How to Pack Light and Shoot Smart for Travel Photography with Mark Hemmings

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Mark Hemmings (00:01):
What is the one thing that we want our viewers
to do when they see our photos?
We have to have a reaction.
Now, one of the great ways ingetting that reaction is by
providing mystery, confusion,drama, metaphor, narrative.
These are all devices that we asphotographers really need to
infuse in our images, to takeour images from just a standard

(00:23):
snapshot into a work of art.
Hey, photo friends Raymond here,and welcome to the Beginner
Photography Podcast, where everyTuesday I drop a brand new
episode to help you capturebetter photos by learning from
some of the world's mostcreative photographers.
And here on Thursdays, I share aRewind episode, which is a past
conversation that has beenhandpicked because it is just as

(00:47):
valuable today as it was when itfirst aired.
So whether you're brand new oryou're revisiting with fresh
ears, this episode is packedwith timeless photo wisdom to
help you grow behind the lens.
And in today's rewind episode,we are talking with travel
photographer Mark Hemmings,about how to capture beautiful
vacation photos that are alsofull of meaning.

(01:10):
But first, the BeginnerPhotography Podcast is brought
to you by Cloud Spot.
Impress your clients with abeautiful gallery that is easy
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It's easy to share and downloadon any device.
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over@deliverphotos.com and onlyupgrade when you are ready.

(01:31):
I know how much pressure thereis to bring your camera on a big
trip or a vacation to capture,something amazing.
Maybe you bought a camera justfor a special trip, but
sometimes the weather is lessthan ideal.
Sometimes the location is notwhat you thought it was gonna
be.
Or sometimes you just end upleaving the camera back in the

(01:52):
room because you don't want itto get wet or dirty'cause you
don't know what the day is gonnabring.
Then you get home and you havethis like half full memory card
of, well, less than magicalphotos of this beautiful
location.
Today's guest, Mark Hemming, hasbeen photographing all over the
world, literally, and has avery, I think, approachable take

(02:13):
to balancing, enjoying your tripwhile also creating travel
images with, with mood, withcreativity, and personality so
that you can come home withimages that you're proud to
share.
And remember to stick around tothe end of the episode where I'm
gonna share a photography actionitem with you that you can
implement today to make realprogress in your photo journey.

(02:35):
So with that, let's go ahead andget on into today's rewind
interview.

Raymond Hatfield (02:40):
Mark, thank you so much for coming on the
podcast.

Oh, it's a pleasure.
Absolute pleasure.
Right man.
And thank you for inviting me,and I always love to be able to
communicate my, well, my firstlove, with regards to my hobby
and my career, and to share asmuch of my information to the
public as possible.

Well, if I've picked up one thing through
watching some of your YouTubevideos, it's definitely that you
love to share information.
So I know that this is gonna bea great podcast, but before you
kind of got to this point,right, where you, travel the
world and you take photos, youteach others how to take photos
while they're on their travels.
How did you get your start inphotography?

Photography?
Yeah.
So the start for me was, fairlyunique in that, when I graduated
from my university here inEastern Canada called University
of New Brunswick.
about, I would say about a halfyear or a year later, I.
I got an interesting job tobecome an ESL, that's English as
a second language studentrecruiter.

(03:39):
myself and, a bunch of otherswho were set up as a team, were
sent to Asia and othercountries, and our job was to
bring students to Eastern Canadato learn English for this
university program.
And I was in Japan for fiveweeks and it was really a
fascinating, experience being inthat country.

(04:02):
And I learned very quickly thatmy skillset was definitely not
student recruiting.
In fact, I don't think that, Idid any good at all.
No, students came.
However, I did realize that I,for the first time, and this was
one year after graduatinguniversity, that I was actually
fairly good at taking pictures.
And my grandfather gave me hisold Nikon camera.

(04:25):
And if I recall, it was called aNikon EM.
And it was one of the first, Ithink, semi, like it was, a
classic film camera, but it alsoallowed Aperture priority, which
was very helpful.
And of course back then it wasslide film and I really learned
the hard way to get properexposure because every picture

(04:47):
was a single dollar.
Yes.
And for me, being a, a youngfellow with not too much money,
that dollar had to go a longway.
So one picture and I had to getthe exposure right.
That was the sort of the, thefirst introduction to my career
as a photographer.
Then after that, I started towork in the movie industry as a
photographer.

(05:08):
A good friend of mine said, Hey,mark, there's a, a Hollywood
movie here working in town.
And they, we just need to get tosomeone who knows how to use a
camera.
So that was my first job.
And then from the movieindustry, it branched out into
commercial photography,advertising photography, and
then the travel photography,which I'm sure we'll get to.

Of course, of course.
So, wow, that was quite ajourney.
I kind of wanna unpack that alittle bit.
Mm-hmm.
So, you went on this trip toJapan to recruit students to
come back to Canada, and then,it sounded like you said after
you had graduated is when yougot your camera.
So was that trip to Japan, kindof the, you didn't have a camera
at that point, correct?

No, in fact, I asked my grandfather if I could
borrow his Nikon.
He gave it to me, Uhhuh, justfor that trip.
And I had about a week or two tofigure out the knobs and dials.
What is, what are these numberson the lenses?
What's the number on theshutter?
And I have no idea.
And the hard part is, is that Iknew I wanted to shoot slide
film because my parents growingup, we would always have fun

(06:13):
looking at slideshows projectedon the wall or on a screen.
So I said, think I really wantto jump in with slide film.
And I didn't realize how hard aslide film is compared to
negatives.
Because in negatives, you, youtake them to the shop and they
in the lab can correct for anytype of, exposure problems, not
So a slide film.

(06:33):
Slide film, you have to be deadaccurate.
And I learned the lesson thehard way.

Yeah.
Oh my gosh.
Oh my gosh.
So, you got back, you realized,you're like, okay, I, I have an
idea of what this camera can do.
I know that I obviously have tonail exposure.
so was there anything outside ofjust practice that you used to
be your primary source of, ofphotography education?

Yes.
back then we didn't have, onlineeducation.
Of course, this was two decadesago, 1997.
so what I did was I got as manyphoto magazines as possible.
And, in Canada we had a, andstill do a really good one
called Photo Life, which Idefinitely recommend.
outdoor photographer from theStates, and a whole bunch of

(07:15):
other photo magazines, someinternational ones.
And I would just consume them,like food, as many magazines as
possible.
And then when I started toreally get into portraiture and
fashion, I would just consumefashion magazines.
This is all I had.
I didn't have any training.
I, I studied philosophy.
That was my major in universityand I graduated with it.

