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Intro: Ways of Shooting Part 2

this one, which is again, has been used in the promo. I'll just mention here cause I love it in terms of this idea of creative photography, this was actually taken with an infrared camera pocket little camera. I think it was actually a little power shot. 8 little teeny cannon, one that I had converted just because it can always be with me. And if you've ever shot at this place in the canyon lands, you know that there's about 400 photographers right behind me all lined up, waiting for the sunrise, right? And the last thing you're going to get is this unobstructed wide angle view with no photographers. It's virtually impossible unless you wait until the sun's right behind And people are kind of waiting. They've shot it below the arc, the arch, and they're gonna wait for it to go above you Say, Excuse me, do you mind? You know, you've got a little point and shoot. So you're the cutest little thing in the world. They're just going Olynyk you get him, He's just pretending. So could I just ...

jump right in there and get in front of you just for a second sure. Go ahead, click, click, click, click, click, click, click. Thank you so much. What did I just dio? I just got If it's a 12 megapixel camera shooting in the horizontal click, click, click, click, Click. Probably a dozen shots is what this one is. I've got 100 megapixel file wide angle, nobody in the shot infrared gathering, the entire scene, including idiot on top of the Ark Nobody else got. And I got it with a point shoot, and I'm still at 100 megapixels and I'm an imprint. It's ridiculously wonderful use of the technology to tell a story that is very unique. And it was based upon the fact that thinking different, thinking that you can get away with murder because the point shoot, you know, if you're doing street photography, you know it's infinitely easier for you to take a shot like this rather than pull out. You know, your big boy camera sticking somebody space. They're gonna say what you know. That's kind of creepy. Need IPhone. This is cute. Cute versus creepy. One of the things that we'll be talking. Okay, what angle? You see that absolutely love these sorts of scenes appear night, this would be considered is a creative use of, um, white balance, pushing it to the extreme so again, going back in camera and talking about the creative uses of that more infrared we're talking about serious. I like shooting feet because they were always with me. You'll see that I shot here around yesterday. We had a little dolls, little toys, little different ways of doing a serious of photographs. We'll go through that one quick because some of you may be offended by nudity that need may even need to be, but infrared again figure work. I wish we could do figure work. But infrared, both portrait and figure, is fantastic again. Are wonderful ability to shoot chlorophyll. The chemical composition of things by dealing with this invisible portion of the light spectrum will be doing that tomorrow. A hand tented infrared shot for those you've never done infrared. I'll just mention here it is something that you customize your camera for. Usually it's again I really love point and shoot cameras that have been converted for infrared just because they make amazing travel cameras because you can shoot anytime day of the day. There's no bad light for infrared. So where is normally you have the magic hour of the 10 to rule before 10 in the morning or after two in the afternoon to get the golden hours of light infrared. You can get away with bloody murder because you're drama is going to come from the chemical composition of your sky and your college so you can get amazing stuff with infrared in the middle of the day, which makes them great travel cameras. So I like the point and shoots, because again, that can always be with me. And usually you've got last year's point and shoot or, you know something. So reflections, more water. You get the idea underwater panorama in the in the Galapagos, so stitching panoramas, even in something like motion in underwater, you can get away with murder. Okay, you get the idea again, Motion blurred. That, for me, is just what is going on here. This is like a projector of our sunset, seen projected on a translucent poem. No home tree trunk of a palm tree. What's going on? It's like quantum physics. When you get into motion blur photography, all bets are off and basically God's taking the picture. Hey, you slow down that shutter speed down to 1/30 of a second or something like that and whether this would be sort of a drive by shooting is what I call a walk by shooting. So I'm going by and I'm specifically moving. Well, I'm going through this Palm Grove over in Hawaii, but it allows you to get these sorts of things where I couldn't explain to you why. I mean, I know why it's semi transparent because of the movement. But why these trees are, and I actually do understand because of the darkness of the tree trunk. How that showing up. But it actually looks like the environment is being wrapped around a translucent palm tree trunk. That, to me, is just expands. The whole idea of photography again. Different portrait. It's different creepy HDR stuff, and we will do some portrait. I don't do a lot of Portrait's. I don't take clients anymore, which is awfully nice. Wouldn't that be nice for all of you? Do not need to take clients, but I really will talk about