Environmental Portrait Photography

Lesson 36 of 48

Indoor/Outdoor Light Setup

 

Environmental Portrait Photography

Lesson 36 of 48

Indoor/Outdoor Light Setup

 

Lesson Info

Indoor/Outdoor Light Setup

Let's get into the process of our indoor/outdoor location lighting. Within that process, first thing is scouting the location. Again, it's the same as the art studio, it's the same as any shoot. I always make time, whether it's a minute or a day to walk around the location, and really figure out what the frame's gonna be and what my lighting needs are. Set those narratives, whether they're actual, you know, letting the painter paint and do her thing and it's totally authentic, or giving your guy a wrench and acting like he needs to defend his shop, or having my brother and his wife sit in a car, and who knows what they're chatting about. There's always some sort of storyline there and it could be just someone staring at the camera but I like to kinda push something that, it's almost directing more so than posing. It's giving the subject something to do so it's not awkward. A lot of times people like going through those stories or they even suggest them, and that helps me as a photograp...

her because then I don't have to think so hard. Next, selecting the lighting. Again, whether it was the guy in the garage knowing, alright I have this obvious light, which is the open garage door. Well that's not really doing it for me, it was really flat. How do I add some direction? I add a second light, but without putting a grid on it it was filling up the room with light. Okay, I need a grid. It's working through these step by step, getting that kicker light in the backend. And then, having it all come together, and then working with the subject. So, the lighting's really important to help tell that story. And then, shoot more than you need. I shot him in his office originally, and I photographed him working on a car, but the car was just really distracting. So, getting to that point where you're comfortable pushing and if you feel like you have the shot, I know my friend Victoria, well she always has a quote, I don't know where she got it, but she says, as soon as you get the shot that you need, that's when the shoot's just beginning to start. Because, now you can relax, you have that safe shot. Anything you do after this, is a bonus, so take advantage of that and don't just pack up and leave right then. There's so much more, if the person's giving you the time or you have the time to shoot, then keep shooting, because that's where the happy accidents come and that's where the shots happen that, when the pressure's off you can think freely and get more work. Let's start off by seeing how we setup this outdoor lighting, inside the garage, at the Moto Shed. We'll we working with Richie, he's one of the mechanics and owners of the Moto Shed, and he'll be working on a motorcycle and we'll kinda set the scene there. Okay, so what we have here, we're shooting out in the garage. We have Ritchie, and a motorcycle, a lot of tools, pretty cool setup, so what we wanna do is, we've already kinda established the scene, I always start off with a wider scene, where we encapsulate kinda the whole garage to tell the full story, just within one photo. He's put a bike up on the lift here. I'm gonna have you come over here and just sit, right here. I kinda want you to talk me through, let's say you were working on something in this vicinity, just maybe what tools would be realistic, so when you're lookin' at the photo later it's somewhat realistic. It's obviously gonna be staged a little bit, but at the same time, I wanna put you doing something, there's something in here you can adjust or change that's natural to you, so that way you're not just sitting there awkward for a photo. We'll kinda make it realistic like that, so whatever tools, 'cause generally speaking I'm gonna have you sitting like this, either working on here, or looking up like someone's walking in the door. Those two angles, we're not gonna do too much direct interaction with the camera. I'm gonna do some light tests, but whatever tools you might need here that you can set, however you would normally do it. I just kinda wanna keep it natural for you. And then, for lighting, what we have is, we're gonna end up doing three lights here. Our main light is a gridded Profoto Beauty Dish. It's gridded because you'll see within this garage there's a lot of chrome, there's a lot of shiny stuff. I want the move to be a little more dark and gritty. Having this grid will really control the light. It'll keep it just on our subject here. And then, on top of that we're gonna have a fill light, which is a Profoto Medium Deep Silver Umbrella. Silver because I want that specularity to come through so it's a little harsh. And then, our third light, which I haven't setup yet is way back here, it's gonna be kind of a kicker, because he's wearing all black, we need to get a little bit of light on him to bring him away from the background so he doesn't just blend in with the shadowy background here. So, we're gonna use this, we're gonna put it up really high, but I like to test the lights and get 'em setup one at a time. So that way I know what each light's doing independently, before I start adding additional lights. Once he's ready and has the tools out, we'll have him sit in for a test shot and then from there we'll just kinda roll with it. I think generally, it might not be the most natural thing, but I'll have you, just because the lights coming from here, I'll have you kinda, yeah right in there. And then, like you're messing with stuff in here and whatever you would normally do but a little more photo friendly as far as angles and stuff. I've already metered for the light. We're going to be shooting at, 