Instruction

Manual 152MC

Section 1: Pinhole Photography Section 2: Working with lights (Studio and Location)

SECTION 1: Pinhole Photography

1:1 Introduction into Pinhole Photography 1:1.1 Revisualization 1:2 What you will need to create a pinhole camera 1:3 Requirements for a successful pinhole image 1:3.1 Pinhole 1:3.2 Environment and considerations 1:3.3 - Tripod 1:3.4 Making your own tripod 1:4 How to make your pinhole camera 1:4.1 Using a box 1:4.2 Using a can 1:5 Different containers and their effects 1:5.1 Can 1:5.2 Round Sweet Tin 1:5.3 Box 1:6 Taking photos 1:6.1 Using a Box 1:6.2 Using a can 1:6.1 Creating your negative 1:6.2 Turning a negative into a positive 1:7 Digital Pinhole Cameras 1:7.1 How to create a Digital Pinhole Camera 1:7.2 Digital pinhole imagery 1:8 Useful tips for pinhole photography

SECTION 2: Working with lights

2:1 Introduction to the studio 2:2 What you will find in a studio 2:2.1 - Lights 2:2.2 - Rails 2:2.3 - Tripods 2:2.4 Modifiers 2:2.5 Reflectors 2:2.6 Infinity Curve 2:2.7 Infinity Cove 2:2.8 Backdrops 2:2.9 Ladder 2:2.10 - Heavy Duty Tripod 2:2.11 Flashguns 2:2.12 Kicker Doors 2:3 Portrait Photography 2:4 Product Photography 2:5 Different Modifiers 2:5.1 Softbox 2:5.2 Umbrella 2:5.3 Beauty Dish 2:5.4 Honeycomb 2:5.5 Snoot 2:6 Pocket Wizard Radio Triggers 2:7 Sync Cable 2:8 Introduction to Travel Kits 2:9 Battery Pack 2:10 Whats inside a 500wTravel Kit

2:10.1 Two 500w Flash Heads 2:10.2 Two Stands 2:10.3 Two Umbrellas 2:10.4 - Sync Lead 2:11 Whats inside a 750w Travel Kit 2:11.1 Two 750w Flash Heads 2:11.2 Two Stands 2:11.3 One Umbrella 2:11.4 - One Softbox 2:11.5 - Two Mains Leads 2:11.5 Pocket Wizard Radio Triggers 2:12 How to assemble the travel kit 2:13 Light Meter 2:13.1 - Different Modes 2:13.2 - How to read a reading 2:13.3 - Tips for using a light meter 2:14 The Zone System 2:15 Different set ups 2:15.1 - Dark background 2:15.2 Creating shadows 2:15.3 Creating an even light - 2:16 Health and safety 2:16.1 - Creating a pinhole camera 2:16.2 - Shooting with your pinhole camera 2:16.3 - In the studio 2:16.4 - On Location 2:17 Creating Lighting Diagrams 2:17.1 Adding information

 SECTION 1: Pinhole Photography

1:1 Introduction into Pinhole Photography Pinhole photography is the fundamental of photography today. It is where it all began. It is the simplest way of taking a photo to date. A pinhole camera works the same way as a camera obscura, providing this is done correctly and only a minimum amount of light is getting in. This on a pinhole camera should be literally no bigger than a pinhole. The smaller the hole is, the sharper the image will appear. The pinhole acts as the lens.

1:1.1 Previsualization [1] To capture a successful pinhole image, you will want to previsualize your image. The reason this is key is the fact that with a pinhole camera, there is no viewfinder. It might not be obvious where your pinhole is aiming for so you need to be careful on where you set your camera up to capture what you are previsualizing. 1:2 What you will need to create a pinhole camera To create your pinhole camera, you will need, A box: this should be light proof. This can be done by securing the sides with electrical tape and painting the inside black so minimize the amount of light being reflected inside. Suitable boxes include, sweet/biscuit tins, shoebox, jewellery box. For a different approach, you could use a can. Such as, a beer can, coke can or a similar shape such as a pringles tube. Depending on what kind of container you use for your pinhole camera will determine the outcome of the image. Electrical Tape: As mentioned above, this will stop all excess light spilling in. This is also used for the shutter, which we will get further into later on. Paint: To paint the inside of the box (not always required) Light Sensitive Paper: This is what you will use inside the camera to capture the image. Safety Pin: I find these to create the most successful pinhole. I have found drawing pins tend to create a slightly bigger hole and with pins and needles, they care sometimes hard to get drip of and have a slightly wider diameter than a safety pin