(07:38):
Because I assumed that I wouldjust become a university
professor in philosophy.
So I didn't want to go back toschool for photography because I
was married, newly married, andI just wanted to get right into
photography and make money.
So the magazines were the thingsthat kept me going and helped me
craft the style that I, I have.

Mm-hmm.
Geez, gee.
So in 97, I barely remember 97.
97, I was nine years old in 97.
Ah,
yeah.
We just got our first computer and it was
still many years until we hadgot, our first, digital camera.
Mm-hmm.
Or even, like video camera.
but, I had somewhere veryspecific I was going with that
question.
And then I got sidetrackedthinking about that little old

(08:22):
computer that I hated so much.
so when it comes time to,Picking up the camera and you're
shooting with slides.
you're out there, you're gettingthat experience.
what sorts of photography wereyou pursuing?
Obviously you said motionpictures, but then when did that
love of photography and travelmerge together?

Yes.
So, when I was in Japan, it was,I went into a special place
called Nano.
And a lot of people recognizednano because the Olympics were
there, the Winter Olympics inthe nineties and nature back
then, it was all nature in alllandscapes.
And that was the prize.
And, absolutely loved it.
So when I got back, and it wastime to switch gears into

(09:02):
learning how the movie industryworks with regards to
photography.
So for example, that would be, Iwould be sent out by the
producers to location scout forany place that's in the script.
So if the script said creepy oldhouse, I needed to go find that
in my own city.
And, of course that the job alsoincluded, photographing the

(09:25):
actors.
So back then we just, we stillhad film and I had to buy what's
called a blimp.
Mm-hmm.
Which is a soundproof coveringthat covered my Nikon cameras.
And man, that was a hassle.
Um, it's so nice now that wehave silent, the Fuji film
having, the ability to shootsilently.
However, the transitions thatI've gone through have been very

(09:47):
interesting because I've almosttouched on every genre of
photography.
I know you do a lot of weddings.
Mm-hmm.
I did try a few weddings in thelate nineties and I realized
that it takes a lot of, whatwould you say, grace.
To deal with, you know, thenormal scenarios of mothers
in-laws and people who are, havereally, they really know what

(10:09):
they want.
And there's very littleflexibility.
And I realized my personality issuch that I don't think that
this is gonna be sustainablebecause you need to have a
really, you need to be an actor,and I'm sure you would agree in
the sense that your emotionshave to be on, you need to be
up.
And, I realized that I justwasn't so good at this.
So then I realized that, well,the movie industry, thing's

(10:32):
going well.
But then we had a problem wherethe tax credits from our
government dried up.
So the movie industry died,dried up.
No longer were Hollywood, movieshoots or New York shoots coming
up here to Canada because thetax breaks were gone.
So what's left?
Well, I started into commercialphotography, so that would be

(10:53):
working for the local.
you know, any local company thatneeds advertising.
We have a, a lot of industryhere in the East Coast, so I'd
be working for oil companies,nuclear power plants, all these,
these, big companies.
And I must say that, that thoseworked out well for helping me,
bring in the money to buy newgear and to support my young

(11:14):
family.

Yeah.
Geez.
so when was it that, that youdecided to make that, jump to,
to focus more on, on travels?

Yeah, so that would be in 2004.
And my brother Greg Hemmings,who is one of my, my greatest
influencers, he's younger thanme actually.
He said, mark, I have a, areally sort of interesting
scenario.
I've been asked to go to SouthKorea to teach filmmaking'cause
my brother's a filmmaker
mm-hmm.
To teach filmmaking at, a South Korean.

(11:45):
Film Academy, but my friend'sgetting married at the same
date.
Oh geez.
So he said, would you like totake my place?
And I said, Hmm, let me thinkabout that.
Yes.
Yeah.
Didn't take long did
it?
So
that's right.
So I was off to South Korea.
I met some amazing people there,especially some really good
friends from Hungary.

(12:05):
And the Hungarian friends that Imet, they said, Hey, mark, we're
doing a film workshop and photoworkshop in Hungary next year.
Would you like to come as aguest instructor?
And I said, yes.
So that was the initiation ofme, combining a photography with
travel.
And then the year later I said,well, why don't I do my own

(12:26):
workshop in Japan?
I had experience.
I've been there twice before.
So I started one in Japan.
That was in 2005, I think.
And since then I've been doingthem every single year.

I love it.
I love it.
I've obviously, looking at yourwebsite, you've been to various,
exotic locations, some verytropical locations, and, I know
that you're doing a cruiseworkshop, which sounds really
cool because, my family is, thisfall we're going on a, on a
cruise together.
Okay.
So, oh, good.
It's my family, it's my wife'sfamily.
it's my parents.

(13:01):
So it's, it's going to besomething that I'm going to want
to remember.
Mm-hmm.
So I kind of want to use this asa scenario for the, uh, some of
the questions that I'm gonnahave Yes.
For this podcast.
the question is, I want tocapture the whole thing, like I
said, how do I start to, tobetter prepare for an upcoming
trip?

Yes.
Well, there's two schools ofthought and they're both
radically opposite.
Okay.
Okay.
Perfect.
First school, prepare as much asyou can.
read everything about thelocation, understand the
culture, and get completely intuned to even get the, the
number of the police.
make sure that you have,everything ready for your

(13:43):
insurance.
you know, where the localhospital is.
This is the wise option.
Option number one.
I don't like it.
I already don't like it.
Option number two is what Iusually find myself is I know
nothing perfect and I get lostand I'm just dumped into this
scenario.
I'm, I've absolutely no ideawhat I'm doing.

(14:04):
And those are the ones where themagic happens.
Uhhuh.
Oh, good.
Now I don't want, I don't wannasay, one or the other is better,
but often has to do withprobably personality types.
Interestingly, I feel I'm 50 50left and right brain, so I am
very comfortable, totallyplanning out everything
perfectly.
And I'm also totallycomfortable.

(14:24):
If, for whatever reason, I justhave no idea what's going on.
And, but I do say that usuallymy best results are from when I
just throw myself into a cultureand I'm totally shocked by what
I see, and I purposely just getmyself lost.

Can you gimme an example of, of why you think
that is and when something likethat happened?