1/125 of a second, at F8, 'cause I wanna have a lot of sharpness here. And then, we're gonna be at ISO 100 to start. And our variable that we can move up or down will be the ISO depending on how much ambient we wanna let in. As you can see, the tools are being lit by the florescence and things like that. I do wanna little of that to bleed in, but we have to work with distrobes and everything to get there. Alright, so we'll do one test shot before you start working. Almost like you're sittin' right there, lookin' towards the garage door like someone walked in and you might be greeting them or just looking up 'cause you heard somethin'. I'll do a couple test shots. These do not count for anything, this is just with one light so I can see how the light's affecting the shot. Alright, I already like where this is goin'. Let me do a little adjust, I shoot, again tethered, just so I can see everything on the fly, see what all the lights are doin'. I really wanna get this dialed in before we get too far that way I don't have to do it again. Alright, now we're gonna fire on our fill light here. So we have the main already dialed in, I already metered so I knew it was at the correct power for F8. Now we're just gonna, fill light is definitely to taste, so I'm gonna start off with it pretty low. You can just stay right there, keep doin' whatever you're doin', I'm just seein' how the fill light affects all the shadows in the background. So, I do like that, I'm gonna turn it down just a half a stop. And lastly, our kicker light. I need to put that thing up in the air. That's gonna be what makes it really stand apart, because that's gonna bring a lot a light back here and look kinda cool, like it's an overhead shop light. So, we'll turn that guy on and hoist it into the air. I wanna get it high enough that it doesn't hit all these tools and cause more reflection, so we're kinda using this ledge here as a natural flag to keep the light off of that. It's only really going to be hitting Ritchie and the motorcycle, because that's what we want. We don't need extra lights going everywhere. And this is just a Profoto B1 head, with a seven inch reflector. Pretty standard setup there. I need to re-aim it just a little bit. Perfect, alright, and we'll see how this is power wise, we might need to adjust. Hopefully, we're pretty close. As far as shooting, I love creating depth, so I actually am leaving these tires right in front of me. I may even shoot, like frame and shoo in there with a little bit of this tread so we can get that depth and that texture. So we'll do one test shot here. Almost look towards that garage door again real quick for me Ritchie. Yep, right there, that's perfect. Okay. So what I need to do, just lookin' at the other shots, is for one, okay everything's firing so we're good there. We have good balance with ambient and the strobe, but the only thing I really need to do, is turn up that back light just a little bit, so we can see a little more separation. Unfortunately, they're all on the same channel so I gotta bring it down quick. And then, we should be good to go. So, we should be ready to shoot. I'll have you come back up to that peg when you're done right there. And again, just kinda do your thing. Occasionally, I'll have you look up towards the garage door just for that. I'm just gonna keep shooting and changing up my angle. And if I see anything that needs changed, or see you do something, I might have you do it again. Things like that. So, I'll just shoot. (camera clicks) Look over towards the door once for me. (camera clicks) Yep, perfect. Alright, keep doing your thing there. I'm just gonna keep movin' around gettin' alternate angles, of basically the same thing over and over. Just watching the framing, so I make sure not to cut off his shoes or anything like that, watching for real distracting things or things in the background that affect the composition, positively or negatively. (camera clicks) Alright, once you get to a good point there, look over towards the door again. Yep, perfect. (camera clicks) Okay. I'm gonna shoot some verticals now. I'm gonna move just a little bit this way, 'cause when I go vertical, this scene was setup more horizontal with the motorcycle taking up two thirds of the frame, now to get the motorcycle and shoot vertical, I need to move over. We have our lights all set up so they work relatively well for the shoot either way. (camera clicks) Alright, I'll have you look over this way one more time. Just like right over the camera, yeah. And even, once you get done with, yeah that's exactly what I was gonna say somethin' with lowering your left arm. Now even glance back that way, as if someone said you're name over there. Yep. One more of those. Perfect, you can keep workin' on whatever you're workin' on there. Oh yeah, that's great. Looks really good. I'm gonna change one thing with my tether here, there we go. And now, we got the wide shot, so now I'm just gonna kinda play around with zooming in and changing up my composition a little bit, just so we can cover different angles. Alright, when you get to another stopping point, I'll basically have you do the same thing, yep. Lookin' straight at the garage door. (camera clicks) More vertical from over here. (camera clicks) Look right at the camera once. One more of those lookin' right here. (camera clicks) Perfect. I'm pretty good with all that, so I think we can kinda wrap that up. You can finish up what you're doin' there and then we'll move on to the next shot. Alright, so what you could see there is totally different lighting setup from what we did previously. What you were seeing on the screen was the pure raw, so I was allowing all that shadow detail to kinda get lost in the lighting, but knowing it's all still there when we're gonna bring it