Latest Posts

Authority Collective shares their guide for more thoughtful photography practices

Authority Collective’s guide to inclusive photography

With a mission to empower marginalized visual artists, Authority Collective is working to end systemic and individual abuse in editorial, documentary, and commercial photography. In their Photographer’s Guide to Inclusive Photography, the group is challenging photographers to think about their responsibility when telling visual stories.

“The guide definitely came out of the recognition that photography, since its inception, has been an extremely extractive space,” explains Tara Pixley about the Photographer’s Guide to Inclusive Photography, which addresses the specific things photographers should consider when shooting stories related to race, gender, sexuality and more.

Tara is a visual journalist, professor, and one of the founding members of Authority Collective, a community for women, non-binary, and gender expansive people of color working with photography, film, and VR/AR to connect and share resources.

It was at a conference in 2017 that Tara and nine other photographers of color got together to create the collective after noticing they had all had similar experiences in the photography industry – many of them experiencing microaggressions from usually male and white photo editors, creators, and colleagues.

“If we hadn’t come together and kind of had this conversation, we wouldn’t have realized that this was happening to a lot of different people. We wouldn’t have come to this realization that it wasn’t us as individuals – we’re not doing a bad job or we’re doing something wrong. It’s actually these microaggressions that are being put upon us,” she says.

RELATED: Creating a space for Black women photographers

More thoughtful representation

Seeing that it was not only photographers, but the also subjects of photography who were facing discrimination, the collective wanted to find a better way for photographers to work with marginalized groups. Wanting to address the fact that a lot of documentary photography work has been done by people who are photographing communities they’re not part of, often in a way that disadvantages those communities, they began reaching out to editorial and photo organizations to help them address this and other diversity issues.

“We started focusing our energy toward interventions and that’s how things like The Guide to Inclusive Photography came about,” says Tara.

Questions for photographers

“This guidebook was attempting to open up that conversation to say, ‘Hey, here are some ethical approaches. Here are some thoughtful ways to critically engage with your photography and recognize the power structures and power hierarchies at play’,” explains Tara and adds that since it was first published, the guidebook has been downloaded almost 10,000 times.

The guide, which was made in partnership with Photoshelter, dedicates chapters to photographing race, the global south, indigeneity, gender, and LGBTQIA communities and addresses the specific things to think about before photographing and portraying each of these groups.

In the end, the guidebook offers a list of questions for photographers to ask themselves to help challenge their own work. Questions like ‘Am I perpetuating stereotypical narratives with my work?’ ‘What are the likely consequences of the publication of my photography?’ ‘Who will be harmed? Who will be helped?‘.

Making room for more perspectives

Tara underlines that the guide is not there to say that people who aren’t part of the different groups covered in the guide cannot photograph them. Instead, the guide offers some ethical approaches to doing so.

“There is no objectivity and neutrality. We are indeed – every single one of us – subjective. So, instead of pretending that [we come with] neutrality, what we need to do is recognize and celebrate where we’re coming from and understand our potential limitations, understand what that makes possible,” she says.

“It’s to make space for all photographers, for all perspectives. Everyone needs to have a multitude of views and understandings in our visual content. We need that. We require it to have a better understanding of the world.”

The guide was edited byTara Pixley and Jovelle Tamayo, who are founding member of Authority Collective. Tailyr Irvine, Mengwen Cao, Danielle Villasana, Laylah Amatullah Barrayn, and Hannah Reyes Morales all contributed to the guide.

Find Authority Collective’s Guide to Inclusive Photography here.

 

* This post was originally published in August 2022.

Sign up for the webinar

How to edit wedding photos faster – Five hot tips from Wedding Photographer Eric Ronald

Eric Ronald shares his tips on how to edit wedding photos faster. In this picture: two couples on their wedding days

Getting back from a wedding with thousands of images to sift through and edit can feel like a daunting task. Having a few tricks up your sleeve to speed up the whole process can take some of the pressure off.

With years of experience working as a wedding photographer, Eric Ronald has gone through his fair share of late-night post-production sessions. But along the way, he has picked up more than a few ways to make the work faster and more enjoyable. In this post, he shares five ways he likes to speed up his workflow in Capture One and edit wedding photos faster.

Custom keyboard shortcuts

When you sit down with a mountain of work in front of you, the question on your mind is probably, “How do I edit my photos faster?”. Eric’s first tip is to cut out all the detours.

