McBain Blog

From Bison to Icebergs: June's Winning Images

2026-07-09T15:15:32-05:00

Despite people being on vacation, many still showed up for June’s Monthly Photo Contest! June’s submissions took us everywhere. One moment, we were face-to-face with owls, bison, and farm kittens; the next, we were wandering the streets of Kyoto, then cheering from the sidelines of a soccer match. We had landscapes so crisp you could almost feel the breeze! From fleeting encounters to carefully composed scenes, the result was a diverse gallery that showcased the creativity and curiosity of photographers across the community. Below, we celebrate the artists who came out on top!

» Enter July's Monthly Photo Contest

WINNER:

Jessica Noble

June’s winning image captures both the power and presence of one of Canada’s most iconic animals. By choosing a high-contrast black-and-white style, Jessica strips away distractions and draws our attention to the bison itself. There’s a story in the texture and detail of the bison’s fur, telling the story of an animal perfectly adapted to its prairie home. The dramatic contrast gives the portrait a timeless quality, highlighting the strength and character in this beautiful, majestic animal.

Jessica says,

"I have visited the beautiful Waterton National Park many times but had never driven through the bison paddock until just recently. It was amazing to see these giant, strong animals in their natural environment…I highly recommend taking the drive and stopping to watch them. They may even come up for a lick or two on your vehicle!"

HONOURABLE MENTIONS:

David McClure

“Lost Soles”

David’s photograph transforms an unusual roadside discovery into something intriguing and atmospheric. We loved the combination of heavy storm clouds, muted tones, and the countless weathered boots covering the structure. It’s mysterious and yet inviting. His decision to lean into the scene’s eerie mood through editing helps tell the story of the location while encouraging viewers to imagine the stories behind the many “lost soles”.

David says,

"Upon arriving at Great Sand Hills, this structure is predominant at the top of a dune! The day was overcast with heavy, menacing clouds, as it had been raining earlier. With a short climb up, more detail was revealed, and behold, all these boots nailed over every square inch of the structure and in some places over the top of others!”

Edna Sayoto Cabalo

Few landscapes inspire awe quite like Antarctica, and Edna’s photograph beautifully captures both its scale and solitude. The sharp forms of the icebergs, piercing the deep blue water like towering sculptures, create a sense of enormity. Much like David’s image, atmosphere plays a key role here. The dramatic clouds and shifting light add a sense of mystery, while the vast, open scene draws the viewer forward, as though they’re being ushered into another world.

Edna reflects on this, “The dynamic, sculptural shape of the iceberg made me feel so small in a vast place. This iceberg, although smaller than the other icebergs in the area, highlights the beauty of a pristine, serene, cold place floating calmly in the deep-blue waters of Antarctica."

Every photo in this month’s gallery began with someone noticing a moment worth preserving. Congratulations to our winner and honourable mentions, and thank you to everyone who shared a piece of their artistry with us. We can’t wait to see where your cameras take you next. Keep exploring, experimenting, and sharing your perspective. We love seeing new photographers, fresh ideas, and unexpected angles to discover every month. Check out more submissions below.

Enter July's Photo Contest to Win a 16x20 Gallery Wrapped Print

Patagonia - The End of the World in Autumn

2026-06-25T16:22:31-05:00

Guest blog by Josh McCabe

Patagonia is a photographer’s dream. It is home to some of the most dramatic landscapes on earth. Sharp granite peaks that tear through the sky, endless wind-shaped valleys, and, if you time it right, some of the deepest red and orange autumn foliage you will ever see.

In this short guide, I’ll break down timing for peak fall colours, my top five photo locations, and the essential gear you’ll want to bring to come home with strong imagery. Just know this upfront. Patagonia is not easy. The weather is one of the most unpredictable in the world, and conditions can change within minutes.

36mm, F/3.2, 1/2,500 seconds.

When to Go

El Chaltén, Argentina

To catch peak autumn colour here, I would aim for late April into early May, with some yearly variation depending on snowfall and temperature shifts.

On my most recent trip, colours peaked around April 5th and were already fading by April 7th. That window can move, but it tends to be short and intense. It is always better to arrive slightly early and warm tones in post than to arrive late and miss the foliage entirely.

Torres Del Paine, Chile

Torres del Paine transitions later than El Chaltén. Lower-elevation valleys typically peak between April 15th and April 20th, with greater variability depending on wind conditions and early cold fronts.

The best strategy is to plan Argentina first, then move into Chile as the colour shifts.

Photography Gear to Bring

Left Photo: 42mm, F/2.8, 1/250 sec. Middle Photo: 24mm, F/4, 1/160 sec. Right Photo: 45mm, F/2.8, 1/250 sec.

Main Body: Canon EOS R6 Mark III: You will want a weather-sealed camera to combat the crazy Patagonia weather. This camera is a hybrid and produces stunning photos and videos.
Canon RF 15-35mm f/2.8: At many of the locations you visit, you'll be up close and personal with the mountains. A wide angle is a must for fitting them in.
Canon RF 24-70 f/2.8: The most versatile focal range for Patagonia. This will likely live on your camera most of the time.
Canon RF 70-200mm f/2.8: One of the most important lenses in the kit. It allows you to isolate peaks like Fitz Roy and compress layers of mountains, clouds, and light.
DJI Mavic 4: Your mini drone will not cut it in Patagonia. You need a drone that can handle some wind, like this one. Drones are restricted in most areas of Patagonia. So, I wouldn’t say it is a must, but for a couple of scenes, it was nice to have.
Peak Design Travel Tripod (Carbon Fibre): Lightweight enough to take on longer hikes and packs down surprisingly small. It handled the wild winds of Patagonia well.
Filters - NiSi Variable ND, Polarizer, and Mist: If you plan to shoot video, you will need a variable ND to help control the light. This one also comes with a built-in polarizer and ¼ black mist, which removes unwanted digital sharpness and blooms your highlights, creating a dreamy look. Polarizer - I wouldn't shoot landscapes without one. It cuts harsh glare, brings the blue back into skies, and adds real vibrancy to colours.
RODE Microphone: Essential if you're shooting video. Don’t forget your windsock. Patagonia sets the record for wind speeds.
F-Stop Camera Bag: A weatherproof pack that protects your gear from the elements and is comfortable to carry for long hikes is a must.
Ninja Ultra Monitor: This is a recent addition to my pack, but for video work, I do not know how I worked without one. Your compositions will improve when you have a properly sized screen to view them.
Important smaller items: Lexar Pro 256 GB, Lexar SSD, NiSi Lens Cleaning Blower, Spare Canon LP-E6P Batteries, Logiix Piston Power 20,000 mAh Power Bank, Peak Design Capture Clip.

