Outdoor Photographer

Color Natural Light Photography of their imagination. Above: Compelling photographs are
I recommend you start by grabbing your In post-processing, try adjusting the often the result of patience. When I
camera or phone, putting it in a housing found this beautiful arch framing a
and staying shallow, around 20-30 feet conversion of each color range inde- kelp forest, I settled in and waited for
maximum. Most of the good stuff to pho- pendently. For example, using the blue an interesting subject. A few divers
tograph is close to the surface, and if luminance slider can allow you to make came and went, producing an array
you’re scuba diving, the air in your tank the ocean dark and moody—or light and of perfectly mediocre frames. But
will last longer. airy. Your choice. then this California sea lion finally
appeared and did two quick flips
You also have a greater range of com- Using Artificial Light Underwater before disappearing into the forest,
positional options when you’re in shallow As great as natural light photography making the wait for this shot the best
water. You can get close and shoot fine is, sometimes it just doesn’t give you 30 minutes I spent that day.
details or animal portraits, or you can what you need, and you have to take
get further away and photograph grand artificial lights with you. This is where Opposite top: I was at a medium
landscapes. Shooting underwater gives things get complicated. depth while making this image but
you an amazing ability to move in three didn’t need any artificial light as the
dimensions, and the creative possibilities Water is a dense medium that absorbs only colors I cared about were the
are seemingly endless. light, requiring that you get very close to greens and blues. Setting my ISO
your subject—which is why most under- to Auto allowed me to get a deep
Black & White Natural water photographers use close-focusing, depth of field and a shutter speed fast
Light Photography wide-angle lenses. Getting close also enough to stop the motion of the fish
The deeper you go, the fewer colors helps deal with this crazy thing called in the image.
you have. Why not eliminate color alto- “backscatter,” where the artificial light
gether and shoot in black and white? I bounces back toward you off particles Opposite bottom: To photograph
find something mysterious and compel- in the water, creating speckles all over this Pacific sea nettle jellyfish, I used
ling about black-and-white underwater the image. I won’t cover backscatter in the available light on the surface of
shots that allows the viewer to use more detail in this article, but if you choose to the water to give me not only a full
use artificial light, do a Google search color spectrum but also to allow me to
incorporate the beautiful underwater
reflection on the water’s surface.

outdoorphotographer.com August 2022 49

to learn how to avoid it. that a subject approximately 4 feet away This last point is super important. Since
The traditional approach to underwater will be well lit and in focus. When I then you have limited time underwater, it’s
go to make a photograph, I can dial my tempting to try and see everything and
artificial light is to use strobes, just like in strobe power up or down, depending on zoom from subject to subject, taking
the studio. Strobes can stop motion and whether the subject is closer or further snapshots. Instead, go slow and explore.
make your subject pop—but they are also away than 4 feet. Take a photo, look at it, check the focus
incredibly hard to use at first. and exposure, and then decide what to
Having said all of this, I rarely use do next. Maybe you got the perfect shot.
Some manufacturers have a through- strobes anymore. I now use video lights Maybe you see things that could be bet-
the-lens (TTL) setting for underwater for stills. This makes everything so much ter, so it’s worth exploring the subject
strobes that controls the power of the easier, and it also works with smart- more deeply. I find that a single good
flash based on exposure settings deter- phones. Combining continuous video image is always more valuable to me than
mined by the camera, but I’ve never lights, a high ISO and mirrorless cam- a whole card full of snapshots.
really found it that effective. In practice, eras has been a revolution in underwater
TTL is overkill; for the flash to work, photography. There’s no more guessing Underwater Photography Gear
you must be close to your subject, and where the light will go or how far away As with every genre of photography,
you can set the strobe power manually the subject is. What you see in the view- there are so many things you can buy, and
based on how far away you expect your finder is what you get. With video lights, it adds up quickly. My current underwater
subject to be. I shoot just like I do for ambient light: setup cost about as much as a small car.
manual focus, a fixed shutter speed and And while you may eventually end up
To shoot using manual flash, keep aperture, and Auto ISO. with a big setup like mine, you shouldn’t
your aperture and ISO fixed. This means start out there.
shooting in either Aperture Priority or Finding Compositions
Manual mode. I tend to shoot in Aperture The first rule in underwater photography You likely have a perfectly serviceable
Priority to balance the natural light easily. is to get close and then get closer. Fill underwater camera with you right now:
To get everything dialed in, the first thing your frame with the subject and take your your phone. Smartphones have come a
I do when I get in the water is to take a time finding interesting compositions. long way, and companies like SeaLife
photograph of my fins to make sure the
flash power is correct. This lets me know

