for the job because your imagery is outstanding, I’ve seen enough of it to know that, and that is why they wanted you for the job. They expected to pay you the same as they have paid in the past – which is very little, or nothing. The fact you have considerable expenses is immaterial to them. They don’t care who you are, or what you’re worth, they just expect the work to be free. It defies belief, it really does. And what unsettles me the most is the number of amateurs who peddle the same argument and justify this kind of behaviour. Of course if those people depended on photography for their living, their point of view would be very different, but since photography is their hobby that is the excuse they appear to use for justifying their lack of reward. I would get no satisfaction at all in seeing a copy of that calendar hanging on my wall, and knowing that I had been trodden upon in the process. Yet a great many photographers have no problem with that. Still, each to their own.

  • Stephen Scharf - July 8, 2013 - 10:40 pm

    I couldn’t agree with you more, Linds. One of the points you’ve made in a number of your post in your “For Photograpers” blog is that you know exactly what it costs you every time you step out the door to do a job; any successful and more importantly, *profitable” pro does (taking a page from Zimberoff here). What a lot of amateurs or non-photographers don’t even think about, in addition to the costs of photographers gear, insurance, travel, IT and computer systems, editing and processing applications, etc, is the cost of redundancy and backup that a pro requires to *get the job done*. Because your clients don’t care if you have an equipment failure, they want the job done on time and up to standard. Many pros I know have two of everything, or at least two bodies. For example, the shutter failed in my Canon 1D MkII in the middle of a MotoGP event, and the recent focus issues I’ve been having with Canon gear turns out to be a defective AF motor and lens element alignment in my 70-200/2.8. In both cases, I had to use backup gear because my PR Director doesn’t care about my gear problems, all she cares about is “Where are my images for deadline press?” All this is part of running an effective professonal operation, and there costs attendant with all of them. Unfortunately, as you have pointed out so eloquently, none of these are things that amateurs or flaky clients think about.

  • Lindsay - July 8, 2013 - 11:01 pm

    Hi Stephen, yes backup equipment is absolutely essential for commissioned work, and there are other factors as well such as insurance, contracts etc. However the main thrust of the businesses who request photographs will be a wayward and misplaced argument that the images are “in stock”. In other words they will argue that you weren’t commissioned to take them and therefore they didn’t cost anything. We know this is nonsense from the pricing of evaluations you mention, and of course the price quoted to a publisher or business user is indeed the stock price – a specially commissioned and tailored shoot, just for them, would be much more. Many image users will try and base pricing on microstock fees or the fact there are so many free image sharing websites out there. But that does not mean that one photographer’s price should be equally low as that quoted by any other photographer, since we are not generic – some are hobbyists with low overheads and some of us are full-time pros with considerable outlay. And this is part of the problem, the standardisation that is applied across the industry. This is like presuming that all restaurants are the same and complaining if one establishment charges £40 for a steak when you can get one down the road in a grotty pub for £7. The restauranteur has to bear the cost of running his or her establishment to a high standard, and the chef is highly trained and experienced, and the cuts of meat are prepared and presented to an exemplary standard. But these days fewer and fewer people will take that into account.

  • Mag D - July 13, 2013 - 11:14 am

    Have read carefully through your article, also found comments very interesting. Hope some people have at last realized just what goes into photography, and the complete lack of understanding regarding payment, expenses, etc. they all want perfection, isn’t it time they woke up to the fact we all have to live and most importantly, need to earn a living, as they do. Thank you Lindsay.

  • Lindsay - July 13, 2013 - 12:33 pm

    Hi Mag, yes indeed, nowadays there are an awful lot of amateur photographers out there who have a lot of experience and who produce good work. They are not reliant on photography in any way as a source of income and this seems to be cited as one of the main reasons why they are so willing to pass on their photographs to anybody who asks. Consequently businesses and many publishers now feel that all photographers should follow this pattern.

I joined The Societies four years ago and I have to say it was one of the best decisions I’ve ever made in terms of progressing the depth of my photography and the efficiency of my business. Like the Royal Photographic Society, The Societies (which encompasses well-known sub societies such as the SWPP – the […]

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  • Mag D - July 13, 2013 - 10:50 am

    Brilliant write-up. Very interesting to read about your past and present achievements. The photos are brilliant. The longer I look at them, I pick up more and more notable points. Thank you Lindsay.

Baby and Family Photography West Sussex and Hampshire In the post just beneath this one I talked about a recent shoot in the New Forest, co-ordinated by leading newborn and baby photographer Tracy Willis. To learn more about Tracy and the team please see our Wood Nymphs post, which will take you to their various […]

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  • Helena - June 29, 2013 - 12:45 pm

    Dear Lindsay,

    Very stylish an beautiful baby portraits you have made. I like the vignettes in the corners (looks a bit like pinhole-photography, but then very sharp). As far as lighting is concerned, did you here use video-light? As I read somewhere in your blog that you sometimes use this type of light. If so, there are so many types of video-light, which one do you use?