Location 1: Laguna Pehoe Boardwalk Trail and shoreline.

50mm, F/2.8, 1 sec

This is one of the most accessible high-reward sunrise locations in Torres del Paine. Parking is nearby, and a short walk brings you onto the wooden boardwalk overlooking Lake Pehoé and the Cuernos del Paine. The best light is at sunrise. Arrive early for pre-sunrise glow, when soft alpenglow first hits the peaks. Most photographers leave immediately after sunrise, but some of the most beautiful light often comes 20 to 30 minutes later when golden tones spread across the valley.

Compositions here are endless. The boardwalk creates natural leading lines toward the mountains, while the shoreline offers opportunities for reflections on calm mornings. I used everything from wide-angle to telephoto here, depending on conditions.

70mm, F/5, 1/800 sec.

Location 2: Laguna Torre

This is not an easy location. You earn the view. A pre-dawn hike from El Chaltén takes you into one of the most dramatic alpine valleys in Patagonia. The Cerro Torre rises like a needle into the sky and is one of the most striking peaks in the region. Sunrise is once again the best light for alpenglow. On the return hike, always turn around frequently. The valley opens up with endless opportunities for autumn foliage framed against the peaks.

A wide-angle and a mid-telephoto setup will cover most situations here while keeping pack weight down on this longer trek.

Left Photo: 100mm, F/3.2, 1/1000 sec. | Center: 56mm, F/4, 1/800 | Right Photo: 40mm, F/2.8, 1/160 sec.

Location 3: El Calafate - Glacier Perito Moreno

There are many options for seeing the glacier. We decided to go with the cost-effective route: we rented a car, drove ourselves there, and did the self-guided boardwalk. We went for the early morning light here and found it beautiful. It is busy, but there is so much space here to find your own area to shoot and see this massive glacier up close.

Be sure to stay until the afternoon if you’re looking to get a shot of Glacier Calving (massive chunks breaking off the size of buildings and splashing into the water). If you want to go on a boat tour, I’d recommend booking with Maria Turquesa, as they went the closest of all the boats we saw.

Although you are close, you will still want some zoom to capture the glacier's rugged details. My 70-200 was an ideal range.

Location 4: The Laguna de Los Tres

15mm, F/2.8, 5 Seconds.

No trip to Patagonia is complete without a hike to see where the Patagonia clothing brand got its logo from. Again, for the best light, we set off in the early morning to reach this spot for sunrise. You won’t be alone on this one; there will most likely be 100+ people joining you, even though it is a long hike. If you’d like to break up the distance, there is a campsite that is easy to book mid-way up.

I first shot this iconic scene from above, then walked down to the lake and was treated to some calm reflections of Mount Fitz Roy. I highly recommend walking over to the small viewpoint overlooking Lake Sucia.

You will need your wide-angle lens to capture both lakes in one shot.

15mm, F/4, 1/800 sec.

Location 5: Laguna Sucia

15mm, f.28, 1/250

Now, after our last location, you’re probably hoping for something quieter. This will take us to the lake we shot from above, and you will most likely be alone here. But it comes with a slight catch. There is a tricky boulder field to navigate. Bring trekking poles and follow your map closely, and you will be fine.

For light, aim to be here for sunrise. The alpenglow here is stunning. The mountains again are up close and personal, so big you will barely fit the reflections in the lake. So, bring your wide-angle lens again and shoot right at the start of the lake to fit them in. (I was still half-asleep and missed this shot.)

After sunrise, if you are feeling confident and know how to navigate in the alpine, gain some elevation and catch some foliage shots from above.

Final Thoughts

Patagonia will test both your patience and gear. The weather is unpredictable, and the wind is constant. But when everything aligns, there are a few places on earth that compare.

I hope you have an amazing trip. If you still have any questions, drop them below, and I’ll be happy to help plan your trip.

Andrew Smith, the Sony A7C II, and the Art of Quiet Observation

2026-06-12T10:27:22-05:00

When I first met Andrew Smith, I immediately noticed his calm presence. Soft-spoken and considerate, he carries himself with an ease and fluidity that feels unmistakably shaped by his Maritime roots. It’s a presence that mirrors his photography, too: grounded, observant, but ready for an adventure. It’s a posture he got to stretch even more these past weeks, exploring Sony’s A7C II. Drawn by the need for a more travel-friendly setup, Andrew sought a tool that would keep him rooted in his surroundings without hauling around a camera that “needed its own carry-on,” he jokes. As he later discovered, the AC7 II’s stronger low-light capability became the new benchmark he now counts on.

Although Andrew hails from the Maritimes, he admits his roots didn’t necessarily shape a foundational roadmap into photography. Instead, he found much of his artistic evolution through curiosity and adventure. “I had no clue what I was doing,” he admits. “But I loved it.” What began as a creative outlet grew into a pivotal artistic shift when he moved out West, fueled by passion and ambition. This coastal move to the wide-open prairies almost a decade ago didn’t just change Andrew’s surroundings; it completely reframed how he saw spaces and photography.

Left Photo: 24mm f 6.3 1/100th second, Center Photo: 75mm, f/9, 1/100th second, Right Photo: 24mm, f/4, 1/400th second

“It is incredible how vastly different this country is from coast to coast. Having the pleasure of driving from the Maritimes to the Prairies allowed me to truly appreciate that scale. It definitely took me some time to settle in and find my eye here in Alberta. Looking back at my style when I first arrived, my images were dark, unsaturated, and lacked direction. Once I finally found my footing and felt grounded, my photography became the same. Alberta has completely reshaped me as a photographer.”

A lot of that shift is reflected in his work today.

81mm, f/4, 1/125th Second

Smith’s photography lives in the in-between moments, and while he’s drawn to landscapes and cityscapes, his lens isn’t chasing the obvious spectacle. It lingers instead on the overlooked quiet geometry of a city street or the familiar curve of a commute. “Look close enough,” he says, “and you’ll find a quiet magic hidden in the mundane.” I was curious if the A7C II helped shape this style of storytelling. “If I’m being honest,” Andrew continues, “I am not super tech-savvy. But that was never a problem with this camera. It allowed me to focus entirely on getting the shot rather than fighting the technology.”