1:3 Requirements for a successful pinhole image 1:3.1 Pinhole When working with your pinhole camera, to create the best most possible sharpest image, you want your pinhole to be as small as possible. Using a safety pin with a very small diameter will allow you to create the required size. 1:3.2 Environment and considerations The lightsensitive paper inside your pinhole camera reacts more dramatically to UV light. This tells us that when using your pinhole camera, the exposure time outside will be very short in comparison to using your camera inside with tungsten lighting. I have never had to expose my camera outside for longer than a minute. This is whilst using a shoebox and a sweet tin. However, when using something such as a can, this will require less time due to the fact the paper is closer to the lens. I have used a can before and have used an exposure time of 2 seconds in sunlight. Indoors however, you want to be prepared to exposure your camera for upto a few hours. This is misleading as you may think that the room is just a bright as what it is outside, however, it is a different type of light, which the paper reacts differently to. When exposing outdoors, you will need to be quite careful not to capture your hand in the image. In the past, I have held the shutter off for 1 minute and you can see my hand in the corner of the frame. This obviously, ruining the photo you have previsualized. A tripod will also help with this. (1:3.3) Exposing indoors, if you want to cut down the exposure time due to inconvenience, you can create a larger aperture. However, be prepared for an image which will not be as sharp as before. Before exposing your image, you may want to remember which way up the paper is in your tin, especially when using a circular shaped camera. This way, you can create the print the right way up. (1:3.4) 1:3.3 - Tripod A tripod is very beneficial with pinhole photography due to the potential long exposures. It can sometimes be tricky to find something suitable to fix your camera to due to the shape of your box. If your camera is a box, then placing it on a table/wall etc will work fine. Using a biscuit tin, or a can vertically however can be quite tricky due to the camera rolling away. A tripod will allow your image to be as sharp as possible

1:3.4 Making your own tripod When I say, making your own tripod it doesnt actually mean a tripod. The best way I can suggest to keep a round thing still is by taping something with a flat surface to the bottom. This way, it can sit up on this side and you also know which way round the paper is too. I used a roll of cellotape flat side down. I then taped this round the whole tin for stability. My round tin sat comfortably on this and didnt move during my exposure.

1:4 How to make your pinhole camera You will need (For a box) 1. Empty box 2. Black paint 3. Scissors 4. Black tape 5. A pin

(for a can) 1. Empty can 2. Can opener 3. Black card 4. Black tape 5. A pin Using a can opener, take the top off the can. This can be quite tricky at first but once you get going it gets easier Using your pin, push through the aluminum creating a smallest hole as possible You are not going to need to create a lid. This will need to be in place everytime you leave the darkroom with paper in your camera By using black card, wrap round the top of the can to get the right diameter. Then make slits to fold over to create the top. These can then be secured down and made light proof with black tape. Place black tape on the outside over the pinhole. This will act as the shutter and will be removed for exposure

If the material will take, paint the inside of the box black. This will allow a minimal amount of light reflecting round the inside of the box With this box, it is already pretty secure so next you need to create your pinhole. On one of the sides of the box, preferably in the centre, push a pin through. On the inside and out, you can then sand this down to allow the pinhole to be as sharp as possible. On the opposite side of the pinhole, place four pieces of blu tac in the corners. This will allow you to stick your paper in place ready for exposing Place black tape on the outside over the pinhole. This will act as the shutter and will be removed for exposure

 1:5 Different containers and their effects 1:5.1 Can Due to the shape of the can, the paper is placed in differently. It is curved round the inside allowing the light to hit the paper at different angles as opposed to the paper being flat. The following image was created using a beer can as pinhole camera. As you can see, the image meets at the top, this is where the paper has been curved round. 1:5.2 Round Sweet Tin A sweet tin creates a different effect to above. Due to its flat surface, the picture created has a straight perspective.

1:5.3 Box Similar to above but with more in the frame a show box also creates a standard image. This box was cuboid, hence the perfectly square image.

