This week's Project 52 is about color in images, specifically contrasting colors. When thinking about the color wheel, the colors that are directly across from each other are considered complementary. These pairs best illustrate the use of contrasting colors in photography.
Here is the gist of how you can have a little control over color and it's effect on the outcome of your image: Colors in the color wheel are either visually active or visually passive. The active colors are the yellow, orange, red and magenta range while the passive colors are the green, teals, blues and purples. Active colors tend to visually advance when placed on a passive color and passive colors appear to visually recede when placed on an active color. In other words, brighter/warmer colors appear to leap forward and cooler/darker colors fall back.
Now, some people can see it easier than others, but here is an example that I hope will demonstrate this whole advancing and receding thing. Red is complementary to green so Hermes' red bandana appears to advance in the first image, whereas the brown bandana appears to fall back into the picture in the second. Can you see it?
Knowing how color is seen is just another way to help get an image to tell a story the way you want it to be told. You can play with color (with planning beforehand or afterwards in editing) to make an object stand out more, or make it blend in so that it's not as noticeable.
In this next series of pictures, you can get a feel for what different colors will do when green is the background.
This last picture is a great example of something else that results when using complementary colors . . . When you put something large in an image with something small, the large object, by contrast looks even larger. The same thing happens when using complementary colors - The grass in the image is green, but when you include something magenta, the grass looks even greener.
Next up in this project circle is Pat Corl, Field and Ranch Photography, Greenville TX.
I hope you have a wonderful weekend. Do something fun!
When a photographer wants a new challenge, they create one; something that will spark creativity. One way to do this is to create a project. The idea is to decide on a subject, a topic, or something that will give a group of images a cohesive feel, then take pictures that represent that challenge.
Color is one way in which photographers can create cohesiveness in their images and photography style. There is a fabulous commercial photographer who has an instantly recognizable style. Her name is Kaylee Greer and she owns Dog Breath Photography out of Boston. Her photos are up close and personal, and she uses bright, bold, colorful skies and backgrounds giving her art a very cohesive look no matter where the images were taken. Scroll through her client gallery of thumbnails and you'll see what I mean. She's amazing!
For this week's challenge of creating a color palette, I used Dash as my subject. This picture was taken in our back yard. We have lots of brown grass with a little bit of green, and lots of leaves. (Nothing says "lazy yard worker" like leaves on the ground after the snow thaws. guilty.) Since the colors in my photo of Dash were very dull, I gave it a warmer feel when I edited it.
If I wanted to make a collage of photos from say, different seasons or different stages in Dash's life then I would want them to be cohesive enough so that they didn't look odd together. One way to get a group of unrelated photos to work together is to make the coloring of the photos more consistent. This can be done when initially taking the photos or with post processing.
I chose a group of images that were taken in different places with different lighting - bright sunlight, overcast skies, snow, and one taken indoors. Since my photos were taken at different times in different places I can edit my images using a common color palette so that they are more pleasing as a group or collection.
Black and white doesn't work with just any image, but it can eliminate strong color differences that might throw off a group of photos.
If I'd rather have a color grouping, I can choose a look or a mood and create that same feel for each image. Since I like the editing on my initial image, I can edit the tone of the others until they all play well with each other. Even the snowy images have a warmer feel to them now.
If you'd like to see how other's worked color into their images for the challenge start with Becky at Future Framed Photography, South Dakota. You can make your way around the circle from there.
Hope you have a great weekend! (And, all you South Dakotans, hang on to your car doors! That wind is not letting up.)
Today you're getting a double dose of Project 52 since last week I was playing in that great big park we call Yellowstone.
A tighter aperture was the first challenge and it couldn't have been more perfect for my trip. If I were to use the previous Project 52 theme of using a wide aperture, I would have pictures like a tree with a beautiful blurry background, and it would have told you only that it was a tree with a beautiful blurry background. Instead, I used a narrow aperture making sure that the surrounding elements were visible showing more of what's really going on.
Since we did not take Hermes to the park with us, you'll have to picture him standing on this rock. ;O) The rock, we'll call him Hermes, is my subject and you can see that there is a gorgeous view of the mountains. Including the surrounding elements in your pictures is yet another way to tell a story. This one mostly tells how huge this place is, but it also shows the contrasting elements of Yellowstone - green trees, snowy mountains, winter and spring all in one place.