Just don’t mistake Andrew’s approach for technophobia. It’s in the surrender, not the fight, that he finds most of his grounding. He’s found a comfortable peace in the idea that “50% of photography is skill and 50% is luck.” Rather than forcing an image, he trusts that patience will allow the experience to unfold at the right moment. I was surprised to learn how his time with the Sony A7C II quietly fit into his approach. User experience can play a huge role in creative confidence, and knowing Sony has focused heavily on refining it, I was curious whether this focus allowed Andrew to stay fluid in his workflow. Andrew reassures, “From the customizable dials that allowed me to make seamless adjustments on the fly to the incredibly simple, easy-to-navigate interface, it completely got out of the way.”

Left Photo: 28mm f/4 1/40th second, Center Photo: 60mm f5.6 1/50th second, Right Photo: 28mm f4 1/40th second

Whether navigating the low-light, fast-moving environment of the Royal Alberta Museum or capturing the almost surreal tones inside the Muttart Conservatory, Andrew was charmingly surprised that this camera kept pace and how little it got in the way. It’s a setup that couldn’t have complemented his philosophy any more: No overthinking. Intuitive workflows are where Andrew thrives best, and a rhythm that Alberta has been pivotal in nurturing.

It was here in the prairies that Andrew's ease began to expand into exploration, which fostered much of the creative confidence that defines his work. In Edmonton, especially, the city’s photographic community has helped him soar artistically. As Andrew puts it, “The Edmonton photography community is unparalleled; it is unlike anything I will find anywhere else. It is tight-knit, supportive, collaborative, and genuinely caring. I am truly so thankful for all of them.” I’m reminded of the importance of community in nurturing an artist’s growth by Andrew’s gratitude. It’s an important reminder of how small shifts in environment, community and tools can reshape an artist’s perspective.

Even a subtle change, such as working with the Sony A7C II, prompted Andrew to approach compositions differently. In many ways, it amplified the spontaneity that has always been central to his process. Andrew expands, “Knowing the capabilities of the A7C II definitely shifted my creative approach. The massive level of detail provided by the full-frame sensor allowed me to confidently shoot wider scenes and experiment with aggressive cropping and reframing during post-production.” And he found himself keeping his setup light enough that the camera was always within reach rather than packed away.

Pyramid Photo: 24mm, f/4, 1/400th second

It’s exciting to know this spontaneity is about to be tested in an entirely new way.

With a move to Czechia on the horizon, Smith is stepping into another new landscape and rhythm that promises to reshape his perspective once again. Coming from a country where distance is measured in hours of driving, the proximity of European cities offers an entirely new type of creative possibility. Prague, Vienna, Budapest, Krakow – each within reach and carrying its own visual language.

If Alberta laid the groundwork for his artistry, Europe may expand it even more.

Sunset Bridge Photo: 24mm, f6.3, 1/100th second

But at his core, Andrew’s essentials will remain simple: phone, keys, camera. The Sony A7C II has earned its place in that daily lineup, proving to be a reliable, unobstructive and moment-ready camera. It feels fitting for Andrew’s spirit. For Andrew, meaning in photography comes from having the presence to slow down and notice what’s already there.

As he prepares for his next chapter, one thing seems certain: wherever he lands, Andrew will remain firmly grounded on the earth, open to the fleeting moments, with his camera waiting quietly for the moment when light, place, and perspective align.

You can follow Andrew’s adventures here: Andrewds.Photos

» Shop the Full Sony Alpha Sale (June 12 - 30)

Roadside Relics! April's Monthly Photo Contest Winner.

2026-05-13T15:45:09-05:00

I had this bizarre dream last night. I was sitting in the driver's seat of a dusty old pickup truck, tapping the gas gauge, hopelessly stranded on a lonely road near Ma-Me-O Beach. The pickup’s rusty door scratched and creaked as I got out in search of help. Surveying the roadside lit only by the dancing green and yellow hues of the northern lights, I locked eyes with a coyote curiously nibbling on a strand of long grass. The coyote paused, grinned and said: "Hey, who won the McBain Photo Contest?"

That totally real dream I definitely had turned out to be the perfect setup for April’s Monthly Photo Contest. Once again, your creative submissions made a lasting impression on us, and we're excited to share the finalists and our winner.

Enter May's Monthly Photo Contest Here!

WINNER

Tonya Davison

On her road trip in Ponoka County near Gull Lake, Tonya found a couple of old Ford trucks sitting along the road. Like any photographer, she whipped out her camera, looking to explore her curiosity through the lens of history frozen in time.

Tonya described the scene, “I pulled over to check out the pickups and was amazed to see what was still in one piece. These are the old gauges used in this old Ford pickup.”

It’s amazing when curiosity intersects with craftsmanship both behind and in front of the lens. There are a lot of missed shots when we don’t trust the little voice that says, “Pull over, this might be exciting”. We’re so happy Tonya listened to her instinct. Congratulations on your win, Tonya!

HONOURABLE MENTIONS:

Christopher Jarvis-Sallustio

For Christopher, capturing this great shot of a foraging coyote was a matter of precious timing. Being away from his camera with a broken hip, Christopher was eager to get behind the lens, capturing nature’s best on his first outing of spring! Somewhere between food-diving and grass eating, this Coyote learned that this grass meal was an acquired taste. When curiosity bit back, I’m sure this coyote had immediate regrets. Zero Stars. He would not recommend.

Christopher says, “This adorable Coyote was fully unbothered by my friend and me. Some of the grass obviously did not taste all that good.”

Alex Paikada

It’s been awhile since we’ve made a trip past one of our favourite landmarks past Ma-Me-O Beach, but when Alex recently made that trip, what he found was magical.

“The night surprised us,” Alex says. “A green fire unfurled across the sky, whispering secrets older than the highway humming beneath our tires. I pulled over, heart racing, and we stepped into the cold. The car became a shadow, the world a hush. My wife leaned into me, and for a moment time held its breath. We kissed beneath the dancing lights, small and infinite at once. Still, I pressed the shutter, keeping proof of all wonders you can find between destinations, and return again when you least expect it.”

Alex delivered one of the most poetic descriptions of their photo that anyone has submitted. We love his attention to detail and how present he allowed himself to be in the moment. Often, photographers can get so lost behind the camera in composition and settings that they forget to be “in” the magic instead of behind it. What a great reminder that you can be both present and intentional when capturing meaningful, balanced images.