1:6 Taking photos Once you have found the location of what you want to shoot, you can begin testing the exposure time. Once you have settled on this you are ready to create your final image. Once you have exposed this, place the shutter back over the pinhole and make sure it is secure to avoid any light getting through and ruining your image. 1:6.1 Using a box A fairly simple pinhole camera Using a box as a pinhole camera, this creates quite a steady base so can be easier to get sharper shots. Once you have placed the camera in position, remove the black tape (the shutter) for an appropriate amount of time. I would recommend with this example box, for 1 minute and then seeing which way to go from there. Inside, this camera needed an exposure of upto 1 hour. But depending on lighting conditions, exposure times can vary quite a lot. 1:6.2 Using a can A very different kind of pinhole camera compared to a box Using a can as a pinhole camera creates very different effects (see 1:5) Using the same method, by removing the shutter, the process is exactly the same. With a can, I from experience have exposed my paper for as little as 2 seconds due to the paper being closer to the pinhole.

 1:6.1 Creating your negative To create your negative you will need to enter the darkroom. With the red light on, you can now remove your paper from the camera and develop it. As if you were developing a usual print. (developper, stop, fix, wash). Hopefully this has been successful and you now have a negative of your image. 1:6.1 Turning a negative into a positive As you wont want to keep your image as a negative you will need to follow this process to create your positive. 1. Cut a piece of paper the same size as your negative print 2. Light sensitive side up, place this under the enlarger, and negative side down, place your negative side on top of the paper underneath. 3. You will then need to do a test strip in increments of 10 seconds. 4. Develop the sheet from underneath to then see which exposure time will create the best positive print. 5. You are then ready to expose the negative as a positive as a whole 1:7 Digital Pinhole Cameras Similar to using your pinhole camera, the same can be done with your DSLR. The sensor will act as the light sensitive paper. This can be very useful as the images will save straight away. You can also edit out any scratches or dust marks in post editing processes 1:7.1 How to create a Digital Pinhole Camera Just like with analogue, you will need to create a pinhole aperture. This can be done by covering up the body and using a pin. Ideally, you can use a body cap. When you have the body cap off your camera, you will need to make sure no dust is getting onto the sensor as this can affect your images. Just like with your homemade pinhole cameras, you will need to test with different exposures to see which is correct.

 1:7.2 Digital pinhole imagery This image was taken with the smallest possible pinhole created as possible. The image is very sharp for a pinhole image. This image was taken with a slightly wide aperture. You can tell due to the fact it is quite out of focus. The smaller the pinhole, the sharper the image.

1:8 Useful tips for pinhole photography The closer the paper to the pinhole, the less exposure time needed The closer the paper the more circular the image will appear on the paper The further the paper, longer exposure time needed The further the paper, a more even coverage on the paper The smaller the pinhole, the sharper the image The slower the shutter speed The wider the pinhole, the blurrier the image The wider the pinhole, less exposure time

SECTION 2: Working with lights

2:1 Introduction to the studio Working in the studio can be daunting at first. But it is all about experimenting. Learning which each piece of equipment does before using it will help you create the picture you are previsualising. There can be a lot to learn in the studio and can be confusing at times which is why it is a good idea to write down as many notes as possible. Once you have taken a successful image, it is worth writing down the set- up so you know for next time when you want to recreate a certain effect. 2:2. What you will find in a studio

2:2.1 Lights The following image is of the Bowens light. This shows the dials in which you would use to alter the brightness.

In the below image, you can see the following switches: LAMP: This is used when wanting to use the modeling lamp. With this on, it gives you an idea of what the image will look like and you can see where the light is falling. READY/BEEP: Allow you to know when the light is ready for the next flash CELL: There will usually be more than one light in the studio. When running on cell, the light will automatically trigger with another. The bigger button towards the end allows you to select where the lights are running off a battery pack or by wall power.

2:2.2 Rails On the ceiling will be the rails which the lights are attached to. These are much easier than having the lights on tripods as they are much easier to move around the studio. The lights are hung down on metal bars which collapse higher and lower. Some have the ability to go right down to the floor, others dont. The stability of these can also be altered.

2:2.3 Tripods Lights can be put on tripods. I prefer to use them from the ceiling as I am always worried I am going to trip over a wire and knock them over. However, With a tripod there are no negatives or reasons why these images will look different than to using the ceiling lights. Its just another way of having the lights out. 2:2.4 Modifiers There are many different modifiers in the studio. All create different effects on an image. Below, you will find examples and details of how each modifier affects the image. To change the modifier, hold back the release button the light head and twist the modifier, being careful of the bulb.(2:5)

2:2.5 Reflectors Reflectors are used to reflect light. Whether it is from a flash or from the sun. They come in all different sizes and colours. The colours are usually reflected into the tones of light onto the subject. Silver reflectors create neutral tones but brighter than white. Gold reflectors create warm tones and white reflectors create a neutral colour affect.

