Shoot your best ever WATERFALLS, photography for the disabled, and details of a new show for 2022!
Coming up on this episode of Photography Online.
We give you some tips on shooting waterfalls, we chat to the winner of a big photo competition and
we answer your questions, direct and to the point. Welcome to part two of this month's Photography
Online which is brought to you by Squarespace, the perfect all-in-one platform for
creating great looking websites and stores. More on that in a moment. Later on in the show
I'll be telling you about some exciting news for Photography Online in 2022 but first let's get
this show off and running. One of the regular features that we've been bringing you this year
is The Subject Project, where we take a popular photographic subject and give you a few hints
and tips on how to shoot and then invite you to send us your results.
Previously we featured Lone
Trees, Dereliction and Silhouettes so check out these three shows if you want to know about taking
great photos of those subjects. We thought it was time though to add to this list so get your boots
on and pray for rain. We're shooting waterfalls. Let's face it, who doesn't love a good waterfall? The appeal of falling water in a photo can
be both calming and dramatic but the one thing which tends to divide people is whether to
blur the water or not. More on that in a moment.
The first thing we need to do is to find a
waterfall which works well as a photo as not all of them do. Many will work better at certain times
of year. Some will work best when in full flood and others may work better when their flow is low.
There are no set preferences here as each scene will dictate when it works best and it's up to us
as photographers to identify when this will be. The best thing to do is to choose a waterfall
which is reasonably local to you.
That way you can visit many times in different seasons and
different conditions to see how the scene changes. It's difficult to give specific compositional
advice on waterfalls as each one requires its own unique approach. Even if you brought 10
photographers to the same waterfall they'd all come away with a different composition, unless
of course they were influenced by each other, as they'd each see the scene in their own
individual way. However there are a few generic rules we can follow to give us the
best chance of getting a good composition. As with all scenes, the first thing to determine
is the best viewpoint of the waterfall. This could be from close up or from afar or
there could be more than one good viewpoint so take time to explore all the options and don't
just accept the first obvious one you find. If we're working close up to a waterfall then
the temptation is to use a wide angle lens. However it then becomes difficult to eliminate the
sky especially if our camera is pointing upwards to include the top of the waterfall.
The problem
with including sky is it becomes the brightest part of the scene which will then compete
with the waterfall for the viewers attention. Without the sky in our shot the waterfall, which
is our subject, will naturally be the brightest part of the image but as soon as we introduce
an area of sky, even if it's only a small area, then this will compete for attention and the
impact of our waterfall will be diminished. So if you can try to find a viewpoint
which will allow you to crop out the sky without excluding any
important parts of the scene. If we are shooting our waterfall from further
away with a longer lens then cropping out the sky should be much easier as we'll probably
be filling the frame with our subject anyway. If shooting with a wide angle lens then
foreground will probably come into play, so getting down low will emphasise this. If using
a longer focal length, then the height of the camera will have less of an influence.
Remember to
consider both landscape and portrait orientations. Some waterfalls are screaming out to be shot in
the portrait format whereas others may work in both landscape and portrait so always experiment
to see which option is best. Just like with any landscape photo, light plays a key role and
can make or break an image. If you shoot in the wrong light then it doesn't matter how good
your subject is or how good your composition is, the image will ultimately fail to reach its
potential. A vast amount of waterfalls will work best in overcast conditions or at least when
they're in shade. It's rare to find a waterfall which benefits from having direct light on it
but there will be exceptions. All waterfalls have areas of bright white water so if we've got direct
light on these it makes them extremely bright. Now while this isn't necessarily a problem
on its own we're going to have to reduce our exposure in order to keep details in these bright
areas.
And by reducing the exposure it means that any shadow areas such as underneath the dark
rocks here is going to go completely black. So this is why we want to avoid shooting
waterfalls when they've got direct light on them. An overcast day will provide diffused light
which will reduce the contrast of the scene and we should be able to easily record all
the detail from the brightest highlight to the darkest shadow. Another advantage with diffused
light is that we don't have to worry about which direction the light's coming from because
diffused light comes evenly from all directions.