that and some lighting samples and things like that. Okay, you get the idea of where we're going and what floats my boat again. Point and shoot cameras should be absolutely illegal to get this with a point and shoot camera, I phone. And when we get into Panorama and a couple days, we'll also be talking about creative post techniques like this. What I call tossed on the table collage. You've got an option when you stitch panoramas inside photo shop. You may have noticed, like Lage option that allows you to automatically aligned the images without distorting them into position, so it leaves them in their rectilinear format. But it lines them up and keeps them as distinct layers, throwing with a layer style. And all of a sudden you've got your drop shadows and your little border frames throwing a little image warp on there and you've got your little Ben things. Okay, you get the idea. Creative white balance, more motion blur. Ridiculously beautiful daughters. I'd like to say that's a creative use of white balance, but that's actually our hair. So that's not hand coloring and mawr from that same scene and central park. Okay, you get the idea. This is when we talk about post the original shot in Chicago and then doing some creative manipulation, some aging and grunge ing blurring framing. These are the sorts of things that will be talking about post. Maybe when you've got the great shot, you've got a story there. But it's not speaking to you it, especially in this case, we've got this antique clock for May. The the presentation of the image is gonna be dramatically enhanced by me coming up with a post process that accentuates and supports and extends the story that I'm telling with the image for me, that is, the exciting part about Post is I can actually strengthen the story, not just throw on a special effect, because you can. That's one of the challenges with all this over the top post processing that we're seeing The instagramming of America. All right is that everything has got something thrown at it in terms of in effect, sometimes having nothing to do with the story that's being told. It's just because I've got flaming chrome letters that I can throw on it, and so boom, it's in effect. If it's not strengthening the story, then you're actually detracting from the image that you're tryingto share. So that's what we'll be talking about is, you know, coming up with post processing techniques that actually do strengthen this story that you're wanting to tell again. Here's both panorama as multiple images shot as well, a slow shutter and, uh, Grand Central station. You get the idea? Okay, more infrared straight out of the camera. This is an infrared portrait of my daughter straight at the camera, the point shoot camera. Just a whole different story. Unless you have a camera that shoots that you've never gotten that unless you were eating mushrooms. Um, you know, straight out of your camera, you're just not going to get that sort of thing. For me, that's one of the great uses of technology is to come up with things that you normally don't get slow shutter. When we get into our aerial photography again, not only aerial photography, but being able to stitch it into Panorama is, and things like that, to me, is fantastic. Panorama is of sushi. What could be better again? More aerial shots, stitch, panoramas, and, uh, there are commercial uses for it, except for, of course, that you're not legally allowed to sell aerial photography we'll be talking about when we get into drone photography or air of photography, which I'm sure you're seeing all over the area. Yosemite just banned use of drones inside of Yosemite. I'm sure a lot of national parks are gonna follow suit. The idea if you're using remote control devices are see devices. Um, for commercial use that needs a very different permit. You're not allowed to profit from drone photography, so that will be a topic that we talk about. This is my house right there. So, yes, Nana. Okay, so you get the idea down in the Caribbean, we'll be talking about you don't have a aerial photography. We'll be talking about poor man's aerial photography. Which just means getting up really high and pretending that you got that This was down in the Caribbean. Just a little bit, homes. Well, okay. The missus flying in, um, two days ago here into Seattle. You've seen this shot? If you're familiar with Seattle and then just doing a little tweak of it to simplify in terms of our post to add to the drama of our little which mountain is this looks kind of like a mount Fuji. It's good. Okay? Yeah. Yeah, it's just absolutely love it. Framing composition. Okay, you get that here. When we get into Panorama. Just mentioned this is technology and then we'll kind of move on this shot. If you've ever shot a vertical panorama with any kind of camera aside from your IPhone and going click, click, click, click, click. What's noticed? Key stoning or the perspective The vanishing point of looking up is going to give you kind of that shot you notice of Grand Central Station work? Does this sort of thing was basically completely freaked out? It says, Dude, you gotta be kidding me. I can't do it. It's very, very difficult to shoot a vertical panorama because of what happens with three point perspective. When you look up things, they're going to converge at a vanishing point and then down at it. That's why we shoot with a level tripod when we shoot Panorama. You certainly wouldn't shoot panoramas