**************
วันจันทร์ที่ 25 มิถุนายน พ.ศ. 2550
วันอังคารที่ 15 พฤษภาคม พ.ศ. 2550
Macro photography
Macro photography
From Wikipedia, the free encyclopedia
Macro photography refers to close-up photography; the classical definition that the image projected on the "film plane" (i.e film or a digital sensor) is the same size as the subject. On 35 mm film (for example), the lens must have the ability to focus on an area at least as small as 24×36 mm, as this is the size of the image on the film. This is known as "life-size magnification" or simply 1:1.
In recent years, the term macro has been used in marketing material to mean being able to focus on a subject close enough so that when a regular 4×6 inch (102×152 mm) print is made, the image is life-size or larger. This requires a magnification ratio of only approximately 1:4, more easily attainable by lens makers.
Equipment
There are several kinds of equipment for making the image the required size. These include
Using a special-purpose lens called a macro lens (some manufacturers call it a micro), having a long barrel for close focusing. A macro lens might be optimized to provide its best performance at a magnification of 1:1. Some macro lenses, like the Canon MP-E 65 mm f/2.8, can achieve even better magnification— up to 5:1 macro, bringing the structure of small insect eyes, snowflakes, and other minuscule but detailed objects into striking focus. However, it is more common for a photographer to use a "standard" ( 1:1 ) macro lens, like the Canon EF 100mm f/2.8 Macro USM
There are different categories of macro lenses, depending on the focal length
50-60mm range typically used for product photography and small objects
90-105mm range the standard focal range used for insects, flowers, small objects
150-200mm range gives more working distance - typically used for insects and small animals
a few zooms provide a macro options, but they generally do not allow a 1:1 magnification
Placing an extension tube between the camera body and the lens. The tube has no glass in it; its sole purpose is to move the lens farther from the film or digital sensor. The farther the lens is from the film or sensor, the closer the focusing distance (and the greater the magnification) and the darker the image. Tubes of various lengths can be stacked together, allowing for increasing levels of magnification while simultaneously decreasing working distance. With tubes attached, the camera will often lose the ability to focus to infinity.
Using a bellows attachment between the camera body and the lens to extend the lens to film plane distance. Similar to an extension tube, but adjustable.
Placing an auxiliary close-up lens in front of the camera's taking lens. Inexpensive screw-in or slip-on attachments provide close focusing at very low cost. The quality is variable, with some two-element versions being excellent. This method works with cameras that have built-in lenses. These lenses add diopters to the optical power of the lens, decreasing the minimum focusing distance, and allowing the camera to get closer to the subject.
Attaching a telephoto extender between the camera body and the lens. A 1.4× or 2× teleconverter gives a larger image, adding macro capabilities. As with an extension tube, less light will reach the film or sensor, and a longer exposure time will be needed. However, working distance remains the same as without the teleconverter.
Using a smaller film or sensor. Placing a rollfilm adaptor on a 4×5 view camera can give a macro image. Likewise, using a digital camera with a cropped sensor will yield the appearance of more magnification. Enlarging a small portion of a 35 mm negative or slide also results in a larger image. Photographers might debate whether this is true macro photography, but it can result in a frame-filling photograph that is as large as the original subject.
Reversing the lens using a "reversing ring". This special adapter attaches to the filter thread on the front of a lens and makes it possible to attach the lens in reverse. Excellent quality results up to 4x lifesize magnification using fairly cheap, "standard" (not specially designed for macro) lenses can be produced. For cameras with all-electronic communications between the lens and the camera body, such as Canon EOS, reversing rings are available which allow all camera functions, including open aperture metering, to be used. When used with extension tubes or bellows a relatively cheap but highly versatile macro system can be assembled.
Reversing a lens of lesser focal length in front of a normally mounted lens using a very inexpensive "macro coupler," which uses two male filter threads to join lenses. This method allows most cameras to maintain the full function of electronic communication with the normally mounted lens for features such as open-aperture metering. Magnification ratio is calculated by dividing the focal length of the normally mounted lens by the focal length of the reversed lens (i.e., when a 50 mm lens is reverse mounted on a 200 mm lens a 4:1 magnification ratio is achieved). The use of automatic focus is not recommended due to the extra weight of the reverse-mounted lens. Attempted use of automatic focus with this technique could result in damage to the camera or lens. Working distance is significantly reduced as compared to the original lens.