“It may not be very glamorous, but the ability to map keyboard shortcuts is huge. It allows me to instantly make adjustments at my fingertips without needing to rely entirely on the cursor, and it speeds up my edits considerably,” he says, having customized much of his workflow to be available with as few keystrokes as possible.

“One of the hardest parts of embracing this method is committing the shortcuts to memory, so what I’d suggest is printing them out for your quick reference.”

Pint out your shortcuts and keep them somewhere close to your computer until you have them memorized

To get your own reference list, go to Edit > Edit keyboard shortcuts. At the bottom of the pop-up, you will see “list shortcuts”. This will then take you to your web browser with your shortcuts listed in a format that’s print ready.

“Stick it up somewhere close to your screen so you can quickly refer at a glance, and before you know it, you’ll be hitting keyboard combos like you were playing Mortal Combat on Super Nintendo in 1995. And yes, you can be hitting multiple keys at any one time,” says Eric and adds that for common adjustments like Exposure, White Balance, and Contrast, he likes to map the Speed Edit shortcuts to the exact same keys.

“What this means is that, for example, I can tap ‘F’ to increase explore +0.1, or for larger adjustments, I can push and hold ‘F’ to engage the Speed Edit function, where I can easily make larger adjustments using the cursor.”

“And let’s not forget with the ‘Edit Selection’ function enabled, you can select multiple images in your browser and edit them all at the same time!”

Get it straight with Auto Keystone

“I’m quite a fan of symmetry, and I often find after applying lens corrections, it can accentuate being slightly off-axis, especially on wide-angle lenses. A quick solution for me is the auto keystone feature.”

The Auto Keystone tool, which was introduced in Capture One Pro 22, helps you automatically correct any perspective distortion if you were not able to get the perfect angle. An important step to be aware of is that whichever axis you select under the Keystone Tool (vertical, horizon or both) specifies not only what axis you adjust manually but also which axis the auto adjustment will adjust.

“For me, rarely do I want to adjust both. It’s mostly the horizontal axis I’m looking to fix up,” says Eric.

“As long as there are enough points of reference in the image for Capture One to calculate, it will nail it every time. If not, that might be where you need to fine-tune it manually. That’s where tip #1 comes in – map keystone to your keyboard shortcuts, and you’ll have that dialed in in seconds.”

 


Related: How wedding photographer Alessandro Galatoli transformed his workflow with Capture One for iPad

 


Make the most out of Export Recipes

“I have to admit it took me WAY too long to embrace this incredibly helpful feature,” says Eric about his next tip.

“Simply investing a few minutes in setting up multiple recipes for each of the different image formats, resolutions, and destinations that you regularly need to export makes finishing up an edit no effort at all.”

Eric recommends first resetting your output counter when necessary to ensure that the files you’re about to export start at number 0001. You can do this by clicking the three dots at the top right of the Naming Tool and select “Reset Output Counter”.

“Also, I highly recommend setting up subfolder tokens under the Location tool. What I like to do here is add ‘Recipe Name’/‘Collection Name’. What this means is that Capture One will export all of the images to the output location divided up into subfolders – firstly by recipe name, then within each collection name.”

Eric Ronald shares his tips on how to edit wedding photos faster

“The Collection Name is handy for me with weddings as I like to divide the day up into different parts such as ‘Getting Ready’, ‘Ceremony’, ‘Reception’ etc. So, for that to work you’ll of course want to arrange your images into collections first.”

He adds that you should remember to set the Catalog default export location, which you can do under the Location Tool by clicking the little button with a folder and cog right next to the folder selection. By doing this, the location will follow in all of the recipes where “Catalog Default” has been selected as the location, rather than having to set them all individually.

“I really can’t express how much time this saves me and what joy it is once I finish an edit to be exporting absolutely everything I need in just a few seconds.”

Luma range masking

This next tip is handy in a wide variety of applications, according to Eric. But there’s one place where he uses Luma Masking all the time – the sky.

“Usually, it is about pulling back some detail and/or adding some drama. And while the Gradient Tool can get you most of the way there sometimes, when you don’t have a clear horizon, Luma Masking allows you to dial in the luminance of the desired area you wish to adjust and only apply it to that range,” he explains.

“This makes an otherwise tedious task with your cursor or tablet a breeze. However, do pay close attention to the edges of the mask to ensure the best results.”