In this second picture, the trees were my subject. When I zoomed in on the trees and saw the mountains and their shadowing, I started thinking how these trees were a sampling of the thousands of trees on those mountains. I was able to hopefully get that across in my image by composing in such a way that your eye is led from the trees in front, to the dark tree covered mountain, to the lighter mountain just behind that one, and back around until it lands on the tallest mountain peak. If I had used a wide aperture the mountains would not be in focus and the image would be a picture of trees. The mountains make them much more interesting.
Here again, the subject is up front, but there are enough elements in the background to let the viewer see that it's not just a picture of a buffalo . . . they tell the rest of the story so to speak. (This is why we didn't take Hermes into the park. eek! )
When you use a narrow enough aperture, you start to get some fun bonuses. Bursts from bright light for example. Sometimes these bursts can get in the way of what you had in mind for your photo, but other times you can use it to your advantage. They can add a little extra warmth, fun or emotion to your image.
This leads right to the topic of this week's Project 52 . . . abstract photography. With abstract photography, focus is usually the first thing to go. We don't worry so much about focus or, for that matter, even what the subject is. It's all about shape, color, and form.
This next group of images are of Hermes. Well, they're part of his leg anyway. He was sleeping while I snapped away trying to get creative. At first I was looking at things like his eyes, his nose and his ears. I wasn't impressed with what I was "creating." Then I tried to think like a painter (which I'm not ) and I found myself looking for curves. When I panned over Hermes I found a spot where his leg folded up onto his side while he laid curled up sleeping. The resulting images reminded me of waves that I've seen in pictures of surfers in California or Hawaii. Kind of cool actually.
If you'd like to see abstracts that other pet photographers came up with, start with Kim - Charlotte NC dog walker turned pet photographer, See Spot Run Photography. And, as always, I wish you a wonderful weekend!
It's all about the story (echo, echo, echo . . . ) That cute furry face is great, but to see personality, I need to see what's actually going on. With this project we've seen several ways in which a photographer can use the camera settings and lenses to show the viewer exactly what she wants them to see. This week it's all about a wider aperture and we are using it to create what is called, depth of field.
Depth of field is the amount of the image in front of and in back of the subject that is in focus (large depth of field) or not in focus (shallow depth of field). If your subject has a lot of background in the frame, this is yet another way to declutter things. A shallower depth of field provides a softer background so that the subject is in the spotlight, so to speak.
Depth of field is one my favorite things to play with. Besides being able to clean up an image, I can also be more creative with my storytelling. Here are some examples.
This is a picture of my sister-in-law's dog, Katie Belle. I wanted to show how she patiently waited while everyone served themselves at Thanksgiving. (Oh, how I wish she could mentor Hermes on doggie etiquette.) You can see what's going on in the image just fine, but using a shallow depth of field, I'm able to keep Katie in sharp focus while softening the background and telling the story from her point of view.
I LOVE to adjust for a shallow depth of field when I photograph pets with their owners. There is just something about being drawn in by a wonderful furry mug with the owner there, but not there. It's as if the dog is saying, "Here I am! And, by the way, this is my friend!"
A shallow depth of field is also a wonderful tool when the owner isn't crazy about being in the pictures. (This image of Rocky was a gift for Becky's sister, Rocky's owner, so Becky didn't want to be too obvious in the photo.)
One more example - I like to get creative when I'm trying to show something about Hermes' personality. For example - his obsession with treats (ok, food . . . any food . . . ANY . . . you get the idea.) Spotlighting the treats lets the viewer know THIS is what he's focused on. (Intense... unwavering... steadfast... focus.)
If you want to try this out with a point and shoot camera there are some settings that will control depth of field for you. In the portrait setting mode (a symbol of a person's head) you will get a shallow depth of field. If you go to landscape mode (a mountain symbol), you will have a deeper depth of field.
There are several pet photographers in the Project 52 circle, so if you'd like to see how they worked with this week's lesson you can start with Rachel at Hoof N Paw Fine Art & Photography, Spokane, WA. At the end of each blog post you'll find a link to the next photographer's post so that you can make your way around the circle ending up right back here.
Have a great weekend!
Happy Friday! Do you like pet pictures? You're gonna get your clicks worth today. lol
A couple of weeks ago I showed you examples of how a wide angle lens allows more elements into the frame, letting the image tell a more complete story. This week I'm going to show you what can be done with a long lens (or zoom lens.) This lens moves in, isolating your subject so that the surrounding elements don't distract from that subject or story. I love my long lens for many reasons so with this week's theme I thought I'd demonstrate a few for you.