50 Outdoor Photographer outdoorphotographer.com

and AxisGO make fantastic underwater visualize how the light and shadows fall, Above: I treated this image just like
phone cases and housings. You can either especially when using video lights. There a studio still life, using the same
use your phone in the shallows (up to 25 are great housings and lighting options technique I’d use to photograph a
feet) or, if you want to go deeper, pur- for all of today’s modern cameras, so it’s flower on land. I began by choosing
chase a fixed video light that attaches to likely that you’ll be able to find a solution my composition and setting the
your housing. for the camera you already have. The base exposure, underexposing
combination of housings, domes, lens the background by two stops to
The next step up in underwater gear is ports and lights can be complicated, so retain just a bit of context while
a compact camera like the Sony RX100 I recommend that you work with a store making sure the subject popped.
and a housing. For around $2,000, this that specializes in underwater photogra- I then carefully placed my lights to
system can synchronize with strobes phy to help you build your kit. illuminate only the anemones before
and has a large enough sensor to cap- pressing the shutter button.
ture available light at medium depths. Its Be A Good Underwater Citizen
close focus allows you to shoot anything Opposite: Get close. This wolf eel’s
from whales to tiny nudibranchs. It’s also Like all nature photography, underwater den was in deep, cold water in British
a physically compact system that’s easy photography has a few dos and don’ts Columbia. Given the depth, I knew
to travel with. that will help make the experience better I needed my lights to capture the
for you, the people you are diving with color, so I got them ready as I set up
The final step is a full DSLR or mirror- and your wild subjects. The underwater my shot just outside the entrance to
less system with a housing and lighting world is exciting—there is so much to the den. Then I just waited for this
system. I’ve settled on mirrorless because see, and it’s tempting to zip from place strange creature to get curious and
the electronic viewfinder allows me to poke his head out.

outdoorphotographer.com August 2022 51



to place and snap away. Because you are natural skills work. Organizations like Above: As photographers, we should
always diving with other people (never the Professional Association of Diving never lose sight of why we go into
dive alone), zooming around can kick up Instructors (PADI) provide excellent the extraordinary underwater world.
sand and debris and ruin your compan- training for both scuba and free div- This giant manta zipped around and
ions’ shots—yet another reason for the ing that will allow you to feel much amongst us before hovering above,
“go slow and be deliberate” approach. more comfortable and in control. I also dwarfing us as it displayed its vast
dive a lot without my camera, so I can grace and size and treating us to a
Remember to keep your hands to concentrate on being a better diver and momentary glimpse of the majesty
yourself. With just a touch, humans can get to know that underwater landscape that lives below the surface.
be lethal to the living things on reefs. more deeply.
And if you’ve ever had sea urchin spines Opposite: Composition is just as
embedded in your skin, you know how Getting Wet important underwater as it is on land.
painful that is. So, you have a camera and something The s-curve of fish leading away from
the shark tells a more interesting
Without a conscious effort to be aware to keep it dry—now go and find some- story than just the fish or the shark
of your surroundings, the camera can thing to explore. A swimming pool is a alone. Because both the shark and
isolate you from everything going on great place to practice. Once you’re com- the fish were further from my lens,
around you. It’s easy to get so caught fortable there, put yourself into one of I shot only with available light since
up in making a photograph that you lose this blue planet’s natural bodies of water. the flash wouldn’t carry that far. No
track of important things like your depth, I’ve dived in lakes, rivers and oceans. All flash meant very limited color in the
your remaining air supply or your dive are different, and all are beautiful. Be photograph, so I opted for black and
buddy. Whenever I’m photographing, I safe. Have fun. And embrace the words white, adjusting the blue channel in
make sure I pause every 30 seconds or of Jacques Cousteau: “The best way to post-processing to brighten the scene
so to be sure all my bases are covered. observe a fish is to become a fish.” OP and create a more graphic image.