2:2.6 Infinity Curve The infinity curve is used for product photography and still life. It is shaped like an L and is a white plastic. The infinity curve is slightly translucent to allow the photographer to place lights below and behind. The infinity curve gives the impression that the subject is floating.

2:2.7 Infinity Cove The infinity cove is similar to the Curve just a slightly different shape. IT is also used for still life however, due to its shape, it is designed so that no edges can be seen. 2:2.8 Backdrops Backdrops are used in the main studio. You can get a variety of colours, however, in the studio I work in, there is black and white. They are used to create a plain background, which causes no distraction from the subject being photographed. The backdrops can be dragged across the whole floor to create an infinity effect or just left hanging in the back for headshots. When pulling out the backdrops, you want to make sure there is a curve at the bottom so they dont rip. When standing on them, also make sure you are barefoot to allow the backdrops to remain clean and not ripped.

2:2.9 Ladder The ladder can be used to access the chains for the backdrops if you want to be extra careful. They can also be used to access lights, which may be on a tripod out of reach. If needs be, they can also be used as a prop. 2:2.10 Heavy Duty Tripod The Heavy Duty Tripods are not versatile at all. They cannot be moved around on location for example but are ideal when wanting to shoot portraits in the studio or still life. You can securely fit the camera to these and have them facing directly down.

 2:2.11 Flashguns Flashguns are very useful and versatile. They can be used in the studio aswell as on location. You can set two up, linked to each other and have one flash as the master and the other as the slave. This means that when the master flash is attached to the camera, when fired, the slave will then fire too. Very useful when wanting to use a two light set up. The slave flash can also be attached to a flash gun stand. Flash Guns are also fitted with a mini diffuser which you can slide over the head to create a softer effect.

By pressing mode, the power will then flash. (1/32) Pressing up and down will allow you to change this. This is how bright the flash will be.

 2:2.12 Kicker Doors These are used to bounce, block and reflect light. They are useful as they can get very close to the subject.

2:3 Portrait Photography Portrait photography can include more than one person in the shot. It is a photograph that includes the face of someone and can sometimes include the body too. Portrait photography is used for many reasons; yearbooks, passports, magazines, CVs, for family pleasure and many more. 2:4 Product Photography Product photography is great when advertising a specific item. Especially when using either the infinity curve/cove, it makes the object really stand out and make it the main subject of the frame. 2:5 Different Modifiers There are many different modifiers which can be used with the lights to create different effects on the subject.

2:5.1 Softbox This creates a soft even glow on the subject. It is quite direct but can vary on the size of the softbox. These can be used right close to the subject.

2:5.2 Umbrella These can be shot through (white umbrella) or used the other way to reflect the light (silver umbrella) onto the subject. Shooting through creates a softer effect, wheras bouncing the light off the silver. Both have similar effects, but shooting through allows the umbrella to be closer to the subject.

2:5.3 Beauty Dish Of a round shape, these can create some effective reflections in the eyes of the model. They create a soft glow like the softbox, yet slightly more dramatic.

2:5.4 Honeycomb A honeycomb is very directional and can come in a variety of sizes. These clip onto the light via a dish. The smaller the honeycomb, the more directional the light will be. These are great for creating highlights.

2:5.5 Snoot These are also very directional. Even more so than the honeycomb. They are used to create circular lighting when wanting to light something specific up. This can be a particular area on a backdrop or certain subject. 2:6 Pocket Wizard Radio Triggers Pocket Wizard Radio Triggers are used to sync flashes to the camera. They have channel settings on them and allow you to work with less hassle due to lack of cables. One connected to the camera, the other to the light. They work just the same as if you were to use a sync cable, some might think theyre more convenient though. When using Radio Triggers, you need to make sure your transmitter and receiver are both on the same channel. If there is someone else in the room working in a separate studio then they should be on a different channel to not cross over flashes.