First off, a long lens is perfect for pets who are a little leery about me pointing my camera at them. I have to back way up to use it and this is great when they are concerned about their personal space at the beginning of a session. I am able to zoom in from a longer distance and still get great shots of the pet without them feeling nervous.
This first image is an example of just that. With this lens I am able to zoom in on Hermes so that he isn't lost in the image. (The first image is as wide as my zoom lens can shoot - 70mm, and the second is zoomed in to 200mm with me standing in the same spot.)
With a long lens I can completely eliminate all of the surrounding elements in the frame leaving only a backdrop for my subject. If I want a certain color or texture to enhance my image, I can use just about anything with a long lens. Can you guess what my background is in this image? (Hint, it can be very useful at the end of a long walk. )
Zooming in and eliminating surrounding elements are wonderful options (if not necessary) to have when you are trying to isolate your subject in close indoor settings.
We have had a house guest for a few days and she proved to be a very gracious model. This is Sky and this image was taken at 70mm with my long lens to give you a feel for where I'm shooting.
I started out using my wide angle lens. It shows the table and her surroundings, but you can also see some warping because I'm so close to her. (I personally think she looks adorable in warp mode.) ;O)
When I switched back to my long lens you can see the warping is no longer an issue. (I'm zoomed in a little, but I am a lot further away from Sky, too . . . a LOT further.)
When I zoom in even further, I'm able to eliminate the background elements and isolate her so that she is the center of attention.
You can get some great close-ups with a long lens, too. I love Sky's little mouth in this image and I love how I was able to zoom in and show her long whiskers in the next one.
My favorite thing about using a long lens is that I can take pictures in crowded places. I love the pet events that we have during the summer months. I take my long lens to these and I'm able to take pictures of people and pets without them knowing and feeling awkward or feeling like they need to pose for me. These are always some of my most favorite images. I love that I'm able to zoom in on something that is far away THROUGH a group of people or elements.
At Woofstock 2015 there were people and animals everywhere. Barring one dog running directly in front of my lens, I was able to capture this sweet training moment even though they were "buried" deep within a sea of people. (I'm telling you there were people and dogs everywhere, but you'd never know it thanks to my long lens.) ;O)
I hope you are enjoying our weekly pet photographer's Project 52. This week you can start with Northeast PA based pet photographer, I Got The Shot Photography to see how others use their long lens when photographing pets.
Ok, first a little story . . . Two nights ago I was woken up several times by Hermes' insistent barking. (These were single barks, varying in degrees of urgency at first, only to become more like expletives if you listened carefully. . . or maybe that was me, I don't know.) Each time I would ask if he needed to go outside or offer to put his blanket on him. He would go to the stairs and look up like he wanted my husband to fix whatever it was that needed fixing, not me. (wow, Hermes.) After the 4th trip I told my husband that it was his turn because I had no idea what was wrong with him. He said, "Oh, I know exactly what's wrong with him." Turns out when Gary and Hermes called it a night there was a certain little Italian greyhound in Hermes' bed. Gary moved Dash, but Hermes would now have nothing to do with it. Apparently, there was now Dash-stink in that bed and we couldn't possibly expect him to sleep in it. (OMGosh! my family and friends are now calling Hermes a diva and, well . . . )
This week's Project 52 is about isolating your subject. (I thought I'd tie it in with our current Goldilocks story.) Even though we often want to include the surroundings of our subject to know more about what's really going on in the resulting image, there are also times when we want to exclude things that can distract from the subject, the "big picture," or . . . (say it with me) . . . the story.
There are a number of ways to isolate the subject in an image before pressing the shutter button. The photographer can physically move around the subject until the unwanted elements are out of the frame; she can change the angle of the shot by getting higher or lower than the subject; or she can use a different lens to include or excluded extra elements.
In the first example I took a picture of Hermes sleeping in his bed.
I then took a picture looking down on him as he slept.
When I look at the first image, I see a dog sleeping in a bed. When I look at the second, I see a dog sweetly sleeping with a stuffed animal. The second has so much more emotion for me. (Looks so innocent, don't you think? )
In this next example I wanted to show the love affair between Hermes and blankets.
The first picture that I took wasn't that appealing to me. But, when I moved closer I was able to emphasize how he buries himself in that blanket. (He drags it around like Linus, too, but that's another story.)