Technical considerations
Limited Depth of field is an important consideration in macro photography. This makes it essential to focus critically on the most important part of the subject, as elements that are even a millimetre closer or farther from the focal plane might be noticeably blurry. Due to this, the use of a microscope stage is highly recommended for precise focus with large magnification such as photographing skin cells.
The problem of sufficiently and evenly lighting the subject can be difficult to overcome. Some cameras can focus on subjects so close that they touch the front piece of glass in the lens. It is impossible to place a light between the camera and a subject that close, making this extreme close-up photography impractical. A normal-focal-length macro lens (50 mm on a 35 mm camera) can focus so close that lighting remains difficult. To avoid this problem, many photographers use telephoto macro lenses, typically with focal lengths from about 100 to 200 mm. These are popular as they permit sufficient distance for lighting between the camera and the subject.
Ring flashes, with flash tubes arranged in a circle around the front of the lens, can be helpful in lighting at close distances. More recently, ring lights have emerged, using white LEDs to provide a continuous light source for macrophotography
From Wikipedia, the free encyclopedia
Macro photography refers to close-up photography; the classical definition that the image projected on the "film plane" (i.e film or a digital sensor) is the same size as the subject. On 35 mm film (for example), the lens must have the ability to focus on an area at least as small as 24×36 mm, as this is the size of the image on the film. This is known as "life-size magnification" or simply 1:1.
In recent years, the term macro has been used in marketing material to mean being able to focus on a subject close enough so that when a regular 4×6 inch (102×152 mm) print is made, the image is life-size or larger. This requires a magnification ratio of only approximately 1:4, more easily attainable by lens makers.
Equipment
There are several kinds of equipment for making the image the required size. These include
Using a special-purpose lens called a macro lens (some manufacturers call it a micro), having a long barrel for close focusing. A macro lens might be optimized to provide its best performance at a magnification of 1:1. Some macro lenses, like the Canon MP-E 65 mm f/2.8, can achieve even better magnification— up to 5:1 macro, bringing the structure of small insect eyes, snowflakes, and other minuscule but detailed objects into striking focus. However, it is more common for a photographer to use a "standard" ( 1:1 ) macro lens, like the Canon EF 100mm f/2.8 Macro USM
There are different categories of macro lenses, depending on the focal length
50-60mm range typically used for product photography and small objects
90-105mm range the standard focal range used for insects, flowers, small objects
150-200mm range gives more working distance - typically used for insects and small animals
a few zooms provide a macro options, but they generally do not allow a 1:1 magnification
Placing an extension tube between the camera body and the lens. The tube has no glass in it; its sole purpose is to move the lens farther from the film or digital sensor. The farther the lens is from the film or sensor, the closer the focusing distance (and the greater the magnification) and the darker the image. Tubes of various lengths can be stacked together, allowing for increasing levels of magnification while simultaneously decreasing working distance. With tubes attached, the camera will often lose the ability to focus to infinity.
Using a bellows attachment between the camera body and the lens to extend the lens to film plane distance. Similar to an extension tube, but adjustable.
Placing an auxiliary close-up lens in front of the camera's taking lens. Inexpensive screw-in or slip-on attachments provide close focusing at very low cost. The quality is variable, with some two-element versions being excellent. This method works with cameras that have built-in lenses. These lenses add diopters to the optical power of the lens, decreasing the minimum focusing distance, and allowing the camera to get closer to the subject.
Attaching a telephoto extender between the camera body and the lens. A 1.4× or 2× teleconverter gives a larger image, adding macro capabilities. As with an extension tube, less light will reach the film or sensor, and a longer exposure time will be needed. However, working distance remains the same as without the teleconverter.
Using a smaller film or sensor. Placing a rollfilm adaptor on a 4×5 view camera can give a macro image. Likewise, using a digital camera with a cropped sensor will yield the appearance of more magnification. Enlarging a small portion of a 35 mm negative or slide also results in a larger image. Photographers might debate whether this is true macro photography, but it can result in a frame-filling photograph that is as large as the original subject.
Reversing the lens using a "reversing ring". This special adapter attaches to the filter thread on the front of a lens and makes it possible to attach the lens in reverse. Excellent quality results up to 4x lifesize magnification using fairly cheap, "standard" (not specially designed for macro) lenses can be produced. For cameras with all-electronic communications between the lens and the camera body, such as Canon EOS, reversing rings are available which allow all camera functions, including open aperture metering, to be used. When used with extension tubes or bellows a relatively cheap but highly versatile macro system can be assembled.