Yeah, so I guess the excitement and adrenaline,
and also by the way, fear.
Okay, I usually couch this bysaying that fear in general is
not good, but a certain amountof fear actually increases.
What would you say?
it increases the ability for usto be creative because we have a

(15:08):
bit of adrenaline going throughour system and that adrenaline
is going to make us hypersensitive to our environments.
And it's almost like, way toomuch coffee.
Yeah.
And you know how we get when wedrink too much caffeine?
Well, that's very similar whenwe have no idea what our
surroundings are.
A little bit of danger isactually something that just

(15:31):
spurs creativity to no end.
And, I'm just super sensitive.
I'm looking around, I'm scanningeverywhere.
Everything is a rectangle for mewhen I'm looking around.
And you would appreciate thattoo.
When you become a photographer,the whole world becomes a
rectangle.
And this is a good thing becausesuch amazing photos come of it.

(15:53):
Now I will say that if I'm in avery foreign country, then I'll
hire a local photographer tohelp me.
So for example, when I firststarted to do that was in India
because that is a culture that Iknew nothing about.
Mm-hmm.
And, I said, I'm gonna be in big trouble.
So, and that it's really easy todo.
You just go to Instagram orFacebook and just find local

(16:14):
photographers and just, see ifthey would, take you around for
a couple hours.
And it's just, it's such a timesaver and I really encourage
people to do that because youcan get so many, so much better
photos.
'cause you're not, how do Ifigure out the subway system?
Well you don't need to worryabout that.

Yeah.
That sounds like a really funidea that that kind of adds to
the adventure.
Like not only are you going totravel to this new location, but
now you just added adventureonto the plate.
And that's something that I'mdefinitely going to Yeah.
Incorporate whenever we get offthe boat.
I believe in, I think it'sCozumel.
I'm sure that there's gotta bepeople in Cozumel who will want
to, be a part of something likethat.
So I'm excited.
Thank you so much for, forsharing that tip.

(16:55):
so now let's, let's go the otherway.
Okay.
we kind of walked into how tojust show up and, just capture
whatever happens in front ofyour camera.
What if we wanted to plan thisthing out to the most, tiny
detail when it comes to thephotography side of things.
What should we be looking for?

Yes, great question.
For one thing, for preparation,Instagram is absolutely amazing.
So what I do is I look throughInstagram with the specific
location, and this is verysimple.
All of us can do it.
so for example, Cozumel, Mexico,and then you'll see the top
hits.
Now half of those top hits aregonna be, silly pictures of

(17:39):
scantily clad women.

Of course in a tropical location.
Yeah.

Yeah.
But the other half are going tobe the best photos that people
love because they're sobeautiful or so intriguing.
And that's what you want.
You just simply because most ofthose Instagram images are
tagged per location, you knowexactly where that photo is
taken.
This is the best way to planwhere you want to photograph.

(18:04):
now with regards to, gear, Ihave been over the years
becoming more and more and moreof a minimalist.
And at this point I challengemyself and now I don't think
this is wise for everybody, butI have one camera body and one
prime lens.
That's it.
Mm-hmm.
Now, the reason I do this isbecause I physically want to

(18:26):
move in and outta the picturewithout zooming, because I feel
that's more of a challenge andit gets my creativity going and
it also allows me to have asmall kit.
Now, if you're going to a placethat's a little bit dangerous,
your kit has to be small andunobtrusive.
Now you're a Fuji film user.
I believe.
I am, absolutely.

(18:46):
So my kit is the Fuji Film X Protwo, which is a rangefinder
design and, a 35 millimeterequivalent lens.
So it would be the 23 millimeterF two.
That's pretty much all I usebecause most of my work is
travel photography.
Now, for those who are intoother forms of photography plan

(19:08):
on taking, your good Zoom lensor whatever.
But really keep the packagelight.
You don't wanna be a target forthieves, you don't want to have,
you know, weighed down shoulderswith this huge backpack.
And I used to do that becauseback in the day, I would have
like the Nikon, I think my firstpro camera was the D two X.

(19:28):
It was a monster camera withhuge F 2.8 lenses.
And really, even though I wasyounger, I would still get
exhausted by the end of the dayjust by that heavy weight.
Sure.
So when you're planning for trippack light, make sure if you use
a tripod that you invest ineither, a carbon fiber or go the

(19:49):
other way and just buy a cheapplastic Walmart tripod.
Now people say, why would youever do that, mark?
Well, interestingly, if youhave, if for example, if you're
a mirrorless shooter, you'reprobably gonna be using either
Sony or a Fuji film.
Those cameras are nice andlight.
Well, unless you're in a windyenvironment, you can actually

(20:11):
get away with a cheap plastictripod and you're going to be
able to carry that anywherebecause it's so lightweight.
Now, of course, you'resacrificing a little bit with
the, the ball, the head,'causethere's no ball head on it, but
I'm just wanting to say Right,keep the kit light and you're
gonna be really successful.

(20:31):
Also about, what I do whenever Igo to a new place, if I'm there
for a week, I'm going to rent alocal sim card.
I really want to make sure thatI have full access to data and,
some countries don't allow that,but most do, I think.
And, it's really a far cheaperoption for Canadians.
Canadians have the worst andmost expensive cell phone

(20:54):
packages on the planet, I'msure.
I, uh, so I always just get asim card.
It's super quick, super easy,and you don't need voice plan,
you just need data.
Mm-hmm.
And this will allow you to findthose great locations on Google
Maps, TripAdvisor, Instagram,and all these other places, and
it'll allow you to upload yourimages as soon as you take them,

(21:18):
especially if you're using aniPhone or an Android.

Okay.
So there's a lot of things therethat I want to unpack.
Mm-hmm.
One being a mobile workflow.
Yep.
Of course, for editing images.
But I kind of wanna go back tothe gear aspect of it.
Mm-hmm.
Because, you said that bringingone camera in one lens is going
to, result in, in better photos.
Can you tell me why that is?

(21:42):
Why is limiting yourself, goingto, create better images?

Yeah.
Well, I've never golfed before,but I understand that the such
thing as a, a golfer's handicapwhere, they.
assume you voluntarily giveyourself a handicap in your golf
score.
I don't even know how thatworks.
Okay.
Yeah.
Neither I, but, apparently thatsort of levels of the playing

(22:07):
field, well, it's not the samething in photography, but what I
do find is that when I produceor impose a limitation on
myself, then I am forced toreally, step up the creative
game.
So whenever I go on a trip, I amusually only using one prime

(22:29):
lens, and it can either be likea, for example, a 28 millimeter,
a 35 millimeter, a 50millimeter, but whatever lens I
choose, I try to stick with thatthroughout the whole shoot.
Now, I will preface this if I'mphotographing for a client, I
don't do those things at all.
Sure.
My client.
Is whatever they want, they willget, and I'll take all my

(22:51):
lenses.
But if it's for me, then thislimitation pushes my creative
boundaries.