Better divers tend to be better photog- See more of Jon McCormack’s work at outdoorphotographer.com August 2022 53
raphers. Because we are land animals, jonmccormack.com.
going beneath the water’s surface puts
us in an environment where none of our

Figure 1

Mastering Lightroom’s Masking Tools

Advancements in artificial intelligence and computational photography have made
Lightroom’s masking tools incredibly powerful—and easier to use, too

Text & Photography By Jason Bradley

What’s the secret to creating a great and simpler for photographers to develop a rebranding exercise—the tools have gone
photograph? What are the ele- and stylize their work, ultimately making through a significant makeover.
ments that make a photograph the goal of creating a “great photograph”
successful? Truthfully, even though photog- that much easier. For starters, the old Localized Correc-
raphy is how I make my living, I’m not sure tion tools in Lightroom consisted of the
I can give a concise answer. It would be too Lightroom’s Updated Adjustment Brush, the Radial Filter and
long-winded to fit into one little article.What Masking Tools the Graduated Filter. There wasn’t much to
I can say somewhat concisely is that good Masks aren’t new to digital photography or them, but they were serviceable. I certainly
photography is a dance between science and even to Lightroom. Essentially, if you have didn’t complain much. Now we have eight
creativity, objectivity and subjectivity, and used localized corrections in Lightroom, options to choose from: Select Sky, Select
luck and craftsmanship. then you’ve used masks. In the most recent Subject, Brush, Linear Gradient (which is
update to Lightroom’s masking tools, the same as the Graduated Filter in Light-
Masking is one of the most powerful Adobe repackaged many capabilities that room’s previous version), Radial Gradient
tools we have for the craftsmanship aspect were already there; they just weren’t pre- (which is the same as the Radial Filter in the
of our photography. Lightroom Classic’s viously called masks. But this wasn’t just previous version), Color Range, Luminosity
masking tools make it significantly faster Range and Depth Map (see Figure 2). Even

54 Outdoor Photographer outdoorphotographer.com

Figure 2 though the names of the pre-existing tools inverse of any mask that you create. For
have changed, the tools themselves still work example, if your goal is to adjust everything
Figure 1. Four masks applied to an image in the same ways. around the subject instead of the subject
of Tunnel View at Yosemite National Park. itself, you can use Select Subject to create
(Note that Depth Range is a new feature a mask and then invert it. In this case, look
Figure 2. A screenshot of the list of mask that will be inaccessible for images made to the Invert checkbox just above all of your
types we can apply to our images in with most cameras. To take advantage of adjustment sliders.
Lightroom. this feature, you’ll need to use a file from a
camera—like an image captured in Portrait Until now, localized corrections required
Figure 3. Using Select Subject is easy. Mode on an iPhone—that has a depth map photographers to manually apply an adjust-
With one click of Select Subject and no embedded in the file. Then you can play ment to a part of the image by way of one of
additional finessing, Lightroom can mask with expanding or contracting the depth- those three pre-existing tools I mentioned.
off all these different types of subjects. of-field in post-production.) Because the new AI technology creates
masks automatically, it feels a bit like I’m
Figure 3 The first two masking tools listed above, cheating when I’m using it.
Select Sky and Select Subject, are what
most excite me. They represent a new kind Look at the four example images of Fig-
of technology, Adobe’s contribution to the ure 3. I’ve masked off different kinds of
world of Artificial Intelligence, or what’s subjects: a bear, a tree, a shark and a lion.
now referred to as AI photography. This is All I did was click on Select Subject, and
a form of computational photography that within a matter of seconds, Lightroom gen-
relies less on optics and traditional methods erated a mask. It’s admittedly not always
of capturing imagery and instead relies perfect, but a lot of the time, it is, and for
heavily on computers to create the image. those images where it’s not, it’s relatively
easy to fine-tune the mask.
What do Lightroom’s new AI features
do? Exactly as their names suggest, they As cool as it is to have a mask created
can identify the sky or subject in a photo automatically with AI, it’s actually not my
and mask it automatically, and they work favorite thing about AI. What I really like
surprisingly well. You can also select the is the quality of the masks Lightroom now