Reversing a lens of lesser focal length in front of a normally mounted lens using a very inexpensive "macro coupler," which uses two male filter threads to join lenses. This method allows most cameras to maintain the full function of electronic communication with the normally mounted lens for features such as open-aperture metering. Magnification ratio is calculated by dividing the focal length of the normally mounted lens by the focal length of the reversed lens (i.e., when a 50 mm lens is reverse mounted on a 200 mm lens a 4:1 magnification ratio is achieved). The use of automatic focus is not recommended due to the extra weight of the reverse-mounted lens. Attempted use of automatic focus with this technique could result in damage to the camera or lens. Working distance is significantly reduced as compared to the original lens.
Technical considerations
Limited Depth of field is an important consideration in macro photography. This makes it essential to focus critically on the most important part of the subject, as elements that are even a millimetre closer or farther from the focal plane might be noticeably blurry. Due to this, the use of a microscope stage is highly recommended for precise focus with large magnification such as photographing skin cells.
The problem of sufficiently and evenly lighting the subject can be difficult to overcome. Some cameras can focus on subjects so close that they touch the front piece of glass in the lens. It is impossible to place a light between the camera and a subject that close, making this extreme close-up photography impractical. A normal-focal-length macro lens (50 mm on a 35 mm camera) can focus so close that lighting remains difficult. To avoid this problem, many photographers use telephoto macro lenses, typically with focal lengths from about 100 to 200 mm. These are popular as they permit sufficient distance for lighting between the camera and the subject.
Ring flashes, with flash tubes arranged in a circle around the front of the lens, can be helpful in lighting at close distances. More recently, ring lights have emerged, using white LEDs to provide a continuous light source for macrophotography
วันอาทิตย์ที่ 6 พฤษภาคม พ.ศ. 2550
Night photography
Night photography
From Wikipedia, the free encyclopedia
Night photography refers to photographs taken outdoors between twilight and dawn. Night photographers generally have a choice between using artificial light or using a long exposure, exposing the scene for seconds or even minutes, in order to give the film enough time to capture a usable image, and to compensate for reciprocity failure. With the progress of high-speed films, higher-sensitivity digital image sensors, wide-aperture lenses, and the ever-greater power of urban lights, night photography is increasingly possible using available light.
History
In the early 1900s, a few notable photographers, Alfred Stieglitz and William Fraser, began working at night. The first photographers known to have produced large bodies of work at night were Brassai and Bill Brandt. In 1932, Brassai published Paris de Nuit, a book of black-and-white photographs of the streets of Paris at night. During World War II, British photographer Brandt took advantage of the black-out conditions to photograph the streets of London by moonlight.
In the late 1970s, Steve Harper taught the first college-level course on night photography at the Academy of Art College in San Francisco. The legacy of this program has led to San Francisco becoming a center of night photography.
By the 1990s, British-born photographer Michael Kenna had established himself as the most commercially successful night photographer. His black-and-white landscapes were most often set between dusk and dawn in locations that included San Francisco, Japan, France, and England. Some of his most memorable projects depict the Ford Motor Company's Rogue River plant, the Ratcliffe-on-Soar Power Station in northern England, and many of the Nazi concentration camps scattered across Germany, France, Belgium, Poland and Austria.
During the beginning of the 21st century, the popularity of digital cameras made it much easier for beginning photographers to understand the complexities of photographing at night. Today, there are hundreds of websites dedicated to night photography.
For a more complete history of night photography, refer to Lance Keimig's A History of Night Photography
Subjects- Astronomical objects - moon, stars, planets, etc. See astrophotography.
- Streets, with or without cars
- Abandoned buildings and artificial structures lit only by moonlight
- City skylines
- Factories and industrial areas, particularly those that are brightly lit and emitting smoke or vapour
- Fireworks
- Nightlife or rock concerts
- Bodies of water (lakes, rivers, canals, etc) reflecting moonlight or city lights
- Thunderstorms
- Amusement rides
The following techniques and equipment are generally used in night photography.
- A tripod is usually necessary due to the long exposure times. Alternatively, the camera may be placed on a steady, flat object e.g a table or chair, low wall, window sill, etc.