“When you can clearly see the edges of the mask, try this: in the Luma Range popup, try making use of the Display Mask option where the overlay will make it much easier to dial in the Range, Falloff, Radius, and Sensitivity,” says Eric and adds that it can be helpful to zoom in for fine-tuning.

Eric also explains that you should remember that the mask refers to tone, not necessarily a particular location of an image, so if you have that in mind when creating the mask, you will be able to copy and paste your mask to other similar images to apply the same adjustment even if the composition is different.

Smart adjustments for instant consistency

When it comes to speeding up the editing process, knowing how to bulk edit your images is going to save you hours. This is something Eric has also discovered.

“I couldn’t not mention the most recent game-changing addition to Capture One; the new Smart Adjustment Tool fueled by our new friend AI. This is particularly helpful for me in weddings where I need to edit a large number of images at any one time.”

The new Smart Adjustments feature, which has been designed specifically for portrait, wedding, and event photographers, uses faces and skin tones as guidance to determine which adjustments to make to your photos to give them all a consistent look with just one click.

“I tend to find this most useful for a sequence of similar-ish looking images,” says Eric. “Specifically, for good, consistent results, you want the light on your subject to be similar on your reference images as the ones you’re going to apply Smart Adjustments to. But if it’s not already there, be sure and add the Smart Adjustments Tool to your toolkit.”

How do you use Smart Adjustments? Easy. Just edit your reference image as you like (Eric likes to have both Exposure and White Balance selected for this). Then, in the tool, select “Set as Reference” and simply select the images you want to edit

“To take it a step further, you can even save those Smart Adjustments, including your other regular adjustments if you like, as a Style. I haven’t made a lot of use of this particular feature yet, but I have no doubt it would be super handy for photographers in other fields. The on-the-fly approach of setting a reference and applying as I go works wonderfully for me.”

Bonus round

To round it all off, Eric leaves us with a final tip to get the most out of your editing and save hours down the line.

“I can’t stress enough – invest the time in designing your workspace in a way that works for you. It’s all about having the tools that you need at the ready and tucking away or getting rid entirely of the things you never use.”

“Especially if you’re new to Capture One, this will make you feel right at home much more quickly.”

 


 

New to Capture One? Try it for free for 30 days here

 


 

Sign up for the webinar

Hands peeling a tangerine against a blue background. Photo by Manyi Chan, edited in Capture One Pro

RAW Talent with Manyi Chan

Having a tendency for introversion and quiet observing, Hong Kong-born photography student Manyi Chan leans into these personality traits with her work. This has resulted in a unique, quiet personal expression in her images, in which she explores topics like her own relationship with food, sexual fantasy, and violence within her specific cultural context as an East Asian woman.

We had a talk with Manyi about how she is finding her voice as a photographer, who she looks up to, and what advice she has for others just entering the world of photography.

Hands peeling a tangerine against a blue background. Photo by photography student Manyi Chan, edited in Capture One Pro

Tell us, how did you first get interested in photography as a form of artistic expression?

Since middle school, I’ve been an extremely introverted person, spending much of my time alone and in silence, observing the surroundings and researching material, texture, functionality, and composition of things around me. My interest in photography appeared to come naturally. When I first got a smartphone in high school, I began to take pictures everywhere and intend to record all the intricacies of life that I noticed.

Later on, when I entered the foundation course of university, my love for photography became clearer, and I started to learn how to express myself via the lens. That is when I realized that taking photographs was an integral part of my life, and it really brings me a lot of energy.

You often reference your cultural identity as an East Asian woman. How do you articulate that sense of identity in your photos?

I feel that a person’s personality can be greatly revealed in their photographs. My quiet, bashful personality full of emotions, influenced by the typical environment I grew up in, can probably be seen in my work – in which Chinese culture is dominated by Confucianism, Buddhism, Taoism, etc.; people like to present ambiguity and vagueness as a symbol of beauty. It is always about obscurity, an indirect expression of emotion that will face restriction and injunction.

My present concentration is mostly on myself: confusion about self-identity, family, and intimate relationships, as well as geographical and cultural research of my home region. In the process of creating work, I am in deep communication with myself, which makes me inevitably constantly aware of the unique perspective and ways of thinking that comes with my cultural identity as an East Asian female.

You speak of yourself as an observer. When you play the observer through your camera and lens, what fascinates you?