From roadside relics to candid wildlife moments that feel a bit serendipitous, this month’s submissions reminded is that great photography often lives in the in-between stops - the unplanned pauses that reveal stories waiting just off the edge of the road.

To everyone who submitted, thank you for sharing your perspectives with us. Take a peek at this month’s entries, while we encourage you to submit your entry for May’s Monthly Photo Contest.

Staying Present Behind the Lens: Real Wedding Moments with the Sony Alpha 7 V

2026-03-27T11:04:58-05:00

Guest Blog by Sam Sciarrino

As a seasoned wedding Photographer, capturing honest, emotional, and lasting images is the key to my success. Yet every location brings its own challenges. Sometimes the lighting is ideal, and other times I’m in a dark or challenging space. In those situations, the goal isn’t to force the moment, but to move naturally through it, creating a beautiful image from a difficult situation, while keeping the experience relaxed and genuine.

When Sony lent me the Alpha 7 V, it allowed me to stay present with my subjects, keeping them comfortable, spontaneous, and engaged—without interrupting the rhythm of the session.

The Alpha 7 V, paired with the Sony 50–150mm, became one of my favourite lenses. It lets me step back and document moments as they unfold, while still maintaining intimacy, depth, and refinement. With up to 30 frames per second in 14-bit RAW, pre-capture and speed boost, I don’t have to anticipate or control every detail. The camera responds as moments evolve.

When lighting becomes challenging, its wide dynamic range helps preserve highlights and depth, while maintaining natural skin tones.

The AI-powered subject recognition allows me to stay focused on people rather than sequences, whether I’m capturing stills or video. It can move naturally and focus on what matters most: staying present with the people in front of me. When technology works seamlessly in the background, I’m free to focus on connection and create lasting memories for my clients.

About Sam Sciarrino

Sam Sciarrino is an internationally celebrated Master Photographer, educator, and speaker, and
the owner of Horvath Photography based in Toronto, Canada.

With an impressive array of credentials, Sam holds the Master and Craftsman of Photographic
Arts from the Professional Photographers of America (PPA), the Master of Photographic Arts
from the Professional Photographers of Canada (PPOC), and is a Triple Master with the
Wedding & Portrait Photographers International (WPPI).

Renowned for his creative vision, technical expertise, and personalized client approach, Sam has
built a distinguished reputation for producing imagery of exceptional artistic quality. His career
is marked by a long list of prestigious awards and accolades from leading photographic
organizations.

Sam’s work has been featured in top industry publications including Rangefinder, Professional
Photographer, Studio Photography, Image Maker (UK), Travel Life Magazine, and Planet Nikon
Photographer.

As a respected voice in the global photography community, Sam has shared his knowledge and
insight with audiences around the world, leading lectures and workshops across North America,
Europe, and Asia—including in the U.S., Canada, the U.K., Italy, Greece, and China.
With decades of experience and an unwavering passion for the craft, Sam Sciarrino continues to
inspire photographers at all levels to push creative boundaries and master the art of visual
storytelling.

This post was supplied by Sony Canada.

Chasing Light in New Zealand: A Photographer's Guide to the South Island in December

2026-03-20T09:44:07-05:00

A Guest Blog Post by Josh McCabe

After my adventures at home in the Canadian Rockies and hiking the Alps in Italy and Switzerland, I thought I had seen it all. Then, in December, I visited New Zealand, and the landscapes there took things to a whole new level.

This isn't just a travel post, it's a photographer's guide to the spots that moved me most, with honest tips on timing, gear, and what I wish I'd known before I got there. You’re guaranteed to come out with some amazing work if you follow these tips.

Why December?

December is, in my opinion, the sweet spot for visiting the South Island as a photographer. The lupins are at or near their peak (aim for around December 15th if you can), and the long days offer generous golden-hour windows. The only downside of long days is the short nights, but New Zealand's coffee scene makes short work of that problem. Even the gas stations have high-end machines turning out Flat Whites better than most cafes back home.

That said, December isn't without its trade-offs. Up in the alpine, you're rolling the dice a little. We hit some snow on the higher hikes, so if you're heading above the treeline, pack accordingly. But we found we could happily deal with a little snow at elevation in exchange for a valley full of purple and pink lupins below. For most photographers, that's a trade worth making.

Camera Gear I Bought

I shot everything on a Canon EOS R6 Mark III, paired with three lenses that covered almost every situation the South Island threw at me. Here are the main gear items I recommend for the trip.

Canon EOS R6 Mark III: My body of choice for the trip. I’m a hybrid shooter, so having photo and video is a must.
Canon RF 15–35mm f/2.8: My most-reached-for lens on this trip.
Canon RF 24–70mm f/2.8: Versatile and sharp. Perfect for waterfall details, intimate compositions, and everything in between.
Canon RF 70–200mm f/2.8: A great tool for compressing mountain backgrounds and isolating subjects within a busy scene.
DJI Mavic 4: The aerial perspective this drone unlocked was something else entirely. Some of my favourite shots from the trip came from above.
Peak Design Travel Tripod (Carbon Fibre): Lightweight enough to take on longer hikes and packs down surprisingly small.
Peak Design Capture Clip: An absolute must for hiking. Your camera sits securely on your shoulder strap, always within reach, and you will never miss a shot.
NiSi Polarizer: I wouldn't shoot landscapes without one. It cuts harsh glare, brings the blue back into skies, and adds real vibrancy to colours.
NiSi Professional Lens Cleaning Blower: Loved this for quickly clearing rain and dust without risking smudges or scratches on the glass.
RODE Microphone: Essential if you're shooting video. One tip: bring a windsock. New Zealand is famous for winds that can hit 100km/h, and it will ruin your audio without one.
Canon LP-E6P Batteries: The days are long, and so are the shooting sessions. Pack spares. You will use them.
Logiix Piston Power 20,000mAh Power Bank: On overnight trips, this was a lifesaver for keeping my camera, microphone, and iPhone charged when a wall outlet wasn't available.

Location 1: Lupins Along Lake Pukaki

There's no big secret to finding the best lupin shots along Lake Pukaki. You just drive slowly along the lakeshore, watch your left side, and pull over when you find a patch that frames up with Lake Pukaki in the mid-ground and Mount Cook rising behind it. That layered composition (lupins, turquoise lake, snow-capped peak) is one of the most iconic frames in all of New Zealand, and for good reason.