The use of a polariser can really help when
photographing water. Wet surfaces reflect light from the sky and appear as highlights or at
least bright tones even if they are black rock. To ensure such surfaces remain dark use a polariser
to reduce the light being reflected from them. Not only will this improve contrast of the scene
but it will also enable the white water to stand out from other highlight areas. Turn the polariser
until the desired result is achieved and remember to realign it changing from landscape to portrait
or vice versa, something many people forget to do.
Now on to the slightly contentious issue of
whether to freeze or blur the motion of the water. Now the good news here is there is no right
and wrong, it's whatever you decide. Some people can't stand the sight of blurred water and say it
looks like cotton wool whereas others find it far more pleasing and calming in an image. My personal
view is that I like to see a reasonable amount of movement in the water but it ultimately depends
on the scene and the conditions at the time. The one thing you want to avoid
is getting caught in the middle. You either want to shoot a short enough
exposure to freeze the water as a sharp subject or go to a long enough exposure to
render the movement as an obvious blur. If you end up with something in the middle,
not quite sharp yet not blurred enough, the shot will fail. So just be definite and
confident about which way you want to go. If our scene is quite dark and sheltered from the
light and we need to shoot at a medium or small aperture to get the desired depth of field, such
as with this example where we need front to back sharpness, then it's almost impossible to freeze
the movement of the water as the shortest exposure time is going to be around 1/8th of a second,
especially if we're also using a polariser.
Being able to achieve a short enough exposure time
to freeze the movement of the water is going to require a really high ISO number which isn't
going to be great for the quality of the image, so sometimes the decision is made for us. Assuming
we want to go the other way and blur the motion of the water then an exposure time of around
quarter to two seconds will probably be best. But it ultimately depends on how fast
the water is moving across the frame. Most waterfalls move at exactly the same
speed. After all, it's just water being influenced by gravity. It's our proximity
to the waterfall and also our focal length which determines the speed of
the water across our frame. If we stand a long way from a fall, the water will
be moving far more gradually across the frame than if we are close up to it, so this will influence
the exposure time. To achieve our desired result there's little point in doing an exposure longer
than about four seconds.
So don't be one of those photographers who uses a 10-stop ND and sits
there for five minutes making an exposure. The movement of water in a
waterfall is a repetitive pattern, so once we have recorded this pattern over the
duration of a second or two, any further exposure time is simply repeating the same movement so
there will be very little, if any, difference between a four second exposure and a four minute
exposure.
All we are doing is wasting our time. The exception to this is if we have other
slower moving elements within our frame, such as clouds or bubbles on the surface of the
water, which will benefit from a longer exposure. Finally, waterfalls present
a few technical challenges so foreseeing these will help prevent them. The first is spray or splashes from the water
itself. If we are working close to a fall or if it is in full flood, it is likely we will get stray
water on the front of the lens, so check this before you take your shot. Having a lens cloth or
two in your bag is important as using your sleeves isn't going to wipe away the water effectively and
could damage the coatings on your lens or filter. Another potential technical issue is with image
stabilisation. Now if you're using the camera on a tripod and you're aiming it at moving water
and your intention is to blur that moving water, then it's really important that you turn
image stabilisation off, both on the lens and if you've got it in the camera as well.
Some image stabilisation systems work optically so they will try to follow any detected movement.
If your subject is large, bright and moving i.e.
A waterfall, then the camera may try
to follow this movement and the result will mean that nothing in your photo is sharp.
Now obviously if you're planning on hand holding the camera and freezing the motion
of the water with a shorter exposure time, then it makes sense to keep image stabilisation
turned on. Also remember that working around water where you would typically have slippery
surfaces can be potentially dangerous so pay attention to the risks and keep yourself and
your equipment safe. Don't be this idiot. Hopefully that gives you a few ideas to help
you get some great waterfall shots of your own. And if you do then please send them to us as
we love to see what you've been up to and how we're influencing the photos you take.