outdoorphotographer.com August 2022 55

Figure 4

Figure 4. When you open the Masking generates. What I mean by that is that Light- list. When applying your first mask to any
Panel with images that already have room doesn’t have a great track record of image, or to adjust an image that has a set
masks applied, it will display a list of masking edges. That’s evident when using of localized adjustments already applied
your existing masks. They are listed in the Auto Mask feature with the adjustment to them, first click on the Masking icon
the order they were created by default. brush—it’s a great way to create unpleasant (or Shift + W). The Mask panel will open
halos around an edge. In contrast, the vast up, revealing a list of all the current masks
Figure 5. If you need a reminder majority of the masks I’ve created with the used in the image (see Figure 4). Masks
about the masking tools’ features newAI tools come with well-refined edges, are automatically named, and you’ll see a
and keyboard shortcuts, click on the and the resulting adjustments print well at series of boxes with some black and some
question mark icon. You can also click any size. It’s impressive. white areas. White represents the areas of
on the icon at its right to minimize the the image where adjustments have been
Masking Panel. Using Masks Effectively made and is helpful in identifying the mask
Masks allow you to confine adjustments to by its shape and location in case you want
Figure 6. You can move the Mask- specific areas of a photograph rather than to select that mask later to change or refine
ing Panel wherever you want on the making global adjustments. RAW files are your adjustment.
screen. By default, it’s displayed rarely perfect, so dodging and burning and
detached from the rest of your modifying parts of your image in different The Mask panel by default appears
adjustment panels, but if you feel it’s ways is crucially important in order to gain detached from the rest of your adjustment
in the way, you can grab the header tonal and textural consistency, and to direct panels.You can grab the header of the Mask
of the panel and drag to dock it with your viewers’ attention to the part (or parts) panel at any time and move it around to
the others. of your frame you deem important. help clear your view of a part of your image
you want to see. Also on the panel header
Figure 7. Mask overlays can obscure The first step to working with masks in are two small icons on the right (see Fig-
the view of your adjustments. If you Lightroom is to understand what it is that ure 5). If you click on the tiny question
don’t want them to appear automat- we are looking at with this set of tools. mark, this will display a list of shortcuts to
ically, disable Automatically Toggle For starters, your masks are organized in a help you navigate the masking tools. You
Overlay in the Mask Overlay settings.

56 Outdoor Photographer outdoorphotographer.com

Figure 5 Figure 6

can click on the small icon to the right of or on by unchecking the Show Overlay Figure 7
the question mark to minimize or expand box at the bottom of the Mask panel or by
the panel. If the panel still feels like it is tapping the O key. If you’re like me and but, like Mask Overlays, were more in the
in the way, you can also grab the header don’t want Lightroom to always obscure background. Range masks are a very effec-
and dock the Mask panel with your other image details with a mask overlay auto- tive way to target a specific zone of your
adjustments, as shown in Figure 6. matically, click on the ellipsis to the right image for modification.
of the Show Overlay checkbox to bring up
Mask Overlays the Mask Overlay settings. Then uncheck Essentially, range masks allow you to cre-
Mask Overlay is a great feature that Automatically Toggle Overlay, as shown in ate selections based on a range of luminosity
has taken center stage in Lightroom’s Figure 7. From then on, you’ll have to turn or color values. There are a couple of ways
updated masking capabilities. It was your mask overlays on and off manually. to apply range masks. Begin by using your
available before, but I was always sur- range selector, as shown in Figure 8. You
prised by how few people knew about There’s more to the Mask Overlay set-
this option. The Mask Overlay function tings menu. For starters, mask overlays
wasn’t obvious, and you had to turn the offer different modes that can further assist
overlays on manually to use them. you when fine-tuning your image. Person-
ally, I love using the Image on B&W over-
Mask overlays can be quite helpful when lay, but toggle through them and play to
modifying your mask. As an example, let’s discover your preferences.You can simply
say you create a mask that doesn’t hug the click on your choice or toggle through them
edge of something the way you intended. by pressing Option + O on a Mac or Alt +
Mask overlays act as a helpful guide, offer- O in Windows.
ing a better view of where your adjustment is
or isn’t, and even show you the rate at which In addition to Overlay Modes, look to the
your adjustment fades away as you erase it. bottom of the Overlay Settings and click
on Color Overlay Settings. Now you can
What I mean by this feature now tak- choose any color or adjust the opacity for
ing center stage is that Lightroom’s new your mask overlay. This comes in handy
default is to show a red mask overlay on if your mask color is the same color as the
your image each time you create a new elements it covers in your image. In this
mask. It’s also now the default behavior to case, it can become difficult to distinguish
show you your mask with the overlay each one from the other, making fine-tuning
time you select it. This does admittedly more challenging.
obscure the view of the adjustment or the
part of your image where the mask is being Luminosity & Color Range Masks
applied, but that’s easy to fix. Luminosity and Color Range masks are a
couple more features that existed before
Mask overlays can easily be turned off