back through Capture One. And so, you'll see the final shots have a lot more detail than what you were seeing there. Also, I know that his face was in total darkness when he was workin' on that bike, I didn't care about that, because the shot that I was going for was when he looked backed towards the garage door, so giving him something to do, workin' on the motorcycle, made it more natural. But then, the only shots I was really counting on were the ones where he glanced back up towards the door, because you saw where the Beauty Dish was placed, it was actually behind him. I couldn't put it on the other side, because the motorcycle was so tall on that lift, it would of blocked all the light and I didn't wanna put up a light high aiming down, 'cause we would have lost all catch light. There wasn't really a clear answer to that. I wanted the frame with the tools, with the motorcycle, with the whole scene, but the only way to get the shot, the way I wanted, was to have him working and then naturally glancing up because that's where the front door of the shop was. It is where he would be looking had somebody walked in. Again, it's kinda figuring out, I know what I want the frame to look like, here's what the lighting has to be, now how do we get the shot that looks good. So, bringing it all together there. After seeing that setup, totally different, you saw, he was a lot less, there was a lot less interaction between me and the subject there, than there was with Alecia, so it's just a matter of me basically talking to myself a whole bunch there, and working through the problems that happened. But with that said, any questions now that we've seen two shoots with totally different subject matter? I have a question, it's more about before with the picture with the two kids, so for me, and I know for a lot of people, it's hard to go see people you don't know and ask them to take their pictures. How do you get the confidence to do it? Yeah, I didn't know those kids, I didn't know that family at all. I drove by and saw that situation and I thought ooh this might make for a good photo. So, for me, one of the things I do, is I printed off some promo cards at one point, that I hand out for potential clients that are five by sevens, they have four photos on them. They have my website, my phone number, my email address, they kinda show that I'm a professional photographer, and legit, and hopefully know what I'm doing. I'm like here's a couple samples of my work, I see this scene, I would love to photograph this for my portfolio, I'll give you guys some prints as well. I know this might be your house, so it is private, and it's something you see everyday so you might not have the same eye as I do when I'm looking at this, but I do think there's potential to make a cool photo, would you mind if I go get my gear and come back and do that? Or else I'll even bring my iPad, 'cause then I'm like here's my website you can swipe through it to get an idea of what I do. If you can picture your kids in this type of setting or yourself. I always try and build that trust by showing my work, because I am confident in the work I create and I know if I see something and I believe that there's a good photo there, I'm just doing a disservice to myself to be like oh they'll probably say no, I'll just keep driving, 'cause then I'm gonna be like, ah man I wish I would have done that. The worst thing that can happen is if they say no. And that's the same thing that'll happen if you don't try it at all. What's it really matter, and they don't know me, if they say no and they think I'm a weirdo that's fine. But at the same time, if they say yes, then all of a sudden your opportunity to create photos there, so it's kind of getting out of your own way, having something to help you, rather than just say, hey I wanna photograph your kids. That's probably never gonna go over well. But, being able to show them some of my work, assuring them that hey let me get your information, here's mine, email me and I'll send you some of these photos. And then obviously, the model release part two of are these gonna go anywhere commercially, or anything like that, or even being able to display them publicly, of getting that as well, and letting them know this is just how it has to work legally, so I can be able to do this. I approach anybody. I used to be scared to do that, but it came to a point, where the regret of missing out was so much worse than the fear of approaching them. And it's the same thing later on when we're talking about marketing, even emailing potential people to get work, I've been rejected many times in emails to photographers, or art buyers, or magazines, and at some point, it's whatever it's part of the deal. It's not personal, it's just get out there and do it 'cause otherwise you won't get the work you want. We do have a question from Mira Slava, who is in Slovakia, thank you for joining us, who says she loves your style of teaching, straightforward structure, to very practical. Thank you for those comments. Question is, do you ever use a tripod out in these types of situations or in studio? Yeah, that's a great question. And the answer is no. I don't even know where my tripod is. I like to move around a lot, as you see. I like to step on step ladders, I like to sit on apple boxes on the ground. I move around too much for a tripod. The only time I ever use a tripod is occasionally I'll do some photos where we let a longer exposure happen and we fire the flash a few times to create almost multiple exposures or extended exposures. That's more just for fun in the studio so I will use a tripod for that. I haven't even done that in awhile. I think I actually taught something like that in a previous Creative Live class. But for the most part, 99.9% of the time, no tripod.