As
usual we'll have a gallery of some of our favourites on next month's show. This month we're
thrilled that Squarespace are sponsoring the show and even more thrilled that having played
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Okay, so in our last show
you would have seen Colin Prior, Paul Reynolds and myself debating which images should make the top
10 of Scotland's Photo of the Year 2021, which concluded last month. I can reveal that the winner
as voted for by the public was Victor Soares who took this atmospheric shot of a highland cow in
gorgeous warm light. I caught up with Victor to find out about the winning shot and to see
how he plans to spend his £2000 prize money. Okay, so Victor, first of all thank you very
much for joining us here on Photography Online and congratulations on your image, 50 Shades
of Gold winning Scotland's Photo of the Year. Tell us first of all about the shot. How did
it come about? What’s the story behind that? So I'm natively from South Africa. I've lived in
the UK now for five years and I've never been to Scotland.
So I wanted to go to Scotland and
funnily enough these highland cows was one of the things I really wanted to photograph because
they are iconic. We obviously had never seen them before and we all thought to be really cool to
get a photo of highlander cow or some photos. And then the one morning the sun was really nice,
it came out really nicely in the photo as well. We got nice and close to the cows, they were quite
friendly and we were allowed to get some of these really nice photos. So it felt really good to
finally get some photos of the of the highland cows. And it's not often, usually when people
say, you know, there’s beautiful light in the morning or in the evening, they'll head off up
a hill or they'll go and find a good landscape location. It's fantastic to see that, absolutely
stunning. Because you get a lot of shots, people love highland cows, they love them, but that one
is, it was standout, it was special.
The light was absolutely stunning, it was beautiful. The
light is coming from the right side. I like to get behind the light or shooting into it to try
and get something a little bit different and just turned out that frame that the cow was
actually looking towards the light as well which made it really cool. So I thought that one
should go into a competition somewhere. So I tried and the rest is… It's history. Well,
we loved it, judges loved it. The public obviously loved it because they voted it as
Scotland's Photo of the Year.
So obviously you won first prize which £2000 of cash which
is a pretty good amount. Nice. Plus a camera, a Sigma fp camera worth almost the same
amount, so pretty decent. Can I be nosy and ask what you're planning or have or have
splashed out on spending the cash on? I actually haven't thought of it much but I think probably
I've always wanted like an Apple computer with a nice screen for processing photos and that kind
of stuff. I'll buy my wife something really nice for Christmas too. You've got to say that, yeah
absolutely. I don't have to say it, she's not here at all. So I mean, I don't know if
you're planning entering again in 2022 but would you have any advice for for anybody,
maybe keep it to yourself if you want, but do you have any advice for anybody
thinking of entering next year? I think that the biggest thing is I would
say is enter something that you really found, like I said to you when I saw this image off the
back of my camera, was like, wow that one really is nice.
And that really stands out. So something
that you’re particularly happy with. I wouldn't go chasing your shot because I think when you
chase a shot you're just not going to get it because you've got something in your mind that
you can't really achieve or that you're trying too desperately to achieve. So just enjoy what
you photograph and on the chance that you do get the one that's like, wow, that really sticks
out and put that one forward.
But honestly, I mean I don't enter that many competitions
but the competitions that I've entered and the ones that I've done okay with, I've never
won one like this, but the ones that I've done okay with is always the photo that I was really
happy with. And I think as well, because obviously this one's a public vote, maybe means a little bit
more. It's you know, that the people have enjoyed, it's not just the judge's critiques which,
obviously they loved it too, but knowing that the public actually have chosen that. Well listen,
Victor, thank you so much and congratulations once again on winning Scotland's Photo of the Year and
thanks for joining us.
Okay, thank you very much. If you'd like to be in with a chance of
winning Scotland's Photo of the Year in 2022, the first thing you need to do is get a good photo
of Scotland but then you need to enter it into next year's competition which will be open for
entries from Easter through to October. Entries cost £5 per photo but all profits go to local
charities which have benefited from over £1500 so far from the competition. To see this year's
results and to keep an eye on when you can enter for next year visit scotland.photography for which
there's also a link in the usual place below. Now we often show you footage of our team shooting
in dramatic landscape conditions but we know that many of our viewers have limitations with their
mobility so Marcus filmed a recent outing with his disabled son, Miles, as they went out
to take his first ever landscape photo.