- A shutter release cable or self timer is almost always used to prevent camera shake when the shutter is released.
- Manual focus, since autofocus systems usually operate poorly in low light conditions.
วันพุธที่ 2 พฤษภาคม พ.ศ. 2550
camera
Camera
From Wikipedia, the free encyclopedia
A camera is a device used to capture images, as still photographs or as sequences of moving images (movies or videos). The term as well as the modern-day camera evolved from the camera obscura, Latin for "dark chamber", an early mechanism for projecting images, in which an entire room functioned as a real-time imaging system. The camera obscura was first invented by the Muslim scientiest Alhazen and desribed in his Book of Optics (1015-1021).[1] English scientists Robert Boyle and Robert Hooke later invented a portable camera obscura in 1665-1666.[2]
Cameras may work with the light of the visible spectrum or with other portions of the electromagnetic spectrum. A camera consists of some kind of enclosed hollow, with an opening or aperture at one end for light to enter, and a recording or viewing surface for capturing the light at the other end. Most cameras have a lens positioned in front of the camera's opening to gather the incoming light and to focus the image, or part of the image, on the recording surface. The diameter of the aperture is often controlled by a diaphragm mechanism, but some cameras have a fixed-size aperture.
Exposure control
The size of the aperture and the brightness of the scene control the amount of light that enters the camera during a period of time, and the shutter controls the length of time that the light hits the recording surface. Equivalent exposures can be made with a larger aperture and a faster shutter speed or a corresponding smaller aperture and with the shutter speed slowed down.
Focus
Due to the optical properties of photographic lenses, only objects within a certain range of distances from the camera will be reproduced clearly. The process of adjusting this range is known as changing the camera's focus. There are various ways of focusing a camera accurately. The simplest cameras have fixed focus and use a small aperture and wide-angle lens to ensure that everything within a certain range of distance from the lens, usually around 3 metres (10 feet) to infinity, is in reasonable focus. Fixed focus cameras are usually inexpensive types, such as single-use cameras. The camera can also have a limited focusing range or scale-focus that is indicated on the camera body. The user will guess or calculate the distance to the subject and adjust the focus accordingly. On some cameras this is indicated by symbols (head-and-shoulders; two people standing upright; one tree; mountains).
Rangefinder cameras allow the distance to objects to be measured by means of a coupled parallax unit on top of the camera, allowing the focus to be set with accuracy. Single-lens reflex cameras allow the photographer to determine the focus and composition visually using the objective lens and a moving mirror to project the image onto a ground glass or plastic micro-prism screen. Twin-lens reflex cameras use an objective lens and a focusing lens unit (usually identical to the objective lens) in a parallel body for composition and focusing. View cameras use a ground glass screen which is removed and replaced by either a photographic plate or a reusable holder containing sheet film before exposure. Modern cameras often offer "auto-focus" systems to focus the camera automatically by a variety of methods.[3]
Image capture
Traditional cameras capture light onto photographic film or photographic plate. Video and digital cameras use electronics, usually a charge coupled device (CCD) or sometimes a CMOS sensor to capture images which can be transferred or stored in tape or computer memory inside the camera for later playback or processing.
Cameras that capture many images in sequence are known as movie cameras or as ciné cameras in Europe; those designed for single images are still cameras. However these categories overlap, as still cameras are often used to capture moving images in special effects work and modern digital cameras are often able to trivially switch between still and motion recording modes. A video camera is a category of movie camera which captures images electronically (either using analogue or digital technology).
Stereo camera can take photographs that appear "three-dimensional" by taking two different photographs which are combined to create the illusion of depth in the composite image. Stereo cameras for making 3D prints or slides have two lenses side by side. Stereo cameras for making lenticular prints have 3, 4, 5, or even more lenses. Some film cameras feature date imprinting devices that can print a date on the negative itself.
Digital camera
From Wikipedia, the free encyclopedia
A digital camera is an electronic device used to capture and store photographs electronically in a digital format, instead of using photographic film like conventional cameras, or recording images in an analog format to magnetic tape like many video cameras. Modern compact digital cameras are typically multifunctional, with some devices capable of recording sound and/or video as well as photographs. In the Western market, digital still cameras now outsell their 35 mm film counterparts.[1]Live-preview digital cameras
The term digital still camera (DSC) most commonly refers to the class of live-preview digital cameras, cameras that use an electronic screen as the principal means of framing and previewing before taking the photograph. All use either a charge-coupled device (CCD) or a CMOS image sensor to sense the light intensities across the focal plane.