with fine middle lines. Okay, the rigging in this sort of thing so you can't shoot Vertical panorama is in any way consistently without big trouble. You can't shoot thin little metal lines, no matter what. Because each shot has got the lines are doing their own thing. So this right here this shot is virtually impossible to do with out a camera that actually shoots in this idea of a segment where it is shooting little teeny, tiny segments along the way and also has a built in six D gyroscope which is going okay, I know that you're looking up, and I'm gonna compensate for that during the shooting process. So it knows its orientation in three D space. Your big boy camera. Big girl camera does not know that it's not gonna shoot a panorama in small little segments. So the combining of these different technologies and something is quote unquote simple as our mobile phone is allowing us to tell a story that is impossible, even just a few years ago were very, very, very, very difficult. And now, of course, it's this click. Wow. Holy And we got it. Okay, so, again, great use of technology in framing composition. Okay, so this kind of my summer vacation, this one when we get into night photography, that's right here. Night. Okay, So slow Shutter. Long exposure architecture. Dealing with perspective. This is handheld IPhone. No tripod. What exactly You go. You got no bad. No biscuit. You can't do that. That's an impossibility. You cannot. You can't do that sort of image. It's hard to do with an SLR. It's especially to stitch it and keep your exposure across multiple things, looking towards the light and completely away from it. The fact that you're able to do this with an IPhone is just ridiculous, and we'll be talking about that. That's why you're going to notice when we go later on in the class. What? Basically what we're gonna be doing is following me out in the field and you're gonna see me look doing like best in impression of a Japanese tourist with 4000 cameras around me, right Japanese towards to glory. This name I haven't been to Japan will be speaking Japanese and Chinese throughout the class because swearing in Chinese is allowed on camera. I don't know why, but it is especially if you've watched this TV series Firefly tell me some of you guys air familiar with Firefly Netflix Get it? Firefly. Best TV show ever. All the swearing is in Chinese sci fi Western trust anyway, okay, back to it. Another one of those panorama is That should be absolutely impossible again. Done with an IPhone. Okay, you get the idea hdr shooting into the sun again. In this case, done from that crow's nest up in the Caribbean, you get the general idea of what I shoot again. Just something as simple as 1/30 of a second exposure with a tripod. This would be it. You did not shoot this with an IPhone. Yes, you're wondering. No, this is not an IPhone. This isn't a pocket camera. This is an SLR. This is over on Molokai. But that's our galaxy that we live in the Milky Way and something as simple as understanding the settings on your camera's gonna allow us to do some amazing stuff when we get into night sky photography, creative uses, as I mentioned before of panoramas again. Vertical panoramas. This is from that creative photography for the soul class. Just absolutely kick in the pants that were able to do these sorts of things with the case over here on Molokai. Okay, infrared macro motion blur our drone. This is Ricky Cook, National Geographic photographer, over on Molokai with his set up. Okay, So and we will do a little bit. I'm not expecting most people to jump into the waves and shoot this sort of thing. But knowing that you can with a GoPro, this is shot with a GoPro GoPro. One of the great things about the GoPro is it has a burst mode which will shoot 30 full resolution files in one second. So 30 frames a second allows you to get these sorts of shots where you can just pick the best one. A lot of what we'll be doing is taking advantage of this concept of shooting your bloody head off and choosing what's good after the fact again cheating. You know, Aziz Well, as carefully composing the shot. But again, this is a simple GoPro camera shot. They were photography and back to infrared over in another handheld night shot IPhone in Las Vegas. Okay, you get the idea. This one of my favorite this right here is moving out of a moving taxi in San Francisco, Obviously, but, um that to be with your cell phone. And obviously I composed that shot. It took me an hour to get this composition just exactly right? No. As I mentioned, it's a moving taxi. And for me to be able, Teoh, um, tell that story just floats my boat to no end. I just absolutely love that shot. So okay, questions about where we're headed with Siri's and specifically what we're gonna be getting on with today, Yes, techniques and things like that that you can actually do with either the IPhone point shoot or DSLR. And it just are these permanent changes that you have to make to a camera or you're able to go back and forth the only the only permanent change. Very good question is on that infrared the concept of a new infrared converted camera because it is actually changing the portion of the visible spectrum. Basically, you've got the visible spectrum from of a rainbow from red to violet. When you go past red, you get into infrared, the wave lanes air so large human. I can't see him to get very, very large. The wavelengths spread out and you get from Violet, you get