This is my 11 year old son, Miles. it's
fair to say that he hasn't had the best of luck so far in life. He's unable to speak or
control any of his muscles to do the things most of us take for granted. But there is one part of
his body which he does have good control over. His eyes. Fortunately that's the most important sense
for photography. Can you see the sun over there? See the sun? That's that setting okay, over
there. So what we're going to do is we're going to go and take a photo as the sun sets because
you've never taken a landscape photo before. Can you stop looking at the camera, please? Hey
look, you can't be that important, stop stealing all the limelight, okay? This is not about you.
It's a photography program, it's not about you, you're just a byproduct, okay? You see the sun
over there setting? And we're gonna go to a hill where we get a nice view and you're gonna
take a photo of that sunset as it happens okay? Because you’ve, you've taken lots
of wildlife photos, haven't you, of birds? You've taken some really good ones
and you're getting very good at that but you've never taken a landscape photo.
So we're
gonna go and see if you're any good at taking landscapes. So that's our location over there,
behind the church. You see that church over there? Gonna go up on the hill behind that and
we're gonna get that in the foreground and we're going to get the bay in the
background. Do you think that'll be good? Miles, look. It's only 18 minutes past three and
the sun's setting already because it's nearly the middle of winter. In two weeks time
the days will start getting longer again and then summer will be just around the
corner. Daddy can get his mankini out again. Okay listen, I need this hand back because
we've got to do a very, very sharp turn, okay? All right, you're holding
on? Right, wahey, round we go. Oh and I need to be in first gear.
Look at that. If you look out to your left, Miles, look
out that way and then you'll see the view. And I don't want any comments about the power
lines being in the way, okay? There we go. So how's that for a view? One of the
many great aspects of doing photography as a pastime is that it's
accessible to so many people. Unlike other hobbies such as golf, skiing,
hiking or gaming, photography can be enjoyed by everyone equally, regardless of geographical
location, financial status or physical ability. Okay Miles needs some help, but photography gives
him a reason to get outdoors into the fresh air and get a sense of satisfaction. Something
which is immeasurably important for him. Okay, you sit down here. Let's just get these feet in because, don't you
kicking me in the privates like you normally do.
You remember we're on a hill here. Don't lean back
too much otherwise you're gonna go like that way. It's gonna, whoa! Let's go around here, put you side on. So
there's your view, how's that for a view? Do you like it? Did you bring your camera? You brought your camera? You didn't forget your
camera, did you? Did you forget your camera? You’ve, you forgot your camera. That's
a rookie error, isn't it? You don't want to forget your camera. Oh no. Let's do a
face, a face palm. Look I, oh no, we forgot. Well that's all right because you can
borrow mine. Okay now you are lucky because this is no ordinary camera. This is
the Canon 5Dsr, the king of cameras. Okay turn this on and then what I'm going to do
is I'm going to put live view on for you. It says no card in camera. Don’t you start
laughing, I wasn't the one who forgot the camera. Might have forgotten the memory card but
at least I didn't forget my camera.
Okay So activate live view. Now what can
we see? Anything? No, because we've left the lens cap on haven't we? Silly
monkeys. Right, look at that. I know. Let's focus on that church. You hear that beep? Can you hear the beep beep? That means the camera's saying it's focused. Okay
so now we've locked focus we can turn that into manual focus because we don't want that to
start hunting when it gets darker, do we? Now you tell me, because this is the important
bit okay, this is what this is what defines a photo. Do you want the church in the middle?
No, good boy. Do you want the church on the left hand side? Oh, good decision. That's
where I would have placed it personally. So there we go.
Now can you see that we've
got a very bright sky and this is very dark down here? If you look at the histogram, can
you see that we can't really go any brighter because otherwise we're going to lose detail in
the sky? Now this here is a double grad, okay, whoever came up with this idea is a true genius.