I shot this location with the 15–35mm wide-angle, and I'd make the same call every time. The wide field of view lets you pull in the foreground flowers, the lake, and the mountain in a single frame without feeling cramped.

Timing:

A couple of hours before and right at Sunset is exceptional here. But sunrise would be just as beautiful. Mount Cook is such a dominant peak that it catches alpenglow from both directions, so you really can't go wrong if you're out early or late.

Photo Tips:

Get low among the lupins to maximize their presence in the foreground. Even a few inches of height difference changes the shot dramatically. Try a polarizing filter on the lake to cut glare and bring out that signature turquoise colour. Shoot in RAW as the dynamic range between a bright sky and shaded flowers is significant.

Location 2: Wilson Creek Chasm

Wilson Creek Chasm is a hidden little gem tucked along the highway heading toward the West Coast. There are no signs pointing you to it, just a lightly beaten trail veering off from the road toward the sound of water. Easy to miss if you don’t know what you’re looking for.

You can safely explore about 150 metres into the chasm before the terrain becomes canyoneering territory that requires a guide. The great news for photographers is that the most beautiful section is well before that point, so no technical skills are needed. Bring sandals or watershoes to wade through the water.

One serious word of warning: do not visit if it has rained heavily in the days before, or if it's actively raining. A local friend told us she visited after rainfall, and the water was up to her neck, fast, powerful, and deeply dangerous. Water levels in chasms like this can change dramatically and quickly.

Timing:

In December, the sweet spot for light is between 2:45 and 4:00 PM. At this time, the sun angles directly into the chasm, backlighting the waterfall spray and creating a genuinely dreamy, almost ethereal atmosphere. Worth timing your drive specifically around this window.

Photo Tips:

A circular polarizer will help manage reflections on the wet canyon walls and make colours pop. Bring a lens blower and microfibre cloths, as the waterfall mist will find its way to your glass. Having a quick way to dry the glass between shots is essential. Slower shutter speeds (try 1/4s to 1s) will smooth the water beautifully. A small travel tripod will work well to keep the subject sharp during a lower shutter speed.

Location 3: Milford Sound

We made a deliberate choice that many people wouldn't: we went to Milford Sound on the stormiest day we could find. And it was one of the best photography decisions of the entire trip.

In calm weather, Milford Sound is stunning. In a storm, it becomes something else entirely, alive and dramatic. Waterfalls that only exist after rain cascade down every cliff face. The low cloud wraps around the peaks. The mood is exactly what this landscape seems to be calling for. Yes, we battled rain and wind. Yes, our gear got wet. No, I wouldn’t have changed a thing.

For the boat tour, go with Southern Discoveries. They're known for getting closer to the falls than other operators, which makes a genuine difference in the photographs. Their larger vessel also means more stable shooting positions and more room to move around. Even if it means more fellow passengers. Smaller boats may carry fewer passengers, but their size still makes it difficult to compose shots without fellow passengers in the foreground.

Photo Tips:

Lens protection is everything here. Bring a blower brush and multiple microfibre cloths, as the spray from waterfalls at close range is relentless. A rain cover for your camera body is also strongly recommended. I trusted the R6MKIII to keep the rain out naturally during the two-hour boat tour, and it did. The 24–70mm f/2.8 is the ideal lens on the boat. It gives you enough reach to fill the frame with falling water while still being wide enough to capture the surrounding cliffs for scale. Shoot in burst mode as you approach the falls. The spray creates constantly shifting light, and you want to capture the moment the droplets catch the light just right. In wet environments, you will, of course, want your polarizer to control the glare.

Location 4: Mount Cook National Park Road Shots

Mount Cook National Park rewards photographers who are willing to drive slowly and stop often. Some of our favourite images from the entire trip came from just pulling over along the main road at the right moment. Always pull over only when safe. Many accidents happen here because either people pull over at the wrong spot or drive on the wrong side of the road.

Peter's Lookout deserves a specific mention. The road here has a gentle S-curve leading directly toward Mount Cook, and in the right light, it's one of the most beautifully composed natural scenes you'll find anywhere. Sunrise and sunset both work, but we also loved waiting just a little after sunrise for the light to find Lake Pukaki and turn it that brilliant, almost impossible blue.

Photo Tips:

To bring justice to Mount Cook, I put on my Canon 70-200 2.8 and compressed it to show off Mount Cook's true size.

The Hooker Valley Track is the signature hike of the park, and even though it was closed past the second bridge during our visit, what remained open was still one of the most stunning walks we did. The track leads you toward the glacier with mountain walls rising on either side and a blue glacier stream rushing beneath you as you cross the bridges.

Location 5: Mueller Hut

Mueller Hut was the highlight of the entire trip, and we almost didn't get there at all.

If you arrive in New Zealand and find the Mueller Hut bookings are full (which they almost always are), most people give up. We didn't. We kept refreshing the booking page throughout our trip, and eventually, a cancellation opened up. We took it immediately, and somehow the weather aligned perfectly.

The hike up takes about 4 hours, and it's serious: steep, relentless, and absolutely worth it. Because of the effort involved, I decided to pack light on camera gear. That meant leaving the heaviest lenses behind and relying primarily on my wide-angle and 24-70.

At the hut, you don't need to bring a stove, propane, or a sleeping pad, as that gear is provided, which makes a real difference to your pack weight and frees you up to bring a few camera essentials you'd otherwise leave behind.

Blue hour at the hut was one of my favourite shooting times of the entire trip. As the sky faded and the hut's warm interior lights began to glow against the darkening peaks, the scene became magical, and the cozy hut glowed. You'll need a tripod for these shots, as shutter speeds get long fast in low light.

At sunrise, walk up to the nearby ridge above the hut. This is where the tenters camp, and in the morning light, you'll find their colourful tents lit from the side by the first rays coming in from the east. It makes for a beautiful, human-scaled subject against the immensity of the surrounding peaks.

Photo Tips:

Pack a lightweight travel tripod. You'll be grateful for every gram you save on the hike up, but you'll absolutely need stable support for night and blue-hour shots. Use a Peak Design Capture Clip to carry your camera securely on your shoulder strap during the four-hour climb. It keeps your hands free for scrambling or hiking poles while giving you quick access when a shot presents itself on the way up. Wide angle is king here. The hut sits in a bowl of peaks, and you want to capture the surrounding environment, not just the hut itself. For night shots, set your focus manually to infinity before it gets fully dark, so you're not hunting for focus in blackness. Bring extra batteries, as cold nights at altitude drain them faster than you'd expect.