Many modern live-preview cameras have a movie mode, and a growing number of camcorders can take still photographs. However, even a low-end live-preview camera can take better still pictures than a mid-range video camera, and mid-range live-preview cameras have much lower video quality than low-end video cameras; that is, products are not generally optimized for both still and video photography, due to their different requirements.
Among live-preview cameras, most have a rear liquid crystal display for both preview and reviewing photographs. Transfers to a computer are commonly carried out using the USB mass storage device class (so that the camera appears as a drive) or using the Picture Transfer Protocol (PTP) and its derivatives; in addition, Firewire is sometimes supported.
The live-preview cameras are typically divided into compact (and subcompact) and bridge (or prosumer) cameras.
Compact digital cameras
Also called digicams, this encompasses most digital cameras. They are characterized by great ease in operation and easy focusing; this design allows for limited motion picture capability. They tend to have significantly smaller zooms than prosumer and DSLR cameras. They have an extended depth of field. This allows objects at a larger range of depths to be in focus, which accounts for much of their ease of use. It is also part of the reason professional photographers find their images flat or artificial-looking. They excel in landscape photography and casual use. They typically save pictures in only the JPEG file format.
Bridge cameras
Prosumer or bridge or SLR-like cameras form a general group of higher-end live-preview cameras that physically resemble DSLRs and share with these some advanced features, but share with compacts the live-preview design and small sensor sizes. Traditionally, DSLRs are considered much more professional than bridge cameras, which have so far been prosumer or at best semi-professional. The new class of DSLRs can be described as consumer (compared to the higher classes of DSLRs), while the top bridge cameras remain prosumer (compared to compacts). The name prosumer from professional (or producer) and consumer, means a professional–consumer in this context.
Bridge cameras tend to have superzoom lenses, which compromises – in varying degrees, depending on the quality of the zoom lens – a "do it all" ability with barrel distortion and pincushioning. Prosumer cameras are sometimes marketed as and confused with digital SLR cameras since the bodies resemble each other. The distinguishing characteristics are that prosumer cameras lack the mirror and reflex system of DSLRs, have so far been always produced with only one single sealed (non-interchangeable) lens (but accessory wide angle or telephoto converters can be attached to the front of the sealed lens), can usually take movies, record audio and the scene composition is done with either the liquid crystal display or the electronic viewfinder (EVF). The overall performance tends to be slower than a true digital SLR, but they are capable of very good image quality while being more compact and lighter than DSLRs. The high-end models of this type have comparable resolutions to low and mid-range DSLRs. Many of the these cameras can save in JPEG or RAW format.
Digital single lens reflex cameras
Digital single-lens reflex cameras (DSLRs) are digital cameras based on film single-lens reflex cameras (SLRs), both types are characterized by the existence of a mirror and reflex system. See the main article on DSLRs for a detailed treatment of this category.
Digital rangefinders
A rangefinder is a focusing mechanism once widely used on film cameras, but much less common in digital cameras. The term rangefinder alone is often used to mean a rangefinder camera, that is, a camera equipped with a rangefinder.
For information on digital rangefinders specifically, check the digital rangefinder section in the main article linked above.
Professional modular digital camera systems
This category includes very high end professional equipment that that can be assembled from modular components (winders, grips, lenses, etc.) to suit particular purposes. Common makes include Hasselblad and Mamiya. They were developed for medium or large format film sizes, as these captured greater detail and could be enlarged more than 35mm.
Typically these cameras are used in studios for commercial production; being bulky and awkward to carry they are rarely used in action or nature photography. They can often be converted into either film or digital use by changing out the back part of the unit, hence the use of terms such as a "digital back" or "film back." These cameras are very expensive (up to $40,000) and are typically not seen in the hands of consumers.
Conversion of film cameras to digital
When digital cameras became common, a question many photographers asked was if their film cameras could be converted to digital. The answer was yes and no. For the majority of 35 mm film cameras the answer is no, the reworking and cost would be too great, especially as lenses have been evolving as well as cameras. For the most part a conversion to digital, to give enough space for the electronics and allow a liquid crystal display to preview, would require removing the back of the camera and replacing it with a custom built digital unit.