So this side, I know it's amazing isn't it, this side is a three-stop soft, no, that's a
three-stop hard, and that side is a three-stop soft. So look, let me show you the genius
of this. You pop it in there, pop it in, okay, and then you watch the sky. Watch the sky
coming in here. It comes. Look at that. And what we've done is we've reduced all the brightness up
here so now we can make the whole picture brighter and then we get all our shadows back without
overexposing the sky.
I know it's amazing. But this is the good thing. If you decided, hang on
a minute, I want to have a soft grad instead of a hard grad, no problemo. Because all you
do is you turn it upside down like that and then you realign it and there's your soft grad. I
think it actually looks better with a soft grad. So all we need to do now is take the photo
because I don't think anything's going to happen with the light really, it's all a bit of an
anti-climax. But you tell me, Miles, you tell me when you want to take the photo, okay? You shout
and I’ll know to take the photo, okay? Listen.
Whoa, look at that. Now let’s just check it. Look at the histogram. That's the most important
thing. And we're a little bit too hot there. Look, can you see? Just a little bit too hot. So what
we're going to do is we're going to reduce the exposure a little bit from a 15th to a 20th,
okay? You tell me when to take the photo again. That's better. Look at that, that's a
work of beauty that. That histogram there. We've got everything from the brightest highlight
to the darkest shadow within the range of this amazing camera. Are you cold now? I know.
Well that's one of the downsides with landscape photography in the winter is it does
get cold. And can you feel my hands quite numb? Yeah? What happens if I put them down here? Oh my goodness. Oh this is quite, my hands are
getting lovely and warm down there. Is that where, can I keep my hand down there? Come on then, let's go home.
One of the things Miles can do is read
so if you want to send him a message then we'll make sure that he gets to see them.
On the subject of disability Marcus is working on the development of a new super lightweight
tripod head which can be operated with one hand. Although intended to just be easier for everyone
it will be useful especially for anyone with a disability which may limit how they can use their
arms or hands. We'll keep you updated with info on that. So who wants some good news? All right,
well, from next month we're going to be presenting a brand new show called Photography Online LIVE.
This will be a 90-minute live broadcast each month by myself and the team who will be expanding in
some of the features in our pre-recorded shows, showing some behind the scenes footage plus
answering your questions. We'll be featuring some guest photographers and hearing the story behind
some of their best images, we'll be giving our verdict on some of our viewers photos plus we'll
be undertaking some live on location landscape shoots.
As we'll have a live audience we'll be
doing polls and giving away prizes too. Basically it's going to be 90 minutes of photography
related fun with the added jeopardy of being live and being at the mercy of technology. We like to
think of Sundays as being Photography Online day so we'll be broadcasting this on the third Sunday
of every month at 7:30 pm UK time. Unlike our two existing monthly YouTube shows this one will only
be available to our mid-level and above supporters but there's good news here too.
We've introduced
a new Photography Online supporter level which we've called a PO LIVE Supporter for just £8.99
a month. So for those of you currently on our lower Super Supporter package, firstly, thank
you for helping us make these shows and keeping them ad free but you can now upgrade by just £6
and get more than double the Photography Online content each month. It also means that you'll have
something new to watch almost every week and you could win a decent prize. In our first show which
will be on December 19th we'll be giving away £100 of Kase Filters vouchers. If you're already
one of our existing supporters do stick with us until the end of the show because we'll be
giving you all a mention to say a big thank you for making these shows possible.
Okay, so a
couple of months ago when we were bringing you the show from the NEC we did a Q&A session with
the whole team. Now many of you enjoyed this far more than we expected you to and even requested
that we do another one. Well, request granted. All right guys, well thanks for getting together
once again because believe it or not people actually seem to enjoy the Q&A that we did last
time down at Birmingham so we've got a whole lot more questions that have been sent in, a whole
pile of them. I'm going to ask some of them. I think you guys got some other ones that I'm not
aware of as well to ask so let's crack on.