Final Thoughts

I came to New Zealand with high expectations. It exceeded all of them. The South Island is a landscape photographer's dream. Every two hours of driving presented a completely new landscape. Come in December if you can, stay flexible, keep refreshing that Mueller Hut booking page, and don't be afraid to shoot in the rain. Some of the best frames you capture will come from the wildest weather.

Shoot often, explore wide, and let the landscape surprise you.

All images shot on Canon EOS R6 Mark III with RF 15–35mm f/2.8, RF 24–70mm f/2.8, and RF 70–200mm f/2.8.

Congratulations to our January Monthly Photo Contest Winner!

2025-02-14T17:02:48-06:00

January's Photo Contest was certainly seasonally appropriate, as our winner and honourable mentions all featured wintery backdrops! When the snow settled, a gentle corgi pup named Eillie emerged as our favourite submission of the month, earning her talented photographer, Julie Cork, a post-solstice victory lap.

Congratulations, Julie! You'll take home a 16 x 20" Gallery Wrapped Print of your adorable doggo. But the heaps of praise don't stop there! Simon Stevens (snowy bench) and Kyla Genge (winter horse) earned honourable mentions for fantastic entries as well.

February's contest is now open. We can't wait to see what you all have in store for us this month!

WINNER - Julie Cork

"One winter morning when the hoar frost was prominent Ellie and I went for a walk in Grey Nuns White Spruce Park. The sunrise glowed orange and the frost sparkled. It was a magical morning!"

HONOURABLE MENTION – Simon Stevens

"Park bench. Just a curved park bench in pass when walking my dogs. In the snow the bench looked very abstract to me but with sensual curves thrown in. It's only a phone pic but you use what you have in hand. A fun pic that is this years best pic for me."

HONOURABLE MENTION – Kyla Genge

"I just really loved the simplicity of the scene here - a beautiful horse on a cold January day."

» Enter February's Photo Contest

More stand-out January entries:

A New Year, A New Perspective!

2025-01-10T14:49:33-06:00

Happy New Year, photographers! The holidays have hopefully offered some time for relaxation and rejuvenation, giving us a moment to appreciate and reset. Last month, we wrapped up our final contest of the year, and, as with all our contests, we were delighted with all the excellent entries.

Much like last month, owls were a crowd favourite with our McBain judges, as they once again chose an owl as this month's winning picture. Clayton Reitzel stumbled across a beautiful Boreal Owl while hiking and capitalized on the opportunity to capture his winning image. What a beauty! Birds remained a favourite photographic subject, as they also captured accolades last month! Joanna Klausner's photo of a Flicker and Dee Webb's photo of a Costa Rica Hummingbird both earned high praise from the judges as Honourable Mentions.

Thanks for everyone's participation once again. As we usher in 2025, we're excited to dive into another round of our monthly photo contest—one filled with fresh new perspectives and stunning images. Turning the page on a fresh year, we have the opportunity to tell stories of new beginnings through different lenses. Don't let the dreary January chill discourage you. It's a new day and a privilege to create. In fact, this is one of the most inspiring times to pick up your camera and challenge yourself.

Look closely, and you'll find inspiration in the subtle dance of shadows across your subject's faces or in the icy reflections transforming everyday windows into works of art. Winter trails offer a serene escape—especially now, with the crisp air and clear skies. It allows for quiet, reflective photos that will push you out of your comfort zone. If quiet isn't your pace, take to the city streets. You may be surprised at the energy and buzz emerging as people shake off the winter lull, embracing the city's vibrant New Year rhythm with renewed zeal.

The point is, keep getting out there. Each photo contest participant adds something unique to the collection, whether it's an artistic perspective, a technical achievement, or simply a story told through an image. It's a chance to challenge yourself, to push your boundaries, and to keep learning. Win or lose, beauty is in the eye of the dreamer! We look forward to seeing your future photo contest submissions!

Why Winter Sports Photographer Dave Holland is in Love With the Sony A9 III

2025-01-09T12:32:53-06:00

My name is Dave and I shoot winter sports. I’ve been to three Winter Olympics and Paralympics as well as countless world cups and world championships. My daily life is at the Canadian Sport Institute Alberta, the training centre for most Olympic and Paralympic winter athletes at some point.

Whether it is the bright lights of competition or the daily grind of training, the Sony a9III and the 300mm f/2.8 are a killer combination in my daily work as a sports photographer. I couldn’t be happier with the a9III and 300mm. This combination performs in virtually any condition, indoors, outdoors, and even in the freezing cold, ensuring I go home with the photos I expect.

One challenge common to most winter sports is that the athletes wear helmets, cages, goggles, sunglasses, buffs, hoods and even motorcycle helmets. This is where the real-time recognition autofocus helps capture images when you only have one chance at it.

Many training venues can be challenging to work in. The Ice House, the bobsleigh training facility in Calgary, has a mix of lighting, including some daylight and a mix of new LED and old mercury vapour lights. This is where the world’s first global shutter system shines, taking care of that annoying light flicker from your images.

These darker training environments also benefit from 5-axis image stabilization, which allows you to use slower shutter speeds at high ISOs. I frequently shoot at ISO 6400 and 800th of a second, which I try not to go below.

At the 2024 Youth Winter Olympics in Korea I was fortunate to work with pre-production models of the a9III and the 300mm lens together. What a superb setup for hockey, figure skating and curling. The autofocus was snappy and the images had that crispness that only Sony cameras make.

At major events where there is often only one chance to get the photo, you want the best equipment for the job. It may be the big save or the moment of victory, which is why I rely on the Sony a9III and the amazing line of lenses.

Dave Holland is a Calgary-based Olympic and Paralympic sport and athlete photographer and Sony Canada influencer. Working out of Calgary's Canadian Sport Institute, Dave has been privileged to work with Canada's elite amateur athletes helping to raise their profiles in our increasingly crowded digital media landscape.

Photo Gifts – Tangible Timeless Treasures

2024-10-02T16:45:06-05:00

As the holidays edge closer, there’s a buzz in the air already about the gifts we’ll wrap for our loved ones. Personally, it’s my favourite. I love nothing more than the art of personal gift-giving down to the wrapping paper itself. In the digital media age, I must constantly remind myself to disconnect long enough to experience the real, tangible world around me. While there’s space for both, what brings me back to physical printed products is that they become an extension of our hearts- rather than something that evaporates with the flick of a finger.