 2:7 Sync Cable Sync cables are just another more basic way to connect your camera to a light. Sync cables can also connect to the light meter. 2:8 Introduction to Travel Kits The travel kits in the Media Loan Shop are very convenient. There are two different kinds that we were introduced to which I will go into more detail. Each travel pack can run on cell or power. When running on cell, be sure to book out a battery pack as these are not included. 2:9 Battery Pack The battery pack can function for upto two lights. You can also choose to have the power on fast or slow. Using fast will allow you to take photos more after the other but will use the battery faster. The battery pack has two slots for two light cables. When one is not in use, you must place the spare connector in anyway to save power.

 2:10 Whats inside a 500wTravel Kit

2:10.1 Two 500w Flash Heads These can both be used individually or at the same time. They work the same as in the studio. Can be used with a variety of modifiers. 2:10.2 Two Stands Used to securely keep the lights still and support them on all levels 2:10.3 Two Umbrellas Can be used to bounce light off the silver reflector on the inside or this can be removed to then shoot through to create a softer effect. These will need to be assembled before use and disassembled after. 2:10.4 - Sync Lead Used to connect the camera to the lights

 2:11 Whats inside a 750w Travel Kit

2:11.1 Two 750w Flash Heads These can both be used individually or at the same time. They work the same as in the studio. Can be used with a variety of modifiers. 2:11.2 Two Stands Used to securely keep the lights still and support them on all levels 2:11.3 One Umbrella Can be used to bounce light off the silver reflector on the inside or this can be removed to then shoot through to create a softer effect. These will need to be assembled before use and disassembled after. 2:11.4 - One Softbox Used to create a soft effect on the subject. These will need to be assembled before use and disassembled after. 2:11.5 - Two Mains Leads Used when wanting to connect the lights to main power sockets as opposed to a battery pack 2:11.5 Pocket Wizard Radio Triggers These require batteries but can be used instead of the sync cables

 2:12 How to assemble the travel kit The travel kit can take a few attempts of putting up and putting away to get the hang of. The first thing you want to do is open your stands. You dont want to do this too high as you will want to attach the lights after. The feet of the stands will need to be as spread out as possible to allow a secure balance. Leaving the dish on the light to protect the bulb, place the light on the top of the stand, and using the screw, secure tight. You can then remove the dish and place a modifier of your choice. Then you need to attach your lights to a power source of some kind. Using the cables, plug them into the back of the light and then either to the battery pack or wall socket. If using a battery pack, wrap the strap round the bottom of the lighting stand to stop any trips or anything falling over.

2:13 Light Meter The light meter is used to give you the perfect exposure. These are an important piece of equipment in photography and one of the most useful things. It will tell you the ISO you need, the aperture and shutter speed based on the lighting conditions. They can be used for ambient lighting and flash. 2:13.1 - Different Modes There are 3 different modes. Ambient light. This is sued when doing a reading say of daylight when you are outside if you are wanting to work with this. Triggered flash. This is used without the cable and the reading will take when a flash is fired. The third mode is used when the light meter is connected to the light, and by pressing the measure button, the light will flash and the reading will be taken. The white ball on top of the light meter is the omnisphere. When this is slid to the top, it allows a reading from roughly 180 degrees in front of the meter. If this is slid out of the way, it exposes the main lens to take a reflective light reading.

 2:13.2 - How to read a reading Once you have took a reading, the screen will look like this, It will tell you the ISO if you havent already set it, the required f-stop and the shutter speed needed. 2:13.3 - Tips for using a light meter As the light meter works around the zone system, it will expose for mid greys. Therefore if taking a photo of something white, whatever the reading says, you will want to open up your aperture a few stops on your camera. With black, you will need to go in the other direction and close the lens down slightly. 2:14 The Zone System This system was first used by Ansel Adams and Fred Archer back in the 1930s. It was a technique they used to create the correct exposure for an image. The zone system is made up of 10 stops. Each section of grey is different to the section 1 stop above/below it. Anything darker than zone 3 will be pitch black, underexposed and hold no detail and anything lighter than zone 7 will be over exposed and also showing no detail. The zone system plays a big part when it comes to metering light. The zone system is all about different exposures and picturing how an image will look before it has been taken. Therefore, Light Metering takes the reading to give you the perfect exposure no matter what the lighting situation is. If you took a reading of a street in the morning, the light meter will give you the correct settings for the image to be a perfect exposure. However, if you were then to do this reading in the dark, on the same street. The meter will give you very different settings, yet the image will still be the perfect exposure as the light meter works to keep an image in zone 5 of the zone system, which is known as the middle grey.