Many early professional SLR cameras, such as the NC2000 and the Kodak DCS series, were developed from 35 mm film cameras. The technology of the time, however, meant that rather than being a digital "back" the body was mounted on a large and blocky digital unit, often bigger than the camera portion itself. These were factory built cameras, however, not aftermarket conversions.
A notable exception was a device called the EFS-1, which was developed by Silicon Film from ca. 1998–2001. It was intended to insert into a film camera in the place of film, giving the camera a 1.3 MP resolution and a capacity of 24 shots. Units were demonstrated, and in 2002 the company was developing the EFS-10, a 10 MP device that was more a true digital back.
A few 35 mm cameras have had digital backs made by their manufacturer, Leica being a notable example. Medium format and large format cameras (those using film stock greater than 35 mm), have users who are capable of and willing to pay the price a low unit production digital back requires, typically over $10,000. These cameras also tend to be highly modular, with handgrips, film backs, winders, and lenses available separately to fit various needs.
The very large sensor these backs use leads to enormous image sizes. The largest in early 2006 is the Phaseone's P45 39 MP imageback, creating a single TIFF image of size up to 224.6 MB. Medium format digitals are geared more towards studio and portrait photography than their smaller DSLR counterparts, the ISO speed in particular tends to have a maximum of 400, versus 6400 for some DSLR cameras.
**********************
วันอังคารที่ 1 พฤษภาคม พ.ศ. 2550
Get start....New blog
Hi! everybody,I would like to present one of my hobbies that is photography.... well, Photography uses techniques to make picture interesting. we have little 6 tactics such as...
- Perspective
If you look straight away. VP [ Vanishing point], you will see the picture like this.
If you look diagonal corner of a box, you will see like this.
These are examples of Perspective..... You can learn it more from this website: http://mathforum.org/sum95/math_and/perspective/perspect.html
- Horizontal line It has 3 levels...
Bird eye view is a view of an object from above, as though the observer were a bird, often used in the making of blueprints, floor plans and maps. From http://en.wikipedia.org/
The view is lower than horizontal line
Normal eye view like human eye...
as same a s a horizontal line.
-worm's-eye view
is a view of an object from below, as though the observer were a worm. It can also mean perceiving something from a humble position. From http://en.wikipedia.org/.org .
The view is higher than horizontal line.
*** 30°-60 ° are a beautiful view for take photo....
- The Emphasize
Point 1-4 put The one position of emphasize Point 5 put The Interesting like static such as Portrait photography.
- color and light It can tell about emotion Learn it more..http://en.wikipedia.org/wiki/Color#Color_of_objects
- Shade and Shadow It make a photo have dimension.
-photoshop, It's very important to decorate photo
***You can make good photo easily ,by mixing other techniques*** Such as ... Blur, Arts,....etc Thank you!! see ya..next time*-*
**Camera Camera Camera Camera Camera Camera Camera Camera Camera Camera**
วันอาทิตย์ที่ 29 เมษายน พ.ศ. 2550
Portrait
Portrait photography
From Wikipedia, the free encyclopedia
The goal of portrait photography is to capture the like
ness of a person or a small group of people, typically in a flattering manner. Like other types of portraiture, the focus of photograph is the person's face, although the entire body and the
background may be included. Many people enjoy having professionally made family portraits
to hang in their homes, or special portraits to commemorate certain events, such as graduations or weddings.
Portrait photography has been around since the invention and popularization of the camera, and is a cheaper and often more accessible method than portrait painting, which had been used by distinguished figures before th
e use of the camera. The popularity of the daguerreotype in the middle of the 19th century was due in large part to the demand for inexpensive portraiture. Studios sprang up in cities around the world, so
me cranking out more than 500 plat
es a day. The style of these earl
y works reflected the technical challenges associated with
30-second exposure times and the painterly aesthetic of the time. Subjects were generally seated
against plain backgrounds and lit with the soft light of an overhead window and whatever else could be reflected with mirrors. As the equipment became more advanced, the ability to capture images with short e
xposure times gave photographer more creative freedom and thus created new styles of portrait photography. Contemporary portrait photographers strive not only to capture a person's likeness, but also the person's m
ood and thoughts in an instant in time.
--->Like Emphasize tactic..
The end
**Camera Camera Camera Camera Camera Camera Camera Camera Camera Camera Camera**
สมัครสมาชิก:
บทความ (Atom)