    Regards,
    Helena

  • Lindsay - June 29, 2013 - 1:22 pm

    Hi Helena, we had originally intended to use strobe but the day was quite damp which ruled out this kind lighting. Instead, we found areas of soft light and placed our subjects accordingly, using large reflectors to bounce light onto them. I do use video light, I use LED panels which can be bought fairly cheaply from eBay and Amazon. However video lighting has little use during the day because the power output is so much lower than strobe – therefore I tend to use video lights indoors or when the light is dim.

  • Helena - June 29, 2013 - 1:29 pm

    shooting Thank you Lindsay for your comment, the result of this (and many others of yours) is absolutely gorgeous.

    Regards,
    Helena

  • Wolfgang Lonien - June 29, 2013 - 7:42 pm

    Very interesting Lindsay, and great photos as always.

    First I thought I liked the first one better, but after looking again, that second one is really nice. The focused parts of the tree may be the reason, cannot point at it exactly right now.

    All in all, a very nice work which reminds a bit of the old school classical portraits from a century ago. Except that these here are lots sharper, like Helena said already.

    What I really like about that first photo is how Jasmine seems to sit in front of the scene – and that isn’t only the result of that gorgeous 3D-like output from the Leica-branded lens, but it’s your processing and style which are cool.

    Good work indeed. I wouldn’t hesitate a single moment to recommend you for jobs like these (but then again, I’m not in England of course).

  • Lindsay - June 29, 2013 - 8:27 pm

    Hi Wolfgang, thank you very much for the lovely comment. It was really nice to have the chance to create a calm and classic portrait and I know exactly what you mean about the depth in these images. I think you’re right in that the relative positioning of the tree branches brings out the three-dimensional aspect. And there is definitely an “it” quality to that lens which is hard to describe.

  • Mag D - July 2, 2013 - 9:36 am

    Lovely photos Lindsay, full of depth, character. Lighting is great, shows Jasmine to perfection. Background very impressive, the way you have cleared trees and branches etc. it all looks so very attractive, a real work of art. Thank you.

  • Lindsay - July 2, 2013 - 2:46 pm

    Thank you Mag, Jasmine is certainly very photogenic. The background did need some tidying, as is often the case when you’re on location. Being able to do that is one of the many factors which will separate a snapshot from a professionally crafted portrait. But it’s surprising how many members of the public (and publishing profession) feel that we should not be paid for our time and skill set.

Outdoor Portrait Photography Hampshire – Woodland Every so often I have the opportunity to meet up with fellow photographers, models, and stylists. In fact putting together a styled or themed shoot is common practice amongst professional photographers, particularly when we want to explore new locations or ideas, and of course build relationships with each other […]

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  • Gianluca - June 25, 2013 - 4:47 pm

    You are such a great photographer!…I always admired your work and you inspire me a lot…Bravissima! Ciao from Italy! Gianluca

  • Lindsay - June 25, 2013 - 5:20 pm

    Hi Gianluca, lovely to hear from you and thank you so much for the kind words. It’s nice to have a reader in Italy!

outdoor portrait photography west sussex The beauty of location photography is quite simply the fact that the world (or whatever environment you find yourself in) becomes your studio. This is far more interesting than always confining yourself or your subjects to a white room. Without doubt we can create the look and feel of a […]

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  • Stephen Scharf - May 24, 2013 - 9:19 pm

    Wow. Amazing set of images, Linds!

    Wonderful control and mix of ambient and strobe/fill light.

    They’re all beautiful but my favorites are 7 and 9 on the beach, and the high key one where Nikki has her arm over her head. Stunning.

    Best,
    Stephen

  • Don - May 25, 2013 - 5:33 am

    1043, 2029, 2104 are my favorites.
    A very beautiful series of outdoor portraits.

  • Lindsay - May 25, 2013 - 9:57 am

    Stephen and Don, thank you both for the kind comment. I have to admit that Nikki makes a photographer’s life very easy!