Next week I'll show some examples of isolation using different lenses. Take a look at what other photographers in the blog ring have posted about this week's theme. Starting with Pat Corl, Field and Ranch Photography, Greenville TX you can make your way around the circle.
Enjoy your weekend!
There are many camera lenses out there for photographers to choose from. The lenses that they choose can aid in producing images that represent the photographers style as well as helping them to capture their subject in a certain way. If the desired image is to isolate the subject within a very busy or tight scene, then the photographer might use a long lens to help get rid of unwanted elements. If he wants an image that will include the background to tell more of the story, then a wide angle lens might be his tool of choice.
A wide angle lens is often used to show "peripheral vision" in an image. Even though you are closer to your subject, a large amount of the scene can still be captured.
The image below is one of my recent favorites from a session. This image would not have the impact that it does if it didn't include all of those trees. The trees in the background offer the viewer more of "the story" (and give the image a fun whimsical feel that makes me smile every time I see it ).
When using a wide angle lens, the edges of the image will warp to some extent. Sometimes, this is exactly what the artist wants to happen as it can emphasize more of what the photographer wants you to see in the image. The stripes in this chair help to lead the viewer's eye to Hermes, but they also give the viewer a better reference as to the size of the chair in comparison to Hermes.
My wide angle lens is also a must when photographing animals who are so friendly that they feel they need to be very, very close to me. (Do I really need to tell you that I love this? ) The closer they get to my camera the wider that lens needs to be. This often results in wonderfully cute and funny big nose or goggle-eyed images. The closer you get to your subject with a wide angle lens, the more comical it can be. Sometimes it's fun to take these sorts of pictures for no other reason than . . . because you can. ;O)
If you'd like to see how other pet photographers use their wide angle lens start with
Future Framed Photography, South Dakota. You can make your way around the blog ring and you'll end up right back here with us. Have a great weekend! :O)
As photographers we strive to get the sharpest image possible. However, blur in an image is sometimes a better narrator for the story.
Dogs like Hermes are hard to get a sharp image of simply because they are in constant motion. Even when he's sitting still Hermes' tail is whipping back and forth with a mind of it's own. Hermes' tail is one of my favorite parts about him. When he's standing and waiting for something, his tail is a constant sideways figure eight behind him. Sometimes you can actually make out the infinity sign! (One of his nicknames is "maestro" as he looks like he's conducting with that tail. )
In any case, I decided to use this week's challenge, "using slower shutter speeds" to document Hermes' tail.
By using a slower shutter speed (along with adjustments in other areas being that it's never that simple ) I am able to have Hermes in focus but still show the movement of his tail. (Can you hear the music? ) ;O)
Taking the slow shutter speed one step further I'm able to show even more movement in an image by panning with my camera. If I can match my shutter speed to Hermes' speed AND follow him at that same speed with my camera, I'm able to keep him in focus and have everything else in the image show movement. I find panning to be more artsy and more interesting than an image where the majority is in focus. It takes a lot of practice, but the results can be quite rewarding.
In this first image, Hermes is running to greet someone at the door (or it could be that a leaf blew by, who knows). It's obvious that he's running, but the blur makes the image a little more interesting than just one with him frantically trying to get past my husband.
In this second image I was able to match Hermes' speed a little better, keeping him in focus and letting everything else in the image illustrate motion. I know he looks like he's just passing by, but this is his "I-know-you-have-your-camera-and-there's-no-way-I'm-going-to-look-at-you" walk. I love this dog.
To see more from other photographers in this project, start with Becky at Future Framed Photography, South Dakota. You can click on the links at the end of each blog post until you've circled back around. Enjoy your weekend!
RAW . . . First of all, it's not an acronym. (This threw me at first as it seems everything is an acronym these days.) It's a format for images. Most images are JPG (pronounced jay-peg) files where the camera does all the work for you as far as how it thinks the image should look. The camera takes the data from the information gathered through the lens, decides what it thinks is important for the image and then discards the rest. What you see on the back of the camera is the resulting image. A RAW file takes all of the data and stores it in a neat little package. When you are ready to edit the image, all of that data is still available. The RAW image that is seen on the back of the camera will look flat, dull and probably overly-bright . . . but this is in no way a bad thing.
Most professional photographers shoot RAW. These RAW files require editing of each and every image. They also require larger, more expensive camera cards and tons more computer space, but it's worth it. The reason photographers choose to shoot RAW is simply because there is so much more data to work with. When the data is limited, as it is in a JPG file, the editor is limited in terms of what can be done with the image artistically as well as correctionally. (Is that even a word? )
I personally feel that taking on the extra work
is worth it for my clients.