First question. This is for you Harry actually. I’m just
getting into photography. I would like your advice on which brand of camera to get. Easy. The short reality of it is, it doesn't matter
these days. Try if you can to go into a physical shop, those still exist and try them in your hand
because there's going to be one camera that that fits your hand better and you like the feel of
more than something else. And that's not down to a particular brand that's just personal choice.
I think Nick's got a question next. Yeah so this one's to Marcus. After watching your feature about
infinity focus and where infinity starts for each focal length, do I need to adjust these figures
if I'm using a micro four-thirds camera? Okay this question was actually asked quite a lot
of times so with hindsight it's probably something I should have probably covered in the future.
But
the easy answer is, no you don't because infinity is set to the focal length. So 50 millimetre lens
will be roughly about 50 meters where infinity starts and that's regardless of what sensor size
you're using. So even if you're using a large format camera or micro four-thirds camera it's
still exactly 50 meters. Which brings us on to a question which I think you'll be best to answer
Harry because it's also to do with sensor sizes. This person is asking after watching your
review of the Canon 800 mm f/11 lens. I thought I would suggest an alternative for Sony
shooters who may be using the A7r IV in APS-C mode. This will effectively give you a 27
megapixel camera. If you use it with the excellent Sony 200 – 600 mm lens you effectively
get 300 – 900 mm at a maximum aperture of f/9.5. You got all that, Harry? Yeah, I mean firstly
the the 200 – 600 mil lens is a good lens.
It’s, you know, it's a fair suggestion. But
we've got to be careful if we're talking about comparisons with using a camera in
APS-C mode because essentially all that's saying is, it's a fancy way of saying, well the
camera is cropping your image by 30/40%, whatever amount percent, in-camera. It'd be the same as
me taking my 800 mm on the Canon R5, cropping by 30% to get the same amount of megapixels, 26/27
megapixels, and that effectively turns my 800 into a 1200 mil. It’s, you know we could do that
with any lens. We could just say, right, let's just shoot on a 200 mil lens and crop by 150%
because you know, then we can get a thousand mm. So you know, not the same comparison.
We've got
to be careful and I'm not a massive fan of these cameras that can kind of let you shoot in an APS-C
mode rather than just letting you crop the image afterwards like you normally would. Right so
off the back of that there I've got a question for Ruth. So someone is asking about some of our
ECS features saying, I've really enjoyed these features where you explain things like depth
of field, infinity and where you dispelled compression theory. I learned more from watching
these features than from any other source. Would it be possible to combine them into one video
so it's all in one place for people to access? Uh yeah, I would say so. Probably a possibility.
We could do probably something similar to what we did to our Top 10 Views of Skye which again we had
quite a few requests for, to join them together. So I think we could bring that together, add a few
extra bits in there and maybe put out as a as a special. So yeah, absolutely, yeah, that's a good
idea.
Right, so here's another one for you, Nick. Someone has said, I never see any of you using
camera straps. Is there a reason for this? Yeah, basically they're a nuisance. They just get
in the way. As a landscape photographer, if your camera's on the tripod, it blows about in the
wind so basically yeah, they're just a nuisance. I did see a few squeamish comments actually when you
guys were out shooting sea birds over the cliffs, you know, holding your cameras quite far out but
not so much as even a wrist strap on there.
So no possibility of, you know, safety feature on it
as well? Well no, I find they get more in the way then, I'm more likely to then drop something
or make a mistake when there's a, you know, it's either like curled around, I'm trying to use
the controls with a strap. I’d rather you know, I just, I know I can hold the camera in
my hand and I'm not going to, Well. Says Harry. I sometimes drop it but yeah, I don’t.
And Danger is my middle name anyway, so yeah. Oh yeah okay. Anyway moving on. So this is a
question for everybody actually so we'll start with you Nick.
What aspect of photography do you
like the most? What's most enjoyable for you? For me it's just getting out there, being outside
with the camera enjoying the great outdoors. You know you hear a lot about good for mental health
just being outdoors and yeah I can fully agree with that. So just getting out there with the
camera, being outdoors. Cool. Marcus? For me it's the challenge really. I like to set myself
ambitious challenges and then you know, go about solving them or achieving them and that for me
is what gives me the kick out of photography. Harry? I would probably say, a way of just
capturing what I'm seeing. So there’s, you know I love just using it as an excuse to be
outside. I used to enjoy printing in a dark room, that was one of the big reasons I used to shoot
but now it's the sense of satisfaction and kind of achievement I get from knowing I've nailed
the shot of an eagle.