 2:15 Different set ups If you are wanted to create a specific effect, then here you will find a few examples and directions to aid you in creating the image you want.

2:15.1 - Dark background

To create this effect the following set up was used.

To allow the background to be darker, a reading from the person was taken with the flash and the camera was then set to this allowing the person to be lit and the background to appear darker.

2:15.2 Creating shadows

To create this, it was done with the following set up,

The black kicker door stop the light from bouncing back creating a shadow on the left hand side of the face. The reading for this image was taken from the centre of the face towards the light

2:15.3 Creating an even light

The image above was taken with the following set up

To allow the photo to have an even exposure throughout, an ambient light reading was taken from the sky. This allowed the person to be lit the same as the sky/background.

2:16 Health and safety 2:16.1 - Creating a pinhole camera When creating your pinhole camera there are a variety of things you need to be careful of to prevent injuring yourself. When cutting to create a lid Make sure you are looking what you are doing as to not cut yourself. Careful of sharp edges Once you have cut the lid off your can, you will be left with sharp edges. This can be avoided by covering the edges with tape or sanding them down. This should be done before you use your camera as putting paper in and out can cause you to cut your hand on the ridges 2:16.2 - Shooting with your pinhole camera If on location, there are many things you need to be careful of Working by busy roads Make sure you are looking at all times as to not cause any accidents Public Property Do you have permission to shoot where you are? 2:16.3 - In the studio Due to lots of electrical equipment, there are many precautions that should be taken when working in the studio Cables There can be many cables across the floor in the studio. You need to be careful not to trip over these as you can injure yourself and also pull down expensive equipment and damage it. Lights If the lights are being used continuously for a long shoot, they may get hot after a while. It is a good idea to give them a rest.

You should also be careful when removing any modifiers as the bulb will be very hot When exchanging modifiers, you should be careful not to hit the bulb as these can shatter easily and can be very expensive to replace. Tripods Make sure the tripods are fully spread out at the bottom to allow the lights to be of an even secure balance. This will prevent the lights tipping. They can also be weighted down with sandbags or similar heavy items. Non-Used equipment If you are not using any specific equipment, make sure it is packed away. This will prevent any accidents as things in the wrong place can be a hazard. 2:16.4 - On Location As discussed similarly before, on location in public places can be dangerous. Expensive Equipment Make sure you keep your eye on all the equipment you are working with to prevent anybody taking it without you noticing. Especially when borrowing from the Media Loan Shop as any damaged/lost equipment will need to be replaced. Working close to rivers etc Make sure you keep hold of equipment and that it is secure to avoid any water damage. If working in a public place You may need consent off people who may appear in your images. Also if on public property, it is always a good idea to get permission to avoid any confrontation.

2:17 Creating Lighting Diagrams We were introduced to the website, http://www.lightingdiagrams.com/Creator It is the easiest way I have used to keep note of your lighting set ups. Very useful so that you can recreate a set up to shoot a similar set up to one you may have previously liked.

Above is what the website looks like. You can see on the left hand side all the equipment you can drag onto the white page and these can be moved around. 2:17.1 Adding information Above your diagram you are given the option to download your diagram as a PNG, JPEG or URL. PNG will be the best for what you are about to learn. You can then add this image into photoshop to add on any information like technical settings, distances etc to be more detailed in your set ups.

 [1] To have an idea of what you would like your image to look like Images Used Here I am going to source all the imagery I used. I would like to credit the following people for my use of their imagery. 1:4, 1:5.3 Thankyou to Holly Constantine www.hollyconstantinephotography.wordpress.com 1:7.1, 1:7.2, 2:2.6, 2:2.7, 2:5.2 Thankyou to Chris Trafford http://christraffphoto.wordpress.com/ 2:5.3, 2:5.4, 2:5.5, 2:5.6, 2:5.9, 2:10, 2:11, 2:13 (with details by me) Thankyou to The Media Loan Shop http://lorensbergs.coventry.ac.uk/connect2/ 2:15.2 Thankyou to Rebecca Woodall http://rebeccawoodallphotography.wordpress.com/ 2:15.3 Thankyou to Kat Korwaser Ullman http://kkuphotography.wordpress.com/ I can state that the images that have no been mentioned above all belong to me. Thankyou