Location Portrait Photography Hampshire I have just spent the most wonderfully inspirational weekend attending photographer John Denton‘s lighting masterclass in Hampshire. On Saturday our theme was location portraiture and location lighting, moving from natural light and natural backdrops to the more atmospheric multi-light setups. Progression is (or should be) vital to any progressive modern photography […]

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  • Maria Michael - March 26, 2013 - 6:06 pm

    Beautiful images Lindsay. x

  • Mark Feldman - March 26, 2013 - 7:00 pm

    Hi Lindsay – wonderful pictures – Please can you share with us which lenses and cameras you were using for the individual pictures , thanks

  • Lindsay - March 26, 2013 - 7:27 pm

    Hi Mark, the vast majority of the outdoor images were taken with the OMD and 35-100 f2.8 lens, this is a real portrait workhorse just as my Canon 70-200 f2.8 used to be – but thankfully the OMD kit is so much lighter! The outdoor studio light images were captured with the Fuji X100. The image of Jennie inside the boat house, sitting on the side of the boat, was also taken with the X100 since it affords a perfect wide field of view without distortion. The Hollywood hard light headshot was captured with the OMD and 35-100.

  • Stephen Scharf - March 26, 2013 - 7:55 pm

    Hi Lindsay.

    Wow! Absolutely stunning photos. Everything, the lighting, model, photography, post, all the production values are off the charts. Thanks for posting what camera was used for which sessions, I had those questions, too!

    Terrific work; must have been a lot of fun.

    Thanks for posting this blog entry, I learn a lot from looking at your work…

    Stephen

  • Lindsay - March 26, 2013 - 8:02 pm

    So pleased you enjoyed the images Stephen, it certainly was enjoyable. I’m sitting here free from the aches I would normally have endured for a week back in the days of hoisting around my big DSLRs and lenses!

  • Nat - March 26, 2013 - 8:08 pm

    Lindsay, these are gorgeous as ever. Please can you say a few words about your post production routine? This is often the hardest step for me yet you seem to maintain a natural look which is what I want. I met John at the Convention a couple of years back and I am so envious you got to spend a weekend with him!

  • Lindsay - March 26, 2013 - 8:15 pm

    Hi Nat, I keep my workflow as simple as possible sticking to just one or two colour processes per set and one or two monochrome processes. I download everything into Lightroom then cull any images I don’t intend to show, mostly these would-be test shots, duplicates, or blinks. Starting with a well exposed RAW file there isn’t much to do, I apply a simple Curve which sorts out contrast and density (make sure you’re not blowing any highlights or blocking any important shadow areas). I shoot with a fixed white balance setting for continuity, this also makes batch adjustments much easier afterwards should you need to tweak however I will say that the white balance on the OMD and the X-100 is usually spot on and I have not needed to make any adjustments. The last few images in this set are slightly warmer than the rest, deliberately so, since I decided to use a Cloudy white balance setting as opposed to my usual Daylight preference which is not as punchy. I rarely need to go into Photoshop these days unless there are specific distractions which need to be removed from the shot. If any skin smoothing is needed, or eye wightening, the adjustment brushes in Lightroom are very useful.

  • Wolfgang Lonien - March 27, 2013 - 6:08 am

    … and after that last article I already thought she’d never look into the camera ;-)

  • Lindsay - March 27, 2013 - 8:55 am

    Indeed – you’ve picked up on a very good point Wolfgang – many nude photographers feel that eye contact should be avoided. Smiling is also mostly to be avoided.

  • Hai-Ho Tran - April 4, 2013 - 1:02 am

    Dear Lindsay,

    These are the amazing portraits. I am impressed with the image quality that comes out of the OMD-5. Is this the Panasonic lens 35-100 f2.8 or is it Olympus’s? I am glad you did a review of the XE-1 and the OMD-5 because both are in the same class I have the same debate: image quality vs. performance.

    Since the image quality as exhibit in this post convince me that I’ll have to with the OMD-5 for the following reasons: weather seal, flip screen(for street photography and gives me another tool for creativity. I don’t care what the other stuck up pros say: ‘oh those are for the amateurs. Us pros don’t need flip screen), AF speed, lens line up.

    Do you know if it has an HDR mode? Since it doesn’t have as good as a DNR as Fuji X series.

    What lens would you recommend for landscape and street photography?

    Thanks a bunch & lovely work.

    Hai-Ho Tran
    Fremont, California

  • Lindsay - April 4, 2013 - 9:33 am

    Dear Hai-Ho, thank you for your comment and the kind words. Given that the OMD generally exceeds the quality of most modern APS-C cameras, the excellent output will be no surprise. As far as a comparison between the OMD and the XE1 goes, there are both actual and subjective differences in how the images render and I personally do not like the output from the X Trans sensor. However as you rightly say the features and performance of the OMD does put it in a different class and this is very much why it appeals more and more to professionals. And it is also wonderful as a personal use camera as well, given its small size. One of its greatest strengths is of course the wonderful array of Micro 4/3 lenses. I don’t really to landscape work and lens choices are very personal indeed – what might suit me may not be right that the next person. There are quite a few articles here on the Blog where I use different lenses, but generally speaking for Street and walkabout photography I tend to reach for the 14-42 pancake zoom or the PL25.