outdoorphotographer.com August 2022 57

Figure 8

can either click on a brightness value while Pro tip: I find that a Wacom tablet with a Figure 9
in Luminosity Range mode or on a specific pen is a great tool when modifying masks,
color when in Color Range mode. Needless especially for fine-tuning and refining Figure 8. When using Range
to say, luminance and colors vary, so one edges. A tablet is a much more efficient masks, begin with using the color
click on one spot may work, but you’re usu- tool than a regular old mouse or trackpad. or luminosity range eyedropper
ally better off clicking and dragging over a selector to either click on a single
range of brightness or color values. A third You can intersect masks with other tonal value, or click and drag over a
way of selecting a range is by clicking on a masks. If you hover your mouse over any range of tonal values that you intend
specific value, then holding down the Shift of your masks, an ellipsis and an eyeball to adjust.
key and clicking on another or multiple val- icon will appear to the right. Click on the
ues. (If you do the multiple click method, ellipsis to bring up your Mask settings, Figure 9. After an adjustment has
you’re restricted to five tones.) and you’ll see an option to Intersect Mask been created, you can click on either
With, which enables you to choose from Add or Subtract to modify the mask
Modifying Masks your list of masks. for that adjustment.
Without question, you’ll need to modify
your masks and fine-tune your adjustments. Intersecting Masks is a way to create a Figure 10. Intersecting masks are a
Regardless of how good the new AI fea- mask within an existing mask. If there’s way to create a mask within a mask.
tures or range masks are, rarely are selec- something specific I want to target—let’s Here, I used Select Subject to isolate
tions perfect. Masks need to be finessed and say the color of a hiker’s jacket—I can the hiker, then created a Color Range
artfully refined to ensure they look natural. begin by creating a mask of the hiker by mask to isolate the jacket so I could
Your adjustments need to be believable. way of Select Subject. Then, to target just change its color from green to red.
his jacket, I’ll select Intersect Mask With,
There are multiple ways to modify a then click on Color Range to select only through a photograph.
mask. With each mask you create, you have the green jacket. From there, I can play
the option to add or subtract from the mask. with the Hue sliders, and then sliders such To master the art of masking, it’s all
For example, if I create a radial gradient, but as Saturation and Temperature and Tint to
I want that same adjustment to touch on a fine-tune the look. See Figure 10. about the quality and shapes of the masks
few areas outside of the initial ellipse, I can
click on Add, as shown in Figure 9. Then I Things Are Starting To Shape Up you create. The success of localized cor-
can select parts of the image—by whatever Giving a concise answer about what
method I want—to add to the mask. I can makes a great photograph or how to cre- rections depends on how good one is at
create another radial gradient or choose any ate one is challenging, to say the least, but
of the other options. I can also click Add the art of image development absolutely creating the mask and then fine-tuning
multiple times if I want to add that adjust- plays a crucial role. Localized correc-
ment to multiple areas. Or I can click on tions are just as important today as they until the adjustment sits seamlessly with
Subtract. Doing so allows me to erase from were in the traditional darkroom. They’re
an existing mask instead of adding to it. how we express ourselves creatively and the rest of the image. Lightroom’s latest
refine what we are trying to communicate
masking tools represent a big advancement

in photographic technology, improving our

workflow efficiency and ability to express

ourselves creatively. OP

See more of Jason Bradley’s work at
bradleyphotographic.com.

58 Outdoor Photographer outdoorphotographer.com

Figure 10

outdoorphotographer.com August 2022 59

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outdoorphotographer.com August 2022 61

behind the shot

Earth’s Shadow
At Moonrise

Mount Everest as seen from Gokyo Ri, Nepal

Text & Photography By Justin Black

This photograph was 23 years in Gokyo on the shore of the turquoise lake
the making. It was inspired by a
powerful series of photographs Dudh Pokhari. Being shut down by clouds
that archetypal mountain photographer
Galen Rowell made from the summit of or storms was a distinct possibility, and we
a minor peak in Nepal’s Everest region
and published in his May 1999 column didn’t come all that way to fail.
for Outdoor Photographer. I went to work
for Galen that same month, and I swore to The first night at Gokyo, our group
him that someday I would experience that
sublime vista with my own eyes. needed to rest and further acclimate to