That's that moment of, I know I've got it, that's I think, that's what
kind of keeps me going out, trying to get the next best shot. So here's one for you, Nick. I
see a lot of contradicting information online about camera technique and photography
theory. How can I know who to believe? Straight answer, watch Photography Online.
That's who you believe.
No, in all seriousness, yeah I mean it's a very good question. There is
a lot of I guess you could say misinformation out there and you know, if you're looking at YouTube
for instance, a lot of vloggers you know are out there giving their information across and it may
not be right but yeah, who do you trust? Well, I would probably trust a professional photographer,
you know, who has a good body of work and that to me would say you know, they have the technical
knowledge. So first and foremost I probably more, you know, trust them than someone who's I guess
an amateur photography photographer who's just you know, sharing their experience on YouTube but the
information they're giving across may be second, third hand. You know, obviously that
drip feeds down from videos to videos and you might be getting the wrong information.
So yeah I mean I would predominantly trust professional photographers.
And I have a final
question for Ruth and this has probably been asked many times. So do you have any vacancies for new
team members and if so where do I send my CV? I'm not sure that you have thought this question
through. Do, I mean do you guys really want to be team members? Photography Online team members?
I don't know, I mean look at these four, look at these three, look at these three
mugs.
Give us your best smiles guys. Do you really want to join this team? Yeah, I
don't know. If you really want to, yeah send us your CV. Send it to Marcus, care of, Isle of Skye
and see if it gets to him and we'll have a look, we'll see what you're made of, get back to you.
Cool. All right well that's all the questions I think that we have so thanks for kind of getting
together again. I know everyone's kind of offer hols and stuff just now but hopefully
that'll satisfy people.
But if everyone does still have questions absolutely by all means email us,
stick them in the comments, whatever, and if there is still loads more appetite we'll do another
one of these sometime in 2022. Thanks guys. If you have any questions please send them to
us via the contact link below or simply leave them in the comments as we do read all of them
and do reply to any questions which come in. There will be a slight change to our
usual schedule regarding our next show. Usually this would have been in two weeks time but
due to the team needing to have a well-deserved festive break, our next show will be an extended
special episode on January 9th. Don't worry, you will still get the same amount of content but
there will just be a slightly longer wait for it. If you can't wait that long then we do have
our live show next Sunday the 19th so why not join us for that by becoming a Photography
Online LIVE Supporter.
If we won’t see you for that then the team and I need to wish you
all Merry Christmas and a Happy New Year now as you won't see us until the new year. If you're a
current supporter then you'll see your name here. It's all these people who have made it possible
for us to make our shows over the past year, so thank you on behalf of all the team. Okay, well
from myself, thank you for watching and we'll see you on the other side. Until then take good care
but most of all take good photos. The best thing to do is to choose a waterfall which is reasonably
local to you so that you can visit in all… That wind! Aagh! Right.The best thing
to do is to choose a waterfall which is reasonably local to you so you can visit … It's cold! If that all sounds good and you would like to be a part of Photography Online LIVE Dammit. And then if you
decide that you want to have a soft grad just turn that bad boy upside
down… don't you start laughing at me… Effectively give you 300 to 900 millimetres
at a maximum aperture of f point… sorry… You know I've chipped my tooth.
Oh yeah, it's the tooth’s fault. It really affects my speech! Right
hang on, let's do this again, sorry. Debating which images should make the Top 10 of
Scotland's Photo of the Year, shut up, Marcus… "Imigiss"…I know, imigiss…
shut up… My personal view is I like
to see a reasonable amount… Whereas others think it looks ffthhhfweh… Smooth water and say it looks
like cotton wool whereas others… But it ultimately depends on the
scene and the conditions at the time. Yes!.