Okay.
So I love this, I love thisidea.
Mm-hmm.
Over the years, I havedefinitely found that bringing
less gear, just like you havefound is, is much more
beneficial to the photography.
Mm-hmm.
It makes it more fun'cause nowsuddenly you're not worried
about carrying so much gear, butYeah.
But I get a lot of questionsfrom people, at least in the
beginning of photography podcastFacebook group saying like, I'm

(23:21):
going on this once in a lifetimetrip, right.
I'm going to Ireland.
Okay.
And their questions are, I wantto bring the DSLR, the lenses,
the point and shoots, the drone,the GoPro.
I wanna bring all these thingsbecause they all have their
different uses, right?
Mm-hmm.
Is that still okay to bringthese things and not use them?
Or would you rather only bringthe one camera, the one lens and

(23:45):
say whatever happens, happens?

Yeah.
So this is a, what I do is, isradically strange and it's
abnormal.
So I would say until you'recomfortable with that type of
minimalism, go with everything.
Mm-hmm.
Mm-hmm.
Because I would be, I would hate and feel
terrible if someone went on thistrip of a lifetime and followed
my advice and didn't get thatdistant eagle because they

(24:10):
didn't bring their zoom lens.
And another thing is I don'tphotograph birds.
So I'm not going to be taking along lens.
My primary love is streetphotography and travel
photography, which is usuallythe 35 is perfect.

Yeah.
Can you tell me when?
Yeah.
When the gear becomes too muchgear.

Yeah.
So usually like.
the terminology in full framelingo is you're 24 to 70 mm-hmm.
And you're 70 to 200.
Those are the two lenses thatare the most common.
And those will cover 99.9% ofall your work.
So if, I would suggest that,those two lenses are all you

(24:51):
need for all travel photography,and if you take more than that,
then you're just weighing downyour suitcase.
That's my, my assessment.
Now, if you're into drones, ofcourse take it.
If you are into GoPro, take it.
And all you have to be concernedabout with is if you start to

(25:12):
get sore shoulders and getgrumpy, your creativity is going
to suffer.
And I know this from firsthandexperience, is that if I'm
uncomfortable physically.
Because I didn't pack a warmenough jacket, or I didn't pack
a t-shirt'cause it's too hot.
Then I am going to feel very,very uncreative because I'm

(25:34):
physically uncomfortable.
Now there's exceptions, warphotographers, photo journalists
and you know, of course we'regonna feel uncomfortable,
however most of the time we'reon a vacation.
Yeah.
And it's comfortable.
So plan accordingly.
So you're not weighed down, youhave the right amount of
clothes.
And I always find that if I feela little bit low emotionally, a

(25:56):
good hot meal and a strongespresso really helps.

Yeah.
And, uh, in most othercountries, the coffee is, much
better than here in the Statesfor sure.
So that's a great tip.
That's a great tip.
Maybe on my tropical vacationit'll be something a little bit
more refreshing though, for theheat.
Yes.
Okay.
So I wanna talk about, Iremember this time and when I
was coming up with a questionsfor this interview, I was trying
to think about all aboutvacation photos, vacation photos
that I took in the past.

(26:20):
Recently I went out to Arizonato visit my mom.
And when I was growing up, shemade scrapbooks all the time.
And I was going through some ofthose photos and I realized, you
know how bad these vacationphotos were.
And it reminded me of this timewhen I was in fourth grade when
one of my classmates, his namewas Irvin, he took a, a road
trip with his family to MountRushmore.
And when he got back, we all hadto sit through a slide

(26:43):
presentation of this nine yearold's photos of like the road
and Mount Rushmore.
And it was like so far away inthese photos that everybody was
just bored to tears.
So yes.
What, what are some signs ofamateur travel photography so
that we can avoid them and notbore our friends and family?

Oh, I'm glad you asked because if I can help
anybody with this then the worldof slideshow entertainment is
going to skyrocket.
Perfect.
'cause all of us have satthrough, for example, let's say
that a friend or a family membergoes to Europe and they get 60

(27:23):
photos of the European churches.
Yeah, the churches arebeautiful, but after the fifth
picture, it's just anotherboring church.
We get it.
Yeah.
So what I advise people to do isto actually hide the, the
primary subject.
So, in art theory or, or thelingo of photography, the

(27:45):
primary subject is that which isthe most visually important.
So let's say it's the church.
A secondary subject is usuallysomething that supports the
primary subject.
Now, sometimes a secondarysubject could actually, frame
the primary subject.
Let me give you an example.
Let's think of that EuropeanChurch.
No, let's actually go to the TajMahal.

(28:08):
Now everybody photographs theTaj Mahal who goes to India.
However, if you only allow alittle bit of the Taj Mahal to
be, viewed because it's framedwith a silhouette of those, Of,
sort of an area that, has archesor it's hidden partially by a
really interesting object on thegrounds, or let's go back to the

(28:33):
European church.
Maybe the only, the spire of thechurch is visible because you've
hid it behind other buildingsthat are out of focus.
Mm-hmm.
What we're always trying to dois allow our viewer to have
more, more activation of theirimagination.
And this is a primary way thatwe increase the visual value of

(28:55):
our photos.
So if we think of a snapshot ofthat European church as a
documentary shot, okay, it's,it's okay as it is, no problem.
But if we want to go fromdocumentary to fine art.
Or from documentary to reallygood travel photography, it's
usually the case that we'regoing to alter the environment
to not fully show the subject.

(29:16):
So that could be nighttime.
Mm-hmm.
You could photograph the church,at the nighttime where we only
see certain elements that arelit up.
We could move ourselves, so weonly capture a small glimpse of
the church, or we could reallydo something different if we
have the drone photograph froman aerial perspective.
We're always trying to hide theprimary subject to an extent

(29:38):
that the imagination of theviewer is activated.
Hmm.

Okay.
This is a really interestingconcept.
I'm trying to, to picture it inmy head because if I think of a
European church, I have not beento Europe, but I know that
they're very large.
They're typically in some sortof square with lots of space
around.
So how is hiding the photo?
I understand that it's likeadding a portion of the viewer's
imagination, right?