Light and shadow play important roles in many of my works. As I always say — light makes familiar things unfamiliar, and unfamiliar things become familiar. It elevates the mundane and creates countless illusions.

My favorite approach to photography is to leave ‘blank’, to capture just the hazy feelings of the moment, and in this way, guide the viewer into the story I have created. A pair of slender hands peeling a fresh orange, a potted plant lying quietly underwater, the blurred silhouette of a girl with braids gazing at a street scene through an inverted fish tank. The fragmented visual language, on the other hand, is more likely to resonate with the audience, prompting them to add their subjective memories to it. In my sense, photography is a form of expression that is based on the genuine world but is more than that; it can be both deceptive and poetic, and this fascinates me.

 

See how Manyi edits her photos, controlling colors and smoothing out skin tones to bring the scene to life.

You’ve used a very interesting phrase: “The moments made of light are pieced together into rhythms that comprise my existence”. Can you explain what you mean by that?

Having my camera pointing to the world feels like writing a diary to me. It’s not about documenting, but also not fabricated indeed – and I was obsessed with this feeling. Once I realized this, I began to consciously look around me for scenes that flowed without any overly clear clues. These short and punchy rhymes shot by myself construct the ideal life that possibly exists in my mind.

I was always concerned about the importance of everydayness through imagery. Through deconstructing and reconstructing the ‘taken for granted fact’, I wish to bridge the gap between myself and the world, to establish a new position in these times of uncertainty and social upheaval.

How would you describe your style? What do you think is its most distinctive characteristic right now?

Perhaps because I have been studying oil painting since I was small, I become very sensitive to color, composition, and contrast of light in the frame. The rich, natural color and clean atmosphere are what I preferred. For me, photography is similar to composing poetry in that I leave logic and notions aside and live lyrically in daily life – the objective things being captured contain all of my feelings.

If I were to characterize my style, I would say it is calm, with enough space for breathing; I hope it serves as a blanket that can bring people warmth and healing.

How has studying at London College of Communication (LCC) helped you become a better photographer?

The photography course at LCC encompasses not only the study of visual communication but also of culture, history, and contemporary society. I learned how to understand art and photography from a philosophical, sociological, and psychological standpoint. The critique sessions between peers and tutorials are also really beneficial.

I think the most important thing that the university brings me is the platform it provides – a chance to study abroad here in London, get to know what the industry looks like, meet lots of interesting people, and so on.

How do you see your career evolving? What excites you the most when you think about the photographic industry?

The opportunity to connect with audiences at exhibitions and fairs is what I treasure a lot. Each time when I receive comments like ‘I was healed by your works,’ ‘I felt empathy,’ or ‘I was driven by you to start photography,’ it makes me extremely pleased.

Since last year, I started exploring fashion photography and portraiture, as well as receiving commissions. I think the most challenging thing in commercial photography would be learning how to perfectly blend your personal style with the client’s requirements. It does bring a sense of achievement when I have completed a piece of work that both sides are happy with.

On a different note, how would you say Capture One integrates in your workflow?

I was first introduced to Capture One when assisting a fashion photographer on a shoot, and it made me realize the importance of tethering in commercial photography. Since then, I’ve always used Capture One for tethering, especially while shooting in the studio. It does not only give clients a preview of the images at first glance but also contains strong compatibility with raw files.

I always require a high level of color accuracy in my workflow, and its color editing system and brush function allow me to polish every detail in the photo — and it’s also very handy for batch coloring in post-production.

Do you have any photographers you look up to?

There are definitely lots of them, but the very first few photographers that come to my mind would be Yoshiyuki Okuyama, Takeshi Sumi, Glen Luchford, Erik Kessels, and Ryoji Akiyama.

Finally, what would be your advice for young photographers like yourself that are just starting out?

Stay honest with yourself – that’s probably the best advice I can give. Photography, or art, for me, is probably about expressing 100% of myself. I truly believe that as long as you keep creating with sincerity, passion, and courage, you will eventually find your own unique style and audience.

Also, it is essential to take a rest when you’re feeling tired and anxious. Social media is a good place for emerging photographers to be seen and contains tons of possibilities, but it’s not everything; focusing on the subject you care about and what you want to do as a priority is the most important thing.

See more of Manyi’s work on her Instagram


 

Sign up as a student today and get 65% off on your subscription

 


 

Sign up for the webinar

Images by Recently graduated photographer Ville Makarainen

RAW Talent with Ville Mäkäräinen

Once on the verge of giving up on his dream of becoming a photographer after a particularly disheartening experience at a photoshoot, recent photography graduate Ville Mäkäräinen is now more determined than ever to carve out a space for himself in the world of photography.