By shooting RAW I am working with the highest quality files. This means I can produce higher quality images being that I'm better equipped to adjust and fine tune them to how I think they should look, not how my camera thinks they should look. I'm able to pull lots more detail from my images if I shoot RAW. More detail means more personality in that furry face and more emotion in their eyes. Simply put:
More work for me means
the highest quality prints for my clients
. . . and that makes me happy. :O)
Here is this week's image to help show the value I see in shooting RAW. This image was captured frantically (as I calmly reached for my camera behind me and repeated over and over in my head, "please don't move, please don't move, please don't move." ) As is usually the case, I was only able to get a single click of the shutter before they both gave me "the look" and removed themselves from the couch. When I looked at the back of the camera I just hoped that the RAW format would pull through for me. . . and as far as I'm concerned, it did it's job.
This was the image straight out of the camera. There was so much light coming in from the window behind them that the entire scene was shadowed, underexposed, and had very little color.
The JPG file was edited to black and white and I applied my software's auto correction just to see what might happen. This is how the camera and the software both think this image should look.
Because I had a RAW file with all of the file's data on it, I was able to make detailed manual adjustments to the image and effectively save the shot. It's not perfect as far as image quality goes, but it tells a story about these two personalities that is unmistakeable. ;O)
This project consists of so many wonderful photographers. You can make your way around the blog circle starting with Denver Pet Photographer, StinkDog Photos .
This project isn't your typical Project 52 where you are given a word to interpret . . . like "happy," "friend," or "snow." We are following a book by David Duchemin called The Visual Toolbox - 60 Lessons for Stronger Photographs and incorporating each chapter into our project posts. With this being said, this week's theme is about the Zone System which is an exposure model created by Ansel Adams. For me to ask you to read something that I write about how I use this system to get the images I desire would be like my husband asking me to read about how to perform an arial stunt that will create a heart in the sky. I have no interest in how they do it, I just want to see the heart!
So . . . instead of giving you a bunch of information that, unless you are a photographer, will require you to have reference materials for a bunch of acronyms used by photographers and then materials to help you understand where it's all coming from . . . I'll just show you my results. :O)
Every wonder why it's so hard to get a good picture of a solid black dog or a solid white one? It's all about the lighting, how your camera reads it, and the fact that the camera sees gray. Photographers have to tell their camera how white to read the whites of a scene or how black to read the blacks.
It's a little tricky, but with the right settings and some practice a slick coated black lab can be captured in bright white snow with the sun glaring off of them and still show details of both the fur and snow . . . as well as the fun of the snow-spray and doggie smile.
As always with this project, you can continue around the blog circle to see what other pet photographers have worked up when contemplating our weekly themes. Start with Sydney & MAC Creative Designs - Photography for Pets and People - Greater Washington DC Metro Area.
When sessions are held in a studio the photographer has control over everything from backgrounds, to lighting, to the posing of his subject. There is some amazing stuff that can be done in a studio. When pet photographers are doing an on-location shoot or an outdoor session they have control over . . . well, very little if none of that.
There are questions that every photographer asks themselves before clicking the shutter. They might start with something like: What do I want my viewer to feel when they see this image and how could I evoke that feeling? From there they might ask: Would this image be best zoomed in on one thing or zoomed out including the surrounding elements? Do I want to include the bright lighting that is coming from behind or would the image have more emotion silhouetted?
When getting ready to click the shutter on my camera, one of the first things I look at is the background. I can't say to a dog, "Ok, could you please turn slightly to the left so I can get those concrete blocks out of the background?" No, but there are some things I can do to help make the image a better one. I can move myself and my camera so that the blocks are no longer in view (and hope the animal doesn't come to investigate why I'm moving), or I can adjust my camera settings so that the background takes on a more painterly effect making the blocks less noticeable (again, working quickly as not to lose the attention of my subject).
Here is an example for this week's
Project 52: Questions
• In the first image there is a lot of clutter in the background that I was not able to crop out of the scene when I crouched down closer to my subject's level. (And . . . Hermes is about to jump out of his skin in anticipation of the treat that was in my hand. sheesh)
• In the second image I moved 2 steps up onto the stairs that were behind me to change the angle of the shot (and to be a little further from Hermes so that he might stay put.) It's better, but it's a little busy with that carpet. We can see it's a dog, but the carpet is fighting for attention.