(30:03):
Like for them to explore that,to enjoy the photo.
How much of this should we bedoing?
How much should we be hiding areYeah, I, I understand.
I went to, go ahead.
So

what I try to do myself, like, say for example,
we have the beautiful church andwe have two trees that are gonna
frame up the spire reallynicely.
Those trees are acting as whatwe'd call a foreground element.
Mm-hmm.
Okay.
So the trees are hiding thechurch, but we still see 20 or

(30:35):
30% of the church surface.
Okay.
It's just that we don't see thewhole church.
And these trees are framingdevices or like I said, the
foreground element.
And whenever we can haveforeground elements or framing
devices that, package oursubject together, we actually
produce a more visuallyappealing image.

(30:57):
think of, fashion photography orcar photography.
Mm-hmm.
Now, whenever we see a newpicture of a Lamborghini or.
Maybe a McLaren.
These are beautiful works ofart.
I guarantee you that you willnot see every element of the
car.
car photographers are brilliant.

(31:18):
They will photograph and lightthis beautiful car so that you
are only seeing about 30 or 40%of the surface area.
The rest is black.
Mm-hmm.
It's all in carefully arrangedshadows.
And you see these beautifullights and really low to the
ground.
The imagination has to kick insomewhere.

(31:39):
And whenever we see a full imageof the primary subject we run
the risk of losing interest inthe viewer if we hide some parts
of the primary subject becauseof unique use of shadow or
foreground elements or framing,it's incredible how much more
visual value that image hasbecause the viewers' imagination

(32:03):
is engaged.
What is the one thing that wewant our viewers to do when they
see our photos?
Say, wow, that's a beautifulphoto.
or a disturbing photo.
Or an interesting photo, or,sure.
Any type of emotion, but we haveto have a reaction.
Yes.
We have to have a reaction.
Now, one of the great ways ingetting that reaction is by

(32:24):
providing mystery confusion,drama metaphor, narrative.
These are all devices that we asphotographers really need to
infuse in our images, to takeour images from just a standard
snapshot into a work of art.

Okay.
Okay.
Let me think about this.
I love this idea.
Adding more I guess we're notadding more context to the
photo, we're adding just moreintrigue when we do these things
to add that interest.
So if we are on family vacation,okay.
Yep.
We're thinking of, you know,Europe, we go to these nice

(33:00):
places, we want to show offspecific things.
These things are great.
If we're in a family atmospherearound other people, what sorts
of things can we be doing to addthat intrigue and interest?

Yeah.
Yeah.
So that's a great question.
Now, family shots, like forexample, I have two systems.
shoot with an iPhone, and alsoof course my Fuji.
And if it's just a standardsnapshot that I, I'm not really
caring about anything deep, nonarrative, no metaphor, no
poetry, then just a standardsnapshot of my friends and my
family in front of that churchis perfectly fine.

(33:34):
However, in order to what if Ireally want to have, if I have
the time, then I'll, I'll do funstuff like, uh, forced
perspective with my kids.
They love doing that.
Have you ever seen that whereone of the kids is holding onto
the church steeple?
Well, the church steeple isright, is maybe, who knows, 60

(33:55):
feet high, but there she isholding onto the top.
These are fun things that willtake our potentially boring
family snapshots and allowingthem to be appealing to both
this generation and futuregenerations down the road.
Another thing is, when you'rephotographing with your family,

(34:15):
and you're in these wonderfulspots, well, try scale.
Try to have your son or yourdaughter, or your mom or your
dad so small in the picture thatthey are dwarfed by the sheer
scale.
Of the massive coliseum or themm-hmm.
You know, the, the huge churchor whatever, or change your

(34:36):
angle, essentially, we're alwaystrying to avoid the elevation
that 99% of all photography istaken.
Here's a quiz for you.
What height in feet?
'cause you're American, whatheight in feet are 99% of all
photos taken.

Like five, seven.
Like eye level.

Exactly, exactly.
Whatever the average height of,people are, that is the normal
height of all photography.
Mm-hmm.
So if we want to get into the1%, what do we have to do?
We either go up or we either godown exactly.
So that is the key.
And why do you feel that notmany people take those low shots

(35:19):
from the ground shooting up,which are always very
interesting.
just'cause it's a little bitmore work.
Exactly.
It's because it's uncomfortable.
Okay.
Yeah.
To get down on your knees and,you know, it's not comfortable
to do that.
That's why everyone avoids it.
But if we as photographers wantto really instill interesting
elements into our images, wehave to do things like, you

(35:42):
know, put our hand up reallyhigh to photograph, shooting
down, or to get really low andto shoot from a, lower
perspective, which actuallyempowers our primary subject.
So if it's a person, it makesthem appear grander and more
important.
And that's a good thing.
Luckily with newer cameras, weactually have flip screens where

(36:03):
we can, we can actually getthose low shots comfortably
because we can just look down.
My camera doesn't have that,but, most of the, the newers do.
Yeah,

right.
Yeah.
I was out with the kidsyesterday and I was doing just
that.
There was like this field, it'sfinally like a nice day outside.
It was like this field, and Ijust loved like the moving
clouds.
I brought the, I also shoot withan ex pro too.
I brought the camera down as lowas I could.
It being bright, you can'treally see it.
So then I had to lay in thegrass.
It.
It was raining the day beforeyesterday.
I got all muddy.

(36:33):
But, yeah, a flip screen wouldbe a great thing to have.
Yes.
for sure.
For sure.
So, okay, so, so just addingthat, that different visual
interest just by simply changingthe height of, of the camera.
That's a very good tip.
I love that right there.
So I have an, I have a pair offriends right now.
My wife's friends, they, uhOkay.
Are in Cuba.
They just went to Cuba.

(36:53):
They went to go visit it.
They're super excited.
Every single photo that they'veposted on Facebook or Instagram
is them in front of something,them in front of a sign that
says, welcome to Cuba.
Them in front of a storefront,them in front of like the beach
and stuff like that.
Now, these shots are fine forthem mm-hmm.
Because they are snapshots.
Right.
But when I go out with myfamily, that's what everybody

(37:14):
says, oh, let me get a photo infront of this thing.
Let me get a photo in front.
Like, I want to be in this photoof this thing.
Then all the photos start tolook exactly the same.
But like, I don't want to takethose photos, I want photos that
have mood, that have that feel,that have culture that get the
whole experience.
Right.
Yeah.
Aside from snapshots, whatspecific photos should I be

(37:37):
hunting for?