Class Description

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • Confidently create environmental portraits
  • Light any portrait, indoors or outdoors
  • Compose strong environmental portraits
  • Cull and polish high-end images in post
  • Develop a portfolio and marketing tactics

ABOUT DAN’S CLASS:

Create dramatic images anywhere by mastering on-location scouting, planning, lighting, and composition. Join professional photographer Dan Brouillette in a start-to-finish course on the art of environmental portraits. From planning and scouting to post-processing and portfolio building, gain the skills to shoot high-end portraits, anywhere. While designed for environmental portrait work, this class is also for any photographer that wants to create better light, on location.

In this light-intensive course, learn how to craft environmental portraits using photographic lighting techniques working with both natural light and studio lighting equipment. Work with multi-light strobe set-ups and natural window light to turn difficult lighting conditions into beautiful light. Then, learn how to mix natural light and studio lights for dramatic effects that complement the scene. By incorporating light in new and inventive ways, Dan will help you push the boundaries of your portraits and improve your workflow.

Finally, work with culling and post-processing. Learn how to polish images using a combination of Capture One, Photoshop, and Alien Skin software. Then, gain insight into building a portfolio and marketing your work to work in editorial and commercial areas for environmental portraiture.

WHO THIS CLASS IS FOR:

  • Budding portrait photographers
  • On-location portrait photographers
  • Photographers eager to learn on-location lighting
  • Photographers branching into commercial and editorial work


SOFTWARE USED:

Capture One 11, Adobe Photoshop CC 2018, Alien Skin 2018

ABOUT YOUR INSTRUCTOR:

Dan Brouillette's high-end editorial style has lead to work with celebrities from Anne Hathaway to Scarlett Johansson. A commercial, editorial and senior photographer based in Nebraska, he's known for giving everyday people the Hollywood look. His previous work as a lighting technician helped him build his signature style using dramatic lighting techniques typically used for commercial work. With an insightful and easy listening teaching style, he helps photographers learn to craft with light.

Lessons

  1. Class Introduction

    Jump into environmental portraits with an overview of the class. Prep for the class with an overview in this lesson.

  2. Introduction to The Environmental Portrait

    What is an environmental portrait? Environmental portraits tell a story using a single image. Gain insight into the genre in this lesson.

  3. Environmental Portrait Purpose

    Why shoot environmental portraits? Environmental portraits encompass history, story, and personality -- and they are more interesting than plain backgrounds.

  4. Personal Work

    Personal work conveys your unique passion for photography. In this lesson, Dan discusses using personal work -- even for photographers with paying clients -- to avoid burnout and stay true to your passion.

  5. Find Your Process

    Every photographer's workflow may feel a little different. Start finding your own process by brainstorming, planning out personal shoots, scouting locations and more.

  6. Tethering

    Tethering allows your camera to instantly talk to your computer for review during the shoot. In this lesson, learn how tethering can boost your workflow and can help you easily pre-process your images during the shoot.

  7. Purpose For Action Editorial

    Ahead of the live shoot, walk through the purpose of the action editorial shoot in the photo studio. Learn why studio-like shoots are often a requirement.

  8. Prepare for Shoot

    Preparation is key to successful environmental portraits. Master what's essential to the planning process and learn how Dan prepared for the upcoming live shoot.

  9. Action Editorial Process

    Dive into the workflow for an action editorial shoot. Walk through Dan's process for this type of image, from working with the client to delivering the photos and invoicing. Read through an actual editorial assignment from a real magazine and learn how those details spark the planning process, including preparing the dramatic effects from studio lighting.