• To take care of all that busy-ness I adjusted my camera settings so that the viewer is drawn straight to Hermes' face. (Just look at those adorable eyes.)
I encourage you to try different angles when taking pictures of your own, especially when taking them with your phone. Just tip your phone a little up or down or even side to side. I think you might surprise yourself. :O)
This week you can follow the project ring and see the thought process of other photographers when trying to get the perfect shot. Head over to Boston pet photographer, Blue Amrich Studio to start the round. Be sure to click on the link at the end of each blog post to continue back around the circle.
Enjoy your weekend!
When I see something that I want to photograph, it's almost always because there is some subtle detail that I find interesting about the "scene." Not so much the scene itself, but some detail within that scene that makes it more alive and more interesting. We often hear, "You have to look at the big picture." Ok, lets start with the big picture . . .
This is a favorite photograph that a friend took of my family a few years back. It's my boys all together in the same place, It's my boys looking at the camera. It's my boys posing for a picture that their mother wanted so they were happy to do it, (but it's not like they lost any sleep from being overly excited). This photo captured what my boys looked like at this particular time and I really like how it resembles an album cover of sorts. ;O)
This next image was taken without them realizing the camera was still clicking.
I look at this picture and I don't just see what my boys looked like, but I remember (and smile at) the personalities plastered all over this image. The middle one had just gotten back from Afghanistan and probably said something to his brothers to see if he could instigate something. His younger brother on the left looked at him and probably thought, "I can not believe you just said that . . . man, I wish I'd said it." Then there's the one on the right who is playing it cool (like he always does when something shocking happens), like it was the most natural thing in the world . . . and, being that he plays trap he was always drumming on things as he is here. This is the sort of image that speaks to me. The viewer sees interaction, expression, and gesture. These things show personality and what's taking place in the picture more than a posed image of my 3 sons looking at the camera.
So, my vision in a nutshell . . .
When I pick up my camera
I want the image to tell a story.
Here is my image for this week's Project 52: CONSIDER YOUR VISION. Hermes hears the fireplace come on as easily as he hears a chip hit the floor. He comes running from the other room and parks his little tooshie right in front of it. I often see him looking directly at the flames dancing around, enjoying the whole experience.
I thrive on photos that tell a story or evoke emotion. The image doesn't have to be perfectly composed or even in perfect focus for it to be my favorite. In fact, sometimes the imperfections are part of the reason I love it. It just has to speak to me. That image of my three boys in cahoots with each other . . . yeah, I have that canvas on my wall where I see it every single day. ;O)
If you'd like to see what motivates other photographers who are participating in this project, continue on to Blue Amrich Studio in Boston, MA. You can keep clicking the links at the end of each blog until you've come full circle.
The winter months just after Christmas are a slow time for photographers. There are fewer weddings, no fall foliage for family photos, and . . . snow. I've said it before and I'll say it again (in case you haven't heard) . . .
I LOVE snow photos!
I always have a few people who share my enthusiasm and know that this is the perfect setting for their pet and I am eager to please . . . Call me! But, some pets, like Hermes can't handle the cold so those beautiful landscaped images with that awesome white stuff flying from all four paws bounding through the snow will just never happen for them.
Ok, enough about snow for now . . .
During these not-so-busy times (since I have an inner need to always take things to the next level) I will be reading books, researching, and attending online webinars and classes that pertain to this beautiful thing that I call "my job." I have a stack of books already accumulating on my desk and lots of links bookmarked on my computer and I'm ready to dive in.
Many artists start out the year with personal projects to further enhance their skills in their art. Project 365, for example, is one such project where the photographer takes a picture (or the poet writes a phrase) every day for a year. These represent the artist's journey for that year and are usually then put into book form. I've done this for several years with my family and our everyday life, but this year I will be doing it with an emphasis on photography techniques and pets. There is a global pet photography group who is hosting Project 52 as a "round robin" sort of thing. There will be a new theme on Friday of each week and each participant will post their interpretation of the theme on their blog. Starting next week there will be a link at the end of each blog post that will link to another photographer's blog so that, if you like, you can see that photographer's interpretation as well, and it keeps going from there.
Project 52 - Week 1, New
Here is Hermes on my . . . (ok, our) new couch. This is where I will be watching all those online classes and reading my books (and eating popcorn and Hot Tamales) while Hermes will be cuddled up next to me . . . or on me . . . or digging in his empty food bowl letting me know it's time to quit for the day. ;O)