Yeah, great question.
And first of all, there is aplace for, selfie photos, but
it's, mm-hmm.
It's only about a 10% place or5%.
And after a while it justbecomes silly.
Yeah.
Now, I know that influencers area separate breed and they have
to, that's their job and that'sokay.
But for the most of us who arenot, selling our, using our face

(38:01):
to provide an income, then maybefive or 10% selfies, is a good
ratio.
After that, we want to actuallycreate images that mean
something to someone else.
I'll give you an example.
If we don't create value for ourviewer, our viewer is gonna walk
away.

(38:21):
Hmm.
Now,
you and I, are not superstar status with
regards to, you know, we're notsuper models.
Okay.
Yeah.
I certainly am not.
So that was a very

diplomatic way of putting it.
I

appreciate that.
Yeah.
So that means that if I gobeyond my 5% or 10% of including
me in the shot in Japan orwhatever, then I'm no longer
providing value to my viewer.
My viewer receives value byhaving clear and concise
content, explaining the photo,maybe giving some photo lessons

(38:55):
under that photo, but that photoneeds to speak to them.
That's how I give value to myclient.
Now, how do you, of course, geta photo to speak to someone?
Well, in many ways we've alreadybeen talking about it.
It's creating images that willallow people to linger on your
photo longer than all the otherphotos.

(39:18):
Mm-hmm.
How, how many photos do youthink we go through a day?
How many photos do we take?
Or how many photos do we see?
No, just by viewing.
Oh.
Instagram, Facebook, websites.
We flips through hundreds andhundreds.
And why do you stop flippingthrough at that one picture?
You, why do you stop there?

There's just something interesting, in the
photo, whether it be that itgrabs you Yes.
Delight or

the subject matter.
Exactly.
Now this subject matter.
Can be pretty much anything.
We're not limited to the far offexotic vacation it could be in
your own hometown or even inyour house.
It is something that is, isphotographed or, recorded in a
unique way that very few otherpeople have done.

(40:01):
Now, this does not mean that youare up the creek.
If you live in a what you thinkis a boring environment, that's
not true.
There's always a photo to betaken.
It just takes you, getting inyour practice, you know, maybe
doing a, photo a day challengefor 365, but getting the, the
sort of engine going where yourealize that there is a photo

(40:24):
here in my environment and I'mgoing to give myself the
challenge to do one a day andmake it look interesting.
Now, with regards to back toCuba, that my goodness, Cuba
would be so rich visually, that,you know, photographing those
wonderful old cars.
But instead of just taking apicture of a classic Studebaker

(40:45):
or whatever cars they had overthere, why not take the time to
kneel down, get really low andphotograph the car from the
ground perspective?
Because if you do thatautomatically, you're in the 1%.
And all of the other touriststhat go through Cuba have taken
that same Studebaker, butthey've taken it at five foot

(41:06):
six inches.
Am I right?
Yeah.
But that's gonna be the same aseveryone else.
So what you want is to get downon the ground, make sure that
car looks grand and amazing, andyou can do that easily just by
moving your position to a lower,a lower scenario.

Mm-hmm.
Okay.
So about things that are, know.
Things, not people.
Yeah.
how do we give them more, morefeeling aside from just like
bringing the camera up and down?
how do we give them more, morelife?

Oh, I love that question.
Have you ever heard of the BuenaVista Social Club?

The Buena Vista Social Club?
I feel like I have, but please,please remind me.

Yeah.
So Vim Vendors did a film onthese Cuban musicians, and this
was probably in the nineties, ifI recall.
And it was, just about thedirector wanting to, find out if
they were still alive.
'cause they were amazingmusicians.
I think maybe in the fifties orthe sixties.
Yeah.
if I get my story straight.
and anyway, the desire was tofind them and bring them to New

(42:08):
York City for a reunion concert.
You have to see that movie.
It's amazing.
It's called the Buena VistaSocial Club.
Anyway, the cover shot was oneof the most inspiring photos
I've ever seen.
And, it's a cover shot of aclassic vehicle in a Cuban
street in Havana.
And it was saturated colors.

(42:31):
It was shot in film, obviously,but the amount of shadow was so
deep.
And I said, I've never seen aphoto so dramatic.
And that grabbed my soul as muchas this one.
And one of the musicians waswalking up the Havana Street
alongside the car.
Half the shot was in deepshadow.

(42:53):
Why am I saying this?
Almost always I add, I guess youcould say I reduce the blocks in
my photo.
Mm-hmm.
Now what does that mean?
For those who are not familiarwith editing?
In your editing software, youwill have a slider.
That, usually has, it sayseither shadow or dark or black,

(43:15):
or sometimes both.
For example, in Lightroom youhave shadows and you have blocks
as separate.
If you reduce those blocks orthose shadows, you're
immediately increasing the dramaand the visual value of your
photo, and it's the easiestthing to do in the world.
That's all you have to do.
That's a great tip.
And that just punches thepicture and it's amazing at what

(43:40):
kind of return you'll get onyour investment of literally
three seconds.
Yeah.

Okay.
Well, you know, I'm definitelygoing to, post the poster for
the Bruno Vista Social Club inthe show notes.
Yeah.
So if anybody's listening rightnow, check out the show notes
and you'll be able to see itthere as an example.
now this is a perfect segue.
Let's talk about your mobileediting workflow.
If you are in these locations,right?
Again, let's take the vacationexample.
are you also bringing yourlaptop, your, your card reader,

(44:07):
backup hard drives?
Are you bringing it at all or isit, is it all on your phone or
something in between?

Yeah.
So this is very exciting.
I'm glad you asked this becauseI have finally, about a year
ago, discovered and created a, aworkflow where I don't need my
computer.
All I need is my iPhone.
I can do a complete professionalphoto shoot, in a different
country with my camera and justthis,
mm-hmm.

(44:32):
Using Lightroom cc.
Now, for those who, have not gotinto Lightroom, there are
currently two versions.
One's called Lightroom Classicand one's called Lightroom cc,
and I advise, newerphotographers to jump into
Lightroom cc.
It's a cloud-based system, andit allows you to be completely

(44:52):
mobile and edit anywhere in theworld off of your phone.
Now, you may say, well, mark,that's not professional.
You can never do a professionaledit on your phone.
anyway, I'd like to challengeyou if you believe that, because
I have been doing experimentswith Lightroom cc ever since it
was invented, which was onlyabout a year ago, I think.