Let’s put it this way: if there were ever tears shed over a meaningful gift, it guaranteed circled back to a printed product. I have a carousel of holiday flashbacks to confirm it, each linked to a colourful range of McBain products and services. I’m remembering the childhood Restored Photo of my aunt and her beloved sister, a family’s final Photo Book in memory of their beloved departed, and that personalized birthday Greeting Card I made for a friend. I also remember the excitement of delivering a Metal Print of a new graduate ready to take on the world. And the look on my Grandma’s face at Christmas when gifted a Calendar or her grandchildren or Ornaments of her own children was purely precious.

What makes printed treasures most valuable is the evidence of the heart- an unquantifiable understanding that this here was a labour of love. And love is timeless, just like McBain’s photo gifts.

See our selection here: mcbaincamera.com/photofinishing

Photo News Friday – July 22, 2022

2022-08-31T10:31:27-05:00

Canon Drops Firmware Updates for R-Series

This morning Canon Canada announced firmware updates for the EOS R3, R5, R6, R7 and R10, adding many exciting new features. Enhancements include a new Custom High-Speed Continues drive mode (R3), time-lapse movie recording (R3), the ability to convert multiple HEIF images into multiple JPEG images (R3/R5/R6), support for Cloud RAW image processing (R3/R7/R10), a new "Auto Power Off Temp" (R3/R5) setting and much more.

Follow the links below for full details on the firmware updates:

Samsung quietly launches their new image editing app, Galaxy Enhance-X.

Galaxy smartphone users rejoice! This week, Samsung quietly updated their Galaxy Store with a new image manipulation app, touted Galaxy Enhance-X. The app aims to be somewhat of a competitor to Adobe's Lightroom for mobile & Photoshop Express, promising the usual exposure and colour adjustments along with some exciting features like AI upscaling and blur reduction. In addition, users will be happy to know that editing in the app is non-destructive, and their photos will be saved as originals and as a JPG file with their changes applied.

"AI based techniques can be invoked by a user to both repair and enhance the images stored in the gallery. One can remove unwanted Blur, Reflections and at the same time also Sharpen and Upscale Resolution, Improve Dynamic Range and brighten photos captured in low lighting conditions," the company explains.

Quentin Tarantino announces the launch of his new filmmaking podcast:

Hollywood powerhouse and filmmaking all-star Quentin Tarantino has partnered with longtime collaborator Roger Avary to produce a podcast all about the ins and outs of filmmaking. Their new venture is called "The Video Archives", where the two men will watch original VHS tapes from the Video Archive, where they met and worked together. The show will feature deep-cut movies like Darkstar, Demonoid, Messenger of Death and Piranha.

In a joint statement, Tarantino and Avary said:

"We never imagined that 30 years after we worked together behind the counter at Video Archives, we would be together again doing the exact same thing we did back then: talking passionately about movies on VHS. Watching movies was what originally brought us together and made us friends, and it's our love of movies that still brings us together today. So we surrounded ourselves with the original Video Archives collection, where we both worked before we became celebrated filmmakers, and time-traveled ourselves back to the golden age of VHS. We love to discuss movies, and we want to welcome you into the Video Archives Podcast to hang with us and Archives' new employee Gala, and discover the hidden VHS gems on our shelves."

The first episode features a breakdown of Dark Star and Cocaine Cowboy and is now available on Apple Podcasts and Stitcher.

https://the-video-archives-podcast-with-quentin-tarantino-and-roger.simplecast.com/episodes

DaVinci Resolve has been updated to Version 18. Here's what's new:

Black Magic Design has updated their flagship video-editing software, DaVinci Resolve, including support for cloud-based workflows, major upgrades to its colour tools, vastly improved performance on Apple Silicon devices (M1, M2) and a variety of powerful tracking & effects tools.

The first noteworthy change comes in the shape of Black Magic Cloud, or BMC, the company's first foray into cloud-based workflows. BMC will allow creators to share their entire project over the web, manage their files in a team folder and create on-the-fly proxy renders for viewing on lower-end machines. This opens the door to easier client notes on edits, faster sharing between departments (VFX, Foley, Colour, Compositing), and improved remote directing & editing. It is noteworthy, however, that video file sharing is very resource intensive; files are normally very large and take high internet speeds and high data limits to be done efficiently.

Along with the addition of cloud workflows, Black Magic continued to refine both the Colour and Edit tabs in DaVinci Resolve. With Update 18, users can now expect a whole new slew of powerful features, including automatic object masking & depth maps, robust surface tracking and an interesting new feature called Resolve FX Beauty. This new feature uses AI to smooth skin and remove blemishes and was developed by professional colorists. Other new features include enhanced subtitles, more granular control over transitions, various multicam features and a myriad of AI-based tools and features.

For the full rundown on everything new and to download the update to try for yourself, please visit: https://www.blackmagicdesign.com/products/davinciresolve/whatsnew

Wildlife Photography Challenge: Duck Hunt

2022-04-15T11:00:00-05:00

It's a hot summer evening, the birds and frogs are vocal in the wetland, and the air is heavy with moisture. It's the kind of day which could turn into a thunderstorm real quick, but the sun is still shining low in the sky, so you stay outside. The bugs are flying over the water, illuminated by the sunset against the deep green of the reeds along the shoreline. You've been waiting for the great blue heron to show up to feed at his usual time, but with the light fading, you may have to try again another day. But then you hear the soft beating of wings seconds before the majestic bird touches down in the marsh. Staying composed, you move into position, frame up the shot, check the settings, and fire off a few rounds of photos before the sun sinks below the horizon.

Solitary Sandpiper (not a duck or a heron, but a neat wetland bird)

It's scenes like these that I wanted to get into shooting wildlife photography. The tranquility of being outside on a beautiful day and walking away with a photo worthy of printing out is a tremendous feeling. But the patience and technique is a learning process that I didn't anticipate would be as difficult as it is for an already experienced photographer. So after my first several failed outings of not finding much wildlife, ending up with birds with blurry wings, or just plain poor lighting, I decided to give myself a more attainable goal than finding a rare species and selling tons of prints.

Female Common Merganser

I wanted to find and photograph all the different duck species we have living in Southern Alberta. Ducks may not seem very exciting, but there are plenty of them in the area, giving me ample opportunity to refine my skills and work on good technique. And as I build out my collection, I realize that some of the ducks we have are fascinating with the different colour patterns! And as I see more of the same birds with better lighting and locations, I can "replace" the older photos in the collection.