  10. Set Up Action Editorial Shoot

    Set up for the live shoot, beginning with the tethering software. Go behind the scenes as Dan sets up lights and explains the gear and his vision for the shoot. Work with studio lighting placement, including angles and the height of the light stand. Control strobe lighting with different angles and modifiers.

  11. Shoot: Action Editorial With Athlete

    Begin the live shoot with a test shot to adjust the studio lighting and camera settings. Here, Dan shares his camera settings, like the 1/200 shutter speed and a white balance of around 5500K, then works with the "first layer" of lighting with the key light. Add fill light using a strobe modified with a silver umbrella and an accent rim light. Then, move into action shots.

  12. Studio Portrait Shoot Overview

    Take a brief break from the live shoot and learn why studio shoots are often included to supplement the environmental portraits. Gain an overview of the process before heading back into live shooting.

  13. Shoot: Athletic Studio Portrait

    Set-up the studio portrait using strobe lighting and V-flats with a bright white background. Learn how to manipulate the light to brighten the background without spilling over to the subject using side lighting and "cheats" with V-flats.

  14. Shoot: Manipulate Light to Mimic The Sun

    With the right modifiers and light source, you can mimic natural light with studio lighting. Learn how to create hard light to mimic the sun in the studio.

  15. Shoot: Change Background Color With Light

    Using the same white background, learn how to manipulate the color of the background with light. Remove the lights to create a gray background. Work with several different studio lighting set-ups to manipulate the background color.

  16. Shoot: Create Soft Light with Umbrella

    After working with hard light, work with soft light by using a black and white umbrella with a diffusion sock to light the subject. Set-up the side light to feather on the subject without falling onto the background.

  17. Shoot: Create Intentional Shadows

    Working with studio photography lighting is just as much about the shadows as it is the light. Learn how to create intentional shadows using studio equipment.

  18. Shoot: Action Shots In Studio

    Go behind-the-scenes for studio action shots. Watch as Dan works with a handheld light without a light stand to replicate the look of on-camera flash.

  19. Review Images in Capture One

    Review the images from the live studio shoots inside Capture One. Cull photos quickly with keyboard shortcuts and see the results from the live shoot.

  20. Raw Processing

    Move into post-processing by working with the RAW files. Pre-processing with tethering offers a jump start -- learn the process of fine-tuning RAWs and organizing files.

  21. File Handling

    Organizing files helps streamline the process and make invoicing easier. In this lesson, Dan shares his process for sharing and organizing digital images.

  22. Retouching & Color Overview

    Strategize for post-processing in this overview lesson. Learn Dan's process for editing, including finding your style, and working with color.

  23. Retouch Images in Capture One

    Work inside Capture One to perfect the RAW files from the live shoot. Find tricks and tips to working in Capture One, working with exposure, contrast, and basic color temperature.

  24. Retouch Images in Photoshop

    Moving into Adobe Photoshop, remove distracting elements like stray hairs and acne. Work with the patch tool and clone tool to clean up images in Photoshop.

  25. Retouch Images With Presets

    Work with cropping inside Adobe Photoshop. Then, move into Alien Skin to work with presets to work with different colors and dramatic effects. Work with film-inspired presets, then learn how to fine-tune the effect.

  26. Advertising Vs. Editorial

    Editorial work and advertising work have several distinct characteristics. Learn the difference between the two and how to please both types of clients.

  27. Indoor Location Shoot

    Move into the second shoot of the class with an indoor shoot on location. Gain an overview of the goals and process for the shoot.

  28. Indoor Location Shoot Process

    Prepare for the shoot with tips on the process of the environmental portraiture. Work with a checklist and a shot list, then jump into the first in a series of behind-the-scenes videos in an artist's studio.

  29. Get to Know Your Subject

    Understanding your subject helps create unique, authentic images. Learn how to collaborate with the subject. Find the essentials to quickly getting to know the subject.

  30. Test & Frame Your Shot

    With a shot list and understanding the subject, Dan then moves into analyzing the location and the natural light or ambient light that's already in the space. Work with testing the light and framing the composition.

  31. Create Natural Light

    Placing lights where they'd naturally be in the space helps create flattering, dramatic lighting that doesn't look terribly out of place. Work in the shooting space with initial lighting and start shooting.