(45:13):
Mm-hmm.
Anyway, as soon as it came out, I said, I'm
gonna push myself because I'm atravel photographer, to see if I
can do an entire professionalphoto shoot just with this.
So I got my Fuji, load, my Fujiimages into here.
Then, Lightroom CC app pulls theimages in, and amazingly, this

(45:36):
is the first time I've seen it,but the Lightroom cc, I guess
you'd call it an engine has theexact same, abilities as your
laptop version, because usuallyan app is a dumb down version of
whatever app is on your laptop,right?
Right.
But because this is all cloud-based, the actual

(45:57):
processing of Lightroom CCimages is not really done in
your iPhone.
And it's not even really done inyour MacBook or your Windows
computer.
All of the processing of yourraw images is done in the cloud
somewhere under the undergroundin California, in some bunker
that Adobe has kept safe.

(46:18):
So, for example, also on our,Lightroom for iPhone or Android,
you can take raw photos withthe, the app.
You take a raw photo while itgoes up to the cloud.
Lives sort of in the servers, asa raw image.
And when we do edits, like, twoweeks from now, I do an edit.
Well, the, it's just aninstruction going up to Adobe.

(46:41):
It's not really the photo beingedited.
And that's why this system Ithink is great because it's it
doesn't require a huge amount ofdata transfer.
So if I want to edit a full rawimage, 24 megapixel from my ex
pro two, it's super fast.
Because when I make my edits,like say I wanna adjust the
contrast, well, it's just alittle instruction going up to

(47:04):
the cloud saying, mark Hemmingssays adjust contrast.
That's it.
It's so easy.
Anyway, it's that easy.
I am really excited about theLightroom CC workflow and it
allows us as photographers totravel, you can be on a ski hill
going up on your ski lift andstill edit raw files and send

(47:28):
them to your client.

Mm-hmm.
Mm-hmm.
So now suddenly, if it's allcloud-based, not only do you
have the phone instead of thecomputer, but now you don't need
the external hard drive sinceit's all being backed up to the
cloud.
Is that right?
That's correct.
But very cool

for those who are still nervous, and I'm, by the
way, I have three copies ofeverything everywhere.
Lightroom cc, just the same asLightroom Classic, allows for
you to just plug in an externalhard drive to your computer and
it'll back up instantly everytime you make a change.
So you have the physical harddrive backup, you have the cloud
backup, and if you arecompletely anal about backups

(48:05):
like I am, you know that,Lightroom backup that you just
plugged in, make a copy of it.
Mm-hmm.
Put it in a safety deposit box,send it to your brother's house.
There's no way for you to lose,you know, your collection in
this day and age.

So let me ask you kind of a technical question
here because, I've just kind ofstarted to get into this, with,
but with an iPad instead of myphone.
when it comes to calling photos,that is where I have the most
difficulty.
'cause on a computer, I'm usedto photo mechanic call through
thousands of images in like 15minutes.
What's the best way that youhave found to call through
images?

(48:39):
Do you upload all of the photosthat you take into Lightroom
call from there, or do you do itthrough the photos app?

It's a fantastic idea.
Or, sorry, question.
And there's two, of course, twoschools of thought as always.
When I plug in my SD card to mycomputer, if I'm going to be
working through my laptop, thenI have the choice.
Lightroom gives me the choice tocheck Mark only the ones I want.
Mm-hmm.
However.

(49:04):
I'll be honest.
I just upload them all.
Okay.
My entire card, because I findit more enjoyable to sit in a
cafe, listen, you know, the, thecool environment, drink an
espresso, and then call thephotos in a place where I am in
my happy place.

Okay.
Yeah.

I don't really like to pre-select images to
import into Lightroom, right offmy SD card because I find that
I'm not in a, it's not acreative scenario.
Right,
right.
I load them all, my whole SD card gets loaded,
and then I just sit back, relax,and cull.

(49:44):
Now the culling process inLightroom that I do is I just
press X on okay.
you can't see my, my laptophere, obviously, but I press X
and the next arrow.
X next arrow.
Oh, I like that one.
Next arrow.
Next x, x.
And this is a really quick wayjust to delete a hundred photos.
Now the X does not delete thephoto, but it flags it as to be

(50:08):
deleted.

Right, right.
I gotcha.
Okay.
And then, so essentially on yourphone, it's, it's the same
thing, minus the keyboardshortcut.
You just choose the flaggedimages or the recheck

images.
And interestingly, on the phone,it's even easier because all you
have to do is just go zip likethat, like a down, swipe down,
and then you'll swipe down andyou'll see the X flag.
Mm-hmm.
And that's it.
Just flip, flip.
Perfect.

So it's, they made it easy.
Okay.
So now we have, we've talkedabout going out, we've talked
about planning our trip.
We've talked about going out andhow to make photos more
interesting.
We talked about, I, what gear weshould be using and even the
mobile workflow.
Now we have our photos.
The trip is over.
Here they are.
Here's a hundred photos or so,what do we do with them?

Yeah.
So what I love to do first ismake sure that my, my blacks are
the way I want them.
Mm-hmm.
As I said, and I strongly advise, all of your
listeners to try this, is thatif you feel that your images
lack a little bit of drama or alittle bit of punch, they're
well exposed.
Okay.
The exposure's fine, but youjust want that little bit more

(51:18):
punch than go to the blocks.
Reduce it just a bit until youfeel that you, you have what you
need.
Again, if you don't see thatword, blacks look for the word
shadows.

Mm-hmm.

Or look for the word dark or something like
that.

I gotcha.
And I want to cut you off realquick.
I apologize.
I totally screwed up thatquestion.
Where I was going with it was,we have the finished photos.
Yes.
What do we do at that point?
Are we sharing them on socialmedia?
Ah, yes.
Are we turning'em into a, avideo slideshow?
Are we making a book?
What do we do?
How do we preserve thesememories?

Yeah.
So, when I have gone through myimages, I daily, send images to
my Instagram and Facebook.
So that's the priority and whatI do after I edit the picture
and I really like it the way itis, then I usually use my phone
because I find it quicker.
All I do is go to the up arrowon that image within Lightroom

(52:12):
cc and send it straight toFacebook or Instagram.
Gotcha.
Gotcha.
Now there's another way youcould send it to your photos
collection, either an Android oriPhone and do it that way as
well.
There's a couple ways to getthem online.
Now I don't do, I don't printmine out so much unless I have a

(52:32):
need.
It's usually social basedbecause that's where most of my
viewers are.
And I usually add a free photoinstruction on every photo.