into ultraviolet again, an invisible portion of the spectrum. They get so small the wavelength. So, um, that's where we convert the camera to see what the human eye can't see, and I do recommend a permanent change. They do have cameras where you can. Basically, each one of our digital cameras has an infrared inhibitor known as a hot mirror built into it that stops infrared from coming in. That's why you can't just screw on an infrared traditional filter on top of your camera and shoot infrared with a digital because your camera set up because infrared light actually degrades the image somewhat so they block all infrared light. If you allow a filter that Onley allows an infrared light, it says, Dude, you're working against me here and you're back to really long. You can do it, but really long. I'm shutter speeds on it, so it kind of defeats the purpose. That's why we actually, when they convert a camera for infrared, they strip out that hot mirror and actually replace it with a piece of infrared glass. Some people, what they will do is they'll strip out that hot mirror and then they'll screw on a infrared traditional infrared filter on top of the camera. The problem is, if you have an SLR that when you look through your viewfinder. You either see the world in full color because it's bypass. Well, actually, it's gonna be looking through the infrared glass and it's pure black. Can't really focus. You can't compose. It's not nice. Then you're into live view, which is a little bit awkward with a DSLR. So, um, answer a question that is one area worth permanent. Everything else that we're gonna be talking about is either gonna be a lane lens change setting in your camera change or just something that's built into the camera capabilities and mostly the vast majority of what we're doing here. Almost everything that you've seen here can be done with a point and shoot or an IPhone as well as a DSLR. DSLR is going to give us some more options in terms of lens choices and things like f stop, which we're gonna be touching on for those of you who not, you know, up to our three basic things that control our exposure in a camera R f stop the iris, the aperture in the camera shutter speed, How long the shutter is open to take the exposure and the I s o or the sensitivity of your sensor. What would have been the film? In the olden days? We'll talk about those three things. So just want to reiterate for one of our folks in the chat room. Larry the camera guy. It's not a physical. Change the camera to be able to shoot infrared. It is a is a physical change. Okay, Physical, permanent, physical, permanent change. Okay, we'll touch base on the specifics of getting it, but yes, the infrared is one area where I do you recommend specific, um, equipment, but I often will. I enjoy inference. You're gonna notice two of my main emperors. I've got three infrared cameras over here. Two of them are One of them is a point and shoot ones of micro 4/3 1 is an SLR a point and shoot. In this case, a canon G I think. Excellent. Infrared camera, raw shooting, manual controls. Excellent point. Shoot with you. Always for travel. So what a lot of people do is they convert a older one or in this case, just go unused. You could get a used canon g 15 built like a tank, you know, on eBay for next to nothing, and then send that in for conversion on the conversion typically is around $250 or less. So there were basically anything that I'm gonna be sharing in this class. It's something that you can do for a few $100 less than you would do with a nice piece of glass, even if you buy something like a GoPro GoPro top of the line, um, hero plus ah, hero three plus is $350 with the waterproof housing and the camera and the remote control the WiFi remote control that's waterproof slices. Dices make hundreds of julienne potatoes and just seconds. It's only a few $100 even your copter, even if you get one of those copters, a copter you know The phantom vision to Plus, which is the current one, which will be using in the class here is, you know, $1300 or something like that. So for a photographer, you know that seems like a lot. But as opposed to buying your own helicopter rial one again, that's that's cheaper than a nice lens, and you have the camera really nice raw shooting, 14 megapixel video, 10 80 p and you're flying so Okay. Speaking of which, here is Hotel del Coronado in San Diego. Panorama from 400 feet up and, um, should be illegal to shoot that with the ice rink on the sand and sunset with all of San Diego in the Coronado Bridge in the background, we have a question that line about APS that you're using. So on your on your phone, are you just shooting that raw and then doing your post in photo shoppers with together? Are you actually using an app to capture the image I usually capture in terms of mobile photography? I capture with the default camera just because it is set up to take advantage of the CPU. The current IPhone has a ridiculously fast a seven chip cool, groovy awesome shoots at 10 frames a second for almost unlimited over 100 frames. As I showed you, the panorama is amazing on it. Shoot up 28 megapixels with a built in camera. The only time when I don't shoot the video or I'll sometimes think about it is when I for a mobile cameras shooting video, because there are APS like filmic pro that allow you to change the compression ratio for your video. So when you want to edit it later on, you can get higher quality. So things like