We spoke to Ville about how his love for skateboarding and run on Finland’s Next Top Model led him to where he is today and the anxiety and excitement of taking the leap into a new profession.

I’d like to start by asking you about your origin story. How did you get into photography?

It all started when I was a kid and skateboarding a lot. Me and my friends wanted to get new tricks on tape and as the creative child, I was often the one picking up the camera. It was my dad’s camera, which was probably one of the first digital cameras that could record video.

Fisheye lens is a big deal in skateboarding, and I remember taping up a peephole right on the lens, probably leaving a ton of scratches. We used that camera a lot and after abusing it for a while, my dad got a new DSLR which I later stole again for my projects. After a few years of mostly doing videos, my interest in photos started growing.

I did my military service in a unit called Combat Camera, basically being a war photographer. There we travelled around Finland participating in different trainings and documenting them. I really enjoyed my time there and my interest in photography just kept on growing.

Right before the military, I attended a TV show called Finland’s Next Top Model. My modelling career didn’t really blow up after it but that’s where I got introduced to the world of fashion photography. And I’ve kept that with me ever since and it is everything I want to do nowadays.

You’ve said that you weren’t sure about getting a photography education. Now, you’ve just graduated from Fotoskolan STHLM in Sweden. What made you change your mind?

My earlier experiences of school were really bad. I remember promising myself after high school to never do anything school related ever again. Once I also got to do a lot of photography and be around it for a while, I started romanticizing the word “self-taught”.

Photography educations were disappearing from Finland, and I was thinking that no one really needs them anyways. Everything can be learned from YouTube and how could anyone even teach me how to be creative. Oh boy was I wrong.

Then after my first time assisting, I realized how much there was to be learned. I remember being so disappointed in myself afterwards that I ended up taking a year-long break from photography.

I started working as a flight attendant and enjoyed it for sure. But when the pandemic hit, I felt such a relief being laid off. I moved to Sweden to be together with my partner and felt like I needed something to keep me active. I also had zero friends, so I had to find a solution for all that.

Then the uncomfortable idea of applying to a school arose and after a few hours of Googling I had Fotoskolan STHLM in front of my eyes. I was still doubting it being a good idea, but I applied anyway. I’m glad I did because I can tell you that it was one of the best decisions of my life. It got me going in the right direction with photography and closer to my dreams for sure. Without that school I would probably be back flying.

Follow along Ville’s editing process to transform the colors in his photo. 

How did the education at Fotoskolan STHLM impact your journey?

In tons of different ways that I didn’t even think it would. First of all, it brought me to a group of amazing and talented photographers – my classmates. I could always get my ideas to another level by brainstorming with them and I felt like the creative atmosphere in our class really affected the way of my working. School made me ask myself questions, why I do something in the way I do and look at my photos in a more critical way.

During my education was also the time I got familiar with Capture One and adopted it as my favorite tool in the process of making photos.

I learned that there are many ways of working in photography, for example assisting, which I’ve now started to see as a great career option and an amazing way to grow my wings in this industry. I feel like I can almost get the same kick as an assistant as I would as a photographer. I see myself working mainly as an assistant for a few years from now on while I build my portfolio to then become a full-time photographer.

You’ve said that you try to express beauty in weird and unconventional ways in your photos. Could you elaborate on that?

There are so many ways to express beauty and I am experimenting with ways that maybe are not the most “typical” ways of doing it. I don’t mind if the make-up gets messy or the hair is all over the place, those pictures I often end up liking the most.

I can’t really say what beauty exactly is, but I guess everyone sees it a bit differently. Some might think beauty is perfect lines and smooth surfaces. In my eyes it is when things get a little rough around the edges.

I guess some of it might come from me trying to prove something to myself. I had severe acne as a teenager that left my face full of scars. During my short career of modelling, that was something that made me really insecure. In my work I’m basically battling with my own issues of self-acceptance.

How would you describe your style?

It is always difficult to look at my pictures from a “third person view”, but I could say I’m quite experimental in my photography. It might be because of my journey being in an early stage still finding its form, but I love experimenting with new ideas and techniques and I hope I always will. I feel like I get inspired by so many things and I want to try them all at once.