Male Mallard in the Morning Sun

Take the mallard, for example: found everywhere in urban parks and bodies of water all around the province, but when the sun hits the feathers on a male's head just right, it turns a beautiful iridescent green that can either match or contrast its surroundings with incredible vividness.

Certain species are more sought after than others and will require road trips to specific sites to attempt a photo of them. Take the wood duck, for example, with elegant plumage and many different colours and patterns across its entire body. Or the northern pintail, with its elegant swooping lines and exotic blue beak, these types of ducks are more challenging to track down but give the reward of something a bit more exotic close to home.

Male and Female Red Head Ducks

The idea behind this challenge I've set for myself is not to have it finished by the end of our wildlife month at McBain but use this theme as a motivator to get going on a project and keep it flowing through the summer and potentially over the years. And when I visit the areas where these species might be present, there's no doubt I will also run into other animals of interest, which are just a nice bonus for the wildlife portfolio! I'm beyond excited to start adventuring into new areas and creating my own collection of images. I urge you to find something that excites you about wildlife photography to get out and start shooting!

All photos taken by the author.

Go Macro to Capture Must-Have Wedding Details

2022-04-08T09:00:00-05:00

Picture a mountain getaway with a beautiful floral archway, sun-dappled light streaking through the clouds on a warm spring day, and a wedding gown so luxurious everyone in the ceremony remembers it forevermore. A setting like this is something that all wedding photographers dream of. Of course, it's hard to take a bad atmospheric photo of the bride and groom in such a great location with many matching elements, bringing the metaphorical room together. But one aspect that can't get overlooked when shooting a wedding is the small details. Those minor aspects that are carefully chosen by someone can bring the whole set of photos together and give the couple something else to help them reminisce about their big day.

A wedding can be a rather stressful time for the involved parties, and it can go by in a flash, trying to ensure everything goes smoothly and stays on schedule. This is why it is critical that the photographer must pay close attention to the little ingredients that go into the bigger picture.

A lens such as the Sony 90mm f/2.8 Macro G is a perfect companion for any pro to bring along. It's phenomenal for bridal beauty portraits, ring photos and other small wedding day details because this lens is razor sharp. In many instances, clients are not expecting to receive insanely tight shots of things like the bride's eyelashes or the tiny engraving inside the wedding rings. When we deliver these shots with razor-sharp precision, it adds a 'wow' factor and speaks to the client's heart in many instances. The image stabilization on the Sony 90mm f/2.8 Macro G also compensates exceptionally for the handshake that comes with being a constantly moving wedding photographer maneuvering for the shot.

There are layers to the wedding story, and details like ring shots provide context and depth. Details like the personalized engraving on the buttons on a groom's tux, the way the bride's nails are manicured, the rose gold embossing on the invitation, the seemingly insignificant swatch of fabric draped over the arm of a chair, the earrings that have been worn by four generations of brides in the family – capturing the details is a beautiful storytelling technique.

So if you're in the wedding photography business, consider picking up a macro lens, like the Sony 90mm, to add to the stable. It's the type of lens that you'll never know how you lived without it. And remember to capture the little characteristics that most guests won't be close enough to see and the lucky couple who will be too busy to give all their attention to these bits and pieces.

*In collaboration with Sony Canada, written elements borrowed from Alpha Universe https://alphauniverse.com/stor...

**Photos by Kesha Lambert, Caroline Jensen, and Paul Giro, provided by Sony

Daily Commute Photography

2022-03-11T07:00:00-06:00

Time. An absolute, constant measurement that we can't get enough of. More importantly, how do we get enough of it for our photography? Between work, home life, school, or other appointments, it can be challenging to get out and take photos to keep yourself satisfied. But one constant in most of our lives is going to and from work each day. So why not take advantage of this time and use it to hone our photography skills?

I ride my bike to work 9 days out of 10 because I love cycling; it adds activity to every day and puts me in a better mood. When I lived closer to my job, I would also alternate with walking every so often. Not having to deal with the frustrations of commuting in traffic made major changes in my outlook on life and how I viewed my neighbourhood. Even on days when the snow starts to pile high and the cold arctic winds whip down from the North, you feel triumphant in being able to stand up to old man winter.

The idea of combining my commute with photography started in the autumn when the trees were beautiful shades of gold and orange, and the parks I traversed looked like little nature havens in the concrete jungle of the city. Unfortunately, when the days are short, and the leaves only remain in peak colour for a few days, it can be hard to find the time to capture the last vibrant conditions before winter. So I began to bring my camera to and from work, giving myself extra time to stop and find compositions. Over a couple of weeks, I ended up with photos I thought were interesting, displaying the different styles of architecture in the neighbourhood or the public green spaces waiting to be used by residents.

After the fall foliage faded away, I still brought my camera to shoot subjects I thought were interesting to me. I took different routes to see new things, went down back alleys, and ventured off the path to keep my creativity going. My interest transitioned from capturing greenery to documenting the world I moved through daily and watching it change with the seasons. The same building or park can emote a completely different mood from another time of day, with varying lighting conditions or a fresh blanket of snow vs lush summer green.

As the months descended into winter snows and sub-zero temperatures, my focus again switched to searching for the alpenglow that winter mornings bring. Unfortunately, the extreme cold made it difficult to stay out for long and operate my camera, so searching new areas was out of the question. Instead, I looked for simplicity and smooth textures from fresh snow and light and shadows stretching across the landscapes with the low winter sun.

Sometimes I'll switch out my digital camera for a film camera to try out different stocks and play around with the divergent looks they bring. I use this as a technique to find the best look for a subject since you can switch the outcome by using high or low-contrast black and white film, or a colour negative vs reversal film, or even a tungsten-balanced film for moody blue hour photos! In addition, film can maintain the contentedness of shooting in the same areas all the time with the allure of not knowing how each opposed stock will turn out; it has been one of my great discoveries for urban photography!

Working on this commute "project" has helped me find different compositions than I would typically look for and has kept me fresh on different camera settings and use. Of course, there are plenty of days that I don't take any photos when the sky is too gray, and plenty of photos are not worth keeping either. But by going out and having images to review, I learn what I like and what I don't like and can make changes every time I go out to shoot again. So even if you only do this 1 or 2 days a week, I highly recommend you give it a try and see how your love for photography grows, and show us the transformation by tagging us on social media!