a filmic pro is an excellent video app. Because it actually lets you change that the way that images air compressed. Um, so but we're in terms of tweaking of images. Um, I love, we've got We've got Photoshopped Express is an amazing app. Basically, is light room in a CR In a little app on your IPhone, we obviously have light room mobile now. Amazing. Hello. You guys all have, like, room mobile. Fantastic. It's finally out. Basically, you've got the develop module, a good chunk of the develop module at your fingertips, and it automatically syncs back to your desktop. Um, catalogue in full resolution takes advantage of smart preview so that the smart preview goes down to your phone. You're actually editing your raw files on your ipad, and then when you tweak it, it automatically sets the change back to your desktop. You guys didn't know that I am getting looks. The studio audience here is giving me looks like I didn't know that you should know that. It's kind of like, you know, the second coming that significance, you know, it's really cool. Adobe has been doing some amazing stuff with their mobile app. So between things like First Express, you have Photoshopped touch, which gives you layers and masking and all those sorts of things that are there. I love snap seed Google bought next software Snap. See, it is an amazing free piece of software. So tweaking stuff on your phone or your IPad is excellent, and I do that all the time. You're going to notice that I use, um, mobile photography, both shooting and tweaking as kind of a previous pre visualization if you're used to that term. So when we're shooting Panorama is an example, there's no reason for me toe ever take a panorama without first taking one with this Because I can stitch it instantaneously. I'm done. I get Is that a good story? How am I gonna work out my composition? Where am I gonna am I gonna break it up in the thirds with my subject matter? How am I gonna do that? Obviously, the problem with shooting it not in the camera is you have to stitch it later. If you're using your big boy big girl camera, click, click, click, click. When did I get how is that gonna look? How is that going to bend my view of the scene? So doing a previous whatever you're doing, whether it's macro or panorama or all sorts of creative stuff with your mobile device. And then you go, Wow, that was the money shot. I can retire on this shot. Then you pull out your big boy camera or something else and shoot it for real. Course. All of us know the dirty little secret is that we don't pull out the big boy camera because we're so freaking giddy with this camera that we go. That was it. I got the joy. I got it. That was my pleasure. I can I can die now and go to heaven. Happy because I got the shot. And that actually is a really good point that for a lot of us, we're never gonna print. We're not printing our work anymore, right? Yeah. How much? How many of you are actually displaying your work in galleries or in shows? This way, our competitions are digitally. That's what some of you are, which is great. Hopefully you've still got your nice, you know, printers in the back that are not gathering dust, and you're keeping them maintained. But for the most of us, for most of our photographs, not all of them, but for the most of us and most of our photography, we shoot and share them all digitally. It's screen based sharing of our artwork, and that is great. It's also sad because of the loss of prints as an art medium. It's very, very sad, especially the bill inability to interact with something on the sort of scale. Okay, this this scale of this is cool is this is is come on, Instagram. It's why I don't do instagram Because I can't. You're not even gonna let me pinch come anyway. So, um, but the great thing is is that it is instantaneous. It is universal. We can share it. People are being inspired. Um, it is making a difference. We are telling stories. It's allowed us to do things that we've never done before. So I love it from that standpoint. Even if we're shooting and, um, tweaking the images on a mobile device and it never sees our desktop. Okay, Okay. All right Motion blur. Yes. Those are really colored pigeons who die? Yeah. Famous rainbow pigeons of Molokai, Hawaii in motion. Okay, I'm or emotional. Um, what I want to do here is start on. Let's talking about, um Oh, gotta do Tonga. Kind of this Is this right here? These images were shot with a pocket camera, which again should be illegal that I wasn't in this case. I was shooting with my go pro for video, and my only still camera was my little TG TG to camera. So the fact that this is a pocket camera, um, again should be should be illegal. Just should you know, the Tonga police should have pulled up and, you know, just had me arrested. Um, but okay, big boy camera back. That shows you that the equipment that you're working on isn't nearly as important as understanding the moment and how to shape the scene as well as had a tweak afterward. A lot of these reasons why these can be as quote unquote good as they are is because I can tweak them within an inch of their life afterwards. And that's why that third prawn of this class before during and after is so important, Um, because it allows us to extend what's possible. We are going to find challenge images coming from the IPhone or appointed clicks, or even by RSL ours. If you're shooting something quick enough, you don't have the time to change your settings on your