I could also describe my style as being surrealistic. Usually, I’m not satisfied with just a picture and usually go further in post-production with Photoshop or even a pair of scissors.

One of my big inspirations has been a French photographer Claude Cahun who made a great impact in my way of processing pictures.

You’ve focused on different aspects of photography during your journey, from being lead photographer to assisting and digiteching, you’ve done a bit of everything. How did all these experiences influence your practice?

Trying all these roles has helped me to relate and understand everyone involved. As an assistant I can put myself in photographer’s shoes and understand how stressful it can sometimes be when you feel like everything is on your shoulders.

As a photographer I get the importance of communication and want to be clear about everything during the whole shoot and also appreciate the difference it makes to the whole workflow when all the files are in the right places with the right names. Everyone plays such a role and a missing member in the team is like running without shoes, it is possible but definitely painful.

I’ve also discovered how important making a look that is applied to the pictures during the shoot is. As the camera is tethered and images roll in, your team will already get an idea of the final product when there is a look that kind of covers the RAW file. It is also easier to make changes to the look and tweak it to the direction everyone hoped for when everyone in the team is present.

Shifting gear now, what role does Capture One play in your process?

I have Capture One as a huge part of my process and can’t think of working without it. As an assistant and digitech, it is where I spend most of my time.

I start the shoot with creating a new session and making the folders we need. During the shoot I make sure everything looks as it should and that the file names are right and everything ends up in the right place.

When it’s my own project I always make a look on the pictures that is as close to the planned final result as possible. Then in the end I process the images from Capture One to the desired format.

Also, I have never experienced any other good way of tethering. In the work I do, which is mostly in studio, tethering is essential, which makes this program a must have. Capture One has such a great variety of tools so I can use it almost from start to finish during the process. It is only the more advanced retouch I do in Photoshop. I would say that I do 80% of the photos in Capture One.

What aspects of working with the software do you like the most?

The software is handy in many ways, and I appreciate its versatility and smooth interaction with other programs. But I’m personally having the most fun with the creative part of Capture One which is making looks and manipulating colors.

The interface is easy on the eye and yet has so many functions that I feel like I still have a lot to discover. And that’s what makes it so fun, the fact that no matter how hard I push it, it still has a lot to give. The way it handles color is amazing and being able to affect every little detail in kind of a playful way makes my inner nerd cry of happiness.

Also, I have to mention the way Capture One organizes all the files in the session folders is just underrated. It helps the workflow a lot and makes doing backups better. Also adding and removing folders in the capture folder is super easy and works great together with Finder.

In your opinion, what are some of the most inspirational photographers out there right now?

For the past few years, I have been really inspired by a Paris-based Finnish fashion photographer Osma Harvilahti. I love the color palette in his work and how the pictures feel alive. He also has this surrealistic touch on his work that really makes the photos interesting, and it is always exciting to see what he comes up with. I think it is also him being a fellow Finn that makes me appreciate him a little extra.

On the analogue side I have gotten a lot of inspiration from a Danish fashion photographer Daniel Stjerne whose peaceful style got me thinking that less is more. Then on the digital side the New York-based fashion and beauty photographer Mikael Schulz. His creativity shines during the shoots, and he brings the best sides out from everyone. His crisp and playful style really influenced my photography especially on the beauty side. He is not only a great photographer but also a very inspiring human being.

Finally, what’s your advice for young photographers like yourself that are just starting out?

It feels funny to give advice to anyone being in a big need of it myself. But I guess what I’ve learned so far is how important it is to have fun. Sounds very obvious but I really have to remind myself of this quite often.

You probably chose this career because it is your dream job, so don’t get too corporate with it. Keep in mind why you’re doing it and let loose. Don’t be scared of screwing up because sooner or later you are going to do it. It is actually the best way to learn. If you really want to stand out, then there is no safe road. And if you’re in school right now then it is the best time to test your limits.

Also, what I struggled with a lot, and still do at times, is comparing myself with others, often to people who have been in the industry for a lot longer than I have. Don’t do that, it is only going to make you stressed and uninspired. Keep your eyes on your own road and again try to think why the people who inspire you are so amazing. They are most likely not trying to be like everyone else, so why should you.

Your mom was right, you are beautiful and amazing and with the talent you have you can do anything. You’re doing great sweetie!!

 


 

New to Capture One? Try it free of charge for 30 days here

 


 

Sign up for the webinar