August 11 of this year marks 20 years the elevation, so our first attempt began
since the plane crash that prematurely
snuffed out the brilliant flame that Galen on our second afternoon. After a two-hour,
and his partner in life, Barbara Cushman
Rowell, represented, so it was time to get 2,000-foot ascent, we arrived on the sum-
busy keeping my word as a tribute to my
late mentor and friend. In April, I led a mit about two hours before sunset. In that
Visionary Wild trekking expedition into
Nepal’s Khumbu Himal, the home of the rarified air, as the sun descended toward
Sherpa people and four of the six high-
est peaks on Earth, including the high- the horizon at my back and countless Bud-
est, Mount Everest, at 29,032 feet. This
is a place that is considered by many in dhist prayer flags fluttered in the breeze
the region to be Heaven on Earth—liter-
ally—with various Hindu and Buddhist all around, I truly felt as though I was
deities residing among the peaks. Some,
like Chomolungma (“Mother Goddess standing on the roof of the world.
of the World,” what we know as Mount
Everest) and the iconic peak Ama Dablam, After the last direct orange rays of
are considered gods in their own right.
sunlight left the summit of Everest, we
Our ultimate goal was to reach the sum-
mit of Gokyo Ri, a lesser peak topping were treated to this glorious lightshow as
out at only 17,575 feet, in time to catch
the nearly full moon rising at sunset over the Earth’s shadow rose and crepuscular
Everest, Nuptse, Lhotse, Makalu and Cho-
latse, as Galen had done in spring of 1998. rays penetrated the stratosphere. This
To increase our chances of good conditions
for the ascent and photography of the peaks exposure was my favorite of the evening.
and moon on at least one evening, our itin-
erary included a three-night stay leading up As the color faded, we switched on our
to the full moon at a lodge in the village of
headlamps and began the hour-long descent

back to our lodge in the dark. In the chill

night air, our hearts and minds were ablaze,

and I felt as though I’d had the opportunity

to visit with Galen for a while. I wish I

could say that the scene looked the same as

it had back in 1998 when he was there, but

a lot has changed in 24 years.As one would

expect, comparison of images from 1998

and 2022 shows significant glacial deflation

and retreat, mostly below 20,000 feet.

On our final day at Gokyo, I had

planned to do a second ascent to take

advantage of the fact that the moon would

be a bit lower in the sky at sunset, but

afternoon clouds gradually socked in the

summit of Gokyo Ri, obscuring the view

of the mountains. Our plan had done the

trick, and as Galen used to say, we were See more of Justin Black’s work at
justinblackphoto.com.
“prepared to receive luck.” OP

62 Outdoor Photographer outdoorphotographer.com

Earth’s Shadow at Moonrise over Mount Everest, as seen from Gokyo Ri, Khumbu Himal, Nepal.
➤ Fujifilm GFX100S, FUJINON GF32-64mmF4 R LM WR, Really Right Stuff TVC-24L tripod with
Arca-Swiss D4 geared head. Exposure: 1.5 sec., ƒ/11, ISO 100.

outdoorphotographer.com August 2022 63

last frame

Making A Splash

“A giraffe drinking is magic for a wildlife photographer,” says Samuel Cox, “that
opportunity to capture behavior with a splash of action—to showcase an animal
in a different light.

“This individual, photographed in the Kgalagadi Transfrontier Park, was
making the most of a small waterhole but was also causing a bit of chaos for the
nearby birdlife. Whether by sheer accident or maliciously calculated timing, the
giraffe would be slurping up water but wouldn’t raise her head until birds had
just landed on the far side. Water would then fly out at the birds in a beautiful S
shape, causing them to flutter off in a panic before rebuilding the confidence to
try again. You can guess what happened when they did.”
See more of Samuel Cox’s work at samuelcoxphoto.com.

➤ Canon EOS 7D Mark II, Tamron SP 150-600mm F5-6.3 Di VC USD at 250mm.
Exposure: 1/2500 sec., ƒ/5.6, ISO 640.

64 Outdoor Photographer outdoorphotographer.com

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Image by Stan Moniz

1 FE 35mm FE 24-70mm FE 90mm F2.8 FE 50mm

F1.4 GM F2.8 GM II Macro G OSS F1.2 GM

Nail the essentials

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