Oh, cool.
Like how the photo is taken.

Yeah.
And also ways that you cancreate a similar image.
Awesome.
So for example, I think you'llbe putting my Instagram, link in
the show notes.
Yeah.
Mm-hmm.
Um, if you go there, you have ahistory and you have an entire
photography, course just throughthe images alone.
'cause I always put littlelessons on them.

That is a very cool idea.
That is a very cool idea.
Definitely something that peopleare going to have to check out.
Absolutely.
For sure.
Mark, you've been to a lot oflocations.
I wanna know, is there one likehidden treasure location that
you have a place that maybe itreally surprised you when you
showed up?
You were just kind of blownaway?

Yes.
I'm glad you asked that as well.
The craziest place I've everbeen to, and when I say crazy,
it's crazy in the best possibleway.
Mm-hmm.
For photography is Jerusalemreally?
I have never been, I wasshocked.
Jerusalem is, is not even now,I'm not sure in miles, but in

(53:45):
square kilometers, it's not eventwo square kilometers.
Very small
yet.
That's sort of like the centerof the world.
It's the, this is the placewhere the three monotheistic
religions started.
So you have Arabs in their whitegarments, you have the Jewish
priests with the, the big hats.

(54:06):
You have the Christian priestswith their long flowing black
robes and they're all walkingaround.
It's like, am I in the twilightzone or am I in, some fabricated
tourism, village?
No.
Right.
This is the real thing.
I've never seen the real thingto the extent that I've seen in
Jerusalem.

(54:26):
I think every photographershould go there.
It's, I have a, uh, some imageson my website, that show
Jerusalem.
It is insanely interesting forphotography.
Sounds

like I know where, one of your next
workshops is going to be.

I would love to do that.

I got one last question for you.
I know that we've been chattingfor a while.
I want to be conscious of yourtime.
I got one last question for youand I love asking this question.
It's usually, have you ever hadan embarrassing moment on the
job, but have you ever had anembarrassing moment while
photographing another cultureabroad?

I think so.
I have a passable understandingof Japanese because I've been
there a lot.
Mm-hmm.
It's certainly enough to chatwith a ca a cab driver, but it's
not, I can't get into any deepconversations.
So anyway, I was, there's a, awonderful dessert in Japan
called Mochi, and that's poundedrice.

(55:21):
And in the middle is, a beanpaste, a sweet bean paste
called, unco.
And, I said to, a per a Japaneseperson, kode, meaning this is
delicious, unco paste.
And they burst out laughing andthey said, eventually.
You just said that this isdelicious excrement.

(55:42):
Oh geez.
I was gonna say a differentword, but, but the irony is that
unco paste is brown.

Mm-hmm.
Yeah.

And kind of looks like diarrhea.

Did they think that you were at views for a
second and that you were justgonna go

for it?
Knew.
They knew I was a sillyforeigner, learning their
language.
That is too funny.
It was a very cute experience.
Yeah.
Uncle and uncle who knew.

Very similar.
In fact, you just saying'em tome, I couldn't distinguish a
difference even if I tried.
So
Yes.
Sounds like a reasonable mistake.
Reasonable mistake.
Yeah.
Well, mark, I want to thank you.
You have shared so muchknowledge.
You've helped me out a lot inpreparing for my trip, this
coming fall.
I'm.
I'm probably gonna do a littlebit of planning, maybe not a
whole bunch, but maybe I'll kindof venture into that space and

(56:27):
do some planning.
And also, I think I'm gonna givethe iPad workflow a stronger
look.
Mm-hmm.
Because I think that that, wouldobviously free up a whole bunch
of stuff.
So, mark, again, you shared aton of great information.
I really appreciate it, and Iknow that the listeners did as
well.
So, before I let you go, can youlet everybody know, where they
can find you online?

Yes.
By all means.
So if they want free photographylessons each day, Instagram at
Mark Hemmings, and that'sM-A-R-K-H-E-M-M-I-N-G-S.
And also to see my, my wholecollection of images, mark
hemmings.com is my website.
and if, if you're a Facebookuser.

(57:06):
It's facebook.com/mark hemmingsphotography.
Make sure the photography's atthe end because the Mark Hemings
is my personal one, but thephotography is the one where I
share all my images with thefree photography lessons.
All right.
Today's action item being thething that if you implement it
today, will move the needleforward in your photography it

(57:28):
is this hide your main subject.
I know that sounds like theopposite of what you should be
doing in photography, but, hearme out.
There's probably a millionphotos taken every single day of
something like the Statue ofLiberty or the Eiffel Tower, or,
Yosemite Valley.
It is our job as photographersto create something unique,

(57:49):
something that will sparkcuriosity in your viewer, and we
do that by kind of maybe notrevealing everything at once.
There is this shot in the movie,the Graduate.
Okay, so the movie The Graduatecame out in 1967.
If you haven't watched it,please watch it.
It's fantastic.
There's the scene where Mrs.
Robinson is in a bedroom andshe's on the phone.

(58:11):
And the way that the shot is setup is that, imagine that the
camera's in the bathroom of thatbedroom and we're looking
through the door, but we don'tfully see her.
Like she's kind of obscured bythe doorframe.
And that technique to kind ofobscure, the main subject there,
was so unique at the time.
People had never seen it before.
And apparently everybody in themovie theater would kind of like

(58:33):
tilt their head as if they weretrying to get a better view.
Like if they could move the viewof the camera to see more of the
subject.
And what that is, is it'simmersive.
can do the same thing with yourimages by hiding your main
subject.
Now, I don't mean completelyhide your main subject.
I don't mean put a tree directlyin front of the Eiffel Tower and

(58:56):
photograph the tree with theEiffel Tower behind it, where
you can't, see the subject atall, but obscure it some.
Hide it partially, use thingslike doors, use things like pee
in the foreground, use thingslike shadows.
Create a frame around thesubject.
Again, the point is to justcapture something, that is

(59:17):
unique that people don't seeevery day, because that will
always spark curiosity in yourviewer.
Different is better than better,so be different.
All right.
That is it for today.
Until next time, remember, themore that you shoot today, the
better of a photographer you'llbe tomorrow.

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