SLR, so you may have a shot that's a little bit compromised. The nice thing about an SLR is hopefully you're shooting in the raw file format that is a lot more forgiving. Will allow you do a lot mawr if you understand what is possible with inside a photo shop or light room in terms of tweaking your images, Um, but still, um, what we have now with our current state of technology is the ability to basically get away with murder. We really get to focus on the story. We get to focus on the moment we get to focus on the art. We get the focus on what's floating our boat, and that's really is, You know where we're starting with this idea of permission? Can you go out in the day with a feeling that whatever you come into contact with, you can turn into art you can share or just for yourself. Just experience it. That's for a lot of us. You know? What is the camera? It could be like if you're like me, you don't do social media. You can't find me anywhere. You probably noticed that if you you can find me, don't tweet. I don't Facebook. I don't really like people. I love you guys, you know, sit me down at a bar with somebody with a shared passion and yak all night, but in terms of just social. Yeah, you know, don't do it. Um, so it's not I'm not doing this to share. I'm doing this for my own personal jollies. Right? And this is an interesting part about this class and especially this idea permission about how you start in how you look at your photography. One of my cinematographers that I was shooting with in Los Angeles for the class that you'll be seeing today. Geno Andrews. Excellent photographer, cinematographer, film maker, athlete, magician, yada yada is that would be shooting things. And he'd be going, I'd be shooting flower. I'd be shooting some, you know, random angle of a building and why you're shooting that How are you gonna use that? Where would you display that? How would you disperse that? And it wouldn't even occur to me. I was shooting it out of pure pleasure just because I saw angles and positive negative space and it just it floated my boat. And he's being in the Los Angeles Hollywood scenario unless it could have a practical application. He didn't even want to waste the time that the pixels, so to speak. I wanted to move on to something that had a practical application to it, or was an award winner or something that would be shared something. It would be in a competition. And one of the things that I'm hoping as part of the Siri's and even as part of today is to let you realize that you can create art even if you never, ever share it. It never leaves your camera, never leaves your phone. If if the camera, if the photographic process slows you down enough to see God's creation man, that's good enough, right? Forget, You know, leave the film out of the camera. Forget the SD card in the camera. If you, you know this is filled up the battery's dead. If you just pretend and it slows you down enough to look at that scene and go right, That's what we get from our photography is that it slows us down to to take in the moment, right? This is a moment from light workshops there. California Photo Festival coming up this fall in Morro Bay. But, um, to take this shot, I had to slow down enough to think about it, to compose it. Do the panorama that actually created it was beautiful. And I may have been tempted to move on to something else. Specifically, These were shooting those horses that you just saw going by is what was going on here with all these crazy people lined up all these photographers with their tripod, you know? Um, here, Um but this shot here, if I wasn't taking a picture, I would not have slowed down to enjoy the process of this beautiful communal activity of this scene here in Morro Bay. Okay. And there is the same rainbow birds not in motion blur showing in the thousands of a second rather than 1/30 of a second. Do you use small lenses and attachable lenses for your IPhone for doing macro and other styles of photography. I do, um, the Olo clip is probably the most popular of these sorts of add on lenses for mobile devices. Um, their default setting is a macro wide angle, and a fish eye macro is amazing. Fantastic little add on to it that lets you get ridiculously close, the wide angle and the fish high or excellent for video. The one thing that you'll notice with how video is shot on these very small sensor cameras is they basically crop in on the sensor to grab just this small section of the center part of the sensor. So what? What may be a 50 millimeters standard 35 to 50 millimeters standard view on the IPhone. When you switching over to video, you'll notice it becomes a little bit of a telephoto, kind of like a 70 millimeter zoomed in. So you're no longer getting a group shot with your video, you have to step back or something. So adding the wide angle or even the fish islands because it's only using the center portion of the image, actually crops out the distortion on the edge. Excuse me and allows you to get back to a nice wide angle for your video. So those air great I do use custom cases that have built in lenses for things like waterproof iconography. Um um, there's another Siris of lenses for mobile phones, sky prescriber. I'll have to pronunciation. So it's a nice a piece of glass. It's, ah, multi glass set up, and there are also excellent for mobile devices. But the Olo clip is a great standard, and how to recommend it both for the macro and the wide angle capabilities.