  • Mag D - April 5, 2013 - 10:00 am

    Brilliant photography Lindsay. You were obviously enjoying every minute of it. The model looks stunning, showing every detail to perfection. Thank you Lindsay.

  • Lindsay - April 5, 2013 - 10:08 am

    Thank you Mag. It should be said that working with a professional model is very different to a normal client. A trained model will work quickly through the concepts and will understand the finer details of posing, expression, styling etc. One of the biggest challenges of photographing normal members of the public is helping them to relax and interpret what you would like them to do. Amazingly, some people come alive and really sparkle in front of the lens, whilst others are understandably more shy and reserved. This is what makes location portraiture so challenging and so interesting.

  • eddie wadeson - September 20, 2013 - 12:09 pm

    queston, am i wrong in thinking you use fill in flash for a lot of your outdoor work? this is just a question, no wish to offend.
    don’t know if you remember me. ? i am the ancient one who started patheticaly in 1941. my self, i use quite a lot of fill outdoors.although people have been quite happy with my work over the years,wish it was as good as yours.not much chance now, so will carry on enjoying your work, especialy portraits.kind regards Ed. ps excuse spelling, left school at 14 years of age.necasery qualifications it the time, were the ability to count to ten, and ride a bike.

  • Lindsay Dobson - September 20, 2013 - 1:15 pm

    Hi Eddie, I think fill flash (on camera) is great for wedding photography and similar events outdoors because it’s so useful for evening out harsh lighting on bright days, or dealing with backlit subjects. However with model portfolios or fashion photography we would normally want the lighting to be more controlled – on this shoot the light was either entirely natural light (a couple of the images involved the use of a white reflector just in front of the model to push back some of the overhead light) and the lighting in the more dramatic photographs required quite powerful heads to give the ratio between the ambient section of the image and the light on the subject. As you will no doubt remember from your own photography work, overpowering bright ambient light to create a workable ratio can be impossible unless we have very powerful strobe heads (in this case Quadra Rangers) because the combination of bright ambient light and a sync speed of around 1/250 will force us into a very tight aperture. And at very tight apertures we need an awful lot of Watts/sec in order to get enough power output to light the subject. This is where a camera with a leaf shutter can be very handy – because it will enable you to work through a range of faster shutter speeds thereby knocking back the ambient light effectively, which in turn will help your aperture to stay wider, which in turn will reduce the power needed from your strobes (to the point where you might even get away with using speed lights).

    The lights were placed at around 45° to the model, usually with another light on the other side and just behind the subject to act as a kicker (and occasionally a third light acting as another separator). The ambient light (the Sun) then acts as your fill light.

    Eddie, it’s never too late to keep enjoying your photography, or to keep studying and improving. Some of my favourite photographers are probably around your age!

    I think the education system has almost come full circle – I meet far too many school leavers these days who can barely count to 10 …

    Kind regards, Lindsay

Fine art nude photography is an exacting discipline and one where expert training and direction really matters. Irrespective of where we sit on the photographic learning curve, we should always strive to move forward. I believe this should be the case for all of us, whether or not we are new to the profession or […]

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  • don - March 26, 2013 - 7:10 pm

    This is real fine art. Even if it’s not my domain (I’m a landscape, nature and street ( enthusiast ) photographer ), I can appreciate the beauty, the expressivity and the good taste.
    A magnificent series.
    Don

  • Lindsay - March 26, 2013 - 7:23 pm

    Thank you for the kind comment Don, figure studies certainly take you out of your comfort zone and force you to think in different ways!

  • Mag D - March 27, 2013 - 11:05 am

    Stunningly beautiful photography Lindsay, the ghost-like figures really set-off the imagination. Brilliant and very educational write-up, I shall look at these again and again. Thank you.

  • Paul Johnson - April 13, 2013 - 3:45 pm

    Very beautiful photography. Those last few I can’t quite work out if they are studio shots or on a beach. Would love to know.

  • Lindsay - April 15, 2013 - 2:28 pm

    Hi Paul, they’re in the studio – there were a couple of ‘flour throwers’ just out of frame. As you can imagine, we had a lot of fun timing the shots with the throws! The problem with being on a beach would be health and safety – throwing sand could be harmful and the weather on the day of the shoot was below freezing outdoors.

  • Sean - May 24, 2013 - 3:58 pm

    Lindsay,

    Did you mean panny 14-42 pancake?

    Really enjoy your blog.

  • Lindsay - May 24, 2013 - 4:06 pm

    Hi Sean. Yes, the 14-42 pancake zoom – I find this to be a really useful little lens. I use it most out on the street but it’s also handy for studio work. Outdoors for portraiture the 35-100 f2.8 is my ‘go to’ lens.

f o l l o w