  32. Natural Light & Alternate Light

    Every portrait doesn't need studio equipment lighting -- work with natural lighting and window light. Alternate lighting can build variety into your environmental portraits.

  33. How to Shoot Indoor Location Portrait

    Along with action-based environmental portraits, a more formal, looking-at-the-camera shot is often part of each shoot. Work with shooting portraits on location, from setting up the studio lighting to composing and getting the shot.

  34. Indoor Shoot Results

    Review the results from the indoor shoot in this lesson. Dan explains everything that went into the shot and why he made some of the decisions that he did.

  35. Outdoor Location Shoot Goals

    In the third shoot of the class, head out to a location with natural light inside a garage and outdoors. Learn how Dan prepared for the session and the goals for the shoot.

  36. Indoor/Outdoor Light Setup

    Work with outdoor and semi-outdoor locations by tackling the lighting. After scouting and settling on a narrative, work with studio lighting tools to create dramatic effects. Go behind-the-scenes for the three light set-up using artificial lighting.

  37. Studio Light On Location

    Mix the natural light with the ambient light in this shoot outside the garage, continuing the third project of the class. Learn why you might use artificial lighting outside and how to mix the sunlight and a studio light kit.

  38. Create Location Portrait

    Work with the location portrait from the third shoot of the class. Learn how to spot locations for the more formal portrait and work with graphic compositions and more dramatic light.

  39. Outdoor Shoot Results

    Take a look at the results from the final shoot. In this lesson, Dan shares his thought process behind creating each shot and why he made the lighting and composition decisions that he did.

  40. Post Processing Overview

    Make a plan to polish the images from the second and third shoots. In this lesson, get an overview of the editing process before jumping into the post-processing.

  41. Choose Selects & Sort Images From Indoor Shoot

    Cull the images from the artist's studio and the garage inside Capture One. Review the images and go through the process of choosing what photos to edit and deliver.

  42. Edit Raw Images from Indoor Shoot

    Learn how to polish those indoor shots inside Capture One. Work with exposure, contrast, and color with the shots from the artist's studio.

  43. Finish Images in Photoshop & Alien Skin

    Work inside Photoshop to remove scuffs and scrapes on the walls and other clean-up tasks. Then, work with files in Alein Skin to color using presets.

  44. Portfolio Management

    Moving into the portfolio and marketing segment, gain insight into building a strong portfolio. Dan shares tips on building a portfolio, from what order to use to choosing what images to include.

  45. Importance of Website

    Websites serve as a first impression of your work. In this lesson, learn the dos and don'ts to building a photography website, like focusing on images and simplifying navigation.

  46. Marketing 101

    Your portfolio doesn't do much good if no one is actually laying eyes on it. Develop strategies to get your work in front of potential clients for editorial and commercial work.

  47. What About Reps?

    Reps work with the numbers while you focus on the photography. Learn the basic pros and cons to working with representatives or agents.

  48. Bring it All Together

    Wrap up the course with a final chat on environmental portrait photography. Once you've built a successful business, remember to take the time to get back to your roots and shoot for yourself.

Reviews

Julie V
 

I had the chance to sit in the audience for this class and absolutely loved it. Watching Dan create amazing images from start to finish in front of us was so inspiring. I've learned so much from this class. It actually gave me the confidence to start playing with lights in my studio. It was really useful to see how he sets his lights and how he can easily mix ambient light with artificial. I also love how he focuses on getting the image right in the camera to only do light edits after. I recommend this class to anyone wanting to learn more about lighting, shooting tethered and editing efficiently!

a Creativelive Student
 

I love this guy! I so appreciate his honesty while he is explaining his thought process, admitting that his “shoulda/coulda/woulda’s” - which I experience ALL the time. I am now going to dust off my light meter and start using it on location as I’m convinced that it works now that I’ve seen Dan’s class. I enjoyed the detailed way he sets up each light individually, checking to make sure it adds the amount and quality of light he wants. Definitely recommend this class - especially for those people who have experience using studio lights and want to see how they can be used to get specific results. Dan’s clear, simple explanations, his unabashed humility, and his sense of humor made this a truly enjoyable way to spend my time learning his methods.

Tim Hufnagl
 

to the point, worth every cent. dan is an excellent yet humble photographer not holding back any information on how he achieves is style. also i did not now, that first officer will t. riker was not only serving starfleet, but is an excellent photographer! ;-)